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  </channel><item rdf:about="https://berjon.com/rt/">
    <title>The Retweeting Class</title>
    <dc:date>2026-06-23T09:58:59+00:00</dc:date>
    <link>https://berjon.com/rt/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Philosopher Timothy Morton has a move which I like: they talk about retweeting ideas to describe the ways in which we uncritically reproduce a pre-existing position. What I like about it is that it is not about lack of originality or reusing existing ideas. It's of course fine to reuse ideas and there's nothing wrong in being unoriginal so long as we've made the effort to consider the matter. What retweeting ideas conveys is the unthinking ease — it's a one-click mental process — with which we just repeat something we've heard without really taking its structure, motivating origin, perspective, or consequences on board.

We all do it to some degree of course, but some people do it almost exclusively. For reasons that I will get to, it is the backbone of their epistemology and this has interesting consequences that I detail below. One thing that's notable is that the people who favour a worldview built exclusively of retweeted ideas is that they congregate. They prefer one another's company to the company of those (from any political side) with a stronger tendency to interrogate their own assumptions. We can think of them, essentially, as the Retweeting Class.

We all go about trying to achieve a variety of aims, and the way in which we do so is through activities. An activity can be said to be "coherent" when it is "well designed for the achievement of its aim, even though it cannot be expected to be successful in each and every instance."1 Nothing Earth-shattering here — if you aim to meet someone in the northern part of town and you get on the northbound bus, that's a coherent activity. If you get on the southbound bus, let alone if you do nothing other than start baking a kiwi cobbler or belting out Céline Dion karaoke, then those are not activities coherent with the achievement of your aims. I know that this is basic stuff, but bear with me because there's an epistemology to it: we can see that "the empirical truth of a statement consists in the positive role it can play in facilitating operationally coherent activities" and something is real when "it can be employed in coherent activities that rely on its existence and its basic properties."1 To stick to my metaphor, you would consider a bus map to be true if by following its directions you got to where you wanted to go. If what you're holding is the bus map to another city, then you're going to consider it wrong.

Most of us are trying to accomplish something concrete of one sort or another. If we fail not once but consistently, at some point we'll want to revisit our assumptions. If none of the readymade ideas seem to work, we'll go looking for novel ones, either by imagining them or by looking farther afield. Again, this is all rather evident even though getting it right matters, but it does lead to the question: how do people in the Retweeting Class just keep parroting unexamined ideas without ever being shaken awake by a reality check?

And the answer is: because none of them are interested in accomplishing anything of substance, their aims revolve entirely around being acceptable to one another. Their truth — which they are pursuing competently, even intelligently, as agents — is not about change but about propriety. Ideas, for them, are evaluated based on whether they are proper or not and people in that group succeed based on their ability to reheat one harmless, socially-acceptable idea after another. To reiterate: it's not that they're wrong, it's that the truth that emerges from their purpose is largely detached from any consequence that would be considered meaningful to the rest of us."]]></description>
<dc:subject>howwewrite twitter thinking howwethink robinberjon criticalthinking timothymorton conversation llms automation friction debate seriousness nicolashénin elonmusk retweeting socialmedia internet web online substance blocklists tedunderwood bluesky</dc:subject>
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<item rdf:about="https://www.washingtonpost.com/lifestyle/2026/05/19/how-talking-strangers-can-make-us-happier/">
    <title>How talking to strangers can make us happier - The Washington Post</title>
    <dc:date>2026-05-28T07:08:56+00:00</dc:date>
    <link>https://www.washingtonpost.com/lifestyle/2026/05/19/how-talking-strangers-can-make-us-happier/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[archived:
https://archive.is/xnTRV ]
"Nick Epley was commuting to work at the University of Chicago when he looked across the train and wondered: Why are all these people sitting elbow to elbow ignoring each other?

Epley, a professor of behavioral science, thought about how very lonely people are, and he challenged himself to strike up a conversation with the woman sitting next to him. It changed his life — and led him to write the book “A Little More Social: How Small Choices Create Unexpected Happiness, Health and Connection.”

After reading it, I decided to try the experiment myself.

For the past month, on my commute to work, at kids’ birthday parties with my daughter, in the elevator at the office and on the street while walking my dog, I’ve been challenging myself to talk to strangers. Would it actually feel good, or just awkward?

I’ve always been a fairly outgoing person, but the idea of talking to strangers and befriending acquaintances still made me feel anxious. As I contemplated opening my mouth to talk to the stranger sitting next to me on a nearly-silent bus, I felt as if my jaw was sealed shut by fear. What if she didn’t want to talk to me? What if I said the wrong thing, or she felt like I was bothering her?

I asked Epley whether he ever felt that fear, too.

“I still do sometimes, but it dulls a lot,” Epley said.

Of course, it isn’t always advisable to talk to strangers. Epley said you should never do so if you feel unsafe.

But in dozens of studies involving more than 30,000 people, he and other researchers have found that people are happier when they are more social. Even if they consider themselves introverts. Even if they fear that reaching out to another person will be embarrassing.

In one study, Epley found that after having a conversation with a stranger, people predict that a future conversation with another stranger will be more enjoyable. But that effect fades pretty quickly.

“It’s not like you go out and have a nice conversation with somebody in the elevator and [the anxiety] disappears,” Epley said.

[embed]

The main reason people feel uneasy about socializing, he said, is that we focus on the wrong thing. We worry about what we’ll say rather than how we’ll say it. This was certainly true for me.

I worried more about whether I would remember a neighbor’s name than I did about whether I would seem kind. But it turns out, the research shows that if I’m warm and outgoing, it doesn’t really matter that much what I say.
If you’re friendly first, that will probably be reciprocated.

This applies to introverts, too

One of the most surprising findings in the research on happiness is that introverts and extroverts alike feel better when they act like extroverts. This was so perplexing to social scientists that for years they looked for some cost to pretending to be more outgoing than we feel.

Maybe introverts would be more exhausted after acting extroverted? It turns out that everyone gets tired after being social, the same way everyone gets tired after going for a run.

“Introverts and extroverts differ in their expectations, their beliefs about what’s going to happen,” Epley said. “And, therefore, the habits they get into.”

Because when introverts think they won’t enjoy a conversation with a stranger, they often don’t strike one up — so they miss out on the opportunity to be proved wrong, he said.

Talk, don’t text

For many people, the ability to text rather than call has relieved a lot of social anxiety. But texting doesn’t make us feel as connected as talking.

Epley said this is for two reasons: One, texting is asynchronous, meaning you aren’t getting immediate feedback from the other person, and they aren’t getting it from you.

If someone is smiling and nodding as you talk, you feel reassured that they’re enjoying the conversation as much as you are, and vice versa.

The other factor is the human voice.

“Typing is just the words,” Epley said. “Your voice, though, contains intonation and variability, it’s dynamic. That dynamism increases understanding of what I’m saying so I can communicate sincerity versus sarcasm, for instance. I can signal my intent through the sound of my voice.”

In Epley’s research, he and his colleagues asked people to reach out to an old friend either by text or a phone call. While people predicted that the phone call would be more awkward, they reported enjoying it more than texting.

“Most people, we found in our experiments, said they would prefer to reach out and type to their old friend. But in fact, when we randomly assigned them, the people who had the best conversations and felt the most connected were those who actually talked,” Epley said.

Social connection is an everyday choice

My biggest takeaway from the research and my own experiment is that being social is a habit, not a trait. So I’ve been trying to resist the urge to keep to myself, even when I fear a conversation.

Nothing particularly revelatory has come out of any one interaction I’ve had since I started doing this (except a tip I got about where to park near the office.) I facilitated a game of peek-a-boo between my toddler and a kind stranger on the Metro. I bonded with another parent over how our kids repeat everything we say — even the words we really shouldn’t say.

The thing that has been most surprising is how good these tiny moments of connection have made me feel.

On my bus commute one morning, I interrupted a woman next to me who was reading a book and asked her whether she was enjoying it. As much as I worried I would bother her, I saw her light up at the question. She told me about the series she was reading and how it was much better than the TV show.

It never feels completely comfortable to strike up a conversation with a stranger, but for me, the payoff has been worth it. And the research says it will be for you, too."]]></description>
<dc:subject>socialconnection 2026 strangers talktostrangers conversation maggiepenman nickepley talking social socializing</dc:subject>
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<item rdf:about="https://thefarocafe.com/">
    <title>Faro Cafe</title>
    <dc:date>2026-05-05T15:48:33+00:00</dc:date>
    <link>https://thefarocafe.com/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Faro is a coffee shop in Cambridge built on leisure, community, and a deep love for Thoreau. In a world obsessed with the "cold hand of productivity," we’ve chosen to go the other way. We are an analog space, designed for those who believe that real connection happens when the screens go away.


Whether it’s through live music, skill-sharing, or just a long conversation over a ceramic mug, Faro is a place to reconnect—with each other, with the planet, and with the places we inhabit.


Our Philosophy:

• Beyond Consumerism: We imagine regenerative futures through repair workshops, pop-up art, and community talks.

• Deliberate Presence: A space built for conversation and connection, not for "co-working."

• Fiercely Local: Independently owned and dedicated to protecting the disappearing character of our neighborhood.

Faro is your friendly, light-hearted, and slightly irreverent home in Harvard Square. Leave the laptop at home; bring a friend (or a book) instead."

[via:
https://open.spotify.com/episode/11zlpahmklfgr8YOUrtLnY ]]]></description>
<dc:subject>cambridge cafes coffeeshops slow leisure artleisure leisurearts productivity resistance connection attention presence consumerism repair community art deliberateness conversation local neighborhoods laptop-freecafes thoreau</dc:subject>
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<item rdf:about="https://www.frontporchrepublic.com/2026/03/welcoming-the-shadow-brother/">
    <title>Welcoming the Shadow Brother - Front Porch Republic</title>
    <dc:date>2026-03-10T07:24:27+00:00</dc:date>
    <link>https://www.frontporchrepublic.com/2026/03/welcoming-the-shadow-brother/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["One recent morning I realized something I should have noticed years ago, namely that for much of my life the extrovert in me has been selling out the introvert"]]></description>
<dc:subject>mellivatino introversion introverts extroversion extroverts small slow 2026 travel relationships living life howwelive timothyferris humanity beauty listening looking seeing observation local waltwhitman emilydickinson josefkoudelka renémagritte art photography jamiewyeth georgiao'keefe writing howwewrite attention conversation bertrandrussell josephconrad</dc:subject>
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<item rdf:about="https://aeon.co/videos/ai-isnt-merely-bad-at-writing-it-does-not-and-cannot-write">
    <title>AI isn’t merely bad at writing. It does not and cannot write | Aeon Videos</title>
    <dc:date>2026-02-20T05:40:29+00:00</dc:date>
    <link>https://aeon.co/videos/ai-isnt-merely-bad-at-writing-it-does-not-and-cannot-write</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["‘Why did you write it?’

As an English professor, the YouTube video essayist known as ‘josh (with parentheses)’ has, over the past few years, witnessed a faculty-wide panic about students using large language models (LLMs) to plagiarise assignments. The experience inspired him to create this sprawling video essay on the meaning of LLMs – what they can do and, more to the point, what they can’t. To him, this includes the very act of writing itself, which he contends, borrowing the words of Stephen King, requires a ‘meeting of the minds’. The entertaining and insightful piece spans the poetry of Gertrude Stein and contemporary ‘brainrot’ videos, all while he prods at ChatGPT and his friends. Travelling to some surprising places, he generates an unusually perceptive meditation on what might, at first glance, seem like a near-exhausted topic."

[direct link to video:

"You are a better writer than AI. (Yes, you.)"
https://www.youtube.com/watch?v=V5wLQ-8eyQI

"As an English professor, I hear people at every level talking constantly about the use of AI in writing, but nobody seems to be talking about the thing that matters most: AI cannot write. Writing has language, and writing has communication, but the communication does not live inside the language. This is a video essay about what writing is. Meetings of the mind with Stephen King, Gertrude Stein, Lewberger, Max Teeth, CyberGrapeUK, and others--but by necessity not with ChatGPT.

Recorded on a Macbook Pro using OBS and a little bit of editing trickery. If you look at the timestamps on the files you can probably deduce that when I say "two weeks ago" I mean about four months ago."]]]></description>
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</item>
<item rdf:about="https://possibilityhours.substack.com/p/seeing-deeply-being-seen">
    <title>Seeing Deeply Being Deeply Seen - by Scott Paterson</title>
    <dc:date>2026-02-16T03:21:03+00:00</dc:date>
    <link>https://possibilityhours.substack.com/p/seeing-deeply-being-seen</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Notes from How to Know a Person : The Art of Seeing Others Deeply and Being Seen Deeply"]]></description>
<dc:subject>scottpaterson 2026 seeing waysofseeing attention davidbrooks anaisnin anaïsnin perception conversation listening interestedness empathy</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:b6841bef3cb1/</dc:identifier>
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</item>
<item rdf:about="https://newpublic.substack.com/p/something-beautiful-is-happening">
    <title>👀🌷📼 Something beautiful is happening with old YouTube videos</title>
    <dc:date>2026-02-16T01:44:16+00:00</dc:date>
    <link>https://newpublic.substack.com/p/something-beautiful-is-happening</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Ten hours of rain sounds has 9 million views and the comments will make you cry"]]></description>
<dc:subject>youtube comments commenting conversation 2026 jessicafurseth memory bulletinboards joshkramer nostalgia music socialmedia enshittification platforms bigtech kylechayka brendangahan internet web online howwewrite writing nilaypatel messages messaging anonymoud disinhibition disinhibitioneffect meanness shitposting 2023 algorithms chiaamisola alexandraciufudean self-expression storytelling curiosity interest beauty</dc:subject>
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</item>
<item rdf:about="https://connectivetissue.substack.com/p/achieving-independence-for-the-sake">
    <title>Achieving independence for the sake of mutual interdependence</title>
    <dc:date>2026-02-16T01:37:22+00:00</dc:date>
    <link>https://connectivetissue.substack.com/p/achieving-independence-for-the-sake</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["A Q&A with L.M. Sacasas, author of "The Convivial Society" newsletter"]]></description>
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    <title>Long Walks</title>
    <dc:date>2026-01-25T21:51:43+00:00</dc:date>
    <link>https://www.artforum.com/features/long-walks-208841/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["WHY GO FOR A WALK? Not to get anywhere; the lack of destination makes it a walk rather than a journey. But a walk is never aimless; you set limits even before you start out: “as far as the woods,” “around the lake,” “along the river to the bridge and back.” Expediency determines the structure of a journey; on a walk you impose your own.

A walk offers a chance to check up on nature, to give in to your senses. You can take your self along for company, or leave it behind, depending on your mood. You can take the dog—an ideal arrangement, since your separate amusements don’t intrude on one another. It’s usually a mistake, as William Hazlitt has said, to go with a friend. Chatting turns the walk into a visit, and miles roll by without your once managing to come in touch with the sensibility of walking.

A walk is an abstraction, an idea. It is a particular kind of passage through space and time; you embark on it to stretch your consciousness as much as your legs. A journey is aimed at its end; the point of a walk is the walk itself.

Richard Long’s art must touch somehow on our experience of walking. Otherwise, why would we find his solitary travels so oddly affecting? When news of them reaches us they are long over. All we get is an Ordnance Survey map, a few photographs, and terse notations of location and duration, deliberately edited of seductive detail. Unlike his literary counterparts, who delight in describing their shanks’ mare adventures, Long tells only that he went.

This absence of rhetoric results in a kind of transparency; Long passes through the countryside, a figure only hinted at, eluding the art audience. There is no way to visit his temporary sculptures of stones or brush, no invitation to follow his carefully structured routes. So the work remains largely cerebral: a mind, more than a body, traveling through the landscape. If we let our minds wander after him, however, we begin to gain limited access to his art. We will never be privy to his experience, but we can reconstrue it to a certain extent. “Going for a walk” can put us in step with him.

Long’s work takes several forms: walks with a stated purpose and duration, site sculptures made in remote places from whatever materials he finds when he gets there, and large floor installations in galleries and museums (the most tangible, though least evocative). All have an economy of gesture; concept, method and materials converge neatly. In the walks the three are synonymous. Less obviously, this is also true of the outdoor pieces.

Long never “forces” a work; stones are used when there are stones, branches when there are branches, brush when there is brush. It’s all local produce; nothing is imported. His works may last or they may become overgrown or wash away. It doesn’t matter, since he doesn’t intend anyone to see them. In the end, we are left with nothing but the knowledge of Long’s intervention, handed to us in the form of photographs and captions describing two generalized particulars—medium and place: Sticks in Somerset, A Circle in the Andes, Stones in Clare.

The indoor pieces—lines, circles and spirals of stones, sticks or dirt placed on the floor—share aspects of this conceptual and structural oneness, for each remains tied to its site despite its deportation. Stones and sticks are often from the vicinity of the installation; their source becomes the work’s title. The position of a specific element within a piece is usually determined by its relation to the other elements, so that while individual installations might differ, a work’s concept remains the same. Driftwood sticks of various lengths are laid down in rows so that each stick is a certain number of its own lengths in front of its predecessor. A track of muddy footprints, “the length of a straight walk from the bottom to the top of Silbury Hill,” is curled into a spiral, the size of the room determining the number of coils. Presumably these works could be redone; I know of a large circle of loose stones that is periodically picked up and put back. Long specified the diameter of the circle and left written instructions that the stones lie randomly within it, resting on their longest, flattest and most stable sides without touching each other.

The scale of Long’s art is often ambiguous. Considering its utter privacy, its lack of pretension and its scanty traces, it seems intimate and small (a dot or a line on a vast plane; a moment in an aeon). But a walk’s dimensions (often hundreds of miles) or duration (many hours, even several days) are quite sizable. Long’s works are not performances, his unknown endurances are not the stuff of body art. Did he take sandwiches, get caught in the rain, camp out for the night? We are told nothing of this. (How different from Peter Hutchinson’s Foraging, an esthetic hike in the Rockies where recording of detail was the purpose and survival the issue—a theme that became particularly poignant after the artist and his companion dined on the wrong mushrooms.)

Though time and distance complicate our perceptions of scale in Long’s work, they tend to crystallize its structure. One or the other is predetermined on a walk—usually distance, though sometimes, as in A Walk of Four Hours and Four Circles, Dartmoor, 1972, time is the determining factor. This walk is recorded as four concentric circles on an Ordnance map, each representing a one-hour walk. How four trips of such obviously different lengths could all take the same time is not explained—but the artist’s decisions are hinted at: perhaps he strolls slowly, then speeds up, even runs around the largest circle.

The site sculptures are seldom presented within the context of a walk, but occasionally these two facets of Long’s art come together in an enterprise that is conceptually quite terse. For 164 Stones/164 Miles, Long walked across Ireland (164 miles) “placing a nearby stone on the road at every mile along the way.” He lists the number of stones per county he passed through: Clare 49 stones, Tipperary 38 stones/Kilkenny 27 stones, Leix 9 stones, Carlow 20 stones, Wicklow 21 stones. The piece combines a long walk, an immense stone sculpture (or is it? It only has 164 stones; much shorter lines have contained more) and a substructure in which the counties, boundaries in themselves, are represented by stones, which represent miles, which are arbitrary measurements in the first place. It is a major work, but Long boils it down to a two-page spread in a book, with text on the left and a photograph of the road, and a stone, on the right.

Though much of Long’s work is linear, its development is not. Ideas appear again and again. His art is cyclical, like time, when thought of in terms of hours, seasons, and finally, history. It is natural to perceive time as linear, since one’s life occupies such a short segment of it that the curve isn’t always noticed. But time circles around and around, renewing, altering, passing by again. A dialogue between the constantly changing and the enduringly permanent takes place in the landscape. Long’s recurring motifs—the line, the circle, the spiral—emerge from landscape, and have acquired something of its character.

It is tempting to take an art/historical walk through time, back from Richard Long’s work. One could start at the stone circles of neolithic Britain and the spiral carvings of the Bronze Age, travel along early Roman roads, and take in Medieval pilgrimages, especially that of Edward I, who erected stone crosses at each resting place of the funeral procession of his queen. The 17th and 18th centuries become even more interesting. Not only is there all that theory about the “natural artifice” of parks and gardens; you could also make the Grand Tour of Europe, de rigueur for the well-heeled young Englishman. Traveling within the British Isles became equally popular about this time, Samuel Johnson’s trip with Boswell to the Hebrides being one literary result. Next century you could drop in on Constable and Turner and take a stroll around the Lake District with Wordsworth and friends. And once you hit the 20th, if you’re at a loss for directions, just consult the Blue Guide, that compendium of fanatical detail that fascinates the English traveler and reveals as much as any romantic poet.

In trying to attach any of this to Long, however, one inevitably comes a cropper. It has everything—and nothing—to do with him. Long makes no secret of his interest in the ancient work; some pieces draw directly on it. Stonehenge and the Cerne Abbas giant have been focal points for walks; a labyrinth carved in a boulder in Ireland generated his Connemara Sculpture, 1971, where he reproduced the design in stones on the ground. Other works, which involve spirals and circles, especially circles of standing stones, incorporate this history as fully, if not as specifically.

The differences between Long and his unknown ancestors are more subtle than the similarities. Were the ancient monuments religious, funereal, astronomical? Convincing arguments have been put forth for all three. But Long does not borrow his sources’ presumed content, as does much recent art that depends on deliberate “primitivizing.” His primary concern seems to be with the geography and topography of the landscape; with measuring and marking on it, with echoing its character in his choice of sculptural materials and methods. Long’s connection with the ancient monuments has more to do with their presence in the landscape than with their role in prehistoric culture.

The pilgrimage model also turns out to be a dead end. Pilgrims undertook arduous journeys propelled by faith and the hope of salvation, or for the good time and good company, as Chaucer would claim. Neither motivation can profitably be applied to Long.

The builders of the great 18th-century gardens and parks may seem closer at first, since their endeavors were at least artful, and involved imposing a structure on nature. But again the connection fades out; those designers were after visual effects—carefully planned vistas that would be pleasing to the eye and mind. With the exception of a very early work, England, 1967, in which he erected a rectangular frame in the landscape and placed a circle on the ground some distance away that was meant to be seen either through or outside of the frame, I know of nothing Long has done that places much emphasis on visual effect. So again he remains, fundamentally, separate.

But Long does have something in common with all of these predecessors, even if specific connections continue to elude us. For their activities are carried out within the landscape itself, particularly the English landscape. A feeling for the countryside has always informed the English sensibility. A small, well-groomed island, spared extremes of climate, Britain has been under cultivation for so long that few parts remain untouched. The traces of the past to be found are not glimpses of its primeval state, but endless evidence of previous tenants (unlike America, where immense areas of wilderness and desert still allow you to preserve at least the illusion that no one has been there before you). In Britain landscape is in short supply; the English dream most fervently of cottages in the country. But their fascination is with the landscape’s spirit, rather than its geology, which offers no challenge to conquer—no vast peaks or wastelands, no major wonders. England offers a landscape of tranquility, solace, respite. A gentle communion with the countryside pervades all English art, Long’s no less than his forebears’.

It is so fundamental to his work, in fact, that he does not alter his approach or methods in foreign terrain. Long has worked in far more rugged places than the British Isles—Alaska, Canada, the Andes, the Himalayas. But the results all evidence the same softness of touch; it is not as though he embarks on such trips for more remote or more challenging quests.

Long’s work may have its roots in the English attitude to the countryside, but it also catalyzes some of the definitive ideas of 1970s art. The abrupt retreat from the frenetic ’60s; the renewed interest in natural rather than industrial forms and materials; a shift in the approach to the art audience, not to mention the change within that audience; the move out of doors, away from the museums and galleries—such developments have characterized, and helped to form, the diffuse activities that composed ’70s art. It is interesting that Long has never worked in a more traditional medium; he has walked only ’70s territory, adapting its recurring themes—the line, the circle, even the grid.

Over the past ten years Long’s work has remained much the same; his gentle interventions in the landscape have maintained their discretion, his indoor pieces continue along similar paths. The line, the circle and the spiral still form the basis of his sculptural vocabulary. But although there has been no radical shift in direction, he continues to hone his processes. For one thing, his work has become more conceptually tight as he has intertwined it with its generating impulse—the landscape. Walks have become less rigid in structure as he has turned from formal to natural yardsticks.

Earlier walks, such as the concentric circles, the grid, or the many straight lines, skirt the issue of how one executes such a project accurately on natural terrain. On maps they can, of course, be diagrammed precisely, but on foot this would be impossible. More recently, however, Long has been drawing the structure of his pieces from geography instead of geometry/focusing especially on rivers. The choice is particularly suited to the cogency of his thinking, since rivers are also lines; they mark on, and in a sense “structure” the landscape. (The landscape also determines the course of the rivers, much as it influences the direction of Long’s art.)

The Avon has provided the impetus for several recent works, among them A Walk of the Same Length as the River Avon. There is no difficulty here about rendering straight lines or perfect curves. The Avon “walks” from its source to its mouth; Long walks the same distance, not along the river itself, but on an ancient road that follows it. At one point the road crosses the river; a photograph of a footbridge, along with maps of the river and the road, become the evidence.

Another recent river work has a slightly different inflection, but is just as harmonious conceptually. In 130 Miles from the Source to the Sea, Dumfriesshire, Scotland, 1978, Long placed a pile of 130 stones at the source of the River Clyde, furnishing on his return a photograph of the pile of stones, duly labeled. Again the gesture is entirely suited to the circumstance; concept and method remain inextricable. Long’s work has always been extremely economical, but the recent pieces seem particularly well resolved.

For an art that gives us so little to go on, Long’s work is surprisingly rewarding. There is an element of romance in our knowledge that it is, for the most part, unattainable. Or is it? There is no law against pushing our imagination; it can become our passage to England, our Himalayan trek. We can negotiate our own progress through space and time as surely as Long can. That’s where walking comes in.

On one of this walks, Long went around a mountain range in Ireland—Macgillicuddy’s Reeks—throwing a stone. Anyone who does this knows. As you start out your eye scans the roadside for the right stone. You find one and give it a toss; it skitters along and rolls to a stop some yards ahead. Eye fixed on it to make sure you don’t lose track of it among the others, you catch up to it, toss it again. Before you know it, you have become very attached to that stone. It structures your walk; you go where it goes.

—————————

The soul of a journey is liberty, perfect liberty, to

think, feel, do just as one pleases. We go a journey

chiefly to be free of all impediments and of all

inconveniences; to leave ourselves behind, much

more to get rid of others.

—William Hazlitt, On Going a Journey

In climbing, the summit is nearly always hidden,

and nothing but a track will save you from false

journeys. In descent it alone will save you a

precipice or an unfordable stream. It knows upon

which side an obstacle can be passed . . . and

where there is the best going. . . . It will find what

nothing but long experiment can find for an

individual traveller . . . everywhere The Road,

especially the very early Road, is wiser than it

seems to be.

—Hilaire Belloc, The Old Road

. . . de Selby makes the point that a good road will

have character and a certain air of destiny, an

indefinable intimation that it is going somewhere,

be it east or west, and not coming back from there.

If you go with such a road, he thinks, it will give

you pleasant traveling, fine sights at every corner

and a gentle ease of peregrination that will

persuade you that you are walking forever on

falling ground. But if you go east on a road that is

on its way west, you will marvel at the unfailing

bleakness of every prospect and the great number

of sore-footed inclines that confront you to make

you tired.

—Flann O’Brien, The Third Policeman

It is not indifferent to us which way we walk. There

is a right way; but we are very liable from

heedlessness and stupidity to take the wrong one.

We would fain take that walk, never yet taken by us

through this actual world, which is perfectly

symbolical of the path which we love to travel in

the interior and ideal world; and sometimes, no

doubt, we find it difficult to choose our direction,

because it does not yet exist distinctly in our idea.

—Henry David Thoreau, Walking

A walking tour should be gone upon alone,

because freedom is of the essence; because you

should be able to stop and go on/and follow this

way or that, as the freak takes you; . . . you must

be open to all impressions, and let your thoughts

take colour from what you see. You should be as a

pipe for any wind to play on.

—Robert Louis Stevenson, Walking Tours

Nancy Foote is an art critic.

—————————

NOTES

With all ephemeral art, documentation becomes of major importance. It takes several forms in Richard Long’s work: photographs and maps framed together with text; photographs and text presented in books (often published by museums and galleries at the artist’s request instead of conventional catalogues); and artists’ books. Much of Long’s documentation wavers between “primary” and “secondary” information—the work itself versus a reproduction of that work. Photographs of site sculptures would normally fall into the second category, but as Long presents them, with laconic captions, they become, in a sense, primary. His interest in “art” photography is minimal, unlike that of his friend and sometime walking companion Hamish Fulton, whose images, though related to Long’s in concept, are much more self-consciously concerned with photography. In addition to strict recording, Long sometimes uses a photograph to stake an esthetic claim, as when he takes a spot of conceptual interest, such as the source of a river that generates a walk. And in books such as A Hundred Stones; One Mile Between First and Last, the photographs are, in a sense, primary because they gather the stones into a single work."]]></description>
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<item rdf:about="https://www.publicbooks.org/against-babel-or-how-to-talk-to-strangers/">
    <title>Against Babel: Or, How to Talk to Strangers - Public Books</title>
    <dc:date>2026-01-17T04:26:25+00:00</dc:date>
    <link>https://www.publicbooks.org/against-babel-or-how-to-talk-to-strangers/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["What would such an antigenealogical, transcendent philology that I’ve called for here look like? One example might be found in Jennifer Scappettone’s Poetry After Barbarism: The Invention of Motherless Tongues and Resistance to Fascism. Explicitly and abundantly antistatist, Scappettone’s work engages with national language traditions without reinscribing dominant geopolitics. Instead, the book offers a course toward “alternative republics … in which poetry (and its undervalued kith, translation) might assume a central agency,” noting:

<blockquote>Needless to say, the language of a People conceived as monolith needs to disavow the ineluctably shared histories and futures of speech and writing, which deposit themselves in linguistic resources representing a treasury of exchange impossible to shut down: a perpetual transmutation taking place in the ungovernable work of ears, mouths, and hands absorbing and passing on difference.</blockquote>

Difference, not an anachronistic Eden of similarity, is the indubitable protagonist of Scappettone’s story. Approaching the poetic traditions and artistic practices of fugitives, waywards, and exiles, from Etel Adnan to LaTasha N. Nevada Diggs, Scappettone retells not the story of Babel but the story of the Pentecost: wherein Christ’s followers, inspired by the divine spirit—“inspired” in the literal sense of “breathed into”—are suddenly able to speak languages foreign to them.

The Pentecost does not repair Babel but redrafts it, placing an antidote for our separation and noncommunication back in the hands of those who believe and care enough to speak beyond sameness: poets. Guided by the potential of xenoglossy—the spontaneous knowledge of an unlearned language—Scappettone’s book gathers near-magical moments of people producing works intelligible to those othered to them. These achievements, Scappettone notes, are not because of a myth of shared descent, but because of the possibility of their shared occupation of a homeland, enacted not through the state but through experience, performance, and poetics.

Thus, Poetry After Barbarism might be an inaugural bid at a philology without Babel. Scappettone’s book embraces Ahmed’s impossible invitation for language study to not repair through shared heritage or reform through shared futurity, but instead to regenerate legibility, refuse the pure, reembrace the gift of the unknown. Our new guiding myth, I take it, must be the Pentecost. We must live not at the moment of our scattering but at the moment of our spontaneous, and earned, remembrance. Importantly, though, Scappettone makes clear her work is not originary but collectivizing: it brings under a shared light generations of language workers before her, including an impressive chapter on the Italian philologist that undrapes a disciplinary tradition of antifascist praxis.

In this, Scappettone offers the ultimate rejoinder to both Auerbach and Said. To her, it is not enough that our philological home is the earth. In fact, our language—our home—must also be planetary and cosmic, escaping the entrapments that make an internationalized earth just another vestige of the state.

We need not see ourselves as scattered halves looking to be made whole by a return to a unified state. Escaping Babel’s haunt, it’s possible to see—xenoglossically—our bodies, our histories, our languages as complete in themselves. The task remains, then, to extend care, humanity, solidarity, and life, to tongues—and people—outside of the trajectories inscribed by our protos; to raze the language tree that dictates our cultural debt and our naturalized nations; and to reinvest in living with, and living for, difference."]]></description>
<dc:subject>anthropology religion language languages babel 2026 aditirao philiology linguistics williamjones communication conversation tradition imperialism racescience sirajahmed identity jenniferscappettone lauraspinney humanity ericjauerbach shoah literature edwardsaid mnairesaid antinationalism nationalism humanism humanities lioneltrilling columbia antizionism georgesteiner sheldonpllock daviddamrosch benjaminelman eurocentrism global globalnorth israel yevgenyprigozhin eteladnan latashanevadadiggs</dc:subject>
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<item rdf:about="https://yalereview.org/article/dan-fox-learning-welsh">
    <title>The Yale Review | Dan Fox: “What Happened When I Began to Speak Welsh”</title>
    <dc:date>2025-12-30T20:28:24+00:00</dc:date>
    <link>https://yalereview.org/article/dan-fox-learning-welsh</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["By learning my family's language, I hoped to join their conversation."]]></description>
<dc:subject>language welsh wales 2025 languagelearning learning conversation bilingualism england uk history song music lullabies melancholy sound memory memories inheritance culture translation nationalism languages saunderslewis resistance colonialism colonization tradition rhodgilbert duolingo context johnlecarré friendship connection saysomethingin languageacquisiton howwelearn discovery</dc:subject>
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</item>
<item rdf:about="https://podcasts.apple.com/us/podcast/what-people-actually-use-chatgpt-for-with-gerrit-de-vynck/id1730587238?i=1000737541296">
    <title>What People Actually Use ChatGPT For With Gerrit De Vynck- Better Offline - Apple Podcasts</title>
    <dc:date>2025-11-24T19:13:15+00:00</dc:date>
    <link>https://podcasts.apple.com/us/podcast/what-people-actually-use-chatgpt-for-with-gerrit-de-vynck/id1730587238?i=1000737541296</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["In this episode, Ed Zitron is joined by Gerrit De Vynck of The Washington Post to discuss what an analysis of 47,000 ChatGPT conversations can tell us about how people use the service - and how willing it is to fuel basically any conversation.

We analyzed 47,000 ChatGPT conversations. Here’s what people really use it for - https://www.washingtonpost.com/technology/2025/11/12/how-people-use-chatgpt-data/ 

https://www.washingtonpost.com/people/gerrit-de-vynck/ 
https://x.com/GerritD 
https://bsky.app/profile/gerritd.bsky.social "]]></description>
<dc:subject>via:javierarbona ai artificialintelligence chatgpt openai 2025 edzitron gerritdevynck conspiracytheories pscychologies algorithms psychosis sycophancy chatbots psychology conspiracies behavior search conversation radicalization youtube fringe monstersinc google technology bigtech health healthcare medicine maga donaldtrump trumpism antiwoke moralhazards socialmedia facebook llms livestreaming platforms moderation information seach misinformation delusion falsehoods</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:afe68a5ee6f1/</dc:identifier>
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<item rdf:about="https://www.youtube.com/watch?v=3LnHruJPPsY">
    <title>Against Brainrot — how to read &amp; write more online - YouTube</title>
    <dc:date>2025-11-17T19:36:45+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=3LnHruJPPsY</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["People are panicking about the literacy crisis, about waning attention spans and why technology is making everything worse. But some people — like writer, software designer, and literary critic Celine Nguyen — have managed to not only retain their engagement with art and culture and literature, but actually deepen it with the help of the internet and social media.

In this conversation, Celine talks through how she went from tech to art school, taught herself to be a literary critic, and learned to love social media, Substack, and AI. 

[00:00:00] Jumping from Silicon Valley to the art world
[00:11:00] The internet and “research as leisure activity”
[00:26:34] Contrarian optimism about AI and art
[00:48:57] How can we measure progress in culture?
[01:04:47] Celine’s personal tech/media habits

Follow Celine's work at personalcanon.com and Jasmine at jasmi.news."

[transcript:
https://jasmi.news/p/celine-nguyen

notes here too:
https://www.personalcanon.com/p/ten-thousand-takes-on-tech-culture ]]]></description>
<dc:subject>celinenguyen jasminesun art literacy literature technooptimism siliconvalley optimism contrarianism ai artificialintelligence progress culture media technology internet web online substack socalmedia literarycriticism humanities philosophy compsci walterbenjamin specialization howweread howwewrite karlmarx dialecticalmaterialism davidharvey reading education learning howwelearn criticaltheory stanford communication access accessibility sensemaking makingsense generalists lingo translation jargon ideology worldview disruption information knowledge abstraction decontextualization algorithms amateurs research amateurism zeyneptufekci extremism context discovery writing geography radicalization venkateshrao consciousness metrics analytics socialmedia discourse conversation attention creativity forums hierarchy llms slop aislop economics ecosystems commercialart culturalproduction publishing excess</dc:subject>
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In this episode of Futurology, Liu joins Berggruen Press’ Executive Editor Nils Gilman to explore how AI blurs the line between artist and audience, code and consciousness. They discuss why storytelling has always been humanity’s most powerful technology and how machines, by learning to tell their own stories, may change what it means to express emotion in the AI age."]]></description>
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    <title>Partita for Ghost Ladder and Insect Eyes</title>
    <dc:date>2025-10-18T05:48:48+00:00</dc:date>
    <link>https://pablohelguera.substack.com/p/partita-for-ghost-ladder-and-insect</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Using artistic means for non-artistic ends."

...

"A

In 2005, I was invited by the members of the Mexican collective Laboratorio 060 (then composed of Javier Toscano, Daniela Wolf, Lourdes Morales, and Gabriella Gómez-Mont) to participate in a site-specific project that brought together international artists and the community of Frontera Corozal, Chiapas — a small town on the border between Mexico and Guatemala, along the Usumacinta River, deep in the Lacandon jungle.

B

I often think of the late Marjorie Perloff, whose brilliance I had the privilege to witness firsthand and whose book Wittgenstein’s Ladder has long served as a quiet compass. In that remarkable study, she demonstrated how the philosophy of language could illuminate the strangeness and beauty of poetic form — how the scaffolding of thought might itself be art.

Lately I have been preoccupied with a reversal of Wittgenstein’s metaphor. In the realm of art, contrary to his suggestion, we cannot throw the ladder away. The ladder — the process, the experience, the unfolding of thought and action — is not a means to an end but the very substance of the work. Yet our museums and markets, fixated on the permanence of the object, continue to discard the ladder, mistaking its residue for the work itself.

A

The Frontera project, about which I have written elsewhere, was among the first socially engaged art initiatives in Mexico and profoundly shaped my thinking about audience engagement. Some of the artists included in the project were Aníbal López, Bubu Negrón, Miguel Ventura, and many others.

The project’s interventions ranged from public works to provocative performances that generated puzzlement in the community. At times I think they saw us as a group of crazy tourists that were doing eccentric rituals, but at the same time we connected with them in ways that transcended language and our respective universes. I spent time with Chol children in a grade school, Primaria Torres Bodet, where the students wrote their own short stories (in Chol).

The project was, in every sense, complex — impossible to summarize here — but one challenge stands out: how to convey the story of what had happened in Frontera to those who had not been there. After a number of years, the collective eventually produced a documentary, but even the documentary does not manage to fully convey the intricacies of the project.

Writing workshop with students at the Escuela Primaria Federal Bilingüe Jaime Torres Bodet, Frontera Corozal, Chiapas, 2006 (Javier Toscano on the right side of the photo).

B

Wittgenstein viewed language as a ladder to be discarded once understanding had been reached. The art world, perhaps unwittingly, absorbed this idea by fetishizing the finished object. Museums and markets celebrate completed things rather than fulfilled intentions — as if the endpoint of artistic labor were a permanent object rather than a temporary state of comprehension.

The most meaningful artistic processes I have witnessed do not culminate in the object but move through it: the object becomes a prop, a marker, a trace of an encounter. To throw away the ladder, in this sense, is to discard the very work we seek to understand.

This misunderstanding — the elevation of the remnant over the realization — has shadowed much of modern and contemporary art. The avant-garde already attempted to dissolve the boundary between means and ends: Kaprow’s happenings, Lygia Clark’s relational objects, and Tania Bruguera’s arte útil all sought to locate meaning in acts rather than artifacts. Yet the museum, compelled by its custodial logic, continues to frame these works through the detritus they left behind. It behaves like Wittgenstein’s reader who climbs the ladder and then displays it in a vitrine — forgetting that its purpose was to enable ascent, not to be preserved as an object of study.

This institutional tendency betrays a deeper epistemological discomfort: the anxiety that, without the object, we lose our coordinates of value, authorship, and permanence. Against that anxiety, the task of both pedagogy and art may be to learn how to dwell within process — to recognize that the fleeting, dialogical, or collective experience is not a prelude to the work but its fullest form of existence.

A

In 2008, when I had the chance to invite Laboratorio 060 to exhibit in New York, at the CUE Foundation, and they sought to present an anthology of their past projects, the question of how to present Frontera Corozal returned. Javier Toscano proposed something radical in its simplicity: to have a person stationed in the gallery at all times, a living storyteller who would narrate aspects of the project — to embody what could never be contained in images or video. Financial limitations made it impossible, but the idea stayed with me. It remains, to my mind, one of the most eloquent metaphors for what museums and educators must learn to do: to animate the absent process, to make visible the invisible scaffolding of art through presence and narration.

Often I think that this is precisely what educators already do, albeit without formal acknowledgment: we serve as living interpreters of what the artwork cannot say for itself.

B

Perhaps what requires closer attention is not our misunderstanding of the ladder but our fear of letting it go. The art object is not merely an aesthetic artifact; it is a kind of security blanket. It reassures collectors of possession, scholars of focus, museums of purpose. The object anchors the otherwise unstable realm of artistic process, providing a surface upon which value and authorship can be inscribed. Without it, the canon loses its stage set, the archive its evidence, and the institution its promise of permanence.

Artists are not innocent in this arrangement. During creation, our attention belongs to the immediacy of process — the question, the exchange, the experiment. Yet, with time, the temptation to translate the ephemeral into consecrated form becomes irresistible. Photographs, certificates, relics of social projects: these become the tokens that secure our place in the narrative we once sought to unsettle. Thus, we too sustain the system that mistakes the ladder for the ascent, allowing documentation to stand in for the experience itself.

The question, then, is twofold. First: how might artists resist the gravitational pull that turns inquiry into artifact, action into documentation, and experiment into inventory? Can an artwork exist as a process of knowing that refuses to collapse into ownership yet sustains itself socially and economically? Perhaps the task is not to destroy the object but to destabilize it — to transform it from relic to relay, from residue to condition.

Second: the greater challenge may fall upon the institutions built to enshrine artists. Museums, designed to protect objects, must now tell the stories of works that resist objecthood. They must narrate gestures meant to vanish and teach audiences to encounter art that exists more in time than in space. Doing so requires an epistemological shift: from the museum as a container of artifacts to the museum as a mediator of processes.

This might mean collecting protocols rather than things, treating exhibitions as rehearsals rather than finales, and valuing the interpretive labor of the public as part of the work’s afterlife. Preservation may sometimes take the form of facilitation rather than possession. The true continuity of art may lie not in its objects but in its capacity to generate renewed forms of experience across time.

Museum education, I believe, holds a unique key to this dilemma. If curatorial practice is bound to the object, education is bound to the encounter. Through interpretation, activation, and conversation, educators can reveal what I call the museum’s ghost ladders — the vanished structures of process and inquiry that once supported the finished work but now haunt its display.

A

I remember one night in the Lacandon jungle during the Frontera project, sitting on a porch after dinner as waves of sound—cicadas, crickets, and other unseen creatures—rose and fell around us. The air was thick with humidity and the layered chorus of the forest. At one point, I noticed a large tarantula near my feet and instinctively recoiled, startling myself. The locals burst into laughter at my reaction, assuring me that these spiders were entirely harmless. The conversation then turned to the presence of all living beings around us that we were not aware about. A local then suggested I place a flashlight beside my temple and point it toward the trees, an area that was absolutely pitch dark. When I did, thousands of tiny glimmers blinked back — the reflections of innumerable insects’ eyes hidden in the dark.

That image returns to me whenever I think about the unseen processes that underlie the artworks we display: the invisible ladders that structure the visible world.

Fugue

James Joyce once wrote in Ulysses: “What is a ghost? One who has faded into impalpability through death, through absence, through change of manners.”

The processes of art, too, sometimes fade into a kind of impalpability — through institutional habit, curatorial absence, and changing manners of art-making. Yet their eyes still shimmer in the dark.

To recognize them is to acknowledge that the work of art is never finished, that the ladder remains even when unseen. Our task, as artists and educators, is to sensitize others to their presence — to make them glimpse, if only for a moment, those innumerable ghost ladders watching us climb, gleaming like the eyes of the jungle, reminding us that art itself is the act of ascent."]]></description>
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    <dc:date>2025-10-16T17:05:55+00:00</dc:date>
    <link>https://aeon.co/videos/what-would-it-mean-if-we-were-able-to-speak-with-whales</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Until the 1950s, when ‘whale songs’ were first captured by US underwater surveillance systems during the Cold War, whales were widely thought to be mute. This discovery changed how humans view these creatures and influenced how we treated them, helping to drive campaigns for whaling bans and long-term conservation efforts. In this conversation, hosted by the cosmologist Janna Levin at Pioneer Works in New York City, the biologist David Gruber and the comparative anatomist Joy S Reidenberg discuss how our understanding of whale communication has developed over the decades. This includes Gruber’s work as the founder and president of Project CETI (Cetacean Translation Initiative), which is using emerging technologies to decode sperm whale communication, and may one day make an interspecies dialogue possible."

[Direct link to video:

https://www.youtube.com/watch?v=ZfBptSzJgOs ]]]></description>
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<item rdf:about="https://therumpus.net/2025/10/02/human-error-is-the-point-on-teaching-college-during-the-rise-of-ai/">
    <title>Human Error Is the Point: On Teaching College During the Rise of AI - The Rumpus</title>
    <dc:date>2025-10-09T00:41:33+00:00</dc:date>
    <link>https://therumpus.net/2025/10/02/human-error-is-the-point-on-teaching-college-during-the-rise-of-ai/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Some mornings I forget my lanyard. Or the bathroom on the third floor is locked for reasons no one can explain. Or I bring handouts for the wrong section. I get distracted mid-lecture trying to remember the word for that thing that’s almost a synecdoche. Someone raises their hand to ask a question I don’t know how to answer, and I say the wrong thing. Or I say the right thing but too quickly, and someone flinches and I realize—too late—it wasn’t the question that mattered but the silence behind it.

And still: they come back next week. They sit down. They open laptops and notebooks and half-listen with the kind of distracted attention that is still, somehow, real.

AI will never know how to read that kind of listening.

In my classroom, there is always a delay. Between question and answer. Between what we meant to say and what came out instead. That space—the stutter, the pause, the gesture—is where the actual teaching happens. Not in the bullet points or in the Google Doc comments, but in the moment someone says, “I don’t know if this makes sense, but—” and suddenly it does.

A chatbot can generate lecture slides with more efficient scaffolding than I ever will. A bot can sort discussion board posts by keyword or sentiment. But bots will never notice the shift in someone’s voice when they say “home” versus when they say “mother.” It will never register the second eye-roll, the one meant not for disdain but for solidarity. It will never mishear “Homeric” as “homely” and accidentally create an entire week’s worth of discussion about what makes a hero.

AI cannot mishear. And mishearing is often how we learn.

Once, a student wrote a sentence so strange I wrote “What do you mean?” in the margin. The next week, she came to office hours. She told me the sentence wasn’t wrong—it was something her grandmother used to say. She translated it back into English the way she thought it should sound. It made perfect sense once she explained. But only after she explained.

No computer code creates that kind of knowing. No input-output sequence replaces embarrassment with insight. The error enabled the way in. The misunderstanding made the meaning.

This semester, a student told me they hadn’t spoken aloud in a classroom since before the pandemic. They hadn’t heard their own voice—aloud, in the classroom—for years. And when they did, the whole room shifted. You could feel it. You can always feel it. Even the overhead light seemed to dim a little, and the guy in the third row finally stopped clicking his pen. Everyone leaned in, to bear witness.

There’s no A/B test for that. No metric. No archive of comparable outputs. There’s just a small, trembling voice returning to itself after years in the dark.

Sometimes we read the same poems over and over. Bishop. Clifton. Olds. Sometimes I assign the same essay prompts because I don’t know what else to say. Sometimes I cry while reading student drafts—quietly, when they’re not looking. Sometimes I lie and say “that was a good question” when it wasn’t. And sometimes I say “that was a terrible question” and everyone laughs, including the person who asked it because they know I’m mostly joking. We laugh and something shifts and it becomes a good class even though nothing we planned worked. We didn’t even get through the reading.

But the reading isn’t the point. The point is that they’ll remember the class when someone finally said the thing. Or almost said it. Or didn’t. The not-saying is important too. It teaches us how to stay.

My syllabus is a mess of half-remembered intentions. I re-use icebreakers that I know don’t work. I forget to grade the first assignment until Week Four. I write emails that begin with “So sorry for the delay!” and I mean it. I use “This reminded me of something I once read—” as a stall tactic. I say “I don’t know” more times than I should. I also say “I love that” when I don’t. Because I want to encourage them. Because I do love that they showed up. Because showing up is a miracle.

No bot knows the miracle of showing up hungover and sad and still asking, “Can I turn this in late?” That is humanity. That is literature. That is the classroom. They don’t know what they’re doing here, and they come anyway.

At the beginning of every semester, I tell my students not to call me “Professor.” I say, “Just Sean is fine.” Then I ask them about breakfast. About what a perfect day looks like. And someone always says, “Not being here,” and someone else says, “No homework,” and I laugh, but I write it down on the board. Not because it’s clever. But because it’s true.

And then we begin.

I will never compete with AI in word count or response time. But I will keep saying, “Tell me more about that…” I will keep asking, “Who are you reading outside this class?” I will keep noticing how the girl in the back always looks up when I mention whales or rivers or grief. I will keep waiting for the moment someone finally turns off their spell-check and writes a sentence that shocks even them.

What A.I. can’t do is feel the shape of silence after someone says something so honest we forget we’re here to learn. What it can’t do is pause mid-sentence because it remembered the smell of its father’s old chair. What it can’t do is sit in a room full of people who are trying—and failing—to make sense of something that maybe can’t be made sense of.

That’s the job of teaching.

It’s not about knowing. It’s about being present. About staying long enough to know what to ask. About saying: “I think I know what you mean,” even if we’re wrong. Especially if we’re wrong.

And so: I forget my lanyard. I forget what page we’re on. I forget the password to the projector. But I remember the look in someone’s eyes when they finally say what they’ve been trying to write for weeks. And I remember the first student who asked if they could write about their dead dog, and the one who asked if they could write about the pills. And the one who said, “This class is the only reason I come to campus.”

I remember the human parts.

And the human error is the point."

[via:
https://kottke.org/25/10/0047684-this-is-a-lovely

"This is a lovely & thoughtful essay on the messiness of teaching and learning, an alchemy endangered by efficiency & automation."]]]></description>
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</item>
<item rdf:about="https://www.youtube.com/watch?v=r73s-YMcNTI">
    <title>Ursula Le Guin's Anarchist Alternative - YouTube</title>
    <dc:date>2025-10-02T16:10:20+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=r73s-YMcNTI</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["In this Conversation on Anarres, we celebrate the 50th anniversary of the publication of Ursula K. Le Guin's classic novel, The Dispossessed. We talk with Dr. Alexis Shotwell who is working to spell out Le Guin's anarchist philosophy. Shotwell speculates as to the features of "Odoian anarchism"--what values it expresses and how it is related to other classical anarchist thinkers such as Emma Goldman and Peter Kropotkin-- and she envisions what lessons it might have for our political organizing today."]]></description>
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</item>
<item rdf:about="https://jasmi.news/p/from-counterculture-to-cyberculture">
    <title>from counterculture to cyberculture (ft. fred turner)</title>
    <dc:date>2025-09-26T01:36:21+00:00</dc:date>
    <link>https://jasmi.news/p/from-counterculture-to-cyberculture</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Stewart Brand, accelerationism, dating apps"

[on YouTube:
https://www.youtube.com/watch?v=6TNg34K85-8

"Today's guest is Fred Turner, a Professor of Communication at Stanford and probably the best historian of Silicon Valley culture over the past 100 years
.
His book, From Counterculture to Cyberculture: Stewart Brand, the Whole Earth Network, and the Rise of Digital Utopianism, is my favorite book on Silicon Valley's history, focusing on how hippies and hackers came together from the 60s to the 90s.

Fred is also one of the warmest, most enthusiastic storytellers I know—the kind of history teacher everyone wishes they had. You’ll leave this listen with a bunch of fun facts about the Whole Earth Catalog, Burning Man, and the Italian futurists; but more importantly, a deep appreciation for what humans and the humanities can offer.

01:00 The two types of Bay Area hippies
10:59 Military tech since the Vietnam War 
22:59 Disembodiment and dating apps
45:30 Zuckerberg, Chappell Roan, and the free market
1:02:50 Accelerationism from Mussolini to now
1:30:03 Teaching the humanities in 2025"]]]></description>
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<item rdf:about="https://www.afterbabel.com/p/reclaiming-conversation-age-of-ai">
    <title>Reclaiming Conversation in the Age of AI - by Sherry Turkle</title>
    <dc:date>2025-08-29T19:49:37+00:00</dc:date>
    <link>https://www.afterbabel.com/p/reclaiming-conversation-age-of-ai</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Sherry Turkle on AI, empathy, and the fight for human connection"

...

"In June 2024, I was invited to speak about my research on the human effects of generative AI at my Harvard/Radcliffe College reunion. Just a few days before, OpenAI had released ChatGPT4-o, a conversational program that speaks out loud and has this beguiling feature: its voice suggests emotion, catching in a manner that sounds like concern or interest. It pauses for emphasis. This chatbot and its many cousins are designed to act as mentors, best friends, even lovers. They offer what I’ve called artificial intimacy, our new AI.

I begin my presentation with a demonstration of Chat to my undergraduate classmates. Most have never seen it before. I hold up my phone and tell the program that I’m at my college reunion and that it’s emotionally difficult. Many classmates have lost partners or are themselves struggling with illness. We have lost seventy-one members of our class since our last reunion five years ago. I’m stressed. I couldn’t sleep the night before. Can Chat help? A resonant male voice comes out of my smartphone: “Sherry, that is very hard. Be sure you are taking care of yourself. You are under a lot of stress.” Even I, who had been talking to Chat over the past several days and thought I had steeled myself against its charms, am taken aback. It’s just too good.

I spend the rest of my talk making my pitch that chatbots cannot know us, cannot hear us. But in the days that follow, my classmates don’t engage with my concerns on the ethical issues posed by generative AI. They ask me to help them put ChatGPT4-o on their phones. Rather than a psychologist warning about the effects of pretend empathy, I am most useful as their IT support.

I wrote Reclaiming Conversation after a decade of studying what I call “relational artifacts,” computational objects that declare their caring intentions. I began with studies of Tamagotchis, digital creatures in tiny plastic eggs that ask to be tended to—to be fed and amused, to have their digital poop cleaned up. I graduated from Tamagotchis to Furbies, My Real Babies, Aibos, and finally Paros, social robots shaped like baby seals that are designed to be companions for the elderly. When people are drawn into the most primitive exchanges with a sociable object—avatar, robot, or chatbot—they believe it cares for them. And we are wired to care for it in return. My work with relational artifacts left me with this: We nurture what we love, but we love what we nurture. We love what we allow ourselves to relate to. It’s important to remember that this love is unrequited.

I was a young faculty member at MIT in the late 1970s when the psychoanalyst Erik Erikson visited to talk about engineering education. After his presentation, he asked me what I was doing as a humanist at an engineering school. I told him I was studying how computers change people’s ideas about themselves, and he made this comment: “Engineers, they’re not convinced that people have an interior. It’s not necessary for their purposes.” They see the complexity of inner life not as a feature but as a bug.

All that uncertainty, friction, ambivalence, pushback, all that drama. Who needs it?

Turns out, we need it.

When you reach out to make common cause with another person, accepting all the ways they are different from you, you increase your capacity for human understanding. That feeling of “friction” in human exchange is a good thing—it comes from bringing our whole selves to the encounter. When we communicate on screens, we distance ourselves from one another. We lose the ability to put ourselves in the place of others and negotiate differences. Intimacy and empathy are compromised, and civil society suffers as well.

This book is animated by my alarm about a flight from conversation—a retreat to social media and texting. But why would we do this to ourselves? Why would this seem so attractive? My fieldwork in homes, workplaces, classrooms, and schools demonstrates that what people most want is to avoid the “stress” of face-to-face interaction. To flee vulnerability, people in the 2010s mostly turned from talk to text. Today, in the flush of generative AI, we opt for even less risk and talk directly to machines. The urgency to reclaim conversation is even greater in the face of this seductive new threat.

It’s fall 2023, and I am talking about ChatGPT with Eric Schmidt, former CEO and chair of Google and now chair of the National Security Commission on Artificial Intelligence. The conversation turns to using chatbots as psychotherapists. Surely, I argue, this seems an area where a machine would have no standing. Schmidt disagrees. Information trumps experience. He insists that a chatbot will have every paper on anxiety at its disposal; it will know everything that all the greatest therapists have ever said about depression. In the future, he expands, there will be little need for person-to-person conversation. How could the accumulated knowledge of billions not be superior to the knowledge of one? The AI composite will always be better than any individual person. I found this viewpoint stunning.

In Erikson’s terms, are we all engineers now? Chatbots know how to deliver pleasing conversations, but they work, in fact, by predicting the appropriate next words in a sentence. All they can deliver is a performance of empathy. Pretend empathy. When you tell your troubles to a machine, it has no stake in the conversation. It can’t feel pain. It has no life in which you play a part. It takes no risk; it has no commitment. When you turn away from an exchange, the chatbot doesn’t care if you cook dinner or commit suicide. Without a body or a human life cycle, it has no standing to talk about loss, love, passion, or joy.

The idea that individual people, with their specificity and history, are less than an AI composite is a central dogma of generative AI. It’s the embodiment of Erikson’s warning. It does more than make human conversation transactional; it declares a lack of interest in what lies beneath.

It’s a new form of behaviorism that devalues the richness and complexity of the human.

Conversation is about more than information. In conversation, we reveal ourselves to each other in our conflicts, contradictions, and fears. There, we nurture our capacity for empathy by connecting to other humans who have experienced the attachments and losses of human life. What was a flight from conversation becomes the death of conversation itself.

These days, social media’s problems are in the news. It’s addictive and divisive, and it undermines the emotional growth of children. But just as we contemplate the first steps away from Facebook, TikTok, and Instagram, we fall in love with generative AI chatbots. Social media was our gateway drug to conversations with machines. And now, we live as addicts poised to substitute one drug for another, using chatbot “relationships’’ where we once used social media. Our criticism of technology lags behind its seductive power.

It’s an old story, actually—one where technology creates a problem and then offers a new technology as its solution. Silicon Valley began with the fairy dust of 1960s dreams sprinkled on it. The revolution had failed, but engineers and computer scientists claimed they would carry that dream into the early personal computer industry. Apple was countercultural, Google would do no evil, and Facebook would connect the world into a peaceful network of friends.

But all of this was an illusion. When I first encountered social media, which replaced friendship with friending, I saw us in the cold, hard center of a perfect storm. We came to expect more from technology and less from each other. And now, with the intimate machines of generative AI, we are so much further along this path of being satisfied with less.

Silicon Valley is there to make money—by keeping people at their screens. Now the industry has a new claim: the conversations of artificial intimacy will finally “cure” loneliness by offering more gratifying and supportive conversations than people ever could.

At our new point of inflection, we should see ourselves not as victims but as empowered consumers. If we don’t want to talk to machines, we must learn to avoid the hype.

In the wave of enthusiasm about generative AI, there has been renewed talk of technological determinism and “inevitable” next steps to integrate algorithms into our intimate lives. But nothing is inevitable— conversation is something we can forget, but also something we can remember. We can come back to each other and to ourselves.

I argued for this assertion of agency in 2015, and now I argue ever more fervently. There is more than a threat to empathy at stake; there is a threat to our sense of what it means to be human. The performance of pretend emotion does not make machines more human. But it challenges what we think makes people special. Our human identity is something we need to reclaim for ourselves.

That means making face-to-face conversation a priority because it is truly the most human and humanizing thing we do. It’s what has always allowed us to have common cause with other people. This preface is not only a warning against a new assault on conversation; it’s a reminder that our old tool works.

The philosopher Emmanuel Levinas wrote about the power of our embodied presence. The human face initiates an ethical compact. It signals the presence of a self that can recognize another. It calls us to compassion, to deep knowing. When we are present to each other in conversation, our mirror neurons cause our facial muscles to be in tune with those of our interlocutor. We experience the emotion of conversation from within our bodies. When I talk to engineers and computer scientists about this, as an argument for why chatbots should “stay in their lane,” my colleagues get my point but usually follow up with a shrug. They have already defined conversation as a transfer of information. They admit there is more, but it is, at least for the moment, superfluous. Superfluous because it cannot be implemented on a machine. When we make chatbots into our friends, we take up residency in that world where human relations are seen through the prism of what machines can do.

Chatbots, we are told, can now provide health, relationship, and financial advice. They can also create business plans and write love letters. But the conversations we need most are the ones that encourage human thriving. When you write a love letter, you want it to be effective (you want the recipient to love you back), but it is also an opportunity for self-summoning, a chance to reflect on one’s deepest feelings. Editing a love letter composed by an AI is another thing altogether. We alienate ourselves, needlessly, from ourselves.

So, reclaiming our sense of the human means increasing our respect for our own capacity for intimacy and introspection. It also means a new respect for the importance of conversations in multiple communities. It means dinner with our families and friends and the social life of parks, libraries, and teen centers. It means less time on social media. It means respecting sacred spaces where you don’t bring your phone: the kitchen, the dining room, the bedroom, the car, and the classroom.

I continue to believe in human resilience and resistance—and in our capacity to turn to conversation. When faced with worsening conditions, it’s time to double down on what we think will help.

Here is where I hope you, reader, will double down: take this moment to question our common practice of using the “marvels” of machine behavior to redefine human capacities that are as old as life. When Alan Turing defined artificial intelligence as the successful performance of human intelligence, he left out so much of what we rely on when we meet human intelligence. Human intelligence takes the social world into account. It is situated in the life of the body. Intelligent people relate to one another on a playing field of shared social experience. Nevertheless, the Turing behavioral definition of intelligence—a machine that fools you into thinking it is a person—became a gold standard. It was concrete and measurable.

Now that chatbots might be said to pass the Turing test, we pay the price for years of nodding our assent to its narrow behaviorism. And if we say that generative AI chatbots are empathic, our thinking about empathy is similarly downgraded. Empathy is putting yourself in someone’s place, caring you are there, and committing to stay the course. You have a stake in helping your neighbor make things better. You can’t get bored or turn away. Empathy enlarges those who offer it and binds them to others. It makes people feel part of something larger than themselves.

While the discourse around generative AI is hyperbolic (We’re leaving for the metaverse! AI will bring the end of human relevancy!), the language of reclaiming empathy and conversation is granular, humble, and concerned with the day-to-day. The family table. The garden club. These simple settings bring me back to where this book begins—with Thoreau’s image of chairs as spaces for conversation. The chairs connote the places—in the home and the public square—where individuals can find their inner voices and communities can gather. The chairs call us to places where we don’t consider our thoughts and feelings as commodities.

To me, the arguments in this book are more poignant because the pandemic stands between today and when I wrote them. Not surprisingly, it was in that time of isolation that a first generation of chatbots was proposed as a cure for loneliness. I tried them all but became ever more skeptical of the chair that machines can pull up to the conversation. When I cultivated solitude, I could hear my own voice. Chatbots led me to the pretend desires of beings that did not exist.

During the COVID years, we had all the time in the world to communicate through machines and to be alone with our machines, but more than anything, we missed each other and how we find ourselves in the presence of one another.

Can we summon ourselves to reclaim that longing and respect for the complexities of our communities and our inner lives? Right now, the culture may be smitten with the idea of pretend conversation with chatbots, but there is another choice: to turn our cultural resources to remaking the spaces in which the real thing can happen."]]></description>
<dc:subject>sherryturkle ai artificialintelligence empathy human humanism neilpostman jonathanjait chatgpt openai erikerikson ericschmidt google conversation information conflict conflicts contradiction fear socialmedia news addiction division divisiveness siliconvalley apple facebook meta technology technologicaldeterminsm emmanuellevinas presence embodiment chatbots relationships intimacy introspcetion resilience resistance pandemic covid-19 coronavirus complexity community behaviorism generativeai genai</dc:subject>
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</item>
<item rdf:about="https://www.theatlantic.com/family/archive/2025/06/landline-kids-smartphone-alternative/683203/">
    <title>Get Your Kid a Landline - The Atlantic</title>
    <dc:date>2025-08-29T05:41:50+00:00</dc:date>
    <link>https://www.theatlantic.com/family/archive/2025/06/landline-kids-smartphone-alternative/683203/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Landlines encourage connection—without the downsides of smartphones."

[Archived:
https://archive.ph/5mzPt

Seems like a missed opportunity not to link to these two previous articles in The Atlantic:

"Why the Landline Telephone Was the Perfect Tool: Rogue philosopher Ivan Illich's ideas and what they mean for the Internet age" by Suzanne Fischer (2012)
https://www.theatlantic.com/technology/archive/2012/04/why-the-landline-telephone-was-the-perfect-tool/255930/
https://archive.ph/G80Q7

"Only Telephones Are Good: In Iowa and everywhere else" by Robinson Meyer (2020)
https://www.theatlantic.com/technology/archive/2020/02/phones-are-best-technology/606082/
https://archive.ph/ktybo ]]]></description>
<dc:subject>telephones phones conviviality convivialtools 2025 rheanamurray smarthphone connection children landlines ivanillich communication suzannefischer robinsonmeyer toolsforconviviality technology conversation presence</dc:subject>
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</item>
<item rdf:about="https://helentoner.substack.com/p/personalized-ai-social-media-playbook">
    <title>Personalized AI is rerunning the worst part of social media's playbook</title>
    <dc:date>2025-08-22T17:51:13+00:00</dc:date>
    <link>https://helentoner.substack.com/p/personalized-ai-social-media-playbook</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The incentives, risks, and complications of AI that knows you"

[See also:

"It’s (Getting) Personal: How Advanced AI Systems Are Personalized"
https://cdt.org/insights/its-getting-personal-how-advanced-ai-systems-are-personalized/ ]]]></description>
<dc:subject>mirandabogen 2025 ai artificialintelligence socialmedia filterbubbles openai google chatgpt algorithms online internet web policy behavior profiling personalization prediciton incentives memory conversation xai grok twitter discrimination deception persuastion complexity safety governance</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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<item rdf:about="https://www.youtube.com/watch?v=QKubRtKguv4">
    <title>Vijay Iyer’s art of listening | Amplify with Lara Downes - YouTube</title>
    <dc:date>2025-05-28T14:12:08+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=QKubRtKguv4</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Lara Downes | May 28, 2025

Vijay Iyer’s mind is a little bit terrifying. A MacArthur-certified “genius,” he earned degrees in mathematics and physics from Yale and Berkeley before committing to a career as a pianist and composer. His STEM background profoundly informs his music-making, from using the sequence of Fibonacci numbers to structure his work, to applying theories of embodied and situated cognition in his study of the music of the African diaspora. The New York Times has called Iyer a "social conscience, multimedia collaborator, system builder, rhapsodist, historical thinker and multicultural gateway."

But when I sat down with Vijay for this conversation at the Big Ears Festival in Knoxville, Tenn., (where we each performed during a weekend of music representing a breathtaking array of traditions and aesthetics), I wasn’t really focused on the intimidating power of his remarkable mind. Instead, I was acutely aware of the heart and soul in music — its capacity to create understanding and communication. At Big Ears, you can make your way from a traditional bluegrass set to an Indian jalatharangam performance, traversing continents, cultures and centuries as you cross the street between two venues.

So Vijay and I talked about listening. The alertness of listening in the creative states of improvising, composing and collaborating with other musicians. The importance of listening to your history and lineage, and the agility of listening to the present tense of the world around you. The ability to listen across borders of geography and language, affirming the humanity and empathy that comes with it. In the end, it was Vijay who brought up an emotion that’s the antithesis of anything cerebral. “It feels like family,” he said. “To really hear everything that's happening in the music and also hear what a person is saying and hear what they have to offer as a human being. It's really this deep love that is at the heart of it.”"]]></description>
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    <title>Improve your life by embracing everyday, even mundane, conversations? Research says yes. | University of California</title>
    <dc:date>2025-04-04T04:43:28+00:00</dc:date>
    <link>https://www.universityofcalifornia.edu/news/improve-your-life-embracing-everyday-even-mundane-conversations-research-says-yes</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>conversation everyday shellyleachman 2025 interactions communication andymerolla social sociality jeffreyhall variability relationships</dc:subject>
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<item rdf:about="https://www.christiancentury.org/voices/praise-unruly-children-church">
    <title>In praise of unruly children in church | The Christian Century</title>
    <dc:date>2025-04-02T22:18:56+00:00</dc:date>
    <link>https://www.christiancentury.org/voices/praise-unruly-children-church</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Sometimes they’re the only sign of life amid our solemn boringness.
by Phil Christman in the April 2025 issue

Churchgoing is, except for all the other parts, the part of being a Christian that I am worst at. I go, but I don’t like it as much as you’re supposed to. I didn’t like it as a kid, when it involved company that I had not selected for myself and a lot of bad music, and I only like it somewhat better as an adult, when it involves company I have selected and, for the most part, better music. No doubt this is my fault—laziness intensified by ADHD or some other as yet ill-understood cluster of symptoms, but still my fault, one so characteristic that without it I would have trouble recognizing myself.

Except for the handful of years when I have been blessed with truly exceptional priests, people I enjoyed listening to and counted as friends, I would almost always rather read theology and take a walk in the woods. Whatever “religious emotions” are, if I have them at all, those are the circumstances in which I’m likeliest to have them.

No doubt I will outgrow my lack of appreciation for church as such, in this world or the next. Nevertheless, my indisposition has given me—as indispositions sometimes do—a unique vantage point, one that allows me to see particular truths with special clarity while blocking out others of equal pertinence. Here is one of those truths: Unruly children are a gift from God. Kids who can’t behave in church are a sign that God has not yet abandoned us.

Why are misbehaving children such an important part of church to me—so much so that I instinctively shy away from congregations where the kids are too quiet? I’m sure that it’s partly just identification. Sometimes the people who struggle the most with Christianity in their youth, who resist it as a young child runs from a hairbrush, are the ones who find that they can’t abandon that struggle, and such was my case. I was forever being shushed, or reproved, or made to sit in the corner during church school. Sometimes I got in fights with other kids, and I’d get kicked out, made to await punishment in some office while someone alerted my parents to yet another of my failures to behave. So when some kid kicks the pew I’m sitting in, I think, Dude, I get where you’re coming from. Game recognizes game.

I think it runs deeper than this, though. The most obvious fact about children is that they aren’t used to any of this stuff, this being alive. They still get how weird it all is; they haven’t been hypnotized by repetition yet. Babies’ faces, which sort of glimmer between expressions without settling on one, are as close as the human face gets to reflecting the prism of being. Older children have moved past this stage, but we see some of that same discomposed quality in their reaction to church, with its weird rituals—low church or high church, it’s all ritual, and it’s all weird—and its insane claims.

In a sufficiently torpid service—one in which the leaders are running on sheer willpower, as I often am simply in showing up—the ill-behaved kids can be the only sign of life. They are God’s simultaneous recognition of and dissent from our solemn boringness. We intone our prosy liturgical responses, from which the poetry and beauty have often been edited out for the sake of “accessibility” or “relevance,” and God pulls a face. We warble our way through that hymn that sounds like a rip-off of the big number from Les Misérables, and the Holy Spirit blows a raspberry. The liturgy isn’t a dispensable part of this process; we create a structure so that the children can blow it up. You build the altar here so the fire can come down over there, as Charles Williams once said.

Parents whose babies cry too loud, overwhelmed caregivers whose charges can’t stop whispering or squirming or making faces, are the bearers of an uplifting message—although I understand why they can’t, in the moment, feel as though this is true. Not when the diaper already smells full, or when churchgoers more officious than I am are turning to shush the toddler or smile passive-aggressively at the adults. Not when the parents have to worry that other congregants will mutter about their parenting, or say something vaguely racist about “cultural differences in childrearing,” or the other nonsense parents are subjected to at church. Mary and Joseph probably felt pretty stressed out most of the time, too. Carrying the embodied Word is a lousy job; it’s easier to just flap your jaw for a living, as I do. The rest of us should show these beleaguered accompanying grown-ups a little respect. Yes, even that one lady—the one you’re thinking of as the exception to my argument.

Several years and several churches ago, something happened that cinched this point for me. Our church had done a canvass of the working-class neighborhood in which it was situated, and a large group of unattended kids, with their (overwhelmed and overworked) parents’ permission, had started attending. (We may have bribed the children a bit with coloring books and bowls of cereal.) The little knot of people who I sat with ended up being the default babysitters for this group of kids, whose ages ranged from four to 11.

One week, as our rector repeated, for the umpteenth time, the words that accompany the Eucharist, when she got to “He died,” a four-year-old face turned to me, full of shock and horror, and said: “He what?!”

It’s one of the only times I’ve seen someone begin to register what we do and say in church, in all its world-overturning beauty and terror, while sitting in church. It’s more appropriate than anything I’ve ever said in that setting, and more fitting than the inadequate words of comfort that I offered this kid, which were something like, “Yes, he died. But then he came alive again, because he was God. It’s wild!” I was, in that instant, a dull, responsible adult, trying to shovel as much wholesome theological content into my words as I could. I was trying to be adequate to the moment, because that’s what inadequate people do.

She has probably forgotten me and whatever it was I said. But I hope she never forgets what she said. He died. He what?! He rose again. He what?! He loves us, he loves her, he loves me, he loves you.

He what?!"

[via:
https://social.ayjay.org/2025/04/02/phil-christman-in-a-sufficiently.html ]]]></description>
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    <title>Rilke and the art of listening as a way to shape the cosmos | Aeon Essays</title>
    <dc:date>2025-01-31T17:55:34+00:00</dc:date>
    <link>https://aeon.co/essays/rilke-and-the-art-of-listening-as-a-way-to-shape-the-cosmos</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["It is the dark matter of conversation, the white space around a poem. For Rilke, listening is receiving the divine"]]></description>
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<item rdf:about="https://www.youtube.com/watch?v=kTTqnrer48c">
    <title>La filosofía creativa de David Lynch - YouTube</title>
    <dc:date>2025-01-27T19:03:30+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=kTTqnrer48c</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["En este video casi me suelto a llorar mientras recuerdo todo lo que le he aprendido a David Lynch."
]]></description>
<dc:subject>teoríadelcaos 2025 davidlynch film filmmaking art writing howwewrite creativity intuition philosophy contradiction painting digital attention relationships love listening cafes conversation ideas renélópezvillamar</dc:subject>
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<item rdf:about="https://www.independent.co.uk/life-style/friendships-strain-adulthood-b2579942.html">
    <title>The rise of the ‘catch-up friend’ – and how the substance fell out of our friendships | The Independent</title>
    <dc:date>2025-01-13T02:20:37+00:00</dc:date>
    <link>https://www.independent.co.uk/life-style/friendships-strain-adulthood-b2579942.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Adulthood has made the spontaneous drop-in or the long conversation with a friend practically impossible, writes Anya Meyerowitz, who has found that get-togethers now resemble a rundown of recent life developments rather than a space for valuable conversation. Can small changes make it any different?"]]></description>
<dc:subject>anyameyerowitz friendship time life living conversation 2024 social</dc:subject>
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<item rdf:about="https://humancarbohydrate.substack.com/p/94-practical-and-emotional-human">
    <title>94 practical and emotional human experience optimising recommendations for 2025</title>
    <dc:date>2025-01-01T23:37:28+00:00</dc:date>
    <link>https://humancarbohydrate.substack.com/p/94-practical-and-emotional-human</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["I know you all want to be told what to do

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

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

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

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

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

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

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

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

7. All villains are redeemable. Even you.

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

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

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

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

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

a. What were you like in high school?

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

25. Never network. Make new friends.

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

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

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

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

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

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

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

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

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

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

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

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

[image]

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

69. The cure to hate is curiosity.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

88. Buy professional shampoo and conditioner.

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

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

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

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

[image]

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

94. Finally, someone in my feedback link said I am obsessed with status (brother, you are telling me?), but I have found status to be a poor motivator for any habit that sticks. If the 12 years of adulthood have taught me anything about self-improvement and discipline is that the only effective motivation to do anything is to take care of others. Get fit, make money, and amass clout and social influence, all in the hope that if you find yourself driving down the highway, you won’t speed past the wounded dog. Everything else falls off the wagon."]]></description>
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    <title>Sara Hendren</title>
    <dc:date>2024-10-24T16:18:57+00:00</dc:date>
    <link>https://ablerism.micro.blog/2024/10/23/the-last-two.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The last two weeks of class held field trips, and today, after a proper synthesizing seminar discussion, students said to me: thank goodness we’re back together to talk about all we’ve read and done! They like field trips, they said, but they crave conversation. My heart, she bursts."]]></description>
<dc:subject>conversation schools teaching fieldtrips classroom 2024 discussion sarahendren</dc:subject>
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    <title>Words for Conviviality</title>
    <dc:date>2024-09-21T20:18:46+00:00</dc:date>
    <link>https://currentpub.com/2024/09/19/words-for-conviviality/</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>jeffreybilbro 2024 coviviality words media technology ivanillich toolsforconviviality industrialization professionalization waelghonim internet web online misinformation renewal albertborgmann spotify twitter conversation relationships truth hermanmelville margaretfuller thoreau dialog engagement</dc:subject>
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    <title>Words for Conviviality: Media Technologies and Practices of Hope, by Jeffrey Bilbro (2024)</title>
    <dc:date>2024-09-16T19:32:34+00:00</dc:date>
    <link>https://jeffbilbro.com/books/words-for-conviviality/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Endorsements

“Words for Conviviality embodies a unique project: a cultural and technological history of a particular American era that is also a handbook to living more wisely in our digital age. Jeffrey Bilbro has written a wonderful, provocative, and illuminating book.”

~Alan Jacobs, The Jim and Sharon Harrod Endowed Chair of Christian Thought and Distinguished Professor of Humanities in the Honors Program, Baylor University

It is difficult to assess our media technologies–the dangers and delights of social media, technology, news outlets, and smartphones–while avoiding breathless alarmism on the one hand and starry-eyed techno-positivism on the other. It is yet harder to do this while offering a rich, hopeful way forward: one steeped in visions of attentive virtue and communal wholeness. Somehow, Jeffrey Bilbro achieves all this with his usual wit, wisdom, and grace. This is a beautiful and necessary book.

~Grace Olmstead, author of Uprooted: Recovering the Legacy of the Places We’ve Left Behind

Description

Radical innovations in communications technologies are transforming culture and disrupting journalism and publishing. Fierce partisan and geographic divides are fueling political realignment. Theological disputes are undermining the institutional church while spiritual energy is being redirected into new religious movements and cults.⁠ These statements describe our current situation, but they apply equally to 1850s America.

The industrialization of print technologies in the early nineteenth century transformed print culture in ways that parallel the transformation of reading wrought by the digital revolution. Understanding how a previous era was shaped—and in some ways warped—by the assumptions print technology engendered may enable us to recognize more clearly how our own verbal habits and practices are formed and deformed by our enmeshment in digital technologies. Perhaps the convivial reading practices that some antebellum authors imagined can guide us toward healthier ways of reading today.

On the eve of the Civil War, the printing press had become a subject of fierce dispute. Just a few generations earlier, during the excitement of the Revolutionary War and the drafting of the Constitution, printing was almost universally seen as a good, a technology that was the sine qua non of the American experiment. But by the late antebellum period, print’s products seemed a mixed bag: print circulated news and stories throughout the nation, and it inflamed partisan and regional differences; print diffused the Bible, and it reified sectarian divides; print spread scientific discoveries, and it lent legitimacy to quack medicine.

In The Confidence Man Herman Melville stages an exchange that encapsulates contemporary disputes about print technologies. Two con-men argue over which press, the printing press or the wine press, produces the true antidote to polarization and tyranny and ignorance. While Frank claims the printing press is an “iron Paul,” an “Advancer of Knowledge,” and a “Defender of the Faith,” Charlie considers it akin to an erratic Colt revolver and a mob boss like Jack Cade. To promote “conviviality” Charlie recommends the “cheery benediction of the bottle.” Charlie’s alcoholic conviviality is clearly flawed, but can the printing press foster authentic community and a healthy civil society?

Frank’s optimism about print had some warrant. In part, it was fueled by the general American faith in the progressive power of technology. More particularly, the American revolutionaries bequeathed a potent myth to subsequent generations about the power of print to unify the nation and diffuse republican virtue.⁠ The supreme authorities in the early republic were printed texts, and in the relative absence of authoritative institutions, print took on an outsized importance. But steam-powered printing technologies made texts cheaper and more abundant, and the printed word that had once unified the colonies became an atomizing force, one that served to fragment culture, church, and union.

Industrial printing technologies in the first half of the nineteenth century finally realized the promise of Gutenberg’s invention—texts were actually becoming reliable, standardized, and accessible—and yet the consequences of this realization were unexpectedly mixed—misinformation spread, discourse fragmented, and readers suffered from information overload.⁠ Today, we tend to think such problems are the result of the digital revolution, but antebellum Americans experienced them first.⁠ The printing press amplified charlatans, cult-leaders, and sensational stories more than it diffused republican virtue. Improving print technologies didn’t improve the signal-to-noise ratio; it amplified noise.⁠

Yet when powerful new verbal technologies come along, our only options are not either booster optimism or resigned pessimism. We have alternatives to seeing print—and now pixels—as either an iron Paul or a Colt’s revolver. And some of the most helpful guides in charting a path toward genuinely convivial modes of reading are the literary authors who lived through the antebellum industrialization of print. These authors experienced the powers and perils of the steam-powered printing press, and they sought to understand its effects through the most fundamental tool that language provides: metaphor. Evocative metaphors are a potent way to raise cultural awareness regarding the hidden affordances and subtle nudges that are latent within dominant communications technologies.

The argument of my book follows a pilgrimage with three stages. Each stage considers a set of metaphors that antebellum authors deployed to answer three underlying questions: What does industrial print tempt optimistic readers to imagine themselves as? What does it lead its victims to fear they will become? And what alternative metaphors might ground more convivial reading?

The metaphors of hope that I discuss in the third stage suggest that to wield textual technologies well, we need to develop cultural practices and institutions that strengthen our relationships with one another and our commitment to a common good. We need to be tied more deeply to others and to our places in order to respond to the atomizing pressures of print and pixel. Instead of developing new technologies to solve the problems that technologies have caused, these authors propose that we develop better readers—readers who are more attuned to the power of the textual technologies they use and better able to imagine and practice healthy, convivial forms of discourse. These authors obviously did not eschew industrialized print; they did not simply give up on the technologies of their day. Rather, they developed metaphors that might inspire us to beat textual swords—or Colt revolvers—into plowshares.

Table of Contents

Introduction: Trust, Watersheds, and America’s Industrial Print Culture

26 Theses on Textual Technologies

Section One: Utopia, or What does industrial print tempt optimistic readers to imagine themselves as?

1. Transparent Eyeballs (Emerson)
2. Men of Adamant (Hawthorne)
3. Encyclopedists and Map-Plotters (Melville)
4. Celebrities (Whitman)
5. Benevolent Bosses (Twain)

Section Two: Dystopia, or What does industrial print lead its victims to fear they will become?

6. Loose Fish (Melville)
7. Macadamized Minds (Thoreau)
8. Commodities (Dickinson)
9. Slaves (Douglass)

Section Three: Hope, or What alternative metaphors might orient more convivial reading?

10. Walkers (Thoreau)
11. Conversationalists (Fuller)
12. Friends (Hawthorne)
13. Cross-Bearers (Melville)"

[See also:
https://www.frontporchrepublic.com/2024/09/twenty-six-theses-on-textual-technologies/

via:
https://social.ayjay.org/2024/09/16/jeff-bilbros-new.html ]]]></description>
<dc:subject>jeffreybilbro conviviality technology technologies industrialization conversation communication writing reading howweread howwewrite print printingpress culture publishing text hermanmelville printing christianity</dc:subject>
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<item rdf:about="https://www.frontporchrepublic.com/2024/09/twenty-six-theses-on-textual-technologies/">
    <title>Twenty-Six Theses on Textual Technologies - Front Porch Republic</title>
    <dc:date>2024-09-16T19:26:59+00:00</dc:date>
    <link>https://www.frontporchrepublic.com/2024/09/twenty-six-theses-on-textual-technologies/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Presenting a set of theses for disputation is an old form, with Martin Luther’s “Disputation on the Power and Efficacy of Indulgences” being the most famous instance. As Luther’s title reminds us, these theses were printed to set the stage for a verbal disputation (though it appears that Luther’s ninety-five theses were never formally debated in Wittenberg). Similarly, the theses that follow are not summative declarations so much as provocations to thought and discussion. (For another example of this genre, see Alan Jacobs’s “Attending to Technology.”) As Francis Bacon notes, aphorisms, because they represent “only portions and as it were fragments of knowledge, invite others to contribute and add something in their turn; whereas methodical delivery, carrying the show of a total, makes men careless, as if they were already at the end.” So if these raise questions or stir fierce disagreement, my hope is that readers will have a keener appetite for the pilgrimage that follows.

These theses are by no means original to me, but rather than including references here, I will more fully acknowledge my sources in the subsequent pages. To make it easier for interested readers to trace these connections, I will refer back to these theses throughout the book (e.g., see thesis 22). Given the primary role the alphabet plays in all subsequent textual technologies, I thought it fitting to include the same number of theses as there are letters in the modern English alphabet. Finally, in keeping with a digital disputatious technology, these aphorisms are all fewer than 280 characters, the limit on tweets after 2017. While arranging theses for a disputation is an old genre, it is also a contemporary one.

1. Language is primarily a relational (rather than a representational) technology. Words articulate our relationships to God, other humans, our environment, and even ourselves.

2. Because meaning arises from relationships, metaphor and analogy are at the heart of language.

3. In the Christian tradition, Christ’s role as mediator and reconciler between God and Creation flows from his identity as the Word. The Word mediates. This mediating Word is the one who declares himself the Truth.

4. Beauty and truth and goodness name harmonious forms of relationships.

5. Truth is ultimately dramatic or symphonic, not propositional.

6. To know the truth is to be in tune with a complex, polyphonic reality. One might say that a “fact” is “true” if it helps us relate to the world in a more proper, harmonious, beautiful, healthy, or just manner.

7. Harmony is experienced more fully in artistic or poetic forms rather than in rational exposition. Metaphor, poetry, and narrative invite readers to participate in a harmonic order rather than to map it analytically.

8. The highest use of language is to serve friendship, and the kinds of conversations our textual technologies encourage will shape the kinds of friendship that are imaginable.

9. Cultures develop the technologies they desire, and the technologies a culture uses shape its desires. One might call this recursive causation.

10. Convivial technologies and practices cultivate friendships—they foster harmonious relationships among different members (including other humans, creatures, God, and the self).

11. The history of textual technologies in the West—the alphabet, punctuation, spaces between words, moveable type, digital pixels—is a history of atomization.

12. These textual technologies have caused words to migrate from an aural habitat to a visual one.

13. These textual technologies have also led readers to imagine ideas as objects that are extended in space. Like type and pixels, ideas become bits (or bytes) that can be manipulated and rearranged to form new meanings.

14. Print and pixels do have certain differences: Print renders ideas as solid—they feel graspable, reliable, fixed. Pixels render ideas as ephemeral—they appear from a distant cloud or web, and we surf them as they float away.

15. Both, however, contribute to a spatial view of language and reality that leads us to imagine reason as a faculty for the perception and manipulation of objects. However, the highest mode of reason is an imaginative participation in reality.

16. The atomization of language makes discrete bits of information appear increasingly interchangeable and manipulable.

17. Powerful textual technologies can spread ideas widely, but insofar as they render meaning atomized and fungible, they threaten the intelligibility of truth and beauty and goodness.

18. Atomization can free individuals from diseased bodies or communities, but the atomizing effects of print and pixel are like the toxins of chemotherapy—better than cancer, but not, in themselves, healthy.

19. The recombinations that atomization makes imaginable fragment old syntheses and lead to new forms of meaning.

20. The introduction of new textual technologies dissolves old communities and forms new ones (nations, denominations, political parties, factions, fandoms, interest groups).

21. As textual technologies mature, they diversify and fragment conversations they sustained in their youth.

22. The tension between the liberative power of atomization and meaning’s dependence on relationships defines the paradoxes inherent in the disparate effects of textual technologies.

23. There is always an analogy between our dominant way of imagining words and our dominant metaphors for the mind and the self.

24. If words are imagined spatially, the human self becomes a bounded container with manipulable contents, and other selves appear to be objects, commodities, or avatars (“Its” rather than “Thous”).

25. The Enlightenment subject, the buffered self, is a creature of print. The postmodern subject, the anxious, lonely, identity-morphing self, is a creature of pixels.

26. In an atomized world inhabited by commodified subjects, convivial friendship—loving, intimate participation in the life of other creatures, humans, and God—is deeply longed for, yet elusive."

[See also:
https://jeffbilbro.com/books/words-for-conviviality/

via:
https://social.ayjay.org/2024/09/16/jeff-bilbros-new.html ]]]></description>
<dc:subject>jeffreybilbro language technology text words conviviality theses multiliteracies christianity friendship turth beauty goodness meaning meaningmaking abstraction community presence conversation mediaecology media digital print multispecies morethanhuman relationships technologies industrialization communication writing reading howweread howwewrite printingpress culture publishing printing</dc:subject>
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<item rdf:about="https://kottke.org/24/08/third-things-can-make-communication-easier">
    <title>“Third Things” Can Make Communication Easier</title>
    <dc:date>2024-09-04T06:31:59+00:00</dc:date>
    <link>https://kottke.org/24/08/third-things-can-make-communication-easier</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["I ran across an interesting term/concept in Miranda July’s All Fours: third things. A character in the book attributes it to “the Quakers” and describes it like so:

<blockquote>It’s a topic of conversation that doesn’t belong to either party. The soul, usually so shy, can speak more easily through this Third Thing, at a slant.</blockquote>

It’s unclear if Quaker author Parker J. Palmer coined this term, but his 2004 book A Hidden Wholeness popularized the concept of third things. From The joy of third things:

<blockquote>In his book A Hidden Wholeness: The Journey Toward an Undivided Life, Quaker writer Parker J. Palmer talks about “third things,” how people can make emotional connections while talking about something they’re experiencing together. This can happen when people attend a concert or play, view a painting or even watch a baseball game.

Palmer believes that the soul is shy and that asking another person to immediately share something very vulnerable can scare them off. Connecting while engaged in third things is a gentler way to communicate.

Many people have fond memories of special conversations that transpired while they were doing the dishes with a parent or going fishing with a friend. This third thing they do together makes it easy and comfortable for them to converse more deeply, often without even making eye contact.</blockquote>

Many of the best conversations I have with my kids are facilitated by third things: watching a movie, playing video games, kicking a soccer ball around, playing mini golf, or running errands in the car. Conversation is no different that any other activity (like, say, shooting free throws or dancing): it’s much easier and open when you’re not actually thinking too hard about it."]]></description>
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<item rdf:about="https://www.youtube.com/watch?v=Eg9rqkqGGKM">
    <title>AI SuperCut of Big Questions about life, death, love, work, and the future of humanity - YouTube</title>
    <dc:date>2024-08-29T20:34:10+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=Eg9rqkqGGKM</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["created this as a conversation starter for my Introduction to Cultural Anthropology class

The Art of Being Human https://amzn.to/2vDOPUo 
Free Anthropology Course: http://anth101.com 
Social Media: @mwesch"]]></description>
<dc:subject>michaelwesch 2024 ai artificialintelligence life death love work humanity technology alexa sciencefiction scifi generalintelligence agi dystopia intelligence negativeexternalities externalities unknowns avs climatechange driverlesscars globalwarming labor society economics civilization socialstructure kinship superstructure infrastructure environment demographics power powerrelations politics policy change consequences law legal finance medicine cance diseases skills humans humanism anthropology bard ibm automation automationanxiety computers computing productivity wellbeing standardofliving robots capitalism latecapitalism socialsafetynet ethics ubi universalbasicincome wealthinequality inequality manufacturing thomaspaine mlk miltonfriedman andrewyang purpose meaning meaningmaking careers significance unemployment living experience humanexperience philosophy socialsciences relationships socialscience knowledge knowledgeproduction humanities machines machinelearning intimacy emotionalsupport friendship fulfi</dc:subject>
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<item rdf:about="https://theconvivialsociety.substack.com/p/embracing-sub-optimal-relationships">
    <title>Embracing Sub-Optimal Relationships - by L. M. Sacasas</title>
    <dc:date>2024-08-05T22:05:22+00:00</dc:date>
    <link>https://theconvivialsociety.substack.com/p/embracing-sub-optimal-relationships</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["By many measures, it would seem that we are not okay, and, more specifically, that the kids are not, in fact, alright.1 These measures include rates of isolation, loneliness, unhappiness, self-harm, burnout, anxiety, depression, etc. I am not a social scientist, but, as best as I can judge, the findings are well-attested, and they are certainly corroborated by my own limited window on world. You may have other measures worth considering, or simply your personal experience to go on. There is, after all, much more to our uneasiness than what the official metrics capture.

While there appears to be a consensus about the validity of the situation indexed by these measures, there is less agreement about the causes. I suspect there are many relevant factors rather than one singular cause, although not all factors are equally significant. What follows, then, is just one perspective on our situation that revolves around a single fundamental observation: we are starved for personal relationships but we are simultaneously discouraged from nurturing them, de-skilled in the relevant habits, and sold inadequate substitutes in their place.2

The slightly longer version of that claim goes something like this: It is good to be able to relate to the world in a manner that evokes and engages the various dimensions of our human personhood—embodied, imaginative, intellectual, emotional, moral, spiritual, etc.—particularly in relationship with others. But our techno-economic environment generates an experience of the world that is hostile to this ideal. It operates at a pace, scale, and intensity that undermines our capacity to relate to the world with the fulness of our presence, thought, and care. If affection is kindled by time and attention, the default settings of our techno-economic order undermine our capacity to give either. We are instead encouraged to live as machines rather than creatures, optimizing for all the wrong metrics.3

And these same techno-economic structures instill in us a manufactured neediness so that we might be all the more beholden to the goods and services marketed with the promise of alleviating our plight and addressing the very neediness they cultivate. Social robots, AI assistants, VR, generative AI—each of these, as they are often marketed, can be usefully analyzed from this perspective. They are the system’s answers to the problems the system created and they serve the system not the person.

In his most recent post, “Companionship without companions,” [https://robhorning.substack.com/p/companionship-without-companions ] Rob Horning addresses a similar set of concerns regarding chatbots. “Many anticipated AI applications,” Horning observes, “seem predicated on the idea that our experience of the world should require less thought and have better interfaces, that we want to consume the shape and form of conversation, consume simulations of speaking and listening without having to risk direct engagement with other people.”

Back in February of 2023, I put it [https://x.com/LMSacasas/status/1623333037340602370 ] this way: “I’m stuck on the incongruity of populating the world with non-human agents and interfaces that will mediate human experience in an age of mounting loneliness and isolation.” But, of course, the incongruity is only apparent. Considered from a slightly more cynical perspective, we can see that there is a certain unfortunate logic at work: manufactured neediness prepares the ground for new commodities. The goal is not to alleviate loneliness or isolation by fostering vernacular human relationships, which, of course, cannot be readily monetized, but to insinuate, pejoratively, that such relationships are inefficient and full of friction. As Horning noted, “Chatbots are often marketed as though other people represent the main impediment to solving loneliness, and if you remove the threat of judgment and exclusion and rejection that other people represent, then no one will ever feel lonely again.”

Consider, as an almost farcical example of this, the recent launch of friend. Friend is an always-listening pendant that periodically interacts with you via text message or with which you can enjoy on-demand interactions by pressing the pendant and speaking directly to it. Take a minute and a half to watch the product launch video below, if you’re so inclined.

[embed:
https://www.youtube.com/watch?v=O_Q1hoEhfk4 ]

You can also take a look at the interaction arounds the founder’s post [https://x.com/AviSchiffmann/status/1818284595902922884 ] on Twitter announcing the new device. Honestly, I feel a certain reticence in using this example, given that it seems almost to be a parody. In fact, more than a few of the initial responses expressed a measure of incredulity along these lines. Honestly, such incredulity is a testament to good sense and charity of those expressing it. “Surely not, no one would actually …” they would seem to be saying. But it is not a parody, unless those involved with the company are keeping the act up with admirable sustained discipline. More dispiriting are the seemingly earnest and enthusiastic replies.

My reticence also stems from the sense that this product must surely be an outlier that will almost certainly fall flat or command a very small number of sincere users. Nonetheless, we can perhaps take it as an ideal type, a distinctly clear example of a trend that does not ordinarily manifest itself quite so starkly, and make use of it as such.

What better example, then, of the pattern we have been analyzing. Demoralized in the pursuit of friendship, companionship, and solidarity by the social structures that order our experience and deskilled by the same in the requisite habits and virtues, we are offered instead a technological commodity in the place of genuine human connection, a personalized device in the place of a personal relationship.

And while I’ve been rather sardonic in my assessment of this device, we should consider that the choices it symbolizes as an ideal type might be more attractive than we’re willing to grant because it holds out the promise of connection without commitment, companionship without responsibility, a facsimile of friendship without the attendant demands and challenges.

And I don’t even mean to suggest that we’re tempted by those choices because we are selfish, although each of us should soberly consider such things. We’re tempted by these choices because we are, to varying degrees, exhausted by the demands of a world ordered by the imperative to optimize for measurable outcomes, and in such a context we end up cutting out the things that don’t compute.4 The tragedy, however, is that it is in such inefficient yet supremely human things that we find renewal, strength, rest, consolation, and even joy.

Allow me, then, to close with a simple exhortation: we need people in our lives, not the simulation of people.

I think we all know this, but our societies are increasingly designed so as to induce a certain forgetfulness about this fundamental truth. We should resist such forgetfulness, and, to whatever degree possible, we should refuse the temptation to eliminate human interactions from our experience like so many inefficiencies in a system optimized for machine-like functionality.

In his 1961 novel, The Moviegoer, Walker Percy’s protagonist, Binx Bolling, makes the following observation: “I have discovered that most people have no one to talk to, no one, that is, who really wants to listen.” Percy is writing as the first movement of depersonalization I mentioned above was reaching its apex. But Bolling goes on to say that “when it does at last dawn on a man that you really want to hear about his business, the look that comes over his face is something to see.”

What there is to see is the look of someone remembering a profound truth about themselves, a vital truth without which we cannot hope to live in full. I suspect, or at least I hope, that we have all been on both ends of such encounters, and we should be intent on making such encounters more, rather than less frequent."

[footnotes below]

1
“We” is a tricky word to deploy. It is often lazy and implies too much. It can be rhetorical sleight of hand. I once wrote a whole post [https://thefrailestthing.com/2017/12/03/the-rhetorical-we-and-the-ethics-of-technology/ ] arguing that there was no “we” there. That said, it can sometimes be tedious to repeatedly specify the antecedent. When it is honest, I’ll simply say “I” and allow readers to include themselves as they see fit. In this case, I’ll simply trust you, the reader, to interpret generously. In any case, the general unwellness, as suggested by the metrics to which I alluded, does seem to make the “we” more justifiable than usual. (Robin, if you’re reading, this footnote is dedicated to you.)

2
You can classify this as a corollary of my oft repeated dictum: The human-built world is not built for humans. [https://theconvivialsociety.substack.com/p/the-human-built-world-is-not-built ]

3
Wendell Berry’s observation [https://theconvivialsociety.substack.com/p/the-human-built-world-is-not-built ] that we must decide whether we want to live as creatures or as machines might be helpful here. The personalism toward which I am gesturing might be understood as the creatureliness Berry commends. In other words, to the degree that the social order compels me to live as if I were a machine striving for efficiency, speed, optimization, and productivity, to that same degree I live in a social order that is impersonal, which is to say that it undermines my capacity for relationship.

4
A self-conscious allusion to Wendell Berry’s Mad Farmer Manifesto [https://web.mit.edu/daveg/Text/poetry/Manifest:MFLF ], one stanza of which runs as follows:

“So, friends, every day do something
that won’t compute. Love the Lord.
Love the world. Work for nothing.
Take all that you have and be poor.
Love someone who does not deserve it.
Denounce the government and embrace
the flag. Hope to live in that free
republic for which it stands.
Give your approval to all you cannot
understand. Praise ignorance, for what man
has not encountered he has not destroyed.”]]></description>
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<item rdf:about="https://default.blog/p/offline-is-the-new-online">
    <title>Offline is the New Online - by Rachel Haywire</title>
    <dc:date>2024-07-28T16:17:59+00:00</dc:date>
    <link>https://default.blog/p/offline-is-the-new-online</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Who is going to be online in 2027? Less than 15% of the population.

Remember the early days of the internet, when it served as a secret corner for all sorts of freaks and outsiders with niche interests to unite? People from small towns could connect with like-minded individuals across the globe, overcoming geographical barriers and finding solace in a sense of community. People in big cities could start companies from their basements and get venture funding if they understood how the internet worked. You didn't need a degree, and you didn't need a sponsor. You just needed to be interesting.

Wake up. The world that once welcomed outsiders and eccentrics is gone. We'll spend the next few years reminiscing about it with nostalgia, never quite capturing the same feeling. Offline is the new online, and we're currently at the beginning of a drastic shift in how we socialize. By 2027, less than 15% of the population will actively participate in the digital world unless it's for work. What Sam Kriss says about the internet already being over is accurate. Social media will lose its relevance for the large majority of us, and I'm going to have to (if you can excuse my phrasing) unpack this for a moment.

The Personal is Parenthetical
Once upon a time, I had a decent following on Twitter. Unfortunately, the cursed algorithm began showing me the same trad and bimbo accounts over and over again, no matter whom or what I blocked. When I was younger, there was a certain type of nerd who would constantly quote Monty Python. It was very annoying! It's funny how stupid online things make you think of stupid offline things. Some of the more prominent TPOT accounts began following these political meme accounts, and my feed was now insufferable with their stale and regurgitated memes. Engagement farmers were rapidly multiplying. It's so over. We're so back. I'm so bored. This is a bad experience. Whenever I tried discussing the situation, I was lectured for taking myself too seriously.

I think people need to take themselves more seriously, which made me a contrarian among contrarians.

So I decided to nuke my account, erasing my entire following in the process. Years later, I questioned whether I had made a mistake, as I now found myself disconnected from the community with which I had the greatest intellectual connection. My engagement dwindled faster than a roller coaster on meth. I suppose I could have brought back my Facebook account where I still had 5k followers, but Facebook was so irrelevant at this point that it would have felt like self-mutilation. I also couldn't migrate my followers off Facebook, no matter how hard I tried. Not to Discord, not to Telegram, not to anywhere else at all. They were prisoners who were never leaving Facebook, and that was that.

Deciding that it wasn't worth it to be trapped on an irrelevant platform, I accepted my new fate as a lowbie and began wondering if I would ever have any real online engagement again. I saw no genuine way to build a new following from scratch. My time as a main character was over, and there was nothing unique about this trajectory. My experience was part of a wider picture. That wider picture was this: as social media federated after years of bot farms, we began losing important connections to our friends.

A New Silent Majority
I soon realized I was part of a new silent majority of people who had distanced themselves from the online world or perhaps were never engaged with it in the first place.

Our growing demographic seeks solace in authentic connections, gravitating towards the allure of offline interactions. We are the lowbies, screaming into the void, humbling ourselves in the process. What happens next? We'll be going offline to feel the connections that we once felt online, and this is exactly the protocol that will completely redefine social media. Social media in 2027 will not resemble social media today because it will be entirely offline. The fediverse does not provide a nourishing community, so our only option is to build new offline communities.

The longing for past glory on mainstream platforms may tempt some of us "ex-influencers" to return, but their diminishing relevance dissuades us. Also, nobody believes you when you tell them that you used to be an influencer. It's like saying that you used to be a celebrity. Sure you were, kitten. So, as we contemplate our online futures on alternative platforms like Substack, the likelihood of substantial engagement for most of us appears slim. This realization has led us to an acceptance of our collective fate and a desire to go entirely offline to create better social experiences.

The Fediverse is Boring
The elephant in the room is that the fediverse is boring. It felt good to say that. If I still smoked cigarettes, I'd be lighting one up right now. The fediverse is boring! The trade-off for the freedom that the fediverse offers comes at the cost of excitement and engagement. Its decentralized nature has resulted in fragmented and disjointed communities, lacking the cohesion necessary for meaningful connections. The promise of escaping the echo chambers of centralized platforms has led to a barren environment plagued by inactivity and disinterest.

This is why I say that offline is the new online. The outcasts and freaks are now offline and the online world is dead. The offline world will become a place of wonder for the true outsiders and eccentrics to gather. Social media is going fully offline and it's going to be wild. Nobody worth talking to is going to stay online for much longer unless it's through backchannels. Venkatesh Rao calls the reversion to backchannel communication the cozyweb. I crave more excitement than a thousand Discords, is the thing. The online world just isn't a place for people like you and me to socialize anymore, and that's fine.

Let's Try This Again
We have no choice but to take social media offline if we wish to engage in healthy social lives. Social media, online, will continue to lose relevance for us. Social media, offline, will gain mass appeal. The future of social media is offline and full of immersive art exhibits and live AR experiences. Most of it will take place in speakeasies and pop-ups. This return to private life will be spiritually rewarding for so many of us who were once slaves to the algorithm.

So here I am, posting to the only platform I haven't fully given up on, with less engagement than I've had in decades. Perhaps my online relationships will become less superficial now that I have so few of them, but eventually they will all go offline. I am becoming very offline. There is no dopamine rush from getting a few likes. I get a bigger dopamine rush from going for a jog. There is no joy in the algorithms feeding us the same content over and over again. There is no joy in seeing trads and bimbos with no moral compass compete for fame.

This massive shift that forces us offline will give us the freedom to recreate and redesign IRL so it is more friendly to people like us. We can make real life fun again. During the 90s, there weren't so many isolated people who needed the internet to connect, because bands like Nirvana and Nine Inch Nails gave what would have been "the online generation" a voice. We had Radiohead and TOOL to speak for us, the freaks, isolated in our little corners of the world. In essence, we have the chance to reproduce this journey with a host of new technologies at our fingertips. We had clubs and concerts and conferences. We are going to have them again, and we will be able to use AR and AI to enhance them. Rejoice!

As we embrace this offline renaissance, we have an opportunity to redefine the real world and create an era where personal connections thrive, leaving behind the shallow realm of repetitive content and fragmented communities. It is up to us, the silent majority, to reimagine the offline world for a new generation that is outside of both centralized social media and the fediverse. It isn't Twitter and it isn't Mastodon. It's IRL. Offline is the new online."]]></description>
<dc:subject>rachelhaywire 2024 offline online internet web bubbles decentralization fediverse federatedweb twitter instagram socialmedia platforms freedom cozyweb venkateshrao discord conversation irl experience inperson connection connections</dc:subject>
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<item rdf:about="https://www.are.na/editorial/sound-s-as-i-see-it">
    <title>Sound(s) As I See It | Are.na Editorial</title>
    <dc:date>2024-07-25T16:01:22+00:00</dc:date>
    <link>https://www.are.na/editorial/sound-s-as-i-see-it</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>sound aliceotieno 2024 howwewrite music koraharp seydoukane senegal eloghosaosunde ticecin calebazumah mukamikuria mbliliabel kenka congo daressalaam kinshasa nairobi mombasa pascalquignard gestures songs conversation jjjjjermoeellis jazz hiphop tinacampt jaceclayton listening writing are.na musicmaking</dc:subject>
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<item rdf:about="https://www.youtube.com/watch?v=H0BDqjZkdfI">
    <title>CÓMO HACER UN CLUB DE LECTURA (¿Y para qué sirve?) | Ideas para LEER EN COMUNIDAD | Por qué leer - YouTube</title>
    <dc:date>2024-07-15T05:31:08+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=H0BDqjZkdfI</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["¿De qué se trata un "club de lectura"? ¿Para qué sirve? ¿Cuáles son los beneficios de invitar a la comunidad a leer juntos? ¿Puedo ser el moderador? ¿Tengo que ser especialista? ¿Qué tipos de clubes existen? Estas (¡y más!) preguntas, en el video de hoy.

Van los capítulos:
0:00 Inicio - Bienvenida y temario
1:30 Qué es un club de lectura
2:15 Beneficios de un club de lectura
5:17 El club de lectura de Benjamin Franklin
7:48 Primeros pasos para diseñar tu club de lectura
9:48 Para qué hacer un club de lectura
13:41 Tipos de clubes de lectura que podés hacer
18:53 Sobre el moderador del club de lectura
19:57 Quién puede participar de un club de lectura 
20:51 Paso a paso: cómo se da una reunión del club de lectura"]]></description>
<dc:subject>readinggroups bookclubs reading howweread 2023 ceciliabona community conversation</dc:subject>
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<item rdf:about="https://www.youtube.com/watch?v=vmtz1p9-6Fk">
    <title>Lo que he aprendido al gestionar círculos de lectura - YouTube</title>
    <dc:date>2024-07-15T05:18:18+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=vmtz1p9-6Fk</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["En este video les cuento acerca de algunos aprendizajes que he tenido al gestionar círculos de lectura. Cuéntenme su experiencia participando en espacios así.

Los otros videos que conforman el combo ideal acerca de los círculos de lectura:
De ‪@Sputnikylibros‬ https://www.youtube.com/watch?v=wvD9gub79oA
De @Porquéleerok https://www.youtube.com/watch?v=H0BDqjZkdfI 

Texto de Pedro Cerrillo acerca de las características que ha de tener un mediador de lectura: https://drive.google.com/file/d/1pQjM5ecnIX7ttwqQMzINJb9w0U7h3qJT/view
Si ese enlace no abre, acá otro: https://www.scribd.com/document/371546326/La-Importancia-de-Los-Mediadores-en-Lectura-lisboa2009-Pedro-Cerillo 

Únete al club de lectura de Librosb4tipos: t.me/leemosjuntas
Únete al club de lectura de Viaje a Fäerie, este año estamos leyendo a Tolkien: t.me/+n58CX-83uHg1OWVj 

¡Muchas gracias por ver y comentar este video! Escribe Arriba los círculos de lectura, así sabré que también leíste la descripción.

***
Tiempo que demoré creando este video: 5 horas."]]></description>
<dc:subject>abrilkarera 2024 readingcircles reading howweread classideas community communitybuilding seminars pedrocerrillo learning howwelearn listening mediation conversation</dc:subject>
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<item rdf:about="https://www.bostonreview.net/forum/danielle-allen-what-is-education-for/">
    <title>What Is Education For? - Boston Review</title>
    <dc:date>2024-07-05T21:22:24+00:00</dc:date>
    <link>https://www.bostonreview.net/forum/danielle-allen-what-is-education-for/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Today, these technologically oriented, vocational approaches to education and the problem of inequality leave almost no room for the civic alternative. It is not that civic education is incompatible with professional training, but policymakers, education specialists, and many parents—including low-income parents, whose children are most likely to see their civic education shortchanged—have narrowed their focus exclusively to the economic field. In the process, they have lost sight of the full range of inequalities from which our society suffers and which well-rounded education could alleviate."

...

"Participatory Readiness

So what exactly is participatory readiness, and how can education help people achieve it? To answer these questions, we first need to understand what students should be getting ready for: civic agency. While there is no single model of civic agency dominant in American culture, we can identify a handful at work.

Following philosopher Hannah Arendt, I take citizenship to be the activity of co-creating a way of life, of world-building. This co-creation can occur at many social levels: in a neighborhood or school; in a networked community or association; in a city, state, or nation; at a global scale. Because co-creation extends beyond legal categories of membership in political units, I prefer to speak of civic agency instead of citizenship.

Such civic agency involves three core tasks. First is disinterested deliberation around a public problem. Here the model derives from Athenian citizens gathered in the assembly, the town halls of colonial New Hampshire, and public representatives behaving reasonably in the halls of a legislature. Second is prophetic work intended to shift a society’s values; in the public opinion and communications literature, this is now called “frame shifting.” Think of the rhetorical power of nineteenth-century abolitionist Harriet Beecher Stowe, of Martin Luther King, Jr., or of Occupy Wall Street activists with their rallying cry of “we are the 99 percent.” Finally, there is transparently interested “fair fighting,” where a given public actor adopts a cause and pursues it passionately. One might think of early women’s rights activists such as Elizabeth Cady Stanton, Susan B. Anthony, and Matilda Joslyn Gage.

The ideal civic agent carries out all three of these tasks—disinterested deliberation, prophetic frame shifting, and fair fighting—ethically and justly. Stanton is an example of this ideal at work. At the Seneca Falls Convention, she was in deliberative mode for the debate about the text of the Declaration of Sentiments. However, before the convention’s deliberations, when she drafted that text, she was in the prophetic mode, just as she was in her innumerable speeches. Finally, in campaigning for legal change, as in the adoption of the Woman’s Property Bill in New York and similar laws in other states, she was operating as an activist.

Yet if these three are the rudimentary components of civic agency, they do not in themselves determine the content of any given historical moment’s conception of citizenship. There is no need for each of these functions to be combined in a single role or persona, nor is there any guarantee that all three will be carried out in each historical context. These tasks can also become separated from one another, generating distinguishable kinds of civic roles. This is the situation today, as roles have been divided among civically engaged individuals, activists or political entrepreneurs, and professional politicians.

The civically engaged individual focuses on the task of disinterested deliberation and actions that can be said to flow from it. Such citizens pursue what they perceive to be universal values, critical thinking, and bipartisan projects. Next comes the activist, who seeks to change hearts and minds by fighting fairly for particular outcomes, often making considerable sacrifices to do so. Finally, the professional politician, as currently conceived, focuses mainly on fighting, not necessarily fairly. In contemporary discourse, this role, in contrast to the other two, represents a degraded form of civic agency; for evidence one has only to look at Congress’s all-time-low approval ratings.

In the current condition, we have lost sight of the statesman, a professional politician capable of disinterested deliberation, just frame shifting, and fighting fair. And, even more importantly, we have lost sight of the ideal ordinary citizen, who is not a professional politician but who has nonetheless developed all of the competencies described above and who is proud to be involved in politics.

If we are to embrace an education for participatory readiness, we need to aim our pedagogic and curricular work not at any one of these three capacities but at what lies behind all of them: the idea of civic agency as the activity of co-creating a way of life. This view of politics supports all three models of citizenship because it nourishes future civic leaders, activists, and politicians. Such an education ought also to permit a reintegration of these roles.

The United States has a history of providing such an education: it is called the liberal arts. How, you may ask, can the seemingly antique liberal arts be of use in our mass democracies and globalized, multicultural world? Let us consider where we find ourselves and how we got here."

...

"Few among us pay adequate attention to the fact that almost all of our state constitutions guarantee a right to education. We pay even less attention to the fact that we have a right to civic education. Our state constitutions, in other words, are directed at the pursuit of equality. Through the acquisition of participatory readiness, a great diversity of citizens could tap into the power to challenge oligarchical social and political arrangements.

In the final analysis, the reliance on an exclusively vocational paradigm as the sole guide to education policy-making is a failure to meet the legal standard for securing a basic right. Precisely those parts of the K–12 curriculum most vulnerable during a recession—humanities, social studies, arts, and extracurricular activities such as debate and model UN—deserve rights-based legal protection. What is more, defending the right to civic education, and the kind of curriculum that delivers it, would benefit not only individual students but also society as a whole, advancing both political equality and distributive justice. This is an untapped source of advocacy around educational rights and on behalf of an egalitarian America."]]></description>
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<item rdf:about="https://www.youtube.com/watch?v=KhClnE7__YA">
    <title>Lecturas que he realizado últimamente (y no son libros) - YouTube</title>
    <dc:date>2024-06-20T20:28:14+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=KhClnE7__YA</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Siguiendo la premisa de Michèle Petit acerca de que hay que ejercer una lectura del mundo, hoy les comparto algunas otras cosas que he leído y que no son libros. 

Leer el mundo, de Michèle Petit. https://amzn.to/4et8oCv 

Lee Jardín Lac. https://www.jardinlac.org/ 

Playlist de canciones que le dedico a Jin. https://acortar.link/mx5ltS 

Lee el webtoon Apuesta de amor, de Ingrid Ochoa
En español. https://acortar.link/BEgcym
En inglés. https://acortar.link/hzxSns 

Conoce el trabajo de Elena Madrigal. https://www.elenamadrigal.com/ 
Conoce el trabajo de Gabriela Murga. https://linktr.ee/poetaviajera Y síguela en tiktok   / poetaviajera  

Samuel (en español). https://acortar.link/7atIoq 
Puedes ver los tiktoks de esta serie en el siguiente perfil.   / uc9rjhutmpmpycdwljyfbyqq   

No somos unicornios, de Hitzuji y Nea Poulain. https://acortar.link/P7CLRs
Cuando el río sueña, tinta lleva, de María Mendoza. https://acortar.link/oW3ZJB
Más curiosidad que juicios, de Patti Macías. https://acortar.link/eZQJzC 

La mucama de Omicunlé, de Rita Indiana. https://amzn.to/45tQMlO
Únete al grupo de lecturas en voz alta de Librosb4tipos. https://t.me/leemosjuntas

 ***
Tiempo que invertí en crear este video: 4.5 horas."]]></description>
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    <title>Good conversations have lots of doorknobs</title>
    <dc:date>2024-06-04T16:54:18+00:00</dc:date>
    <link>https://www.experimental-history.com/p/good-conversations-have-lots-of-doorknobs</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["I used to perform in an improvised musical comedy show where we could burst into song at any time. You’d be doing a scene about, say, bringing your boyfriend to Thanksgiving for the first time and having to explain to your parents that he’s Spiderman, and all of the sudden the pianist would thunder out some chords and now you’re singing something like:

SPIDERMAN, SPIDERMAN

THAT’S WHO I’M DATING, MOM AND DAD

WILL HE EAT?

DO NOT ASK

HE WILL NOT REMOVE HIS MASK

Doing this on the spot is really hard, and the trick that kept us afloat was called “take-and-take of focus,” meaning that whoever was singing had to keep going until someone jumped in to take the spotlight from them, which should happen quickly and often. Though it's nearly impossible to invent a whole funny song, you can probably fire off a verse, your teammate can come in with the chorus, and if you can do that twice and toss some harmony on top, the audience will go wild. 

For me, learning take-and-take suggested a solution not just to songs about Spiderman, but to a scientific mystery. I was in graduate school at the time, running studies aimed at answering the question, “Do conversations end when people want them to?” I watched a stupefying number of conversations unfold, some of them blooming into beautiful repartee (one pair of participants exchanged numbers afterward), others collapsing into awkward silences. Why did some conversations unfurl and others wilt? One answer, I realized, may be the clash of take-and-take vs. give-and-take. 

Givers think that conversations unfold as a series of invitations; takers think conversations unfold as a series of declarations. When giver meets giver or taker meets taker, all is well. When giver meets taker, however, giver gives, taker takes, and giver gets resentful (“Why won’t he ask me a single question?”) while taker has a lovely time (“She must really think I’m interesting!”) or gets annoyed (“My job is so boring, why does she keep asking me about it?”).

It's easy to assume that givers are virtuous and takers are villainous, but that’s giver propaganda. Conversations, like improv scenes, start to sink if they sit still. Takers can paddle for both sides, relieving their partners of the duty to generate the next thing. It’s easy to remember how lonely it feels when a taker refuses to cede the spotlight to you, but easy to forget how lovely it feels when you don’t want the spotlight and a taker lets you recline on the mezzanine while they fill the stage. When you’re tired or shy or anxious or bored, there’s nothing better than hopping on the back of a conversational motorcycle, wrapping your arms around your partner’s waist, and holding on for dear life while they rocket you to somewhere new.

Takers are especially valuable when you add more minds to the mix. Some of my research is about how turn-taking works differently in two-person vs. multi-person conversations. When it’s just you and me, taking turns is easy: you go, I go, repeat. When it’s you and me and Nina and Marlon, who should talk next? It’s often unclear, so we all stand around waiting for someone else to take their turn or to invite us to take ours. Givers try to salvage these situations by turning them into laborious seminar discussions (“Why don’t we all say what we thought about the movie?”). Takers, on the other hand, simply make conversation happen (“That movie sucked and anybody who liked it can fight me!”). When we’re all standing on the perimeter of an empty dance circle, takers are the martyrs who will launch themselves into the middle and do the stanky legg.

While takers deserve some redemption, givers deserve some scrutiny. On day one of Improv 101 they’ll tell you not to ask questions in a scene because it puts undue pressure on your partner. “Hey, what are you doing?” “Uhh I’m making things up in an improv scene.” Similarly, refusing to take the spotlight in a conversation may seem generous, but in fact can burden the other person to keep the show going. (“What’s up?” is one of the most dreadful texts to get; it’s short for “Hello, I’d like you to entertain me now.”) And asking your partner question after question and resenting them when they don’t return the favor isn’t generosity; it’s social entrapment, like not telling your friends that it’s your birthday and then seething that they didn’t get you cake.

Neither givers nor takers have it 100% correct, and their conflicts often come from both sides’ insistence that the other side must convert or die. Rather than mounting a Inquisition on our interlocutors, we ought to focus on perfecting our own technique. And the way to do that, I think, is by adding a bunch of doorknobs.

When done well, both giving and taking create what psychologists call affordances: features of the environment that allow you to do something. Physical affordances are things like stairs and handles and benches. Conversational affordances are things like digressions and confessions and bold claims that beg for a rejoinder. Talking to another person is like rock climbing, except you are my rock wall and I am yours. If you reach up, I can grab onto your hand, and we can both hoist ourselves skyward. Maybe that’s why a really good conversation feels a little bit like floating.

What matters most, then, is not how much we give or take, but whether we offer and accept affordances. Takers can present big, graspable doorknobs (“I get kinda creeped out when couples treat their dogs like babies”) or not (“Let me tell you about the plot of the movie Must Love Dogs…”). Good taking makes the other side want to take too (“I know! My friends asked me to be the godparent to their Schnauzer, it’s so crazy” “What?? Was there a ceremony?”). Similarly, some questions have doorknobs (“Why do you think you and your brother turned out so different?”) and some don’t (“How many of your grandparents are still living?”). But even affordance-less giving can be met with affordance-ful taking (“I have one grandma still alive, and I think a lot about all this knowledge she has––how to raise a family, how to cope with tragedy, how to make chocolate zucchini bread––and how I feel anxious about learning from her while I still can”).

There’s some recent evidence that what makes conversations pop off is indeed the social equivalent of doorknobs. You might think that the best conversationalists wait patiently for their partners to finish talking before they start concocting a response in their head. It turns out that we like people the best when they respond to us the fastest––so fast (mere milliseconds!) that they must be formulating their reply long before we finish our turn. Abundant affordances allow for this rapid-fire rapport, each utterance offering an obvious opportunity to respond.

A few unfortunate psychological biases hold us back from creating these conversational doorknobs and from grabbing them when we see them. We think people want to hear about exciting stuff we did without them (“I went to Budapest!”) when they actually are happier talking about mundane stuff we did together (“Remember when we got stuck in traffic driving to DC?”). We overestimate the awkwardness of deep talk and so we stick to the boring, affordance-less shallows. Conversational affordances often require saying something at least a little bit intimate about yourself, so even the faintest fear of rejection on either side can prevent conversations from taking off. That’s why when psychologists want to jump-start friendship in the lab, they have participants answer a series of questions that require steadily escalating amounts of self-disclosure (you may have seen this as “The 36 Questions that Lead to Love”).

The main reason we don’t create more affordances, however, is pure egocentrism. When we just say whatever pops into our heads, we may think we’re making craggy, climbable conversational rock walls, when in fact we’re creating completely frictionless surfaces. For example, I’m thrilled to tell you about the 126 escape rooms I’ve done, but my love for paying people $35 to lock me in a room blinds me to the fact that you probably do not give a hoot. I may even think I’m being generous by asking about your experiences with escape rooms, when my supposed giving is really just selfishness with a question mark at the end (“Enough of me talking about stuff I like. Time for you to talk about stuff I like!”).

There is no known cure for egocentrism; the condition appears to be congenital. The best we can do is offer our interlocutors all sorts of doorknobs––ornate French door handles, commercial-grade push bars, ADA-compliant auto-open buttons––and listen closely for any that they might give us in return. The best improvisers, like the best conversation partners, have very sharp hearing; they can echolocate a door slightly left ajar, waiting for a gentle push from the outside.  

So the next time you find yourself slogging through a conversation that just ain’t working, remember this little ditty:

GIVE-AND-TAKE, TAKE-AND-TAKE

IT’S ABOUT THE AFFORDANCES THAT YOU MAKE

DO NOT BE

A SOCIAL SLOB

USE CONVERSATIONAL DOORKNOBS"

[See also:

"Do conversations end when people want them to?"
https://www.pnas.org/doi/10.1073/pnas.2011809118

"Significance
Social connection is essential to physical and psychological well-being, and conversation is the primary means by which it is achieved. And yet, scientists know little about it—about how it starts, how it unfolds, or how it ends. Our studies attempted to remedy this deficit, and their results were surprising: conversations almost never end when anyone wants them to! At a moment in history when billions of people have been forced to curtail their normal social activities and to reimagine this one, a scientific understanding of conversation could hardly be timelier.

Abstract
Do conversations end when people want them to? Surprisingly, behavioral science provides no answer to this fundamental question about the most ubiquitous of all human social activities. In two studies of 932 conversations, we asked conversants to report when they had wanted a conversation to end and to estimate when their partner (who was an intimate in Study 1 and a stranger in Study 2) had wanted it to end. Results showed that conversations almost never ended when both conversants wanted them to and rarely ended when even one conversant wanted them to and that the average discrepancy between desired and actual durations was roughly half the duration of the conversation. Conversants had little idea when their partners wanted to end and underestimated how discrepant their partners’ desires were from their own. These studies suggest that ending conversations is a classic “coordination problem” that humans are unable to solve because doing so requires information that they normally keep from each other. As a result, most conversations appear to end when no one wants them to."]]]></description>
<dc:subject>conversation psychology literature communication 2024 adammastroianni affordances conviviality egocentrism</dc:subject>
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<item rdf:about="https://robhorning.substack.com/p/empires-of-modern-passivity">
    <title>Empires of modern passivity - by Rob Horning</title>
    <dc:date>2024-05-29T19:45:07+00:00</dc:date>
    <link>https://robhorning.substack.com/p/empires-of-modern-passivity</link>
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<item rdf:about="https://www.youtube.com/watch?v=A6xDUcyV8Co">
    <title>Niñeces, Memoria y post dictadura Walter Kohan - YouTube</title>
    <dc:date>2024-04-17T00:50:11+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=A6xDUcyV8Co</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["El filósofo argentino especialista en infancia, Walter Kohan, se encuentra de visita en Chile en el marco de la Feria Internacional del Libro de las Ciencias Sociales de Recoleta (FILCS) y realizará una visita especial al Museo de la Memoria y los DDHH para dialogar sobre infancias pensamiento y política.

Walter Kohan es filósofo especialista en infancia y continuador de la labor del reconocido pedagogo e impulsor de la pedagogía crítica, Paulo Freire. Actualmente vive en Brasil, es profesor de filosofía de la educación en la Universidad Estatal de Río de Janeiro e investigador del Consejo Nacional de Desarrollo Científico y Tecnológico (CNPQ) de ese país.

El dialogo “Niñeces, Memoria y post dictadura” se realizará en el auditorio del Museo de la Memoria y los DDHH el próximo martes 16 de abril a las 12.00 y es una invitación conjunta entre el Museo y la Feria Internacional del Libro de las Ciencias Sociales de Recoleta (FILCS). Esta colaboración busca abrir un espacio de reflexión y debate, promoviendo el encuentro entre la sociedad, las organizaciones culturales y académicas.

La actividad es parte de diversas iniciativas que el Museo estará desarrollando durante este año, orientadas a indagar en la realidad de las niñeces, buscando cruces y diálogos intergeneracionales, con el objetivo de nutrir lo que será su año temático 2025 definido como el Año de la Infancia.

Diálogo con Walter Kohan “Niñeces memoria y post dictadura”
Modera: Sandra Piñeiro, jefa del Área de Educación MMDH
Martes 16 de abril | 12h"]]></description>
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<item rdf:about="https://bigthink.com/the-past/penny-universities-coffeehouse/">
    <title>&quot;Penny Universities&quot;: How coffeehouses changed the world - Big Think</title>
    <dc:date>2024-04-15T00:23:22+00:00</dc:date>
    <link>https://bigthink.com/the-past/penny-universities-coffeehouse/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Centuries ago, the typical British coffeehouse was more like a "school without a master" than a place to grab a quick boost of caffeine."

...

"* Coffeehouses in 17th-century Britain were called "Penny Universities," and they were gathering places for academics, artists, and intellectuals.

* These intellectual hubs democratized learning, opening avenues for people of all backgrounds to engage in scholarly discourse — including those who could not access higher education.

*The ideas swirling around these coffeehouses helped create some of today's major institutions, including Lloyds of London, the Royal Society, and the London Stock Exchange."

...

"Be careful when you next go into your favorite coffee shop. Sure, you might harmlessly be looking for a pick-me-up to get through that three-hour meeting, but what else might you find? Revolution, radicalization, and deviancy. That’s not caffeine you’re tasting — it’s danger. As King Charles II put it, coffee is “the great resort of idle and disaffected persons…[and] has produced very evil and dangerous effects.” People who hang about in coffee houses are the disreputable, dodgy sort — do you really want to be seen around those types?

For hundreds of years after their introduction, coffeehouses didn’t just sell coffee. They sold ideas. If you walked into an average 17th-century coffeehouse in Britain, you’d see gathered around the table academics, authors, artists, foreign exiles, revolutionaries, and political radicals. There would be a buzz in the air — the buzz of excited and scholarly debate. These coffeehouses were not hushed places of laptops and headphones. They were forums.

These were the “Penny Universities” of early modern Britain, and within their cozy, candlelit interiors, an intellectual revolution was brewing.

Unfiltered education

If you were born in Britain in the 1600s, you would have had a slim chance of getting a good education. Wealthy families in England would pay for private tutors or send their children to one of the expensive “King’s Schools” (founded by or named after Henry VIII). Anyone who didn’t own a mansion and a title would have to be either very smart or very lucky to get into a good school. After that, no matter how brilliant you might be, your education would come to a yanking halt in adulthood. In England, there were only two universities: Oxford and Cambridge, and both charged fees far beyond most people’s annual income (not to mention the books and board you had to pay for). Higher education was reserved for higher incomes.

So, what were intelligent and academically curious people to do? Well, drink coffee. The first coffeehouse in the UK opened in Oxford in 1650 and it was crammed with dissatisfied or disillusioned academics. These Oxford coffeehouses were massively exclusive (serving only university members) but they set a precedent. These were places of erudition, debate, science, and intellectual curiosity. And, importantly, they existed outside of formal institutions.

We’ve bean thinking

Coffee and coffeehouses spread to London soon enough, and it was here that a diarist named Samuel Pepys stumbled across one of the most famous: the Rota Club. Pepys was an early convert to coffee, and while at the Rota Club he was amazed by the ‘‘admirable discourse’’ and ‘‘exceeding good arguments” he heard there. In Pepys’ London, the “virtuoso” was a type of man that devoted himself to letters and learning. They were the intelligentsia of the 17th century, and they all gathered in coffeehouses like the Rota Club.

Most importantly, these coffeehouses didn’t care about your background — so long as you were someone who liked to think. These coffeehouses welcomed patrons from all walks of life and were a rare opportunity for the many social strata of Britain to meet and debate great ideas. As one French writer put it, “What a lesson to see a lord, or two, a baronet, a shoemaker, a tailor, a wine-merchant, and a few others of the same stamp pouring over the same newspapers. Truly the coffee houses… are the seats of English liberty.”

Places like the Rota Club had a spark and energy to them that was often lacking in the rigid lecture halls of Oxford or Cambridge. If you had wit and intelligence then you could take a seat at the coffeehouses, and, in all your many caffeinated discussions, you’d find there were few ideas left unexamined. Anyone could learn, and anyone could teach, if only you could pay the price of a coffee, which, back then, was a penny. And this is why these coffeehouses came to be known as “Penny Universities.”

A whole latte ideas

Of course, not everyone thought highly of these “Penny Universities.” One 1661 pamphlet decried that there were “neither moderators, nor rules” and that they resembled “a school without a master.” These critics laughed at the indiscriminatory and meandering “learning” that took place, mocking them as “tattling universities.” Patrons would debate astronomy and then literature in the time it took to drink a coffee. In a single afternoon, they might discuss mercantilism and mathematics, then Calvinism and chemistry.

But this was the whole point of Penny Universities. It was learning without rigid parameters, thinking outside the box. And in all this frantic and exciting exchange of ideas, great things were born. Then, as now, when intelligent and passionate people put their heads together, innovation and discovery soon follow after.

In Lloyd’s Coffee House, ship captains and their backers would gather for a brew. And from their “tattling” emerged the world’s largest insurance market: Lloyds of London. Meanwhile, down at the Grecian Coffeehouse, scientists were gathering to watch two scholars dissect a dolphin on a table. Those scholars were Isaac Newton and Edmund Halley, two of many scientists from the Royal Society who frequented coffeehouses. Over at Jonathan’s Coffee House, merchants and traders were discussing economics. And despite having “neither moderators, nor rules” they managed to create the London Stock Exchange — the first of its kind and the basis of so much of the modern economy.

So, the next time you buy a coffee from your favorite coffeehouse, think about the great history that began in places just like that."

[kind via:
https://www.are.na/block/24934810

"During their heyday, they were dynamic sites for democratic political discussion and commerce. They were often called “penny universities” because for the penny price of a cup of coffee, you could listen to learned intellectuals expound on their areas of expertise."]]]></description>
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<item rdf:about="https://www.nytimes.com/2024/03/27/science/jane-goodall-90-birthday-dogs.html">
    <title>Jane Goodall Is More of a Dog Person, Actually - The New York Times</title>
    <dc:date>2024-03-31T20:10:15+00:00</dc:date>
    <link>https://www.nytimes.com/2024/03/27/science/jane-goodall-90-birthday-dogs.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["When you ramped up your conservation activism in 1986, were you concerned about an increase in media attention, given this history?

No.

Why not?

Because I knew what I was supposed to do.

One of the few people who has criticized me recently was Elon Musk. He was critical of what I always say about human population growth as one of the things that we have to think about when we want to protect the planet for future generations. I invented “Voluntary Population Optimization.” Could you criticize that? Voluntary? And optimizing? I talked about V.P.O. and I never got heckled, I never got any problem.

There are worries, though, on the other end of the spectrum, about human overpopulation concerns being turned into involuntary population control.

You must never use control. Never. Control is wrong. You can’t control people like that. It has to be voluntary.

Around Gombe, we introduced this program, TACARE, to help people find ways of living without destroying the environment. It includes restoring fertility to overused farmland without chemicals, and then we introduced scholarships to give girls a chance at secondary education. And also family planning.

So family planning for you is connected to lifting people out of poverty.

And giving women the power to choose for themselves how many children they have.

I’m curious about your packed, worldwide birthday tour. I don’t think I would have the energy for this, and you’ve been traveling extensively for decades.

At your age, I wouldn’t have had the energy. No way. You realize when you get to 90, I don’t know where the end will be, but I’m obviously closer to it than I was when I was 70. Much closer than when I was 60.

But if you feel you have a mission to try and get more people to understand we need to take action, and that your individual action will make a difference, then there’s so much of the world that hasn’t had this message. Instead of slowing down, what can I do but speed up?

One former high school teacher told me she stumbled on the dog salute by accident. But she got the chance to chat with you, and she was ecstatic.

It can sound kooky, I know, but things have happened in my life that look like coincidences, but I don’t think were. And I personally think every person comes into this world with a role to play.

When I look back over my life, I mean, my goodness, the coincidences that led me to the path where I am now were quite clearly points where I could have said yes or no. It depends whether you think there’s just this life or something beyond, I happen to think there’s something beyond. I feel I was born with a mission. Right now, that mission is to give people hope. So when I get exhausted, I look up there and say: “You put me in this position, you bloody well help me get through the evening.”"]]></description>
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<item rdf:about="https://pjvogt.substack.com/p/how-do-i-use-the-internet-now">
    <title>How do I use the internet now? (Is there a sane way to use the internet?) - Search Engine with PJ Vogt (October 2023)</title>
    <dc:date>2024-03-26T22:46:27+00:00</dc:date>
    <link>https://pjvogt.substack.com/p/how-do-i-use-the-internet-now</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["This week, a conversation we recorded a while ago that we’ve been impatient to share.

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

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

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

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

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

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

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

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

also here:
https://open.spotify.com/episode/2pcYNqD0n9R6UgJMbvJw27
https://podcasts.apple.com/gb/podcast/how-do-we-survive-the-media-apocalypse/id1614253637?i=1000649296199 ]]]></description>
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<item rdf:about="https://www.youtube.com/watch?v=eegzTvPT6xY">
    <title>An Honest Living: A Memoir of Peculiar Itineraries with Steven Salaita - YouTube</title>
    <dc:date>2024-03-14T18:34:25+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=eegzTvPT6xY</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["In this episode we welcome Steven Salaita back to MAKC to discuss his most recent book An Honest Living: A Memoir of Peculiar Itineraries

Book Description:

In the summer of 2014, Steven Salaita was fired from a tenured position in American Indian Studies at the University of Illinois for his unwavering stance on Palestinian human rights and other political controversies. A year later, he landed a job in Lebanon, but that, too, ended badly. With no other recourse, Salaita found himself trading his successful academic career for an hourly salaried job. Told primarily from behind the wheel of a school bus―a vantage point from which Salaita explores social anxiety, suburban architecture, political alienation, racial oppression, working-class solidarity, pro­fessional malfeasance, and the joy of chauffeuring children to and from school―An Honest Living describes the author’s decade of turbulent post-professorial life and his recent return to the lectern.

Steven Salaita was practically born to a life in academia. His father taught physics at an HBCU in southern West Virginia and his earliest memories are of life on campus and the cinder walls of the classroom. It was no surprise that he ended up in the classroom straight after graduate school. Yet three of his university jobs―Virginia Tech, the University of Illinois, and the American University of Beirut [AUB] ―ended in public controversy. Shaken by his sudden notoriety and false claims of antisemitism, Salaita found himself driving a school bus to make ends meet. While some considered this just punishment for his anti-Zionist beliefs, Steven found that driving a bus provided him with not just a means to pay the bills but a path toward freedom of thought.

Now ten years later, with a job at American University at Cairo, Salaita reconciles his past with his future. His restlessness has found a home, yet his return to academe is met with the same condition of fugitivity from whence he was expelled: an occasion for defiance, not conciliation. An Honest Living presents an intimate personal narrative of the author’s decade of professional joys and travails."]]></description>
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<item rdf:about="https://aeon.co/essays/a-good-conversation-relaxes-the-mind-and-opens-the-heart">
    <title>A good conversation relaxes the mind and opens the heart | Aeon Essays</title>
    <dc:date>2024-03-03T03:58:39+00:00</dc:date>
    <link>https://aeon.co/essays/a-good-conversation-relaxes-the-mind-and-opens-the-heart</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["A good conversation bridges the distances between people and imbues life with pleasure and a sense of discovery"

...

"Good conversation mixes opinions, feelings, facts and ideas in an improvisational exchange with one or more individuals in an atmosphere of goodwill. It inspires mutual insight, respect and, most of all, joy. It is a way of relaxing the mind, opening the heart and connecting, authentically, with others. To converse well is surprising, humanising and fun."]]></description>
<dc:subject>conversation friendship relationships 2023 paulamarantzcoheng via:daniellucas discovery pleasure conviviality joy respect mutualism human humanism connection goodwill wellbeing well-being</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
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<item rdf:about="https://timkreider.substack.com/p/an-exciting-time">
    <title>An Exciting Time - The Loaf, with Tim Kreider</title>
    <dc:date>2024-02-02T15:45:14+00:00</dc:date>
    <link>https://timkreider.substack.com/p/an-exciting-time</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["“Excitement” is a word people use a lot when you have a book coming out: You must be so excited! Such an exciting time! We’re all very excited, etc. My friend Nell currently has a book out: Transient and Strange: Notes on the Science of Life. The emotional alloy “excitement” has a lot of different elements, one of which is dread. (I once read an interview with a writer who said that whenever he heard that someone had a new book out, he always thought: You poor bastard.) Nell and I share the same literary agent, The Fabulous Meg Thompson, who recently griped to me that a lot of her authors—particularly the essayists and memoirists—seem less than excited about the prospect of promoting their own books. This attitude is confounding to T.F.M.T., but to me it seems self-explanatory: “They’re writers,” I explained. When I first decided to become a writer, authors were known as people who wrote whole novels entirely in bed isolated in cork-lined rooms or walked into rivers with pocketfuls of stones or were addicted to heroin and shot their wives in the head. It was not assumed they’d be eager to do AMAs on Goodreads or promos on Book-Tok.

I used to think the ideal situation would be to be like Thomas Pynchon or J.D. Salinger—a famous recluse. But you don’t get to be famous by being a recluse anymore. Through an insidious Darwinian winnowing over the last decades, most of the living writers you’ve heard of now tend to be of that freakish breed who take naturally to self-promotion and thrive on social media, like those newly evolved bacteria that eat plastic. (The most successful writer I know—by “know” I mean I once smuggled her pet ferret into her dorm room for her—now runs $700 theme weekends based on her own novels.1) These are highly adaptive qualities in the harsh 21st century media environment, but they rarely correlate to writing talent, and are more often inimical to it; writing is a lonely, obsessive practice, favored by those types who prefer solitude, observation, and long, uninterrupted thoughts to celebrity, performance, and mouthing off on twitter.

The two skills sets may overlap—Harlan Ellison used to write whole short stories sitting in the windows of bookstores—but they’re not naturally compatible. (Dorothy Parker pointed out that none of the members of the Algonquin Roundtable—the equivalent of the twitterati ca. 1920s—were among the literary giants of their day: they were “just a lot of people telling jokes and telling each other how good they were.”) One instructive contrast is between Ken Kesey, who wrote a couple of great novels and then became a motley clown-prophet of LSD, partied with biker gangs, roved around the country in a psychedelic bus and forgot ever to write anything again, and his less celebrated friend Robert Stone, who quietly continued to write some of the best American novels of the last half-century.

The fate of those writers who buy their own acts, and succumb to the addiction of celebrity, lacks even the dignity of Greek tragedy: think of Truman Capote’s trajectory from In Cold Blood to Murder by Death. I saw Hunter S. Thompson—once an important writer to me—speak after he’d become a professional Hunter S. Thompson impersonator: he sat onstage holding boozily forth drinking Chivas Regal and whacking things with a rubber squeak-toy mallet. It was like seeing an animal that once could’ve skwapped your head off with one paw dressed in a tutu and riding a unicycle.

But Nell, unlike most writers, is already practiced at public performance, and putting on a professional persona. You’re probably familiar with her work already, whether you know it or not; her name is listed on “The Women of NPR” T-shirt: Nell Greenfieldboyce, science correspondent. (Most recently she delivered the crushing disillusionment that the best-known images of Neptune are in false color; rather than a deep oceanic azure, it’s really a washed-out pea green, little more photogenic than Uranus.) And she’s done everything expected of her in her book’s publicity campaign: a friend wrote me that at a reading in DC “she knew how to hold the room [and] answered questions, no matter how left-field, with insight and nuance”; in interviews she comes across as articulate, funny, and candid; and she is, as I write this, reading her throat raw recording the audio edition of her book. So if she does have any trepidation about publication, I suspect it’s for other, less obvious reasons.

It is an unavoidably fraught business, relinquishing a book you’ve been working on for years to the judgment of the public, even more so if your material is your own life. If I were to pick up a book by an NPR personality, I would not be expecting what you’ll find in Transient and Strange: it is intimate, literary, and serious. It’s not a collection of science essays like Lewis Thomas’s or Stephen Jay Gould’s, but personal essays intertwined with science, as inextricably as science is intertwined through all our lives, through matters of birth and sex and life and death. Nell writes about trying to assuage her children’s fear of tornadoes while knowing that disasters are in fact coming that she can’t protect them from; about being hit on as a 12-year-old girl by an older guy and the creepy etymology of the term “black hole”; about the history of eugenics as refracted through the medical and ethical ordeal of trying to ensure that her own children won’t inherit a genetic kidney defect. Nell is pretty phlegmatic about exposing herself in her work (when I asked her permission to write about some confidential or delicate detail, she finally decided: “Oh who cares. We’ll all be dead someday”), but I can only imagine she must feel discomfitingly naked in these pages, or at seeing her husband and children mentioned in reviews.

But her book’s imminent release has also had another, unexpected effect. Since advance copies have become available, colleagues, friends and acquaintances who’ve read it keep approaching Nell with a kind of perplexed and tender awe. A friend’s husband, seeing her at a Christmas party, immediately gushed, “Nell—WTF?” and embraced her “like a soul mate” —as if to say: Who is this sensitive sentimental person you’ve secretly been this whole time? I can imagine that, to people who don’t know her well, Nell’s demeanor might seem daunting, even intimidating, so for them this book must come as a revelation. Like a lot of writers, Nell often feels at an involuntary remove from other people, like a researcher observing subjects from behind one-way glass, which can be an advantage as an artist, but is isolating and sad for a human being. So this breaching of that barrier comes like the touch of a finger through an air hole.

I recognize this experience from my own writing career: my sister told me she’d learned more about me from reading my first book than she had from being my sister for forty years. It’s awkward to be caught confiding things to strangers that you never got around to mentioning to your own family—and I’m not sure whether it’s more awkward talking to strangers who now think they know everything about you, or to your family, who realize that they don’t. It feels both exhibitionistic and like a betrayal. Of course it’s easier to tell you some things, reader, the same way it’s easier to tell them to a stranger in a bar, because—no offense—I have nothing to lose with you. And it’s different for a writers to tell the truth to readers than to people in their own lives, because it’s in a professional context, like someone who would not normally go about shooting total strangers doing so because he’s a soldier. It’s the job.

Maybe because I write about my own life, I’ve always had an ambivalent relationship with readers. Of course, like most ambitious artists, I was always covetous of fame, but once I actually attained some modest renown, I affected to be dismissive of the attention that I (as opposed to my work) received. I felt as if, by focusing on me as a person, readers fundamentally misunderstood what I was trying to do. My writing wasn’t supposed to be about me, but about them; it’s like when you’re pointing at something for a dog and it just stares at your finger. They’d already gotten the best aspect of me in my work; it was a fallacy to imagine that there’s more of the same to be found in the real-life person of me. (Which is why I’ve never quite understood people’s plaints about writers or other artists turning out to be imperfect, even terrible people.) So my attitude was partly the reflexive contempt you feel toward anyone gullible enough to admire you (cf. the aphorisms of Nietzsche and Marx), partly a protective recoiling from their somewhat valid/somewhat delusional presumption that they knew me. And some of it was an ascetic impulse to quash my own embarrassing greed for attention, no different from an Instagram influencer’s or Donald Trump’s. I had to not to care at all to keep from caring too much.

Whenever I felt sorry for myself because my books were never featured on the display tables of bookstores, I’d turn to the consolation of posterity: Okay, so maybe my books were not exactly bestsellers, and I never won any literary awards, but someday people will recognize my talent. This seems silly and misguided now, like pretending it doesn’t matter that your life sucks because you know you’re going to Heaven. For one thing, it won’t matter to me; I’ll be dead. Ovid and Seneca don’t care that I’m reading their work. And those future readers are purely imaginary, or at least hypothetical (and if we as a species really screw things up, they may never exist at all). And anyway, why would I imagine that people a century or millennium from now will be any wiser or more discerning than the ones currently awarding stars on Goodreads? There is no ideal audience, no council of elders to adjudicate literary quality; it’s just us. The only people you’ll ever really be able to connect with are the ones who are here now, enjoying their one brief chance to be alive alongside you.

In defending myself against that corrosive attention, I was also denying myself something vital. In the same way that I sometimes wish I’d paid more attention during the Obama years, appreciated what we had while we had it, I now wish I’d been less guarded in my interactions with readers. Because, it turns out, this may have been the part of writing a book that mattered the most. When I saw Ray Bradbury speak—one of my own favorite writers as a young reader—he told us that, when he was a teenager, he’d sent a crazed fan letter to Hal Foster, creator of the comic strip Prince Valiant. By way of thank-you note, Foster sent young Ray a whole page of his original art (a page that would now go at auction for the cost of a new car). “I wrote him to say, ‘I love you,’ and he wrote back and said, ‘I love you too,’” Bradbury concluded. “Write the people whose work you love and tell ‘em you love them!” he commanded. The best consequence of having written my books has been the people it’s brought into my life—writers I’ve long admired who are now correspondents, students who’ve graduated to become colleagues and friends, strangers I came to know and, sometimes, to love. You beam your feeble radio signals out into the abyss and then, one morning, years later, the skies are full of starships.

My partner is a writer, too, but you’ve never read anything by her because she’s not particularly interested in publishing. She writes, she says, in order to think; she’s so constantly harried by running a business that she cherishes the chance to sit and untangle her inchoate thoughts, trace their patterns, and follow them to their ends. It is, I think, a purer, saner motive than mine. But most people who write for publication are not entirely healthy; we’re afflicted with an insatiable craving for the validation of strangers. But my partner’s former husband, a musician, also told her that the creative process really isn’t complete until you’ve shared your work with others. Which, for the kinds of people who prefer to spend hundreds of hours alone in a room toying with their own ideas, can be a nerve-racking ordeal. But there’s a crucial difference between the need to be paid attention to and the desire to connect—it’s the difference between trying to one-up someone else’s story and telling one of your own to commiserate, to empathize; between saying Look at me, everybody and You’re not the only one.

All the self-promotional bullshit that Nell and I and every other writer acquiesces to is just the crass commercial means to an authentic human end; it’s what the recording industry is to music, what taxes are to a civil society. At the end of this month I’m going to see Nell give a reading in New York City, at the swank and mysterious Cosmopolitan Club. I’m very much looking forward to this event—to being not up at the podium but out in the audience, not only as Nell’s friend and colleague but an admirer, a fan. Just another reader, out there in the dark."]]></description>
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<item rdf:about="https://www.youtube.com/watch?v=19q4pWKPlj0">
    <title>Ave Maria/Sophia/Gaia: Katherine Bubel and Michelle Berry Lane on Illich and the Sacred Feminine (Conversation #4) - YouTube</title>
    <dc:date>2023-11-29T07:11:40+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=19q4pWKPlj0</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["For our fourth and final conversation, around and beyond the legacy of Ivan Illich, we hear reflections and discussion from Katherine Bubel and Michelle Berry Lane before moving into an extended open discussion.

Katherine discusses Illich's mythopoetics of Prometheus, Epimetheus, and Pandora, the latter a patriarchally diminished version of the Earth Goddess Gaia, who Katherine connects to the biblical divine wisdom figure of Sophia, and Mary, Mother of God. Where Prometheus pursues mastery and technology, "Epimethean man stays and listens to the dream of Gaia/the Earth."

Michelle talks about about the conviviality with and of bees, and connects Illich with Suzanne Simard’s work on tree talk, and Lynn Margulis' work on symbiogenesis. She makes the case that the lost sense of contingency--life hanging moment by moment on God's grace--can be recaptured in the modern awareness of the complete contingence of our life on the health of our relationships.

Katharine Bubel is assistant professor of English at Trinity Western University

Michelle Berry Lane is a poet, a teacher of environmental science and a student of theopoetics, and part of Rochester Pollinators, a pollinator advocacy organization in southeast Michigan. 

Here is the video, "Un Certain Regard," in which gives his take on the myth of Pandora, Prometheus & Epimetheus: https://www.youtube.com/watch?v=L_ByKXCr9TA "

[Conversation #1
https://www.youtube.com/watch?v=nvbzuQdO19M

Conversation #2
https://www.youtube.com/watch?v=IJOwHQXpMbQ

Conversation #3
https://www.youtube.com/watch?v=1Avh1AJ9sls

Conversation #4 (this bookmark)
https://www.youtube.com/watch?v=19q4pWKPlj0

See also:

Ivan Illich/David Cayley Book Club #3 of 6
https://www.youtube.com/watch?v=QhCYH95t768 ]]]></description>
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<item rdf:about="https://www.youtube.com/watch?v=1Avh1AJ9sls">
    <title>“One No, Many Yeses” – Sam Ewell &amp; Dougald Hine in Illich Conversation #3 - YouTube</title>
    <dc:date>2023-11-24T16:41:15+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=1Avh1AJ9sls</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Gustavo Esteva coined the slogan “One No, Many Yeses” to communicate the way Illich’s sense of “the vernacular” offers many small and winding exits off of the one big road of industrial “progress” that tries to gather up the whole globe into one great machine, one overriding system so vast that it no longer has an outside. Modernity, or The Machine, if you prefer Paul Kingsnorth’s term, as a kind of mutant of Christian mission, aims to bring everyone and everything into its fold, dissolving local culture and custom, eroding the soil of friendship that is always particular, fitting to this place, these people. In this conversation, Dougald Hine, Sam Ewell and friends colour in some of the small, convivial possibilities that lie on the other side of a no to the promises of modernity, the kinds of gardens that can grow up in the cracks of big systems."

[Conversation #1
https://www.youtube.com/watch?v=nvbzuQdO19M

Conversation #2
https://www.youtube.com/watch?v=IJOwHQXpMbQ

Conversation #3 (this bookmark)
https://www.youtube.com/watch?v=1Avh1AJ9sls

Conversation #4
https://www.youtube.com/watch?v=19q4pWKPlj0

See also:

Ivan Illich/David Cayley Book Club #3 of 6
https://www.youtube.com/watch?v=QhCYH95t768 ]]]></description>
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<item rdf:about="https://www.youtube.com/watch?v=vWnzkjUAZnQ">
    <title>Fred Moten on Palestine and the Nation-State of Israel - YouTube</title>
    <dc:date>2023-11-12T04:49:48+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=vWnzkjUAZnQ</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Fred Moten will join live to talk about Palestine, decolonization, settler colonialism, and the nation-state of Israel. 

Fred Moten is a cultural theorist, poet, and scholar whose work explores critical theory, black studies, and performance studies. Moten is Professor of Performance Studies at New York University and Distinguished Professor Emeritus at University of California, Riverside. He along with Stefano Harney co-authored The Undercommons: Fugitive Planning & Black Study and All Incomplete with Stefano Harney. He is the author of the Consent not to be a single being trilogy and numerous volumes of poetry among other work."

[cleaned-up audio-only version here:
https://www.youtube.com/watch?v=avrGDvwKhM0
https://millennialsarekillingcapitalism.libsyn.com/a-dam-against-the-motion-of-history-fred-moten-on-palestine-the-nation-state-of-israel
https://open.spotify.com/episode/6XaYJuf8MnRm8rB4MS10bB
https://podcasts.apple.com/us/podcast/a-dam-against-the-motion-of-history-fred/id1292638162?i=1000634483115

"This is the slightly cleaned-up audio of our most recent conversation with Fred Moten.

 This was recorded on October 25th. Given the evolution of this struggle and the increasingly genocidal character as well as the ongoing resistance, our comments if we were to hold this discussion today on November 11th would undoubtedly be different. 

 Nonetheless I think a lot of what we cover remains important and we wanted to try to create an audio version of this conversation which held true to the character of the original which we will link in the show notes, but also share it with our broader audience, much of whom prefer the audio format. The audio quality of this version is hopefully also slightly better than the original YouTube version.

 I would note that we now have fourteen of these livestreams up on our Youtube channel which everyone can check out. All of them are related to this current struggle for Palestinian liberation as well as the struggle against the genocidal settler violence we see unleashed on Gaza with full support material, ideological, military of the US as a settler empire in particular and the institutions and governments so-called Western World writ large. 

 I want to acknowledge and shout-out everyone who is taking action and trying to deepen and expand their own anticolonial practices in these times until Palestine is free, until we all are free.

 Once again thank you to Fred Moten for this conversation

 If you like our work of course you can as always support our work on patreon or by becoming a member of our YouTube channel. Thank you for listening and I hope you are finding new comrades in the streets every day.

 Fred Moten's conversation with Robin DG Kelley, Aqua Cooper & Rinaldo Walcott that is mentioned in the episode

 Previous episodes with Fred Moten &amp; Stefano Harney, and his conversation with Hanif Abdurraqib that we've hosted."]]]></description>
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    <title>Why the Internet Isn’t Fun Anymore | The New Yorker</title>
    <dc:date>2023-10-11T02:00:09+00:00</dc:date>
    <link>https://www.newyorker.com/culture/infinite-scroll/why-the-internet-isnt-fun-anymore</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The social-media Web as we knew it, a place where we consumed the posts of our fellow-humans and posted in return, appears to be over."

...

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

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

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

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

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

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

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

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

I have been trying to recall the times I’ve had fun online unencumbered by anonymous trolling, automated recommendations, or runaway monetization schemes. It was a long time ago, before social networks became the dominant highways of the Internet. What comes to mind is a Web site called Orisinal that hosted games made with Flash, the late interactive animation software that formed a significant part of the kitschy Internet of the two-thousands, before everyone began posting into the same platform content holes. The games on the site were cartoonish, cute, and pastel-colored, involving activities like controlling a rabbit jumping on stars into the sky or helping mice make a cup of tea. Orisinal was there for anyone to stumble upon, without the distraction of follower counts or sponsored content. You could e-mail the site to a friend, but otherwise there was nothing to share. That old version of the Internet is still there, but it’s been eclipsed by the modes of engagement that the social networks have incentivized. Through Reddit, I recently dug up an emulator of all the Orisinal games and quickly got absorbed into one involving assisting deer leaping across a woodland gap. My only reward was a personal high score. But it was more satisfying, and less lonely, than the experience these days on X."]]></description>
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    <title>Leaving Behind the Yellow Submarine - Boston Review</title>
    <dc:date>2023-10-02T18:27:53+00:00</dc:date>
    <link>https://www.bostonreview.net/articles/jo-guldi-exile-aboard-yellow-submarine/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The final scene of the 1968 animated Beatles movie, Yellow Submarine, shows the character of Jeremy Hillary Boob, Ph.D., pirouetting through the cosmos, borne by a constantly expanding flower. He is the nerd-hero; he has triumphed over the closed-minded, music-hating threat of the Blue Meanies, proving that even the cruelest of adversaries can be transformed by the power of beauty, love, and a classical education. Yet when we first meet him, Jeremy is pitiable, a “Nowhere Man”: a bulbously shaped, furry, pink-tailed creature who alone remains in the void when a Vacuum Monster sucks the world into his snout and then devours himself. He babbles in Latin about his articles, his essay for The New Statesman, his educational pedigree, and his yet-unfinished novel. Everything he has written is “for nobody,” the Beatles observe.

Jeremy is a satirical representation of Jeremy DuQuesnay Adams (1934–2016), medieval historian at Yale and Southern Methodist University, a professor fondly remembered for his resonant voice, wide smile, wild suspenders, and entertaining ties. At Yale his books won prizes, but in those days a single no vote could void a tenure case, and Jeremy was the victim of jealousy or resentment or skepticism of some kind. In his later life, exiled in Dallas, Jeremy found generating books cumbersome. In the classroom, however, he still stood out for the quality of his engagement with students: a mind vividly alive, capable of tacking between ancient philosophy, art history, theology, debates about charter schools, and contemporary theories of child development.

Jeremy found his way aboard the Yellow Submarine at a time when the public role of the university was changing. The real-life Jeremy’s college friend, Erich Segal, also denied tenure at Yale, had been invited by United Artists to thoroughly revise the Yellow Submarine screenplay before its production, writing in a version of his old friend. Like many of his generation, Segal believed that the university in general and the humanities in particular could help to humanize public discourse in an increasingly pluralistic society. From Love Story (1970) to The Class (1985), Segal’s novels struggle with themes of pluralism and universal virtue.

Jeremy also found himself treating ancient themes in an inclusive new light. Before I audited his seminar on St. Augustine at age seventeen, simple binaries divided my world into atheist liberals and Christian conservatives. I vividly remember Jeremy’s classroom presentation of the reevaluation of women’s worth in the classical world. In ancient Rome, the story of Lucretia offered a cautionary fable. The virtuous wife of a politician, Lucretia was raped at the point of a sword by a despot’s son, and afterward took her own life. Her suicide was vaunted by the classical poets as the model of female dedication to family honor. Augustine had argued, against his pagan counterparts, that Lucretia’s suicide was in fact a cardinal sin, surrendering to despair instead of trusting in the divine. In this way, Jeremy explained, early Christians staked their belief in the value of women’s souls to their creator, and by implication, pressed against a culture that blamed the victims of rape for their own misfortune.

To present these arguments in a Dallas classroom in the 1990s was unavoidably political, implying a comparison between the sexual equality of the early church and the sexual inequality of the present day. The public schools, despite their liberal teaching of evolution and global warming, boasted few sex-ed classes, and those that were available offered only vague explanations, mostly harping on the evils of premarital intercourse. Victim-blaming often accompanied any mention of rape.

Encouraged by the erudite tradition of medieval biblical scholarship, the students who heard Jeremy’s lectures were able to crack the door of enlightenment a little wider, glimpsing how a reader might take a radical position within the church, or (in this case) how Christians and Texans might become feminists without losing their identity. In Dallas, insofar as church politics mattered, church history mattered as well. History challenged Dallas’s prejudices about gender in its own language, juxtaposing the conservative politics of Dallas with the reality that identities and institutions change—an idea which suggested that change might come in our own time as well.

Jeremy spent much of his professional life navigating a culture that was less confident than he about the continuing relevance of classical learning. In 1968, the year of Yellow Submarine’s release, students across America were rebelling against requirements to learn Latin and attend chapel services. Throughout the film, the Beatles spout anti-intellectual witticisms (“Fudd,” reads Ringo flatly as he pronounces the “Ph.D.” on Jeremy’s card). John quips distorted Einstein and Vedic philosophy. To a generation already skeptical of the university, the Beatles represented proof that creativity and love were to be found in popular culture, not in the classical canon. What use had the Beatles, or their fans, for footnotes or dead languages? For his part, the real Jeremy never suffered from skepticism about the canon. He continued to insist on the Western canon’s power to transform the life of anyone who appeared in his classroom, mine included.

***

When I met Jeremy, I was a high school student, presuming upon the auditing system to attend his seminar. He befriended me, invited me to tea, coaxed sincere opinions about Plato out of me, and talked to me about my future. I was not the only one. At his dinner table I met dozens of alumni of all genders, ages, and backgrounds who had been drawn out with the same tenderness.

In exile, Jeremy refined the virtue of mentorship into a spiritual discipline. How many of us who teach at Ivy League schools, or even at a liberal arts college such as SMU, would make room today for a high school student—an auditor, no less—at the seminar table, let alone invite her to tea? We favor the students we can groom into research assistants, the ones we can send to graduate school to prove that our work is still relevant. I see these instrumental tendencies in myself, and remember how much I benefitted from Jeremy’s mentorship, which looked for none of those rewards from me. Mentorship, for him, was ultimately how the humanities justify themselves: by sharing the knowledge of the past with others so that through these human relationships, other people too can become both tender and wise.

Jeremy’s lively thinking left ideas still working in my mind decades later. He introduced me to the insight that histories of landscape had been highly theorized in the 1970s and ’80s and were due for a serious return in cultural history. That thought kept me working on landscape theory, a subject then out of vogue at Berkeley, weaving it into my first book and a series of articles and online essays. He also posed to me the question of what had become of Fernand Braudel’s longue durée approach to history, and insinuated that medievalists might have had a different place in the life of the mind had more modernists worked on longer timescales. Those questions fed the conversations with David Armitage that became The History Manifesto (2014), our own contribution to longue-durée thought.

However much Jeremy may have grieved his expulsion from East Coast intelligentsia, I think of him as a paragon of intellectual life. At Harvard, I visited the student literary societies—the Signet and the Advocate—and left convinced (perhaps unfairly) that my contemporaries’ love of learning paled in comparison to that of the “interested and interesting,” as Jeremy described his own generation. For my part, I wanted a life like the one that Jeremy had made for himself. I had inhaled the dream of the humanities’ relevance to the present; the perspective of ancient wisdom on current struggles over identity or church or state; the charismatic lecture or personal seminar as the ideal crucible for shaping engaged, passionate citizens.

Jeremy set me on my quest to talk to business majors, Republicans, and the southern establishment by writing accessibly about state and market and virtue and democratic participation in the past. This fall, I am bringing that dream into reality, teaching in the SMU history department where Jeremy taught. When I accepted the position to join his department, I made a choice that would be shocking to some, turning down an Ivy League job that I didn’t have to leave and where I was well along the path to tenure. I returned to an institution that seeks to engage and challenge the conservative elements of the South in their own language. I returned home to revive a relationship with the people of the region where my parents and siblings still live. What I had seen Jeremy do under coercion, I knew that I could do by choice. I left a dream job for a life that was a dream, and that has been mentorship’s longest gift.

At SMU today, historians are challenging the Texas curriculum and bringing greater attention to the history of racial violence in the southwest. They understand how historical studies can transform the minds of American college students whose politics derive from affluence, fear, and often a degree of ignorance. As Jeremy knew, even students dedicated to conservative values and the ethics of business can recognize the value of history. To talk to those students about change is very much why I wanted to earn a doctorate in history. Long before I began college, I understood that studying the past presents the opportunity to reform the world a little on behalf of the future.

Until the last scene of Yellow Submarine, it is unclear why the Beatles need an intellectual to accompany them on their world-saving journey across the sea of monsters to Pepperland. Despite their skepticism, their Latin-spouting friend saves the day. With Jeremy’s touch, roses sprout from the noses of the villains. Assaulted by his erudition, their hearts open and the war ends. Yellow Submarine offers an allegory on the value of the humanities in a populist age. Popular culture can enkindle the heart and bring beauty into the world, but some knowledge of our common past is necessary to change the minds of one’s purported enemies."]]></description>
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    <title>Opinion | No, I Don’t Want to Go for a Walk With You - The New York Times</title>
    <dc:date>2023-09-20T22:56:52+00:00</dc:date>
    <link>https://www.nytimes.com/2023/09/20/opinion/walk-and-talk-meetings.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["A new form of social tyranny has broken out. Opposition to it seems churlish and unsporting. Refusal risks offense. Other than actual or feigned injury, or bad weather, there is truly no escape.

I am speaking of the invitation that seems to arrive with ever increasing frequency from acquaintances, new friends and colleagues: Do you want to take a walk with me?

My answer is, in almost every case, no. I would not like to take a walk with you.

Don’t get me wrong. I love walking. I am a New Yorker, so I walk every day, several times a day. With my dogs in the park first thing in the morning. To the supermarket or the subway. And I am hardly a misanthrope. I love a coffee date or meeting for lunch. I’ll happily do drinks, soft or hard, depending on the mood and the hour. Or meet for a chat on a park bench.

But what began as a pandemic necessity has continued in a world where, despite a spike in Covid cases, normal life has come raging back.

This summer, people forked over wads of cash that could buy you a pretty decent used car to be wedged in close, screaming at the top of their lungs, at a Beyoncé concert or watching Coco Gauff pummel her way to her first Grand Slam title in the U.S. Open. These are ideal as shared activities. (For the record, I sadly didn’t score tickets to either of these extravaganzas.) Walking is another story.

I had a classic Generation X childhood that hovered just on the edge between free range and outright neglect. This meant I was expected, from quite a young age, to make myself scarce from home and find my own entertainment. My family moved around a lot; I was a bookish and awkward kid, more comfortable with adults than with people my own age. I spent a lot of time alone. I walked and walked and walked.

This was the 1980s, long before we could carry thousands of digitized songs in our pockets, and podcasts, of course, did not exist. Lacking a Walkman, I had nothing but my own thoughts to keep me company on these rambles, and my young, plastic mind formed indelible grooves and associations. Like most humans, I am a terrible multitasker. Invite me on a walk and I will struggle to keep up my end of the conversation because my brain cannot unlearn that walking time is thinking time, my mind wandering as widely and aimlessly as my feet.

This became a problem for me even before the pandemic. It was the early 2010s: Sitting (once a comfort I associated with the pleasure of reading) was suddenly considered as bad as smoking (once a pleasure I associated with … pleasure). Walking, or “getting your steps in,” would lower cholesterol, forestall diabetes, improve your memory.

This news came in the wake of a big tech boom. The innovation gurus of Silicon Valley were coming up with wild new ideas that transformed our economy, powered by new ways of working — open office plans that supposedly encouraged collaboration, playful workplace amenities like Ping-Pong tables. And of course, walks. Steve Jobs set the blueprint: He loved a walking meeting, and his endless imitators adopted the habit.

I tried mightily to get onboard with this trend, especially in the years I spent as a media executive working in tech companies. But I never got the hang of the walk and talk. Years of training my mind to pay attention while still and wander while wandering proved impossible to dislodge.

Even passive listening kills the vibe. Gripped by the mania for optimization, I used to try to fill my walking time with podcasts and audiobooks. But over time I find that I do less and less of that, in no small part because I often struggle to pay attention to what I’m listening to.

I really do appreciate the arguments in favor of walking and talking. Walking is good for you. Some people find it easier to talk to someone while engaged in another activity. This is apparently especially true for boys and men (my theory is that’s because men have been socialized to feel uncomfortable making one-on-one eye contact with one another).

A walk is a way to meet someone without consuming things (coffee, alcohol and food being the most popular choices) and without creating the obligation to provide hospitality in your home. I have a special exception to my general rule for parents of young children, for whom a walk while pushing a slumbering infant in a stroller is a rare chance to connect with a grown-up. And of course a spontaneous walk with a close friend — someone with whom you have a genuine, intimate relationship — can be a joy.

And yet. Taking a walk with someone you don’t know that well feels, to me at least, a bit like a forced march into intimacy, or an unwanted conscription of a treasured morsel of leisure into our obsession with productivity and self-improvement.

Even the arguments for the creative benefits of walking can fall into this trap. Fans of walks love to point out that Virginia Woolf dreamed up “To the Lighthouse” on a walk around Tavistock Square. Insomniac walks through London powered Dickens’s novels. Bathtubs and apple trees get all the attention, but many more scientists have had their eureka moments while on long, solitary ambles. Friedrich Nietzsche famously wrote that “only those thoughts that come by walking have any value.”

Sure. But the magic lies not in the end result but in the activity itself.

In her book “Wanderlust,” Rebecca Solnit captures solitary ambling perfectly: “Walking, ideally, is a state in which the mind, the body, and the world are aligned, as though they were three characters finally in conversation together, three notes suddenly making a chord. Walking allows us to be in our bodies and in the world without being made busy by them.”

The writer Teju Cole often gets invited to take walks, because his luminous novel, “Open City,” is filled with looping, interminable walks. But he usually demurs.

“Really, what I love more than walking itself is getting lost,” he said in an email. “And getting lost with someone else in tow is difficult. This might be why my favorite walks have been in solitude and in cities with which I am unfamiliar. One evening a few years ago, in the throes of jet lag, I set out from my Paris hotel without a map and without a phone, and I simply walked, for almost four hours. It remains my most memorable experience of that city.”

But even in your hometown, solitude rules. Or so Colson Whitehead, novelist and indefatigable New York walker, said of his peregrinations.

“Walking in New York is very much a solo pursuit for me,” he told me. “But I never feel alone because I have company — I’m walking with, not through, the City.”

Walking is a rare moment in our modern life where you can just let your mind wander. Aimless walking is a lost art in our ever-optimizing society. So let’s meet for coffee. I’m sure I’ll come up with lots of fun things to talk about on the walk over."]]></description>
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    <title>How Much Discomfort Is the Whole World Worth? - Boston Review</title>
    <dc:date>2023-09-11T20:03:15+00:00</dc:date>
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    <dc:creator>robertogreco</dc:creator><description><![CDATA["Movement building requires a culture of listening—not mastery of the right language."

...

"Organizing is not a process of ideological matchmaking. Most people’s politics will not mirror our own, and even people who identify with us strongly on some points will often differ sharply on others. When organizers do not fully understand each other’s beliefs or identities, people will often stumble and offend one another, even if they earnestly wish to build from a place of solidarity. Efforts to build diverse, intergenerational movements will always generate conflict and discomfort. But the desire to shrink groups down to spaces of easy agreement is not conducive to movement building.

The forces that oppress us may compete and make war with one another, but when it comes to maintaining the order of capitalism and the hierarchy of white supremacy, they collaborate and work together based on their death-making and eliminationist shared interests. Oppressed people, on the other hand, often demand ideological alignment or even affinity when seeking to interrupt or upend structural violence. This tendency lends an advantage to the powerful that is not easily overcome.

Put simply, we need more people. What do we mean by this? We are not talking about launching search parties to find an undiscovered army of people with already-perfected politics with whom we will easily and naturally align. Instead, organizing on the scale that our struggles demand means finding common ground with a broad spectrum of people, many of whom we would never otherwise interact with, and building a shared practice of politics in the pursuit of more just outcomes. It’s a process that can bring us into the company of people who share our beliefs quite explicitly, but to create movements, rather than clubhouses, we need to engage with people with whom we do not fully identify and may even dislike. We can build upon our expectations of such people and negotiate protocols around matters of respect, but the truth is, we will sometimes be uncomfortable or even offended. We will, at times, have to constructively critique people’s behavior or simply allow them room to grow. There will be other times, of course, when we have to draw hard lines, but if we cannot organize beyond the bounds of our comfort zones, we will never build movements large enough to combat the forces that would destroy us.

***

Some groups have learned to navigate difference and animus out of necessity. Incarcerated people organizing within prisons, for example, often learn to put feuds, rivalries, and personal differences aside because they recognize the necessity of building with who is there.

As Kelly and organizer Ejeris Dixon wrote in Truthout in June 2020, when discussing solidarity in the face of right-wing violence and the rise of fascism:

<blockquote>Not everyone we work with on a particular issue has to have deep ideological alignment with us. A skilled organizer should be able to work with people who aren’t of their own choosing, including people they don’t like. It’s really as simple as being attacked by fascist police in the streets. Once the attack begins, there are two sides: armed police inflicting violence and everyone else. We need to be able to see each other in those terms, reeling in the face of unthinkable violence, scrambling to stay alive and uncaged, and doing the work to protect one another.</blockquote>

This will not come easily, because white supremacy and classism have forced many wedges between our communities. Great harms have been committed and very difficult conversations are needed, but refusing to do that work, in this historical moment, is an abdication of responsibility. It is no exaggeration to say that the whole world is at stake, and we cannot afford to minimize what that demands of us.

This is not to say that we should seek no respite from the messiness and occasional discomfort of large-scale movement work. We all need spaces where we can operate within our comfort zone. Whether these take the shape of a collective, an affinity group, a processing space, a caucus, or a group of friends, we need people with whom we can feel fully seen and heard and with whose values we feel deeply aligned. In such a violent and oppressive world, we are all entitled to some amount of sanctuary. Many organizers have tight-knit political homes, sometimes grounded in shared identity, in addition to participating in broader organizing efforts.

But broader movements are struggles, not sanctuaries. They are full of contradiction and challenges we may feel unprepared for.

Effective organizers operate beyond the bounds of their comfort zones, moving into what we might call their “stretch zone,” when necessary. No one has to be able to work with everyone, but how far beyond the bounds of easy agreement can you reach? How much empathy can you extend to people who do not fully understand your identity or experience or who have not had the same access to liberatory ideas? How much discomfort can you navigate for what you believe is truly at stake?

These are not questions anyone can answer for you, as we must all make autonomous choices about who we connect and build with, but if we do not challenge ourselves to navigate some amount of discomfort, our political reach will have terminal limits. To expand the practice of our politics in the world, we have to be able to organize outside of our comfort zones. People whose words and ideas don’t yet align with our own often need room to grow, and some people grow by building relationships and doing work—often in fumbling and imperfect ways.

Political transformation is not as simple as handing newcomers a new set of politics and telling them, “Yours are bad, use these instead.” Instead, we will sometimes have to accompany people along messy transformational journeys. And we must also remember that no matter how far we have come, we are still on our own messy journeys, and our own transformations will continue as we grow.

***


To do this kind of work, a person has to hone multiple skills, including the ability to listen.

When people delve into activism, they often grapple with questions like, “Am I willing to get arrested?” when often the more pressing question for a new activist is, “Am I willing to listen, even when it’s hard?”

For organizer and scholar Ruth Wilson Gilmore, it was her time in Alcoholics Anonymous that helped her transform her practice of listening. “The main thing that I learned,” Gilmore told us, “especially in the first couple years that I was going to meetings, was the beauty of the rule against crosstalk. It was the best thing that ever happened to me, that I couldn’t say shit to anybody. I had to listen, and I had to learn to listen.” The urge to interject or object ran deep for Gilmore. “I’ve always been a nerd, yet I’ve always been a know-it-all,” she told us, “so there’s this tension between my nerdiness that wants to know everything and my know-it-all-ness that wants everybody to know that I know it all already.”

At first, listening did not come easily—or feel particularly productive—to Gilmore. “I would sit in these meetings, and I listened to people talk, and listened to them, and listened to them, and at first I was like, ‘I don’t get this, I don’t get this.’ And so for me in the early days, it was just a performance of words. I mean, my main thing was, ‘I won’t drink when I leave this meeting. I won’t drink, and I won’t use.’”

But over time, Gilmore began to appreciate the role of listening in the group’s collective struggle to avoid drugs and alcohol—even when she did not appreciate what was being said. “I would be getting more and more wound up, because there’d be the sexist guy going on about women and his wife, and then there’d be somebody else talking nonsense about whatever, [but I was] learning to just sit there, and listen, and keep my eye on the prize, which was not just that I wasn’t going to drink but that the only way I could not drink was if all of us didn’t drink.”

Being committed to the sobriety of every person in the room, which meant listening to their story and being invested in their well-being, helped Gilmore develop a deeper practice of patience. “That was kind of this transformation for me that carried into the organizing that I already used to do before I got sober,” she told us.

It is our ability to constructively engage with other people that will ultimately power our efforts. We have to nurture that ability and respect its importance in all of the ways that our society does not. And that skill of constructive engagement starts with listening.

Like so many other aspects of organizing, listening is a practice, and at times, it’s a strategic one.

We might need to hear something true that makes us uncomfortable. Listening deeply makes space for that to happen. But even if the person who’s talking is off base, we can often still learn by listening to them. Why do they feel the way they do? What sources informed or convinced them? What influences them? What strengthens their resolve? What makes them hesitant to get more involved or to engage more boldly? If you are in an organizing space together, how has that issue brought them into a shared space with you despite your differences? What points of agreement might you build upon? What is surprising about them? A good organizer wants to understand these things about the people around them, and you cannot truly understand these things about a person without listening.

Even if the person who’s talking is off base, we can often still learn by listening to them.

Organizers will often repeat the maxim, “We have to meet people where they are at.” It is difficult to meet someone where they’re at when you do not know where they are. Until you have heard someone out, you do not know where they are, so how could you hope to meet them there? Relationships are not built through presumption or through the deployment of tropes or stereotypes. We must understand people as having their own unique experiences, traumas, struggles, ideas, and motivations that will inform how they show up to organizing spaces.

Some task-focused activists brush off activities that involve “talking about our feelings.” This is a common sentiment among bad listeners. The fundamental skill of patiently absorbing another person’s words in a respectful and thoughtful manner is desperately lacking in our society. For this reason, it is folly to expect this skill to manifest itself fully formed when it is most needed, such as in a heated meeting, if we are not building a greater culture of listening in our work.

A group culture that helps participants build their listening skills is an important component of successful organizing. Political education can create opportunities for people to practice listening to one another, without interruption, and interacting meaningfully with what others have contributed. For example, during the Great Depression, communist union organizers in Bessemer, Alabama, developed a practice of devoting thirty minutes of each meeting to political education. For thirty minutes, material would be read aloud—creating space to collectively listen while also allowing members who could not read the opportunity to hear the information. Members would then spend fifteen minutes discussing the material, listening to each other’s thoughts in response to the work.

In organizing, we sometimes expect people, including ourselves, to shed the habits this society has embedded in us through sheer force of will, when in reality we all need practice. Activities that help us hone our practice of listening can make us better organizers, improve our personal relationships, and help us build stronger and longer-lasting movements.

***

As we work to build more sustainable movements, we must think hard about our strategies for responding when organizers make mistakes. Social media can often foster a “zero-tolerance” attitude about political ignorance or missteps. Platforms like Twitter have helped facilitate tremendous accomplishments in movement work, but they have also created an arena for political performance and critique that is often divorced from relationship building or strategic aims. For many people, social media is not an organizing tool but a realm of political performance and spectatorship. A trend has emerged in which some organizers will demand performances of solidarity and awareness on social media but then critique or even tear apart those performances when they fall short or are deemed insincere. As with reality television, favorites emerge, and people are sometimes voted off the island.

When the performance of solidarity via the replication of the right words or slogans becomes our central focus, it’s not surprising that responses might read as empty or even insincere. Sloganizing is not organizing, and paying righteous lip service to a cause, in the preferred language of the moment, does not empty any cages or transform anyone’s material conditions. Rather than fixating on the grammar of people’s politics, we organizers must ask ourselves what we want people to do.

When debates arise around language, we must also understand the extent to which the language of dissent and liberation has shifted over time. The terms and jargon we use today do not represent an “arrival” at the “correct” words that were always out there, waiting to be found, while our predecessors flailed about in search of them. The language we uplift in movements today represents an unending process of grappling—a search for words that embody the experiences of oppressed people in relation to their history, their current conditions, and the culture they are presently experiencing. Policing language, as though our phrasing is written in law, misunderstands that pursuit and the purpose it serves. If these words merely exist to divide us into categories—those who can properly discuss ideas and those who cannot—what is their value in the pursuit of liberation?

While it is important to trouble terminology and to engage with its evolution, the mastery of language does not spur systemic change or alter anyone’s material conditions. The concept of “allyship,” for example, is often grounded in presentation rather than substantive action. Similarly, people who believe they are “good people” often view goodness as a fixed identity, evidenced by their expressed feelings about injustice rather than a set of practices or actions. Goodness, to them, is a designation to be defended rather than something that they seek to generate in the world in concert with other people. Mainstream liberals often fall prey to this line of thinking because liberal politics play very heavily into political identity as being determinant of whether a person is good or bad (Democrats are good, Republicans bad). But the left can fall into its own version of this trap by treating politics as a test of how well we can perform language or recite ideas.

Our movements are not driven by getting the words just right. They are driven by the goal of enacting change through collective struggle as we endeavor to both understand ideas and turn them into action. Fumbling is inevitable, but as Gilmore tells us, “practice makes different.”

Dixon emphasizes that people will show up imperfectly and that organizers have to anticipate that mistakes and harm will happen. “I worry we’re creating a culture now where people are so afraid to make mistakes,” she told us. “They’re afraid to not have the analysis before they open their mouth. The bonds that I’m really trying to build within organizing are the bonds where we can divulge the things that we are nervous about, or ashamed of, or the things we need to learn, all of those areas, because that’s when I know we’re building the kind of intimacy that takes care of each other around heightened threats.”

Dixon points out that when trust is lost, organizing not only becomes more difficult, but it also becomes more vulnerable to surveillance and infiltration: “A huge piece of COINTELPRO was around seeding distrust.” Therefore, she says, a key part of organizing is building bonds of trust, and that can only happen within a context where people are allowed to be vulnerable and make mistakes.

Learning and growing in front of other people can be embarrassing, and even intimidating, particularly for people who have been put down or made to feel diminished in the past. Even seasoned organizers like Dixon often worry about derailing their work with a verbal misstep. “I have a small crew of other organizers where I think our text thread is mostly questions we are afraid to ask publicly,” she acknowledged. “It’s our own little political education circle, where we ask, ‘What does this mean?’ Or, ‘Is this fucked up?’ Or, ‘What is the right way to say this? Because I don’t think this is right.’” Dixon says that she believes “everyone needs that text thread,” but she also hopes that more of our movement spaces can operate in the same spirit and offer opportunities for people to “feel safe in their process of transforming.”

Creating trust-based movement spaces also puts us in a better place to confront harm and conflict, Dixon says.

“The biggest part of the work is how we maintain relationships while navigating harm,” she told us. “Because that’s the thing, that will break your group. That’ll break any project.” Dixon stresses the importance of conflict resolution and accountability mechanisms within groups—that is, group- or community-based methods of confronting harm, such as peace circles and transformative justice. But she also reminds us that in order for accountability mechanisms to serve their purpose, people need room and opportunities to grow. “People need to build skills and mechanisms to navigate conflict. Sometimes we’re not apologizing. Sometimes we’re not accountable. Sometimes we have done harmful things. Sometimes we’re doing things we were never told go against the norms [of the group] and then are being held accountable.”

In an organizing space, accountability should not be about policing or punishment, but our punitive impulses can sometimes twist accountability mechanisms into those shapes. It’s easy to forget how imperfectly we ourselves have shown up in movement spaces and throughout our lives. Sometimes our aggravation with others is rooted in pain or trauma we have experienced; sometimes it is rooted in our uneasiness about things we may have said or done that were equally upsetting because we did not always know what we know now. And regardless of how much we believe we have learned, as the saying goes, we don’t know what we don’t know. Many of us would not be in this work today if someone along the way had not been patient with us.

Even if we never develop a sense of mutual respect and understanding, or even come to like the people we’re working with, we can still build power with them. In many cases, we must. After all, the whole world is at stake. We must ask ourselves, how much discomfort is the whole world worth?"]]></description>
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    <title>Is AI Going to RUIN Writing For Good? (w/ Corey Robin) - YouTube</title>
    <dc:date>2023-09-07T23:27:26+00:00</dc:date>
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    <dc:creator>robertogreco</dc:creator><description><![CDATA["This week, author, professor of political science, & political theorist Corey Robin joins Briahna Joy Gray on Bad Faith to unpack his recent article about how AI is disrupting how writing is taught across the country. The tech/ Chat GPT has gotten so good that it's nearly undetectable, and the temptation to cheat on at home essays is making many teachers consider whether all essay writing should happen in class. But the trade offs are obvious: Should limited class time time be taken up by in class essays? Is it worth asking whether the pedological benefit of at home essays is worth losing dynamic, socratic in class learning. What are we trying to teach kids with long form writing assignments anyway. Is writing obsolete? Should we lean into technological help in writing the way we've all become accustomed to spell check? Didn't Captain Kirk teach us that rigging technology to help you ace a test isn't actually cheating at all?"

[See also:

"The End of the Take-Home Essay? How ChatGPT changed my plans for the fall"
https://www.chronicle.com/article/the-end-of-the-take-home-essay

"How ChatGPT changed my plans for the fall"
https://coreyrobin.com/2023/07/30/how-chatgpt-changed-my-plans-for-the-fall/ ]]]></description>
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    <title>#FVTV Fu_tage 1: say hi Jabari. (Capoeira Angola) - YouTube</title>
    <dc:date>2023-08-07T17:55:10+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=z6Zrq531tIo</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>capoeira 2012 dance play conversation</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
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<item rdf:about="https://www.nytimes.com/2023/08/02/opinion/philadelphia-photography-youth-rec-centers.html">
    <title>Opinion | Philadelphia’s Recreation Centers, Where Fun Isn’t A Luxury - The New York Times</title>
    <dc:date>2023-08-04T20:00:59+00:00</dc:date>
    <link>https://www.nytimes.com/2023/08/02/opinion/philadelphia-photography-youth-rec-centers.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[archived here:
https://archive.li/4DsU7 ]

"Where can our children safely play?

In big cities, dense with buildings and people, bustling with traffic, this question has beleaguered generations of parents. And it was one I asked myself when I moved back with my four children in 2017 to Philadelphia after two decades away.

I was happy to return to the city to start a new job teaching poetry at Bryn Mawr College, but my children — especially the two oldest, who were high schoolers — were not. The grief of being pulled away from their friends and the pressure of learning new routines in a strange place weighed on them.

Toward the end of that first year, an old friend, also a Philadelphia native, reminded me of a valuable resource that might ease my children’s isolation — recreation centers. I immediately scoured the Philadelphia Parks and Recreation website for camps, anything that might help recreate their lost communal magic. I quickly found a teen adventures camp for my two eldest and an ecological camp and visual camp for my two youngest.

[image]

Through these programs my kids found friends with whom they could talk through the grief of moving, while figuring out new techniques in watercolor or filmmaking. “The rec” — as these centers are affectionately known in the city — helped my children tenderly carry their loss and move forward in community.

I was reminded of my family’s experience when I saw the work of Adrian Eli René — a young Haitian American photographer who moved to Philadelphia in 2020 and soon set out to get to know his city through the lens of his camera. His images capture young people at play and at ease with one another in and around Philadelphia’s recs.

[image]

In her book “All About Love,” bell hooks writes that “friendship is the place in which a great majority of us have our first glimpse of redemptive love and caring community.” Mr. René’s photos are mirrors of this idea. Two children clad in white T-shirts, standing back-to-back on a playing field, each seemingly measuring the shape of their respective horizons. A boy mid-daydream, leaning against a chain-link fence. A child reversing time as he jumps off the lip of a public pool.

[image]

Philadelphia has a long history of commitment to community space. In the 1880s, during the second Industrial Revolution, the first public baths — which would become public swimming pools — opened to provide working-class families access to bathing. By the early 20th century, Philadelphia’s philanthropic leaders partnered with the municipal government to create playgrounds and, later, recreation centers that housed any number of activities.

[image]

These new centers proved to be critical developments in the cultural life of poor urban neighborhoods. Equipped with an array of otherwise scarce facilities — basketball courts, fields, art studios — these spaces enshrined play as a means of not only strengthening communal ties but also affirming the community’s collective humanity. They powerfully disrupted the unjust socioeconomic logic that recreation is a luxury that poor people couldn’t afford and didn’t deserve. Subtly, recreation pointed toward a rising awareness that communal health begins with public spaces, particularly those devoted to inclusion and wellness.

[image]

We are now in the fifth Industrial Revolution, and the needs of working families remain unchanged. Philadelphia, despite limited funding, is still committed to meeting those needs. According to the Parks and Recreation Department, the city has about 150 staffed centers and more than 300 unstaffed neighborhood parks. Parks consist of some 10,000 acres, roughly 10 percent of the city’s land mass. The demand still exists for public gathering spaces where children are not in danger, and that’s the work of the rec.

[image]

These places of refuge, and the people who run them, do work beyond the obvious social good. At the rec, children can exercise creative agency, often deciding on their own how to use the space. The centers exist outside the prescriptive obligations, duties and expectations of schools or churches. They give children a place to work through, as my own children did, their triumphs and losses; innocence, immaturity and growth are valued. There, the children know they are free."]]></description>
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    <title>The Bear's Best Ingredient Is Tenderness - YouTube</title>
    <dc:date>2023-08-01T23:29:09+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=l1EaaCeAYFI</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>stress eustress distress film tv television perception work labor foodservice tenderness identity addiction turmoil kindness gentleness workplace families relationships conversation listening nerdwriter nerdwriter1 fightorflight culture tension escape listenbetter videoessays thebear evanpuschak</dc:subject>
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<item rdf:about="https://www.youtube.com/watch?v=z3zfMUBTDl0">
    <title>Why Language is Always Changing with Valerie Fridland - Factually! - 214 - YouTube</title>
    <dc:date>2023-06-14T15:24:34+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=z3zfMUBTDl0</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Language changes, and that's not a bad thing! This week, Adam is joined by sociolinguist Valerie Fridland to uncover how language is much more malleable than we're led to believe, and how the resistance against new slang often disguises an attempt to limit the influence of marginalized communities."

[Book here:

Like, Literally, Dude: arguing for the Good in Bad English, by Valerie Fridland
https://www.penguinrandomhouse.com/books/671558/like-literally-dude-by-valerie-fridland/

"ABOUT LIKE, LITERALLY, DUDE
“With easygoing authority… [Fridland] offers context, and a welcoming spirit, to the many contentious realignments in our language.”—The Wall Street Journal

“Smart and funny—I loved it!” —Mignon Fogarty, author of New York Times bestseller Grammar Girl’s Quick and Dirty Tips for Better Writing

A lively linguistic exploration of the speech habits we love to hate—and why our “like”s  and “literally”s actually make us better communicators

Paranoid about the “ums” and “uhs” that pepper your presentations? Concerned that people notice your vocal fry? Bewildered by “hella” or the meteoric rise of “so”?  What if these features of our speech weren’t a sign of cultural and linguistic degeneration, but rather, some of the most dynamic and revolutionary tools at our disposal?

In Like, Literally, Dude, linguist Valerie Fridland shows how we can re-imagine these forms as exciting new linguistic frontiers rather than our culture’s impending demise. With delightful irreverence and expertise built over two decades of research, Fridland weaves together history, psychology, science, and laugh-out-loud anecdotes to explain why we speak the way we do today, and how that impacts what our kids may be saying tomorrow. She teaches us that language is both function and fashion, and that though we often blame the young, the female, and the uneducated for its downfall, we should actually thank them for their linguistic ingenuity.

By exploring the dark corners every English teacher has taught us to avoid, Like, Literally, Dude redeems our most pilloried linguistic quirks, arguing that they are fundamental to our social, professional, and romantic success—perhaps even more so than our clothing or our resumes. It explains how filled pauses benefit both speakers and listeners; how the use of “dude” can help people bond across social divides; why we’re always trying to make our intensifiers ever more intense; as well as many other language tics, habits, and developments.

Language change is natural, built into the language system itself, and we wouldn’t be who we are without it. Like, Literally, Dude celebrates the dynamic, ongoing, and empowering evolution of language, and it will speak to anyone who talks, or listens, inspiring them to communicate dynamically and effectively in their daily lives."]]]></description>
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<item rdf:about="https://www.are.na/blog/with-and-without-a-firm-grasp">
    <title>With and Without a Firm Grasp — Are.na</title>
    <dc:date>2023-03-28T19:25:45+00:00</dc:date>
    <link>https://www.are.na/blog/with-and-without-a-firm-grasp</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["In his book Approaching the Qur’an, Michael Sells describes translation as a process that can never be perfectly one-to-one. He elaborates, writing:

<blockquote>My own view is that translation—never complete, always only an approach—is an essential element of human existence. Even among those who speak our own language, we often find we have interpreted a word in a way other than it was intended. We can never fully capture or seize the perfected meaning. If we could grasp or seize it, we would soon find that the meaning has lost its magic in captivity.1</blockquote>

I want to embrace translation as something that is process-oriented and impossible to perfect — something that reflects our human nature, a work-in-progress that’s perpetually and beautifully flawed. For the remainder of this essay, I’ll continue to translate a handful of words, expressions, and religious practices with the understanding that my translations are, in Sells’s words, only approaches and never complete. My translations are not definitive or authoritative; they instead aim to arrive at a conceptual throughline that positions language, warts and all, at the heart of this discussion."

...

"The circulation of printed Ramadan calendars reflects an ongoing exchange of designed data that I find interesting for a handful of reasons. Two pillars of Islam are beautifully championed in these eclectic calendars: prayer and fasting. Several languages are reflected throughout these timetables and in many instances a combination of scripts coexist side-by-side. Scale, font selection, color, and format are stretched in different directions, resulting in a wide range of typographic moves and decorative devices that effortlessly balance humanist expression with the expected functionality of a spreadsheet-calendar. 

Of course, there is another reason for my interest in these printed calendars that points to technology as both an important engine in Islamic history and a more recent threat to Islamic society. Many Muslims today rely on apps and websites when seeking prayer times, since they deliver this data with speed and accuracy. Like a lot of things that have transitioned from print to web, salah apps offer a blend of convenience, immediacy, and dependability, especially for those of us who live in areas where the azan is not heard everyday. But the trade-off for this convenience is loss of privacy through data extraction and the active surveillance of Muslim communities.

Thinking back to the word amsak, today’s technology might reveal an uglier side of holding, one that comes with strings attached. Our computers, phones, and devices offer information that’s immediately available for our consumption, and while this information helps us organize our day and practice our faith, it also reinforces oppressive power dynamics that rely so heavily on capturing and controlling Muslim communities. In contrast to prayer apps and websites, imsaakiyat Ramadan is localized and handed out in-person, making it less accessible to people outside of the served community and more difficult to track and trace in real time.

Printed Ramadan calendars still pull from data that’s sourced online, so they are by no means a perfect remedy to the larger problem of tracking and surveillance. But they at least prompt people to gather and seek salah times within their immediate communities, rather than searching for prayer times on an app and in isolation. Perhaps this means that the printed calendars are like Sudani salads and the apps are like dips — easy to find, easy to contain, easy to consume without cooking. While I’m trying to distance myself from the dips, I can’t avoid them entirely, and I can’t deny their relation to our salads. Dips and salads, America and Sudan, and English and Arabic operate within a continuum that loops and fluctuates with time. These things function and fall apart and function again, taking new form at the start of each cycle and reintroducing themselves to me with an anxiety that’s rooted in optimism.

I’m holding all sides of me with and without a firm grasp as I continue this effort at approaching myself."

[Part II here:
https://www.are.na/blog/with-and-without-a-firm-grasp-part-ii 

[Forough] "It wasn’t until I stepped out of my trained mindset when my design started resonating with the original references."

...

[Shiraz] "My hope is that we’re honoring and celebrating that work, not appropriating it."

...

"Forough:  A valuable conversation we had early on was about visual adaptation. There’s a fine line between appreciating and appropriating design references. We were talking about to what extent we can borrow from these calendars. As designers, we need to be conscious that the visual materials we encounter and approach are informed by their complex cultural and subcultural dynamics. We need to reference those visuals consciously.

Shiraz: That’s such an important point, because it begins to address the risk of us extracting visual materials that we are inspired by (which happens a lot in graphic design). In this case, I grew up with these salah tables. I look at them as important design precedents because they stem directly from my upbringing, my childhood, my relationship to Islam. I’m not at all removed from the communities that produce these prayer timetables, but I still worry about the role I play when I’m participating in the process of designing them. There’s an interesting exchange that might be happening, a translation of different design processes maybe.

With that in mind, I’m wondering what role translation played in your process. What did you need to translate in order to design the calendar? What wasn’t familiar in the beginning, and what did you learn in the end?"

Forough: I think of translation here as both linguistic translation and cultural translation, or, more specifically, an act of religious translation. In Twelver Shi’ism, Muslims combine prayers, like midday and afternoon prayer, so many Shi'a Muslims end up praying three times a day rather than five. This calendar has all the five prayer times. So I had to double check the differences there, and make sure that I understood them correctly — to me that’s a cultural/religious translation. 

We also included the Arabic and English translations of the weekdays. I looked up the Arabic translation and found some variations. In a few translations, I would see diacritic marks but in others I wouldn’t. With the central calligraphy, Ramadan Kareem, which is set in Thuluth script, I found examples where I couldn’t tell the difference between short vowel diacritics and ornamental marks. I asked a student in my class who’s fluent in Arabic to help me with this.

Another interesting thing was the numbering systems. In Arabic, four, five, and six are different from how we write those numbers in Farsi. 

Shiraz: All of this brings up the question of, why Arabic and English? What languages do we use on a calendar like this, for a community that includes many different people who speak many different languages? Arabic obviously plays a big role in the Islamic faith, and a lot of the terms on Ramadan calendars are either translated or transliterated Arabic terms. But there are real questions surrounding who dominates discussions on Islamic practice, who remains more privileged, and how can we counteract or challenge that? 

Forough: I think including Arabic on the calendar — even if I don’t read it or understand it — is more of a symbolic act. Even as a non-native speaker, I can recognize the form.

Shiraz: I agree, especially when we think of the role that Arabic calligraphy plays in Islamic art and architecture and how it often is preferred over pictorial images and iconography.

Forough: What is your relationship to Islam, and how has it developed and evolved throughout the years? 

Shiraz: I’m an American Muslim who toggled between living in the States and visiting Sudan as a child. As I spent more time in Sudan and compared those experiences with living in the US, I found that American Muslim communities have a heightened sense of identity that is informed by our vulnerability in this country. We’re very vulnerable to different policies and threats posed against us. Because of that — because we live in the margins of American society where we are regular targets, where we’re not, you know, governed by a body that reflects us — there’s a lot that we have to preserve and protect for the sake of survival, or even for the sake of feeling grounded in our day-to-day happenings. 

In the first blog post that we published at the launch of this project, I reference the word amsak, which means “to hold,” and I feel like that word is relevant here. American Muslims (as well as immigrants and diasporic folks in general) are holding onto themselves in a distinctive way. We are preserving aspects of our faith, culture, and personhood that are vulnerable to erasure and attack.

I’m wondering about your relationship to Islam and Ramadan, more specifically. Can you elaborate on your background in relation to the practices that are reflected on our calendar?

Forough: Growing up in Iran, I had a different experience of Ramadan from many practicing Muslims. In my family, a lot of religious practices and holidays received less attention than other cultural events and traditions. In my experience, I found that Muharram and more specifically Ashura held more cultural significance than Ramadan back home. The Persian New Year, which is based on the religion of Zoroastrianism, is another example that has similar, if not more significance, in my country.

It wasn’t until I started hanging out with friends in Dubai that I saw Ramadan as a religious and spiritual journey that’s experienced on a personal, internal, interpersonal, and communal level. In many Muslim countries, the everyday living experience changes slightly to accommodate Ramadan. The working hours would end by 2 pm, and the city would quiet down until iftar, becoming alive afterward until dawn."

...

"Forough: Sometimes graphic design can be an isolating process, because we don't always see our work come to life after we submit it. I can imagine distributing the Ramadan calendars in person gave you a better understanding of why this project was made and what purpose it served. It also gives you a different perspective, that graphic design is just one component of a bigger social engine. 

Shiraz: Right. I try to remind myself that our work is a small scale gesture. In projects like this, graphic design helps signal or point to things that people might need to talk about. For example: do we want to rely so heavily on today’s technology for things like prayer and fasting? Or do we want to find other routes of seeking and supplying this information that gets us offline and perhaps brings us in closer physical proximity to one another? I think these are important questions that go beyond graphic design, but also directly involve graphic design. "]]]></description>
<dc:subject>2023 shirazabdullahigallab food language translation arabic form time ramadan calendars numbers numbering farsi appropriation iran sudan religion islam society us immigration migration holding culture community dubai diaspora survival design graphicdesign charts technology fasting prayer information infoviz visualization conversation foroughabadian</dc:subject>
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    <title>Anti-Capitalist Chronicles: Pedagogy of the Emancipated Laborer - YouTube</title>
    <dc:date>2022-12-02T01:47:33+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=uvw3qM5zCy0</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["[S4 E19] Pedagogy of the Emancipated Laborer

As more and more people begin to recognize the pitfalls of the systems we're entrenched in—capitalism, neoliberalism, consumerism, and more—we are often left without clear directions for instilling change. In this episode of Anti-Capitalist Chronicles, Prof. Harvey addresses the question he is so often asked, and often asks himself: “What should we do?” Harvey urges us to begin by looking at our individual situation, particularly five aspects: quality of life in the household, nature of the labor market, experience in the workplace, experience as money manager, and experience as buyer in the money market. The pedagogy of the emancipated laborer involves situating ourselves in those five aspects of society, connecting with others on the local level who are situated around us, and building collectively."]]></description>
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