<?xml version="1.0" encoding="UTF-8"?>
 <rdf:RDF xmlns="http://purl.org/rss/1.0/" xmlns:rdf="http://www.w3.org/1999/02/22-rdf-syntax-ns#" xmlns:content="http://purl.org/rss/1.0/modules/content/" xmlns:taxo="http://purl.org/rss/1.0/modules/taxonomy/" xmlns:dc="http://purl.org/dc/elements/1.1/" xmlns:cc="http://web.resource.org/cc/" xmlns:syn="http://purl.org/rss/1.0/modules/syndication/" xmlns:admin="http://webns.net/mvcb/">
  <channel rdf:about="http://pinboard.in">
    <title>Pinboard (robertogreco)</title>
    <link>https://pinboard.in/u:robertogreco/public/</link>
    <description>recent bookmarks from robertogreco</description>
    <items>
      <rdf:Seq>	<rdf:li rdf:resource="https://www.blind-magazine.com/en/news/vincent-catalas-situationist-drift-in-brazil/"/>
	<rdf:li rdf:resource="https://www.esquire.com/style/a71276009/what-has-happened-to-taste/"/>
	<rdf:li rdf:resource="https://www.tandfonline.com/doi/full/10.1080/13569783.2025.2576474"/>
	<rdf:li rdf:resource="https://shepherdexpress.com/culture/visual-art/the-persistence-of-guy-debord-that-bastard/"/>
	<rdf:li rdf:resource="https://pablohelguera.substack.com/p/when-pilgrimage-becomes-form"/>
	<rdf:li rdf:resource="https://makingandbreaking.org/article/psychogeographies-of-the-present/"/>
	<rdf:li rdf:resource="https://www.youtube.com/watch?v=ncH0-q9OXco"/>
	<rdf:li rdf:resource="https://thomasjbevan.substack.com/p/walking-as-inactivity"/>
	<rdf:li rdf:resource="https://www.researchgate.net/publication/332050371_Flaneur's_Phonograph_A_Flaneur_Shift_in_Urban_Exploration"/>
	<rdf:li rdf:resource="https://likeahammerinthesink.wordpress.com/2016/08/07/a-flawed-archive/"/>
	<rdf:li rdf:resource="https://wanderprompts.com/"/>
	<rdf:li rdf:resource="https://www.versobooks.com/products/2954-with-and-against"/>
	<rdf:li rdf:resource="https://syllabusproject.org/syllabus-for-taking-an-internet-walk/"/>
	<rdf:li rdf:resource="https://daily.jstor.org/walkers-in-the-city-and-everywhere/"/>
	<rdf:li rdf:resource="https://psyche.co/guides/how-to-wander-in-a-world-that-values-purpose"/>
	<rdf:li rdf:resource="http://www.documnt.net/experimental-jetset-two-or-three-things-i-know-about-provo"/>
	<rdf:li rdf:resource="https://mubi.com/lists/aimless-walk-psychogeography-deep-ecology"/>
	<rdf:li rdf:resource="https://www.thesocial.com/ogmios-school-of-zen-motoring/"/>
	<rdf:li rdf:resource="https://www.swiss-miss.com/2020/04/walking.html"/>
	<rdf:li rdf:resource="https://thecreativeindependent.com/people/writer-anna-della-subin-on-the-importance-of-being-idle/"/>
	<rdf:li rdf:resource="https://www.architectural-review.com/essays/spaces-of-encounter-the-performative-art-of-reading/10039109.article"/>
	<rdf:li rdf:resource="https://itunes.apple.com/us/app/derive-app-get-lost-in-your/id1159726913"/>
	<rdf:li rdf:resource="http://deriveapp.com/s/v2/"/>
	<rdf:li rdf:resource="http://www.christydena.com/2014/08/whyfinding-making-3d-videogames-more-immersive-and-inclusive-of-more-play-styles/"/>
	<rdf:li rdf:resource="http://doyle-scienceteach.blogspot.com/2014/04/weve-always-done-it-this-way.html"/>
	<rdf:li rdf:resource="http://doriantaylor.com/la-forme-de-flaner"/>
	<rdf:li rdf:resource="http://www.e-flux.com/journal/in-conversation-with-raoul-vaneigem/"/>
	<rdf:li rdf:resource="http://tomarmitage.com/2013/11/13/driftwood/"/>
	<rdf:li rdf:resource="http://walkstudytrainingcourse.wordpress.com/spring2011/"/>
	<rdf:li rdf:resource="http://makingmaps.net/2009/06/22/making-psychogeography-maps/"/>
	<rdf:li rdf:resource="http://www.kcet.org/arts/artbound/counties/san-diego/borderblaster-transmission-4-poetic-derive.html"/>
	<rdf:li rdf:resource="http://www.brokencitylab.org/drift/"/>
	<rdf:li rdf:resource="http://www.kunstakademiet.dk/more.php?id=174_0_2_0_M41"/>
	<rdf:li rdf:resource="http://www.stadtblind.org/2007/02/27/the-colors-of-berlin/"/>
	<rdf:li rdf:resource="http://www.guardian.co.uk/books/2011/aug/18/situationist-international-mckenzie-wark-review"/>
	<rdf:li rdf:resource="http://www.flaneursociety.org/"/>
	<rdf:li rdf:resource="http://maryannreilly.blogspot.com/2011/07/being-in-middle-learning-walks.html"/>
	<rdf:li rdf:resource="http://www.driftdeck.com/"/>
	<rdf:li rdf:resource="http://cryptoforest.blogspot.com/"/>
	<rdf:li rdf:resource="http://www.vizkult.org/propositions/uutoday/"/>
	<rdf:li rdf:resource="http://www.situationistapp.com/"/>
	<rdf:li rdf:resource="http://soheinishino.com/en/"/>
	<rdf:li rdf:resource="http://interconnected.org/home/2011/01/15/space_clearing"/>
	<rdf:li rdf:resource="http://survival.sentientcity.net/serendipitor/"/>
	<rdf:li rdf:resource="http://www.mythogeography.com/"/>
	<rdf:li rdf:resource="http://en.wikipedia.org/wiki/Fl%C3%A2neur"/>
	<rdf:li rdf:resource="http://en.wikipedia.org/wiki/Psychogeography"/>
	<rdf:li rdf:resource="http://www.nearfuturelaboratory.com/projects/drift-deck/"/>
      </rdf:Seq>
    </items>
  </channel><item rdf:about="https://www.blind-magazine.com/en/news/vincent-catalas-situationist-drift-in-brazil/">
    <title>Vincent Catala's Situationist Drift in Brazil — Blind Magazine</title>
    <dc:date>2026-06-27T05:58:22+00:00</dc:date>
    <link>https://www.blind-magazine.com/en/news/vincent-catalas-situationist-drift-in-brazil/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["In Charleroi, the photographer is showing “Île Brésil,” the fruit of ten years spent wandering on foot, by bus and by motorbike through the outskirts of the country’s three great cities: São Paulo, Rio, and Brasília. A drift, in the sense Guy Debord gave that word: a voluntary surrender to the pull of the terrain."]]></description>
<dc:subject>vincentcatala situationist brazil brasil walking guydebord terrain landscape sãopaulo riodejaneiro brasília drift 2026 photography guénolapellen drifting psychogeography derive dérive cities urban urbanism wandering space time joãopaulocuenca</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:dcd2be1a5264/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:vincentcatala"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:situationist"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:brazil"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:brasil"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:walking"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:guydebord"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:terrain"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:landscape"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:sãopaulo"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:riodejaneiro"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:brasília"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:drift"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:2026"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:photography"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:guénolapellen"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:drifting"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:psychogeography"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:derive"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:dérive"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:cities"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:urban"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:urbanism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:wandering"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:space"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:time"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:joãopaulocuenca"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://www.esquire.com/style/a71276009/what-has-happened-to-taste/">
    <title>What Has Happened to Taste?</title>
    <dc:date>2026-05-27T07:57:56+00:00</dc:date>
    <link>https://www.esquire.com/style/a71276009/what-has-happened-to-taste/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Technology has made it easier than ever to broadcast the things we like. Do any of us actually know anymore why we like them?"

...

"The ease and omnipresence of these technologiescan feel insurmountable. Who could bring themselves to get off Spotify? But they aren’t only swallowing us. Especially in the age of AI, when creation is just as cheap as curation, technology is killing the entire online experience. The Dead Internet Theory supposes that AI slop has taken over all previously genuine human activity on the Internet. Discussion forums have been flooded with bot accounts, all photos and videos are generated by AI, etc. It’s the natural and metaphorical end state for the version of taste we have now: literal robots endlessly aping things that already exist with minute variations. But we’re not there yet, and in fact, if the dead parts of the Internet are our flattened, gerrymandered style subcultures, perhaps that’s good.

As much as we’re told that the Web has become this poisonous, self-referential cesspool, such that finding inspiration offline is the new gold standard—or at least that’s what the consensus is here in Brooklyn—I think that’s too easy. For all the harm technology has done to our ability to develop taste, it’s still true that the Internet has given us unparalleled access to just about anything. We can now sift through the entire discographies of obscure international bands, watch independent short films, and read archived magazines whenever we want. I believe it still holds promise.

Here is what we must get rid of: Having taste today is synonymous with having “good taste.” That is what we mean when we say that someone “has taste”; we mean that they have good taste. That is a lie.

There was a time when taste was cultivated through trial and error. We used to have to take risks and suffer through its repercussions. By basking in the discomfort of ill-fitting silhouettes and excessive layering, we learned what worked best for us. We weren’t constantly trying to define and communicate what our tastes were because there wasn’t a “right” answer to what makes good taste. We got to good taste, such as it was, through a series of horrendous choices that exhibited bad taste.

The evil of the Dead Internet Theory, if it is right, is that it leaves us nowhere to turn for inspiration. But it supposes that the Algorithm is all that there is. There are broad swaths of the Internet that haven’t been colonized; the Algorithm is only the neatly paved brick road on the Internet’s uneven, treacherous terrain. It has its limits. No one’s stopping you from venturing off the beaten path to destinations that aren’t optimized for visibility: personal websites, anonymous bulletin boards, resource libraries.

“Internet walks”—the act of aimlessly surfing through online rabbit holes, not unlike how we experienced Wikipedia when it was new and wondrous, clicking from page to page until you wound up with knowledge you never would have suspected even existed—exposes us to the less legible textures of the Web. There are tools designed to facilitate this. The platform Are.na is like a nonalgorithmic Pinterest board where you can follow different people and traverse the parts of the Internet they bookmark. “The goal is not self-improvement,” says a note at the bottom of its home page. “The goal is engaging more deeply with the World.” It is precisely through navigating the vast, digital ridges that we’re forced to consider what resonated and why. That provokes introspection, through which the walls that once gerrymandered our tastes slowly crumble.

This notion, of course, is older than the Internet. In 1958, Guy Debord—a contemporary of Sontag, the author of The Society of Spectacle, and a member of the French postwar avant-garde group Situationist International—introduced the concept of the dérive. Defined as an unstructured, improvised wandering through an urban landscape, dérive pushes participants to let go of the relationships they have with their social environment. Pick a color and follow it; close your eyes and identify the loudest persistent sound you’re hearing, then walk to go find it; at every intersection, roll the dice to see which way to turn. In other words, walk for walking’s sake. A predecessor of Baudrillard, Debord saw the practice as the antidote to society’s “decline of being into having, and having into merely appearing.”

Debord’s position operated in direct opposition to a culture of being “intentional.” Today’s algorithmic culture is the epitome of intentional. Nothing is an accident. Terms like curated and mindful are sprinkled across everything. What those terms obscure is a lack of introspection. Debord believed that by refamiliarizing ourselves with the things of the world rather than the relationships we have to them, we could find new, deeper meaning and come to know ourselves better. Perhaps by refamiliarizing ourselves with the physical (wearing a shirt) rather than the intellectual (what the shirt says about you), we can find a way out of what we would today call the Algorithm. Objects of trends, when considered in isolation, are simply things. They stop representing our membership in an algorithmic faction or signaling social status. They become free to mean anything for anyone.

The risk is that you will occasionally step on thorns. You will have moments of bad taste. But taste is by definition subjective, so unpopular tastes should exist, too. Where there is preference for Rick Owens, there’s also demand for Allbirds and skinny jeans. Our fixation on embodying the consensus of whatever algorithmic faction we fall under has asphyxiated every ounce of whimsy. Aren’t occasional poor choices worth the trade-off?

I now occasionally start my mornings with an aimless walk around the neighborhood, fueled partially by a desire to happen upon some caffeine. I no longer judge shops by their Japandi aesthetic, and I’ve stopped using Google Maps to read reviews or navigate to nearby joints. I’ve gotten the sense that much of the most highly acclaimed spots, while perfectly Instagrammable, make horrible coffee. But that’s by my own definition of what makes coffee good, and my opinion is that the best cup of coffee is just something that’s piping hot and costs less than three dollars. I recognize that that’s out of step in Brooklyn, but who’s a better judge of what I like best than me? I think it’s fair to say that I’ve tried enough happenstance coffee at this point to have an actual opinion. Cheap, hot coffee is what I like, and I’m not ashamed to say it. I earned it.

The same goes with taste. Forget the expensive coffee. Ignore the barber’s perfectly curated Instagram. Give the wrong bands a chance. Watch Kurosawa, sure, but not because another famous director, QT or otherwise, said anything—watch Kurosawa because Rashomon will terrify you. I could say more, but I’ll stop there because I’m getting away from my point. The point of this essay is don’t take my word for it."]]></description>
<dc:subject>tiffanyng taste 2026 socialmedia online internet web blackbirdspyplane susansontag montesquieu algorithms kylechayka culture pinterest spotify johanweiner erinwylie tastemakers trends perception reality jeanbaudrillard simulacra simulation mainstream exclusivity compliance consensus connoisseurs connoisseurship baudrillard franlebowitz signaling subjectivity aesthetics introspection thinking howwethink deadinternettheory guydebord dérive derive situationist being having instagram objects membership society engagement are.na internetwalks visibility</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:288eae64d312/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:tiffanyng"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:taste"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:2026"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:socialmedia"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:online"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:internet"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:web"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:blackbirdspyplane"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:susansontag"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:montesquieu"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:algorithms"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:kylechayka"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:culture"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:pinterest"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:spotify"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:johanweiner"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:erinwylie"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:tastemakers"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:trends"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:perception"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:reality"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:jeanbaudrillard"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:simulacra"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:simulation"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:mainstream"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:exclusivity"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:compliance"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:consensus"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:connoisseurs"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:connoisseurship"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:baudrillard"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:franlebowitz"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:signaling"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:subjectivity"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:aesthetics"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:introspection"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:thinking"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:howwethink"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:deadinternettheory"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:guydebord"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:dérive"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:derive"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:situationist"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:being"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:having"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:instagram"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:objects"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:membership"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:society"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:engagement"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:are.na"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:internetwalks"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:visibility"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://www.tandfonline.com/doi/full/10.1080/13569783.2025.2576474">
    <title>‘Space is weird…’: contemplative-drifting with student archives as place-based-pedagogy: Research in Drama Education: The Journal of Applied Theatre and Performance: Vol 30 , No 4 - Get Access</title>
    <dc:date>2026-04-14T04:54:12+00:00</dc:date>
    <link>https://www.tandfonline.com/doi/full/10.1080/13569783.2025.2576474</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The Homecoming(s) Project explores a university campus and archives through the application of a hybrid walking-methodology. Having previously applied Nicolás Núñez's contemplative tools alongside solo dérive-inspired practices, the author invites a team of undergraduate researchers to explore the practices’ potential pedagogical applications. Student reflections attest to a re-grounding of experience, learning and research in a dynamic ethic of reciprocity. With these reflections in mind, the article discusses the opportunities for contemplative-critical walking to generatively disrupt the logics of the western archive and one's assumptions of relationship to place. The improvisatory approach of the project provides an embodied and reflective framework which reveals the potential incommensurability between Eurocentric walking-methodologies which foreground reciprocity and their application as tools towards redressing ones’ colonial inheritances."]]></description>
<dc:subject>stevedonnelly 2026 place-basedlearning pedagogy walking derive dérive situationist psychogeography methodology place nicolásnúñez anthropocosmic improvisation decolonization colonialism colonization west archives learning howwelearn reciprocity contemplation reflection place-basededucation land-basedlearning land-basededucation</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:aae1c5795e73/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:stevedonnelly"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:2026"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:place-basedlearning"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:pedagogy"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:walking"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:derive"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:dérive"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:situationist"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:psychogeography"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:methodology"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:place"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:nicolásnúñez"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:anthropocosmic"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:improvisation"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:decolonization"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:colonialism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:colonization"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:west"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:archives"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:learning"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:howwelearn"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:reciprocity"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:contemplation"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:reflection"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:place-basededucation"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:land-basedlearning"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:land-basededucation"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://shepherdexpress.com/culture/visual-art/the-persistence-of-guy-debord-that-bastard/">
    <title>The Persistence of Guy DeBord, That Bastard - Shepherd Express</title>
    <dc:date>2026-02-03T22:26:37+00:00</dc:date>
    <link>https://shepherdexpress.com/culture/visual-art/the-persistence-of-guy-debord-that-bastard/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["As machines increasingly calculate the “correct” way forward by statistical consensus, our psychic salvation may finally lie in learning how to go the wrong way—deliberately."

...

"I caught myself revisiting Cindy Sherman’s Untitled Film Stills from the late 1970s today and once again realized how prescient her vision was. If you’re unfamiliar, the series depicts Sherman staged within scenes that evoke gendered film tropes—the ingénue, the starlet, the classic heroine. The images are so convincing you’re certain they reference some Hitchcock film you vaguely remember but can’t quite place. Of course, they don’t. That’s the trick. It’s all cognitive jujitsu, exploiting our collective biases. Remarkable.

Sherman understood—long before the idea was flattened into the TikTok-era shorthand of “performative”—how self-image would be packaged, rehearsed, and sold back to us. She was onto now, then.

So were Richard Prince with his Cowboys. So were Sherrie Levine and Robert Longo. The Pictures Generation, collectively, made art that imitated life imitating art, circling a feedback loop in which images no longer reflected reality so much as trained it—conditioned us to see ourselves through them. And here we are, nearly 50 years later, still looking for someone to blame, as if no one warned us that media would hollow us out and leave us wandering around like zombies. They warned us—but so did Philip K. Dick, George Orwell, Ray Bradbury, and Kurt Vonnegut. The problem with great social art and great science fiction is that, at their best, they’re often too visionary to matter when it matters most. They outrun their coverage like a super-special teams unit.

Beyond the Next Image

While scrolling through images—work ostensibly critiquing delegated meaning and mass-produced consent—it occurred to me that I was actively collaborating with the very machinery being critiqued. Sherman’s Film Stills suddenly felt less like a critique and more like object diagrams of consciousness: frames awaiting projection, training us to believe that meaning exists just outside ourselves, just beyond the next image. The medium, as another 20th-century critic once harped, was still the message.

And then—Guy Debord. Like a summons from the dustier wings of cultural memory, that stubborn Situationist prophet reappeared. I put down my phone, picked up The Society of the Spectacle—which had been sitting defiantly on a shelf in my workshop—and pretended the internet didn’t exist. And I hit bedrock.

The opening propositions read:

1. In post-industrial societies where mass production and media predominate, life is presented as an immense accumulation of spectacles. Everything that was directly experienced has been replaced with its representation in the form of images.

2. Whereas directly lived experience is a continuum of emotion and sensation, representational life is a stream of images detached from their living context. The original context of this directly lived reality cannot be reestablished. Living a representational life has a completely separate, but unified experience unto itself that exists purely in thought. As reality is increasingly represented as images to be experienced by sight alone, eventually a completely separate pseudo-world of images emerges—where the “actual” reality is only represented, never actually experienced; merely performed and eventually simulated. The horizon of this representational reality is one in which individuals merely witness an image of the world in two fully autonomous, non-lived lives.

It’s all very humbling and coldly sanctimonious—like a parent addressing a wayward teenager who insists on learning things the hard way. Debord goes on to denounce the capitalist metropolis at length, sometimes to a degree that risks undermining his own ethic. The rhetoric is militant, the tone unforgiving. Who, after all, revels in academic Marxism in 2026? The left has diluted its ideas with junk ideology just as thoroughly as the right has diluted more refined notions of “freedom.” Still, certain texts—The Federalist Papers, Habermas, and the aforementioned sci-fi soothsayers and artists—manage to withstand the floods that fashion history into parody.

Marketplace of Experience

Strip away Debord’s dated militancy and what remains is a clarity that feels almost unbearable now: the marketplace doesn’t just sell us things; it reorganizes experience itself. It doesn’t eliminate freedom—it manufactures a version of it within tightly controlled boundaries. You are free to choose, so long as the choices are already formatted, legible, and monetizable. Herbert Marcuse called this repressive desublimation: freedom becomes something you perform, something you recognize yourself doing, rather than something you meaningfully exercise. Worse, it becomes an alibi—an excuse not to decide how to live at all.

To resist these conditions, Debord proposes the dérive: a way of moving through commercialized space that disrupts its logic. Go a different way. See different things. Be unpredictable enough that you can’t be targeted in the first place. This is what art does—or should do.

When people dismiss “art,” they’re usually dismissing output that has already been processed, commodified, and fed back to them as art-like product. But art isn’t stuff. It’s an outlook—a commitment to resisting containment. That’s why the art world looks especially vulnerable when it becomes institutionalized or ideologically uniform. From the outside, it appears to operate along the same dynamics as apparel or beverage branding.

I’d argue this doesn’t signal that art has failed, but that what we’re seeing no longer qualifies as art in the first place. The task, then, is to look elsewhere—for work that still carries Debord’s flame, sustained by a refusal to be absorbed into the funhouse of recycled meaning. It’s a tall order: choosing spirit over stuff, in the name of the spirit itself. But if you want to live in a world capable of surprise—of inspiration—that’s the only option left.

Debord knew it. And as machines increasingly calculate the “correct” way forward by statistical consensus, our psychic salvation may finally lie in learning how to go the wrong way—deliberately. So die on your art loving, unpredictable feet, comrades, because social media and superstores were never anything but cemeteries."]]></description>
<dc:subject>shanemcadams gudebord derive richardprince sherrielevine robertlongo film philipkdick georgeorwell raybradbury kurtvonnegut cindysherman life living reality resistance habermas marxism experience freedom herbertmarcuse dérive situationist technology art culture deviation socialmedia containment 2026 socialart scifi sciencefiction jürgenhabermas</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:8312c3dcc5f0/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:shanemcadams"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:gudebord"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:derive"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:richardprince"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:sherrielevine"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:robertlongo"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:film"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:philipkdick"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:georgeorwell"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:raybradbury"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:kurtvonnegut"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:cindysherman"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:life"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:living"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:reality"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:resistance"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:habermas"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:marxism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:experience"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:freedom"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:herbertmarcuse"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:dérive"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:situationist"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:technology"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:art"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:culture"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:deviation"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:socialmedia"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:containment"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:2026"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:socialart"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:scifi"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:sciencefiction"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:jürgenhabermas"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://pablohelguera.substack.com/p/when-pilgrimage-becomes-form">
    <title>When Pilgrimage Becomes Form - Beautiful Eccentrics</title>
    <dc:date>2025-10-18T06:09:52+00:00</dc:date>
    <link>https://pablohelguera.substack.com/p/when-pilgrimage-becomes-form</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["On peripatetic practices."

...

"I started walking intently, as the writer Lori Waxman calls it, sometime during the pandemic in 2020. The pandemic forced us to radically limit our mobility to the most immediate surroundings. During that period my mind reverted to my childhood, when I was not allowed to leave the house unattended and was dependent of an adult to go beyond a few blocks. Stores and restaurants were closed, and even some public parks; no public transportation was available nor taxicabs. For many of us New Yorkers without a car, the only way to rebel against that imprisonment was to go out and walk through our neighborhoods. The activity became not only a form of exercise, but an attempt to improve our mental health.

Over the past five years this practice has deepened for me, leading to three realizations:


1. Movement and knowledge are inseparable; the act of going toward something generates its own kind of understanding.
2. Art is pilgrimage, and pilgrimage itself is a form of art.
3. Getting lost is not failure but a necessary and undervalued condition.

To survive as human beings requires the ability to move. Our earliest ancestors, 300,000 years ago, depended on hunting and gathering. Immediately, we can understand that this process of gathering is itself a form of learning—whether in a nomadic or sedentary community. The hunter or gatherer requires knowledge of the landscape, ecological systems, and the resources of their environment. What they observe must be shared and transmitted to their community, making this process of gathering an eminently social act.

Movement also connects to another kind of knowledge: spiritual knowledge—the knowledge of the pilgrim. As is well known, the principal reason that pilgrims walk the Camino de Santiago is spiritual, since the lessons gained suggest that difficulties and setbacks must be confronted rather than avoided.

But pilgrimage is not only an act of spiritual realization—it is also an act of knowledge. This is manifest in the Baroque period, ironically in the work of a Hieronimite nun who never traveled outside of the New Spain. I am referring to Sor Juana Inés de la Cruz’s masterpiece, Primero Sueño. In that poem, the narrator imagines her soul rising from her body while dreaming, at which time she is able to capture the totality of divine and human knowledge. But, it being a dream, this knowledge is also an illusion, and she wakes up with that realization.

In art, the way walking has been domesticated, if you will, is by turning it into an act of spiritual/touristic pilgrimage to specific sites.

The museum, often seen as a mausoleum, in other contexts becomes a kind of sanctuary or altar. The experience of visiting an artwork is a hybrid of tourism and spiritual pilgrimage.

Artworks in museums often undergo a double consecration. First, they become commodities, circulating through systems of value until they are enshrined as priceless treasures. Second, once housed in institutions, they acquire the aura of relics: objects to which we make pilgrimages. To stand before the Mona Lisa, for instance, is less an act of aesthetic contemplation than a ritualized performance — waiting in line, jockeying for a glimpse, documenting the encounter with a smartphone. As Benjamin suggested, the museum amplifies aura by staging artworks as sacred presences, and as Carol Duncan has argued, the visit itself functions as a civilizing ritual. Yet in the society of the spectacle (Debord), this ritual is commodified: tourism, ticket sales, and the circulation of selfies transform reverence into revenue. The museum pilgrimage becomes indistinguishable from a consumer experience, a sacred encounter repackaged as leisure.

It was precisely against this cycle of idolatry and fetishism that process-based art emerged. In Happenings, Kaprow shifted attention away from the object and toward the event; performance artists made the body itself the medium; land artists inscribed gestures into the landscape rather than onto a canvas. What mattered was not the relic but the act — the lived moment of participation, risk, or movement.

Walking as an art form crystallizes this ethos. Richard Long’s A Line Made by Walking (1967) turned the most ordinary of actions into a sculptural trace, reimagining the artwork as a fleeting imprint in the landscape. Hamish Fulton built an entire practice on the motto “no walk, no work,” treating walking itself as both medium and message, where the journey is the art. Francis Alÿs, in works such as The Collector (1991) or The Green Line (2004), extended walking into poetic and political registers, where the act of moving through urban space becomes a way of narrating history and conflict. Unlike the pilgrimage to the museum shrine, these works propose a pilgrimage without object: not a journey toward a sacred relic, but toward oneself. To walk as art is to recognize that the sacred lies not in commodities enshrined behind glass, but in the embodied act of moving through the world, where every step is both process and reflection, both artwork and awakening.

In other words: in museums, artworks often become sacred relics. We line up to see them, as if on pilgrimage — think of the Mona Lisa. But this pilgrimage is commodified: ticket sales, gift shops, selfies. The ritual of reverence is packaged as leisure.

Process-based art broke away from that cycle and shifted value from the object to the act. What mattered was the gesture, the event, the body in time.

My own practice has been guided by this spirit. For me, walking is also learning. It is not centered on an object, but it generates many forms: documentation, markers, narratives. The School of Panamerican Unrest was one such walk — a journey from Alaska to Tierra del Fuego, where each stop became a classroom, each encounter a lesson. The project was less about reaching an end point than about creating a living archive of dialogues across the Americas.

So when I walk, I walk to learn. The artwork is not a relic to be enshrined, but a process of exchange — a story that unfolds with every step.

Whenever I think of the act of getting lost, I often think about the Calzada del niño perdido (lost child Causeway) in Mexico City, a street whose name stems from a colonial-era story about an anonymous boy who got lost and was later murdered. The street is today part of the modern-era Eje Central Lázaro Cárdenas in downtown Mexico City.

While getting lost is often associated with anxiety and tragedy, being lost does not constitute failure. On the contrary, it can be the point. As we know, the Situationists sought it intentionally and celebrated it as the dérive—drifting through the city without direction, letting the streets themselves guide you. To lose the map is to let go of habit, to break from the familiar circuits of daily life.

Displacement, whether intentional or accidental, is deeply generative. When we are out of place, we see differently. The city rearranges itself. Our assumptions are unsettled. Suddenly, a side street, a fragment of conversation, a corner café becomes a revelation.

For me, this has always been central: walking is not about efficiency, it is about discovery. To be displaced is to be invited into new ways of perceiving, to reframe perspective and re-examine reality. It is in those moments of disorientation that the real work of art—and of learning—emerges. So walking also means accepting disorientation. Displacement—whether by design or accident—is productive: it unsettles our habits, shifts our perspective, and opens us to what we would otherwise overlook.

To walk, to learn, even to lose our way: these are not detours from art, but the very conditions for it. In displacement we reframe reality; in drifting we encounter the world anew.

For the artist, in particular being lost, more than constituting failure, is condition. To be dislocated, to stand at the margins, is to step into the role of outsider. Walking is our most direct instrument for this task, the line we draw across the world to register where we are and who we are becoming. Each step is a cartography of reality, a way of sketching our fragile bond with place and time.

And it is in the unease of this dislocation — the vertigo of not quite belonging — that some of the most meaningful works of art are made. For to be out of place is also to see differently, to sense more sharply, to discover what the familiar conceals. Walking teaches us that the shrine is not ahead of us, waiting in a temple or a museum. The shrine is the path itself, the movement, the detour, the drift. It is the moment of being lost, and the act of finding anew.

The peripatetic tradition—from Aristotle to Sor Juana, from psychogeography to contemporary art—reminds us that learning and creating are acts in motion.

I close with one last but important note:

In Maurice Maeterlinck’s The Blue Bird, two children set out on a long journey to find happiness. They travel through strange lands—of memory, of night, of the future itself. And when they return, after all that wandering, they realize the blue bird was at home the whole time.

Walking, too, is this kind of quest. We walk not just to get somewhere, but to lose ourselves, to dislocate ourselves, to let the world rearrange itself before our eyes. And yet, at the end, what we discover is not some distant treasure. It is the nearness of what was already here.

The lesson of The Blue Bird is not that the journey was unnecessary. It is that the journey was the only way to truly see what home means. To walk is to go outward in order to return inward. To walk is to trace, step by step, the cartography of belonging. All these distances I walk daily (21,000 daily steps, or 10 miles), that search of happiness of sorts, this long pilgrimage, I have come to realize, is nothing other than an effort to come back to myself. The bird we seek is not distant; it waits quietly at home. The pilgrimage is the form, and the form is the return."]]></description>
<dc:subject>pablohelguera pilgrimage 2025 form loriwaxman pandemic coronavirus covid-19 2020 walking mobility childhood movement knowledge understanding art arts moving caminodesantiago place museums artworks commoditization carolduncan guydebord ritual tourism walterbenjamin idolotry fetishism process happenings allankaprow bodies participation participatory risk richardlong francisalÿs hamishfulton relics objects acts time dialogue derive dérive situations situationist displacement reality dislocation aristotle mauricemaeterlinck happiness journeys quests sorjuanainésdelacruz drifting learning howwelearn psychogeography drift</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:ef6bb16d4cbb/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:pablohelguera"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:pilgrimage"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:2025"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:form"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:loriwaxman"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:pandemic"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:coronavirus"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:covid-19"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:2020"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:walking"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:mobility"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:childhood"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:movement"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:knowledge"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:understanding"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:art"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:arts"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:moving"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:caminodesantiago"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:place"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:museums"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:artworks"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:commoditization"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:carolduncan"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:guydebord"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:ritual"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:tourism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:walterbenjamin"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:idolotry"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:fetishism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:process"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:happenings"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:allankaprow"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:bodies"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:participation"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:participatory"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:risk"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:richardlong"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:francisalÿs"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:hamishfulton"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:relics"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:objects"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:acts"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:time"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:dialogue"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:derive"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:dérive"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:situations"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:situationist"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:displacement"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:reality"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:dislocation"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:aristotle"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:mauricemaeterlinck"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:happiness"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:journeys"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:quests"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:sorjuanainésdelacruz"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:drifting"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:learning"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:howwelearn"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:psychogeography"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:drift"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://makingandbreaking.org/article/psychogeographies-of-the-present/">
    <title>Psychogeographies of the Present | By: Jess Henderson, Sebastian Olma | Making &amp; Breaking</title>
    <dc:date>2025-07-05T02:24:29+00:00</dc:date>
    <link>https://makingandbreaking.org/article/psychogeographies-of-the-present/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[via:
https://2ndbreakfast.audreywatters.com/the-raw-and-the-cooked/ ]

"PSYCHOGEOGRAPHIES OF THE PRESENT —Jess Henderson & Sebastian Olma [below]

PSYCHO-DIGITAL GEOGRAPHY —Letizia Chiappini

IT’S ALL A GAME, AND THE GAME IS DEADLY REAL —Max Haiven

SPECULATIVE ARCHITECTURE AGAINST THE CRISIS OF THE IMAGINATION  —Liam Young

NEGATIVITY IS THE MASSAGE —!Mediengruppe Bitnik Selena Savić Gordan Savičić

A PSYCHOGEOGRAPHY OF AI —Dan McQuillan

CAN SUBLETHAL WEAPONS TAKE PICTURES? —Image Acts Duo: Aylin Kuryel & Fırat Yücel

THE DRIFTING LIBRARY —Experimental Jetset

NO FUTURE LIKE THE PAST —Total Refusal

FEELS FUNNY —Tristam Adams"

...

"This issue of Making and Breaking seeks to map out some of the dominant psychogeographies of the present. The Situationist Guy Debord defined psychogeography in 1955 as “the study of the precise laws and specific effects of the geographical environment, consciously organised or not, on the emotions and behaviour of individuals.”1 Another way of putting this is to say that psychogeography was conceived as that which happens when psychology and geography creatively collide.

To stage such creative collisions, the Letterist International (the precursory group to the Situationist International) developed what they called dérive, a method of drifting aimlessly through the urban landscape, registering the “patterns of emotive force-fields” that suffuse a city. Dérive is the artistic procedure that initially produces psychogeography; perhaps aimless in walking route, yet not without a certain methodological rigour. The Letterists and Situationists were fond of wandering the city as artistic strategy, a practice they inherited from a long line of predecessors reaching from the Surrealists back to Daniel Defoe.2 What the Situationists added to this was a revolutionary ambition that was political as much as it was aesthetic. As early as the 1950s, they recognised capital’s tendency to absorb the collective lifeworld into its quantitative homogeneity and understood the destructive potential this entails for a humane society. For them, psychogeography was an attempt to develop subversive forms of knowledge and experience that could contest the reductionism of capital, expressed in the formulations of post-war urban planning. It tried to delineate an experimental space-time where the rules of the game were undercut by radical play, where new ways of being could emerge, outside of the space-time of commodified banality.

Such a level of analytical clairvoyance and political ambition coming out of an artist movement is enormously inspiring in 2025, as we witness how Creative and Smart City policies have turned so much of today’s artistic and cultural production into decorative services that flank the progressive sell-out of our urban infrastructures to financial investors and digital corporations. What do the sheer number of retrospectives, revivals, and publications on the Situationist International and its potential legacy that have been released over the past few decades attest to if not an incredible longing for contemporary manifestations of such aesthetic resilience in and for our own time? Part of this might be melancholia but there is also a strong element in there of what the late Mark Fisher identified in his writing on “hauntology:” the refusal to give up on the desire for the future.3 At a time when it has become intellectually fashionable to celebrate the looming apocalypse as post- or transhuman payback, we urgently need to reinvigorate our desire for the future. In her brilliant The Beach Beneath the Street, McKenzie Wark talks about the Situationist’s attempt at “an exit from the 20th century.”4 It is obvious that we’ve not only missed the exit from the 20th century that the Situationists tried to open but we’ve also taken the wrong entrance into the 21st century. The rabbit-hole we’re tumbling down right now does give us Alice’s terrors and desperation, though without the imagination and wonderland at the end of the tunnel. This is why we agree with Wark when she writes that one could do worse than looking back at those who last tried to dig themselves out of that doomed trajectory of capital’s debilitating an-aesthesia.

Psychogeography and Psychopolitics

It is in this vein that the contributions of this issue of Making and Breaking take up the question of psychogeography once again. Many of the approaches presented within it extend beyond the city and the physical environment, going into the virtual dimensions of digital socialities, social media infrastructures and their affects, exploring shifting sociopolitical grounds and socio-economic factors, identifying new forces of power and potential sources of emancipation. They often include and map out the psychosomatic effects of such expanded understandings of the environment, paying attention to dominant or well-worn feelings, emotions, and behavioural effects, as well as those emergent that might yet to be named.

Digital media plays a crucial role in all of this. While we’re aware of the disastrous effects of social media on the psyche, particularly of the young,5 our online world tends to be pretty good at generating aesthetic means of communication that can be incredibly effective in expressing discomforts, disquiets, joys, or phenomena felt tacitly across the commons. The obvious example here being the meme. Sometimes a meme appears to perfectly illustrate an unnameable tingle of emotion or sociopolitical moment and is taken up en-masse speedily, with a sense of humour and urgency, or better: immediacy, than more elaborate and analytical (let alone academic) explanations seem to have the capacity to do.

Approaching digital phenomena such as memes psychogeographically necessarily involves the question of how to effectively politicise the psychological today. Explicitly politicising the political means engaging in a psychopolitics, which we intend here as the practice of placing ostensibly psychological phenomena and concerns within the register of the political and denoting the extent to which the human psyche is intimately linked to a host of structural forces, be they technological, political, economic, or simply historical. A psychogeography of our times must acknowledge the structural and environmental forces at play in producing these “specific effects… consciously organised or not, on emotions and behaviour.”

Identity, Collectivity, Aesthetics

In letting our psychogeographical gaze intuitively roam across our present social landscape, we witness the rise of a culture fixated with self-diagnosis, self-care, self-development and optimisation, and the admiration of self-experience, as a strange iteration of hyper-individualism inherited from neoliberalism. While the individual psyche remains a crucial reference for any contemporary psychogeography, our understanding of it needs to heed the “therapeutic” groundwork laid out by the inventors of the dérive. To quote McKenzie Wark again:

“Psychogeography made the city subjective and at the same time drew subjectivity out of its individualistic shell. It is a therapy aimed not at the self but at the city itself.”6

What we need to understand is that today’s identitarian movements on the left and right resonate rather harmoniously with the extremist version of the self, produced by decades of neoliberalism. Deconstructing identitarian extremism in all its contemporary forms and conversions is the precondition for an emancipatory psychogeography; otherwise, its political impetus runs the risk of being reduced to notions of individual pathology.

The upside is that there is growing interest in the politics and (new) practices of community and collectivity. Artists increasingly engage with questions of care and interspecies relations, there is a desire for experiences of interconnectedness (via psychedelics, or otherwise), and a new generation is exploring forms of living and working that are less self-centred and more communal (luxury). What they share is a willingness to reach outwards in search of resonance with the greater world and breaking away from the heaviness that comes with dissecting, monitoring, and keeping constant awareness and analysis of one’s own (self-centring) identity.

It seems to us that the challenge for cultural production in our time lies in embracing a sense and practice of exciting, democratic togetherness against the revenge of undead iterations of neoliberal subjectivity. The fields of art and culture have been invaded by pop-psychology speech, disqualifying practices that are vital for its evolution – provocation, passionate debate, and indeed, judgement – as forms of violence. Yet, as Sarah Shulman reminds us, conflict is not abuse.7

The world of cultural production needs conflict, doesn’t it? Hence, if this issue of Making and Breaking engages with psychogeography, it is to raise some rather fundamental questions: Shouldn’t art and culture provide room for unbridled curiosity and possibilities? Isn’t this the space where play, fun, for ills (or silliness) happened, expressed through genres of conviviality, collective joy, absurdity, and humour? The place for speaking truths, fictitious or otherwise, in ways vivacious and carnivalesque, for taking a break, albeit how brief, from “the horror of existence” rather than being stuck in a constant mirror-state of seeing your Self, reflected back at… yourself? Our inkling is that approaching cultural production in psychogeographic terms might help identify what blockages are at play in constraining it to addressing what feels like only a handful of topics, in a handful of ways.

The Contributions

Our stroll through these Psychogeographies of the Present begins with Letizia Chiappini’s proposition of the notion of psycho-digital geography, examining how emerging virtual spaces—from TikTok to Uber Eats, and beyond—are transforming our understanding and experiences of physical urban spaces, social relations, and embodied experiences. From there, Max Haiven takes us into the heart of contemporary capitalism’s unwinnable game, laying out how financialised neoliberalism has gamified itself and, in effect, our lives, and how it incubates fascism. Next Dan McQuillan leads a tour through a psychogeography of AI, which will suck you into a visceral and fantastical—yet oh so real—storytelling walkthrough of the less-visible and less-voiced aspects of what this moment of artificial intelligence’s rapid development really entails, through its current darknesses with insight into where it’s heading.

In our interview with Liam Young, recorded whilst his locale of Los Angeles was ablaze, the speculative architect talks about his exhilarating attempts to stimulate our collective imagination in a way that does justice to the planetary nature and scale of our contemporary challenges. Another type of psychogeographic strategy is presented by !Mediengruppe Bitnik. In collaboration with Selena Savić and Gordan Savičić, they let us into their work on how the prevalence of rating functions amongst digital systems and platforms has led to online ratings, reviews, and comments shaping our perceptions and experiences of offline spaces and services, as accentuated in their exhibition 1 ⭐ Review Tour. We stay with artists and their new psychogeographical practices in the Image Acts duo’s reportage of how Steven Monteau and friends began building new psychographical tools by making cameras out of residual police ammunition they collected, left behind on the streets during the Gilets Jaunes (Yellow Vests) protests in France. The collective Experimental Jetset follows up with their The Drifting Library: Towards a New Biblio-Psychogeography, which meanders the streets of Amsterdam using its DIY outdoor little book exchanges as their guide through a ‘semiotic cityscape’, contemplating the possibility of a dialectical experience within the urban environment, and perhaps even a countering encounter of the notion that “print is dead.”

Our journey starts its exiting descent with a psychogeography of apocalyptic games by the collective Total Refusal, finishing with Tristam Adams’ drawing of a line between the importance of jokes and humour in and for cultural production, what the empathetic aspects of the joke might offer as opportunities for ethical and political practices, and where celebrations of plurality could go in enhancing class consciousness.

We thank you for joining us on this jaunt through Psychogeographies of the Present and continuing to support what Making and Breaking sets out to do. And thank you again to all our contributors for their valuable additions in the expansion of what a contemporary psychogeography could and can do – in all its possible practices, takes, developments, mappings, and applications."]]></description>
<dc:subject>jesshenderson sebastianolma psychogeography situationist 2025 letteristinternational dérive derive drift guydebord situationistinternational danieldefoe mckenziewark markfisher psychopolitics digitalmedia media digital communication identity collectivity aesthetics neoliberalism individualism hyper-individualism subjectivity emancipation liberation art interconnectedness care caring interspecies morethanhuman multispecies experience politics community communities culture culturalproduction sarahshulman geography danmcquillan ai artificialintelligence liamyoung architecture maxhaiven capitalism ubereats tiktok !mediengruppebitnik stevenmontreau diy drifting tools experimentaljetset totalrefusal tristamadams letiziachiappini selenasavić gordansavičić imageactsduo aylinkuryel fıratyücel interconnected</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:b0c26d4c88bc/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:jesshenderson"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:sebastianolma"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:psychogeography"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:situationist"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:2025"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:letteristinternational"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:dérive"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:derive"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:drift"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:guydebord"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:situationistinternational"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:danieldefoe"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:mckenziewark"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:markfisher"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:psychopolitics"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:digitalmedia"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:media"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:digital"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:communication"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:identity"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:collectivity"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:aesthetics"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:neoliberalism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:individualism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:hyper-individualism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:subjectivity"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:emancipation"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:liberation"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:art"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:interconnectedness"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:care"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:caring"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:interspecies"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:morethanhuman"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:multispecies"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:experience"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:politics"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:community"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:communities"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:culture"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:culturalproduction"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:sarahshulman"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:geography"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:danmcquillan"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:ai"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:artificialintelligence"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:liamyoung"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:architecture"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:maxhaiven"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:capitalism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:ubereats"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:tiktok"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:!mediengruppebitnik"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:stevenmontreau"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:diy"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:drifting"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:tools"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:experimentaljetset"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:totalrefusal"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:tristamadams"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:letiziachiappini"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:selenasavić"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:gordansavičić"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:imageactsduo"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:aylinkuryel"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:fıratyücel"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:interconnected"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://www.youtube.com/watch?v=ncH0-q9OXco">
    <title>The Situationist International (full documentary) - YouTube</title>
    <dc:date>2025-01-14T17:16:31+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=ncH0-q9OXco</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["On the Passage of a Few People Through a Rather Brief Moment in Time: The Situationist International 1956-1972

A video documentary combining exhibition footage of the Situationist International exhibitions with film footage of the 1968 Paris student uprising, and graffiti and slogans based on the ideas of Guy Debord. 

Directed and produced by Branka Bogdanov in 1989."]]></description>
<dc:subject>1989 documentary brankabogdanov situationist guydebord history film experience everyday reevaluation art artmarket 1957 1972 society baudelaire flaneurs flaneur flâneurs flâneur revolt agitation commodification commercialization cosiodiarroscia avantgarde letteristinternational asgerjorn giuseppepinot-gallizio cobraartists cobra thespectacle constantnieuwenhuys resistance alienation massmedia consumerism politics anarchism anarchy passivity activity doubt filmmaking comics graffiti streetart aesthetics renegades change changemaking derive drift drifting détournement detournement cartoons foundart collage bricolage seeing howwesee unitaryurbanism utoipa games play playing theory societyofthespectacle capitalism images imagery modernity production accumulation artmaking making modification modifications alteration criticism painting anticapitalism thought thinking howwethink urban urbanism robertoohrt architecture place life living time industrialization adaptability leisurearts artleisure jean-lucgoda</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:b5703a546e1f/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:1989"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:documentary"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:brankabogdanov"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:situationist"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:guydebord"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:history"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:film"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:experience"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:everyday"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:reevaluation"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:art"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:artmarket"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:1957"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:1972"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:society"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:baudelaire"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:flaneurs"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:flaneur"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:flâneurs"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:flâneur"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:revolt"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:agitation"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:commodification"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:commercialization"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:cosiodiarroscia"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:avantgarde"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:letteristinternational"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:asgerjorn"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:giuseppepinot-gallizio"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:cobraartists"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:cobra"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:thespectacle"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:constantnieuwenhuys"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:resistance"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:alienation"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:massmedia"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:consumerism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:politics"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:anarchism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:anarchy"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:passivity"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:activity"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:doubt"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:filmmaking"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:comics"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:graffiti"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:streetart"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:aesthetics"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:renegades"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:change"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:changemaking"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:derive"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:drift"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:drifting"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:détournement"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:detournement"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:cartoons"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:foundart"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:collage"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:bricolage"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:seeing"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:howwesee"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:unitaryurbanism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:utoipa"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:games"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:play"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:playing"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:theory"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:societyofthespectacle"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:capitalism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:images"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:imagery"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:modernity"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:production"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:accumulation"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:artmaking"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:making"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:modification"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:modifications"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:alteration"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:criticism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:painting"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:anticapitalism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:thought"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:thinking"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:howwethink"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:urban"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:urbanism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:robertoohrt"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:architecture"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:place"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:life"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:living"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:time"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:industrialization"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:adaptability"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:leisurearts"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:artleisure"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:jean-lucgoda"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://thomasjbevan.substack.com/p/walking-as-inactivity">
    <title>Walking as Inactivity - by Thomas J Bevan - The Commonplace</title>
    <dc:date>2024-10-18T22:44:12+00:00</dc:date>
    <link>https://thomasjbevan.substack.com/p/walking-as-inactivity</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Sunday. The day of rest. I’m down by the Quayside, walking. It’s near lunchtime and the walkways on either side of the water’s edge are teeming with couples and clusters of families, both on foot and on pushbikes. There are pedaloes cutting through the still water and waitresses running out trays of tall lattes to eager pensioners nestled under the parasols jutting out from the centre of round metal tables. Beyond them a seersuckered trad jazz band blow away to the mild delight of a smattering of swaying onlookers. The sun is out, the sky is clear and blue and the breeze is a gentle comfort against the heat. And yet something isn’t quite right. Despite the day, despite the time of year and the favourable, couldn’t-be-better weather there is a tension here, just below the surface.

I stroll the banks but I am the only one who is strolling. As I amble and look and linger at the sight of various waterbirds I am overtaken time and again. I watch the cable ferry for a minute, I contemplate the various centuries old brick buildings and imagine what this place would’ve been like when it was a place of sail ships and exchange and empire. And I am overtaken and overtaken as if there were a minimum speed limit that I was flagrantly disrespecting by moving so slowly. See, though this is a place of leisure and today is the designated day of rest people are marching purposefully as if they have somewhere else to be. Rigid gait, eyes on the path ahead, stimulant of choice at hand- either takeaway coffee or sickly sweet cake or both, while some of the university age walkers forgo these and instead blow vape-pen clouds into the cloudless sky. There is something going on here. Am I the only one who knows how to bimble, how to promenade, how to saunter? Is this now a lost art? And if so, what does this mean, what does this say about us and the way we are living?

The vital thing to understand- and the point that I want to stress the most- is that walking is not an activity. Or rather, it should not be conceptualised as and reduced to being a mere activity. It is much more than that because it is much less than that. Walking is one of the great forms of inactivity and in a world of striving and consumerism and grasping and impatience it is one of only very few potential forms of inactivity left. It is that makes it precious.

You see, when you walk slowly and with no real destination in mind you are not doing, you are just being. Such walking, such contemplation is the beginning of freedom, it is the necessary pre-condition for having your own thoughts and as such for truly living your own life.

Which is why it is such a shame when people pollute their potentially edifying walks by turning to their ever-present phones. When I walk the streets and alleys of my city I constantly see people either shouting inanities into their phones1 or else using them to wirelessly pump music or podcasts into their eager ears. Walking thus becomes reduced to a mere mode of transportation for the carless and these reluctant pedestrians become- like so many other one-person-per-vehicle drivers- detached and isolated units moving through space2. The audio and the journeying cancel each other out and it all bleeds into one, it becomes a blur that blots out the boredom of not being at your destination yet. Worse still is when this is combined with step counting apps or wristwatches which tragically instrumentalise the beautiful art of wandering around and turn walking into a metricated means of merely keeping the body alive and in some sort of working order. Such devices reduce us to machines, and one of the great tricks of Capitalism or The System or however you want to conceive it is that it not only turns us into machines for consumption and generating wealth for The Economy, but it also burdens us with the upkeep of the machinery that we have been reduced to becoming.

It reminds me of the great rant that the anarchist Bob Black got into about free time in his seminal essay The Abolition of Work3

“Free time is mostly devoted to getting ready for work, going to work, returning from work, and recovering from work. Free time is a euphemism for the peculiar way labor, as a factor of production, not only transports itself at its own expense to and from the workplace, but assumes primary responsibility for its own maintenance and repair. Coal and steel don’t do that. Lathes and typewriters don’t do that.”

When you start tracking your step count when you go for your daily constitutional you turn the walk into ‘free time’ in this sense. It becomes an Activity, something that is Good For You. And this only compounds if you listen to some manner of Educational Podcast as you do so. The thrillingly, daringly subversive non-activity of moseying around the neighbourhood for no reason other than the sheer pleasure of being alive, able to walk and out of doors degenerates into just another means of being visibly productive. Because eking out maximum amounts of productivity from every moment of our days has been working out so great for us thus far. All work and no play makes Jack a dull boy and we are all so play-deprived that many of us are becoming passive, disembodied viewers of our own on-screen lives.

It may seem that I am getting worked up about a series of trivialities here. To point out how people turn their recreational activities into photoshoots of themselves acting out their recreational activities may strikes some as petty. To highlight the ubiquitous phones and SUVs that people use to transport them the short distances to and from the walking spots may even seem a little mean spirited. Like I am nit-picking relatively unimportant and unremarkable things to try and find some significance in them. But I truly think that there is a lot more going on here. Everyday things are worthy of serious consideration because they are so common and unremarked upon.

So what does it say then when walking- something that is already complete and requires no thought or effort or expense- is polluted and diminished into just another opportunity to consume and document said consumption? What does it say when we so thoughtlessly desecrate our leisure like this? I would argue that to do these things is more than a little dehumanising.

Animals survive and act and react but only humans can opt out of this cycle and into the higher realm of inactivity. Just as silences make music more beautiful and pauses make conversations richer in meaning, it is inactivity- that is the moving beyond doing into being- that makes life human. Responding to stimuli alone, satisfying needs as they arise alone makes life nothing more than a cycle of biological survival.

The beauty is in the gaps. Art and culture arise from the blank spaces (which may be why these vital spheres in particular seem to be diminishing in this time of always on, always available activity). Uselessness and purposelessness4 are true luxury, true wealth. Look at any heart-stirring ceremony or custom or event- they are filled with detours and excesses, they are far from efficient. You could easily workshop a way of getting to the same basic endpoint much, much quicker and in doing so you would kill everything that made that ceremony unique and beautiful and, well, ceremonial.

The luxury of the aimless walk is one of the most accessible and readily available blank spaces we have. It is no coincidence that such a stroll will all of itself produce ideas and insights and new observations. In the absence of a task the mind will begin to play. It will be free. This is why walking and creativity go absolutely hand in hand. Insight comes to the contemplative and contemplation comes from inactivity, from not trying to generate insights, or indeed trying to do much of anything at all. In a try-hard world this is a difficult truth to convince people of. Because it asks for patience. It asks for more than mere effort. It asks for participation in the world as it is, which for the mind that has always trained itself to be busy is a big ask indeed. But it is the only way to be free."]]></description>
<dc:subject>via:daniellucas walking 2024 thomasbevan psychology strolling exercise fitness health cv beaututy inactivity productivity slow freedom attention capitalism anticapitalism economics work labor bobblack freetime leisurearts artleisure tracking stepcounts neighborhoods pleasure aliveness life living wonder everyday presence human humanism humans purposelessness uselessness derive flaneur aimlessness patience flâneurs flaneurs flâneur dérive anarchism unproduct nonproduct howwethink thinking insight contemplation purpose usefulness efficiency customs ceremonies art culture gaps smartphones observation noticing detours excesses accessibility effort stillness participation participatory doing being waysofbeing waysofseeing waysofsensing subversion subversiveness passivity disembodiment embodiment play</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:7f143820fcc1/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:via:daniellucas"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:walking"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:2024"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:thomasbevan"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:psychology"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:strolling"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:exercise"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:fitness"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:health"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:cv"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:beaututy"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:inactivity"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:productivity"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:slow"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:freedom"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:attention"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:capitalism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:anticapitalism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:economics"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:work"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:labor"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:bobblack"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:freetime"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:leisurearts"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:artleisure"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:tracking"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:stepcounts"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:neighborhoods"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:pleasure"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:aliveness"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:life"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:living"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:wonder"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:everyday"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:presence"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:human"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:humanism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:humans"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:purposelessness"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:uselessness"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:derive"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:flaneur"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:aimlessness"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:patience"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:flâneurs"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:flaneurs"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:flâneur"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:dérive"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:anarchism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:unproduct"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:nonproduct"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:howwethink"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:thinking"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:insight"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:contemplation"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:purpose"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:usefulness"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:efficiency"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:customs"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:ceremonies"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:art"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:culture"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:gaps"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:smartphones"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:observation"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:noticing"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:detours"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:excesses"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:accessibility"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:effort"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:stillness"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:participation"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:participatory"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:doing"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:being"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:waysofbeing"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:waysofseeing"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:waysofsensing"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:subversion"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:subversiveness"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:passivity"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:disembodiment"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:embodiment"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:play"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://www.researchgate.net/publication/332050371_Flaneur's_Phonograph_A_Flaneur_Shift_in_Urban_Exploration">
    <title>(PDF) Flâneur’s Phonograph: A Flâneur Shift in Urban Exploration</title>
    <dc:date>2024-08-15T06:08:08+00:00</dc:date>
    <link>https://www.researchgate.net/publication/332050371_Flaneur's_Phonograph_A_Flaneur_Shift_in_Urban_Exploration</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Abstract and Figures
Two of the often discussed perspectives of experiencing a place are the tourists’ lens and the residents’. Noticing the recent rise of atypical tourism, where tourists want to pursue the “live-there” experience, and the rising focus of shifting residents’ attention from mundane day-to-day life, we propose the concept of flâneur as an alternative state. With ‘research through design’ approach, we present our exploration, including (1) gamification for making the sense of place, (2) using situationist-inspired-cards for residents to explore familiar place, and (3) using street photographers’ quotations as inspiration for alternative experience of listening to a city. With these explorative findings, we design Flâneur’s Phonograph, a sound collecting and experiencing device for soundscape, which aims at invoking the flâneur experience during the exploration, and enabling engaging experience different from the perspective of a tourist or a local resident. It invites the users to open up their auditory senses to the places by providing 3 different monitoring modes and 3 types of microphones. We further analyse the qualitative results from investigating a resident and a tourist with our design, make critical reflection, and constructively understand what the flâneur could be in the new technological contexts."]]></description>
<dc:subject>flaneur situationist place sensemaking soundscape photography attention noticing 2019 po-haowang yu-tingcheng wenn-chiehtsai rung-hueiliang reflection urbanexploration exploration urban urbanism flâneurs flaneurs flâneur dérive derive observation makingsense</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:136b5459f37c/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:flaneur"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:situationist"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:place"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:sensemaking"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:soundscape"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:photography"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:attention"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:noticing"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:2019"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:po-haowang"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:yu-tingcheng"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:wenn-chiehtsai"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:rung-hueiliang"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:reflection"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:urbanexploration"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:exploration"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:urban"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:urbanism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:flâneurs"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:flaneurs"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:flâneur"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:dérive"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:derive"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:observation"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:makingsense"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://likeahammerinthesink.wordpress.com/2016/08/07/a-flawed-archive/">
    <title>A flawed archive | likeahammerinthesink</title>
    <dc:date>2024-08-15T05:41:44+00:00</dc:date>
    <link>https://likeahammerinthesink.wordpress.com/2016/08/07/a-flawed-archive/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["I put some pictures of part of my collection of found playing cards up on Instagram, a couple of weeks ago. The layout and pictures were inspired by Graeme Miller’s installation of found cards in Cornelia Parker’s exhibition Found at the Foundling Museum[i]. After I posted the pictures I realized that there was a mistake in the layout as I had substituted a 3 of hearts for a 3 of diamonds. Around the same time a friend made a comment to the effect that the inclusion of a found box was an aesthetic or conceptual error. (Maybe you were right Andy). So. In order to correct these mistakes here are new versions of the photographs. Various substitutions have taken place between these pictures and the Instagram ones and between the photographs of fronts and backs.

[images]

Because I spent some time going through the cards one otherwise directionless Saturday morning I thought I should record some of my ‘findings’ related to the collection. Here they are:

Since whenever it was I started this collection I have found 296 individual or small groups of playing cards. There are two complete packs that are not part of this total. I have found 61 hearts, 64 spades, 69 diamonds, 76 clubs and 26 jokers. I have only found one 5 of diamonds which means that I only have one complete ‘pack’ of various found cards. Apart from jokers, the card I have picked up most often is the jack of diamonds…there are 10 of these. I have found 28 jacks, 28 kings, 25 queens and 25 aces. I have only found 13 5s. I am pretty sure that I found cards in: London, Edinburgh, Rio de Janeiro, New York, Venice, Palermo and Taipei but I don’t know which ones or where else they might have come from.[ii]

Thinking about Miller’s display I was reminded, not just of my own collection, but also of something I had read some years ago – a Situationist strategy enacted in Glasgow involving dérives and found playing cards. But I could remember no more than that so I put the thought aside.

This week, browsing in my not usual local charity shop I came across a copy of a book: ‘8 Metaphors (because the moving image is not a book)’[iii]. I bought the book as its 8 authors and 16 contributors looked interesting and because the publishers (Lux) used to be situated about 100 yards from where I was standing. Leafing through the book later I noticed a conversation between 2 filmmakers, Stina Wirfelt and Deborah Stratman. Wirfelt’s opening gambit is: ‘I’m republishing ‘The Joker’ text I sent to you.’ This rang a bell and, misguidedly, I went online to find this text with no success. On a second look I realised that ‘The Joker’ had been republished in the book I was looking at. Furthermore, the text had been scanned from Stewart Home’s anthology ‘Mind Invaders’[iv]. This was the Situationist strategy that I had half-remembered and I had clearly read it in Home’s book. ‘The Joker’ is credited to ‘Workshop for a Non-linear Architecture’ but no individual author is named. It describes the accident of finding two consecutive cards on consecutive days (the 3 and 4 of diamonds…notably not the 5 of diamonds the card I have only found one of) and the discussion in the Mitre pub in Glasgow that lead to the idea of a game of Urban Poker played across cities and over time. Here is an outline of the rules:

‘Two or more drift teams, containing between one and half a dozen navigators, would begin at a given point in time to search for found playing cards. The cards would naturally have to be the genuine ‘unsolicited object’ (in Breton’s sense of the word), although dishonesty in regard of such matters would be left, as is only natural, to the subjective nature of the individual(s) concerned. Initially each team would seek five cards, a number of which would be burned, or in other words discarded. Once this agreed number had then be refound, the hand would be brought to a close and publicly declared, e.g. Full House, Pair, Ace High, etc., the winning team being the one with the best hand.’[v]

Miller in the label for his playing card collection at the Foundling Museum says: ‘It is hard to avoid the notion that they [the playing cards] convey fateful meaning, yet it is impossible to work out what that meaning is’. ‘The Joker’ makes an explicit reference to walking. These two strands are brought together in this passage from the essay Drifting; Some Journeys Followed by Dominic Paterson in ‘8 Metaphors’:

‘When he was writing his ‘Reveries of the Solitary Walker’ Jean Jacques Rousseau made a note on the back of a playing card: ‘My whole life has been little else than a long reverie divided into chapters by my daily walks’[vi]

Up on the first floor of the Museum there is an old display case showing some of the tokens left between 1741 and 1760 by the mothers of ‘foundling’ children at the hospital. These tokens were intended as a means of identifying the children at some later date. Here is one:

[image]

I thought that the cards I have collected dated from the early 1980s to the present but another friend pointed out that I was doing ‘this kind of thing’ in Dundee in the 70s. So this assemblage of found artefacts is the least useful kind of archive. The objects in the archive have no recorded dates or locations. Of course, this could all be part of a game I have been playing, without knowledge, for 40 years.

Dominic Paterson ends his essay with an account of Ralph Romney’s problematic contribution to the Situationist journal in the form of a psychogeographic study of Venice. (Problematic because its late delivery was the cause of his expulsion from the group). Here is Romney recalling the project:

‘And the thing that struck me most was that when people go to San Marco, they are encouraged to look at the mosaics above their heads. In my case, maybe because I have a slightly hunched back or for whatever reason, I look at the ground.’[vii]

 

 

[i] Miller’s installation is called ‘Picked hand’.‘Found’ at The Foundling Museum, London. 27th May – 4th September 2016.

[ii] My notes. 23rd July 2016.

[iii] ‘8 Metaphors (because the moving image is not a book)’. Luke Fowler, Laura Gannon, Duncan Marquiss, Laure Prouvost, Grace Schwindt, Samuel Stevens, Stina Wirsfelt, Emma Wolukau-Wanambwa. Edited by Isla Leaver-Yap. Lux, London, 2011.

[iv] ‘Mind Invaders’ Edited by Stewart Home. Serpent’s Tail, London,1997.

[v] Quoted in ‘8 Metaphors’. Unpaginated section. ‘Previously issued as a privately circulated pamphlet’.

[vi] Ibid. P 140.

[vii] Quoted in ibid. P 144. (From Romney’s book ‘The Consul’.)"]]></description>
<dc:subject>collections collecting playingcards cards situationist 2016 psychogeography rousseau drifting derive walking jokers thejoker dominicpaterson stinawirfelt deborahstratman corneliaparker graememiller calumstorrie memory dérive encounters finding foundobjects objects drift</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:3cbdf8039d39/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:collections"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:collecting"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:playingcards"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:cards"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:situationist"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:2016"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:psychogeography"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:rousseau"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:drifting"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:derive"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:walking"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:jokers"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:thejoker"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:dominicpaterson"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:stinawirfelt"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:deborahstratman"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:corneliaparker"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:graememiller"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:calumstorrie"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:memory"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:dérive"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:encounters"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:finding"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:foundobjects"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:objects"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:drift"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://wanderprompts.com/">
    <title>Wander Prompts</title>
    <dc:date>2024-04-16T18:28:05+00:00</dc:date>
    <link>https://wanderprompts.com/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Wander Prompts are a set of prompts for a slow, observational walk right where you are.

They can guide you to get to know your own city more intimately. Or, just give you an excuse to walk outside.

For example, Last week on Thursday, someone in Mexico City searched for gated buildings. Before that, on Thursday in Mexico City, someone walked into a public building. On Thursday in the morning, someone walked as if they were tough in Mexico City. Someone searched for a construction site in São Paulo on a Sunday in March. On February 1st in Boston, someone lingered on a corner. In Home, someone found a place to listen to people in the morning on a day in January. Before that, 5601 people took walks across 116 cities.
*
Wander Prompts were created by H.Jaramillo and C.Joerges. They were inspired by Derives and Yi-Fu Tuan. We recognize not everyone will always feel safe taking a purposeless walk, but hope this serves as a reminder that you absolutely have the right to do so."]]></description>
<dc:subject>wandering exploration walking creativity prompts situationist psychogeography yi-futuan slow observation derive dérive</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:31686e60dfc2/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:wandering"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:exploration"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:walking"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:creativity"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:prompts"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:situationist"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:psychogeography"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:yi-futuan"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:slow"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:observation"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:derive"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:dérive"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://www.versobooks.com/products/2954-with-and-against">
    <title>With and Against: the Situationist International in the Age of Automation – Verso</title>
    <dc:date>2023-12-06T22:49:00+00:00</dc:date>
    <link>https://www.versobooks.com/products/2954-with-and-against</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The little-known story of the Situationist International’s struggle against the automation of everyday life

No other art movement has so profoundly influenced radical politics as the Situationist International. But beyond the clichés about its purported leader Guy Debord, the "society of the spectacle," détournement and dérive, lies a more complex story about key historical shifts in the composition of capital, work, labor, art, and revolutionary theory during the 1950s and 60s.

With and Against reframes the history of the Situationist International as a struggle to come to terms with the then-emerging ideologies of cybernetics and automation. Through each of the book's four chapters, Dominique Routhier dissects Situationist pamphlets, documents, artworks, and objects that refract elements of a "cybernetic hypothesis": the theoretically hyperbolic belief that technological progress, computers and automation make class struggle and the idea of revolution obsolete.

With equal attention to aesthetic detail and to the broader contours of political economy, this book serves as a critical intervention in art history as well a call to reconsider, more broadly, the contemporary lessons of the most political of all artistic avantgardes."]]></description>
<dc:subject>dominiquerouthier situationist 2023 books technology economics cybernetics automation class classstruggle guydebord détournement derive dérive everyday life living 1950s 1960s capitalism capital work art detournement</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:1dc7e9d6f59a/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:dominiquerouthier"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:situationist"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:2023"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:books"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:technology"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:economics"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:cybernetics"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:automation"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:class"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:classstruggle"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:guydebord"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:détournement"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:derive"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:dérive"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:everyday"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:life"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:living"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:1950s"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:1960s"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:capitalism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:capital"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:work"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:art"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:detournement"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://syllabusproject.org/syllabus-for-taking-an-internet-walk/">
    <title>Taking an Internet Walk – Syllabus</title>
    <dc:date>2023-11-16T05:18:09+00:00</dc:date>
    <link>https://syllabusproject.org/syllabus-for-taking-an-internet-walk/</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>spencerchang kristoffertjalve internet web online howweread are.na alternative hypertext webdev community communities altweb socialmedia derive dérive wandering situationist place reading howwewrite bookmarks bookmarking databases audio</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:7283d75c11e1/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:spencerchang"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:kristoffertjalve"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:internet"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:web"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:online"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:howweread"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:are.na"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:alternative"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:hypertext"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:webdev"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:community"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:communities"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:altweb"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:socialmedia"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:derive"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:dérive"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:wandering"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:situationist"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:place"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:reading"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:howwewrite"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:bookmarks"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:bookmarking"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:databases"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:audio"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://daily.jstor.org/walkers-in-the-city-and-everywhere/">
    <title>Walkers in the City—and Everywhere - JSTOR Daily</title>
    <dc:date>2023-10-31T09:22:21+00:00</dc:date>
    <link>https://daily.jstor.org/walkers-in-the-city-and-everywhere/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Imagine going for a stroll, unencumbered by a phone, preoccupied by the glories of the world around you: the perfume of blossoming flowers, the heat radiating from sidewalks, the sound of wind as it moves through and bounces off towering buildings. You might notice a historical landmark you usually miss in the hustle of getting from A to B. Or spot the construction of luxury apartments where working-class housing formerly stood. Perhaps you realize there are fewer bird calls than there used to be. Consciously or not, you are participating in the practice of psychogeography, a radical method of moving through the world more intentionally, in a way that benefits not only the individual but society as a whole.

Many of the issues we face from climate change to the crisis of loneliness to racial and class injustice are deeply connected to the physical world and our interactions with our immediate surroundings. This can be seen in the redlining of communities of color through decades of discrimination or the planning and placement of working-class communities in the direct path of industrial pollution. As we emerge into post-pandemic public spheres, we have the opportunity to imagine new versions of the public sphere, evident in concepts such as the 15-minute city, in which all needs can be met within a quarter-hour walk; the creation of third spaces to interact outside of home and work; and more broadly in the efforts to make both urban and rural areas greener and more flourishing.

Psychogeography, which combines psychology and geography, was developed during the mid-20th century by the Letterist International and its successor Situationist International, two Europe-based organizations that drew on anarchist and Marxist writings, among others. Guy Debord, a founding member of both bodies, defined psychogeography as an environment’s impact, whether mindful or not, on an individual’s behaviors or emotions. Psychogeography became tangible in the dérive (“drift”), defined by Phil Smith in Cultural Geographies as “an exploratory, destinationless wander through city streets, detecting and mapping ambiences.”

Debord was inspired by Charles Baudelaire’s flâneur, the 19th-century stroller who embodied the image of the leisurely—and inherently—upper-class male wanderer. Influential German-Jewish philosopher Walter Benjamin further fleshed out this concept, with the flâneur serving as “an interesting social type because it points to the centrality of locomotion in social life,” writes Mike Featherstone in Urban Studies. “The stroller is constantly invaded by new streams of experience and develops new perceptions as he moves through the urban landscape and crowds.”

Decades later, the Situationists found themselves grappling with a very different post-war Europe in mid-20th century. In the face of an increasingly capitalistic society, they developed their more political movement with the tenets of Dadaism and Surrealism as anchor. Another of their central concepts was the détournment (“turnabout”): “a deliberate reusing of different elements—like images or text—to form something new,” as A.E. Souzis writes in Cultural Geographies. (A prime example are subversive pranks like defacing an ad in an anti-consumerist stunt.)

The Situationists were already concerned, Souzis says, about “the rise of privatization, big business and shrinking pedestrian-friendly public space,” issues that have continued to shape the development of urban areas, prioritizing commerce over the needs of residents. Amy J. Elias writes in New Literary History that these radicals “sought a utopian, revitalized urban life that could both elude the aesthetic tyranny of spectacularized global capitalism and provide a vital, liberatory model of urban Being.”

While the Situationists might have fizzled following the brief moment of revolutionary fever that overtook France during the May 1968 protest movement, psychogeography has arguably become more relevant in the intervening decades. It has been linked to other movements such as Afro-futurism, eco-feminism, and Indigenous environmentalism, which address the injustices these marginalized communities face. Collective urban gardening, seed bombing to bring back native plants, and guerilla grafting fruit-bearing limbs onto trees all address issues around food insecurity, sustainability, and the restoration of nature in industrialized landscapes. Many psychogeographic endeavors also focus on feminist reclamation of male-controlled public spaces, as seen in Take Back the Night rallies or Lauren Elkin’s 2016 memoir Flâneuse: Women Walk the City in Paris, New York, Tokyo, Venice and London, which explores what it means to be a woman navigating the world.

In the realm of academia, psychogeography has become a ripe tool for analyzing environments, both real and imagined. This ranges from amusement parks (“an image of transition from the spectacle in reality to the spectacle of reality,” as Franco La Polla writes in Revue française d’études américaines) to Berlin’s pre-cellular data telécafes (places largely frequented by immigrant communities where “different politics of borders and border crossings can be investigated,” argues Maria Stehle in Women in German Yearbook) to imagining post-Katrina New Orleans (Aoife Naughton hoped to preserve “this kind of freedom and joy in the open street, even in a booming real estate market”).

Somewhat surprisingly, the online world has also become a space for psychogeographical exploration, particularly in the exciting days of Web 1.0. “Hacker and libertarian manifestoes have often couched utopian ideals within cyberspace rhetoric,” Elias writes. “The spatial field of the web surfer may be either delimited according to search parameters or openly processual according to linked pathways.” As Web 3.0 emerges in a landscape of flailing, and sometimes failing first-wave social media platforms, the opportunity is ripe to forge new ways of building digital spheres that serve and engage communities that might otherwise be unable to connect.

This malleability of psychogeography, from the literal concrete to the stretches of the virtual imagination, has inspired artists across mediums. Blur frontman Damon Albarn, who co-founded Gorillaz, has created both deeply personal music (“His debut solo album, Everyday Robots, is so rich in personal psychogeography that it must be the first record to extract poignancy from Thurrock Lakeside shopping centre,” observed Dorian Lynskey in The Guardian) and built alternative realities. As he told The Fader: “Gorillaz is all about geography, in a sense, because we have this metaverse for a long time. It’s accumulated lots of space, and the psychogeography is quite huge. You can travel around to different eras in different parts of the universe or the world or the island indeed.”

Comic book legend Alan Moore (Watchmen, V for Vendetta, and Batman) has also frequently discussed the role of psychogeography in his work, notably how it can help find purpose in a world that seems to lack meaning. “You can look at the ordinary world around you with the eye of a poet,” he told Wired in 2010. “Finding events which rhyme with other events, what little coincidences or connections can be drawn to these places and people. You can put them into an arrangement that says something new about them.”

More recently, Greek American painter Gerasimos Floratos created a series of collages, drawings, and oil paintings during the pandemic. Titled “Psychogeography,” this oeuvre captures the hectic life around New York City’s Time Square, drawing connections to the equally busy systems within the human body. “For me, psychogeography is about map-making,” Floratos said in the press release for the exhibit, “Mapping the inside of your mind simultaneously with your environment. Not the kind of linear maps we usually use, maps that simultaneously chart sensory data, emotions, memory, the physical body, culture, society etc.”

Andy Howlett, an artist and filmmaker based in Birmingham, United Kingdom, believes that psychogeography is an “inherently creative response to space,” one that’s “playful, subversive, mischievous and rarely takes itself too seriously.” Right before COVID-19 hit, he co-founded Walkspace: Walking in the West Midlands, a collective to promote psychogeography in the landlocked region. While some have framed psychogeography as a solo endeavor, Howlett was passionate about bringing people together and re-discovering a forgotten “richness” in his community. They even made a virtual map where people could add points of interest discovered through their own psychogeographic explorations.

Indeed, the United Kingdom has become a particular hotbed for psychogeography, largely promoted by writers such as Iain Sinclair (notably exploring the impact of the 2012 London Summer Olympics) and Peter Ackroyd (focusing particularly on what one can learn about a city’s history through psychogeography). While much of the attention has focused on London, like the London Circle Walk following the city’s periphery, other less popular places like Birmingham, Liverpool, and Manchester are also getting into the spotlight. Like many major urban areas, Birmingham was designed for car travel in the 20th century and, as Howlett concedes, doesn’t have a unique identity. The city’s motto is Forward and Howlett finds that its history, particularly as an industrial stronghold, is often forgotten in the name of building the biggest, newest thing.

“I think that sense of frustration, balanced with a sense of excitement, is a big part of the psychogeography of the city,” he said. “There’s a sense that you have to really go looking for all the history, for the heritage.”

As a collective, Walkspace has grown to nearly thirty members and organizes Walkspace Erratics, psychogeography-inspired walks. A recent early morning trek, led by a former paramedic, highlighted the unique and often trauma-informed way medical workers experience the city. Walkspace has also collaborated with a walking group in the Indonesian city of Yogyakarta on a Parallel Walking project, exploring the similarities and differences between the two urban areas. This past June, Walkspace held its first group exhibition, featuring paintings, collages, poetry, and a film night by members of the collective.

Howlett’s ideas of psychogeography have inspired projects including a collaborative video in which GoPro photos, snapped every five seconds, were put into a slideshow that visitors watched on a treadmill. The speed of the images would change depending on walking speed. Howlett explains, “I had all the material I could ever need just on my doorstep. I could just leave the house and interact with the city; I can uncover histories and stories and go on adventures.”

While Howlett is excited to see his group grow as well as similar initiatives pop up in other areas, he does not view his work as serving an agenda for political change, at least not for now. In many ways, it’s hard to imagine the impetus it would take for the observations made on a psychogeographical journey to have a tangible impact. How can living communities be completely reimagined as wildfires burn, coastal areas erode, and the pressures of housing insecurity threaten more and more people?

The imaginative potential of psychogeography can play an important role as a catalyst for this seemingly impossible undertaking. Systemic shock forces change; COVID-19 led people to reclaim outdoor spaces to eat together, bike in groups, and take part in other collective activities. This led to concrete measures that have permanently reshaped urban landscapes. Clearly, this desire to thrive rather than merely survive has been brought to the fore, accelerated by the constraints of the pandemic.

Back in 2005, David Pinder wrote about how artistic collectives were using psychogeography to reclaim the city of New York, given “a tightening of surveillance measures and a hardening of the city’s surface, both in terms of security procedures heightened in the wake of 11 September 2001 and in relation to a landscape pitted against the already marginalized and poor.” Pinder focused on a parade by the artistic collective Toyshop, which aimed to use “every means at our disposal to make a city that instigates our creative impulses and fosters the feral spirit.” This event featured bands meant to create a “sound riot” and drew crowds of people to the street, encouraging, as Toyshop put it, “a participatory model for citizens to take part in the physical and social structure of the environment we live in.”

While this event was more creative than political, it’s easy to see the roots of future reclamation movements coming for urban hubs of global capital where economic and social injustice often thrive. These sorts of actions, even on the smallest scale, carry significant meaning when practitioners assert how they wish to inhabit a space, and when they are able to convince others to likewise undertake this reflective process of questioning the status quo.

“To intervene through creative practice in public space today in New York and other cities is to enter into a crucial struggle over the meanings, values and potentialities of that space at a time when its democracy is highly contested,” Pinder says. “Encouragement of vitality and openness in that space is not an innocent demand.”"]]></description>
<dc:subject>psychogeography situationist urban urbanism geography cities 2023 hannahsteinkopf-frank openness vitalitydavidpinder gopro walkspaceerratics iainsinclair petetackroyd exploration gerasimosfloratos damonalbarn dorianlynskey gorillaz flâneur guydebord wandering walterbenjamin mikefeatherstone urbanstudies détournment turnabout aesouzis laurenelkin francolapolla aoifenaughton mariastehle freedom streets landscape alanmoore andyhowett dérive flâneurs flaneurs flaneur mapping maps map mapmaking derive</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:50477918ea94/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:psychogeography"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:situationist"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:urban"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:urbanism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:geography"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:cities"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:2023"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:hannahsteinkopf-frank"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:openness"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:vitalitydavidpinder"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:gopro"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:walkspaceerratics"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:iainsinclair"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:petetackroyd"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:exploration"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:gerasimosfloratos"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:damonalbarn"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:dorianlynskey"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:gorillaz"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:flâneur"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:guydebord"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:wandering"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:walterbenjamin"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:mikefeatherstone"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:urbanstudies"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:détournment"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:turnabout"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:aesouzis"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:laurenelkin"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:francolapolla"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:aoifenaughton"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:mariastehle"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:freedom"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:streets"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:landscape"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:alanmoore"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:andyhowett"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:dérive"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:flâneurs"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:flaneurs"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:flaneur"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:mapping"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:maps"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:map"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:mapmaking"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:derive"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://psyche.co/guides/how-to-wander-in-a-world-that-values-purpose">
    <title>How to wander | Psyche Guides</title>
    <dc:date>2023-04-28T16:52:10+00:00</dc:date>
    <link>https://psyche.co/guides/how-to-wander-in-a-world-that-values-purpose</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>wandering walking 2023 unschooling deschooling slow nature situationist drifting flaneur derive senses multisensory sensing compliance freedom memory place curiosity flâneurs flaneurs flâneur dérive wellbeing happiness attention thinking thoreau rousseau rebeccasolnit thichnhathanh wendellberry travel exploration exploring sensory walterbenjamin baudelaire surrealism dada ellenmueller art pragmatism well-being drift</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:032c5f8214bc/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:wandering"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:walking"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:2023"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:unschooling"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:deschooling"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:slow"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:nature"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:situationist"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:drifting"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:flaneur"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:derive"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:senses"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:multisensory"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:sensing"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:compliance"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:freedom"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:memory"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:place"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:curiosity"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:flâneurs"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:flaneurs"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:flâneur"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:dérive"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:wellbeing"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:happiness"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:attention"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:thinking"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:thoreau"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:rousseau"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:rebeccasolnit"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:thichnhathanh"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:wendellberry"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:travel"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:exploration"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:exploring"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:sensory"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:walterbenjamin"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:baudelaire"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:surrealism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:dada"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:ellenmueller"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:art"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:pragmatism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:well-being"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:drift"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://www.documnt.net/experimental-jetset-two-or-three-things-i-know-about-provo">
    <title>Two or Three Things I Know About Provo, by Experimental Jetset</title>
    <dc:date>2021-08-25T17:41:44+00:00</dc:date>
    <link>http://www.documnt.net/experimental-jetset-two-or-three-things-i-know-about-provo</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[“Introduction

In short, Provo was an Amsterdam anarchist movement that existed for just two years (1965–1967), although its existence resonated for years to come, in the Netherlands and abroad.

Through printed matter, conceptual activism and speculative political proposals (e.g., the ‘White Plans’), the Provo movement captured the imagination of a generation, and forever shaped the Dutch political and cultural landscape. Part art movement and part political party, Provo was a loose-knit collective, consisting of individuals with very different ambitions: subversive agendas, artistic motives, utopian ideas, concrete plans. Between1965 and 1967, these motives and agendas briefly overlapped, enabling a unique movement. A movement that liquidated itself in 1967, in a self-declared act of ‘auto-provocation’.

Looking at the strategies and methods of Provo, we are immediately reminded of a quote by Baudrillard, from ‘Utopia Deferred’ (Semiotexte, 2006):

Walls and words, silk-screen posters and hand-printed flyers, were the true revolutionary media in May 1968. The streets where speech started and was exchanged: everything that is an immediate inscription, given and exchanged. Speech and response, moving in the same time and in the same place, reciprocal and antagonistic.

Obviously, Baudrillard is talking here about the Parisian insurrection of 1968 – while Provo took place three years earlier. But still, we think this particular quote could also be used perfectly to describe the working methods of Provo.

At the heart of Provo is exactly the notion of the streets as a place of immediate “speech and response”. Magazines were distributed in the streets, posters were pasted to the walls, performances (‘happenings’) took place on public squares (and around specific statues and monuments), surreal slogans were being chanted (such as a repeated mantra of “ugh, ugh, ugh”), and pamphlets were handed out to unsuspecting bystanders. In the meantime, the (illegal) printing press of Provo had to be moved constantly, from one location to another, because there was always the danger of confiscation. So the printing press itself was on a constant ‘dérive’ through the city, echoing the way the Provos themselves were drifting through the streets of Amsterdam. In that sense, we do believe that the story of Provo is mainly one about the symbiotic relationship between the city and the printing press.

In fact, we even think that, in the case of Provo, the city itself became a printing press. Through the distribution of magazines and pamphlets, and through the use of site- specific performances (‘happenings’ and ‘situations’), Provo turned the city into a place where ideas were enlarged, multiplied and reproduced. In other words, through Provo, the city revealed itself as a device for reproducing ideas – a metaphorical printing press.

In this regard, a person that needs to be mentioned is Rob Stolk (1946–2001), one of the main founders of Provo. Coming from a socialist working class background, Stolk was involved in activism from a very young age. His involvement in Provo forced him to become a printer; since mainstream printing offices refused to handle the subversive and sometimes illegal Provo material, he had no other option than to print these publications himself. Reflecting on this situation, Stolk often quoted American journalist A. J. Liebling: “Freedom of the press is for those who own one”.”

[See also:
https://2or3things.tumblr.com/

“This online archive is part of an ongoing research project by Amsterdam-based graphic design studio Experimental Jetset (consisting of Marieke Stolk, Erwin Brinkers and Danny van den Dungen) on the subject of the Provo movement (and its post-Provo offshoots). 

So far, this research resulted in a series of exhibitions and installations, most notably ’Two or Three Things I Know About Provo’ (which took place in 2011, at Amsterdam artists’ space W139), ’Two or Three Things / The Brno Edition’ (which took place at the Moravian Gallery in the Czech Republic, as part of the 25th Brno Biennial 2012), and the poster series ‘Concrete Provo’ (made as a contribution to ‘Yes Yes Yes’, a group show at Colli Independent Art Space in Rome, 2015).

‘Provo Station: Models for a Provotarian City’, the most recent installation, took place between March 18 and May 22, 2016, at Galerie für Zeitgenössiche Kunst Leipzig. 

Within this research, the main subject is the relationship between Provo, the city, and the printing press. 

A figure that plays an important role in this narrative is Rob Stolk (1946–2001), one of the main founders of Provo. Coming from a socialist working class background, Stolk was involved in activism from a very young age. His involvement in Provo forced him to become a printer; since mainstream printing offices refused to handle the subversive and sometimes illegal Provo material, he had no other option than to print these publications himself. Reflecting on this situation, Stolk often quoted American journalist A. J. Liebling: “Freedom of the press is for those who own one”.

After the liquidation of Provo, Rob Stolk remained an important figure in various post-Provo movements, most notably in the early squatters’ scene (Woningburo de Kraker), and in Aktiegroep Nieuwmarkt (the action committee that successfully protested against the demolition of the Amsterdam Nieuwmarkt district and surrounding areas). In 1969, he was involved in the occupation of Het Maagdenhuis (the main building of the University of Amsterdam), operating a printing press from within the occupied building. 

From 1976 to 1983, he published the satirical/historical magazine ‘De Tand des Tijds’. In the 1980s and 1990s, he became one of the most prolific cultural printers in Amsterdam, until his untimely death in 2001, when he was only 55 years of age.”

…

“10 Maart: Dag van de Anarchie 
March 10: Day of Anarchy” [poster, in Europa Grotesk Nr 2 SH ExtraBold and Europa Grotesk Nr 2 SH]
https://2or3things.tumblr.com/post/158192023131/10mar1966

…

"Two or Three Things I Know About Provo
A small and personal archive of the Provotarian movement in Amsterdam (1965-1967), as installed by Experimental Jetset"
https://www.experimentaljetset.nl/provo/

…

"Counter Currents: Experimental Jetset on Provo"
https://walkerart.org/magazine/counter-currents-experimental-jetset-on-provo ]]]></description>
<dc:subject>provo amsterdam 1960s 1965 1966 1967 netherlands printing print anarchism anarchy socialmovements art psychogeography dérive robstolk cities urban urbanism situationist sympols signs pamphlets acitvism bikes biking organizing patterns symbolism smoke apples statues typographic greaphicdesign lettering publishing publication lcproject meaning meaningmaking experimentaljetset freedom freedomofspeech drift drifting mariekestolk erwinbrinkers dannyvandendungen provomovement ajliebling activism archivism derive freespeech</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:723c6e4db6b1/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:provo"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:amsterdam"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:1960s"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:1965"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:1966"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:1967"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:netherlands"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:printing"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:print"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:anarchism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:anarchy"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:socialmovements"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:art"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:psychogeography"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:dérive"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:robstolk"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:cities"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:urban"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:urbanism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:situationist"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:sympols"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:signs"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:pamphlets"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:acitvism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:bikes"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:biking"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:organizing"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:patterns"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:symbolism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:smoke"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:apples"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:statues"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:typographic"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:greaphicdesign"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:lettering"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:publishing"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:publication"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:lcproject"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:meaning"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:meaningmaking"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:experimentaljetset"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:freedom"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:freedomofspeech"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:drift"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:drifting"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:mariekestolk"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:erwinbrinkers"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:dannyvandendungen"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:provomovement"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:ajliebling"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:activism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:archivism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:derive"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:freespeech"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://mubi.com/lists/aimless-walk-psychogeography-deep-ecology">
    <title>AIMLESS WALK, PSYCHOGEOGRAPHY, DEEP ECOLOGY – Movies List on MUBI</title>
    <dc:date>2021-03-11T01:47:58+00:00</dc:date>
    <link>https://mubi.com/lists/aimless-walk-psychogeography-deep-ecology</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["A list of films relevant to Psychogeography, Deep ecology, Remapping and Dérives.

This list is a work in progress and far from complete. Recommendations welcome.

Films here are not ranked, just listed.

FILMS NOT ON MUBI DATABASE:

Edgelands (2013) Dir. Kieran Evans, trailer – http://www.youtube.com/watch?v=F3Umuutyy0s

Thames Film (1987) Dir. William Raban

Sundial (1992) Dir. William Raban

About Now MMX (2010) Dir. William Raban

News from Nowhere (1976) Dir. Chantal Akerman

Palimpsest (2010?) Dir. Neil Gray, http://vimeo.com/17402900

The London Perambulator (2011?) Dir. John Rogers http://www.youtube.com/watch?v=TNGskCNrBHY (PRETTY MUCH EVERYTHING ELSE BY JOHN ROGERS)

1395 Days Without Red, (2011) Šejla Kamerić, Anri Sala, in collaboration with Ari Benjamin Meyers

The Great Walk (2013) Directed by Clive Austin (PRETTY MUCH EVERYTHING ELSE BY CLIVE AUSTIN)

How We Used to Live (2013), written by Paul Kelly and Travis Elborough"]]></description>
<dc:subject>walking psychogeography dérive deepecology maps mapping film derive</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:701e152d7011/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:walking"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:psychogeography"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:dérive"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:deepecology"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:maps"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:mapping"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:film"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:derive"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://www.thesocial.com/ogmios-school-of-zen-motoring/">
    <title>The Rhythm of the Road – Ogmios School of Zen Motoring</title>
    <dc:date>2020-07-14T04:56:44+00:00</dc:date>
    <link>https://www.thesocial.com/ogmios-school-of-zen-motoring/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["One of the biggest questions raised by lockdown is what happens next. And specifically, will we all just go back to old ways of living. Is it possible to change the pace we were all hurtling along at before everything stopped, chasing those daily goals irrespective of the effect on our mental wellbeing? Is it possible that we can find a different pace of life, a gear that encourages a sort of public mindfulness? And is that even possible in our mega built up, super pent up urban environments? 

Maybe there’s already an answer out there. A couple of weeks ago, we were alerted to the Ogmios School of Zen Motoring. If you haven’t seen the two episodes currently online, please give yourself some quiet time to watch them. The premise is very simple. Accompanying film shot from the dashboard of a car, battle rapper/teacher/beacon of positivity Ogmios verbally navigates the streets of North London and humbly documents what he sees. There, pressure points are turned into curiosities and quick acknowledgements from fellow road users are received like monumental marks of respect. The whole thing is delivered with a kind of hypnotic positivity, one that mutes out the chaos and fury of a congested Hackney and replaces it with something more akin to directors commentary on a BBC4 slow travel film. 

As the chaos of spring 2020 piled on, these films rapidly became a Social Gathering obsession. So we decided to track down Ogmios and talk to him about them.

How did you first find the rhythm of the road? 

I think I’ve always been quite an easy going driver but it took a good few years of driving experience to start getting a feel for the natural flow of things. It’s an ongoing quest so I’m still looking for the perfect rhythm of the road. Hopefully we can all find it together on electric scooters. 

For most people, driving in central London forces their simmering cauldron of rage to occasionally spill over into a torrent of deranged abuse. You have managed to find the beauty in small, thoughtful actions. Has that always been the way? 

There are indeed people driving around London ever ready to let out all of their frustration and anger over an indiscretion and some even seem to drive looking to provoke a confrontation. That can be any of us on any given day. I’m not immune to feeling annoyed occasionally but over time I’m striving to cultivate the mindset that can have a larger perspective in those moments. The more people we have cultivating that mindset the more we can neutralise the anger on the streets. Most of the time we are all cooperating and getting along in many ways we take for granted and it’s a beautiful thing. 


You tag that the films are created on ASMR Dashcam (Autonomous Sensory Meridian Response – a feeling “compared with auditory-tactile synesthesia”). Does that accurately describe the sensation of watching these films? 

I put the ASMR tag on the videos in a slightly tongue-in-cheek way but I do think they can bring about that sensation for some people. I’m not using binaural mics like professional ASMR practitioners but I do turn up certain sounds at certain points for the ASMR freaks, like the sound of my indicators or the sound of my car disintegrating as I drive over poorly maintained streets. 

Is the double wave from a fellow road user the ultimate mark of respect or is there a higher form of thanks? 

I think it’s definitely a very high form of thanks but you can have the triple wave which is much rarer and slightly higher in the showing gratitude rankings, although adding more waves after that can actually be risky as it can start to look sarcastic or demented. You could also have the bow or full prostration which I’ve not seen yet on a zebra crossing or the earnest pointing followed by fist bumps to the heart. The possibilities are endless.


After driving through a Purim celebration in Stoke Newington, you start musing on the idea of your own road festival – Zenim. What would that be? 

I think a Zenim festival could be great in North London with some negotiations. Our zen demands would just be that we can play some dub, ambient and jungle music here and there and organise meditation circles in the middle of the street. Purim with a zen touch. 

How do rap battles / teaching prepare you for life on the road in London? 

Battle rap is a good training in how to maintain composure in the face of hostility. Teaching disengaged teenagers in a PRU (Pupil Referral Unit) in particular has helped me access deeper levels of patience and humility. 

Are their other cities (or bits of London) that you long to explore from the driving seat? What would you look for ? 

Maybe somewhere in Japan, I would be interested to see how their different cultural norms and etiquette translate on the roads. I would look for new ideas and levels of considerateness that I could integrate into my driving. 


Ogmios was a Celtic deity surrounded by followers each willingly chained to him. Do you see a future where your own followers help to create a city of properly thoughtful road users?  

I’m definitely up for starting a driving cult. Then, when we have enough members, we can all drive together very considerately in the direction of Ogmiopolis and start a new society there. 

The films are very reminiscent of the slow TV broadcasts on BBC4. Do you think they reflect a desire for slow travel – or a kind of mental wellness travel – in our most urban environments? 

I think they reflect a desire for content that is immersive, relaxing and interesting. I myself like to watch videos of psychogeographers wandering the city or mudlarkers wading through rivers. It definitely satisfies a natural urge to explore and collect and contemplate our environment and its different layers. 


Any lockdown tips for where to still get a coffee and sandwich safely on the road ? 

Coffee is too stimulating for me, it has me bouncing off the walls. I only have one in an emergency. I stick to the herbal teas. I’ve just been making my own herbal teas and houmous sandwiches in lockdown.

We love your other TV shows on YouTube. Any tips on the greatest Kung Fu movies to tune into and what’s the best herbal tea accompaniment?

Just watch them all. I love ’70s kung fu films in particular but I can’t remember any names. They all merge into one big Drunken Invincible Snake Iron Fist in a Shaolin Eagle Monk’s Shadow. As for which herbal tea it depends on the time of day and other factors. If it is an earthy mid-afternoon and the autumn leaves gather at your threshold then go with a Nettle tea. 

How can people become more Ogmios? 

They can go bald and get into herbal teas and only drive bangers."]]></description>
<dc:subject>2020 covid-19 coronavirus video place motoring london ogmios asmr dashcams cities urban urbanism drifting derive roads streets zen dérive zenbuddhism drift</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:7f67a2fe7507/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:2020"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:covid-19"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:coronavirus"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:video"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:place"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:motoring"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:london"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:ogmios"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:asmr"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:dashcams"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:cities"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:urban"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:urbanism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:drifting"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:derive"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:roads"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:streets"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:zen"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:dérive"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:zenbuddhism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:drift"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://www.swiss-miss.com/2020/04/walking.html">
    <title>swissmiss | Walking</title>
    <dc:date>2020-04-10T11:34:32+00:00</dc:date>
    <link>https://www.swiss-miss.com/2020/04/walking.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[“Walking is mapping with your feet. It helps you piece a city together, connecting up neighbourhoods that might otherwise have remained discrete entities, different planets bound to each other, sustained yet remote. I like seeing how in fact they blend into one another, I like noticing the boundaries between them. Walking helps me feel at home. There’s a small pleasure in seeing how well I’ve come to know the city through my wanderings on foot, crossing through different neighbourhoods of the city, some I used to know quite well, others I may not have seen in a while, like getting reacquainted with someone I once met at a party.”

[from https://www.brainpickings.org/2019/05/21/flaneuse-lauren-elkin/]]]></description>
<dc:subject>walking thanks_luke tinarotheisenberg laurenelkin derive flâneuse mapping place noticing cities urban urbanism psychogeography seeing via:lukeneff dérive flaneur flâneurs flaneurs flâneur maps</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:0cfb04f78439/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:walking"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:thanks_luke"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:tinarotheisenberg"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:laurenelkin"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:derive"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:flâneuse"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:mapping"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:place"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:noticing"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:cities"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:urban"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:urbanism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:psychogeography"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:seeing"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:via:lukeneff"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:dérive"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:flaneur"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:flâneurs"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:flaneurs"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:flâneur"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:maps"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://thecreativeindependent.com/people/writer-anna-della-subin-on-the-importance-of-being-idle/">
    <title>On the importance of being idle: Writer Anna Della Subin on the unsung values of doing nothing, procrastination as its own form of productivity, and the mythological power of sleep. [The Creative Independent]</title>
    <dc:date>2019-02-19T22:33:41+00:00</dc:date>
    <link>https://thecreativeindependent.com/people/writer-anna-della-subin-on-the-importance-of-being-idle/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The real epiphanies of figuring out what I’m trying to say don’t happen when I chain myself to my desk. I let myself into the labyrinth, to get lost in the footnotes of arcane books from the 19th century, or just out on a walk. I need a sense of timelessness to do my best work."]]></description>
<dc:subject>annadellsubin howwewrite writing thinking howwethink idleness procrastination 2019 derive meandering walking solviturambulando laziness insomnia sleep time timelessness howwework immortality dérive</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:9dde783b9d09/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:annadellsubin"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:howwewrite"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:writing"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:thinking"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:howwethink"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:idleness"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:procrastination"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:2019"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:derive"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:meandering"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:walking"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:solviturambulando"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:laziness"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:insomnia"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:sleep"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:time"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:timelessness"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:howwework"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:immortality"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:dérive"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://www.architectural-review.com/essays/spaces-of-encounter-the-performative-art-of-reading/10039109.article">
    <title>Spaces of encounter: the performative art of reading | Thinkpiece | Architectural Review</title>
    <dc:date>2019-01-24T18:57:11+00:00</dc:date>
    <link>https://www.architectural-review.com/essays/spaces-of-encounter-the-performative-art-of-reading/10039109.article</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["When the ‘counter novel’ Hopscotch by Julio Cortázar was published in 1963 it was celebrated as one of the most innovative experiments in 20th-century literature. The book was written to allow and encourage many different and complementary readings. As the author’s note at the beginning of the novel suggests, it can be read either progressively in the first 56 chapters or by ‘hopscotching’ through the entire set of 155 chapters according to a ‘Table of Instructions’. Cortázar also allows the reader the option of choosing their own unique path through the book. It’s no coincidence that the narrative – from the title of the book to the several overlapping stories that are contained in it – is based on a game often played in small groups in public spaces and playgrounds, in which the player has to hop or jump to retrieve a small object tossed into numbered patterns drawn on the ground. The book’s main structure has strong allusions to the notions of ‘space’ and the way we navigate through it, with its three main sections entitled ‘From the Other Side’, ‘From this Side’, and ‘From Diverse Sides’.

[image: "Since 2010, the ‘book bloc’ has been a visible feature of protests"]

Similarly, but from a different perspective, one of the first things the reader notes when flipping through Fantasies of the Library edited by Anne-Sophie Springer and Etienne Turpin and published in 2016 by MIT Press, is that the book itself can be understood as a kind of public space. In effect, it presents a brilliant dérive through books, book collections and the physical spaces of libraries from a curatorial perspective, going from private collections and the way their shelves are organised, to more ad hoc and temporary infrastructures, such as the People’s Library at Occupy Wall Street in New York, or the Biblioburro, a travelling library in Colombia that distributes books from the backs of two donkeys, Alfa and Beto. Various configurations and layouts have been designed in response to these narratives. They include essays, photos and interviews, setting up different kinds of encounters between authors, editors, readers, photographers and illustrators. Once you have the book in your hands, you gradually start to apprehend that the four conversations are printed only on left-hand pages, interspersed with other essays on right-hand ones. So it is only when you start reading voraciously and are interrupted by the ‘non-sense’ of these jumps, when the understanding of the dynamics imposed by the layout manifests itself, that you become aware you are already ‘hopscotching’ from page to page. The chapter ‘Reading Rooms Reading Machines’ is not only a visual essay about the power of books to create spaces around them and gather a community, it is also a curated, annotated and provocative history of these spaces as a conceptual continuation between the book and the city, ‘two environments in conjunction’, as Springer writes. 

In some ways, it resembles the encounters you have in the streets of your neighbourhood. Some people you only glance at, others you smile at, there are a few with whom you talk and if you’re lucky, you might meet a friend. Within the texts, you can hop back and forth, approving, underlining, or absorbing in more detail. From individual object to the container known as the library, the idea of the book as a territory is explored in depth. Different kinds and sizes of spaces and the interactions that happen in and between them emerge. Springer describes the library as ‘a hybrid site for performing the book’ – a place where the book is not a static object but a space in which the reader is an active agent, coming and going from the outside; outside the pages and outside the library. It recalls Ray Bradbury’s assertion that: ‘Books are in themselves already more than mere containers of information; they are also modes of connectivity and interrelation, making the library a meta-book containing illimitable intertextual elements.’ 

[image: "Improvised book blocs on the street" from source: Interference Archive]

In moving from the ‘hopscotching’ suggested by Cortázar to the idea of the ‘library as map’ as discussed by Springer and Turpin, it is clear that the inextricable relationship between books and space forms the basis of our understanding of books as spaces of encounter, and the importance of heterogeneous books – whether fiction, poetry or critical theory – as spaces of encounter for architectural discourse.  In that sense, books can be perceived as new kinds of spaces, where empathy, alterity and otherness are stronger than ideologies. Catalysing dissent and open dialogue, they can be one of the most effective tools of resistance in times of censorship, fake news and post-truth. Social anthropologist Athena Athanasiou explains how books have been used in public space as part of political struggles. ‘People have taken to the streets to fight for critical thinking and public education, turning books into banners and shields against educational cuts and neoliberal regimes of university governance’, she writes. This activism emphasises the strong symbolic power of the relationship between books and architectural spaces, ‘where the books were not only at the barricades, they were the barricades’. Such agency can transgress almost any kind of limit or boundary, and can happen in any sort of space – from your mobile device to the library or the street. But it is in the public sphere where the book’s agency can have the ‘power to affect’, becoming ‘a hybrid site for performing the book’ beyond the confines of the library.  

Books can be ‘performed’ in many ways, especially when critical writing and the act of reading create spaces of encounter in the city. In June 2013, after plans were unveiled to develop Istanbul’s Gezi Park, artist Erdem Gunduz initiated his Standing Man protest while he stood motionless in Taksim Square for eight hours. This thoughtful form of resistance inspired a group of ‘silent readers’ who successfully transformed a space of fighting and friction into a meaningful space of encounter by simply standing still and reading books. It became known as the Tak sim Square Book Club, paradoxically one of the most dynamic demonstrations in recent years. The strength and energy contained in the bodies of each reader, but also in every book and the endless stories and narratives between covers, transformed Taksim Square into a highly politicised space. Instead of being compromised by conflict between government and citizens, it became a space of encounter that gave agency to each silent reader and to the wider collectivity they brought into being. 

[image: "Readers in Istanbul’s Taksim Square transform the space through peaceful activism"]

The moment when writing, often carried out in solitude, is published, circulated and made accessible to everyone is the moment of generating public space, argues the French philosopher and art historian Georges Didi-Huberman. This was demonstrated in the ‘Parasitic Reading Room’, a nomadic, spontaneous and parasitic set of reading spaces staged during the opening days of the 4th Istanbul Design Biennial. Initially consisting of a series of out-loud readings of texts at selected venues, it then expanded to become an urban dérive across the streets of the city in the company of a mobile radio broadcasting the live readings. In that moment, the ‘walking reading room’ became a space of exchange, knowledge and collaboration. Different points of view coexisted, enriching each other, forming knowledge assemblages. It reminds us that reading together, whether silently or aloud, forces us to interact, to respect the times and rhythms of others, to learn new words and their sounds and to think new thoughts. In doing so, we rediscover new territories of empathy that become visible when visiting these spaces of encounter, where we learn that we can host otherness as part of the self. Where comradeship is a means instead of an end. Books create the spaces in which to play hopscotch together again."]]></description>
<dc:subject>ethelbaraonapohl césarreyesnájera books reading howweread howwewrite rayuela 2019 neilgaiman fiction space performance etienneturpin derive collections libraries raybradbury connectivity interrelation hypertext athenaathanasiou architecture protest biblioburro nomads nomadism nomadic ows occupywallstreet conversation neighborhoods urban urbanism cities istanbul geziprk erdemgunduz taksimsquare georgesdidi-huberman comradeship solidarity empathy writing visibility hopscotch juliocortázar anna-sophiespringer dérive turkey larayuela türkiye ethelbaraona</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:2296780ceacb/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:ethelbaraonapohl"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:césarreyesnájera"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:books"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:reading"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:howweread"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:howwewrite"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:rayuela"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:2019"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:neilgaiman"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:fiction"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:space"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:performance"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:etienneturpin"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:derive"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:collections"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:libraries"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:raybradbury"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:connectivity"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:interrelation"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:hypertext"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:athenaathanasiou"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:architecture"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:protest"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:biblioburro"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:nomads"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:nomadism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:nomadic"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:ows"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:occupywallstreet"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:conversation"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:neighborhoods"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:urban"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:urbanism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:cities"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:istanbul"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:geziprk"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:erdemgunduz"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:taksimsquare"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:georgesdidi-huberman"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:comradeship"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:solidarity"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:empathy"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:writing"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:visibility"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:hopscotch"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:juliocortázar"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:anna-sophiespringer"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:dérive"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:turkey"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:larayuela"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:türkiye"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:ethelbaraona"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://itunes.apple.com/us/app/derive-app-get-lost-in-your/id1159726913">
    <title>‎Dérive app on the App Store</title>
    <dc:date>2018-07-29T23:37:39+00:00</dc:date>
    <link>https://itunes.apple.com/us/app/derive-app-get-lost-in-your/id1159726913</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Dérive app is created as a simple but engaging platform that allows users to explore their urban spaces in a care-free and casual way. It takes the ideals of the Situationists and merges it with digital means in order to create a tool that allows for the exploration of urban space in a random unplanned way, as a game.

Too often in urban centers we are controlled by our day to day activities thus closing off urban experiences that exist around us. Dérive app was created to try to nudge those people who are in this repetitive cycle to allow the suggestions and subjectivities of others to enter into their urban existences."

[See also: http://deriveapp.com/s/v2/ ]]]></description>
<dc:subject>ios dérive applications situationist iphone walking exploration derive</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:4a9e73cb89a6/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:ios"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:dérive"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:applications"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:situationist"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:iphone"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:walking"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:exploration"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:derive"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://deriveapp.com/s/v2/">
    <title>Dérive app</title>
    <dc:date>2014-09-29T21:36:15+00:00</dc:date>
    <link>http://deriveapp.com/s/v2/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Dérive app gets you lost in your city and lets you share that experience with others.

Dérive app is easily extendable so contribute today and begin adding your own decks and cards."

[See also: https://twitter.com/urbanderive ]
[via: http://www.marketplace.org/topics/tech/tech-irl-apps-get-lost-familiar-places
https://proartsgallery.org/event/the-new-situationists-derive-app-workshop/
https://babakfakhamzadeh.com/comparing-derive-apps/

https://itunes.apple.com/us/app/d%C3%A9rive-app/id1159726913?l=es&mt=8 ]]]></description>
<dc:subject>maps mapping derive dérive situationist application ios webbapp android location location-based exploration</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:d93510605687/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:maps"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:mapping"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:derive"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:dérive"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:situationist"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:application"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:ios"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:webbapp"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:android"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:location"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:location-based"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:exploration"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://www.christydena.com/2014/08/whyfinding-making-3d-videogames-more-immersive-and-inclusive-of-more-play-styles/">
    <title>Whyfinding: what pervasive gaming has taught me about 3D videogame design | Christy's Corner of the Universe</title>
    <dc:date>2014-08-04T22:34:01+00:00</dc:date>
    <link>http://www.christydena.com/2014/08/whyfinding-making-3d-videogames-more-immersive-and-inclusive-of-more-play-styles/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The thing I came back to was my experience with pervasive games. Those games set in the actual world — on websites, social media, newspaper, in your street. Is my frustration because I’m corrupted by my background designing and playing pervasive games? In pervasive games I could actually pick up a bow. I could actually be crawling through the cave. Is the problem that I want the seamlessness of mission play and can’t get it in some 3D games? So I played with that idea. What is the difference in how the missions would be designed and experienced in a pervasive game versus a 3D digital game?"

…

"Looking for Internally-Motivated Navigation

I looked at works that seem to be about this internally-driven navigation of space: Michel de Certeau’s ‘Walking in the City’ in The Practice of Everyday Life [PDF], Gaston Bachelard’s The Poetics of Space [PDF]; Walter Benjamin’s The Arcade Project [PDF], John Stilgoe’s Outside Lies Magic, and Rebecca Solnit’s Wanderlust: A History of Walking. I jumped from flâneurs to the larp movement to (with the help of Johanna MacDonald) Laban drives (link, link) — all in the hope of finding design techniques relating to internal motivation. I remembered my theatre experiences and thought maybe that relates to my type of play. 

These works are all about internally-driven movement, but specifically about a free-movement, where you walk (or run) where you please and with a particular way of seeing. This is related, but doesn’t explain exactly what I’m talking about. A common thread in these works, however, is that it is about being present in the moment…in the world…in the streets. I look around to the rise of digital exploration games, and see a similar trend. Indeed, I don’t think the growing attraction to open world games, experiential games, and thin play is  coincidental. These are parallel phenomena that speak of an urge for a different kind of experience: one of being present in the (digital) world. But these types of experiences are often couched in phrases such as agency or choice that an open world games affords, such as the “exploring freedom in World of Warcraft.

There are many reasons for the attraction to these types of experiences (both as designers and players), including having an alternative to the magical dad stories of first-person shooters, and the reflection a “walking simulator” affords. Indeed, there are more and more of these sorts of games, or “first person exploration games, ” “first person adventure,” “story exploration games,” “a game of audio-visual exploration,”  “non-combative exploration games,” or “not games,” or whatever. There are well known ones such as Gone Home, Dear Esther, Proteus, Bientôt l’Été, as well as ones more recent or in development such as Ether One, Dream, Sunset, Firewatch, Virginia, and HomeMake, and Hohokum.

I believe that one of the attracting factors of these games is the desire for intrinsically-motivated movement. (This trait, however, certainly isn’t shared by all of the community-created “walking simulator” tags on Steam.)

It isn’t as if exploration is ignored in conventional videogame and theme park design though. For instance, Scott Rogers talks about enabling exploration by creating subpaths or alternate paths that people discover that get them to the main attractions. But this way of navigating space is different. It isn’t just about exploring space either. Most of the internally-driven movement I found though, was about exploring or viewing space differently. There is something else. Then I found it.”]]></description>
<dc:subject>videogames situationist worldofwarcraft digital sandboxgames freedom exploration flaneur derive 2014 johnstilgoe larp larping gastonbachelard micheldecerteau walterbenjamin rebeccasolnit wandering whyfinding pervasivegames gaming games play maps mapping landscapes landscape gamedesign motivation visualattention attention christydena experience dérive flâneurs flaneurs flâneur</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:bc40ded32bcb/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:videogames"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:situationist"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:worldofwarcraft"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:digital"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:sandboxgames"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:freedom"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:exploration"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:flaneur"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:derive"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:2014"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:johnstilgoe"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:larp"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:larping"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:gastonbachelard"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:micheldecerteau"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:walterbenjamin"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:rebeccasolnit"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:wandering"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:whyfinding"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:pervasivegames"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:gaming"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:games"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:play"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:maps"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:mapping"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:landscapes"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:landscape"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:gamedesign"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:motivation"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:visualattention"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:attention"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:christydena"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:experience"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:dérive"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:flâneurs"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:flaneurs"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:flâneur"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://doyle-scienceteach.blogspot.com/2014/04/weve-always-done-it-this-way.html">
    <title>Science teacher: &quot;We've always done it this way...&quot;</title>
    <dc:date>2014-04-21T20:20:03+00:00</dc:date>
    <link>http://doyle-scienceteach.blogspot.com/2014/04/weve-always-done-it-this-way.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["<blockquote>You should share my reliance on those old, old truths which shallow, drawing-room talk contemptuously dismisses as "commonplaces", though they have more marrow in them, and are quite as seldom wrought into the mental habits as any of the subtleties that pretend to novelty. —Marian Evans (George Eliot) via Zadie Smith, Changing My Mind</blockquote>

We love the new, the shiny, the splashy, next big thing.

When we focus on the newest tech tool, we can let go of the harder questions. We can bask in the light of the new while quietly ignoring the mess we've left behind. We focus on the bright green foliage at the edge of the cesspool.

When we focus on the newest tech tool, we confuse the surges of adrenaline and dopamine we get from novelty with the warm satisfaction of working our way towards wisdom. The tool becomes the truth.

I love tools--I've used a drill, a mallet, a cross-cut saw, a measuring tape, a socket wrench, and a wheel barrow all within the last few hours to build a raised garden bed to grow vegetables that we plan to harvest with our hands.

The point is, literally, the fruit of our labors.

***

That anyone uses the "we've always done it this way" as a defense for a particular practice strikes the technophile crowd as galling, and on the face of it, I agree. The more interesting question would be why has it "always" been done this way? Does it work?

I am trying a raised bed for the first time this year, but I will not know if it is an improvement until I see the results in late summer. I've invested some time and money in the effort for something that I know works for many, but has never been tried on this particular patch of land here in my backyard.

I will still bury my beans one knuckle deep, as I have always done. I will still use jute twine to hold up the vines, as I have always done. I will still mix some compost and aged manure into the earth, as I have always done.

My goals have not changed--I want to eat fresh basil and sun-warmed tomatoes within an hour of harvest--and I use tried-and-true ways for obvious reasons.

The art of educating human larvae may have lost its way--these things happen when crowds wander around aimlessly without a consensus on the destination. The high tech crowd keep selling us marvelous GPS devices that do everything they promise to do, and we keep mindlessly buying them, hoping to reach our destination quicker.

Unless you know where you want to go, you're never going to get there."]]></description>
<dc:subject>michaeldoyle education teaching technology newness shininess squishynotslick maps compasses wandering dérive derive mindlessness mindfulness unschooling deschooling curriculum 2014 process mapping compass</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:34071310e97f/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:michaeldoyle"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:education"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:teaching"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:technology"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:newness"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:shininess"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:squishynotslick"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:maps"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:compasses"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:wandering"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:dérive"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:derive"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:mindlessness"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:mindfulness"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:unschooling"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:deschooling"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:curriculum"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:2014"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:process"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:mapping"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:compass"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://doriantaylor.com/la-forme-de-flaner">
    <title>La Forme de Flâner — Dorian Taylor</title>
    <dc:date>2014-03-03T20:23:53+00:00</dc:date>
    <link>http://doriantaylor.com/la-forme-de-flaner</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[""Never run for the train," proclaimed Nassim Taleb in The Black Swan. It's something of a gnomic statement, coming from an independently wealthy, born-again slacker, albeit one who I believe is on to something. I think about this statement a lot, because it embodies something we don't have very good language for in the professional discourse around things made of pure thought-stuff.

Our dominant paradigm is couched in language of comparative efficiency. We focus on becoming lean from trimming off the fat of bureaucratic processes, and remaining agile to respond quickly to the bewilderingly capricious environment that snares lumbering megafauna. This is an enormous achievement. It is also enormously limiting.

My problem with this paradigm is that we can only get so lean before becoming anorexic, and only so agile before burning out. It's unsustainable and we have to stop eventually. Perhaps most significant, though, is that efficiency is antithetical to what we do.

Our raw material is information, which, despite tremendous advances in its storage, transport and manipulation, still exhibits peculiar properties. It must be recognized, gathered, concentrated, operated on, arranged, displayed, communicated and understood. Information is scattered around space and time, and often buried far from the surface. It is also rarely substitutable: if we need a particular piece of information, we must expend exactly the effort required to get it. It follows that in order to know how to optimize the work around information, we must already have done it.

<blockquote>If that statement was false, there would be no need for empiricism at all, because all knowledge could be reasoned, including knowledge about how long it takes to reason.</blockquote>

I worry that our fervour to get leaner and more agile will eventually starve us of our perceptual acuity, memory, and ultimately our wisdom. But I'm not precisely advocating slowing down, as much as I am suggesting aligning with the cosmos in a way that makes fast not necessary.

The ethos that embodies such an alignment, I believe, is that of the flâneur. To flâne is to amble about with no outwardly discernible mission, taking interest in whatever presents itself wherever and whenever you are. We don't have a word for this in English, at least not one that doesn't import some form of morally reprehensible, even parasitic quality.

The inscrutability of the state of flâner does not necessarily entail that it is unproductive. Certain results are indeed either better or only achieved en flânant, namely those that depend on a complex synthesis of diverse material from disparate and eclectic sources. Like the kind of precursor material you need to write a book. Or a song. Or an app.

Flânerie has found its way into design literature, albeit not always explicitly. Bill Buxton mentions phases of divergence interspersed with those of convergence, to arrive eventually at a successful outcome. Herbert Simon wrote that when designing a system, we should operate for a period with no objective in mind whatsoever. In a keynote, Alan Cooper argued the futility of racing to be second to market versus waiting for the precocious to make their mistakes—the iPod to the Archos Jukebox. This is the kind of sentiment I want to harness.

Why not run for the train? Because another train will be along shortly. Such is the nature of trains. Running will cause you to miss everything between you and your object, and more often than not leave you disappointed and out of breath.

To flâne is to be neither lean nor agile, but comfortably plump. Relaxed. Zaftig even. A flâneur never runs for the train because of his commitment to serendipity, and because he was clever enough to invest in a schedule."]]></description>
<dc:subject>design flaneur walking doriantaylor meandering noticing dérive derive efficiency information patternrecognition understanding slow haste relaxed agile nassimtaleb flâneurs flaneurs flâneur</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:d4eaaf15a276/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:design"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:flaneur"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:walking"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:doriantaylor"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:meandering"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:noticing"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:dérive"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:derive"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:efficiency"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:information"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:patternrecognition"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:understanding"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:slow"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:haste"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:relaxed"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:agile"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:nassimtaleb"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:flâneurs"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:flaneurs"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:flâneur"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://www.e-flux.com/journal/in-conversation-with-raoul-vaneigem/">
    <title>In Conversation with Raoul Vaneigem | e-flux</title>
    <dc:date>2014-01-23T08:06:58+00:00</dc:date>
    <link>http://www.e-flux.com/journal/in-conversation-with-raoul-vaneigem/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["HUO: You have written a lot on life, not survival. What is the difference?

RV: Survival is budgeted life. The system of exploitation of nature and man, starting in the Middle Neolithic with intensive farming, caused an involution in which creativity—a quality specific to humans—was supplanted by work, by the production of a covetous power. Creative life, as had begun to unfold during the Paleolithic, declined and gave way to a brutish struggle for subsistence. From then on, predation, which defines animal behavior, became the generator of all economic mechanisms.

HUO: Today, more than forty years after May ‘68, how do you feel life and society have evolved?

RV: We are witnessing the collapse of financial capitalism. This was easily predictable. Even among economists, where one finds even more idiots than in the political sphere, a number had been sounding the alarm for a decade or so. Our situation is paradoxical: never in Europe have the forces of repression been so weakened, yet never have the exploited masses been so passive. Still, insurrectional consciousness always sleeps with one eye open. The arrogance, incompetence, and powerlessness of the governing classes will eventually rouse it from its slumber, as will the progression in hearts and minds of what was most radical about May 1968."

…

"RV: The moralization of profit is an illusion and a fraud. There must be a decisive break with an economic system that has consistently spread ruin and destruction while pretending, amidst constant destitution, to deliver a most hypothetical well-being. Human relations must supersede and cancel out commercial relations. Civil disobedience means disregarding the decisions of a government that embezzles from its citizens to support the embezzlements of financial capitalism. Why pay taxes to the bankster-state, taxes vainly used to try to plug the sinkhole of corruption, when we could allocate them instead to the self-management of free power networks in every local community? The direct democracy of self-managed councils has every right to ignore the decrees of corrupt parliamentary democracy. Civil disobedience towards a state that is plundering us is a right. It is up to us to capitalize on this epochal shift to create communities where desire for life overwhelms the tyranny of money and power. We need concern ourselves neither with government debt, which covers up a massive defrauding of the public interest, nor with that contrivance of profit they call “growth.” From now on, the aim of local communities should be to produce for themselves and by themselves all goods of social value, meeting the needs of all—authentic needs, that is, not needs prefabricated by consumerist propaganda."

…

"RV: The crisis of the ‘30s was an economic crisis. What we are facing today is an implosion of the economy as a management system. It is the collapse of market civilization and the emergence of human civilization. The current turmoil signals a deep shift: the reference points of the old patriarchal world are vanishing. Percolating instead, still just barely and confusedly, are the early markers of a lifestyle that is genuinely human, an alliance with nature that puts an end to its exploitation, rape, and plundering. The worst would be the unawareness of life, the absence of sentient intelligence, violence without conscience. Nothing is more profitable to the racketeering mafias than chaos, despair, suicidal rebellion, and the nihilism that is spread by mercenary greed, in which money, even devalued in a panic, remains the only value."

…

"HUO: My interviews often focus on the connections between art and architecture/urbanism, or literature and architecture/urbanism. Could you tell me about the Bureau of Unitary Urbanism?

RV: That was an idea more than a project. It was about the urgency of rebuilding our social fabric, so damaged by the stranglehold of the market. Such a rebuilding effort goes hand in hand with the rebuilding by individuals of their own daily existence. That is what psychogeography is really about: a passionate and critical deciphering of what in our environment needs to be destroyed, subjected to détournement, rebuilt.

HUO: In your view there is no such thing as urbanism?

RV: Urbanism is the ideological gridding and control of individuals and society by an economic system that exploits man and Earth and transforms life into a commodity. The danger in the self-built housing movement that is growing today would be to pay more attention to saving money than to the poetry of a new style of life.

HUO: How do you see cities in the year 2009? What kind of unitary urbanism for the third millennium? How do you envision the future of cities? What is your favorite city? You call Oarystis the city of desire. Oarystis takes its inspiration from the world of childhood and femininity. Nothing is static in Oarystis. John Cage once said that, like nature, “one never reaches a point of shapedness or finishedness. The situation is in constant unpredictable change.”2 Do you agree with Cage?

RV: I love wandering through Venice and Prague. I appreciate Mantua, Rome, Bologna, Barcelona, and certain districts of Paris. I care less about architecture than about how much human warmth its beauty has been capable of sustaining. Even Brussels, so devastated by real estate developers and disgraceful architects (remember that in the dialect of Brussels, “architect” is an insult), has held on to some wonderful bistros. Strolling from one to the next gives Brussels a charm that urbanism has deprived it of altogether. The Oarystis I describe is not an ideal city or a model space (all models are totalitarian). It is a clumsy and naïve rough draft for an experiment I still hope might one day be undertaken—so I agree with John Cage. This is not a diagram, but an experimental proposition that the creation of an environment is one and the same as the creation by individuals of their own future."

…

"HUO: Will museums be abolished? Could you discuss the amphitheater of memory? A protestation against oblivion?

RV: The museum suffers from being a closed space in which works waste away. Painting, sculpture, music belong to the street, like the façades that contemplate us and come back to life when we greet them. Like life and love, learning is a continuous flow that enjoys the privilege of irrigating and fertilizing our sentient intelligence. Nothing is more contagious than creation. But the past also carries with it all the dross of our inhumanity. What should we do with it? A museum of horrors, of the barbarism of the past? I attempted to answer the question of the “duty of memory” in Ni pardon, ni talion [Neither Forgiveness Nor Retribution]"

[long quote]

HUO: Learning is deserting schools and going to the streets. Are streets becoming Thinkbelts? Cedric Price’s Potteries Thinkbelt used abandoned railroads for pop-up schools. What and where is learning today?

RV: Learning is permanent for all of us regardless of age. Curiosity feeds the desire to know. The call to teach stems from the pleasure of transmitting life: neither an imposition nor a power relation, it is pure gift, like life, from which it flows. Economic totalitarianism has ripped learning away from life, whose creative conscience it ought to be. We want to disseminate everywhere this poetry of knowledge that gives itself. Against school as a closed-off space (a barrack in the past, a slave market nowadays), we must invent nomadic learning.

HUO: How do you foresee the twenty-first-century university?

RV: The demise of the university: it will be liquidated by the quest for and daily practice of a universal learning of which it has always been but a pale travesty.

HUO: Could you tell me about the freeness principle (I am extremely interested in this; as a curator I have always believed museums should be free—Art for All, as Gilbert and George put it).

RV: Freeness is the only absolute weapon capable of shattering the mighty self-destruction machine set in motion by consumer society, whose implosion is still releasing, like a deadly gas, bottom-line mentality, cupidity, financial gain, profit, and predation. Museums and culture should be free, for sure, but so should public services, currently prey to the scamming multinationals and states. Free trains, buses, subways, free healthcare, free schools, free water, air, electricity, free power, all through alternative networks to be set up. As freeness spreads, new solidarity networks will eradicate the stranglehold of the commodity. This is because life is a free gift, a continuous creation that the market’s vile profiteering alone deprives us of."]]></description>
<dc:subject>raoulvaneigem art politics economics life living situationist humans consumerism learning education unschooling deschooling curiosity power anarchism anarchy totalitarianism creativity johncage détournement psychogeography models derive servitude love oarystis humanity everyday boredom productivity efficiency time temporality money desire chaos solidarity networks guydebord freedom freeness museums culture hansulrichobrist 2009 nomadiclearning lcproject openstudioproject work labor artleisure leisure leisurearts artwork profiteering explodingschool cityasclassroom flow universallearning cedricprice thinkbelts dérive shrequest1 detournement</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:bab71262babe/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:raoulvaneigem"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:art"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:politics"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:economics"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:life"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:living"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:situationist"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:humans"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:consumerism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:learning"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:education"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:unschooling"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:deschooling"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:curiosity"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:power"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:anarchism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:anarchy"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:totalitarianism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:creativity"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:johncage"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:détournement"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:psychogeography"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:models"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:derive"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:servitude"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:love"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:oarystis"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:humanity"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:everyday"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:boredom"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:productivity"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:efficiency"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:time"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:temporality"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:money"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:desire"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:chaos"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:solidarity"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:networks"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:guydebord"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:freedom"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:freeness"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:museums"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:culture"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:hansulrichobrist"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:2009"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:nomadiclearning"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:lcproject"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:openstudioproject"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:work"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:labor"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:artleisure"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:leisure"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:leisurearts"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:artwork"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:profiteering"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:explodingschool"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:cityasclassroom"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:flow"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:universallearning"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:cedricprice"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:thinkbelts"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:dérive"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:shrequest1"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:detournement"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://tomarmitage.com/2013/11/13/driftwood/">
    <title>Tom Armitage » Driftwood</title>
    <dc:date>2013-11-14T03:08:24+00:00</dc:date>
    <link>http://tomarmitage.com/2013/11/13/driftwood/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["What this means is: I can check into a location and find myself, a year ago, standing there too. Does that make sense?

(The terms and conditions say I can’t imitate other people, but that doesn’t stop me imitating myself, right?)

So there’s me in the present, and also me-a-year-ago brought forward into the present.

What I learned from this is: you can very viscerally remember a year ago. I see old-me somewhere, and remember who I was in that pub with, or why I was at an event, or what terrible film I saw, or how sad – or happy – I was at any particular point in time."

…

"It’s interesting for me to look back on this body of work when considering the final – and perhaps largest – project I’d like to talk about today. It takes a lot of these impulses – the psychogeographic; the act of creating situations; the act of dérive; the use of leftovers; the barely-game – and pieces them together to create a new kind of interaction that played out in the city."

…

"And we wanted to do that in as accessible a way as possible: for the most people, at the largest scale. I’ve worked around ARG-like things before, and to be honest: it’s not that hard to create a cool experience for a few hundred people that’s not very good value for money. Making something fun and immediate for thousands – that’s far harder. But if we were to make the city playable, it had to be at the biggest scale possible.

Firstly, that meant making it super-accessible. An app for a smartphone might be cool and have GPS and that, but it limits your audience. Everybody understands SMS – every mobile phone has SMS – and it’s super-simple to implement now; Twilio does the legwork for us. Superficially unexciting technology made super-simple by web-based services.

And secondly, to use as much of the city as possible without incurring too many costs – we’d need to use things that were already there. We wanted instead to find a way of hijacking the existing infrastructure – we spent a lot of time scouring the city for opportunities. We noticed that a lot of street furniture – lampposts, postboxes, bus stops, cranes, bridges – have unique reference/ maintenance labels. We thought it would be interesting for these objects to be intervention points – something more tangible than GPS and quite commonplace. Just telling us where you are.

At the time, I jokingly said that the Smart City uses technology and systems to work out what its citizens are doing, and the Playable City would just ask you how you are.

What we ended up with was a playful experience where you could text message street furniture, hold a dialogue with it, and find out what other people had been saying."

…

"We heavily “front-loaded” the experience – the first experience of Hello Lamp Post has to be really good. It’s no good putting all the best content behind hours of play – most of it won’t get seen, as a result. So we chose to make the early interactions completely fully-featured – and then treat the players who continued to engage, to come back again and again, to more subtle shifts in behaviour that were still rewarding – but that didn’t hide most of the functionality from casual players. The Playable City had to be playable by everyone."

…

"Now that I look back on it, I can see that Hello Lamp Post acts as a lovely summation of five years of toys and games built around cities. It’s an experience that doesn’t so much interrupt your experience of the city as it layers on top of it, letting you see the paving and the beach all at once. It builds ritual and new interactions into routine. It requires almost nothing to engage with it – and most of the systems it uses – SMS, Twilio, the city – are already built by other people. We just built the middle layer. (Which, in this case, is rather complex. But you get the picture.)

What can we learn from all this?

By building on top of other services, we also create a kind of sustainability. When Noticings closed, the photos were still on Flickr – just with an unusual tag. If the ghostbots break, their activity is still preserved forever.

We don’t destroy the value we’ve created the second we turn it off. Which is more like how a city behaves: it degrades, or is reused, or gentrified, but history becomes another layer of patina on top of it – it isn’t torn down instantly.

We’re not planting fully grown trees and then tearing them out: we’re building an ecosystem, and perhaps other games or tools will build on top of us. We hoped – once people twigged how Hello Lamp Post worked – they might start drawing codes on things, on posters, on street art, in order to attach messages to it.

If the city is a beach, it is littered in driftwood. When I think of driftwood, I think about flotsam and jetsam. Flotsam is that which floats ashore of its own accord; jetsam is that which is deliberately thrown overboard from a boat – man-made detritus, as opposed to natural wastage (or wreckage).

I think those two categories also apply to the materials I’m terming “driftwood” today. And I genuinely believe the things I’m about to describe are materials, just like wood or steel. That might be obvious with regards to some of these – but not all. If a material is something we manipulate and shape as designers, then all these things could be considered materials.

Leftover infrastructures – services like Twitter and Foursquare, more tactile infrastructure like transit networks or maintenance codes on objects. And leftover technologies, too; print-on-demand, SMS, telephony – all are now available over straightforward web APIs. These things have become commoditised and tossed overboard, made available to all.

In this way, we can spend our time working on unique experiences and interactions, rather than the underlying platforms.

If that’s our jetsam, what’s the flotsam – the stuff just floating around?
Data

The city is drowning in data.

I tend to describe data as an exhaust: you give it off whether you like it or not, and it follows you around like a cloud. People give it off; machines give it off; systems give it off. Given all the data we emit by choice – our locations stored in Foursquare, or Twitter, or Facebook; our event attendance tracked by Lanyrd and Eventbrite; as well as that we emit regardless of whether we want to – discount card usage; travelcard usage; online purchasing data – well, what are the experienes you could build around that? This is all there (with end-users permission) for the taking, and it can lead to unusual new ambient interactions.

Environments

What are the environments you can repurpose? Not just the City as a whole but smaller spaces – institutions, establishments, public spaces, parks, transit networks. All these are spaces and contexts to build within, and they all come with their own affordances. Even when they’re controlled or marshalled by others, they are spaces to consider reclaiming and repurposing.

Routine

And just as we can reclaim space, consider Time as a material to be reclaimed to: what are the points of the day we can design for – not just active, 100% concentration, but all the elements where there is surplus attention? We can’t create Debord’s focused, committed dérive – but how can we create a tiny fragment of it, without invading the daily routines we all have to live with?"

…

"I don’t think, ultimately, the city can resist the beach it sits upon. There are so many things we can build atop it, be it on semi-public, semi-private, corporate spaces – or the genuine publics of the city.

To build and make them, we don’t even need to invent architectures and infrastructures – we don’t even have to make it obvious they’re happening. We can use what’s already there - making new experiences out of the driftwood that lives in the city and across the network. Lifting up the paving slabs to reveal the beach underneath."]]></description>
<dc:subject>tomarmitage 2013 driftwood ghostcar hellolamppost muncaster noticing noticings foursquare flickr leftovers playablecity cities derive psychogeography towerbridge toys play fun dérive situationist games</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:2ef36299a554/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:tomarmitage"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:2013"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:driftwood"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:ghostcar"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:hellolamppost"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:muncaster"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:noticing"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:noticings"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:foursquare"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:flickr"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:leftovers"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:playablecity"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:cities"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:derive"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:psychogeography"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:towerbridge"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:toys"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:play"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:fun"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:dérive"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:situationist"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:games"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://walkstudytrainingcourse.wordpress.com/spring2011/">
    <title>Spring 2011 | The Walk Exchange</title>
    <dc:date>2013-06-28T04:08:05+00:00</dc:date>
    <link>http://walkstudytrainingcourse.wordpress.com/spring2011/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Week 1: Intro, Beliefs in Walking
• Henry David Thoreau “Walking”
http://www.gutenberg.org/ebooks/1022
• Francis Alys. The Modern Procession
press release:
http://www.publicartfund.org/pafweb/projects/02/alys_f_release_02.html
video:
http://www.francisalys.com/public/procession.html
Interview with Alys (optional)

Week 2: English Rural Art Walkers
• Rebecca Solnit “The Shape of A Walk” from Wanderlust
• Richard Long essays from Guggenheim exhibition catalog by R.H. Fuchs
• Hamish Fulton
website http://www.hamish-fulton.com
Hamish Fulton radio interview
http://badatsports.com/2011/episode-282-hamish-fulton/

Week 3 : Urban Walking theory
• Michel de Certeau “Walking in the City” from The Practice of Everyday Life
• Guy Debord “Theory of Derive”
http://www.bopsecrets.org/SI/2.derive.htm
Case Studies
Alex Villar “Alternative Access”
http://www.de-tour.org/post/4114141755/alternative-access
Villar interview with Simon Sheikh
• Vito Acconci “Following Piece”
http://hosting.zkm.de/ctrlspace/d/texts/01?print-friendly=true
“Following Piece” log
http://www.designboom.com/eng/interview/acconci_followingtext.html
Homework
Do a short “Following Piece” of your own and document

break : day one of “Lah” feild trip (optional)
http://www.implausibot.com/coyote

Week 4: the Tour
• Lucy Lippard “The Tourist at Home” from On the Beaten Path
• Barnet Schecter from The Battle for New York
online walking tour guide for Schecter
read only “The Battle of Harlem Heights”
http://www.thebattlefornewyork.com/walking_tour.php 
• Natalie talks to us about the Miss Guides http://themissguides.com/

Week 5: Other Lines
• Bruce Chatwin from The Songlines
• Lygia Clark “Caminhando”
http://www.lygiaclark.org.br/arquivo_detING.asp?idarquivo=18
Case Studies
• walk and squawk http://walksquawk.blogs.com/about_the_walking_project/
Guest walker: James Walsh author of Solvitur Ambulando

Week 6: Central Park
• Fredrick Law Olmsted Ch. IX from Walks and Talks of an American in England
http://quod.lib.umich.edu/cgi/t/text/pageviewer-idx?c=moa;cc=moa;rgn=full%20text;idno=AJQ8991.0001.001;didno=AJQ8991.0001.001;view=image;seq=00000084
• Robert Smithson “The Dialectical Landscape of Fredrick Law Olmsted”
Homework
• Janet Cardiff “Her Long Black Hair”"

[See also: http://walkexchange.org/ and
http://walkexchange.org/walks/walk-study/fall-2011/ ]

[Same here: http://walkexchange.org/walks/walk-study/spring-2011/ ]]]></description>
<dc:subject>walking nyc walkexchange 2011 thoreau francisalÿs rebeccasolnit richardlong hamishfulton micheldecertau guydebord alexvillar vitoacconci lucylippard barnetschecter brucechatwin lygiaclark jameswalsh fredricklawolmstead robertsmithson janetcardiff readinglists toread urban urbanism rural theory derive simonsheikh songlines dérive</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:51fd38e8dbe6/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:walking"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:nyc"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:walkexchange"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:2011"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:thoreau"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:francisalÿs"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:rebeccasolnit"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:richardlong"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:hamishfulton"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:micheldecertau"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:guydebord"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:alexvillar"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:vitoacconci"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:lucylippard"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:barnetschecter"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:brucechatwin"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:lygiaclark"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:jameswalsh"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:fredricklawolmstead"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:robertsmithson"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:janetcardiff"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:readinglists"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:toread"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:urban"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:urbanism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:rural"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:theory"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:derive"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:simonsheikh"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:songlines"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:dérive"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://makingmaps.net/2009/06/22/making-psychogeography-maps/">
    <title>Making Psychogeography Maps | Making Maps: DIY Cartography</title>
    <dc:date>2013-03-06T00:20:46+00:00</dc:date>
    <link>http://makingmaps.net/2009/06/22/making-psychogeography-maps/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["During the week of June 15-19 (2009) five intrepid Ohio students and myself engaged in improvisational psychogeography, culminating in the map opening this post. A printable 11″ x 17″ (300dpi 1.4mb) PDF of the map is here [http://mappingweirdstuff.files.wordpress.com/2009/06/owjl-finalmap2.pdf ]."]]></description>
<dc:subject>derive dérive maps mapping psychogeography situationist mapmaking cartography</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:ec199e9a47eb/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:derive"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:dérive"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:maps"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:mapping"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:psychogeography"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:situationist"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:mapmaking"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:cartography"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://www.kcet.org/arts/artbound/counties/san-diego/borderblaster-transmission-4-poetic-derive.html">
    <title>Borderblaster: Transmission 4 &quot;Poetic Dérive&quot; | San Diego | Artbound | KCET</title>
    <dc:date>2013-03-06T00:12:55+00:00</dc:date>
    <link>http://www.kcet.org/arts/artbound/counties/san-diego/borderblaster-transmission-4-poetic-derive.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The fourth Transmission of the Borderblaster project takes listeners on a psycho-geographic journey through two neighborhoods surrounding the San Ysidro Port of Entry, communities that have been impacted and will continue to be shaped by the border crossing. The title of the transmission, "Poetic Dérive," pays homage to the technique developed by Guy Debord and the Situationist International to traverse and map urban spaces. Debord's theory of Dérive sought to deliver new and enlightening experiences of the urban environment by breaking with the logic of streamlined mobility of goods and bodies—instead calling for a drifting of sorts through spaces, guided only by the immediate phenomenological response to stimulus encountered on the way.

With this tactic as a model, we invited poets from San Diego and Tijuana to join us in mapping the psycho-geography of the neighborhoods to the East and West of the Port of Entry—the emotional and psychological effects of these neighborhoods clashing against the border fence, confronting the regulation of space and border surveillance. Colonia Libertad to the East and Colonia Federal to the West stretch parallel to the border and exemplify the negotiations that must be made when the border is in your backyard—in some cases literally."]]></description>
<dc:subject>borderblaster art sandiego tijuana dérive guydebord psychodeography border borders situationist coloniafederal colonialibertad surveillance 2012 derive</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:bfd295195f65/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:borderblaster"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:art"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:sandiego"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:tijuana"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:dérive"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:guydebord"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:psychodeography"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:border"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:borders"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:situationist"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:coloniafederal"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:colonialibertad"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:surveillance"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:2012"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:derive"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://www.brokencitylab.org/drift/">
    <title>Drift: an app for getting lost in familiar places | Broken City Lab</title>
    <dc:date>2012-05-28T05:53:42+00:00</dc:date>
    <link>http://www.brokencitylab.org/drift/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Finally launched and available in the iOS App Store! [http://itunes.apple.com/us/app/drift/id524083174 ]

Drift helps you get lost in familiar places by guiding you on a walk using randomly assembled instructions. Each instruction will ask you to move in a specific direction and, using the compass, look for something normally hidden or unnoticed in our everyday experiences.

As you find these hidden or unnoticed things, you will be asked to document them with the camera, creating a photographic record of you walk. Drift also keeps track of where and when you took the photos and makes your documentation optionally available for others to view through the Drift website.

Drift was made possible with the generous support from the Ontario Arts Council Media Arts Grant for Emerging Artists.

Drift was developed by Justin Langlois in collaboration with Broken City Lab.

This project was generously supported by the Ontario Arts Council Media Arts Grant for Emerging Artists."]]></description>
<dc:subject>2012 observation documentation photography justinlanglois psychogeography experience everydaylife everyday compass cities brokencitylab drift iphone ios applications noticing exploration walking situationist flaneur derive dérive flâneurs flaneurs flâneur compasses drifting</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:6bd380347f43/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:2012"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:observation"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:documentation"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:photography"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:justinlanglois"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:psychogeography"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:experience"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:everydaylife"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:everyday"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:compass"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:cities"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:brokencitylab"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:drift"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:iphone"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:ios"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:applications"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:noticing"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:exploration"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:walking"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:situationist"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:flaneur"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:derive"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:dérive"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:flâneurs"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:flaneurs"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:flâneur"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:compasses"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:drifting"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://www.kunstakademiet.dk/more.php?id=174_0_2_0_M41">
    <title>Det Kongelige Danske Kunstakademie Billedkunstskolerne</title>
    <dc:date>2012-04-09T22:25:08+00:00</dc:date>
    <link>http://www.kunstakademiet.dk/more.php?id=174_0_2_0_M41</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The School of Walls & Space investigates contemporary notions of space, its production, privatization & the role of the artist as a critical and political agent within it, & uses both traditional & more experimental pedagogical methods.

The School is a multi-layered micro-institution that encourages the development of an inter-disciplinary research-based practice. It balances individual mentoring w/ collective group activities. The school uses traditional pedagogical methods: group & one-to-one crits, seminars and talks, in conjunction w/ the exploration of more experimental collaborative teaching models which the School researches and develops collectively as a group. These include brain storming techniques, games, charettes, group activities, actions & happenings. It also explores historical practices, such as psychogeography & the derive, & the experimental teaching methods of Paolo Freire, Roy Ascott, Paul Goodman, & Colin Ward…"

[See also: http://wallsandspace.wordpress.com/ ]]]></description>
<dc:subject>copenhagen theschoolofwallsandspace 2837university lcproject derive collaborativeteaching collaborative charettes arteducation situationist psychogeography colinward paulgoodman royascott nilsnorman permaculture denmark art space education place pedagogy dérive</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:38d946389e55/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:copenhagen"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:theschoolofwallsandspace"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:2837university"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:lcproject"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:derive"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:collaborativeteaching"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:collaborative"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:charettes"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:arteducation"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:situationist"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:psychogeography"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:colinward"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:paulgoodman"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:royascott"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:nilsnorman"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:permaculture"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:denmark"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:art"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:space"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:education"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:place"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:pedagogy"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:dérive"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://www.stadtblind.org/2007/02/27/the-colors-of-berlin/">
    <title>Stadtblind » The Colors of Berlin</title>
    <dc:date>2011-11-25T23:35:53+00:00</dc:date>
    <link>http://www.stadtblind.org/2007/02/27/the-colors-of-berlin/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The Colors of Berlin is for tourists and Berliners. The book is a unique tool for urban exploration, serving both as inspiration for a personal vision and documentation of the city. It is a declaration of love to Berlin. It helps the flaneur and the city-lover see and experience the urban landscape in a new way. Stadtblind’s aim is to create a distance from that which is familiar, to re-frame the familiar in such a way that it becomes fresh, worthy of attention and affection. We present the everyday spaces, objects and surfaces of contemporary Berlin ina manner that provides a new means of perceiving cities. It is precisely the everyday aspects of our lives that are most often overlooked; and it is precisely the everyday that most constitutes our lived experience of cities."

[via: http://youarehere2011.wordpress.com/suggested-reading/ ]]]></description>
<dc:subject>berlin travel psychogeography derive 2005 cities cityguides exploration urban urbanism flaneur situationist dérive flâneurs flaneurs flâneur</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:433da460b66f/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:berlin"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:travel"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:psychogeography"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:derive"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:2005"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:cities"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:cityguides"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:exploration"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:urban"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:urbanism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:flaneur"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:situationist"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:dérive"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:flâneurs"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:flaneurs"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:flâneur"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://www.guardian.co.uk/books/2011/aug/18/situationist-international-mckenzie-wark-review">
    <title>The Beach Beneath the Street by McKenzie Wark – review | Books | The Guardian</title>
    <dc:date>2011-08-20T20:14:26+00:00</dc:date>
    <link>http://www.guardian.co.uk/books/2011/aug/18/situationist-international-mckenzie-wark-review</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["British situationists of late 60s thought Debord & others had taken a wrong turn. SI apostate Christopher Gray, whose band of London-based provocateurs King Mob included future Sex Pistols manager Malcolm McLaren, opined: "What they [Debord et al] gained in intellectual power & scope they had lost in terms of the richness & verve of their own everyday lives." The SI, Gray argued, "turned inward". "Cultural sabotage" & "drunken exuberance" had been replaced by theoretical austerity.

But that turning inward didn't prevent the Parisian situationists from exerting the most profound influence on the French student movement in May 1968. More than 300,000 copies were printed of a pamphlet, On the Poverty of Student Life, written by an SI cadre named Mustapha Khayati. & it was a protégé of Debord's, René Viénet, who was responsible for some of the more memorable of the graffiti that appeared all over Paris during that tumultuous month – including one Wark has taken for title of book."]]></description>
<dc:subject>situationist guydebord malcolmmclaren doing psychogeography france 1968 uk marxism ralphrumney books reviews alexandertrocchi attilakotányi dérive détournement art latecapitalism capitalism spectacle class willself derive mckenziewark detournement</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:7fbe9da3a275/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:situationist"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:guydebord"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:malcolmmclaren"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:doing"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:psychogeography"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:france"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:1968"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:uk"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:marxism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:ralphrumney"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:books"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:reviews"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:alexandertrocchi"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:attilakotányi"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:dérive"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:détournement"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:art"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:latecapitalism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:capitalism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:spectacle"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:class"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:willself"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:derive"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:mckenziewark"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:detournement"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://www.flaneursociety.org/">
    <title>Welcome to the Flaneur Society</title>
    <dc:date>2011-07-04T05:16:58+00:00</dc:date>
    <link>http://www.flaneursociety.org/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The Flaneur Society was created in response to Walter Benjamin's book Berlin Childhood Around 1900. In it he explores the concept of the Flaneur, one who wanders without destination.

Intrigued by this concept, the society was created to spread the concept of the Flaneur beyond academic studies and into the general consciousness of how we think of urban spaces.

The Guidebook to Getting Lost is a small pocket sized book which defines the concept of the Flaneur. Using the language of the Park Service and backcountry maps, the guide aims to introduce the participant to a city without the concern of street names and directions. Inside, there are three maps which can guide the participant to a state of Flaneuring. A PDF of the guidebook can be downloaded here." [PDF: http://www.flaneursociety.org/guide.pdf ]

[Tumblr: http://flaneursociety.tumblr.com/ ]]]></description>
<dc:subject>flaneur situationist walking wandering sanfrancisco walterbenjamin maps mapping derive via:maryannreilly ralphwaldoemerson iste-fringe2012 dérive flâneurs flaneurs flâneur</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:c79b1331aca3/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:flaneur"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:situationist"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:walking"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:wandering"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:sanfrancisco"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:walterbenjamin"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:maps"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:mapping"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:derive"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:via:maryannreilly"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:ralphwaldoemerson"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:iste-fringe2012"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:dérive"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:flâneurs"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:flaneurs"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:flâneur"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://maryannreilly.blogspot.com/2011/07/being-in-middle-learning-walks.html">
    <title>Between the By-Road and the Main Road: Being in the Middle: Learning Walks</title>
    <dc:date>2011-07-02T20:18:28+00:00</dc:date>
    <link>http://maryannreilly.blogspot.com/2011/07/being-in-middle-learning-walks.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["So imagine a commitment to learning that involved making regular learning walks with high school students as a normal part of the "school" day.  Now, these learning walks should not be confused with walking tours, which are designed based on planned outcomes.  One walks to point X in order to see object or artifact Y.  The points are predetermined, hierarchical in design.

Instead, learning walks are rhizomatic.  They are inherently about being in the middle of things and coming to learn what could not been predetermined. Learning walks are part of the "curriculum" for instructional seminar (which I described here)."

[My comments cross-posted here: http://robertogreco.tumblr.com/post/7182110515/walking-and-learning ]]]></description>
<dc:subject>maryannreilly comments walking walkshops adamgreenfield flaneur psychogeography derive dérive education learning schools teaching unschooling deschooling noticing observation seeing 2011 rhizomaticlearning johnseelybrown douglasthomas unguided self-directedlearning serendipity johnberger willself rebeccasolnit sistercorita maps mapping photography alanfletcher lawrenceweschler kerismith exploration exploring johnstilgoe noticings rjdj ios situationist situatedlearning situated hototoki serendipitor flow mihalycsikszentmihalyi experience control ego cv coritakent flâneurs flaneurs flâneur</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:5bce2fed3970/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:maryannreilly"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:comments"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:walking"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:walkshops"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:adamgreenfield"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:flaneur"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:psychogeography"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:derive"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:dérive"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:education"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:learning"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:schools"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:teaching"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:unschooling"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:deschooling"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:noticing"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:observation"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:seeing"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:2011"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:rhizomaticlearning"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:johnseelybrown"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:douglasthomas"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:unguided"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:self-directedlearning"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:serendipity"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:johnberger"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:willself"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:rebeccasolnit"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:sistercorita"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:maps"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:mapping"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:photography"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:alanfletcher"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:lawrenceweschler"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:kerismith"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:exploration"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:exploring"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:johnstilgoe"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:noticings"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:rjdj"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:ios"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:situationist"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:situatedlearning"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:situated"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:hototoki"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:serendipitor"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:flow"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:mihalycsikszentmihalyi"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:experience"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:control"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:ego"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:cv"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:coritakent"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:flâneurs"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:flaneurs"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:flâneur"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://www.driftdeck.com/">
    <title>Drift Deck</title>
    <dc:date>2011-04-10T19:03:48+00:00</dc:date>
    <link>http://www.driftdeck.com/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Welcome to Drift Deck, a different sort of city guide. Think of it as a set of playing cards that help you playfully find your own, untouristy way through city streets. It's a set of simple cues, clues, actions, and provocations to see your way about the city, looking at it from a different angle. It will make you an active part of your own romp around.

Drift Deck will help you capture and share your discoveries. You'll be able to share your journey through the maps you make and the photos you take. Share your Drifts with others around the world! Be active, not passive. Enjoy."]]></description>
<dc:subject>situationist driftdeck exploration derive dérive julianbleecker dawnlozzi jonbell davidspencer brucesterling bencerveny kevinslavin katiesalen janemcgonigal ianbogost janepinckard urban urbanism ios iphone applications cities perspective noticing engagement observation interaction serendipity maps mapping photography psychogeography context context-awareness undesign design arttechnology landscape landscapeasinterface play games</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:f5492938e4b0/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:situationist"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:driftdeck"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:exploration"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:derive"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:dérive"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:julianbleecker"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:dawnlozzi"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:jonbell"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:davidspencer"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:brucesterling"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:bencerveny"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:kevinslavin"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:katiesalen"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:janemcgonigal"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:ianbogost"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:janepinckard"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:urban"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:urbanism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:ios"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:iphone"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:applications"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:cities"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:perspective"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:noticing"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:engagement"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:observation"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:interaction"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:serendipity"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:maps"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:mapping"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:photography"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:psychogeography"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:context"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:context-awareness"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:undesign"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:design"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:arttechnology"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:landscape"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:landscapeasinterface"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:play"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:games"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://cryptoforest.blogspot.com/">
    <title>Cryptoforestry</title>
    <dc:date>2011-04-10T04:19:21+00:00</dc:date>
    <link>http://cryptoforest.blogspot.com/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Inner City Reforestation in Utrecht and the G/Local Amazon; Psychogeography is involved."

[from https://cryptoforest.blogspot.com/p/what-is-cryptoforest.html 

"According to biological theory all properly drained lands left to themselves will eventually become forested as the final phase of ecological succession. It is not the whole story as forests do change overtime but for now it will do.

Cryptoforests are:
1) Feral forests (Planted tree zones, for instance along motorways, that have been allowed to become wild to the point that their wildness is outgrowing their manmadeness.)
2) In limbo forests (Tree-covered plots that feel like forests but technically probably aren't; states of vegetation for which lay-language has no name.)
3) Incognito Forests (Forests that have gone cryptic and are almost invisible, forests in camouflage, forests with a talent for being ignored.)
4) Precognitive forests (Lands that are on the brink of becoming forested, a future forest fata morgana.)
5) Unappreciated forests (Forests regarded as zones of waste and weed, forests shaming planners, developers, and the neighbourhood. NIMBY forestry.)
  
But! Based on personal observation, these are pointers only, not universally valid guidelines. The cryptoforest is a cultural and not a biological way to classify nature and the recognition of a cryptoforest is a visionary act, not a mechanical operation: there is no machine vision here. In this respect the 'cryptoforest' is no different from common, but ultimately ambiguous, terms like 'weed' or 'forest'. One UN forestry position paper (1) reports finding 950 different definitions for forest, some legal, some biological, some practical, some counter-intuitive, none of them trivial. According to some definitions a suburb can double as a lush jungle and according to others a forest doesn't need to contain a single tree. The etymology of the words 'forest' is instructive, it is derived from the Medieval Latin 'forestis (silva)' or 'outside (woods)':  a forest is a wood (silva itself via 'silvaticor' leading to the word 'savage') of exclusively use to the crown, it's a kingdom inside a kingdom, a box inside a box with a licensed-to-kill royal guard at the gate. The 'for' of 'forest' reappears in 'foreigner', the forest, in other words, is a Neolithic twilight zone where social stratification is coloured green on the map. These old connotations carry over, laterally, into the cryptoforest project. Cryptoforests are social rejects, urban outsiders and cryptoforestry is an anarchic and primitivist 'art brut'. 

In the first use of the word cryptoforests named fallowed islands of uncivilization that could serve as seeds and catalysts for full urban afforestation, but that is superficial thinking right there. The entire city is already a cryptoforest on the rebound. It might not casually show but the forest is right here, in the cracks between the pavement, waiting for an opportunity to break free. Weeds accept no authority and I have counted 15 different species of plants growing through the paving of a pool that had been waterless for three months, that's almost a complete bioregional botanic garden for free. Alejo Carpentier writes about 'the worm', a speculative force threatening every city in the rainforest. At the moment the city stops to resist this force it will be composted in days. "Something like a baleful pollen in the air - a ghost pollen - impalpable rot, enveloping decay - suddenly became active with mysterious design, opening what was closed, closing what was opened, upsetting calculations, contradicting specific gravity, making guarantees worthless. One morning the ampoules of serum in hospital were found to be full of mould; precision instruments were not registering correctly; certain liquors began to bubble in the bottle; the Rubens in the National Museum was attacked by an unknown parasite immune to sprays." The cryptoforest shows that this power is also present in moderate climates, with less brute force with but with equal stubbornness.

Cryptoforests are those parts of the city in which ‘nature’, in 'secret', has been given the space and the time to create its own millennia-millennia-old, everyday-everyday-new order mysteries by using the materials (seeds, roots, nutrients, soil conditions, waste, architectural debris) and conditions (urban micro-climates, soils, pollution) at hand. Cryptoforests are sideways glances at post-crash landscapes, diagrammatic enclaves through which future forest cities reveal their first shadows, laboratories for dada-do-nothingness, wild-type vegetable free states, enigma machines of uncivilized imagination, psychogeographical camera obscuras of primal fear and wanton desire, relay stations of lost ecological and psychological states. Cryptoforests are wild weed-systems, but wildness is equated not with chaos but with productiveness at a non-human level of organization. Citoyen: the diminutive cathedral effect of the high forest is absent in the cryptoforest, long live the cryptoforest. What starts with weed ends with a cryptoforest, and in between there is survivalism, with plants eking out a living against all odds, slowly but determinedly creating the conditions for the emergence of a network of biological relationships that is both flexible and stubborn, unique and redundant, fragile and resilient. Cryptoforests are honey pots for creatures that have no other place to go. Animals live there, the poor forage there, nomads camp there and the cryptoforester who has renounced the central planning commission re-creates there (free after Henri Thoreau). In the future, young people will no longer want to play in bands and they will become guerrilla gardeners and cryptoforesters instead.

Psychologically the forest has always been an upsetting force, a place of oppressing loneliness and deep silence, a territory of unspeakable dangers and dark secrets; it is where the witches live and the outlaws hide and where, following Joseph Conrad, an implacable force broods over inscrutable intentions. The ruined clear cut landscapes of the West have deprived us of truly understanding a part of our own selves. The cryptoforest is its own psychological category, a synthetic mind-state all its own. The fallow is a living landscape, the 'edible city' is already eaten and the cryptoforest is a lacuna managed by indifference and inability. Trails appear out of nowhere and reach into nothingness. Lone tents and make-shift pseudo-forest-Eskimo dwellings of the type Ray Mears shows you how to make on the Discovery Channel are often to be found and its anonymous occupants, you never find them at home, leave huge piles of garbage and their defecation attracts clouds of buzzing flies. I have the pictures to prove it. It is said that agriculture started with the observation that many desired species of plants and trees appeared near 'dumpheaps'. Waste is everywhere, brought in by the wind or illegally dumped. All year round people come in to collect wood and chop down trees for camp-fires. Some level of maintenance may be in process, perhaps once a year a cryptoforest is checked for dangerous situations or possible damage to fences or cables; perhaps soil samples are collected every three months; perhaps the grass is partly mowed. Hey, where does that spade suddenly come from? Total neglect, in our boorish nanny-state societies, can only exist under supervision. Stressing the cryptoforest as a zone of non-human independence would turn reality into a Ballardian garden fiction. The cryptoforest is the non-intentional artefact of the city, the semi-domesticate aura of Hercynia.

The cardinal rule of cryptoforestry is that you can't search for a cryptoforest. You stumble upon them, they are already right in front of you, you find them when you get lost or when you are on your way to an area where you suspect you will find one (but don’t). This is not me being pedantic: it is just how it is. A cryptoforest always appears larger from the inside than from the outside. Again this is not a mysticism but based on the realities of the sensory apparatus. With trees blocking your view and the horizon barred from view the natural tendency is to underestimate distance and the Cryptoforest appears vast. It takes determination to enter a cryptoforest, to find your way through a dense thicket, on a small, steep slope along one of the busiest motorways in the country, there is no trail, unsure where you will end up, every wrong step may snap your ankle, derelict gloom confronts you, travelling back to the end of tourism, spider webs glued to your forehead, your face plastered with sticky forest sweat, microscopic gnats crash into your forehead, thorns rip your clothes, nettles attack your bare skin and, no, you best not worry too much about that bloodsucking dementor of the cryptoforest: the tick. You will be scratching your back for the rest of the afternoon but it is as the Fight-The-Google-Jugend savage said: "don't come here and complain to us about the mosquitoes, go back to your air-conditioned room and stay there!" The cryptoforest is not there to entertain us, and the insects and the various thorny bushes are its first line of defence against intruders. The insects are an obvious source of discomfort and a good population of them will shy away any half-hearted visitor. The aggressive, immensely fast growing blackberry, its dense clutter of branches spiked with long painful thorns are an underrated architectonic force creating pathways and blocking access to the backstage of the Cryptoforest. The willingness to confront these obstacles with a sense of good humour is the litmus test for any aspiring cryptoforester. If you are ready to confront the cryptoforest on its own terms, if you are ready to become a 'practitioner of the wild' (after Gary Snyder), you will find that all cryptoforests offer a unique experience that can translate into an ethical and artistic proposition. Find them, enter them, take your friends there, be careful, become a native. You never know what you will find. A cryptoforest is the only nature that does not need protecting.  

1. (http://home.comcast.net/%7Egyde/DEFpaper.htm#forest)"]]]></description>
<dc:subject>psychogeography urbanism urban history maps culture utrecht williamhoujebek cryptoforestry culturehacking situationist derive dérive cryptoforests mapping</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:92a269abd170/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:psychogeography"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:urbanism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:urban"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:history"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:maps"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:culture"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:utrecht"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:williamhoujebek"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:cryptoforestry"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:culturehacking"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:situationist"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:derive"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:dérive"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:cryptoforests"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:mapping"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://www.vizkult.org/propositions/uutoday/">
    <title>Re-Inscribing the City: Unitary Urbanism Today</title>
    <dc:date>2011-04-10T04:12:13+00:00</dc:date>
    <link>http://www.vizkult.org/propositions/uutoday/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["In the late 50s up until about the end of the 60s a group of rebels and artists known as the Lettrist/Situationist International (LI/SI) made a desperate attempt to re-imagine the city so that its inhabitants could break free from the bleak urban routine of work and consumption. During this period numerous strategies were developed under the name of "Unitary Urbanism." This panel reflects on the historical importance of these strategies in order to critically examine how they relate to their own work, and the possible uses and subversive potential of these practices today."]]></description>
<dc:subject>situationist readinglists urban urbanism anarchism events via:adamgreenfield 2011 nyc unitaryurbanism cities 1960s 1950s lettrist art rebellion history ethanspigland adeolaenigbokan dillondegive blakemorris thewalkstudygroup williamhoujebek antonioserna guydebord psychogeography derive dérive</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:ac720cfb66cc/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:situationist"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:readinglists"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:urban"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:urbanism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:anarchism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:events"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:via:adamgreenfield"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:2011"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:nyc"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:unitaryurbanism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:cities"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:1960s"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:1950s"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:lettrist"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:art"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:rebellion"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:history"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:ethanspigland"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:adeolaenigbokan"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:dillondegive"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:blakemorris"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:thewalkstudygroup"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:williamhoujebek"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:antonioserna"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:guydebord"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:psychogeography"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:derive"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:dérive"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://www.situationistapp.com/">
    <title>Situationist App By Benrik</title>
    <dc:date>2011-03-08T07:42:49+00:00</dc:date>
    <link>http://www.situationistapp.com/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[Now banned by the iTunes Store]

"What is Situationist? Situationist is an iPhone app that makes your everyday life more thrilling and unpredictable. It alerts members to each other's proximity and gets them to interact in random "situations". These situations vary from the friendly "Hug me for 5 seconds exactly" or "Compliment me on my haircut", to the subversive eg "Help me rouse everyone around us into revolutionary fervour and storm the nearest TV station". Members simply upload their photo and pick the situations they want to happen to them from a shortlist, in the knowledge that they might then occur anywhere, and at any time.

Who is behind it? Benrik, artists and authors of the cult bestselling "Diary Will Change Your Life" series."

[via: http://thenextweb.com/apps/2011/03/07/dont-like-strangers-situationist-for-the-iphone-wants-to-change-that/ ]]]></description>
<dc:subject>iphone ios situationist behavior applications art derive flaneur dérive psychogeography flâneurs flaneurs flâneur</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:daacb4f5eb10/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:iphone"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:ios"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:situationist"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:behavior"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:applications"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:art"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:derive"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:flaneur"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:dérive"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:psychogeography"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:flâneurs"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:flaneurs"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:flâneur"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://soheinishino.com/en/">
    <title>Sohei Nishino</title>
    <dc:date>2011-02-27T10:29:02+00:00</dc:date>
    <link>http://soheinishino.com/en/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Born in Hyogo in 1982. Since he was a university student of Osaka University of Arts, he started his series Diorama Map which is created from his memory as layered icons of the city.

The creation of a Diorama Map takes the following method; Walking around the chosen city on foot; shooting from various location with film; pasting and arranging with enormous mound of pieces. Consisted from eight cities, Diorama Map is still ongoing and will be developed in cities all over the world in the future.

Since selected as an Excellence Award of Canon New Cosmos Photography Award, he has participated in several group shows including his solo exhibition. His works are shown at Paris Photo 2009 where he received critical acclaim by many collectors and attracts people all over the world."]]></description>
<dc:subject>art derive cites photography soheinishino collage perspective walking japan dioramamap maps mapping dérive</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:53f2142c1b32/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:art"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:derive"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:cites"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:photography"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:soheinishino"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:collage"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:perspective"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:walking"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:japan"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:dioramamap"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:maps"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:mapping"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:dérive"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://interconnected.org/home/2011/01/15/space_clearing">
    <title>space clearing (15 Jan., 2011, at Interconnected)</title>
    <dc:date>2011-01-16T18:58:56+00:00</dc:date>
    <link>http://interconnected.org/home/2011/01/15/space_clearing</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Constrained walks and the dérive both reveal the city's psychogeography, and force the city to give up more of itself. It's funny to find, right on my doorstep, the streets I didn't know that I didn't know, the ones I'd got the unknown habit of avoiding. The city grows.

Space clearing makes visible and disrupts the psychogeography of my home. By standing in far corners, I find new perspectives. I strengthen rarely visited spots in my own mental map. Later, I find myself noticing the corners more. My house looks larger. The changed shape of my rooms encourages me to walk differently about the space. I stand in slightly unfamiliar spots, look at my bookshelves with a new-found unfamiliarity, and this prompts new combinations of titles to come to my attention, and new ideas.

I wonder if I could make something to do this for me? Maybe a robot vacuum cleaner programmed to find rarely visited corners and play an attention-grabbing sample, hey, over here, over here."]]></description>
<dc:subject>space perspective mattwebb situationist dérive psychogeography robots constraints flaneur cities homes spaceclearing mentalmaps mapping maps attention 2011 derive flâneurs flaneurs flâneur</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:4d9eca59a6e9/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:space"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:perspective"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:mattwebb"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:situationist"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:dérive"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:psychogeography"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:robots"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:constraints"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:flaneur"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:cities"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:homes"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:spaceclearing"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:mentalmaps"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:mapping"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:maps"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:attention"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:2011"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:derive"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:flâneurs"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:flaneurs"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:flâneur"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://survival.sentientcity.net/serendipitor/">
    <title>Serendipitor</title>
    <dc:date>2010-09-27T04:00:23+00:00</dc:date>
    <link>http://survival.sentientcity.net/serendipitor/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Serendipitor is an alternative navigation app for the iPhone that helps you find something by looking for something else. The app combines directions generated by a routing service (in this case, the Google Maps API) with instructions for action and movement inspired by Fluxus, Vito Acconci, and Yoko Ono, among others. Enter an origin and a destination, and the app maps a route between the two. You can increase or decrease the complexity of this route, depending how much time you have to play with. As you navigate your route, suggestions for possible actions to take at a given location appear within step-by-step directions designed to introduce small slippages and minor displacements within an otherwise optimized and efficient route. You can take photos along the way and, upon reaching your destination, send an email sharing with friends your route and the steps you took."

[See also: http://vimeo.com/14205766 AND http://serialconsign.com/2010/09/out-wayfinding-serendipitor AND http://www.wired.com/gadgetlab/2010/09/serendipitor-gives-maps-and-navigation-a-gaming-layer/ ]]]></description>
<dc:subject>serendipity wayfinding maps iphone applications serendipitor mapping discovery exploration vitoacconci yokoono fluxus psychogeography situationist meandering flaneur derive dérive ios flâneurs flaneurs flâneur</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:c5f726ac6b7b/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:serendipity"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:wayfinding"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:maps"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:iphone"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:applications"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:serendipitor"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:mapping"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:discovery"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:exploration"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:vitoacconci"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:yokoono"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:fluxus"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:psychogeography"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:situationist"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:meandering"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:flaneur"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:derive"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:dérive"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:ios"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:flâneurs"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:flaneurs"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:flâneur"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://www.mythogeography.com/">
    <title>Mythogeography</title>
    <dc:date>2010-04-03T05:08:17+00:00</dc:date>
    <link>http://www.mythogeography.com/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["This is a website for walkers, artists who use walking in their art, students who are discovering and studying a world of resistant and aesthetic walking, urbanists, geographers, site-specific performers, town planners and un-planners, urban explorers, entrepreneurs and activists who don’t want to drive to the revolution."
]]></description>
<dc:subject>art geography mythogeography cities books drifting walking urban urbanism landscape pedestrians un-planning urbanexploration activism derive dérive philsmith drift</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:d77aa4dfa79d/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:art"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:geography"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:mythogeography"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:cities"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:books"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:drifting"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:walking"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:urban"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:urbanism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:landscape"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:pedestrians"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:un-planning"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:urbanexploration"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:activism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:derive"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:dérive"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:philsmith"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:drift"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://en.wikipedia.org/wiki/Fl%C3%A2neur">
    <title>Flâneur - Wikipedia</title>
    <dc:date>2009-02-08T00:37:36+00:00</dc:date>
    <link>http://en.wikipedia.org/wiki/Fl%C3%A2neur</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["In the context of modern-day architecture and urban planning, designing for flâneurs is one way to approach issues of the psychological aspects of the built environment. Architect Jon Jerde, for instance, designed his Horton Plaza and Universal CityWalk projects around the idea of providing surprises, distractions, and sequences of events for pedestrians." ... "The most notable application of flâneur to street photography probably comes from Susan Sontag in her 1977 essay, On Photography. She describes how, since the development of hand-held cameras in the early 20th century, the camera has become the tool of the flâneur: "The photographer is an armed version of the solitary walker reconnoitering, stalking, cruising the urban inferno, the voyeuristic stroller who discovers the city as a landscape of voluptuous extremes. Adept of the joys of watching, connoisseur of empathy, the flâneur finds the world 'picturesque.' (pg. 55)""
]]></description>
<dc:subject>situationist photography urban urbanism travel philosophy walking art culture education architecture history theory baudelaire flaneur hortonplaza sandiego universalcitywalk jonjerde losangeles psychogeography observation technology susansontag glvo cv via:blackbeltjones derive dérive flâneurs flaneurs flâneur</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:7f6edfdf22aa/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:situationist"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:photography"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:urban"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:urbanism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:travel"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:philosophy"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:walking"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:art"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:culture"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:education"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:architecture"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:history"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:theory"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:baudelaire"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:flaneur"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:hortonplaza"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:sandiego"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:universalcitywalk"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:jonjerde"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:losangeles"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:psychogeography"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:observation"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:technology"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:susansontag"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:glvo"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:cv"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:via:blackbeltjones"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:derive"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:dérive"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:flâneurs"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:flaneurs"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:flâneur"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://en.wikipedia.org/wiki/Psychogeography">
    <title>Psychogeography - Wikipedia</title>
    <dc:date>2009-02-08T00:11:48+00:00</dc:date>
    <link>http://en.wikipedia.org/wiki/Psychogeography</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Psychogeography was defined in 1955 by Guy Debord as the "the study of the precise laws and specific effects of the geographical environment, consciously organized or not, on the emotions and behavior of individuals."[1] Another definition is "a whole toy box full of playful, inventive strategies for exploring cities...just about anything that takes pedestrians off their predictable paths and jolts them into a new awareness of the urban landscape."[2] The most important of these strategies is the dérive."]]></description>
<dc:subject>psychogeography situationist cities urban urbanism psychology geography place maps mapping walking socialsoftware architecture art culture community collaboration philosophy guydebord derive flaneur dérive flâneurs flaneurs flâneur</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:04fd3e1282f6/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:psychogeography"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:situationist"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:cities"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:urban"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:urbanism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:psychology"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:geography"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:place"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:maps"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:mapping"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:walking"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:socialsoftware"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:architecture"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:art"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:culture"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:community"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:collaboration"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:philosophy"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:guydebord"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:derive"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:flaneur"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:dérive"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:flâneurs"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:flaneurs"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:flâneur"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://www.nearfuturelaboratory.com/projects/drift-deck/">
    <title>Near Future Laboratory » Drift Deck (Analog Edition)</title>
    <dc:date>2008-11-15T18:10:59+00:00</dc:date>
    <link>http://www.nearfuturelaboratory.com/projects/drift-deck/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The Drift Deck (Analog Edition) is an algorithmic puzzle game used to navigate city streets. A deck of cards is used as instructions that guide you as you drift about the city. Each card contains an object or situation, followed by a simple action. For example, a situation might be — you see a fire hydrant, or you come across a pigeon lady. The action is meant to be performed when the object is seen, or when you come across the described situation. For example — take a photograph, or make the next right turn. The cards also contain writerly extras, quotes and inspired words meant to supplement your wandering about the city."
]]></description>
<dc:subject>psychogeography situationist urbanism travel urban arg architecture art design dérive games gaming tcsnmy classideas julianbleecker brucesterling ianbogost janemcgonigal dawnlozzi bencerveny katiesalen robbellm driftdeck derive</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:47ecbd3619c0/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:psychogeography"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:situationist"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:urbanism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:travel"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:urban"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:arg"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:architecture"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:art"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:design"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:dérive"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:games"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:gaming"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:tcsnmy"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:classideas"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:julianbleecker"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:brucesterling"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:ianbogost"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:janemcgonigal"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:dawnlozzi"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:bencerveny"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:katiesalen"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:robbellm"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:driftdeck"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:derive"/>
</rdf:Bag></taxo:topics>
</item>
</rdf:RDF>