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  </channel><item rdf:about="https://dohadebates.com/arts-media/contemporary-art-progressive-or-pointless/">
    <title>Contemporary art: Progressive or pointless? - Doha Debates</title>
    <dc:date>2026-07-07T15:50:04+00:00</dc:date>
    <link>https://dohadebates.com/arts-media/contemporary-art-progressive-or-pointless/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["How do we define great art in the 21st century?

Some critics argue that contemporary art has lost touch with the universal principles and artistic traditions that define its greatness. Others see its break with tradition as liberating, a move toward more inclusion, experimentation and personal and political expression.

This conversation is an exploration of what makes great art, particularly in this century. Is it defined by adherence to tradition, or disruption and reinvention? Is artistic beauty understood across time and culture, or does each generation need to redefine it? And with the AI era upon us, what even constitutes art in the first place?"

[direct link to video on YouTube:

"Doha Debates: Is it time to reconsider contemporary art?"
https://www.youtube.com/watch?v=352DIUX4QMk

"Is contemporary art relevant today?

In this episode of @DohaDebates podcast, host Nadir Nahdi is joined by Wafaa Bilal, Samar Younes, Fen de Villiers and Molly Crabapple to discuss whether contemporary art remains relevant in today’s world, as well as the role of artists in addressing social issues. 

The views expressed in this episode are the guests’ own and do not necessarily reflect Al Jazeera’s editorial stance. Visit the @DohaDebates YouTube channel for the extended version."

on Apple Podcasts:

https://podcasts.apple.com/lu/podcast/is-contemporary-art-relevant-today/id1867847336?i=1000767406512

also here:
https://omny.fm/shows/doha-debates/is-contemporary-art-relevant-today

mentioned (but not linked) here:
https://www.frontporchrepublic.com/2026/07/consuming-swatch-or-valuing-craftsmanship/ ]]]></description>
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    <dc:date>2026-07-06T10:56:02+00:00</dc:date>
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    <title>La Verdadera Historia de los Relojes Casio G-Shock - YouTube</title>
    <dc:date>2026-07-04T19:51:30+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=kCVR-f585w4</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[G-Shock es probablemente la marca favorita de todos los que nos gusta la relojería a precios más accesibles. Diseños entretenidos, resitencia a toda prueba y también una historia muy muy buena, la que repasaremos en este video junto a Vala. ]]></description>
<dc:subject>dandolahora watches casio g-shock kikuoibe watchmaking design 2023</dc:subject>
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<item rdf:about="https://www.youtube.com/watch?v=tb-Qn2DSAcI">
    <title>Entrevistamos al Padre del Casio G-Shock | Kikuo Ibe - YouTube</title>
    <dc:date>2026-07-04T19:49:43+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=tb-Qn2DSAcI</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Entrevista a Kikuo Ibe, el creador del Casio G-Shock, durante su visita a México. Por primera vez en español, el ingeniero que inventó el reloj más resistente del mundo nos habla cara a cara sobre el nacimiento del G-Shock, sus secretos y el futuro de la marca.

Link Historial de G-Shock ➡️ 
https://www.youtube.com/watch?v=kCVR-f585w4

00:00 Intro 
01:07 Contexto 
03:17 Los inicios en Casio 
07:25 Las copias del G-Shock 
08:25 El primer G-Shock DW-5000C 
10:54 Illuminator vs Fox Fire 
12:03 El Futuro de G-Shock 
13:57 Por qué usted 
16:10 Subasta 
17:35 Outro"]]></description>
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<item rdf:about="https://open.spotify.com/episode/53hnMibTVpbKx7C0OfvhAi">
    <title>Descolonización del patrimonio en Puerto Rico con Rafael Capó García y Javier Arbona-Homar • Sur-Urbano</title>
    <dc:date>2026-07-03T22:56:24+00:00</dc:date>
    <link>https://open.spotify.com/episode/53hnMibTVpbKx7C0OfvhAi</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Puerto Rico: Un archipiélago que, cada año, recibe a millones de turistas. Muchos de estos visitantes llegan a un lugar que, por décadas, se ha posicionado en una ruta de consumo caribeño – un lugar famoso por fantasías tropicales de ron, cigarros, café y, más recientemente, reggaetón. Si queremos ser más específicos, el Viejo San Juan, el sector colonial de la capital de Puerto Rico, está organizado en torno a satisfacer al visitante con sus restaurantes de comida criolla, coctelerías, tiendas y una proliferación de alquileres a corto plazo. Pero este modelo termina volviéndose insostenible para quienes la habitan. Detrás de las campañas publicitarias cuidadosamente diseñadas para atraer a turistas a un destino familiar y convenientemente situado “dentro” de los Estados Unidos, se oculta una historia incómoda de guerra, racismo y represión violenta.

Hay muchas personas en Puerto Rico cuestionando el espacio público y excavando las historias que existen debajo de cada monumento, de cada estatua, de cada ciudad y su infraestructura. Una de esas personas es Rafael Capó García, el fundador de Memoria (De)Colonial – un proyecto en Puerto Rico que ofrece recorridos históricos en San Juan. Los guías interrogan los legados coloniales de la herencia y el patrimonio puertorriqueño. Esto lo hacen a través de un lente decolonial y antirracista, y el proyecto tiene como misión promover perspectivas críticas en el momento de acercarnos a un monumento histórico. Pueden conocer más de su proyecto aquí:

https://memoriadecolonial.com/

Para pensar más en este acercamiento hacia los monumentos, nos sentamos también con Javier Arbona-Homar, un profesor puertorriqueño en UC Davis quien se enfoca en el diseño y en los estudios explosivos, es decir, cómo las explosiones transformaron la política espacial de los paisajes. Pueden encontrar su libro más reciente, “Explosivity Following What Remains”, aquí:

https://www.upress.umn.edu/9781517918842/explosivity/ "]]></description>
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<item rdf:about="https://www.youtube.com/watch?v=rwLx9O1koR4">
    <title>The Most Successful Watch Ever Made - YouTube</title>
    <dc:date>2026-06-23T23:42:58+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=rwLx9O1koR4</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["0:00 Intro
1:06 Industry Impact
3:01 History of Casio
6:47 Creation of the F91W
9:09 Release, Evolution"]]></description>
<dc:subject>casio f-91w watches history 2026 teddybaldassare affordability design adamcraniotes stephenbayley yutakakinugasa kathleenmcgivney arieladams zachblass</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
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<item rdf:about="https://www.koozarch.com/columns/building-stories-gran-acuario-mazatlan-with-tatiana-bilbao-estudio">
    <title>Building Stories: Gran Acuario Mazatlan with Tatiana Bilbao ESTUDIO – KoozArch</title>
    <dc:date>2026-06-06T05:13:24+00:00</dc:date>
    <link>https://www.koozarch.com/columns/building-stories-gran-acuario-mazatlan-with-tatiana-bilbao-estudio</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The process of building is rarely linear. Things change: the impetus for design, the ideas of the client, even the stability of the ground. Tatiana Bilbao and Alba Cortes share the challenges of realising the monumental Marine Research Center in the Sea of Cortez, Mexico while offering nature the lead role."

[See also:
https://www.stirworld.com/see-features-sea-of-cortez-research-center-by-tatiana-bilbao-estudio-reimagines-mexican-ruins 

https://www.archdaily.com/1001935/cortes-sea-research-center-tatiana-bilbao

https://tatianabilbao.com/projects/mazatlan-aquarium ]]]></description>
<dc:subject>tatianabilbao seaofcortex albacortes 2026 architecture design mazatlán sinaloa</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
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    <title>How to use NO as a complete sentence • Buttondown</title>
    <dc:date>2026-06-06T05:08:46+00:00</dc:date>
    <link>https://buttondown.com/monteiro/archive/how-to-use-no-as-a-complete-sentence/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["This week’s question comes to us anonymously:

I did my job fine before AI came along. Now my workplace ‘suggests’ we use it. How do I say no?

Sigh. Fuck. Fine. OK. Buckle up.

Let’s talk about the 1990 Texas governor’s race.

In 1989, I moved from Philadelphia to Austin for graduate school. Having grown up in the middle of an East Coast city and suddenly finding myself in what was still, at the time, either a small city or a big town—depending on your world view—was… jarring. It was neither better, nor worse. It was just… different. So mostly I watched. I watched how other people behaved. I watched how other people interacted with one another. And I looked for cues on how to behave in this new place. (First parenthetical aside: In Philadelphia, when two people cross on the sidewalk you nod. The nod is an acknowledgement of safe passage. Much like clinking glasses during a toast started as proof that I had not poisoned your drink, nodding was reassurance that I was not going to turn around and stab you after we’d crossed. I was raised to nod. My first morning in Texas, I went for a walk to explore my new neighborhood and someone came walking in my direction. Just as I was preparing to nod, he bolted out “Good morning!” in a loud reassuring way not unlike Foghorn Leghorn, had Foghorn been raised a little further west. So that was new. In San Francisco, where I live now, people neither nod nor say “Good morning!” They purse their lips, as if they’re disappointed that they aren’t crossing paths with someone of a higher net worth.)

Shortly after I moved to Austin, Texas decided to elect a new governor. Mainly because the current governor, who is not important to this story, got caught with his hand in the wrong cookie jar. The Democrats decided to run Ann Richards, who I knew nothing about at the time, but certainly grew to admire. The Republicans, for their part, decided on a good-ole-boy cattle rancher from Midland named Clayton Williams. (Second parenthetical aside: At this point in history, this point being 1990, Texas had elected exactly one (not a typo) Republican governor since Reconstruction. One. So when they tell you that Texas has historically been a deep red state that is bullshit. It has recently elected a slew of Republicans, which is as much about gerrymandering as it is about any change in voter sentiment. Much like when California is described as a solid blue state and I remind people that we gave the world both Richard Nixon and Ronald Reagan, which my neighbors love being reminded of, even as they vote for Daniel Lurie and vote down propositions to tax billionaires fairly.) (Wait, open the parenthetical back up. As long as we’re here—I should make note that Ann Richards, Molly Ivins, and Barbara Jordan were, at one point, the strongest political trinity in the state of Texas, and I have no particular reason to name all three of them today, but I enjoy doing it, and you should read up on all three of them.)

Anyhoo… Clayton Williams was very much a Texas “good ole boy” who made lots of money on oil, cattle, telecom, and other Texas-like businesses. He liked smiling, shaking people’s hands, being on television, and telling jokes. For her part, Ann Richards also enjoyed those things, and as an added bonus enjoyed—and excelled at—civil service. The media, both state and national, had a great time with the campaign, dubbing it “Claytie vs The Lady” (cringe). This all came to a grinding halt when Clayton Williams decided to kick the ball into his own goal and pronounced—unprovoked, mind you—that rape was like the weather and that "if it’s inevitable, just relax and enjoy it.” In 1990, even in Texas, this was enough to kill a campaign. Which it did. Ann Richards went on to be a fine governor. (Fun fact: her daughter Cecile Richards went on to be the president of Planned Parenthood from 2006–2018. Sadly, we’ve lost them both.)

Now why the fuck did I just write three long paragraphs about the Texas gubernatorial campaign when I’m supposed to be writing about AI? Because the language we are using about AI adoption is very similar to how Clayton Williams described rape.

“It’s happening whether you want it or not.”

“Better get on board if you know what’s good for you.”

“If you want to keep working here, this is what it takes.”

“It’s inevitable, just relax and enjoy it.”

Am I comparing AI to rape? I am not. I am, however, comparing the language we use when discussing AI adoption to the language of rape culture. It’s the language of coercion. Language that implies a lack of choice and reminds you of the power those who are using it have over you. A lack of agency. It’s language that does not rely on consent, but instead the idea that we are bereft of choices, so we might as well get with the program. A program which is being foisted on us by—if you take a look at the group photo—men. And not just men, but men who like to cozy up to—and hand awards to—a convicted rapist. (Third parenthetical aside: in 2002, when the AI bubble was still a misfiring synapse in Marc Andreesen’s very large head (probably a result of eating a twin in utero) an AI Summit was held in the Virgin Islands. Specifically in the Virgin Island that was home to Jeffrey Epstein, which was convenient because the summit happened at his retreat. And yes, he footed the bill. The fact that Jeffrey Epstein was curious about a technology that eliminated consent should surprise no one.) These are not men with a lot of introspection. In fact, they proudly tout their lack of introspection. Which is a mark of a sociopath.

We’ve talked a lot about whether AI is “good” or “bad” and we should continue to do so. But it’s also worth having a conversation, or two, or a thousand, about how—and why— it’s being rolled out, at this particular moment in time, by this particular set of people, for whom the language of coercion appears to come naturally. And why people are fighting back against it.

Designers are notoriously disloyal, which I mean as a positive. Let me explain. When I was coming up as a designer, we used Photoshop to do all of our comps, a tool famously not made for doing comps. But it worked, if not perfectly. Every few years another tool would come around to knock Photoshop off its perch, we would try it for a few days, and inevitably sigh and go back to Photoshop. Not out of loyalty, mind you. But because whatever the other tools offered weren’t enough to offset the learning curve. Until the day Figma showed up. We tried it, and the majority of designers never looked back. Entire companies switched to Figma seemingly overnight. And here’s the important part: this didn’t happen because of some top-down mandate, but because the workers found a tool that made their job easier. It was, for the most part, a worker-driven shift. Like I said, we’re disloyal. We’re happy to adopt tools that make our lives easier.

And while there are certainly workers who’ve embraced AI tools—I’ll let them provide their own reasoning elsewhere—what I’m seeing is the opposite of a worker-driven shift. Management is driving the shift to AI. And it’s going as well as you’d expect. Let me give an example, in addition to this week’s question.

A few weeks ago I was talking to a friend who works at a fairly well-regarded company in San Francisco. They’re an engineer. They’ve been working as an engineer at this company for a few years. They enjoy what they do, they enjoy working with their team, and from what they’ve told me, they do their job well. I believe them. A few months ago they received a mandate from management to start using Claude, and everyone got their allotment of tokens. Sure, they were open to it. So they asked management for guidance.

“How do you want us using it?”

“What can it help us to do better?”

“Where are you seeing room for improvement, and how do you see Claude helping us improve in those areas?”

These are good questions. They’re not the questions of haters or boosters. They’re questions of workers open to doing their jobs better. The answers they got back from management only qualified as answers because they immediately followed a question. They were told that from now on their jobs would be measured by how much they used Claude. I’m sure lots of readers are nodding along right now because they’re either in that situation, or sitting at home in the aftermath of that situation. For reasons that had nothing to do with the workers’ efficiency, or client satisfaction, or anything that even vaguely resembled the ghost of a metric, the entire team had to change how they worked, and the tools they used, for secret reasons. Naturally, morale took a nosedive.

“It’s happening whether you want it or not.”

Earlier this week I did a Q&A with the graduating class at Glasgow School of Art. I love talking to students. But more importantly, I like listening to students. I want to know what they care about. I want to hear their concerns. I’ve been doing an annual Q&A with this particular school for a few years now. Usually their questions come in a range of topics. This year there was one topic. They were concerned about AI. And again, it wasn’t whether AI was good or whether AI was bad, but how AI was being used to decimate a workforce they were about to enter. Most of them feel like they’re graduating into a field where they’re no longer welcome. We have a new generation of people who want to do the work, they’re excited to do the work, they want to prove they can do the work.

We’re going to lose these kids.

One of the things the students mentioned is they go out into social media and see “design leaders”—people they look up to—talking about how this shit is inevitable, and how it’s coming whether you want it or not, how we’re going to get left behind if we don’t comply, etc., etc., etc. And it makes them feel hopeless. Of course it does. This field (or fields, whatever) is now describing the future in the language of coercion. Because this appears to be something that the leaders in this field are very comfortable with. Force. They look out over a decimated workforce, struggling to pay their rent and they call it abundance. (For who?!)

These fucks have decided that the future is already written, and that it is written in their favor. These sad sociopathic fucks are attempting to write a future where everything and everyone behaves in a way that benefits them. Where no one gives them lip. Where no one tells them no. Where no one defies them. Where consent has been taken off the table. Where they can get what they want, from who they want, when they want it.

And that you should just “relax and enjoy it” when they thrust their vision of a future upon you. For which I would like to remind you that very few of you had any idea who Clayton Williams was before you read this essay. Because he was a loser. And because the future remains unwritten.

TL;DR: “No” is—and has always been—a complete sentence."]]></description>
<dc:subject>mikemonteiro ai artificialintelligence 2026 texas annrichards mollyivins sanfrancisco california ronaldreagan richardnixon claytonwilliams barbarajordan 1990 cecilerichards choice agency resistance sociopathy jeffreyepstein figma tools design claude work labor marcandreessen photoshop</dc:subject>
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</item>
<item rdf:about="https://www.youtube.com/watch?v=MpbOaQo0lvs">
    <title>Errolson Hugh Catalogs His Illustrious Career, From Karate Gis to the Lunar Force 1 - YouTube</title>
    <dc:date>2026-06-05T10:04:15+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=MpbOaQo0lvs</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Business of HYPE is a weekly series brought to you by HYPEBEAST Radio and hosted by jeffstaple. It’s a show about creatives, brand-builders and entrepreneurs and the realities behind the dreams they’ve built. On today’s episode, we dive into the mind of ACRONYM‘s co-founder and principal designer, Errolson Hugh.

Errolson, as Jeff states, is more than likely your favorite designer’s favorite designer, despite being as cult and underground as you can get for much of his career. It’s been only relatively recently that the Canada-born creative has found his name mentioned in the same breath as the fashion world’s elite, turning ACRONYM into a household brand that has since spawned a new generation of street-minded technical labels, such as ALYX and A-COLD-WALL*.

During this insightful 80-minute conversation, Errolson takes us on a journey through his life and career, from his upbringing in Edmonton, all the way to the ACRONYM x Nike Lunar Force 1 in 2015. Along the way we learn about how he and his longtime partner Michaela Sachenbacher met, why karate and his parents were his early inspirations, how he got his start in active outerwear and so much more."]]></description>
<dc:subject>2019 errolsonhugh acronym fashion design</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:7d1cad1117ac/</dc:identifier>
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<item rdf:about="https://www.youtube.com/watch?v=PYK8-jV-DaI">
    <title>Inside the System: Errolson Hugh at ACRONYM x ALIVEFORM EVENT - YouTube</title>
    <dc:date>2026-06-05T10:03:53+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=PYK8-jV-DaI</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Seven years ago, I translated Errolson Hugh's interview for RACE SERVICE NIGHT SCHOOL. Interviewing with him in person became one of my biggest dreams. Today, that dream came true.

This exclusive interview was conducted during the 2-day launch event of the ACRONYM × ALIVEFORM Blade​ — a groundbreaking 3D-printed footwear — held in Shanghai.

Rather than focusing on specs, we talked about his past experiences, his perspective on the evolving landscape of Chinese brands, and what it truly means to be a designer in the modern era."]]></description>
<dc:subject>2026 errolsonhugh acronym fashion design</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
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<item rdf:about="https://www.youtube.com/watch?v=jNSgnEOXvJQ">
    <title>RS Night School: Acronym Co-Founder Errolson Hugh - YouTube</title>
    <dc:date>2026-06-05T10:03:29+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=jNSgnEOXvJQ</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Errolson Hugh is co-founder of the Berlin-based technical apparel brand Acronym, one of the most sought after names in streetwear and fashion. At our recent Race Service Night School, Rod Chong sat down with Errolson to hear the story of Acronym and his principles of "Asymmetric Design." Following the presentation, we held a Q&A session with Errolson."]]></description>
<dc:subject>2019 errolsonhugh acronym fashion design rodchong</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:95d94f9d3f3a/</dc:identifier>
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    <title>CULTURE CARTEL DIGITAL 2020 HEADLINER ERROLSON HUGH, CO FOUNDER, ACRONYM - YouTube</title>
    <dc:date>2026-06-05T10:01:49+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=eEmSCuaOF4M</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Tune in and learn more about the man behind the brand, Errolson Hugh, as he shares about the history of the brand, his favorite collaboration thus far, his ups and downs with the brand, and his thoughts on copycats."]]></description>
<dc:subject>2020 errolsonhugh acronym fashion design</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
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<item rdf:about="https://www.youtube.com/watch?v=mbdmuC22bXc">
    <title>ACRONYM Founder Errolson Hugh on Designing Tech and Defying Expectation - YouTube</title>
    <dc:date>2026-06-05T10:01:31+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=mbdmuC22bXc</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["I got the chance to sit down with Errolson Hugh - principal designer and co-founder of ACRONYM - to talk about some of FW20/21's latest releases. He explains the processes behind both designing brand new apparel and improving on previous releases, as well as a deep-dive on the creation of the Zephyrus G14-ACRNM RMT01 laptop."]]></description>
<dc:subject>2020 errolsonhugh acronym fashion design</dc:subject>
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    <title>The Right Tool for the Right Hands - by Andrew Cantarutti</title>
    <dc:date>2026-06-05T09:33:09+00:00</dc:date>
    <link>https://walledgardenedu.substack.com/p/the-right-tool-for-the-right-hands</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Why the Same Tool Can Help a Teacher and Harm a Student"

[via:
https://2ndbreakfast.audreywatters.com/at-what-cost/ ]]]></description>
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<item rdf:about="https://www.youtube.com/watch?v=zdsGXd5enKg">
    <title>How ACRONYM Changed Design: An Hour with Errolson Hugh - YouTube</title>
    <dc:date>2026-06-05T09:12:15+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=zdsGXd5enKg</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["An hour with Errolson Hugh, cofounder of ACRONYM GmbH. We talk early life, influences, martial arts, starting the brand, and the design principles that shaped ACRONYM’s now-classic DNA. This is a deep dive on first-person design, function, and the systems thinking behind design.

What you’ll learn
- How discipline and martial arts inform Errolson’s design process
- The path to founding ACRONYM and building a studio that prioritises function
- The principles behind ACRONYM’s classic silhouettes and pocket systems
- First-person design vs third-person design in real use
- Advice for designers on craft, iteration, and longevity"

[via this clip from it:

"Autobiographical Design"
https://www.youtube.com/watch?v=Kj3H2hzYrg8

another video here:

"Designing Pockets with Errolson Hugh"
https://www.youtube.com/watch?v=SebAFZV8kh0

"Many designers create from a third person perspective- imagining how clothes look on a mannequin, in a photo, or to someone else’s eyes. But some design from the first person- thinking about how garments feel, function, and move when you wear them.

Errolson Hugh is one of those rare first-person designers. I visited him in Berlin, where he walked me through his process of designing and optimising for the wearer’s own enjoyment and experience.

Produced by Alisa Yamada."]]]></description>
<dc:subject>errolsonhuh kensakata 2025 acronym fashion creativity design snowboarding clothing apparel 1990s 2000s williamgibson martialarts taste identity belonging uniform autonomy agency independence overengineering</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
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<item rdf:about="https://www.youtube.com/watch?v=kL1PDqzqhM4">
    <title>The Unsolved Mystery of Lorem Ipsum - YouTube</title>
    <dc:date>2026-06-03T07:46:40+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=kL1PDqzqhM4</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["In which I accidentally become the world expert on the placeholder text Lorem Ipsum.

Thanks to Lorem Ipsum generators https://www.lipsum.com/, https://loremipsum.io/, https://generator.lorem-ipsum.info/ for making the corrections. Thanks to Silo for letting me license this banger:    • meaningful love (instrumental)  

The mystery is far from solved! If you might have answers, check out my notes below.
Lorem Ipsum video notes: https://docs.google.com/document/d/16ovZH3SzXRAMXJc1y8wJo67_d7SwIy92HKD39tyLxrI/

– Chapters –
0:00 Why is this strange text everywhere?
2:09 The professor’s discovery
3:53 45 BCE to 1500 CE. Or not.
7:03 1914 - The Rackham Book
10:37 1987 - From print to digital
15:05 1966 - The Letraset hunt
20:12 An emailed answer…
22:42 Rewriting the mistake
25:25 The end :)"]]></description>
<dc:subject>loremipsum text design graphicdesign 1914 1987 1966</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
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<item rdf:about="https://om.co/2026/06/01/clothes-are-nice-fashion-biz-not-as-much/">
    <title>Clothes Are Nice. Fashion Biz, Not As Much! – On my Om</title>
    <dc:date>2026-06-02T00:13:01+00:00</dc:date>
    <link>https://om.co/2026/06/01/clothes-are-nice-fashion-biz-not-as-much/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Every morning I sit down and open Feedbin on my iPad. It aggregates my RSS feeds and newsletters – about a hundred sources – covering everything from AI to zeitgeist. One story stopped me recently. The Wall Street Journal proclaimed: “Menswear Is in Its ‘Nice’ Era.”

This comment from a personal stylist sent me down a rabbit hole about clothes, social media, and how the gatekeepers still don’t understand their own growing irrelevance:

<blockquote>“The clothes are inoffensive, but there’s no point of view. The downside isn’t bad taste, but the erosion of individuality.” – Turner Allen, personal stylist, New York</blockquote>

Menswear today is neutral tones, muted basics, everything well-cut and normal. Or as they say, nice. The Business of Fashion recently called this an epidemic. Everyone in the industry has an opinion about it. What almost nobody has is an explanation for why. The fashion media is smart enough to spot the symptom but fails at the diagnosis.

The BOF at least attempts an answer, channeling the music critic Simon Reynolds, who argued in his book Retromania that pop music had collapsed into endless pastiche – referencing references, with nothing original left to say. The same, the BOF writer suggests, has happened to fashion. The epidemic of nice clothes is what you get when an industry runs out of ideas.

Maybe. But that framing is still entirely about the industry. It leaves out the person standing in front of the mirror.

Me.

The writers’ complaints are simply the arrogance of insiders, something common across media. Just look at how self-referential the Atlantic and the New Yorker have become. Same when it comes to technology, sports, and everything else.

They all treat the paying customer as a rube. What if we stopped wanting the opinions of fashion insiders and sports reporters who are not nearly as honest as they pretend to be? Everyone is talking their own book, all the time, everywhere. Everyone is looking to get paid.

We the rubes have learned a thing or two.

For years we have been swimming in images. Instagram, street style blogs, TikTok, Pinterest, the endless scroll. Whatever you think of that flood of images, it has done something to our eyes. It has trained us. We have looked at more clothing combinations, more visual context than any generation before us. We have developed taste not from magazines but from sheer accumulated exposure.

The assumption buried in the insider complaint is that the point of view should come from the garment. That the designer is the author and we are the readers. That clothes arrive with meaning already assigned, and our job is to receive it correctly. This is how the whole enterprise of fashion writing has always worked – and it is, not incidentally, how affiliate link revenue works. You spot the trend and explain why it matters. You link to where they can buy it.

That model made sense when images were scarce and editors were gatekeepers. It makes far less sense now.

Look at my own closet. It is a capsule collection of about a hundred pieces. Plain, nice, comfortable, well-made garments. French-made bespoke blue shirts. Muji T-shirts. Japanese workwear. I arrived at each of them because they are precisely what they are not: a line item in LVMH’s annual profit report. They work with my body. When I combine them, the result is mine. Not defined by a runway, a trend, or any external verdict.

Alexander McQueen famously said: “I want you to come out either repulsed or exhilarated, as long as it’s an emotion. If you don’t feel an emotion, I’m not doing my job.” It is a great quote. It is also a completely designer-centric view of the world. The designer produces the feeling. You experience it. You are the audience.

That model is over. Today’s designers are mostly hired hands executing the commercial agenda of conglomerates whose job is to sell expensive product on installment plans to people who want to feel rich. The clothes that result are rarely worth the allegiance.

A perfectly cut neutral trouser means almost nothing by itself. But that trouser with a specific shoe, a worn jacket, a watch with some history, a shirt you found somewhere unexpected – now there is something. The clothes are the vocabulary. I write the sentence.

Compare this to what came before. The hypebeast era, the logomania, the streetwear machine – that was actually the most passive way to dress in living memory. The brand told everyone what you were about. The logo spoke. You just put the thing on. It was expensive ventriloquism.

The epidemic of nice clothes is not a failure of imagination in the industry. It might be the industry finally catching up to what people actually want: room to think for themselves. A canvas, not a lecture.

The question was never whether the clothes have a point of view. The question is whether you do.

Lawrence Lessig in 2008 argued that the 20th century had been a Read-Only culture. You consumed what the professionals produced, passively, with no mechanism to talk back. The phonograph, the radio, the CD: the machines made you an audience. The internet broke that. Suddenly culture was Read-Write. You could take what existed, layer it, reinterpret it, make something yours. That shift has expanded with every generational turn – Web 1.0, Web 2.0, social, mobile, and now AI.

Fashion just got there later. The hypebeast era was the last gasp of Read-Only dressing. What is happening now looks like an epidemic of nice clothes. It is actually the beginning of something else.

The read-write metaphor has since become read-write-read. And the data backs it up.

Hundreds of millions of people are not just consuming culture – they are recreating it. Layering it, putting it back out. The fashion industry’s complaint that people lack a point of view doesn’t hold against what the numbers actually show. These are the same people uploading 14 million tracks a month to SoundCloud and posting 272 TikToks a second. They have plenty of points of view. They just stopped waiting for permission to express themselves.

Now give me the raw energy of Diya Joukani – a self-taught designer from Mumbai who just filmed a cameo with Rihanna. Wintour is good for hosting the Met Gala, not for finding the new thing. She can’t. Because there isn’t one new thing anymore. And the fashion-industrial complex doesn’t understand that.

The upside of the connected world means now I can find a talent like Diya without any editor telling me that I must pay attention to her. And in her I see what I have always imagined, a world where we tell the story of us. Diya and I are about 35 years apart, but she captures how I see my clothes. A palette to be put together. Simple, nice, and authentic. Embellishing is what I do. Sure, I learned from Anna and her ilk. But now I know myself much better, and hence nice is not just nice. It is me."]]></description>
<dc:subject>ommalik clothing fashion apparel self self-expression identity luxury branding readwriteweb web online internet socialmedia gatekeeping influencers elitism diyajoukani consumption consumerism influence 2026 media simonreynolds business industry technology sports thenewtorker theatlantic insiders journalism tiktok pinterest exposure garments design clothes hype hypebeast expression logos lawrencelessig 2008 readonly readwrite readwriteread nice soundcloud personalexpression</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:9b2d0a15618b/</dc:identifier>
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</item>
<item rdf:about="https://www.lars-mueller-publishers.com/are-we-human">
    <title>Are We Human? | Lars Müller Publishers</title>
    <dc:date>2026-06-01T04:34:28+00:00</dc:date>
    <link>https://www.lars-mueller-publishers.com/are-we-human</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Are We Human? Notes on an Archaeology of Design
Beatriz Colomina and Mark Wigley

The question Are We Human? is both urgent and ancient. Beatriz Colomina and Mark Wigley offer a multi-layered exploration of the intimate relationship between human and design and rethink the philosophy of design in a multi-dimensional exploration from the very ﬁrst tools and ornaments to the constant buzz of social media. The average day involves the experience of thousands of layers of design that reach to outside space but also reach deep into our bodies and brains. Even the planet itself has been completely encrusted by design as a geological layer. There is no longer an outside to the world of design.

Colomina’s and Wigley’s field notes offer an archaeology of the way design has gone viral and is now bigger than the world. They range across the last few hundred thousand years and the last few seconds to scrutinize the uniquely plastic relation between brain and artifact. A vivid portrait emerges.

Design is what makes the human. It becomes the way humans ask questions and thereby continuously redesign themselves.

"[The book] holds important potential to reframe the history of design for the age of the interface."  
– Avery Review

"A multifaceted and multisensory essay [...] a brilliant book that will satisfy the most curious minds."
– Arts et Culture

Author(s): Beatriz Colomina and Mark Wigley
Design: Okay Karadayilar
11 × 18 cm, 4 ¼ × 7 in
288 pages, 181 illustrations
paperback
2016, 978-3-03778-511-9, English

Mark Wigley (*1956) is a Professor and Dean Emeritus at the Columbia Graduate School of Architecture, Planning and Preservation. As an architectural theorist and historian, Wigley explores the intersection of architecture, art, philosophy, culture, and technology. His publications include “Buckminster Fuller Inc.: Architecture in the Age of Radio” (2016), “Cutting Matta-Clark: The Anarchitecture Investigation” (2018) and “Are We Human: Notes on an Archaeology of Design” that he published together with Beatriz Colomina in association with their curation of the 3rd Istanbul Design Biennial. Wigley was born in New Zealand, where trained as an architect, and lives in New York.
Beatriz Colomina

Beatriz Colomina is the Howard Crosby Butler Professor of the History of Architecture and the founding director of the Media and Modernity program at Princeton University. She has written extensively on questions of architecture, art, sexuality and media. Her books include “Sexuality and Space” (1992), “Privacy and Publicity: Modern Architecture as Mass Media” (1994), “Domesticity at War” (2007), “Clip/Stamp/Fold” (2010), “Are We Human? Notes on an Archaeology of Design” (2016), with Mark Wigley, “X-Ray Architecture” (2019) and “Radical Pedagogies” (2022)."

[See also:
https://www.lars-mueller-publishers.com/we-bacteria

"We the Bacteria: Notes Toward Biotic Architecture
Beatriz Colomina, Mark Wigley

The sequel to the authors’ “Are We Human?”, this provocative book is an urgent manifesto for an alternative architectural philosophy. It treats bacteria as the real architects, construction workers, maintenance crews and inhabitants of buildings. Colomina and Wigley draw on the latest research into microbes to rethink the past and possible futures of the built environment. The book explores the intimate entanglements of the microbes within bodies and buildings over the last 10,000 years, culminating in the antibiotic philosophy of contemporary architecture.

The diseases of our time are diseases of the built environment. The deadly combination of rapidly declining microbial diversity and rising antibiotic-resistant bacteria is as great a threat as climate change. Hostility to bacteria has to give way to new forms of hospitality from a more symbiotic architecture that learns from bacteria, embracing them and reconnecting with soil, plants and other species. Buildings based on fear of bacteria, which is to say fear of life itself, must give way to buildings learning from models of coexistence based on bacteria themselves. The main goal of the book is to rethink the very idea of shelter in terms of forms of inclusion rather than prophylactic forms of exclusion.

"A wildly original and deeply fascinating book" 
– Thomas C.G. Bosch, scientist

"We the Bacteria turns architecture upside down, questioning the very foundations of the discipline established since Vitruvius." 
– Nikolaus Hirsch, Artistic Director of CIVA, Brussels 

"An alternative history of architecture"
– A Weekly Dose of Architecture

Author(s): Beatriz Colomina, Mark Wigley
Design: Lars Müller Publishers
11 × 18 cm, 4 ¼ × 7 in
352 pages, 319 illustrations
paperback
2025, 978-3-03778-783-0, English"]]]></description>
<dc:subject>beatrizcolomina markwigley design architecture archaeology 2016 books philosophy bacteria builtenvironment vitruvius microbes multisensory sense interface fieldnotes geology time geologicaltime human humans humanism</dc:subject>
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<item rdf:about="https://www.youtube.com/watch?v=txs6vP2roYM">
    <title>India Street Lettering - YouTube</title>
    <dc:date>2026-06-01T04:11:35+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=txs6vP2roYM</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["A Typographic Archive in the Making

https://bangaloreinternationalcentre.org/event/india-street-lettering/

Typeface and graphic designer Pooja Saxena has been photographing and publicly chronicling street lettering from different cities and towns of India for over a decade. Bangalore, which she once called home, kickstarted this undertaking and continues to be one of its focal points. The documentation and accompanying type walks are an indispensable part of her practice, acting as catalyst for both her research and design work.

In a free-wheeling talk set against the backdrop of striking images from her archive — India Street Lettering — Pooja will share the impetus for this record and outreach, the methods and perspectives she employs to make meaning from her ever-growing collection of photographs, and the many enquiries and dialogues it helps initiate."

[via:
https://robinrendle.com/notes/indian-street-lettering/

See also:
https://indiastreetlettering.com/india-street-lettering-a-journey-through-typographic-craft-culture/

"In India Street Lettering: A Journey Through Typographic Craft & Culture, Pooja Saxena shines a spotlight on the country’s urban letterforms—and the surprising stories behind them. 

Take a short walk in any Indian neighbourhood and you’ll find signboards in a profusion of languages, styles, materials, and colours. So far, this living typographic archive has existed on the fringes of mainstream design discourse. India Street Lettering brings it to the fore, celebrating the artistic expression, linguistic diversity, and historical intrigue found in the vibrant letterforms around the country.

Drawing from a decade of documentation and research, India Street Lettering: A Journey Through Typographic Craft & Culture is a showcase of the country’s lively public lettering landscape, and an emphatic call to give this artistry the place it deserves in the design canon. 

The book is divided into five chapters that scrutinise how signs are imagined — on shops, restaurants, cinemas, banks, post offices, even homes — and the role that typography and cultural history play in their design. Together, the chapters feature over 300 photographs from 17 cities and in 13 scripts, painting a vivid picture of urban neighbourhoods in India.

Accompanying this wide-ranging collection are stories of local signmakers, which give a rare peek into their design process, and how they view their vocation in a time of rapid technological change. Finally, the book includes four itineraries for the intrepid typographic traveller: guides for exploring the lettering gems of Kolkata, Chennai, New Delhi, and Mumbai."

https://indiastreetlettering.com/ ]]]></description>
<dc:subject>lettering india 2024 poojasaxena signs banhalore koklata chennai newdelhi mumbai signmaking letterforms typography design graphicdesign</dc:subject>
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    <title>Disabling Modernism</title>
    <dc:date>2026-05-30T22:54:41+00:00</dc:date>
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    <dc:creator>robertogreco</dc:creator><description><![CDATA["During the first decade of the New Deal, modernist architects designed schools for disabled children that proposed radical visions of civic care."]]></description>
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<item rdf:about="https://www.artforum.com/features/simon-denny-art-defense-tech-1234747490/">
    <title>Palantir, Anduril and the aesthetics of avant-garde fascism</title>
    <dc:date>2026-05-26T22:55:30+00:00</dc:date>
    <link>https://www.artforum.com/features/simon-denny-art-defense-tech-1234747490/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Palantir, Anduril, and the aesthetics of avant-garde fascism"]]></description>
<dc:subject>simondenny 2026 palantir anduril fascism latefascistaesthetics fascistaesthetics alexkarp marcandreessen italianfuturism italianfuturists aesthetics neoclassicism propaganda maga dimessquare 4chan ftmarinetti futurism futurists military lethality technonostalgia technooptimism nerdreich technology beauty samkriss siliconvalley authoritarianism defense defensetech katherineboyle leahjayneskarp benhoroqitz a16z andreessenhorowtitz rhetoric art design nicholaszaminska francisfukuyama amazon trulliocrali gerardodottori palmerluckey lockheedmartin jenbucci oculusrift facebooks meta modretro posters ukraine germany friedrichmerz quantumsystems peterthiel rosscalvin italy italia history alcatraz arnobreker nazis fascistitaly nazigermany monumentallabs comfyui ai artificialintelligence bellabs matdryhurst hollyherndon aislop slop</dc:subject>
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    <title>McMansion Hell, Fandoms, Retinol and Modern Opera | Middlebrow Podcast - YouTube</title>
    <dc:date>2026-05-13T06:55:58+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=Yt15iNgvNsw</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Kate Wagner is the architecture critic at The Nation and the creator of the internet's favorite architecture criticism blog, McMansion Hell. We dive into finding beauty in all buildings, criticism as a practice, modern opera, retinol, fandoms and more. Read McMansion Hell here: https://mcmansionhell.com 

00:00 - Intro 
00:23 - Retinol 
2:30 - Anime Face 
2:58 - Defining McMansion 
05:47 - 80s Architecture 
07:05 - Revival of Old Tastes 
20:51 - Agrarian High School 
21:13 - Autodidact Gang 
22:25 - Challenges of Architecture 
26:39 - McMansions Abroad 
31:04 - Politics of a McMansion 
34:45 - Emerging Movements 
38:26 - Edgar Wright’s Running Man 
41:04 - DSA Baby Boom 
41:35 - Modern Opera 
45:18 - The Ring Cycle 
47:07 - Receptiveness in a Critic’s Heart 
49:21 - Fandoms 
50:33 - Faith in the Public 
53:48 - All Buildings Are Interesting 
55:03 - The Goal of Criticism 
01:00:38 - Fascist Architecture"]]></description>
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    <title>A Lo-Fi Rebellion Against A.I. | The New Yorker</title>
    <dc:date>2026-05-07T20:47:21+00:00</dc:date>
    <link>https://www.newyorker.com/culture/infinite-scroll/a-lo-fi-rebellion-against-ai</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["As slick, machine-generated visuals become ubiquitous, artists and designers are embracing a style of handmade imperfection."]]></description>
<dc:subject>kylechayka handmade slow small ai artificialintelligence resistance 2026 art design imperfection genai generativeai</dc:subject>
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<item rdf:about="https://mitpress.mit.edu/9780262516747/design-meets-disability/">
    <title>Design Meets Disability, by Graham Pullin (2011)</title>
    <dc:date>2026-05-05T15:56:07+00:00</dc:date>
    <link>https://mitpress.mit.edu/9780262516747/design-meets-disability/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["How design for disabled people and mainstream design could inspire, provoke, and radically change each other.

Eyeglasses have been transformed from medical necessity to fashion accessory. This revolution has come about through embracing the design culture of the fashion industry. Why shouldn't design sensibilities also be applied to hearing aids, prosthetic limbs, and communication aids? In return, disability can provoke radical new directions in mainstream design. Charles and Ray Eames's iconic furniture was inspired by a molded plywood leg splint that they designed for injured and disabled servicemen. Designers today could be similarly inspired by disability.

In Design Meets Disability, Graham Pullin shows us how design and disability can inspire each other. In the Eameses' work there was a healthy tension between cut-to-the-chase problem solving and more playful explorations. Pullin offers examples of how design can meet disability today. Why, he asks, shouldn't hearing aids be as fashionable as eyewear? What new forms of braille signage might proliferate if designers kept both sighted and visually impaired people in mind? Can simple designs avoid the need for complicated accessibility features? Can such emerging design methods as “experience prototyping” and “critical design” complement clinical trials?

Pullin also presents a series of interviews with leading designers about specific disability design projects, including stepstools for people with restricted growth, prosthetic legs (and whether they can be both honest and beautifully designed), and text-to-speech technology with tone of voice. When design meets disability, the diversity of complementary, even contradictory, approaches can enrich each field."

...

"Graham Pullin is a lecturer in Interactive Media Design at the University of Dundee. He has worked as a senior designer at IDEO, one of the world's leading design consultancies, and at the Bath Institute of Medical Engineering, a prominent rehabilitation engineering center in the United Kingdom. He has received international design awards for design for disability and for mainstream products."]]></description>
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<item rdf:about="https://open.spotify.com/episode/11zlpahmklfgr8YOUrtLnY">
    <title>Sara Hendren: Who Is the Built World Actually Built For? - Art of Inquiry | Podcast on Spotify</title>
    <dc:date>2026-05-05T14:11:09+00:00</dc:date>
    <link>https://open.spotify.com/episode/11zlpahmklfgr8YOUrtLnY</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Sara Hendren didn't start out in engineering. She started as a visual artist, then moved into cultural history, studying objects, artifacts, and what they say about the world that made them. Then life brought her into pediatric spaces filled with a new kind of object: gadgets and tools designed for a child's body, yes, but also doing quiet therapeutic work, covered in butterflies and bugs, useful and expressive all at once. She found herself asking: what is an object broadcasting beyond its user? What does it mean that eyeglasses get sold as fashion while hearing aids are hidden away as clinical? That was the moment everything snapped together, her training in the history of artifacts, the politics of disability, and the material culture of prosthetics all converging at once. In this free-flowing conversation, Sara walks us through the space between mechanical design and design for expression, why the logical and meticulous side of making art and the creative side of meaningful engineering are really the same instinct. As the world asks more and more from its engineers, Sara brings it all back to a question that feels more urgent than ever: can a designed object change not just how we move through the world, but how we see it?"

[via:
https://ablerism.micro.blog/2026/04/29/i-had-fun-speaking-on.html

"I had fun speaking on the Art of Inquiry, a podcast created by two Northeastern engineering students interested in the arts and humanities. My strange career path, my mentor Krzysztof Wodiczko introducing me to interrogative design, raising a child with Down syndrome, studio + lab culture, more."]]]></description>
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    <dc:date>2026-04-26T08:30:00+00:00</dc:date>
    <link>https://www.thisiscolossal.com/2024/11/the-art-of-play/</link>
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    <title>Lessons from the fairness of African fractal societies | Aeon Essays</title>
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    <link>https://aeon.co/essays/lessons-from-the-fairness-of-african-fractal-societies</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Where centralised societies excel at extraction, African fractal systems allow for circulation, reciprocity and return"]]></description>
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<item rdf:about="https://www.youtube.com/watch?v=Q2a1RbOi-aE">
    <title>The phone that explains AT&amp;T’s monopoly - YouTube</title>
    <dc:date>2026-04-16T05:14:15+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=Q2a1RbOi-aE</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["For years, even decades, virtually everyone in the United States had the same telephone. You didn't even think about it — it was just The Phone. Well, The Phone was called the Western Electric 500, and it was the result of nearly a century of AT&T's monopoly over the US phone system. It was also a really great phone. In this episode of Version History, David Pierce, Nilay Patel, and author and professor Tim Wu explain how AT&T's monopoly grew, how the phone system worked, and how it happened that there was really only one phone in the country. Until the whole system started to fall apart."

[See also:
https://www.theverge.com/podcast/910725/western-electric-500-att-version-history 

https://unsung.aresluna.org/to-build-a-thing-that-immediately-feels-like-youve-had-it-forever-is-very-hard-to-do/

"This episode about the Western Electric 500 – the canonical American landline rotary phone – is worth watching by all UX designers. There is no software here, as the phone is entirely electromechanical. But there are a whole lot of details to admire and be inspired by: the shape of the handset, the interface to change the volume, the iconic ring, the balanced and improved rotary dial, the behaviour of the cable, even the weight and balance of the whole device.

It’s not only that phone calls should all sound as good as they did in the 1950s – in my experience FaceTime Audio comes close, sometimes, but it’s so unreliable – it’s that you should try to play with a Western Electric 500 because you want your modern interface to feel like that.

The hosts – David Pierce and Nilay Patel, helped by Tim Wu, author of the excellent The Master Switch – also weave into it an entirely different angle, of how that phone fit into (and reflected) a specific period of American tech history, and how it related to AT&T’s then monopoly, including the phone jack and third-party access we just discussed re: John Deere. Even the discussion whether this is or isn’t a “hall of fame” object is good fodder for thought.

The episode – and the entire show – is also just a really enjoyable watch. If you like this ep, it pairs nicely with the one about the iPhone 4, another phone that transcended its origins through good industrial design, exactly sixty years later."]]]></description>
<dc:subject>davidpierce nilaypatel timwu history technology telephone telephones at&amp;t monopolies design communication westernelectric westernelectric500 versionhistory ux</dc:subject>
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    <title>Graphic design schools are teaching tech, but are they teaching taste?</title>
    <dc:date>2026-04-16T04:00:18+00:00</dc:date>
    <link>https://www.itsnicethat.com/articles/pov-graphic-design-schools-are-teaching-tech-not-taste-creative-industry-150426</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Graphic design courses have become trade schools – they should be so much more."]]></description>
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<item rdf:about="https://www.worseonpurpose.com/p/your-backpack-got-worse-on-purpose">
    <title>Your Backpack Got Worse On Purpose</title>
    <dc:date>2026-04-16T03:54:43+00:00</dc:date>
    <link>https://www.worseonpurpose.com/p/your-backpack-got-worse-on-purpose</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["In 1986, a corporation that made women's lingerie bought every backpack brand you've ever trusted."

...

"The warranty is doing the same thing

JanSport still advertises a lifetime warranty. It sounds like a company that stands behind its product.

Go try to use it.

You ship the bag back at your own expense. That runs $12 to $25 depending on size and where you live. You wait three to six weeks. That's the current turnaround per JanSport's own warranty page. Then they evaluate the damage.

"Normal wear and tear" isn't covered. Only "defects in materials and workmanship." Think about what that means for a bag engineered to last two years. When it starts falling apart at eighteen months, that failure can be classified as the product reaching its expected lifetime, not as a defect. The warranty language is structurally designed to exclude the exact type of failure the product is now built to have.

People who do get warranty replacements report receiving bags that are worse than the one they sent in. Thinner fabric. Cheaper hardware. You mailed back a 2016 JanSport and got a 2025 JanSport, and those are fundamentally different products.

The warranty used to be legendary. JanSport used to be the brand people cited when they talked about companies that actually stood behind their stuff. That reputation still exists in people's memories. The warranty now runs on that leftover trust.

One person told me they called about getting a zipper replaced on a JanSport from the late 90s. They were told it was normal wear and tear. They tried tailors, got quoted $50 to $100 for a new zipper. They looked at buying a new JanSport and saw how far the quality had fallen. They ended up buying a used backpack at a thrift store for four dollars.

Ten to twenty used bags for the price of one new one that'll fall apart. That's where we're at.
The math that makes this intentional

Price of a bag divided by years it actually lasts. That's your cost per year.

A $35 JanSport that dies in eighteen months: $23 per year. Add the shipping cost when you try the warranty. Add the replacement cost when the claim gets denied. Add your time.

A $200 bag that lasts ten years: $20 per year. Already cheaper. At fifteen years, which the well-built ones consistently do, you're at $13 per year.

The "expensive" bag costs less. But VF Corp doesn't want you to do this math, because the $35 bag creates a repeat customer every eighteen months. The $200 bag creates one transaction and zero follow-ups. From a shareholder's perspective, the bag that falls apart is the better product.

That's the business model. Repeat failure, repeat purchase, repeat revenue. The quality decline isn't a side effect. It's the strategy.
And then they tried to sell the whole thing

In 2021, VF Corp sold Eagle Creek to a former employee who basically rescued the brand from being shut down.

By 2023, VF Corp announced it was exploring "strategic alternatives" for its entire remaining backpack division. JanSport. Eastpak. Kipling. All of them potentially up for sale because they weren't generating enough profit.

The brands your parents trusted went from independent companies to conglomerate assets to margin optimization targets to potential fire-sale candidates. All in under forty years.

And something worth knowing: VF Corporation sold its lingerie business (the one it was literally founded on) back in 2007. Vanity Fair intimates went to Fruit of the Loom. The company shed the thing it actually knew how to make so it could focus on extracting value from the brands it bought. They didn't build any of these outdoor brands. They acquired them, optimized them, and when the optimization stopped producing returns, started looking for the exit.

This is the pattern. Acquisition. Cost optimization. Quality decline. Warranty narrowing. Brand equity extraction. And eventually, divestiture.

It happened to your backpack. The same playbook is running right now on your power tools, your boots, your sunglasses, and about a dozen other product categories where a company you trusted quietly got absorbed by a corporation you've never heard of.

I'll be writing about those next."

[See also:

"Your Glasses Got Worse On Purpose
How an Italian orphan built a $27 billion monopoly that controls the brands, the stores, the lenses, and the insurance."
https://www.worseonpurpose.com/p/your-glasses-got-worse-on-purpose

"Your Power Tools Got Worse On Purpose
How TTI and Stanley Black & Decker took the same playbook in opposite directions."
https://www.worseonpurpose.com/p/your-power-tools-got-worse-on-purpose ]]]></description>
<dc:subject>backpacks business capitalism economics history design money 2026 keyanasappnorthface eastpak kipling eaglecreek bluebell vfcorporation vanityfairmills competition durability walmart rei warranties corporations sunglasses powertools essilorluxottica luxottica glasses eyeglasses</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
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    <title>The MAGA Theory of Art</title>
    <dc:date>2026-04-15T07:05:15+00:00</dc:date>
    <link>https://www.artnews.com/art-in-america/features/maga-theory-of-art-evangelical-film-nazi-weimar-1234779167/</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>beccarothfield maga donaldtrump aesthetics fascistaesthetics latefascistaesthetics nazis susansontag art beauty cutlure thirdreich karlmarx jeangenet kennedycenter ovaloffice whitehouse erictenschler andrewlloydweber jonathanpetropoulos design knuthamsun lenifiefenstahl hugoboss fashion gabrieled'annunzio cheesecakefactory albertspeer fascism nazism josephgoebbels alfredrosenberg arthurkampf wernerpeiner christiannationalism siegfriedkracauer film media richardgrenell angelstudios affirmfilms filmmaking stephenbaldwin alecbaldwin christianity kevinsorbo evangelicals aclu universalism urbanity germany ww2 wwii audience movies adolfhitler hitler</dc:subject>
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</item>
<item rdf:about="https://kottke.org/26/04/a-collection-of-transit-tickets">
    <title>A Collection of Transit Tickets</title>
    <dc:date>2026-04-15T06:43:53+00:00</dc:date>
    <link>https://kottke.org/26/04/a-collection-of-transit-tickets</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["A brand designer’s “compendium of transit tickets” from around the world. Many of these are from the 90s and 00s. Design inspiration for daaaaays."]]></description>
<dc:subject>transit publictransit tickets design graphics graphicdesign transportation trains buses</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:319712a9ad93/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:trains"/>
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</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://possibilityhours.substack.com/p/how-to-not-be-a-dck">
    <title>How to : Not be a D!ck - by Cmte for Reciprocity &amp; Care</title>
    <dc:date>2026-04-10T04:23:24+00:00</dc:date>
    <link>https://possibilityhours.substack.com/p/how-to-not-be-a-dck</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Hoy quiero compartir dos recursos maravillosos. El primero es una guía visual dirigida a cualquiera que desee diseñar con y para su comunidad: «Social Impact Design», de 2015. Se trata de un tesoro conciso, auténtico y atemporal elaborado por el Center for Urban Pedagogy y el Equity Collective (Liz Ogbu, Studio O), e ilustrado por Ping Zhu.

El segundo es un recurso más reciente que comparte ideas sobre qué esperar al involucrarse y construir una comunidad, por Patricia Mou en wellness wisdom. Podemos insertar esta lista de 23 lecciones en la página 2 de la guía visual. Las lecciones reflejan la actualidad de este tipo de iniciativas. No es un proceso lineal y ordenado, desde luego nada parecido a lo que podrías experimentar en el trabajo. Una frase habitual que oímos sobre este fenómeno es «avanzar a la velocidad de la confianza».

Forman una pareja poderosa. Agradezco a los creadores sus ideas y su generosidad."

...

"Today, sharing two wonderful resources. The first is a visual primer for anyone wanting to design with and for their community - for Social Impact Design, from 2015. It is a tidy, true, and timeless treasure from the Center for Urban Pedagogy, the Equity Collective (Liz Ogbu, Studio O), and illustrated by Ping Zhu.

The second is a more recent resource that shares insights on what to expect when engaging and building community from Patricia Mou at wellness wisdom. We can insert this list of 23 lessons into page 2 of the visual primer. The lessons speak to the timeliness of such efforts. It’s not a tidy linear process, certainly nothing like what you might experience at work. A common phrase we hear about this phenomenon is, “moving at the speed of trust.”

They make a powerful pair. I’m grateful to the creators their insights and generosity."]]></description>
<dc:subject>reciprocity care socialimpact listening patriciamou socialimpactdesign design 2026 urbanurbanism lizogbu socialjustice comparison slow attention</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:403af715fbe5/</dc:identifier>
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<item rdf:about="https://www.koozarch.com/interviews/the-care-chair">
    <title>The Care Chair: Anna Puigjaner, Ethel Baraona Pohl, Pol Esteve Castelló – KoozArch</title>
    <dc:date>2026-04-10T03:39:48+00:00</dc:date>
    <link>https://www.koozarch.com/interviews/the-care-chair</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The glossary of architecture has its fashions, rising and ebbing to reflect social, political and professional concerns; right now, at the top of the list is Care."]]></description>
<dc:subject>polestevecastelló 2026 care caring architecture furniture design shumibose annapuigjaner education academia highered highereducation society ethelbaraonapohl ethelbaraona</dc:subject>
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<item rdf:about="https://www.youtube.com/watch?v=7gKEnfXi6AU">
    <title>Chinese architect Xu Tiantian: “It’s not about starchitecture anymore.” - YouTube</title>
    <dc:date>2026-04-05T06:34:07+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=7gKEnfXi6AU</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["”It's not about the area of starchitecture anymore.”

We met Chinese architect Xu Tiantian, who believes in architectural acupuncture and minimal intervention.

”Architecture is for people, right? It's not for the architects. So you want to have the involvement and the ownership of the local people.”

”The mainstream concept of architecture is that one day you're going to build these large-scale high-rises or monuments. I think there's now a very different concept and understanding of architecture. We live in a new time, facing all these difficulties, global challenges, climate change, and disparity everywhere around the world. I think the younger generation may already approach architecture differently today. It's more about what architecture can do instead of what I could make. So, it's probably to take yourself out of this thinking.”

”Architectural acupuncture means that the engagement of architecture is rather minimal. It's not looking for the large-scale monuments, but really working with the necessity, really working with the locally available materials, elements, and cultural contexts. Belonging to the place instead of introducing something completely alien.”

Xu Tiantian (b. 1975 in Fujian) is the founding principal of DnA _Design and Architecture. In recent years, Xu has focused on architecture in China’s rural regions. Her practice is dedicated to rural revitalization through a strategy she describes as “architectural acupuncture”—small-scale, site-specific interventions designed to activate local culture, agriculture, and tourism. In 2019, the United Nations Human Settlements Programme (UN-Habitat) recognized her Songyang “architectural acupuncture” initiative as a global model for urban–rural integration.

Xu received her Bachelor of Architecture from Tsinghua in 1997 and went on to earn a Master of Architecture in Urban Design from Harvard University’s Graduate School of Design (GSD) in 2000. She is currently a professor at the School of Architecture, Tsinghua University. Xu was named an International Honorary Fellow of the American Institute of Architects (AIA) in 2020 and elected a member of the German Academy of Arts (Akademie der Künste) in 2024. In addition, Xu has held visiting professorships at Yale University and the Mendrisio Academy of Architecture in Switzerland.

Her work has been recognized with numerous prestigious awards, including the 2025 Wolf Prize in Architecture, the Berlin Art Prize (2023), the Swiss Architectural Award (2022), the Marcus Prize for Architecture (USA), the Holcim Gold Award for Asia-Pacific, and the UNESCO Global Award for Sustainable Architecture. 
Xu Tiantian was interviewed by Marc-Christoph Wagner at the Louisiana Museum of Modern Art in Humlebæk, Denmark. The conversation took place in January 2026 in connection with the opening of the exhibition Memoryscapes at the Louisiana Museum of Modern Art.

Camera: Jarl Therkelsen Kaldan
Edit: Jarl Therkelsen Kaldan
Produced by: Marc-Christoph Wagner
Copyright: Louisiana Museum of Modern Art, 2026"]]></description>
<dc:subject>architecture design xutiantian 2026 starchitecure starchitects local small rural beauty legacy scale nature buildings bridges bamboo quarries identity simplicity necessity adaptability adaptation</dc:subject>
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<item rdf:about="https://www.park-books.com/en/product/antifascist-architecture/1605">
    <title>Antifascist Architecture | Park Books</title>
    <dc:date>2026-04-02T05:45:47+00:00</dc:date>
    <link>https://www.park-books.com/en/product/antifascist-architecture/1605</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["What does built antifascism look like? And who builds antifascist architecture?

Architects, historians, and theorists have had a weird obsession with fascist architecture since postmodernism. Why? And who are the antifascist architects? What does antifascist architecture look like? Antifascist Architecture is the first attempt at creating a working definition of antifascist architecture after academia has spent decades fetishizing fascist architecture.

Brilliant scholarship has of course been presented about anti-colonial architecture, liberation architecture, and so forth. Yet antifascist architecture is an avenue that remains to be explored. This book does just that, offering a kaleidoscopic, peripatetic bricolage of architects who heroically aligned themselves with antifascist struggles, buildings made in the name of antifascism, and a call to arms for antifascist utopian futures. It is written for students and practitioners of architecture, but also activists and scholars in the social sciences who are interested in antifascist history, theory, and practice.

“The book is a timely anti-fascist wake-up call. [ … ] The scholars masterfully blend architectural history and theory, philosophy, and political economy into a kind of standard work on anti-fascist aesthetics. A pioneering academic achievement, it is required reading not only for critical urbanists of all backgrounds, opening up entirely new dimensions. What makes this work—excellently documented, richly illustrated with Lane Rick’s red chalk drawings, and titled in Gothic script in the spirit of Laibach’s “over-affirmation” of fascist iconology—so useful is that it does not stop at a defensive battle cry, but outlines a theoretical concept of its field” Ingo Arend, taz"]]></description>
<dc:subject>architecture antifascism fascism design 2026 andrewsantalucia danieljonasriche postmodernism via:subtopes politicaleconomy</dc:subject>
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<item rdf:about="https://www.youtube.com/watch?v=Vf2dPYrkDPI">
    <title>Fósforos, relojería china y una marca chilena… salió esto - YouTube</title>
    <dc:date>2026-04-01T20:38:39+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=Vf2dPYrkDPI</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Cuando hablamos de íconos indiscutidos del diseño gráfico chileno, es imposible no pensar en la clásica cajita de Fósforos Los Andes, una imagen que nos ha acompañado firme como la cordillera desde inicios del siglo XX. El día de hoy traemos una pieza nostálgica y llena de cariño: el nuevo reloj nacido de la alianza entre Dando La Hora, Sea-Gull y Fósforos Los Andes.

00:00 Intro
01:11 Visitando Los Andes
05:08 El Diseño
07:47 El Dial
08:44 La Caja
11:07 Visitando Sea-Gull
12:35 Aspecto Técnico
16:50 Dónde conseguirlo
19:52 Outro y agradecimientos"]]></description>
<dc:subject>dandolahora chile watches design watchmaking matches 2026 sea-gull graphicdesign graphics seagull</dc:subject>
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<item rdf:about="https://wornandwound.com/behind-the-curtain-a-conversation-with-mark-braun-designer-of-the-nomos-metro/">
    <title>Behind the Curtain: A Conversation with Mark Braun, Designer of the Nomos Metro - Worn &amp; Wound</title>
    <dc:date>2026-03-25T02:37:51+00:00</dc:date>
    <link>https://wornandwound.com/behind-the-curtain-a-conversation-with-mark-braun-designer-of-the-nomos-metro/</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>markbraun design watches nomos nomosmetro 2026 watchmaking caitbazemore 2014 color playfulness</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
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<item rdf:about="https://www.koozarch.com/interviews/post-industrial-hardcore-lot-eks-love-of-leftovers">
    <title>Post-Industrial Hardcore: LOT-EK’s love of leftovers – KoozArch</title>
    <dc:date>2026-03-21T05:03:09+00:00</dc:date>
    <link>https://www.koozarch.com/interviews/post-industrial-hardcore-lot-eks-love-of-leftovers</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["In a conversation spanning three decades of creative disobedience, LOT-EK's Ada Tolla and Giuseppe Lignano ask what it means to serve not power, but people and planet. The studio enacts an architectural imagination rooted in friction, reuse and radical joy, insisting that protest and service are inseparable acts."]]></description>
<dc:subject>lot-ek adatolla giuseppelignano shumibose architecture design environment reuse materials creativity shippingcontainers art</dc:subject>
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<item rdf:about="https://www.thisiscolossal.com/2026/03/isamu-noguchi-animated-unbuilt-playgrounds/">
    <title>An Animated Look at Noguchi's Experimental Playgrounds That Were Never Built — Colossal</title>
    <dc:date>2026-03-10T20:30:29+00:00</dc:date>
    <link>https://www.thisiscolossal.com/2026/03/isamu-noguchi-animated-unbuilt-playgrounds/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["“I think of playgrounds as a primer of shapes and functions; simple, mysterious and evocative; thus educational,” Isamu Noguchi said in a pamphlet about his Playscapes. Perhaps best known for his stone sculptures and Akari lamps, the Japanese artist and designer always had an eye on the spaces that define childhood, particularly public playgrounds and their influence on the young mind.

In 1933, Noguchi proposed redeveloping an entire New York City block into “Play Mountain,” an enormous topographical project that would be unstructured and open-ended. Rather than have swings and swift metal slides, for example, Noguchi wanted earthen steps, a bandshell, and a large hill for sledding and gathering. The idea was that it could be just as fun in the winter as in the summer and stimulate kids’ imaginations more than the prescriptive equipment typical in urban parks. Then-Parks Commissioner Robert Moses rejected the plan, though, and despite efforts to have the project and others of Noguchi’s designs built in New York, none were ever realized in the city.

[embed: notes below]

"A series of short animations recreates this lesser-known history. Using hand-painted celluloid under a Rostrum camera, Eastend Western imagines what these never-built playgrounds would have looked like—and how children may have interacted with the unconventional structures. There are concrete mounds with cavernous openings, labyrinthine sand gardens, and asymmetrical equipment that could teach users that “the rate of swing is determined by the length of the pendulum,” the film says.

The animations were produced in conjunction with the exhibition Noguchi’s New York, which is on view through September 13 at The Noguchi Museum. There’s also a new monograph that dives into the artist’s playgrounds and is a companion to a major retrospective at the High Museum of Art, available for pre-order on Bookshop. Find the full film series on YouTube."

[embed notes:

playlist:

"Noguchi's New York — Animated Playgrounds (2026) - YouTube"
https://www.youtube.com/playlist?list=PLjjwFd0wbYEi2PcyVJJR8B3Us2k27aetX

"Eastend Western presents five animated films entirely hand painted over 1,800 celluloids, inspired by Isamu Noguchi's unrealized playground proposals for the city of New York. They were produced as part of the exhibition ‘Noguchi’s New York', curated by Kate Wiener, and on display February 4 — September 13, 2026 at the Noguchi Museum."

The playlist contains the following short animations.

"Play Mountain 1933 — Noguchi's New York Animations"
https://www.youtube.com/watch?v=tRtr6kc_hhM

"Noguchi’s first major proposal for New York City was Play Mountain (1933), an ultimately unrealized design for a mountain playground meant to occupy a full city block or a section of Central Park. Replete with graded steps for climbing, a water slide, a slope for sledding in winter, a bandshell, and an indoor family center, Play Mountain was envisioned as a multifunctional landscape for open-ended play, exploration, and gathering. This animated film imagines how kids would have interacted with Play Mountain on a snowy day.

This film was entirely hand painted on celluloid and captured under a rostrum camera.

Directed by Nicolas Ménard & Jack Cunningham, Eastend Western

Produced as part of the exhibition ‘Noguchi’s New York'
The Noguchi Museum
February 4 — September 13, 2026
Curated by Kate Wiener, Noguchi Museum Curator

https://www.noguchi.org/museum/exhibitions/view/noguchis-new-york/

Composer: James Hatley
Animator: Isaac Holland
Painting Assistants: Laura N-Tamara, Laurence Thérien"

"Playground Equipment 1940 — Noguchi's New York Animations"
https://www.youtube.com/watch?v=XDFV6xOKhxw

"In 1941, Noguchi presented the New York City Parks Department with newly designed models for “playground equipment,” which he had initially conceived for a park in Hawaii. He hoped these playable sculptures would be both fun and educational—the multiple-length swings, for instance, could teach a child that “the rate of swing is determined by the length of the pendulum.” Although these designs were more in line with the conventional playgrounds promoted by Parks Commissioner Robert Moses, they were still deemed too experimental and potentially dangerous. This animated film explores how Noguchi used lines and solid shapes as building blocks for his sculptures' graphic language."

"Contoured Playground 1941 — Noguchi's New York Animations"
https://www.youtube.com/watch?v=3pg0w_ssEh4&list=PLjjwFd0wbYEi2PcyVJJR8B3Us2k27aetX&index=4

"In defiant response to the New York City Parks Department’s rejection of his “playground equipment,” which they considered too experimental and potentially dangerous, Noguchi conceived of Contoured Playground (1941). He considered this playable landscape “made entirely of earth modulations” to be “fail-proof for the simple reason that there was nothing to fall off.” Noguchi envisioned children freely exploring Contoured Playground’s mounds and depressions without explicit instructions, empowered to “confront the earth as perhaps early man confronted it.” A photograph of the model shows that Noguchi also experimented with adding play equipment including a seesaw, swing set, and climbable tree. Although there was some initial interest in placing Noguchi’s proposal in Central Park, the outbreak of World War II arrested any progress. After the war, Noguchi continued lobbying Moses to consider Contoured Playground, but to no avail. This animated film is a poetic investigation of Noguchi's vision, a journey from a moon-like landscape to the middle of the city."

"United Nations Playground 1951-52 — Noguchi's New York Animations"
https://www.youtube.com/watch?v=aHffNz0djyY

"In 1951, Noguchi attempted to construct a playground on the New York City campus of the United Nations Headquarters. Working with architect Julian Whittlesey, Noguchi designed a wonderland of mounds, tunnels, caves, slides, and climbing structures for open-ended exploration. Although outside funds had been raised, United Nations officials ultimately caved to pressure to kill the project from Parks Commissioner Robert Moses, who was acting as a liaison between the UN and the city. This animated film explores different angles of some of the most interesting elements from that playground."

"Riverside Playground 1961-65 — Noguchi's New York Animations"
https://www.youtube.com/watch?v=B-7yk1znFBM

"Over the course of five years, Noguchi worked with architect Louis Kahn on designs for a four-block sculptural landscape for Riverside Park. Kahn and Noguchi devised plans for a subterranean community center surrounded by sculptural elements for congregation, exploration, and play, including triangular steps, a maze-like sand garden, an amphitheater, a slide mountain, and a band of concrete play sculptures. The project progressively shrunk in scale as they tried to appease demands from the City Art Commission, the Parks Department, and local community members, some of whom vehemently opposed what they saw as a desecration of parkland. By 1965, Noguchi was the closest he would ever come to fulfilling his decades-long dream of sculpting a playground for the city. Blueprints were drawn, funds secured, and a city contract signed, but the project ultimately fell through. Half the budget was promised from the city, and between a taxpayers’ lawsuit and objections from incoming mayor John V. Lindsay, who had vowed to address New York’s fiscal problems, plans were abandoned. Noguchi would later lament, “My best things have never been built.” This animated film offers a bird's-eye overview of parts of his original plan."

"Post Credit Scene — Noguchi's New York Animations"
https://www.youtube.com/watch?v=vWVkgsXxGik

"Drinking tea with the kids as they rest from a full day of playground activities, by the soft glow of Noguchi's Akari light sculptures."]]]></description>
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</item>
<item rdf:about="https://reasonstobecheerful.world/zurich-turned-rooftops-into-climate-shield/">
    <title>This City Turned Its Rooftops into a Climate Shield</title>
    <dc:date>2026-03-01T22:53:45+00:00</dc:date>
    <link>https://reasonstobecheerful.world/zurich-turned-rooftops-into-climate-shield/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["As cities struggle with heat, Zürich offers a masterclass in using vegetation to cool streets, manage stormwater and restore biodiversity."]]></description>
<dc:subject>zurich cities urban urbanism climate climatechange 2026 michaelahass solarpunk biodiversity design switzerland zürich</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:2b924be909fb/</dc:identifier>
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<item rdf:about="https://thereader.mitpress.mit.edu/the-radical-tub/">
    <title>The Radical Tub | The MIT Press Reader</title>
    <dc:date>2026-02-28T00:00:01+00:00</dc:date>
    <link>https://thereader.mitpress.mit.edu/the-radical-tub/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["How bathing spaces, long treated as sterile utilities, can become architectures of intimacy, accessibility, and embodied liberation."]]></description>
<dc:subject>bathing 2026 christiepearson intimacy access liberation baths bodies neurology biology psychology physiology architecture japan alexanderkira design georgenakashima glennperry richardfeynman timothyleary carlsagan allenginsberg johnlilly water floating fridakahlo jordan ancientrome finland turkey marcelmauss sylviaplath hera kanathos aphrodite ancientgreece greekmyths bathrooms us galencranz leonardkoren california culture félixguattari mikkelaaland bathouses history türkiye guattari</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:efc897969bc7/</dc:identifier>
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<item rdf:about="https://www.killscreen.com/toby-love-eternal-ambient-game-design-intuition/">
    <title>How I Design Levels by Feel, Not by Rules</title>
    <dc:date>2026-02-20T05:58:28+00:00</dc:date>
    <link>https://www.killscreen.com/toby-love-eternal-ambient-game-design-intuition/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Toby Alden traces a line from to ambient DJing to Love Eternal, a gravity-flipping platformer where dream logic and intuition guide every level."]]></description>
<dc:subject>videogames games gaming tobyalden jaminwarren design gamedesign gamemechanics</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:7d2279eaa3c3/</dc:identifier>
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<item rdf:about="https://www.youtube.com/watch?v=hLMBK6mtF6g">
    <title>When We Live Alone - YouTube</title>
    <dc:date>2026-02-20T05:50:52+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=hLMBK6mtF6g</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["When We Live Alone explores the ways in which we live alone together in contemporary cities. The unprecedented rise of urban dwellers living on their own challenges normative ideas about home and raises questions about how this change in social structure and lifestyle affects cities as a whole. While the causes of living alone seem apparent—shifting social values, the flexibilization of labour, new demographics, increased wealth, and changes to normative gender roles—the effects on society and its spatial configurations remain uncertain. Through a series of interconnected vignettes, the film interrogates this new urban condition, offering glimpses into the lives of individuals inhabiting singleton homes and the extended domestic sphere. Urban dwellers living on their own, architect Takahashi Ippei, and sociologist Yoshikazu Nango navigate the audience through a series of sole spaces in Tokyo. If living alone is our new reality, the film asks what does it look like?

Conceived by Giovanna Borasi
Directed by Daniel Schwartz

When We Live Alone is the second film in a three-part documentary series produced by the CCA.  To learn more on the serie and watch the first documentary: www.cca.qc.ca/tomakeahome "

[See also:

"What It Takes to Make a Home" (film 1)
https://www.cca.qc.ca/en/articles/76286/what-it-takes-to-make-a-home
https://www.youtube.com/watch?v=r83X-mtHt8o

"When We Live Alone" (film 2)
https://www.cca.qc.ca/en/articles/84809/when-we-live-alone
https://www.youtube.com/watch?v=hLMBK6mtF6g

"Where We Grow Older" (film 3)
https://www.cca.qc.ca/en/events/90769/where-we-grow-older
https://www.youtube.com/watch?v=ehczhwUJ4fA ]]]></description>
<dc:subject>2022 design architecture housing publichousing society giovannaborasi danielschwartz urban cities labor demographics wealth gender yoshikazunango toyo film documentary</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:854745e83ef0/</dc:identifier>
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<item rdf:about="https://www.youtube.com/watch?v=r83X-mtHt8o">
    <title>What It Takes to Make a Home - YouTube</title>
    <dc:date>2026-02-20T05:50:34+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=r83X-mtHt8o</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["What does it mean to live in the city without a place you can call your own? What role can architects have in addressing homelessness? And how can cities become better homes for all? The documentary film What It Takes to Make a Home follows a conversation between architects Michael Maltzan (Los Angeles) and Alexander Hagner (Vienna), who have been grappling with these questions over many years and through various projects. While the cities and the political and economic contexts in which Maltzan and Hagner work differ, both search for long-term strategies for housing instead of reacting with ad hoc solutions. Focussing on some causes and conditions of homelessness, the film questions the role architects can play toward overcoming the stigmatization of people experiencing it, in order to build more inclusive cities.

For more information about this project: https://www.cca.qc.ca/tomakeahome

Conceived by Giovanna Borasi
Directed by Daniel Schwartz

First film of a three-part documentary series

Produced by the CCA"

[See also:

"What It Takes to Make a Home" (film 1)
https://www.cca.qc.ca/en/articles/76286/what-it-takes-to-make-a-home
https://www.youtube.com/watch?v=r83X-mtHt8o

"When We Live Alone" (film 2)
https://www.cca.qc.ca/en/articles/84809/when-we-live-alone
https://www.youtube.com/watch?v=hLMBK6mtF6g

"Where We Grow Older" (film 3)
https://www.cca.qc.ca/en/events/90769/where-we-grow-older
https://www.youtube.com/watch?v=ehczhwUJ4fA ]]]></description>
<dc:subject>2020 design architecture housing publichousing society giovannaborasi danielschwartz homelessness michaelmaltzan losangeles alexanderhagner vienna cities urban film documentary</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
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<item rdf:about="https://www.youtube.com/watch?v=ehczhwUJ4fA">
    <title>Where We Grow Older - YouTube</title>
    <dc:date>2026-02-20T05:50:12+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=ehczhwUJ4fA</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Where will you live once you grow older? Will your city take care of you? How to design for the elderly, and for those who care for them?

The documentary Where We Grow Older (CCA, 2023, 30 min) looks at how the growing aging population is reshaping architectural and social constructs and questions the role of urban design and politics in facing these challenges. The film investigates two models of how care and housing can be reconceived in light of prolonged lives: public housing as part of municipal policies and infrastructure—where the city is the caretaker—and the creation of a new architectural model that offers care in a single building managed by private entities not only to the elderly but also to their caretakers—where the building becomes the city.

Where We Grow Older concludes a three-part short documentary film series and investigation, conceived by CCA Director Giovanna Borasi, directed by Daniel Schwartz, and produced by the Canadian Centre for Architecture, to examine the ways in which changing societies, new economic pressures, and increasing population density are affecting the homes of various communities. Through the lens of architectural projects, each episode looks at the global scope as well as the local specificities of challenges to urban society and its spatial configuration, informed by changes in lifestyles and demographics. While the first film  What It Takes to Make a Home (CCA, 2019, 29 min) addressed homelessness, and was presented as part of the 58th Session of the Commission for Social Development at the United Nations headquarters in New York City in February 2020, the second film  When We Live Alone (CCA, 2020, 27 min) examines the ways in which people live alone."

[See also: https://www.cca.qc.ca/en/events/90769/where-we-grow-older 

"What It Takes to Make a Home" (film 1)
https://www.cca.qc.ca/en/articles/76286/what-it-takes-to-make-a-home
https://www.youtube.com/watch?v=r83X-mtHt8o

"When We Live Alone" (film 2)
https://www.cca.qc.ca/en/articles/84809/when-we-live-alone
https://www.youtube.com/watch?v=hLMBK6mtF6g

"Where We Grow Older" (film 3)
https://www.cca.qc.ca/en/events/90769/where-we-grow-older
https://www.youtube.com/watch?v=ehczhwUJ4fA ]
]]></description>
<dc:subject>2026 aging age design architecture housing publichousing society giovannaborasi danielschwartz film documentary cities urban</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:8bef140ce763/</dc:identifier>
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<item rdf:about="https://aeon.co/essays/what-we-think-is-a-decline-in-literacy-is-a-design-problem">
    <title>What we think is a decline in literacy is a design problem | Aeon Essays</title>
    <dc:date>2026-02-20T05:14:04+00:00</dc:date>
    <link>https://aeon.co/essays/what-we-think-is-a-decline-in-literacy-is-a-design-problem</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Your inability to focus isn’t a failing. It’s a design problem, and the answer isn’t getting rid of our screen time"]]></description>
<dc:subject>reading howweread attention screetime books novels carloiacono narrative literacy children tiktok advertising jamesmarriott society information form cognition gloriamark design notifications platforms socialmedia psychology schooling anxiety jwgoethe johannpeterfrank arthurschopenhauer thomasmore socrates memory comprehension marypreston walterong plato writing howwewrite text amyorben radio thinking howwethink morality technology change charlesdickens johnstuartmill charlesdarwin documentaries video davidrose disabilities disability instruction adaptation libraries oraltradition knowledge dialogue concentration immanuelkant kant behavior culture sensemaking darwin 2026 makingsense</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:fa8c508ac0ba/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:reading"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:attention"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:screetime"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:books"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:novels"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:carloiacono"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:narrative"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:literacy"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:children"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:tiktok"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:advertising"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:jamesmarriott"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:society"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:information"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:plato"/>
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</item>
<item rdf:about="https://www.wallpaper.com/architecture/residential/the-kappe-house-ray-kappe-for-sale-pacific-palisades">
    <title>The Kappe House by Ray Kappe is for sale in Los Angeles | Wallpaper*</title>
    <dc:date>2026-02-18T07:20:14+00:00</dc:date>
    <link>https://www.wallpaper.com/architecture/residential/the-kappe-house-ray-kappe-for-sale-pacific-palisades</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The architect Ray Kappe completed his own house in 1967. Owned by the Kappe family until 2025, the Pacific Palisades residence has now gone on the market for the first time. We take a tour"]]></description>
<dc:subject>raykappe architecture modernism midcenturymodernism design losangeles 1967 2026 pacificpalisades realestate 2025</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:744622cff631/</dc:identifier>
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<item rdf:about="https://architizer.com/blog/practice/materials/new-film-behind-richard-neutras-windshield-house/">
    <title>A Missing Piece of Modernism: Uncovering the Dramatic Story of Richard Neutra’s Lost Windshield House - Architizer Journal</title>
    <dc:date>2026-02-16T01:24:46+00:00</dc:date>
    <link>https://architizer.com/blog/practice/materials/new-film-behind-richard-neutras-windshield-house/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Elissa Brown’s directorial debut film, “Windshield: A Vanished Vision,” is an intimate look into her grandparents’ collaboration with modernist architect Richard Neutra."]]></description>
<dc:subject>architecture design documentary richardneutra modernism 2026 sydneyfranklin joannadattilo elissabrown film filmmaking</dc:subject>
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<dc:identifier>https://pinboard.in/u:robertogreco/b:c5412fb1dd52/</dc:identifier>
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<item rdf:about="https://www.youtube.com/watch?v=NEhHn8tRL7o">
    <title>Inside Japan's Most Influential Architect's Working Studio - YouTube</title>
    <dc:date>2026-02-15T23:27:14+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=NEhHn8tRL7o</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Join us for a quiet look inside the workspace of Tadao Ando, offering a brief glimpse into his architectural process.

This studio visit documents the daily rhythms of work and the careful, repetitive making of architectural scale models that sit at the center of his practice. The focus is not on finished buildings, but on process. Time spent refining ideas. Returning to the same forms again and again. Letting work unfold slowly.

Photographed in a restrained, observational way, this project uses still imagery to pay close attention to space, light, and atmosphere. The photographs are not illustrative, but quietly descriptive, allowing the studio to reveal itself as it is.

It is a small window into how creative work happens inside a working architecture studio, and an invitation to slow down and observe the act of making.

-------------------

Where They Create documents the creative process through intimate studio visits with artists, designers, and makers. The project takes a quiet, fly on the wall approach to how creative work actually happens, from daily routines and workspaces to discipline, doubt, and persistence over time.

The channel values the long arc over quick wins, and consistency over spectacle.

Subscribe for new films exploring the reality of creative life and the spaces where work is made.

New book releasing end of 2026
Where They Live: Japanese Creatives at Home 

Sign up for the emailer to receive updates about the book and pre-order. 
https://www.wheretheycreate.com

Contact
paul@paulbarbera.com

Instagram
@wheretheycreate  

Directed & shot by Paul Barbera"]]></description>
<dc:subject>tadaoando wheretheycreate architecture osaka japan 2026 slow design studios</dc:subject>
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<item rdf:about="https://www.youtube.com/watch?v=hM5lFeuYhWw">
    <title>Decentered Multispecies Design by Eben Kirskey - YouTube</title>
    <dc:date>2026-02-15T23:16:04+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=hM5lFeuYhWw</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["In this webinar, Eben Kirksey – Professor of Anthropology at the University of Oxford – speaks about a decentred multispecies design that extends beyond the user/technology interface to engage with social change. He calls for a multispecies justice that transforms the political landscape by decentering design, thereby pushing past the domain of the human. 

Kirksey surveys recent trends in the sector to provide insights about relational aesthetics, and his presentation is a thematic tapestry that engages with contemporary debates about interspecies encounters, entangled empathy, ethnography, embodiment, indigenous knowledges and biocultural borderlands. 

The writer and anthropologist asks us to consider whether hope and empathy, made possible through multispecies design, might be applied to decolonial practice? What can we learn about multispecies relations from indigenous and hybrid cultures across time, in precolonial, colonial and post-colonial epochs? What is the role of the artist in cultivating awareness about multispecies ecologies? What is the importance of multispecies ethnography in bringing the more-than-human to the fore in entangled research and conversations?"]]></description>
<dc:subject>ebenkirskey 2026 multispecies morethanhuman design posthumanism empathy hoep ecosystems decolonization indigeneity indigenous art ecology ethnography</dc:subject>
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<item rdf:about="https://www.smithsonianmag.com/innovation/this-14-year-old-is-using-origami-to-design-emergency-shelters-that-are-sturdy-cost-efficient-and-easy-to-deploy-180988179/">
    <title>This 14-Year-Old Is Using Origami to Imagine Emergency Shelters That Are Sturdy, Cost-Efficient and Easy to Deploy</title>
    <dc:date>2026-02-14T06:27:59+00:00</dc:date>
    <link>https://www.smithsonianmag.com/innovation/this-14-year-old-is-using-origami-to-design-emergency-shelters-that-are-sturdy-cost-efficient-and-easy-to-deploy-180988179/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Miles Wu folded a variant of the Miura-ori pattern that can hold 10,000 times its own weight"]]></description>
<dc:subject>miurafold 2026 ramshawaseem mileswu origami paper design construction engineering architecture miura-ori miuraori miura</dc:subject>
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<item rdf:about="https://aeon.co/essays/in-solarpunk-cities-of-the-future-tech-follows-natures-lead">
    <title>In solarpunk cities of the future, tech follows nature’s lead | Aeon Essays</title>
    <dc:date>2026-02-10T21:34:30+00:00</dc:date>
    <link>https://aeon.co/essays/in-solarpunk-cities-of-the-future-tech-follows-natures-lead</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The vision of solarpunk: joining nature with technology in vibrantly inclusive ways to create a world that truly blooms"]]></description>
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<dc:source>https://pinboard.in/</dc:source>
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<item rdf:about="https://www.koozarch.com/interviews/exit-is-not-outside-rethinking-institution-at-onomatopee-1">
    <title>The exit is not outside: rethinking the institution at Onomatopee – KoozArch</title>
    <dc:date>2026-02-02T22:27:03+00:00</dc:date>
    <link>https://www.koozarch.com/interviews/exit-is-not-outside-rethinking-institution-at-onomatopee-1</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["In How to Enter from the Exit, a research-driven project reimagining cultural institutions through collaboration, a collective of designers and artists — including Maren Bang, Cecilina Casabona, Pete Fung, Bianca Schick and Noam Y. Son — took the institution apart and put it back together along bold and communal axes, articulating actions that foster co-creation and coexistence."

...

"The exit is not outside the institution but part of its everyday infrastructure. The provocation was to treat this work not as background or support, but as a starting point." — Bianca Schick

...

"Rather than positioning critique as something external or oppositional, we were interested in what happens when you remain inside the institution and work with its constraints."
— Cecilia Casabona

...

"Reconfiguring class relations by recognising cultural institutions as sites of class struggle, rather than marketplaces of cultural capital, is therefore the first step in the work of “rethinking.”
— Noam Youngrak Son

...

"At a fundamental level, it is an experiment in challenging the dominant disciplinary thinking that is often taken for granted within cultural institutions."

...

"Having to imagine the structures behind the mechanisms and dynamics of an institution can be fertile, and it can be fraught."
— Maren Bang

...

"Before we can ask what cultural organisations could do for the commons, first we need to reflect upon whose commons and for whom."
— Pete Fung

...

"Central to this attempt was the intentional blurring of boundaries between curator, artist, designer, institution and audience. Can a “curatorial commons” exist?"
— Cecilia Casabona

...

"'Instituting,' in my understanding, is a mirror we inhabit that renders itself visible."
— Noam Youngrak Son]]></description>
<dc:subject>institutions 2026 marenbang cecilinacoasbona petefung biancaschick noamson collaboration design architecture coexistence cocreation culture commons classstruggle culturalcapital critique infrastructure</dc:subject>
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<item rdf:about="https://wemadethis.co.uk/blog/2021/09/graphic-design-history-resources/">
    <title>Graphic Design History Resources - We Made This</title>
    <dc:date>2026-01-30T08:21:50+00:00</dc:date>
    <link>https://wemadethis.co.uk/blog/2021/09/graphic-design-history-resources/</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>archives graphicdesign design graphics</dc:subject>
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<item rdf:about="https://www.thenation.com/article/world/the-line-neom-saudi-vision-2030/">
    <title>The Line, a Saudi Megaproject, Is Dead | The Nation</title>
    <dc:date>2026-01-29T04:05:53+00:00</dc:date>
    <link>https://www.thenation.com/article/world/the-line-neom-saudi-vision-2030/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["It was always doomed to unravel, but the firms who lent their name to this folly should be held accountable."

[archived:
https://archive.ph/SJQlA ]


"Of all of contemporary architecture’s many sins, perhaps the most pernicious is its continued participation in the follies and fantasies of various undemocratic states. While many architects withdrew from projects in Russia after it began its war of attrition against Ukraine, they have yet to apply such ethical scruples to the Gulf petro-states, each of which has invested trillions upon trillions of dollars in high-profile building projects.

The governments of these countries are guilty of a range of crimes, from unfettered carbon emissions and forced displacements to the use of slave labor and the assassination of journalists. Yet this has not deterred starchitects and their firms from signing their names to various marinas, towers, and shopping plazas. Grand and ambitious architectural projects have largely stalled in the West, but the Gulf states’ lack of regulations and endless flows of cash provide the kind of laissez-faire sandbox that most architects—especially those of the technocratic “big ideas” variety—can only dream of.

Unsurprisingly, when Saudi Arabian Crown Prince Mohammad bin Salman proposed building a 110-mile horizontal urban “skyscraper” called the Line near the border of Jordan and Egypt in 2020—the centerpiece of a vast new planned city called Neom—many of the world’s most prestigious firms clamored to sign up. These ranged from the usual suspects of neoliberal future-making, like Thom Mayne’s aesthetically erratic outfit Morphosis, to firms that inherited the city-building impulses of modernism, such as Peter Cook and an I.M. Pei–less Pei Cobb Freed. All of this, of course, was managed by the notorious architecture-and-construction-slash-defense-contractor AECOM, which also happens to be handling the structural logistics for Donald Trump’s ballroom and Benjamin Netanyahu’s sinister, Neom-esque Gaza 2035 master plan.

For nearly five years, we beleaguered souls in the design world have had to endure innumerable press releases and puff pieces about whatever zany shit was going on out in the Saudi Arabian desert. This included the Line’s supposed sustainability efforts (oh, the oil-funded irony), such as indoor gardens and wind farms, plus a number of gravity-defying proposals that, to anyone with a rudimentary understanding of physics, sounded more like pulpy sci-fi gags (most notoriously, an upside-down skyscraper poised like a keystone over an artificial marina full of stagnant water). Year by year, with little progress made save for the piles prematurely driven into the sand, it became increasingly clear that the damn thing would never be built—that it was what we in the biz call “paper architecture.”

This was recently confirmed in a long Financial Times exposé detailing how the scope of bin Salman’s vision has shrunk to basically nothing. The “chandelier” (the central upside-down skyscraper) was derailed by the fact that the earth spins, the wind blows, and human waste can’t be flushed upward. The Line’s reflective surface and wind-turbine farm basically created a bird-slaughtering machine along one of the world’s most important migratory routes. Meanwhile, amid a culture of secrecy and retribution, architects and planners were basically forced to agree with whatever bin Salman thought was interesting or worthwhile, a process that mostly relied on a nonstop parade of spectacular renderings.

Unlike other paper reveries, the human costs of the Line have been staggering. In 2021, the development occasioned a horrific program of forced displacement for members of the Huwaitat tribe and the imprisonment—even execution—of anyone who dared to resist. A few years later, an ITV documentary revealed that more than 21,000 workers were estimated to have died or disappeared under Saudi Vision 2030, the massive urbanization program that counts Neom as its crown jewel. Human Rights Watch has documented the repeated abuse of migrant workers on Saudi megaprojects. These workers, who are often charged outlandish recruitment fees, have had their phones destroyed and their immigration documents confiscated. Tens of thousands of people have died or suffered abject ruination in the service of a few glossy pictures. The shambolic project that killed or ruined them was made possible not only by a seemingly bottomless supply of oil money, but by the borrowed prestige of some of the West’s leading architecture firms.

The Line’s failure should serve as a warning to other firms seduced by outrageous consulting and design fees—not only for the sheer scale of its barbarism but for the obvious frivolity of its lies. Is it not humiliating to aid and abet a project that is so evidently bullshit? Was it not humiliating to have to pretend that Saudi Arabia’s sustainability goals were legitimate while the construction materials and transportation behind its projects wrested more carbon from the earth than most small countries do in a year?

Architecture is always political. Greed and the promise of creative freedom—which, of course, is always secured at a cost—lure architects toward countries that are looking to culture-wash their bad names through stadiums, cultural centers, luxury shopping districts, and dazzling hotels. The logic behind many of these bad choices is that everyone else is doing the same. Louis Vuitton is doing it. Formula One is doing it. If I don’t do it, somebody else will.

Architecture loves to present itself as a liberal or progressive field, shielding itself from reproach with its forays into sustainability and new, more egalitarian forms of living. And it does so all while taking sordid money and grinding its own workers to dust through overwork and underpayment. The ruins of the Line expose a cold truth, which is that these firms and their fountainheads have never been any different from any other capitalist enterprise. Like many others, they have blood on their hands."]]></description>
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    <title>The Creation of the PFLP Symbol 1969</title>
    <dc:date>2026-01-25T21:44:01+00:00</dc:date>
    <link>http://vladimirtamari.com/pflp-logo.html</link>
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<item rdf:about="https://ibraaz.org/ibraaz-publishing/read/consensus-aesthetics-the-political-economy-of-agreement-in-contemporary-art">
    <title>Consensus Aesthetics: The Political Economy of Agreement in Contemporary Art | Ibraaz</title>
    <dc:date>2026-01-21T07:36:58+00:00</dc:date>
    <link>https://ibraaz.org/ibraaz-publishing/read/consensus-aesthetics-the-political-economy-of-agreement-in-contemporary-art</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Cem A. diagnoses the current institutional climate of soft moral alignment, where art gestures toward politics without the difficulty of being political, and proposes strategic empathy as a potential path out."]]></description>
<dc:subject>cema politicaleconomy 2026 institutions morality politics empathy worldorder ecology economics genocide art artworld radicalism benignradicalism internationalism liberals liberalism precarity care solidarity decolonization crisis superficiality resistance rosannamclaughlin eddyfrankel trauma criticism criticalengagement moralism rahelaima vaporwave curation curating gaza biennials ambiguity politieness quietness civility agreeability performance smoothness stuarthall collectivememory collectiveamnesia stability legibility continuity consensus aesthetics environment neutrality design elitecapture olúfẹ́mitáíwò complicity contradiction alixrule davidlevine walterrobinson toddrose damiancarrington edwardherman noamchomsky manufacturingconsent tension manufacturedconsent</dc:subject>
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</item>
<item rdf:about="https://www.youtube.com/watch?v=W1dIC287Zz0">
    <title>Tech Billionaires Want Us Dead - YouTube</title>
    <dc:date>2026-01-19T22:29:17+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=W1dIC287Zz0</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Tech billionaires are planning for a future where humans don’t exist, and they’re already building it.
  
For decades, tech elites have sold us a shiny future powered by artificial intelligence. But what if the future they’re building doesn’t include us?

I investigated the dangerous worldview known as TESCREALism that has taken hold across the world’s most powerful tech companies, from OpenAI to Tesla. It’s the belief that biological humans are flawed and temporary, and that a post-human future dominated by AGI (artificial general intelligence) is both inevitable and desirable.

Under this ideology, human obsolescence is framed as progress, while billionaires like Elon Musk, Sam Altman, Peter Thiel, and Mark Zuckerberg prepare to outlive the collapse they are helping to create.

KEY CONCEPTS: From the Singularity to billionaire bunkers, TESCREAL ideology is the invisible force driving the AI arms race.

TESCREAL: Transhumanism, Extropianism, Singularitarianism, Cosmism, Rationalism, Effective Altruism, Accelerationism, Longtermism.

Special thanks to Dr. Émile P. Torres for his extensive research on this topic. Follow Dr. Torres: https://x.com/xriskology "]]></description>
<dc:subject>taylorlevy 2026 2025 elonmusk samaltman peterthiel markzuckerberg ideology tescreal transhumanism rationalism extropianism singularitarianism singularity cosmism effectivealtruism longtermism humans agi artificialgeneralintelligence billionaires oligarchy vc venturecapital dehumanization dossdoubthout openai tesla bunkers posthumanism collapse humanextinction siliconvalley technology culture society deathcults history future labor work workers automation robots jonyive airbnb próspera netwrokstate bryanjohnson immortality kosa inequality power escape grimes cults marcandreessen technofascism technosolutionism technooptimism larrypage stevewozniak stevejobs hackerculture seassteading dystopia accellerationism eattherich datacenters ai artificialintelligence humanity kanyewest kimkardashian californianideology bayarea counterculture stewartbrand mindchildren computers computing personalcomputers personalcomputing design life living émiletorres sanhillroad startups hansmoravec charlesplatt raykurzweil kevi</dc:subject>
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    <title>Daring Fireball: Thoughts and Observations Regarding Apple Creator Studio</title>
    <dc:date>2026-01-18T01:30:00+00:00</dc:date>
    <link>https://daringfireball.net/2026/01/thoughts_and_observations_regarding_apple_creator_studio</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>johngruber apple ios macos design icons hardware ui ux liquidglass applecreativestudio software mac osx alandye creatorsuite menjaminmayo pixelmator andyallen iwork graphicdesign graphics stephenhackett</dc:subject>
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<item rdf:about="https://om.co/2026/01/16/our-algorithmic-grey-beige-world/">
    <title>Our Algorithmic Grey-Beige World – On my Om</title>
    <dc:date>2026-01-18T00:44:49+00:00</dc:date>
    <link>https://om.co/2026/01/16/our-algorithmic-grey-beige-world/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["start my morning going through nearly 250 feeds that flow into my “reader” app. Today, two quotes stood out in my early morning reading.

<blockquote>“The main purpose of my work is to provoke people into using their imagination. Most people spend their lives housed in dreary, grey-beige conformity, mortally afraid of using colours.” — Verner Panton, Designer.

    “Writing is hard. And I’ll also say, writers are born, not made. The more you teach someone how to write the more you risk squeezing the creativity out of them. We don’t need me-too, we need unique.” — Bob Lefsetz, Writer</blockquote>

Both were saying the same thing, albeit about two different aspects of culture and society. And they were only echoing Oscar Wilde’s erudite observation from 1891.

<blockquote>“Most people are other people. Their thoughts are someone else’s opinions, their lives a mimicry, their passions a quotation.” — Oscar Wilde, Novelist</blockquote>

Wilde is one of my favorite writers because he was so eviscerating and devastating in his observations, no matter the cost. He said that just before the Victorian society destroyed him for refusing to conform to its sexual norms. Individuality and the ability to stand outside has always come at a price. That is why people don’t want to stand out. They conform.

Psychologist Rollo May, observing 1950s America: “The opposite of courage in our society is not cowardice, it is conformity.” May diagnosed this when McCarthyism was literally hunting down anyone who thought differently.

Four quotes, separated by over a century, say the same thing. And yet, what Panton, Wilde, and May couldn’t anticipate was how technology would industrialize conformity. Wilde saw people living as mimicry in 1891. May diagnosed conformity in the 1950s. Both described social pressure.

What used to require shame and ostracism is now baked into the internet’s economic infrastructure. The algorithmic reality of technology platforms has codified conformity into the human condition. And it is very profitable—the real late-stage capitalism. Things are going to get worse with the new AI, that leans into the “mid” as a default, built entirely on the notion of conformity.

Today, open YouTube and every single thumbnail looks the same. Shocked faces, specific color contrasts, carefully positioned text overlays. Same voice. Same cadence and energy level. And videos have roughly the same lengths. The algorithm rewards these patterns with distribution and punishes deviation with obscurity.

Creators choose grey-beige conformity because it works, and the algorithm rewards sameness. My carefully curated list of creators has devolved into sameness. Whether pen reviewers, photographers, music bloggers, history tellers, or science bloggers—it is clear they are praying at the feet of the gods of algorithms.

Spotify has done the same with subtle algorithmic music. Don’t tell me you don’t hear that “Spotify sound” in music production. Songs engineered to be short, to provide an instant dopamine hit. The first 30 seconds have to hook listeners before they skip. After that, who cares? After all, Spotify pays the same for 30 seconds or three minutes. Everything is now made to belong on a Spotify playlist.

Spotify, let’s face it, is still in kindergarten compared to Instagram and TikTok. Those two have scaled, metastasized, and gamified conformity to a whole new level. The grey-beige aesthetic is what gets distribution. Color, weirdness, genuine imagination get algorithmically ignored. Match whatever narrow aesthetic the platform currently amplifies, or else move on to the backwaters. Those who think they’re being creative because they’re “creating content” are just living at the whims and fancies of the algorithm, painting by numbers in templates already defined.

As Wilde said, their creative output is just a reflection of the algorithm, their “content” a mimicry, their creativity just a joke. The sad part is that Instagram and TikTok’s ability to unleash conformity at global scale impacts the offline world as well.

It was a trend first noted in 2016 by (now) New Yorker writer Kyle Chayka in his piece for The Verge, “AirSpace.” To jog your memory: AirSpace is a phenomenon where Airbnbs, coffee shops, and co-working spaces across the world look identical. Reclaimed wood, industrial lighting, minimalist furniture, the same Edison bulbs hanging over the same avocado toast. Every coffee shop became Sightglass circa 2008. The goal isn’t uniqueness. It’s matching what performs well in photos and gets bookings.

It is ironic. The whole point of Airbnb was that each location was supposed to be quirky and unique. If I wanted sameness, I would prefer the bland efficiency of a J.W. Marriott or a Hyatt. At least I don’t have to make my own bed and get freshly laundered shirts by end of day.

Silicon Valley amplified this blandness. It is the people. It is rare to find people who are interesting, unique, and have strong enough opinions to have convictions, especially public ones. This lack of imagination is reflected in the dress code of the Valley.

Steve Jobs inspired many to wear black turtlenecks. Mark Zuckerberg jumpstarted the uniform of grey hoodies. And who can forget the half-a-decade-long orgy of mediocrity and lack of taste: Allbirds, those wool sneakers that became the unofficial shoe of tech, as if an entire industry collectively forgot how to dress themselves. The mimicry wasn’t about fashion. It was actually a simple signal: I belong to the winning template. It was farthest from it. In my essay, Sometimes a Shoe is not a Shoe, I wrote:

<blockquote>Right through the mid-nineties, non-conformists dominated the technology industry. The first uniform for the valley was: no uniform. It was a place where misfits fit together. The emergence of the internet was the start of conformity. …. As the technology industry became the cultural zeitgeist, it became necessary to advertise to the world that you were part of the tech set. And the easiest way to do so was through a uniform.</blockquote>

The Silicon Valley doyens mimicked Jobs’ turtleneck the way courtiers copied Louis XIV’s walk. Same impulse, faster cycle. What took Versailles years now takes months, thanks to Instagram.

The algorithm spots the trend. Temu gets to work. The factory produces it, the platform (Instagram and TikTok) distributes it, all before the original gets cold. The industry that built the algorithms couldn’t escape the algorithmic thinking. Even their own look has become content optimized for recognition. Zuck wears a big thick silver chain over his black T-shirt? Six months later, every founder worth their pre-seed dollars sports the look. Make that three months.

Back in 2007, I wondered about the commodification of social interaction. I mused about a future where human connection became a product to optimize. Nah, I didn’t expect this. We’re living in the endgame. Algorithmic reality doesn’t just commodify interaction. It standardizes imagination. The algorithms squeeze creativity out of millions by showing them exactly what “works.” We don’t get unique. We get infinite variations of the same.

And yet here we are. Our algorithmic gods are our teachers, tastemakers, and economic incentive all at once. Fall in line, and get paid. What May called courage banishes you to a world of lower distribution, fewer views, less income. It’s safer to wear the cloak of grey-beige conformity.

Even supposed refuges aren’t safe. Take fountain pens, a hobby I love and collect because they are an expression of a very unique art form. I am very deliberate in my likes. I wrote about this in my essay, “Designing a Life.” Just as my photos, my playlist, and my wardrobe are a reflection of my inner self—likes, loves, and desires—my approach to hobbies like fountain pens is the same.

Even in a hobby where hundreds of variations of pens are released every year and infinite inks are made available, I see people being so uncreative and becoming part of the “herd.” And you quickly realize that a lot has to do with the QVC-like charms of Instagram. It is so easy to be swayed by the sameness-disease.

I fight everyday, to not be swayed by the machines, and let me taste over ride the blandness I see around me. And yet, I have fallen victim a couple of times."]]></description>
<dc:subject>ommalik algorithms 2026 sameness boblefsetz oscarwilde rollomay ai artificialintelligence psychology vernerpanton design homogeneity siliconvalley individuality socialpressure spotify tiktok weirdness color contentcreation airspace kylechayka airbnb marriott hyatt signtglasscoffee stevejobs markzuckerberg clothing fashion fountainpens everyday technology</dc:subject>
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<item rdf:about="https://mbird.com/religion/church/do-buildings-reflect-spiritual-change/">
    <title>Do Buildings Reflect Spiritual Change? - Mockingbird</title>
    <dc:date>2026-01-16T08:24:37+00:00</dc:date>
    <link>https://mbird.com/religion/church/do-buildings-reflect-spiritual-change/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Beauty (and God, for that matter) is something we stumble into."

...

"Living life in the analog world has meant experiencing much of life through cultural lenses: magazines, newspapers, broadcast television — none of these are surviving a direct-demand response via technology to our desires, wherever we are. The same is true of our buildings — movie theaters, museums, churches, shopping malls, town halls, even classrooms are now losing their social necessity.

Churchill was actually wrong when he said “We shape our buildings; thereafter they shape us” at a speech on October 28, 1943, arguing for the traditional rebuilding of the House of Commons after it was destroyed by bombing during World War II. The culture of Britain had shaped the building, and the radical cultural revisions Britain experienced after World War II — including firing Churchill — were not shaped by the fully traditional rebuild of the House of Commons.

Aesthetics in buildings changed after World War II, and modern architecture became the default style of most of our public places. Cultural changes created those changes — designers simply responded to them.

In the midst of the greatest cultural upheaval since the Industrial Revolution — the Internet Explosion — our culture is radically changing as it did then. Part of that are the convulsive changes organized religion is facing — because the humans are changing, what we create changes. The last decade has seen this change in a brutal social dynamic that is causing record levels of human isolation, addiction, and suicide; and in northeast America, new lows in participation in organized religion and in the use of the buildings of organized religion.

I design sacred spaces. And I am a human who goes to church every week. At one of those weekly gatherings, Rector Luk de Volder had to voice what is both obvious and hard to fathom:

    One of the things our culture has lost, it certainly seems a distant memory, is the gift of forgiveness or mercy. Our digital lives don’t know mercy. Anything you search, post, or watch online is forever carved in the memory of the web. God may wash away our sins, but online, nothing will be wiped out. No forgiveness, no mercy. The internet remembers forever and brings back memories, even the ones you hoped to forget.

Those words cut to the devotion to the beauty we feel in our sacred spaces — the places we make that nurture the places we do not. Hearing the presence of God in our day-to-day is harder in traditional spaces amid the disheartening diminishing mercy in our day-to-day lives.

And our buildings reflect that humanity. The overwhelming majority of us knows that there is something far, far, more important than our day-to-day. Organized religion is the assembly of rituals and icons to reflect and elicit that human reality. But our analog organizations are often not so much the extension of us now as they are of the lives we once had — the lives now fully upended by the technological revolution of our culture.

How do designers respond? Well, education is at the forefront of addressing change in our lives: All our human reactions are analyzed, organized, and projected in how we educate ourselves. I teach architectural design at the University of Hartford. As a designer of sacred space, I received two unsolicited cries out in the wilderness from two remote schools of architecture about how design reflects changing perceptions. Both are grappling with the changes in our culture that are affecting how design reflects the perception of the sacred.

Aurora Thompson, a senior at the Interior Architecture and Design program at Western Michigan University, wrote to me. “I am studying generational divides within worship environments and exploring how to design spaces that foster connection, inclusivity, and spiritual growth across all generations.”

Cormac Fitzgerald, a thesis student in architecture at SUNY Alfred is trying to define the “use of multiculturalist practices to enhance interreligious facilities … in response to the abundance of immigration to the US and the influx of new, unfamiliar traditions, with the goal of contributing towards an accepting and holistic society.”

All good. But to me there is more. The “more” is actually the fundamental reality of God that defies all understanding but is as real as “generational divides” and “multiculturalist practices” — places we can try and maybe succeed at understanding our focused impacts. Beauty (and God for that matter) is something we stumble into. It is not something we create, for we have already been created by it. Our lives are, in fact, steeped in beauty beyond our understanding. Hearing what beckons us beyond ourselves — despite ourselves — is given to us by the God who “gives all things their beauty: that he restores fair form to what has lost its shape, that he makes the beautiful more beautiful, and what is more beautiful he makes most beautiful” (Bonaventure Hex. I, 34).

I have come to realize the futility of trying to justify beauty and instead listen to the truth revealed in all of us in the things I help create. Late in life, for the first time, that truth was voiced by a great thought leader in architecture who has now passed. He was a designer too — not specifically of sacred space but in direct connection to the sacred in each of us. Not the intellectually convenient rationalizing of spirituality in a psychiatric syndrome but as a direct connection to God.

He was the author of A Pattern Language — Christopher Alexander, the creator of a program called Building Beauty where I also teach. His widow shared with me the article “Making the Garden” published by First Things in February 2016. At the time, it was a revelation to the world — a voice in a secular, rational, atheist world of academics.

Unlike almost all other publishing architects, Alexander clearly understood the state of decline in the relevance of religion:

<blockquote>There can be little doubt that the idea of God, as brought forth from the nineteenth and twentieth centuries, has slowly become tired … to such an extent that it has difficulty fitting into everyday twenty-first-century discourse. As it stands, it is almost embarrassing to many people, in many walks of life.</blockquote>

His early training revealed that “in an epoch when God was not acknowledged, it became virtually impossible for people to build the kinds of buildings where God appears.” He saw a different way: “I did maintain an inner knowing that the best way to produce good architecture must somehow be linked to God — indeed, that valuable architecture was always about God.”

Alexander justified this conclusion by stating that “there are two approaches to the reality of God. One is faith; the other is reason. Faith works easily when it is present, but it is luck, or one’s early history in family life, or a blinding insight of some kind, that determines whether one has faith. Reason is much harder. One cannot easily approach the reality of God by means of reason. Yet in twentieth- and twenty-first-century discourse, reason is almost the only way we have of explaining a difficult thing so that another can participate.”

Like myself, Alexander concluded, “I could no longer really avoid the topic of God.”

But more than broad oaths of devotion and insight, Alexander offers an insight that is both rare and a more radical basis for architecture than any of his other well-known aesthetic insights. For him, his theories and practices add up to one point:

<blockquote>The tangible substance of architecture, the fact that in good architecture, every tiny piece is (by definition) suffused with God, either more or less, gives the concept of God a meaning essentially translated from the beauty of what may be seen in such a place, and so allows it to disclose God with unique clarity … If we pay attention to the beauty of those places that are suffused with God in each part, then we can conceive of God in a down-to-earth way … the path of architecture thus leads inexorably towards a renewed understanding of God.</blockquote>

And mercy — in grace."]]></description>
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    <title>Ancient Everyday Weirdness (2026) | by Bruce Sterling | Jan, 2026 | Medium</title>
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<item rdf:about="https://www.youtube.com/watch?v=Km2bn0HvUwg">
    <title>Everything Was Already AI - YouTube</title>
    <dc:date>2026-01-09T19:34:30+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=Km2bn0HvUwg</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Feedback welcome, hope you enjoy this video which was a lot of fun to make (albeit late)

References (in rough order of appearance)

How to Make Realistic Predictions About AI, Tantham
https://curveshift.net/p/how-to-make-realistic-predictions

Silicon Valley Insider EXPOSES Cult-Like AI Companies | Aaron Bastani Meets Karen Hao 
https://www.youtube.com/watch?v=8enXRDlWguU

‘Large AI models are cultural and social technologies’, Farrell et al.
https://www.science.org/doi/10.1126/science.adt9819

Artificial Intelligences, Herbert Simon

Debunking Economics, Keen 
https://en.wikipedia.org/wiki/Debunking_Economics

Scientists Just Discovered Why All Pop Music Sounds Exactly the Same
https://www.mic.com/articles/107896/scientists-finally-prove-why-pop-music-all-sounds-the-same

The Dorito Effect, Shatzker
https://www.simonandschuster.com/books/The-Dorito-Effect/Mark-Schatzker/9781476724232

How Corporations Hijacked Anti-AI Backlash 
https://www.youtube.com/watch?v=lRq0pESKJgg

The Stock Market is a Conventional Wisdom Processor: Why Trump’s Tariffs Crashed the Stock Market While the Trump Musk Payments Crisis Hasn’t (Yet), Tankus
https://www.crisesnotes.com/content/files/2025/04/The-Stock-Market-is-a-Conventional-Wisdom-Processor-Why-Trump-s-Tariffs-Crashed-the-Stock-Market-While-the-Trump-Musk-Payments-Crisis-Hasn-t--Yet-.pdf

Elon Musk’s Billionaire Games - Between the Scenes | The Daily Show 
https://www.youtube.com/watch?v=Gqlbn2nPO-A

The Job Market Is Hell: Young people are using ChatGPT to write their applications; HR is using AI to read them; no one is getting hired. By Annie Lowrey
https://www.theatlantic.com/ideas/archive/2025/09/job-market-hell/684133/

What's Wrong with Capitalism (Part 1) | ContraPoints 
https://www.youtube.com/watch?v=gJW4-cOZt8A

Disney is Perfectly Happy With Their Catastrophic Downfall
https://www.youtube.com/watch?v=GW2Zr8Q6Xqw  

Mr. Plinkett's What Happened To Star Wars?
https://www.youtube.com/watch?v=0xeMak4RqJA

AI Slop Is Destroying The Internet
https://www.youtube.com/watch?v=_zfN9wnPvU0

Artificial Intelligence and the Digital Economy - with Dr Stuart Mills
https://www.youtube.com/watch?v=9E6p3J9dko8

An Existing, Ecologically-Successful Genus Of Collectively Intelligent Artificial Creatures, Kuipers
https://arxiv.org/abs/1204.4116
https://web.eecs.umich.edu/~kuipers/papers/Kuipers-ci-12.pdf

AI Integration Is the New Moat, Tim O’Reilly
https://www.oreilly.com/radar/integration-is-the-new-moat/

Dirty Little Marketing Secrets That Always Work - Rory Sutherland (4K)
https://www.youtube.com/watch?v=qvpw4_O25eU

The Time for Cybernetics Has Come - with Daniel Davies
https://www.youtube.com/watch?v=y3HpdNGvJDc

notes on the industrialisation of decision making, Davies
https://backofmind.substack.com/p/notes-on-the-industrialisation-of

the only message the channel can carry is a scream, Davies
https://backofmind.substack.com/p/the-only-message-the-channel-can

The AI Circular Economy, Blakeley
https://graceblakeley.substack.com/p/the-ai-circular-economy

The Case Against Generative AI, Zitron
https://www.wheresyoured.at/the-case-against-generative-ai/

The Map is Eating the Territory: The Political Economy of AI, Farrell
https://www.programmablemutter.com/p/the-political-economy-of-ai

the ending of every 7 hour video essay
https://www.youtube.com/watch?v=d8reiauyQCM 

Further reading

AI: What Could Go Wrong? with Geoffrey Hinton - The Weekly Show with Jon Stewart | Podcast on Spotify
https://open.spotify.com/episode/4pWuwQq8M8Gzf9F9U0AYZW

Transformers, the tech behind LLMs | Deep Learning Chapter 5 
https://www.youtube.com/watch?v=wjZofJX0v4M

You're Being Lied To About Private Equity | Truth Complex 
https://www.youtube.com/watch?v=6pzLhWCxH_g 

AI As a Normal Technology, Arvind Narayanan & Sayash Kapoor
https://knightcolumbia.org/content/ai-as-normal-technology "]]></description>
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    <title>Identity – The Story of Czech Graphic Design - YouTube</title>
    <dc:date>2026-01-07T05:54:50+00:00</dc:date>
    <link>https://www.youtube.com/playlist?list=PL0NxBdMaWrKDNhOAe6lYHwKIoFiXKHwVT</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["In seven parts, the Identita series introduces viewers to the history of Czech graphic design. We will not only explore together the development of the visual face of the Czechoslovak Republic, we will also reveal what is hidden behind the symbols, signs and colors that represent it."]]></description>
<dc:subject>graphicdesign graphics design czechrepublic history 2025</dc:subject>
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<item rdf:about="https://www.openculture.com/2026/01/the-birth-of-espresso-the-story-behind-the-coffee-shots-that-fuel-modern-life.html">
    <title>The Birth of Espresso: The Story Behind the Coffee Shots That Fuel Modern Life | Open Culture</title>
    <dc:date>2026-01-03T07:13:36+00:00</dc:date>
    <link>https://www.openculture.com/2026/01/the-birth-of-espresso-the-story-behind-the-coffee-shots-that-fuel-modern-life.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Espresso is neither bean nor roast.

It is a method of pressurized coffee brewing that ensures speedy delivery, and it has birthed a whole culture.

Americans may be accustomed to camping out in cafes with their laptops for hours, but Italian coffee bars are fast-paced environments where customers buzz in for a quick pick-me-up, then head right back out, no seat required.

It’s the sort of efficiency the Father of the Modern Advertising Poster, Leonetto Cappiello [https://en.wikipedia.org/wiki/Leonetto_Cappiello ], alluded to in his famous 1922 image for the Victoria Arduino [www.victoriaarduino.com/en/history/ ] machine (below).

Let 21st-century coffee aficionados cultivate their Zen-like patience with slow pourovers [https://www.seriouseats.com/make-better-pourover-coffee-how-pourover-works-temperature-timing ]. A hundred years ago, the goal was a quality product that the successful businessperson could enjoy without breaking stride.

As coffee expert James Hoffmann [https://www.jameshoffmann.co.uk/ ], author of The World Atlas of Coffee [https://www.amazon.com/gp/product/1784724297 ] points out in the above video, the Steam Age [https://www.oxfordlearnersdictionaries.com/us/definition/english/the-age-of-steam ] was on the way out, but Cappiello’s image is “absolutely leveraging the idea that steam equals speed.”

That had been the goal since 1884, when inventor Angelo Moriondo [https://en.wikipedia.org/wiki/Angelo_Moriondo ] patented the first espresso machine (see below).

The bulk brewer caused a stir at the Turin General Exposition. Speed wise, it was a great improvement over the old method, in which individual cups were brewed in the Turkish style, requiring five minutes per order.

This “new steam machinery for the economic and instantaneous confection of coffee beverage” featured a gas or wood burner at the bottom of an upright boiler, and two sight glasses that the operator could monitor to get a feel for when to open the various taps, to yield a large quantity of filtered coffee. It was fast, but demanded some skill [https://www.youtube.com/watch?v=JELm1GePFP4 ] on the part of its human operator.

As Jimmy Stamp explains in a Smithsonian article [https://www.smithsonianmag.com/arts-culture/the-long-history-of-the-espresso-machine-126012814/ ] on the history of the espresso machine, there were  also a few bugs to work out.

Early machines’ hand-operated pressure valves posed a risk to workers, and the coffee itself had a burnt taste.

Milanese café owner Achille Gaggia [https://gaggiaprofessional.evocagroup.com/en/about-gaggia ] cracked the code after WWII, with a small, steamless lever-driven machine that upped the pressure to produce the concentrated brew that is what we now think of as espresso.

Stamp describes how Gaggia’s machine also standardized the size of the espresso, giving rise to some now-familiar coffeehouse vocabulary:

<blockquote>The cylinder on lever groups could only hold an ounce of water, limiting the volume that could be used to prepare an espresso. With the lever machines also came some new jargon: baristas operating Gaggia’s spring-loaded levers coined the term “pulling a shot” of espresso. But perhaps most importantly, with the invention of the high-pressure lever machine came the discovery of crema – the foam floating over the coffee liquid that is the defining characteristic of a quality espresso. A historical anecdote claims that early consumers were dubious of this “scum” floating over their coffee until Gaggia began referring to it as “caffe creme,“ suggesting that the coffee was of such quality that it produced its own creme.</blockquote>

Note: An earlier version of this post appeared on our site in 2021.

Related Content:

Coffee Entrepreneur Renato Bialetti Gets Buried in the Espresso Maker He Made Famous
https://www.openculture.com/2016/02/coffee-entrepreneur-renato-bialetti-gets-buried-in-the-espresso-maker-he-made-famous.html

The Life & Death of an Espresso Shot in Super Slow Motion
https://www.openculture.com/2021/02/the-life-death-of-an-espresso-shot-in-super-slow-motion.html

The Bialetti Moka Express: The History of Italy’s Iconic Coffee Maker, and How to Use It the Right Way
https://www.openculture.com/2022/01/the-bialetti-moka-express.html

Everything You Ever Wanted to Know about the Bialetti Moka Express: A Deep Dive Into Italy’s Most Popular Coffee Maker
https://www.openculture.com/2022/02/everything-you-ever-wanted-to-know-about-the-bialetti-moka-express.html

Ayun Halliday is an author, illustrator, and theater maker in NYC."

[direct link to video:

"The Birth of Espresso"
https://www.youtube.com/watch?v=I8uStVXNf0M

"I've often brought this poster up at talks, to explain the history of espresso (and to also explain how the idea of coffee shots was not exactly new...)"]]]></description>
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<item rdf:about="https://www.youtube.com/watch?v=bQTMHCUe2f0">
    <title>Crispin Jones in conversation with Margaret Calvert | M1 watch | Mr Jones Watches - YouTube</title>
    <dc:date>2026-01-03T07:07:54+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=bQTMHCUe2f0</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Margaret Calvert is a key figure in post war graphic design, she is best known for her work with Jock Kinneir on the design of Britain’s road signs in the late 1950's - these signs are still used throughout Britain today. 

Crispin Jones visits Margaret Calvert at her home in London to discuss some of Margaret's best-known work and her inspiration for the Mr Jones Watches M1 watch design.

You can see the M1 watch here: https://mrjoneswatches.com/products/m1 "

[See also:
https://mrjoneswatches.com/collections/all-watches/products/m1

"Take a trip down memory lane with the eye-catching M1 watch.

Created in collaboration with British design icon Margaret Calvert, M1 is a playful twist on the serious business of road safety and signage.

Best known for her work with Jock Kinneir in the late 1950s, Margaret has been involved in a wide variety of projects, including the motorway signs - which are still in use throughout Britain today.

The hands of the watch are inspired by the white navigational arrows from the motorway sign and the strap is cleverly made from seat belt fabric - a nod to the drivers the signs were originally designed for.

The M1 watch is exclusively available from Mr Jones Watches."

...

"Designed by Margaret Calvert
The Inspiration

“With the design I aimed for absolute simplicity, the design puts all the emphasis on the hands - there’s no need for numbers on the dial.

There’s a 3d element that you get because of the build up with one hand on top of the other. You get these shadows and this richness and then once you’ve got the white border, which is also taken from the motorway signs, you’ve got something completely new."

Watch the video to see Crispin Jones and Margaret Calvert discussing some of Margaret's best-known work and her inspiration for the M1 design."

...

"Margaret talks about her design:

“With the design I aimed for absolute simplicity, the design puts all the emphasis on the hands - there’s no need for numbers on the dial.

There’s a 3d element that you get because of the build up with one hand on top of the other. You get these shadows and this richness and then once you’ve got the white border, which is also taken from the motorway signs, you’ve got something completely new."

Margaret Calvert OBE RDI, is a British typographer and graphic designer, best known for her work with Jock Kinneir on the design of Britain’s road signs.

After graduating from Chelsea College of Art in 1957, Margaret started working with Jock Kinneir. They were commissioned to design a signing system for the new motorway network, which included the development of the Transport letterform.

Following this work they were appointed by the Worboys committee to redesign the sign system for the entire British road network. The new system they produced was launched in 1965 and is still in use today.

Margaret is also known for the design of ‘Calvert’, a Monotype font, used to sign the Tyne and Wear Metro. Alongside her commercial practice, she taught at the Royal College of Art from 1966 to 2001, where she was Head of Graphic Design from 1986 to 1991.

Rail Alphabet 2, designed in collaboration with Henrik Kubel, is one of her most recent projects, exhibited in a retrospective at London’s Design Museum in 2021–22. titled ‘Woman at Work’."]]]></description>
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<item rdf:about="https://mrjoneswatches.com/collections/all-watches/products/m1">
    <title>M1 watch | Margaret Calvert X Mr Jones Watches</title>
    <dc:date>2026-01-03T06:55:13+00:00</dc:date>
    <link>https://mrjoneswatches.com/collections/all-watches/products/m1</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Take a trip down memory lane with the eye-catching M1 watch.

Created in collaboration with British design icon Margaret Calvert, M1 is a playful twist on the serious business of road safety and signage.

Best known for her work with Jock Kinneir in the late 1950s, Margaret has been involved in a wide variety of projects, including the motorway signs - which are still in use throughout Britain today.

The hands of the watch are inspired by the white navigational arrows from the motorway sign and the strap is cleverly made from seat belt fabric - a nod to the drivers the signs were originally designed for. 

The M1 watch is exclusively available from Mr Jones Watches."

...

"Designed by Margaret Calvert
The Inspiration

“With the design I aimed for absolute simplicity, the design puts all the emphasis on the hands - there’s no need for numbers on the dial.

There’s a 3d element that you get because of the build up with one hand on top of the other. You get these shadows and this richness and then once you’ve got the white border, which is also taken from the motorway signs, you’ve got something completely new."

Watch the video to see Crispin Jones and Margaret Calvert discussing some of Margaret's best-known work and her inspiration for the M1 design."

...

"Margaret talks about her design:

“With the design I aimed for absolute simplicity, the design puts all the emphasis on the hands - there’s no need for numbers on the dial.

There’s a 3d element that you get because of the build up with one hand on top of the other. You get these shadows and this richness and then once you’ve got the white border, which is also taken from the motorway signs, you’ve got something completely new."

Margaret Calvert OBE RDI, is a British typographer and graphic designer, best known for her work with Jock Kinneir on the design of Britain’s road signs.

After graduating from Chelsea College of Art in 1957, Margaret started working with Jock Kinneir. They were commissioned to design a signing system for the new motorway network, which included the development of the Transport letterform.

Following this work they were appointed by the Worboys committee to redesign the sign system for the entire British road network. The new system they produced was launched in 1965 and is still in use today.

Margaret is also known for the design of ‘Calvert’, a Monotype font, used to sign the Tyne and Wear Metro. Alongside her commercial practice, she taught at the Royal College of Art from 1966 to 2001, where she was Head of Graphic Design from 1986 to 1991.

Rail Alphabet 2, designed in collaboration with Henrik Kubel, is one of her most recent projects, exhibited in a retrospective at London’s Design Museum in 2021–22. titled ‘Woman at Work’."

***

[See also:

"Crispin Jones in conversation with Margaret Calvert | M1 watch | Mr Jones Watches"
https://www.youtube.com/watch?v=bQTMHCUe2f0

"Margaret Calvert is a key figure in post war graphic design, she is best known for her work with Jock Kinneir on the design of Britain’s road signs in the late 1950's - these signs are still used throughout Britain today. 

Crispin Jones visits Margaret Calvert at her home in London to discuss some of Margaret's best-known work and her inspiration for the Mr Jones Watches M1 watch design.

You can see the M1 watch here: https://mrjoneswatches.com/products/m1 "]]]></description>
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<item rdf:about="https://www.buzzsprout.com/2046020/episodes/17558846-crispin-mr-jones-airs-a-philosophical-perspective-on-watchmaking">
    <title>Crispin &quot;Mr&quot; Jones Airs A Philosophical Perspective On Watchmaking</title>
    <dc:date>2026-01-03T06:01:32+00:00</dc:date>
    <link>https://www.buzzsprout.com/2046020/episodes/17558846-crispin-mr-jones-airs-a-philosophical-perspective-on-watchmaking</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[also here:
https://podcasts.apple.com/gb/podcast/crispin-mr-jones-airs-a-philosophical-perspective/id1652462121?i=1000738947668
https://open.spotify.com/episode/61mrJi9aXqSsuNTy6iSM2z ]]]></description>
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