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    <title>A Conversation with Jerome Bruner - Beautiful Eccentrics</title>
    <dc:date>2026-03-13T05:09:02+00:00</dc:date>
    <link>https://pablohelguera.substack.com/p/a-conversation-with-jerome-bruner</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["On possibility, dialogue, and the creative nature of learning."]]></description>
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    <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>
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<item rdf:about="https://pablohelguera.substack.com/p/when-pilgrimage-becomes-form">
    <title>When Pilgrimage Becomes Form - Beautiful Eccentrics</title>
    <dc:date>2025-10-18T06:09:52+00:00</dc:date>
    <link>https://pablohelguera.substack.com/p/when-pilgrimage-becomes-form</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["On peripatetic practices."

...

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

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


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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

I close with one last but important note:

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

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

The lesson of The Blue Bird is not that the journey was unnecessary. It is that the journey was the only way to truly see what home means. To walk is to go outward in order to return inward. To walk is to trace, step by step, the cartography of belonging. All these distances I walk daily (21,000 daily steps, or 10 miles), that search of happiness of sorts, this long pilgrimage, I have come to realize, is nothing other than an effort to come back to myself. The bird we seek is not distant; it waits quietly at home. The pilgrimage is the form, and the form is the return."]]></description>
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<item rdf:about="https://www.are.na/editorial/on-contamination">
    <title>On Contamination | Are.na Editorial</title>
    <dc:date>2025-04-17T22:15:16+00:00</dc:date>
    <link>https://www.are.na/editorial/on-contamination</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Anna Lowenhaupt Tsing points out that “Everyone carries a history of contamination;1 purity is not an option.”2  

My interest in contamination emerged while thinking about books and acts of publishing.3 I’ve always felt drawn to books, as both objects and methods, but my studies and my work both center around writing code. While writing my bachelor’s thesis, I started thinking specifically about publishing online — and about how the materialities of a book and the act of “making public” take on different qualities once they enter digital realms.4

I realized that most mainstream5 publishing on the web tends towards opaque, mediated platforms and seamless interaction; infinite yet restricting feeds.6 

Today, online interfaces are too often governed by corporations who commodify individualism and limit agency to a minimum of swipe movements, all while extracting and surveilling user data.  

But interfaces, like margins and thresholds, are zones of encounter.7

They are the sites of creation (writing)8 but also perception (reading) and circulation (gathering).9  

I read, write, and gather on interfaces: I browse “feeds,” open “folders,” close “windows,” and park “files” in my “drive.” My actions are dependent not only on a stable internet connection, but also the platforms and services that are designed to let convenience surpass criticality.

What if a platform's interface was regulated by those who inhabit and use it, rather than by corporate interests? Could we reimagine these interfaces as communal sites that emphasize unlearning and dialogue?10

In an attempt to answer these questions, I found myself coming back to the concept of contamination. As a metaphor for publishing online, it aims for the disruption and complication of digital interfaces, challenging concepts of individuality and authorship.

Contamination is a troubling metaphor with which I am striving for infectious interfaces — inviting the parasite I want in order to open up to the transformations that arise from one another.

Contamination is also a material metaphor that enables me to understand the real world implications that digital technologies and visualities bring forth. It helps me to consider the environments I work and publish in and their distinct materialities. 

When I trace contamination through digital and print interfaces I am crossing margins — the liminal spaces where interaction between two or more involved entities is situated.11 

How can we understand the in-between not as gaping void — an unbridgeable gap — but an invitation for encounter? How can we inhabit the digital margins?12

While seeking intertextual encounters in margins, I didn’t just come across comments and annotations. Footnotes caught my attention, too, because they are at once graphical (textual) interface elements but also part of a (networked) infrastructure.13 

Contamination enables us to reimagine ways of relating, and move towards encounters not assumptions.

Like André Breton's remarked, “One publishes to find comrades.”14"]]></description>
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<item rdf:about="https://www.smallpresstraffic.org/the-back-room-article/a-body-thats-all-surface">
    <title>A Body That’s All Surface</title>
    <dc:date>2024-02-29T23:50:15+00:00</dc:date>
    <link>https://www.smallpresstraffic.org/the-back-room-article/a-body-thats-all-surface</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["I am going to describe something that I think is idealistic. Idealism can be practical because the world we want must be drawn upon the world we live in, and also because it necessitates a collaboration — I imagine something different and you imagine something back."

...

"Last year I became preoccupied with Pablo Picasso, an artist whose background-level omnipresence hadn’t previously seemed to call for additional scrutiny by me. While I was writing about Picasso I wanted to listen to Erik Satie, because they were collaborators and I suppose I was trying to collaborate with Picasso, too. Satie’s compositions are interpreted and recorded by other pianists, and since I don’t know their names I imagined a terrible, infinite array, although to be honest I didn’t imagine them being particularly distinct from each other. Still, not wanting to choose the garbage record for people with bad taste, I asked my friend Jay, who does know, and he pointed me to Tamar Halperin’s angular, player piano-sounding record, Satie. That helped. Many subjects feel infinite upon first approach. Artists and their artworks unfurl continually in relation to each other, and through our own radiating entanglements. We can all play a role in describing their boundaries.

I am texting with my friends Claudia and Anne about art. I mean obviously we are gossiping about art. We are all a little bit cynical about some aspects of being in the art world. If you have ever made a pom-pom you know it’s done by wrapping a lot of string around your fingers, then tying it across the middle — thus secured, the loops are cut at the ends and the pom-pom reveals itself. My feelings about art are idealistic and cynical all bound up together. I don’t know anyone who is an artist or a writer all the time. I am an artist and a deranged kind of housewife with a lot of projects that come and go, peculiar handfuls of expertise, and an ambivalence about what other people enjoy. Most of us have two or many jobs and obligations, materializing within and without our work and connecting us to our surroundings. Our lives complicate what is art and what is not. Our friends and families understand what we’re up to, to varying degrees. We pay attention differently, to different things. We are interesting subjects and capable observers. Maybe not all of this is quite true, but I feel like it could be true."

...


"It bothers me that there is so little usable infrastructure beneath artists and so much baroque architecture built on top of us. I’m sorry to bring him up incessantly but Pablo Picasso wasn’t fucking around with artist statements. He and his buddies were hanging out, inventing new ways to use the senses, collecting poets, starting magazines when they felt like it, painting whatever, showing on the boulevard sometimes, icing out losers, reading, honestly kind of torturing each other, and so on. We should not allow our own artistic practices to be replete with inanities! They want us to describe ourselves in GRANT-WRITING LANGUAGE like we are PROJECT MANAGERS rather than to describe our ideas with the MANY VARIED LANGUAGES OF ART! This is how they make us speak THEIR desires! Participating in their strange bureaucracies is a major concession of our time that we could use for our animal purposes, to observe and make sense of the world, and to describe OUR visions. I propose that we stop playing along. I am imagining a type of degrowth, a disassembly of dominant structures, a refusal."

...

"I went through a period when I wouldn’t say art was good or bad, only that it resonated or didn’t, but I’m back to saying art is good and bad. It is fantastically good and bad. Criticism is like putting an artwork into a frame — making it more finished, more real (in that it has been beheld), while also protecting it from the elements. When art is bad, criticism can compound the failure by dressing it up. When art is good, criticism can insert the work into the art-historical record by speaking it into the world a second time, in another medium, on behalf of the artist, the artwork, and its theoretical and practical forebearers. This is a type of repetition that formalizes the audience. That good art is often ignored and bad art sometimes enshrined indicates that further experimentation is possible.

We should think of criticism as another form that is bound up with normal life, connecting what you see to what you know. To engage in criticism is to think deeply about someone else’s work in relation to one’s own sensibilities, and then to contextualize it, historicize it, and sometimes to say it’s good or bad. Art and criticism are not in a linear relation. They are interconnected modes of craft, aesthetics, and thought that extend toward an audience. There is external pressure to stay within our perceived modes, but the roles of artist, critic, and audience are overlapping, interchangeable. I am not suggesting we lie about good and bad art. I am suggesting criticism can break out of its structures and draw us closer. That it can be a means of collective demystification, for mutual aid."]]></description>
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<item rdf:about="https://www.youtube.com/watch?v=E-A0W29J3zQ">
    <title>Is AI Going to RUIN Writing For Good? (w/ Corey Robin) - YouTube</title>
    <dc:date>2023-09-07T23:27:26+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=E-A0W29J3zQ</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["This week, author, professor of political science, & political theorist Corey Robin joins Briahna Joy Gray on Bad Faith to unpack his recent article about how AI is disrupting how writing is taught across the country. The tech/ Chat GPT has gotten so good that it's nearly undetectable, and the temptation to cheat on at home essays is making many teachers consider whether all essay writing should happen in class. But the trade offs are obvious: Should limited class time time be taken up by in class essays? Is it worth asking whether the pedological benefit of at home essays is worth losing dynamic, socratic in class learning. What are we trying to teach kids with long form writing assignments anyway. Is writing obsolete? Should we lean into technological help in writing the way we've all become accustomed to spell check? Didn't Captain Kirk teach us that rigging technology to help you ace a test isn't actually cheating at all?"

[See also:

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

"How ChatGPT changed my plans for the fall"
https://coreyrobin.com/2023/07/30/how-chatgpt-changed-my-plans-for-the-fall/ ]]]></description>
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<item rdf:about="https://www.youtube.com/watch?v=VYJtb2YXae8">
    <title>Why we all need subtitles now - YouTube</title>
    <dc:date>2023-01-20T19:20:10+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=VYJtb2YXae8</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["It's not you — the dialogue in TV and movies has gotten harder to hear.

Have you ever been watching a show or movie, and then a character delivers a line so unintelligible you have to scramble to find the remote and rewind? For me, this moment came during the climax of the Pete Davidson film “The King of Staten Island,” where his most important line was impossible to understand. 

I had to rewind three times — and eventually put subtitles on — to finally pick up what he was saying.

This experience isn’t unique — gather enough people together and you can generally separate them into two categories: People who use subtitles, and people who don’t. And according to a not-so-scientific YouTube poll we ran on our Community tab, the latter category is an endangered species — 57% of you said you always use subtitles, while just 12% of you said you generally don’t.
 
But why do so many of us feel that we need subtitles to understand the dialogue in the things we watch?

The answer to that question is complex – and we get straight to the bottom of it in this explainer, with the help of dialogue editor Austin Olivia Kendrick."]]></description>
<dc:subject>film sound subtitles 2023 filmmaking audio tv television dialogue</dc:subject>
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<item rdf:about="https://www.thenewatlantis.com/publications/the-analog-city-and-the-digital-city">
    <title>The Analog City and the Digital City — The New Atlantis</title>
    <dc:date>2020-11-08T23:13:43+00:00</dc:date>
    <link>https://www.thenewatlantis.com/publications/the-analog-city-and-the-digital-city</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["One way to understand our moment is to recognize that digital technology is reconfiguring the nature of the self that enters into the political arena, even as it restructures the arena itself. The contrast between those who mainly inhabit the Digital City and those who still primarily inhabit the Analog City becomes increasingly stark. Simple appeals to conventions and solutions grounded in the Analog City now ring hollow. The old virtues and ideals, as well as the institutions they sustained, have lost their purchase on the imagination. They have lost their “self-evident” character. Like the early moderns, our reigning world picture has shattered and we are casting about for new ways of building consensus, new ways of coping with the challenges of pluralism, new ways of ordering society toward the common good. At the moment, however, it appears that digital media tends toward political and epistemic fragmentation, not consensus, and toward the implausibility of any substantive account of the common good. In other words, it may be that things will get worse before they get better.

In a 1982 talk on the cultural and political consequences of computation, Ivan Illich issued a warning that is even more urgent today:

<blockquote>The machine-like behavior of people chained to electronics constitutes a degradation of their well-being and of their dignity which, for most people in the long run, becomes intolerable. Observations of the sickening effect of programmed environments show that people in them become indolent, impotent, narcissistic and apolitical. The political process breaks down, because people cease to be able to govern themselves; they demand to be managed.</blockquote>

We have focused on how digital media transforms the subjective experience of individuals. The political corollary is that it enables and empowers regimes of algorithmic governance, predictive analytics, and social credit. The profound erosion of trust in the Digital City leaves a vacuum, and we look to our tools to fill it. We seem set upon interlocking trajectories: of ever greater swaths of the human experience being computationally managed, and of intractable human subjects increasingly breaking down or revolting against these conditions.

From another vantage point, however, we might see this as a hopeful moment, full of promise and opportunity. Another path also seems possible. Freed from certain unsustainable illusions about the nature of the self and the world, we may now be called back to reckon with reality in a new, more chastened and more responsible manner. It is possible that the Promethean aspirations that characterized the modern self and modern society may now yield to a more sober assessment of the limits within which genuine human flourishing might occur. It is possible, too, that we may learn once again the necessity of virtues, public and private — that we will no longer, as T. S. Eliot put it, be “dreaming of systems so perfect that no one will need to be good.”"]]></description>
<dc:subject>lmsacasas digital newmedia writing howwewrite reading 2020 howweread secondaryorality walterong politics discourse audience abundance scarcity news print text communication neilpostman digitalcity analogcity truth speech digitalmedia socialmedia saintaugustine change liminality factchecking publishing jaydavidbolter reformation scientificrevolution history internet web online smartphones publiclife cities urban urbanism community howwethink thinking nicholascarr 2008 web2.0 facebook twitter algorithms moderation commenting tv television video dialogue criticalthinking affordances technology citizenship censorship values char charlestaylor bufferedself disenchantment meaning meaningmaking magic power objects heresy security purity bots data bigdata automation knowledge systems systemsthinking vulnerability time place now identity sharedtime sharedspace simultaneity realtime telegraph radio presence social belonging ivanillich memory memories language literacy orality oraltradition fables institutions bureaucra</dc:subject>
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    <title>Fratelli tutti (3 October 2020) | Francis</title>
    <dc:date>2020-10-27T01:12:13+00:00</dc:date>
    <link>http://www.vatican.va/content/francesco/en/encyclicals/documents/papa-francesco_20201003_enciclica-fratelli-tutti.html</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>poperancis 2020 coronavirus covid-19 communism interdependence socialism friendship humanism fraternity donaldtrump individualism capitalism latecapitalism encyclicals extremism polarization globalization progress sharing dignity humanity borders borderlessness migration immigration aggression violence information internet wisdom goodsamaritan love catholicism christianity solidarity property socialgood society humanrights local universalism politics economics policy liberalism charity power international culture dialogue conversation kindness forgiveness conflict deathpenalty war charities philanthropy latestagecapitalism</dc:subject>
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<item rdf:about="https://thenewinquiry.com/incomplete-visionary-nonutopian/">
    <title>Incomplete, Visionary, Non-Utopian – The New Inquiry</title>
    <dc:date>2020-09-02T02:29:48+00:00</dc:date>
    <link>https://thenewinquiry.com/incomplete-visionary-nonutopian/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["THE last time we met, it was at a Thai place on Front Street, just north of where the Chenango and the Susquehanna rivers meet, in the midst of a slowly transforming downtown that still retains a desiccated Rust Belt patina, though now there’s a beer bar, a couple of coffee shops, a yoga studio. I had given a book talk at Binghamton that evening, and afterwards, you and I and a couple of other folks grabbed a meal and talked: about navigating academia as poor, first-generation (though you were anything but, being the child of a former dean at the University of Buenos Aires), and marginalized; about your long-overdue promotion to full professor, and the dossier that folks were helping you pull together to attest to your life’s work. This dossier would come to trace your long, influential arc, from recently immigrated Ph.D. student at the University of Wisconsin–Madison writing a dissertation on friendship and morality, to your years as a popular educator at the Escuela Popular Norteña, which you cofounded in northern New Mexico, to the last two decades, where you began groundbreaking work that has rooted and elaborated decolonial feminism.

You would, a few short months after this dinner, be granted a full professorship. But you would die before you could enjoy what that meant to you: more time to write, to do popular education, to be in movement with folks.

When our paths crossed in the early 2000s, you were already a widely read and deeply admired feminist philosopher. I was a 22-year-old queer anarchist from a fucked-up family who barely knew how to cook or dress for an upstate New York winter. In no uncertain way, you taught me how to live: how to be in deep and intimate solidarity, how to build community, how to take care of beloved accomplices. You became my dissertation advisor, yes, but also so much more. I vividly remember you describing your anger at folks who claimed you didn’t know about caregiving because you, an avowed dyke (a tortillera, in the slang you preferred), had never had children. You gestured at the classroom and said, “Look at all these kids I help raise!”

I was but one of them.

After dinner that last night in Binghamton, while we were standing on the sidewalk together, delaying our goodbyes, you told me the cancer had returned. Though you were seeking treatment (and already knew the best doctors, the best hospitals, from your first go-round on this horrible rollercoaster), it was probably terminal. We held each other by the elbows and cried. Then you shrugged and said, in a kind of glib and resigned summation, “Sucky,” a word that I hadn’t ever heard you use before. But you were right — it fucking sucked. The specific helplessness that informs the recognition of the imminent death of a caregiver, a mentor, a beloved elder, a friend of the heart and the mind (to me, you were all of these things, and surely more) renders most of us kidlike. On the day you died, I reverted, walking around the house in tears, kicking the baseboards, periodically muttering “stupid death” in complete exasperation and something just short of shock to anyone who might have been listening (my partner, the dogs), as if my recently acquired belief in object permanence had been completely shattered. As if I really believed that you would always be around, that I would always recognize your gait and your impeccable marimacha sartorial sense in otherwise dull conference hallways and run to throw my arms around you, give you kisses and hear you shout “Querida!” in surprise at my sudden appearance.

We’ll never know what killed you, not really, with cancer being just a placeholder for all of those toxic forces arrayed against us and how our bodies do or don’t hold them at bay or in check. That your death arrived in the midst of a global pandemic meant that those who loved you and didn’t know the exact cause of death were forced to wonder whether it was related to COVID-19. In the immediate aftermath, I didn’t have the wherewithal to reach out to those few folks who would know. And later I didn’t want to know. I wanted your death to remain singular, not statistical. I didn’t want to think of you in conjunction with think pieces on the racial, class, and gendered politics of disease and death, though I will, and I guess I already am. I don’t want to think of the fact of your death at all, though I must. The official report says cardiac arrest, caused by “pneumonia-like” symptoms that descended after a recent radiation treatment. In this historical moment, I can’t write “pneumonia-like” without placing the phrase in scare quotes and wondering about state strategies of statistical underreporting.

One force arrayed against you was toxic in the material sense. IBM had a manufacturing plant in Endicott, NY, the town just across the river from both the university where you worked and the old hunting lodge where you had made a home. Sometimes, when I was in graduate school and studying with (alongside, under) you, we would go into Endicott for a panini or an Italian ice or tiramisu or a pizzelle. The town still had a thriving Little Italy, and you being raised in Argentina and me being from a family part Sicilian meant that we both had a hard time staying away from this small cluster of blocks and would meet there regularly to talk and write together.

This manufacturing plant poisoned the town — there is a well-documented cancer cluster in Endicott. IBM settled a toxic tort case out of court in 2015, for an undisclosed sum; the case had over 1,000 plaintiffs. The town of Endicott itself has, to date, just over 12,000 residents.

Maybe it was this exposure that was at the root of your death, though there were certainly other forms of toxicity you endured and absorbed. You were so often in spaces but not of them. Your life was a master course in the complexities of conditional and incomplete belonging: a queer woman of color trained in a discipline — philosophy — that remains enduringly cis, white, and male, more so than any other discipline in the humanities, with diversity stats more akin to what we see in engineering departments. You learned from Marxist and socialist men, aware of their critical limitations around questions of gender and sexuality; you embedded yourself in a White-dominated lesbian feminist movement, where you found consciousness around questions of migration, transnationality, race, and coloniality consistently elided. Moving from Argentina to the U.S., you discovered that, in this particular nation-state, you were a Woman of Color, and you had to learn what that meant — so you moved toward Women of Color spaces and pursued deep coalition there, though not without difficulty. But reflection on navigating all this misfit became one of the most salient through lines in your work: You wrote extensively over so many years about the complexities of radical coalition, about the barriers, misrecognitions, inaccurate translations, and misunderstandings that shape the act of hablando cara a cara (speaking face to face).

 
YOU were ever unafraid to do the thing we’ve come to shorthand as “speaking truth to power,” and you were also never acquiescent in your disagreements with colleagues. You developed, over many years, a reputation for being difficult, confrontational. My first time witnessing you issue public comment in an academic context was at a conference panel sometime in the mid-aughts. Your read (and it was, to be very clear, a read) of the presenter ended with the phrase “white feminist savior complex.” Some in the room winced, but many folks — self included — smirked and seemed on the verge of exploding into spontaneous applause. You weren’t wrong, and you said the damn thing. You were deliberately impolite and in deep violation of the unspoken norms of academic engagement, where one is expected to embroider their critical commentary with niceties and provide far too much context for their intervention and conclude with the verbal equivalent of a noncommittal shrug and an advance invitation for the subject of critique to dismiss your comments (“maybe this is something you want to take under consideration, maybe not . . . ”). We sometimes call this being “generous.” But you were one of the most actually generous people I’ve ever known, unsparing with your conversation, with your care, with your affection, your money, your commitment to what you called “‘world’-traveling.” In these contexts, what was happening was simple: You were angry, and you believed that solidarity meant holding one another accountable. The way your anger was met in academic spaces illuminated the massive and unsurpassable gulf between spaces of radical political movement and spaces of intellectual exchange ostensibly animated by questions of justice and resistance. I watched your outrage become tokenized and fetishized; I saw the way you were implicitly marked as belligerent, troublesome, not good administrative material. I absorbed these lessons tacitly over the course of the years we worked together. Having you as my advisor was a lesson in the high cost of not taking shit from bureaucrats, and about the incommensurability of certain worlds of sense.

Much ink has been spilled lately about feminist rage, about its use values, about its clarifying impact, about its ability to prompt radical existential shifts and fuel the psychic and physical breaks necessary to divest from toxic relationalities, both institutional and interpersonal. But precious little has been written about how to survive the consistent recurrence of rage, and what kinds of supports need to be in place to endure. I return again and again to your work to sort through this, and again and again to my memories of the spaces we cocultivated within and against academic business-as-usual. Turning to your writing in Pilgrimages/Peregrinajes (the only book you published over your very long career, a collection of essays ranging decades) during a time of pandemic, social distance, and the deep longing for touch and body-to-body connection this context has engendered is devastating. You believed so deeply in the transformative potential of embodied community building and collective action. You believed in the imperative of presence.

In your essay “Hard-to-Handle Anger,” you theorize what it means to experience foreclosed and illegible anger, anger that resonates within dominant worlds of sense as irrational, non-sensical, and thus dismissed. You call this the kind of anger that “recognizes this world’s walls. It pushes against them rather than making claims within them.” Folks often wondered why you chose the battles you did, why your anger was so seemingly outsized in relation to the tenor of a given situation. Why you’d be outraged and sometimes tearful in meetings with upper administration, why you would interrogate a junior scholar at length during a conference Q and A, ignoring the time constraints placed on a session, in the hopes of transformative dialogue, which does not abide administrative temporalities. In this essay, you answer those inquiries implicitly: It was about refusing the logical and affective terms of the world you were in, in order to make other worlds possible, in order to bring about a different kind of self — one that “rejects being terrorized intimately.” You also understood that anger can be a gift, a crucial means of developing solidarity across difference, that honesty is the very least of what we owe each other. When you argued with someone about their work, or confronted them about the energy they brought to a room or a conversation, it was often out of this generous sense of anger, the kind of anger that we owe to those with whom we genuinely wish to be in community. This generous and not cruel kind of anger we can express in order to stay honest and in touch with too often denied aspects of ourselves, in order to keep those more fragile, inchoate, long-suppressed or repressed selves alive and to reach out to one another through them.

You were fully aware that your relationship to anger meant that a lot of folks thought of you as intimidating and serious, or irrational, outraged, and outrageous; this response to your anger signaled, to you, the sharp distinctions between certain worlds of sense, indicated which ones were toxic and which ones you might have a possibility of thriving in. This was a litmus for you, who wrote this sentence in 1987: “I am not a healthy being in the ‘worlds’ that construct me unplayful.” You wrote, in that same essay, that you were “scared of ending up a serious human being, someone with no multi-dimensionality, with no fun in life, someone who is just someone who has had the fun constructed out of her. I am seriously scared of getting stuck in a ‘world’ that constructs me that way. A ‘world’ that I have no escape from and in which I cannot be playful.”

 
IN the worlds you cocultivated, you were so often playful. I have tripped over your feet learning — and failing to learn — to dance tango, I have exploded with laughter in your kitchen, I have watched your voice drift to the timber rafters of your den as you sang and sang and sang. I have so many gifts from you — shells, miniatures, rocks, a railroad spike, all object lessons of sorts. The railroad spike, for instance, came to me after you had wandered away from a backyard bonfire at my falling-apart place by the railroad tracks. You returned from this small sojourn with a handful of rusty old spikes that you then doled out to the women and queer folks in attendance. You then demonstrated how to use them in self-defense and promised that you’d knit us all koozies for the thick end that we were supposed to hold while in battle. I’ve never used it, but it’s been the talisman of a protective spell you cast over our lives that I’ve kept close for well over a decade. Even the suitcase I use — you bought it for my 26th birthday, and I still lug it with me everywhere, thinking of you and your very specific sense of world traveling: not touristic, not exploitative and appropriative, but rather about minoritized subjects intimately learning one another’s worlds of sense.

You articulated this concept in your groundbreaking essay “Playfulness, ‘World’-Traveling, and Loving Perception,” which was about how important it is to understand minoritized subjects as ontologically plural, beings who shift as we move through multiple, often dissonant, worlds of sense. This is how you described what a “world” is, and what it means to travel between worlds:

a “world” may be an incomplete visionary non-utopian construction of life or it may be a traditional construction of life. . . . Those of us who are “world”-travellers have the distinct experience of being different in different “worlds” and of having the capacity to remember other “worlds” and ourselves in them. We can say “That is me there, and I am happy in that “world.” So, the experience is of being a different person in different “worlds” and yet of having memory of oneself as different without quite having the sense of there being any underlying “I.” . . . The shift from being one person to being a different person is what I call “travel.”

You have gifted us this way of thinking about contingent and transformative selfhood. You have given me the ability to think, with life-sustaining fondness, of the incomplete visionary nonutopian constructions of life we built with one another, to remember — wherever I have traveled since — that is me there, and I am happy in that world.

And I have traveled, surely, at least half a gender or maybe a whole gender, depending on who is doing the figuring, if we even want to quantify it. Your work means so much to so many trans folks, though you never wrote explicitly about transness. But you understood, intimately, the violence of reductive and dehumanizing forms of misrecognition, and the corpus you’ve left us details tools and strategies for bearing that, surviving it, outliving it, resisting it. You had your own tense and inventive relationship to gender, which you understood as a colonial imposition rooted in emergent modern Eurocentric scientific knowledge formations that articulated sexual dimorphism as the first and last word on sexed embodiment, and naturalized categorical differences from there. Ever your student, I tend to understand gender that way, too: a kind of prison house we are coercively forced to dwell in, try to make habitable despite its overwhelming inhospitability. A world against whose walls we must push.

Academia remains, quite obviously, one of these worlds, and all my earliest lessons in how to push against these particular walls are from you. True story: I am a proud graduate of a Ph.D. program that no longer exists: the Philosophy, Interpretation, and Culture program (PIC — the irony of the acronym was not lost on us), formerly at Binghamton University, one of the supposed crown jewels of the State of New York system. For many years, you headed up an interdisciplinary research center affiliated with the program, the Center for Interdisciplinary Studies in Philosophy, Interpretation, and Culture (CPIC). Through CPIC, you ran — with the assistance of many other faculty members and graduate students — a number of working groups over the years: the Politics of Women of Color, Decolonial Thinking, and, later, Decolonial Feminisms. This last working group was in collaboration with sister groups at UC Berkeley, UNAM Mexico City, and a feminist popular education collective in Bolivia. My first encounters with the now ubiquitous videoconferencing format were in those meetings, which were glitchy, rough (on account of tech issues), long (on account of the slowed pace of multilingual translation), and thrilling. This was where you worked out, and workshopped, much of your thinking on what you came to call the “colonial/modern gender system.” Your articulation of this concept has traveled transnationally, and the English-language articles in which you lay it out — “Heterosexualism and the Colonial Modern/Gender System” (2007) and “Toward a Decolonial Feminism” (2010) have thousands of citations between them. As you pulled together your file for promotion to full, I told you that, at that time (October 2019), your works were the most cited works that Hypatia — the signal feminist philosophy journal in the U.S. — had published to date. You were delighted and made sure that I included that bit in my letter for your file. I also wrote to your chair, who I had TA’d for in graduate school, to let her know this. I was happy to do these things, but also had the sinking feeling that you were, in fact, deeply anxious about this promotion, worried that it wouldn’t go through.

And you had reason to worry. It’s not as if you had an easy go of things, institutionally speaking. When the university decided to defund the program that I graduated from, where you had placed the entirety of your tenure line, you had to go door knocking to ask another department to absorb you. The mainstream philosophy department subjected this decision to a faculty vote and ultimately refused you, as did a few others; finally, you were able to convince comparative lsiterature to house you. All of the Ph.D. students who were still in PIC at the time it was defunded were also forced to seek new intellectual homes or quit: Some were farmed into comparative literature, some to art history, some to sociology, some English, and very few — perhaps none — into the conventional philosophy department. They didn’t want us. They didn’t seem to think that what we did was philosophy, because we did it in ways that were too queer, too Black, too brown, too decolonial. In 2010, the year before the program was defunded, a consortium of minoritized philosophers pulled together an alternative ranking system to evaluate philosophy departments according to criteria that took epistemic and demographic diversity into account, in part to counter to the conservative trolling of philosophy professor and blogger Brian Leiter, who issued his own ranked list of programs each year. Within this alternative ranking system, PIC placed at the top of the list. This was mentioned, to no avail, in our repeated meetings with upper admin as we argued for the continuing need for the program. But they, in the name of austerity and “streamlining,” wanted to use the funds we ran on to enhance the more traditional philosophy department; their long game hinged on using that department as a feeder for a 3-2 program for a new law school at Binghamton. The law school has yet to materialize. At the start of the semester after PIC was defunded, former PIC students held a ritual of mourning on the central quad, dressed as skeletons, wearing calavera masks, and holding signs listing the research areas that thrived within the program — Latinx feminism, Black Europe, Queer of Color critique, and on and on.

The day you died, I tweeted a small homage to you, an attempt to self-soothe, to reach out in the limited way I could, because the folks who loved you were unable to gather in the ways we wanted to: “my beloved friend, advisor, and comrade María Lugones passed very early this morning. She taught me, and so many others, how to think and be in resistance, how to dwell in coalition, and every important lesson about queer love and queer worldmaking. May she rest in power.” Hours later, Harpur College (the College of Arts and Sciences at Binghamton, the entity responsible for defunding us) retweeted it. I didn’t get publicly salty about it, but god, I wanted to. You’d have wanted me to, I suspect, to combat the way official, officious memorialization papers over the structural and interpersonal violence that shapes relationships among the living. (I still refuse to donate to Binghamton, though, and cite the defunding as the reason why every chance I get.)

Rumors circulated in the aftermath of the defunding, chief among them the notion that the only reason PIC was able to stick around so long — a kind of surly, wild-haired, and undisciplined sibling of philosophy proper — was because the founding director of the program had donated large sums of money to the university, and the program was his pet project. He was a wealthy white continentalist who wrote, primarily, on questions of excess, instability, and unsurety. He sometimes wore a dashiki, which caused near-universal cringing within the program. My grand entrance into the program involved spilling red wine on his white carpet at a beginning-of-term welcome party. I was a shaky, nervous first-gen, low-income student intimidated by his wealth, which was said to have come from investing in IBM very early on. If all of this is true, it means that our space in the rapidly neoliberalizing academy, where we believed we were engaging in a form of fugitive study, in the production of insurgent knowledges, located in the physical space of the university but not dominated by its operative logics, was, in some significant way, purchased at the cost of poisoning and disenfranchising the local population.

But you were never invested in a politic of purity, unlike the overgrown kid I was when we met, a rigorously anti-petrol bike punk with anxiety about the clarifying agent used in the beer I drank, a strict policy of only ever buying secondhand, and a habit of hand-wringing over the micropolitics of sexuality, desire and act alike. At the tail end of graduate school, I started dating a cishet man, a fact that I could not bear to tell you for fear that you would be disappointed in what you might read as a lapse of queer praxis. One night, we were cooking together, getting ready for a dinner party, and you said to me, “I was so relieved when I found out you had switched.” I panicked, thinking someone must have told you about this man. My jaw hung. I stuttered. You, sensing my distress, followed up with, “It’s so much easier to cook for someone who is vegetarian, not vegan!” You didn’t care who I was fucking. You were just happy you could serve dairy. My anxiety about this was testimony to the fact that I still had a lot of learning from you to do.

You were deeply invested in thinking the relation between subjectivity and coalition, but all of your thinking and writing on that relation hinged on an understanding of subjectivity as always already impure, and resistant sociality as a matter of what you called “curdling” — multiplicitous subjects together, coconstitutive, in resistance to the twinned logics of purity and subjective transparency. You understood the demand for purity as nearly always a matter of fascism by degree, macro or micro. It was always the call of a little internalized cop, a moral simpleton. You wrote, in 1994, “I ask myself who my own people are. When I think of my own people, the only people I can think of as my own are transitionals, liminals, border-dwellers, ‘world’-travelers, beings in the middle of either/or. They are all people whose acts and thoughts curdle-separate. So as soon as I entertain the thought, I realize that separation into clean, tidy things and beings is not possible for me because it would be the death of myself as multiplicitous and a death of community with my own.” For you, coalition was curdled-separation: a decision made by multiplicitous and impure selves to come together in order to resist the splitting and fragmentation that occur when one is embedded in worlds that fetishize purity, and to further curdle through their intimacies with one another.

You understood that everyone has work to do in order to be in real and significant political solidarity. You had been inspired at a young, young age by thinkers like Paulo Freire and Myles Horton, who founded the Highlander Folk School in Monteagle, TN, in order to develop resistant coalition between poor White Appalachian laborers and southern Black folks. While teaching in the Blue Ridge Mountains of east Tennessee, I’d help organize retreats for the women’s and gender studies program I worked in at the Highlander, and the issues we were struggling with — systematic targeting by conservative state officials and university administrators, developing pedagogies that enabled predominately poor, White, first-gen students to grapple with questions of intersectionality and the entwinement of racial, gender, sexual, and economic justice, decentering the classroom, and building beloved community in and through enmeshed crucibles of extensive structural violence, expropriation, and abandonment — necessitated bringing every lesson you’d ever taught me to bear.

Your life’s work exhorts us to intervene on every front: to challenge the masculinist biases of decolonial and radical left thought, to articulate and enact resistances to Eurocentric and White-dominant modes of feminist activism and epistemology, to perpetually queer conceptions of kinship and collectivity. You have left us, in your transformative vision of decolonial feminism, a coalitional framing under which many can gather to engage in the multifronted work of historical recovery and the making of radical futures beyond the horizon established by colonial-cum-neoliberal logics of profit, extraction, appropriation, privatization, and dehumanization.

The tributaries we navigate are toxic, no doubt. And you always insisted on the necessity of understanding ourselves as permeable, interimplicated, and open, always already steeped in the waters we inhabit, traverse, and transverse. I met you, studied with you, came to love you in a town where two rivers, simultaneously poisoned and healing, meet, become stronger together, and remain indissolubly interimplicated after their moment of convergence. An obvious metaphor for all of us who go on loving you, who go on learning from you."]]></description>
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<item rdf:about="https://directory.libsyn.com/episode/index/id/15743372/tdest_id/1617341">
    <title>Libsyn Directory: THE RED NATION PODCAST: Learning &amp; unlearning w/ Noname</title>
    <dc:date>2020-08-29T19:31:29+00:00</dc:date>
    <link>https://directory.libsyn.com/episode/index/id/15743372/tdest_id/1617341</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[See also: https://soundcloud.com/therednationpod/learning-unlearning-w-noname ]

[Discussion of Land Back (and reparations) starts around 21:40 and continues on from there until 27:00 and beyond

Nick Estes also references Cheryl Harris's "Whiteness As Property"
https://harvardlawreview.org/1993/06/whiteness-as-property/ ]]]></description>
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<item rdf:about="https://www.youtube.com/watch?v=LVTDahs2gFQ">
    <title>Cornel West, Phillip Agnew, Michael Brooks, Esha Krishnaswamy | Class Warfare | Harvard - YouTube</title>
    <dc:date>2020-07-21T08:02:03+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=LVTDahs2gFQ</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[via: https://twitter.com/gerikhere/status/1285443318344749058
"As a Christian Leftist I remember when I realized that my socialist values could coexist with my faith. But I feared that my faith would separate me from the left movement. Michael Brooks made me feel like I had a place. Rest in power brother @_michaelbrooks"
https://twitter.com/gerikhere/status/1285443485311664128

via: https://twitter.com/Syndicalist_Mia/status/1285460588727095297
"God Michael Brooks was such a fucking treasure. Cannot believe his brain is put to rest. There was so much more he wanted to do and say."]

“In 1912, Harvard armed its students to break a strike, using the motto “Defend Your Class.” On January 28, 2020, prominent progressives will gather at Harvard to discuss the past, present, and future of class struggle, and to envision the leftist movement that will arise from it. The 2020 primary is shaping up to be a referendum on the Democratic party, an ideological battle between the traditional, Biden-led wing of status quo politics and an emerging faction led by calls for the political revolution of Bernie Sanders. But the primary, like the 2020 election at large, is only the beginning.

The “Battle for the Soul of the Democratic Party,” features Dr. Cornel West (philosopher, author, Harvard professor), Michael Brooks (The Michael Brooks Show), Phillip Agnew (activist, Bernie 2020 national surrogate), and Esha Krishnaswamy (activist and host of historic.ly).”]]></description>
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<item rdf:about="https://www.nytimes.com/interactive/2019/11/30/opinion/social-media-future.html">
    <title>Opinion | A Better Internet Is Waiting for Us - The New York Times</title>
    <dc:date>2019-12-02T04:14:37+00:00</dc:date>
    <link>https://www.nytimes.com/interactive/2019/11/30/opinion/social-media-future.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["And even if our algorithms become miraculously intelligent and unbiased, we won’t solve the problem of social media until we change the outdated metaphors we use to think about it.

Twitter and Facebook executives often say that their services are modeled on a “public square.” But the public square is more like 1970s network television, where one person at a time addresses the masses. On social media, the “square” is more like millions of karaoke boxes running in parallel, where groups of people are singing lyrics that none of the other boxes can hear. And many members of the “public” are actually artificial beings controlled by hidden individuals or organizations.

There isn’t a decent real-world analogue for social media, and that makes it difficult for users to understand where public information is coming from, and where their personal information is going.

It doesn’t have to be that way. As Erika Hall pointed out, we have centuries of experience designing real-life spaces where people gather safely. After the social media age is over, we’ll have the opportunity to rebuild our damaged public sphere by creating digital public places that imitate actual town halls, concert venues and pedestrian-friendly sidewalks. These are places where people can socialize or debate with a large community, but they can do it anonymously. If they want to, they can just be faces in the crowd, not data streams loaded with personal information.

That’s because in real life, we have more control over who will come into our private lives, and who will learn intimate details about us. We seek out information, rather than having it jammed into our faces without context or consent. Slow, human-curated media would be a better reflection of how in-person communication works in a functioning democratic society.

But as we’ve already learned from social media, anonymous communication can degenerate quickly. What’s to stop future public spaces from becoming unregulated free-for-alls, with abuse and misinformation that are far worse than anything today?

Looking for ideas, I talked to Mikki Kendall, author of the book “Amazons, Abolitionists, and Activists.” Ms. Kendall has thought a lot about how to deal with troublemakers in online communities. In 2014, she was one of several activists on Black Twitter who noticed suspiciously inflammatory tweets from people claiming to be black feminists. To help figure out who was real and who wasn’t, she and others started tweeting out the fake account names with the tag #yourslipisshowing, created by the activist Shafiqah Hudson. In essence, the curated arena of Black Twitter acted as a check on a public attack by anonymous trolls.

Ms. Kendall believes that a similar mechanism will help people figure out fakes in the future. She predicts that social media will be supplanted by immersive 3-D worlds where the opportunities for misinformation and con artistry will be immeasurable.

“We’re going to have really intricately fake people,” she said. But there will also be ways to get at the truth behind the airbrushing and cat-ear filters. It will hinge on that low-tech practice known as meeting face to face. “You’re going to see people saying, ‘I met so-and-so,’ and that becomes your street cred,” she explained.

People who aren’t willing to meet up in person, no matter how persuasive their online personas, simply won’t be trusted. She imagines a version of what happened with #yourslipisshowing, where people who share virtual spaces will alert one another to possible fakes. If avatars are claiming to be part of a group, but nobody in that group has met them, it would be an instant warning sign.

The legacy of social media will be a world thirsty for new kinds of public experiences. To rebuild the public sphere, we’ll need to use what we’ve learned from billion-dollar social experiments like Facebook, and marginalized communities like Black Twitter. We’ll have to carve out genuinely private spaces too, curated by people we know and trust. Perhaps the one part of Facebook we’ll want to hold on to in this future will be the indispensable phrase in its drop-down menu to describe relationships: “It’s complicated.”

Public life has been irrevocably changed by social media; now it’s time for something else. We need to stop handing off responsibility for maintaining public space to corporations and algorithms — and give it back to human beings. We may need to slow down, but we’ve created democracies out of chaos before. We can do it again."]]></description>
<dc:subject>annaleenewitz internet web online future publicspace facebook twitter blacktwitter algorithms publicgood socialmedia socialnetworking facetoface f2f truth communication abuse information misinformation democracy media slow dialogue erikahall mikkikendall bias safety digital community communities consent context curation shafiqahhidson anonymity trolls trolling fakes yourslipisshowing publicsphere relationships publiclife privacy johnscalzi technology unintendedconsequences siliconvalley cmabridgeanalytica 2019 publicgoods</dc:subject>
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<item rdf:about="https://thepearlonline.com/2019/11/06/black-student-union-organizes-protest-of-soka-festival/">
    <title>Black Student Union organizes protest of Soka Festival</title>
    <dc:date>2019-11-06T22:16:17+00:00</dc:date>
    <link>https://thepearlonline.com/2019/11/06/black-student-union-organizes-protest-of-soka-festival/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[“Kristen Storms, co-founder of the Black Student Union, stood in front of a packed Fishbowl the night of November 5 to announce the BSU’s next initiative: a protest of Soka Fest. 

Recent student unrest over non-black students’ use of the n-word has brought long-held frustrations over unaddressed racism to a head. The protest targets Soka Fest, an all-campus celebration, because the student group wants to challenge the “aesthetic of Soka Fest,” said Storms, which is supposed to demonstrate school unity. The event is scheduled for Saturday. 

In a declaration issued by BSU, the union explains their reason for protesting Soka Fest: 

“Soka Festival, an annual event to celebrate SUA and more specifically the student body culture, is the further sustension of perverse, fetishized terms such as ‘diversity,’ ‘peace,’ and ‘global citizenship.’ The pain and violence upon our Black Bodies by this institution is living evidence that Soka’s foundational pursuants are false and instead perpetuate the marginalization of Black students and other students of color.” Read their full declaration, below.

“We want it to be very clear why we’re mobilizing, why we’re protesting,” Storms said. 

The protest will begin alongside the usual Soka Fest routine, starting outside the cafeteria. However, those protesting will wear black and carry posters that complete the phrase “I’m protesting Soka Fest because…” The protestors will march silently to the gym and place their poster in the bleachers where they would usually sit. 

After leaving the gym, the BSU will host an “alternative space” in the Grand Reading Room to provide further education on racism and its impact on black students and students of color. The screening will feature an episode of the TV show “Dear White People” as well as the full-length film “13th.” The screening will run from 7:30-10:30 p.m. immediately after the protest in the gym.

The screening is designed to give the Black Student Union and its allies in Students of Color Coalition a break. In the past week, both student organizations have organized several meetings to address the use of the n-word by non-black students as well as air other concerns about racism on campus. 

“We’re sick of pouring our hearts out and educating,” Storms said. 

The BSU encourages all students to participate in the protest. As they conclude in their declaration: “You are either with the BSU or against us.”

***

A Declaration of Black Humanity:
Dictated by the Trauma of SUA’s Black Student’s Bodies

By Black Student Union

The set of circumstances which predicated this declaration are a revealing of Soka’s hypocrisy, the student body who remain complicit within racial violence and oppression, and the SUA culture which sustains and thrives from the marginalization from our Black Bodies. 

We as the Black students are done with being the diversity currency of this institution.

Unlike this institution’s and many others students’ conception of “dialogue”, the BSU utilize tangible action rather than confining our humanity to the passive inaction of words.

Soka Festival, an annual event to celebrate SUA and more specifically the student body culture, is the further sustension of perverse, fetishized terms such as “diversity” , “peace”, and “global citizenship”. The pain and violence upon our Black Bodies by this institution is living evidence that Soka’s foundational pursuants are false and instead perpetuate the marginalization of Black students and other students of color.

The BSU and its allies refuse to participate in an event that celebrates the falsehoods of SUA and perpetuates trauma on our bodies on this campus.

As we are consistently denied the space to express our Black humanity at SUA, we are no longer requesting for temporary dominion over Soka “dialogue”, but are carving out the space for ourselves. We will be hosting an event during Soka Fest within the Grand Reading Room to screen films that articulate facets of the Black experience. 

Before the BSU event begins, Black students and allies will be wearing all black with signs displaying why they are not participating in Soka Fest. This march will take place during the “class marches” that occur every Soka Fest. Once arriving at the gym, we will place the signs in our respective class “sections” and then travel to the Grand Reading Room for the BSU event.

This Declaration of our Black Humanity and the process we have described for the protest is not up for debate, negotiations, or suggestions. You are either with the BSU or against us.”]]></description>
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<item rdf:about="https://www.nytimes.com/2019/08/17/opinion/sunday/cancel-culture-call-out.html">
    <title>Opinion | I’m a Black Feminist. I Think Call-Out Culture Is Toxic. - The New York Times</title>
    <dc:date>2019-08-20T23:48:05+00:00</dc:date>
    <link>https://www.nytimes.com/2019/08/17/opinion/sunday/cancel-culture-call-out.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Today’s call-out culture is so seductive, I often have to resist the overwhelming temptation to clap back at people on social media who get on my nerves. Call-outs happen when people publicly shame each other online, at the office, in classrooms or anywhere humans have beef with one another. But I believe there are better ways of doing social justice work.

Recently, someone lied about me on social media and I decided not to reply. “Never wrestle with a pig,” as George Bernard Shaw said. “You both get dirty, and besides, the pig likes it.” And one of the best ways to make a point is to ignore someone begging for attention. Thanks, Michelle Obama, for this timely lesson; most people who read her book “Becoming” probably missed that she subtly threw shade this way.

Call-outs are often louder and more vicious on the internet, amplified by the “clicktivist” culture that provides anonymity for awful behavior. Even incidents that occur in real life, like Barbeque Becky or Permit Patty, can end up as an admonitory meme on social media. Social media offers new ways to be the same old humans by virally exposing what has always been in our hearts, good or bad.

My experiences with call-outs began in the 1970s as a young black feminist activist. I sharply criticized white women for not understanding women of color. I called them out while trying to explain intersectionality and white supremacy. I rarely questioned whether the way I addressed their white privilege was actually counterproductive. They barely understood what it meant to be white women in the system of white supremacy. Was it realistic to expect them to comprehend the experiences of black women?

Fifty years ago, black activists didn’t have the internet, but rather gossip, stubbornness and youthful hubris. We believed we could change the world and that the most powerful people were afraid of us. Efforts like the F.B.I.’s COINTELPRO projects created a lot of discord. Often, the most effective activists were killed or imprisoned, but it nearly always started with discrediting them through a call-out attack.

I, too, have been called out, usually for a prejudice I had against someone, or for using insensitive language that didn’t keep up with rapidly changing conventions. That’s part of everyone’s learning curve but I still felt hurt, embarrassed and defensive. Fortunately, patient elders helped me grow through my discomfort and appreciate that context, intentions and nuances matter. Colleagues helped me understand that I experienced things through my trauma. There was a difference between what I felt was true and what were facts. This ain’t easy and it ain’t over — even as an elder now myself.

But I wonder if contemporary social movements have absorbed the most useful lessons from the past about how to hold each other accountable while doing extremely difficult and risky social justice work. Can we avoid individualizing oppression and not use the movement as our personal therapy space? Thus, even as an incest and hate crime survivor, I have to recognize that not every flirtatious man is a potential rapist, nor every racially challenged white person is a Trump supporter.

We’re a polarized country, divided by white supremacy, patriarchy, racism against immigrants and increasingly vitriolic ways to disrespect one another. Are we evolving or devolving in our ability to handle conflicts? Frankly, I expect people of all political persuasions to call me out — productively and unproductively — for my critique of this culture. It’s not a partisan issue.

The heart of the matter is, there is a much more effective way to build social justice movements. They happen in person, in real life. Of course so many brilliant and effective social justice activists know this already. “People don’t understand that organizing isn’t going online and cussing people out or going to a protest and calling something out,” Patrisse Khan-Cullors, a founder of the Black Lives Matter movement, wrote in “How We Fight White Supremacy,”

For example, when I worked to deprogram incarcerated rapists in the 1970s, I told the story of my own sexual assaults. It opened the floodgates for theirs. They were candid about having raped women, admitted having done it to men or revealed being raped themselves. As part of our work together, they formed Prisoners Against Rape, the country’s first anti-sexual assault program led by men.

I believe #MeToo survivors can more effectively address sexual abuse without resorting to the punishment and exile that mirror the prison industrial complex. Nor should we use social media to rush to judgment in a courtroom composed of clicks. If we do, we run into the paradox Audre Lorde warned us about when she said that “the master’s tools will never dismantle the master’s house.”

We can build restorative justice processes to hold the stories of the accusers and the accused, and work together to ascertain harm and achieve justice without seeing anyone as disposable people and violating their human rights or right to due process. And if feminists were able to listen to convicted rapists in the 1970s, we can seek innovative and restorative methods for accused people today. That also applies to people fighting white supremacy.

On a mountaintop in rural Tennessee in 1992, a group of women whose partners were in the Ku Klux Klan asked me to provide anti-racist training to help keep their children out of the group. All day they called me a “well-spoken colored girl” and inappropriately asked that I sing Negro spirituals. I naïvely thought at the time that all white people were way beyond those types of insulting anachronisms.

Instead of reacting, I responded. I couldn’t let my hurt feelings sabotage my agenda. I listened to how they joined the white supremacist movement. I told them how I felt when I was 8 and my best friend called me “nigger,” the first time I had heard that word. The women and I made progress. I did not receive reports about further outbreaks of racist violence from that area for my remaining years monitoring hate groups.

These types of experiences cause me to wonder whether today’s call-out culture unifies or splinters social justice work, because it’s not advancing us, either with allies or opponents. Similarly problematic is the “cancel culture,” where people attempt to expunge anyone with whom they do not perfectly agree, rather than remain focused on those who profit from discrimination and injustice.

Call-outs are justified to challenge provocateurs who deliberately hurt others, or for powerful people beyond our reach. Effectively criticizing such people is an important tactic for achieving justice. But most public shaming is horizontal and done by those who believe they have greater integrity or more sophisticated analyses. They become the self-appointed guardians of political purity.

Call-outs make people fearful of being targeted. People avoid meaningful conversations when hypervigilant perfectionists point out apparent mistakes, feeding the cannibalistic maw of the cancel culture. Shaming people for when they “woke up” presupposes rigid political standards for acceptable discourse and enlists others to pile on. Sometimes it’s just ruthless hazing.

We can change this culture. Calling-in is simply a call-out done with love. Some corrections can be made privately. Others will necessarily be public, but done with respect. It is not tone policing, protecting white fragility or covering up abuse. It helps avoid the weaponization of suffering that prevents constructive healing.

Calling-in engages in debates with words and actions of healing and restoration, and without the self-indulgence of drama. And we can make productive choices about the terms of the debate: Conflicts about coalition-building, supporting candidates or policies are a routine and desirable feature of a pluralistic democracy.

You may never meet a member of the Klan or actively teach incarcerated people, but everyone can sit down with people they don’t agree with to work toward solutions to common problems.

In 2017, as a college professor in Massachusetts, I accidentally misgendered a student of mine during a lecture. I froze in shame, expecting to be blasted. Instead, my student said, “That’s all right; I misgender myself sometimes.” We need more of this kind of grace."]]></description>
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<item rdf:about="https://sebastiangreger.net/2019/02/ux-closed-captions-for-everybody/">
    <title>The UX design case of closed captions for everyone // Sebastian Greger</title>
    <dc:date>2019-03-30T19:29:49+00:00</dc:date>
    <link>https://sebastiangreger.net/2019/02/ux-closed-captions-for-everybody/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Are video subtitles really chiefly for users who cannot hear or lack an audio device? A recent Twitter thread on “closed captions for the hearing” triggered a brief qualitative exploration and thought experiment – there may well be a growing group of users being forgotten in the design of closed captions.

Most commonly perceived as an auxiliary means for the hearing impaired, video subtitles, a.k.a. closed captions (CC), have only recently started to be  widely considered as an affordance for users in situations with no audio available/possible (think mobile devices in public settings, libraries, shared office spaces); the latter to the extend that contemporary “social media marketing guidelines” strongly recommend subtitling video clips uploaded to Facebook, Twitter et al.

So: subtitles are for those who cannot hear, or with muted devices?

Who else uses closed captions?

I’m personally a great fan of closed captions, for various reasons unrelated to either of the above, and have often noticed certain limitations in their design. Hence, the user researcher inside me just did a somersault as I randomly encountered a Twitter thread [https://twitter.com/jkottke/status/1091338252475396097 ] following Jason Kottke asking his 247.000 followers:

<blockquote>After seeing several photos my (English-speaking, non-deaf) friends have taken of their TV screens over the past week, I’m realizing that many of you watch TV with closed captions (or subtitles) on?! Is this a thing? And if so, why?</blockquote>

The 150+ replies (I guess this qualifies as a reasonable sample for a qualitative analysis of sorts?) are a wonderful example of “accessibility features” benefiting everybody (I wrote about another instance recently [https://sebastiangreger.net/2018/11/twitter-alt-texts-on-db-trains/ ]). The reasons why people watch TV with closed captions on, despite having good hearing abilities and not being constrained by having to watch muted video, are manifold and go far beyond those two most commonly anticipated use cases.

[image: Close-up image of a video with subtitles (caption: "Closed captions are used by people with good hearing and audio playback turned on. An overseen use case?")]

Even applying a rather shallow, ex-tempore categorisation exercise based on the replies on Twitter, I end up with an impressive list to start with:

• Permanent difficulties with audio content
◦ audio processing disorders
◦ short attention span (incl., but not limited to clinical conditions)
◦ hard of hearing, irrespective of age
• Temporary impairments of hearing or perception
◦ watching under the influence of alcohol
◦ noise from eating chips while watching
• Environmental/contextual factors
◦ environment noise from others in the room (or a snoring dog)
◦ distractions and multitasking (working out, child care, web browsing, working, phone calls)
• Reasons related to the media itself
◦ bad audio levels of voice vs. music
• Enabler for improved understanding
◦ easier to follow dialogue
◦ annoyance with missing dialogue
◦ avoidance of misinterpretations
◦ better appreciation of dialogue
• Better access to details
◦ able to take note of titles of songs played
◦ ability to understand song lyrics
◦ re-watching to catch missed details
• Language-related reasons
◦ strong accents
◦ fast talking, mumbling
◦ unable to understand foreign language
◦ insecurity with non-native language
• Educational goals, learning and understanding
◦ language learning
◦ literacy development for children
◦ seeing the spelling of unknown words/names
◦ easier memorability of content read (retainability)
• Social reasons
◦ courtesy to others, either in need for silence or with a need/preference for subtitles
◦ presence of pets or sleeping children
◦ avoiding social conflict over sound level or distractions (“CC = family peace”)
• Media habits
◦ ability to share screen photos with text online
• Personal preferences
◦ preference for reading
◦ acquired habit
• Limitations of technology skills
◦ lack of knowledge of how to turn them off

An attempt at designerly analysis

The reasons range from common sense to surprising, such as the examples of closed captions used to avoid family conflict or the two respondents explicitly mentioning “eating chips” as a source of disturbing noise. Motivations mentioned repeatedly refer to learning and/or understanding, but also such apparently banal reasons like not knowing how to turn them off (a usability issue?). Most importantly, though, it becomes apparent that using CC is more often than not related to choice/preference, rather than to impairment or restraints from using audio.

At the same time, it becomes very clear that not everybody likes them, especially when forced to watch with subtitles by another person. The desire/need of some may negatively affect the experience of others present. A repeat complaint that, particularly with comedy, CC can kill the jokes may also hint at the fact that subtitles and their timing could perhaps be improved by considering them as more than an accessibility aid for those who would not hear the audio? (It appears as if the scenario of audio and CC consumed simultaneously is not something considered when subtitles are created and implemented; are we looking at another case for “exclusive design”?)

And while perceived as distracting when new – this was the starting point of Kottke’s Tweet – many of the comments share the view that it becomes less obtrusive over time; people from countries where TV is not dubbed in particular are so used to it they barely notice it (“becomes second nature”). Yet, there are even such interesting behaviours like people skipping back to re-read a dialogue they only listened to at first, as well as that of skipping back to be able to pay better attention to the picture at second view (e.g. details of expression) after reading the subtitles initially.

Last but not least, it is interesting how people may even feel shame over using CC. Only a conversation like the cited Twitter thread may help them realise that it is much more common than they thought. And most importantly that it has nothing to do with a perceived stigmatisation of being “hard of hearing”.

CC as part of video content design

The phenomenon is obviously not new. Some articles on the topic suggest that it is a generational habit [https://medium.com/s/the-upgrade/why-gen-z-loves-closed-captioning-ec4e44b8d02f ] of generation Z (though Kottke’s little survey proves the contrary), or even sees [https://www.wired.com/story/closed-captions-everywhere/ ] it as paranoid and obsessive-compulsive behaviour of “postmodern completists” as facilitated by new technological possibilities. Research on the benefits of CC for language learning, on the other hand, reaches back [https://www.tandfonline.com/doi/abs/10.1080/19388078909557984 ] several decades.

No matter what – the phenomenon in itself is interesting enough to make this a theme for deeper consideration in any design project that contains video material. Because, after all, one thing is for sure: closed captions are not for those with hearing impairments or with muted devices alone – and to deliver great UX, these users should be considered as well."

[See also: https://kottke.org/19/04/why-everyone-is-watching-tv-with-closed-captioning-on-these-days ]]]></description>
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<item rdf:about="https://medium.com/s/the-upgrade/why-gen-z-loves-closed-captioning-ec4e44b8d02f">
    <title>Why Gen Z Loves Closed Captioning – The Upgrade – Medium</title>
    <dc:date>2019-03-30T19:21:23+00:00</dc:date>
    <link>https://medium.com/s/the-upgrade/why-gen-z-loves-closed-captioning-ec4e44b8d02f</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Old technology finds a surprising new application

“Everyone does it.”

These were the words from my college-aged daughter when I caught her lounging on our couch, streaming Friends with 24-point closed captioning on. She has no hearing impairment, and I wanted to know what she was up to.

Does “everyone” do it? My wife and I turned to Facebook and a private, nationwide group for parents with near-adult children. “Anyone else’s college student (without a hearing disability) watch TV with the closed captioning on and insist that everyone does it?” my wife posted. Seven hundred responses (and counting) later, we had our answer.

“It helps me with my ADHD: I can focus on the words, I catch things I missed, and I never have to go back.”
Many parents expressed similar confusion with the TV-watching habits of their millennial and Gen Z children, often followed with, “I thought it was just us.”

I returned to my daughter, who had now switched to the creepy Lifetime import You.

“Why do you have captions on?” I asked.

“It helps me with my ADHD: I can focus on the words, I catch things I missed, and I never have to go back,” she replied. “And I can text while I watch.”

My multitasking daughter used to watch TV while working on her laptop and texting or FaceTiming on her phone. She kept rewinding the DVR to catch the last few minutes she’d missed because she either zoned out or was distracted by another screen.

Her response turned out to be even more insightful than I realized at first. A number of mental health experts I spoke with — and even one study I found — supported the notion that watching with closed captioning serves a valuable role for those who struggle with focus and listening.

“I do see this a lot in my practice,” said Dr. Andrew Kent, an adolescent psychiatrist practicing in New York and Medical Director of New York START, Long Island. “I believe auditory processing is more easily impacted upon by distractions, and that they need to read [captions] to stay focused.”

Closed captioning is a relatively recent development in the history of broadcasting, and it was designed with the hearing impaired in mind. According to a useful history on the National Captioning Institute’s (NCI) website, the technology dates back to the early 1970s, when Julia Child’s The French Chef “made history as the first television program accessible to deaf and hard-of-hearing viewers.” Real-time captioning arrived later, with stenographers typing at a blazing 250 words-per-minute to keep up with live news and sporting events.

They use captions to focus more intently on the content.
If it wasn’t for the Twenty-First Century Communications and Video Accessibility Act of 2010 and additional rules adopted by the FCC in 2012, it’s unlikely my daughter’s IP-based Netflix streaming content would even have closed captioning options today.

While the NCI doesn’t explicitly acknowledge the growing use of closed captioning by those without hearing impairments, it does note that “closed captioning has grown from an experimental service intended only for people who are deaf to a truly global communications service that touches the lives of millions of people every day in vital ways.”

It’s certainly not just a phenomenon for young people. There are many people my age who admit to using them because they have some middle-aged hearing loss or simply need help understanding what the characters on Luther or Peaky Blinders are saying. They use captions to focus more intently on the content.

The need to read captions for what you can hear might even have a biological base. According to Dr. Sudeepta Varma, a psychiatrist at New York University’s Langone Medical Center, some people may have trouble processing the audio from television.

“I believe that there are a number of individuals who have ADHD who may also suffer from undiagnosed auditory processing disorder (APD), and for these individuals… this may be very helpful,” Dr. Varma told me via email. Closed captioning can provide the visual cues that APD sufferers need to overcome their issues with listening and comprehension, she added.

APD refers to how the brain processes auditory information, and though it supposedly only affects around 5 percent of school-age children, there’s reportedly been a significant uptick in overall awareness. As Dr. Varma pointed out, there may be a lot of people who don’t realize they have APD, but are aware of some of the symptoms, which include being bothered by loud noises, difficulty focusing in loud environments, and forgetfulness.

There may be applications in the classroom, too. In a 2015 study of 2,800 college-age students on the impact of closed captioning on video learning, 75 percent of respondents mentioned that they struggle with paying attention in class. “The most common reasons students used captions… was to help them focus,” Dr. Katie Linder, the research director at Oregon State University who led the study, told me.

And even four years ago, there were hints that the use of closed captioning as a focusing tool would bleed outside the classroom.

As a report on the study put it, “Several people in this study also mentioned that they use captions all the time, not just for their learning experience. Captions with Netflix was mentioned multiple times. So, we know that students are engaging with them outside of the classroom.”

When the NCI first co-developed closed captioning technology some 50 years ago, they called it “words worth watching,” and it did transform millions of lives. Today, we may be witnessing — or reading — a similar revolution."]]></description>
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<item rdf:about="https://www.tcpress.com/just-research-9780807758731">
    <title>Just Research in Contentious Times 9780807758731 | Teachers College Press</title>
    <dc:date>2018-11-29T03:48:39+00:00</dc:date>
    <link>https://www.tcpress.com/just-research-9780807758731</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["In this intensely powerful and personal new text, Michelle Fine widens the methodological imagination for students, educators, scholars, and researchers interested in crafting research with communities. Fine shares her struggles over the course of 30 years to translate research into policy and practice that can enhance the human condition and create a more just world. Animated by the presence of W.E.B. DuBois, Gloria Anzaldúa, Maxine Greene, and Audre Lorde, the book examines a wide array of critical participatory action research (PAR) projects involving school pushouts, Muslim American youth, queer youth of color, women in prison, and children navigating under-resourced schools. Throughout, Fine assists readers as they consider sensitive decisions about epistemology, ethics, politics, and methods; critical approaches to analysis and interpretation; and participatory strategies for policy development and organizing. Just Research in Contentious Times is an invaluable guide for creating successful participatory action research projects in times of inequity and uncertainty.

Book Features:

• Reviews the theoretical and historical foundations of critical participatory research.
• Addresses why, how, with whom, and for whom research is designed.
• Offers case studies of critical PAR projects with youth of color, Muslim American youth, indigenous and refugee activists, and LGBTQ youth of color.
• Integrates critical race, feminist, postcolonial, and queer studies."]]></description>
<dc:subject>michellefine toread webdubois gloriaanzaldúa maxinegreene audrelorde participatory research paricipatoryactionresearch justice methodology queer postcolonialism objectivity subjectivity strongobjectivity ethics politics methods education feminism philosophy situated uncertainty inequality inequit dialogue criticalparticipatoryactionresearch inquiry distance bias epispemology gloriaanzaldua</dc:subject>
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<item rdf:about="https://twitter.com/cblack__/status/1053692745800269824">
    <title>Carol Black on Twitter: &quot;I'm sorry, but this is delusional. If you don't read the book the first time for rhythm and flow, just *read* it, you haven't read the book. You have dissected it. This is like the vivisection of literature. There is no author ali</title>
    <dc:date>2018-10-21T02:58:14+00:00</dc:date>
    <link>https://twitter.com/cblack__/status/1053692745800269824</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["I'm sorry, but this is delusional. If you don't read the book the first time for rhythm and flow, just *read* it, you haven't read the book. You have dissected it. This is like the vivisection of literature. There is no author alive who would want their book read this way."

…

"Look, the reality is that most people do not want to analyze literature. It's a specialty interest, a niche thing. There is absolutely no reason all people should have to do this. By forcing it we just create an aversion to books.

[@SOLEatHome "Would you consider someone re-reading a book they love and noticing things they missed the first time analysis? It at least fits what has come to be known as "close reading""]

Kids who become writers (or filmmakers, or musicians) re-read, re-watch, re-listen to their favorite things repetitively, obsessively. They internalize structure, rhythm, characterization, language, vocabulary, dialogue, intuitively, instinctively.

Close reading & analysis is a separate activity, it requires a whole different stance / attitude toward the book. It can enhance this deeper intuitive understanding or it can shut it down, turn it into something mechanical & disengaged.

I think it's a huge mistake to push this analytical stance on children when they are too young. I was an English major, & I don't think I benefited from it until college. Younger kids  should just find things they love & process them in ways that make sense to them.

This is one of the many delusional things about the way literature is taught in HS. The reality is you have to read a book at the *bare minimum* twice in order to do meaningful analysis. But there is never time for this. So we just club the thing to death on the first reading.

One of the principal things a writer does is to work incredibly hard at refining the way one sentence flows into the next, one chapter springboards off the last. To experience this as a reader you have to immerse yourself, turn off the analytical brain, just *read* the damn book.

To insert analysis into this process on a first reading is like watching a film by pausing every couple of minutes to make notes before continuing. It's fine to do that in later study, but if you do it the first time through you've destroyed everything the filmmaker worked for."

[@irasocol: How a teacher destroys not just reading but culture. Can we let kids experience an author's work without dissection? How I tried to address this in 2012... http://speedchange.blogspot.com/2012/11/why-do-we-read-why-do-we-write.html "]

…

[This was in repsonse to a thread that began with:
https://twitter.com/SOLEatHome/status/1053338882496958465

"This thread details a real school assignment that was asked of a high school student to do while reading a book they hadn't read before. I assure you this is is not something isolated to one school:

Annotate.

Inside front cover: major character with space for...

...character summaries, page reference for key scenes or moments of character development. Evidently these are enormous books.

Inside Back Cover: list of themes, allusions, images, motifs, key scenes, plot line, epiphanies, etc. Add pg. references or notes. List vocab words...

...if there's still room. (big books or small writing?)

Start of each chapter: do a quick summary of the chapter. Title each chapter as soon as you finish it, esp. if the chapters don't have titles.

Top margins: plot notes/words phrases that summarize. Then go back...

...and mark the chapter carefully (more on these marks to come)

Bottom and side margins: interpretive notes, questions, remarks that refer to the meaning of the page (???). Notes to tie in w/ notes on inside back cover

Header: Interpretive notes and symbols to be used...

...underline or highlight key words, phrases, sentences that are important to understanding the work
questions/comments in the margins--your conversation with the text
bracket important ideas/passages
use vertical lines at the margin to emphasize what's been already marked...

...connect ideas with lines or arrows
use numbers in the margin to indicate the sequence of points the author makes in developing a single argument
use a star, asterisk, or other doo-dad at the margin--use a consistent symbol--(presumably to not mix up your doo-dads?) to...

...be used sparingly to emphasize the ten or twenty most important statements in the book.
Use ???for sections/ideas you don't understand
circle words you don't know. Define them in the margins (How many margins does a page have?)
A checkmark means "I understand"...

...use !!! when you come across something new, interesting or surprising
And other literary devices (see below)

You may want to mark:
Use and S for Symbols: a symbol is a literal thing that stands for something else which help to discover new layers of thinking...

Use an I for Imagery, which includes words that appeal to the five senses. Imagery is important for understanding an authors message and attitudes
Use an F for Figurative Language like similes, metaphors, etc., which often reveal deeper layers of meaning...

Use a T for Tone, which is the overall mood of the piece. Tone can carry as much meaning as the plot does.
Use a Th for Theme: timeless universal ideas or a message about life, society, etc.
Plot elements (setting, mood, conflict)
Diction (word choice)

The end. ::sighs::"]]]></description>
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<item rdf:about="https://www.villagevoice.com/2018/02/16/metrograph-celebrates-the-inventive-truth-telling-of-st-clair-bourne/">
    <title>Metrograph Celebrates the Inventive Truth-Telling of St. Clair Bourne | Village Voice</title>
    <dc:date>2018-02-19T06:17:04+00:00</dc:date>
    <link>https://www.villagevoice.com/2018/02/16/metrograph-celebrates-the-inventive-truth-telling-of-st-clair-bourne/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Let the Church is so free of form and spirit that, presented without context, it could easily be seen as a fictional piece. It is not clear how much the scenes are staged, or, indeed, whether they are staged at all. Right from the first interaction, in which what seems to be a religious teacher laboriously explains the purpose of a sermon, there is a distance with the people filmed (broken on occasion by extreme zooming and direct address), as well as a writtenness and theatricality in the dialogue that can be delightfully confusing. What one learns while watching Bourne is that there are many ways to enter a subject, and one mustn’t refrain from exploring them, especially not in the name of nonfiction convention."

…

"Bourne conveys the collective through the individual: What do these voices reveal of the state of mind of the subject, and how do they mirror that of an entire community?"

…

"There are individuals who have been burdened with what Frantz Fanon has described, in Black Skin White Masks, as the “colossal task to make an inventory of the real.” Fanon was of course one of them, and so was Bourne.

The task is even more herculean when the reality has been so intensely erased and distorted, including by the very medium in which Bourne decided to express himself. Hence the extreme sensitivity and curiosity that animates his body of work, which belongs — right next to the early literature of enslaved Africans, the films of Oscar Micheaux, the novels and essays of Toni Morrison, James Baldwin, and Zora Neale Hurston — on the shelves of every Black family, its images ornating the minds and memories of every Black child. Much like the Martinican psychiatrist did with philosophy, poetry, and psychoanalysis, St. Clair Bourne utilized the tools of television and cinema to uncover the multitudinous facts of Blackness — and to send his people many love letters."]]></description>
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<item rdf:about="http://www.seanmichaelmorris.com/and-so-i-am-grateful-too/">
    <title>And so I am grateful too</title>
    <dc:date>2018-01-01T20:04:50+00:00</dc:date>
    <link>http://www.seanmichaelmorris.com/and-so-i-am-grateful-too/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["In return for believing in me, I offer belief in others. This is my currency, my economy: trust and belief. I said once about my role as managing editor at Hybrid Pedagogy that “I prowl the gates of this journal, I do—but to keep them open, not closed; to invite in rather than keep out.” But this is not work restricted to that of a journal editor: it is work we can all do in whatever role we occupy. It is the work of teachers, scholars, administrators, provosts, executive directors, instructional designers, technologists, writers, and more. For myself, I will always keep an eye open for new voices, voices that education and academia might not take seriously for whatever reason, I will listen carefully to what they have to say and I will offer them whatever platform I may.

In part, this means not speaking. Not writing Twitter threads. Not occupying any stage alone. The work others have done to give me opportunities must turn into work I can do to give others opportunities. I can be silent and listen. I can retweet. Hold the door so someone else might walk through, just as the door was held for me. And I hope, in my silence, I inspire silence in those who have the privilege—the leaders of the critical pedagogy and digital pedagogy conversation—to make way for other leaders. Because that is leadership in critical pedagogy.

Because critical pedagogy, digital pedagogy, #digped—none of these is our community. Increasingly, I recognize that there is no “us” when “us” means “our.” Should we find ourselves saying that someone is a good fit for our community, we are also saying that someone else is not. Some have seen me as a poor fit for their communities; and so how could I turn around and guard the gate in that fashion? Generosity of spirit, generosity of dialogue, generosity of justice, cannot be exclusive.

In the end, our only legacy will be the people we have loved, the voices we have amplified, the kindnesses we have offered and which echo out ongoingly. A published paper will be forgotten. A hashtag will disappear even more readily. A MOOC, a community, a conference… These all have end points when they disappear or disintegrate. But if in that published paper we cite a student or an adjunct; if across that hashtag we promote lovingkindness and encourage people to speak and listen; if in that MOOC, that community, or at that conference, we meet humans where they are and give them whatever doorways to discovery we can build—then something sustainable, something lasting might come of it.

If I have a wish for the new year, it is not for my life to improve. It is that, through whatever power I have, I might improve the lives of others. This is what Digital Pedagogy Lab is for. This is why I write. This is why I teach. My voice pales in comparison to the cacophony of voices waiting to be heard. I want to hear them. And I believe we all will be better off if we let that cacophony rise."]]></description>
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<item rdf:about="https://www.viewpointmag.com/2017/12/21/movement-pedagogy-beyond-class-identity-impasse/">
    <title>Movement Pedagogy: Beyond the Class/Identity Impasse - Viewpoint Magazine</title>
    <dc:date>2017-12-31T05:04:26+00:00</dc:date>
    <link>https://www.viewpointmag.com/2017/12/21/movement-pedagogy-beyond-class-identity-impasse/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Ellsworth had studied critical pedagogy carefully and incorporated it into her course, which she called Curriculum and Instruction 607: Media and Anti-racist Pedagogies. She describes the diverse group of students it drew, including “Asian American, Chicano/a, Jewish, Puerto Rican, and Anglo European men and women from the United States, and Asian, African, Icelandic, and Canadian international students.” This diverse context seemed ideal for engaging in critical pedagogy. And yet, problems arose as soon as the class began.

When invited to speak about injustices they had experienced and witnessed on campus, students struggled to communicate clearly about racism. They had a hard time speaking and listening to one another about the main subject of the course. Rather than dialogue providing grounds for solidarity, “the defiant speech of students and professor…constituted fundamental challenges to and rejections of the voices of some classmates and often the professor.” Ellsworth began to question the limitations of an approach to dialogue that assumes “all members have equal opportunity to speak, all members respect other members’ rights to speak and feel safe to speak, and all ideas are tolerated and subjected to rational critical assessment against fundamental judgments and moral principles.” These assumptions were not bearing out in her classroom due to the vastly different histories, experiences, and perspectives of those in the room.

There was difficulty, pain, and deadlock in communicating about the social structure of the university, a deadlock that fell along classed, racial, gendered and national lines. Like a broken window, fissures between the experiences and perspectives of Ellsworth and her students formed cracks, which then caused more cracks, until no one could see each other clearly.

Contrary to critical pedagogy’s promise of liberation through dialogue, Ellsworth’s classroom was filled with uncomfortable silences, confusions, and stalemates caused by the fragmentation. The students and professor could not achieve their stated goal of understanding institutional racism and stopping its business-as-usual at the university. She recalls that

<blockquote>[t]hings were not being said for a number of reasons. These included fear of being misunderstood and/or disclosing too much and becoming too vulnerable; memories of bad experiences in other contexts of speaking out; resentment that other oppressions (sexism, heterosexism, fat oppression, classism, anti-Semitism) were being marginalized in the name of addressing racism – and guilt for feeling such resentment; confusion about levels of trust and commitment about those who were allies to one another’s group struggles; resentment by some students of color for feeling that they were expected to disclose more and once again take the burden of doing pedagogic work of educating White students/professor about the consequences of White middle class privilege; resentment by White students for feeling that they had to prove they were not the enemy.</blockquote>

The class seemed to be reproducing the very oppressive conditions it sought to challenge. As they reflected on these obstacles, Ellsworth and her students decided to alter the terms of their engagement. They replaced the universalism of critical pedagogy, in which students were imagined to all enter dialogue from similar locations, with a situated pedagogy that foregrounded the challenge of working collectively from their vastly different positions. This shift completely altered the tactics in the course. Rather than performing the teacher role as an emancipatory expert presumed able to create a universal critical consciousness through dialogue, Ellsworth became a counselor, helping to organize field trips, potlucks, and collaborations between students and movement groups around campus. These activities helped to build relations of trust and mutual support without presuming that all students entered the classroom from the same position. Rather than holding class together in a traditional way, Ellsworth met with students one on one, discussing particular experiences, histories, and feelings with them, talking through these new activities.

As trust began to form out of the morass of division, students created affinity groups based on shared experiences and analyses. The groups met outside of class to prepare for in-class meetings, which “provided some participants with safer home bases from which they gained support…and a language for entering the larger classroom interactions each week.” The affinity groups were a paradigm shift. The class went from a collection of atomized individuals to a network of shared and unshared experiences working in unison. Ellsworth writes that, “once we acknowledged the existence, necessity, and value of these affinity groups we began to see our task as…building a coalition among multiple, shifting, intersecting, and sometimes contradictory groups carrying unequal weights of legitimacy within the culture of the classroom. Halfway through the semester, students renamed the class Coalition 607.” Ellsworth describes this move from fragmentation to coalition as coming together based on what the group did not share, rather than what they did share. Ultimately the class generated proposals for direct action to confront structural inequalities at the university.

Why doesn’t this feel empowering?

In 1989, Ellsworth published her now-famous article reflecting on the Coalition 607 experience. Provocatively entitled, “Why Doesn’t This Feel Empowering? Working through the Repressive Myths of Critical Pedagogy,” she used her experiences in this course to critique what she saw as a universalist model of voice, dialogue and liberation embedded within the assumptions of critical pedagogy. At the heart of this problem was a failure to recognize the fact that students do not all enter into dialogue on equal terrain. Instead, the social context of the classroom – like any other – is shaped by the very unequal histories and structures that critical pedagogy seeks to address. Thus, the idea that Ellsworth and her students might set aside their differences in order to tackle institutional racism on campus proved naive, and even harmful. Instead, it was through a pedagogical shift to coalition that they were ultimately able to build collective action. These actions were rooted not in claims of universality, but in a commitment to building solidarity across structural divisions.

Ellsworth’s story offers useful lessons for contemporary movement debates – debates that are often framed around an apparent dichotomy of class universalism versus identity politics. The question, “why doesn’t this feel empowering?” gestures toward the subtle (and not-so-subtle) processes of exclusion that occur within many movement spaces, where the seemingly neutral terms of debate obscure the specific perspectives that guide our agendas, strategies, and discussions. As Peter Frase notes, “appeals to class as the universal identity too often mask an attempt to universalize a particular identity, and exclude others.” Yet, Ellsworth and her students did not simply retreat into separate corners when these divisions flared; instead, they rethought the terms of their engagement in order to develop strategies for working together across difference. It was by thinking pedagogically about organizing that Ellsworth and her students arrived at a strategy of coalition."

…

"Ellsworth’s coalition – what we call thinking pedagogically about organizing – is an example of how to get to the imagined relation that dissolves the alleged impasse between class struggle and identity politics: thinking pedagogically creates an ideology of coalition rather than an ideology of impasse.

We can apply this insight from classrooms to activist spaces by examining a recent proposal adopted by the Democratic Socialists of America. At the national convention in August 2017, DSA members debated a controversial resolution calling for a rigorous program of organizer trainings. “Resolution #28: National Training Strategy” proposed to train “some 300 DSA members every month for 15 months” with the goal of ultimately producing “a core of 200 highly experienced trainers and 5,000 well trained leaders and organizers to carry forward DSA’s work in 2018 and beyond.” The proposal asked delegates to devote a significant amount of DSA’s national funds ($190,000) toward creating this nationwide activist training program, which includes modules on Socialist Organizing and Social Movements and Political Education.

The resolution emerged from a plank of the Praxis slate of candidates for the National Political Committee. On their website, the slate described this “National Training Strategy” in detail, emphasizing the importance of teaching and learning a “wide array of organizing skills and tactics so members develop the skills to pursue their own politics” (emphasis in original). Noting that “Poor and working people – particularly people of color – are often treated as external objects of organizing,” this educational strategy explicitly sought to use positionality as a strength. They elaborate: “If DSA is serious about building the power of working people of whatever race, gender, citizen status or region, we must re-build the spine of the Left to be both strong and flexible.” Aware that DSA members would be coming from a variety of positions, the slate made education a central plank of their platform. Members pursuing “their own politics” based on their precise structural location would create a flexible and strong spine for left politics. They write: “It’s not just the analysis, but also the methods of organizing that we pursue which create the trust, the self-knowledge, and the solidarity to make durable change in our world.”

While we can’t know for sure how the training strategy will work out, we highlight the resolution as an example of pedagogical thinking in the terms we have set out here.

To be clear, this is not simply because of the focus on political education, but because it advances an approach to movement building that explicitly tackles the challenge of working together across difference in relations of activism. The training strategy is national, encompassing the entire country, yet it is structured to provide tools for activists working from vastly different structural locations.1 This is an ideology of coalition, naming specific social categories and taking seriously how they intersect to create difference in social structure. Working from this perspective, the ideology of impasse outlined at the beginning of this essay – one that pits class struggle against identity politics – makes no sense. The impasse dissolves."

…

"Thinking pedagogically therefore might fill a gap for the theory of articulation: the problem of how articulation happens. Pedagogy provides a mechanism for this process. Pedagogy articulates. In the case of building coalition among differently positioned groups of people, pedagogy is the concrete function of articulation: what really ends up happening when someone or some group articulates. Take a group of people who want to end racism on campus, like in the Ellsworth example. This shared desire alone isn’t sufficient for building relations of activism that will end racism. Something else has to happen. That something else is pedagogy, which articulates their different positions in such a way as to get them – at that time in that place – to collective action. The DSA Praxis slate had this notion, but instead of a university classroom, they used it to think about the DSA and US left in its current configuration. In each case, pedagogy facilitates unity in differences that can result in collective action, without being held hostage by the difference itself.

Ultimately, our proposal is a theory of movement pedagogy as articulation, yielding a coalition between the universal and the particular. This coalition praxis demands a pedagogy that articulates the fragments of difference towards collectives that can take power and make gains for our communities.

Whereas universalism constructs flattening generalities and identity deconstructs wholes into fragmented histories and experiences, we propose a rearticulation process: acknowledge differences, permit fragments to break apart, and then work with the pieces to build a collective aiming at liberatory change. Universalism and identity can work together as concepts – since they do in reality.

As a coda, consider the effects of impasse. Isaac Gottesman, in his recent historical account of the critical turn in education, traces the responses to Ellsworth’s article in the critical pedagogy literature. What he found were reactions that – strongly worded and lengthy as they were – never responded to Ellsworth’s claims seriously, on their own terms. The consequences of this specific standstill in educational theory were esoteric: feminist and poststructural research on pedagogy flourished, and critical pedagogy continued more or less as it had been. The division largely remains in place today.

The stakes for our historical moment are much greater. The standstill that emerges when class universalist positions refuse to recognize the importance of radical identity politics will have consequences for the left, particularly in the United States. If we want to mobilize a broad base to fight in the struggles of this new moment, our organizing strategies and movement spaces must attend to these differences. Universality and identity need each other for organizing, and Ellsworth’s method shows us how to put that coalition into practice."]]></description>
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<item rdf:about="http://digitallearning.middcreate.net/instructional-design/saying-no-to-best-practices/">
    <title>Saying ‘No’ to Best Practices – OFFICE OF DIGITAL LEARNING</title>
    <dc:date>2017-06-19T20:15:11+00:00</dc:date>
    <link>http://digitallearning.middcreate.net/instructional-design/saying-no-to-best-practices/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The worst best practice is to adhere to, or go searching for, best practices. I have been in countless rooms with teachers, technologists, instructional designers, and administrators calling for recommendations or a list of tools they should use, strategies that work, practices that cannot fail to produce results in the classroom. But digital tools, strategies, and best practices are a red herring in digital learning. Learning always starts with people. Instead of asking “What tool will we need?” ask “What behaviors will need to be in place?”

I emphasize and encourage a critical digital pedagogy—an approach to learning that grows from the work of writers and teachers like bell hooks and Paulo Freire, and that recognizes that in today’s world all learning is hybrid. But that approach never starts with the digital. It starts with the human. And I find that the most effective application of Critical Digital Pedagogy arises from a place of kindness, trust, and belief in students. With student (and teacher) agency as its aim, Critical Digital Pedagogy asks its practitioners to always, first and foremost, acknowledge that we are all in this room together—whether that room is a classroom or the whole wide web—and to act accordingly.

At a teaching workshop I was facilitating recently, I was pressed to offer a list of best practices. This is what I came up with. I offer these 10 best practices with what should seem like an obvious caveat. No best practices should ever go untested. I personally have tested each of these, but because learning and teaching are not homogenous experiences for everyone, I don’t encourage anyone to follow a best practice that doesn’t suit them.

Sean’s 10 Best Practices

Be yourself

While working with a group at the University of Delaware, I spoke to a graduate teacher whose upbringing in a Southern Baptist tradition sometimes leads her to present in her “preaching voice.” This is an authentic voice, and one that she’s very comfortable using; however, other teachers joke about it, or malign this aspect of her embodiment as un-academic. In digital spaces, she edits herself, creating a teacherly presence much more normative, almost unidentifiable as her.

In digital spaces, we tend to adopt mannerisms and a personality that are not entirely true to who we are. Be suspect of that, and watchful for it. In a classroom, we may perform ourselves in certain ways, but we are fallible, unedited, and vulnerable. These qualities make us better teachers. Don’t be afraid to be who you are in a digital environment as much as you are in your classroom.

Create trust / Be trusting

Jesse Stommel, Executive Director of the Division of Teaching and Learning Technologies at the University of Mary Washington says,

<blockquote>Learning is always a risk. It means, quite literally, opening ourselves to new ideas, new ways of thinking. It means challenging ourselves to engage the world differently. It means taking a leap, which is always done better from a sturdy foundation. This foundation depends on trust — trust that the ground will not give way beneath us, trust for teachers, and trust for our fellow learners in a learning community.</blockquote>

Critical pedagogy assumes that students want and are motivated to learn. Only about 75% of teachers I’ve talked to feel this way. We need to change that for ourselves. Teaching is not only more effective when we trust students to learn (which I distinguish from following instructions or passing a test), but it’s also more fun, more satisfying, and less exhausting.

Grade less / Grade differently

Peter Elbow writes, “Grading tends to undermine the climate for teaching and learning. Once we start grading their work, students are tempted to study or work for the grade rather than for learning.” We all know this is true. Working for a grade undermines not only a lifelong attitude toward learning, but also student agency. A critical pedagogy asks us to reconsider grading entirely; and if we can’t abandon it whole-hog, then we must revise how and why we grade. Consider allowing students to grade themselves. Offer personal feedback on work instead of a letter, number, or percentage. There are lots of options to evaluating work without artificial markers.

Question deadlines

When pressed, most teachers have told me that they enforce deadlines because students will need to meet deadlines in the “real world.” There are no students in higher education who got there without meeting deadlines. Education need not be militaristic about deadlines. Ideas and creation are more important than timeliness. I wrote, in my post called “Late Work,”

We are put in the most unique spot of coaching learners into a world of knowledge. What we need to remember is that their world of knowledge may not align perfectly with our own, their process may not fit our schedules, their ideas may not synch with our own.

Think about what you are actually teaching and question whether you need deadlines, whether students need deadlines, and whether either of you benefit from them.

Collaborate with students

Learners are pedagogues in their own right. Chris Friend, Director of the Hybrid Pedagogy journal, writes:

<blockquote>If we give students the freedom to choose their own path, they might choose poorly or make mistakes on our watch. But we must be willing to allow them the challenge of this authority, the dignity of this risk, and the opportunity to err and learn from their mistakes. They learn and gain expertise through experimentation.</blockquote>

If pedagogy is the sole purview of the instructor in the room, students are asked to follow along a path predetermined by that instructor’s best (we hope) intentions. However, because students bring different levels of expertise to any material or discussion—and because their lives, identities, and intersectionality inform their learning—students should be as involved in their own learning as possible. From syllabus creation to grading, building rubric and assignments to self-assessment. As Daniel Ginsberg writes, “my students are the most central members of the community in which I learn critical pedagogy.”

Inspire dialogue

Very little can be accomplished through direct instruction. Bloom’s Taxonomy makes a show of positioning knowledge-level learning as the foundation of any learning experience. But learning is more chaotic, messier, and more confounding than taxonomies provide for. In “Beyond Rigor,” Jesse Stommel, Pete Rorabaugh, and I argue that:

<blockquote>Intellectually rigorous work lives, thrives, and teems proudly outside conventional notions of academic rigor. Although institutions of higher education only recognize rigor when it mimics mastery of content, when it creates a hierarchy of expertise, when it maps clearly to pre-determined outcomes, there are works of exception — multimodal, collaborative, and playful — that push the boundaries of disciplinary allegiances, and don’t always wear their brains on their sleeves, so to speak.</blockquote>

Simply put, learning happens outside the lines. It’s perfectly acceptable for instructors to provide lines, but whenever we do so, we must just as diligently encourage learners to leave those lines—to question, to redraw, to imagine, to refuse, to explore. When we do this, we inspire dialogue, not just between students, but between ourselves and students, between ideas, between the act of learning and the act of instruction themselves.

Be quiet

Generally speaking, teachers fear dead air. Silence in the classroom, or few to no responses on a discussion forum, can stir all kinds of thoughts and emotions—from “they’re not getting it” to “I’ve done something wrong” to “they’re bored,” and worse. But in truth, thoughtfulness and thoroughness takes time.

Janine DeBaise writes that: “Every student has something valuable to teach the rest of us. I’ve made that assumption for over thirty years now, and so far, I’ve never been proven wrong.” If at the core of critical pedagogy we believe that learners are their own best teachers—and if we have spent any time at all as teachers ourselves preparing lesson plans and discussions—then we can acknowledge that teaching takes time.

Filling silence may come out of a desperation to keep the class moving and to ensure that all ideas are understood, but it also reinforces the teacher’s voice as primary. When we are silent, we can hear what students have to say (even when they’re not saying it), and listen for the swell of understanding as it builds.

Be honest and transparent about pedagogy

Teaching isn’t magic. In fact, there are very good reasons for teachers to reveal their “tricks” to learners. I have, numerous times, sat on the desk at the front of the classroom and called attention to how that’s different to standing behind a podium, sitting in a circle with the class, or lecturing from notes. Not to qualify one over the other, but to reveal something about the performativity of learning and teaching.

Similarly, we should invite students into a discussion about the syllabus, the 15- or 10-week structure of a course, the usefulness or uselessness of grades, etc. Kris Shaffer, in “An Open Letter to My Students,” brings students in close to his teaching process:

<blockquote>I am not perfect. Nor are any of your other professors. We are experts in the fields we teach, and some of us are experts in the art of teaching. However, we make mistakes … and each pass through the material brings new students with different experiences, backgrounds, skills, sensitivities, prejudices, loves, career goals, life goals, financial situations, etc. There is no one way — often not even a best way — to teach a topic to a student.</blockquote>

There is power in secrecy, as any magician knows. But for a collaborative, critical pedagogy to work, that power must be shared.

Keep expectations clear

In digital learning, instructions are vital. If we haven’t adequately prepared a learner to navigate whatever cockamamie educational technology we’re employing, then we’re setting that learner up to fail. And this applies more broadly to teaching in general. If we don’t make very clear what hopes we have for students, we lay the foundation for misunderstanding, distrust, angst, and combativeness in a classroom.

However, this does not mean we need to parse in clear terms our learning objectives for a course. Adam Heidebrink-Bruno writes, about the syllabus as a container of our expectations,

<blockquote>The problem with the form arises when we share this information without its cultural and historical contexts. The content appears isolated and meaningless. And while an educator may quickly jot down that “participation is worth 20% of your grade” or “office hours by request,” it is a wholly different experience to consider this rhetoric in relation to its implied ideologies.</blockquote>

In fact, learning objectives are a red herring when it comes to keeping expectations clear. We should think about expectations in terms of the community we are forming in a class; but we also need to be very honest about the ways a student might run aground of our own silent standards.

Be open to change

Thomas P. Kasulis wrote that “A class is a process, an independent organism with its own goals and dynamics. It is always something more than even the most imaginative lesson plan can predict.” Most teachers have had the experience of a class going “off the rails” at one time or another. In some cases, we struggle to get students back on course, back in line; but in other cases, we follow the lead of a tangent or derailment to a surprising, revelatory end.

And this is the most troubling side of best practices: they rarely allow for an improvisational approach, a “yes, and” methodology. Amy Collier and Jen Ross have written about the idea of not-yetness, a theory antithetical to evidence-based teaching. In “What about Qualitative Research in the ‘New Data Science of Learning‘?”, Amy offers:

<blockquote>Maggie Maclure calls the push for evidence-based education “animated by the desire for certainty, willing to sacrifice complexity and diversity for ‘harder’ evidence and the global tournament of standards.” The push for “harder evidence” often pushes out the kinds of learning and evidence that come from post-structural, phenomenological, and critical approaches.</blockquote>

The problem with the evidence-based approach, Amy goes on to say, is that it can’t account for learning that might be tied to a person’s identity, to the intersectional way in which they approach the material. In fact, the goal of best practices that come out of randomized controlled experiments is efficiency, not learning… not dialogue, not trust, and not collaboration. If we’re going to enact any best practices, they should be unattached to outcomes, deeply seated in our interest in students, and wholly malleable."]]></description>
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<item rdf:about="http://polygraph.cool/films/index.html">
    <title>The Largest Ever Analysis of Dialogue by Gender: 2,000 scripts, 25,000 actors, 4 million lines</title>
    <dc:date>2016-04-07T22:59:02+00:00</dc:date>
    <link>http://polygraph.cool/films/index.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Lately, Hollywood has been taking so much shit for rampant sexism and racism. The prevailing theme: white men dominate movie roles.

But it’s all rhetoric and no data, which gets us nowhere in terms of having an informed discussion. How many movies are actually about men? What changes by genre, era, or box-office revenue? What circumstances generate more diversity?

To begin answering these questions, we semi-illegally obtained 8,000 screenplays and matched each character’s lines to an actor. From there, we compiled the number of lines for male and female characters across roughly 2,000 films, arguably the largest undertaking of script analysis, ever.

Let’s begin by breaking down dialogue, by gender, for just Disney films."]]></description>
<dc:subject>film gender dialogue hollywood sexism age ageism 2016 data</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
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<item rdf:about="http://gawker.com/on-smarm-1476594977">
    <title>On Smarm</title>
    <dc:date>2013-12-05T22:03:04+00:00</dc:date>
    <link>http://gawker.com/on-smarm-1476594977</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["It is also no accident that David Eggers is full of shit."

"Smarm should be understood as a type of bullshit, then. It is a kind of moral and ethical misdirection."

"The old systems of prestige are rickety and insecure. Everyone has a publishing platform and no one has a career."

"What carries contemporary American political campaigns along is a thick flow of opaque smarm."

"Romney clambered up to a new higher ground, deploring the divisiveness of dwelling on his divisiveness."

"Through smarm, the "centrists" have cut themselves off from the language of actual dispute. In smarm is power."

"A civilization that speaks in smarm is a civilization that has lost its ability to talk about purposes at all."

"Joe Lieberman! If you would know smarm, look to Joe Lieberman."

"The plutocrats are haunted, as all smarmers are haunted, by a lack of respect. On Twitter, the only answer to "Do you know who I am?" is "One more person with 140 characters to use.""

"To actually say a plain and direct word like "corrupt" is more outlandish, in smarm's outlook, than even swearing."

"Anger is upsetting to smarm. But so is humor and confidence."

"Immense fortunes have bloomed in Silicon Valley on the most ephemeral and stupid windborne seeds of concepts. What's wrong with you, that you didn't get a piece of it?"]]></description>
<dc:subject>criticism culture smarm snark daveeggers malcolmgladwell 2013 tomscocca buzzfeed heidijulavits isaacfitzgerald daviddenby bambi arifleischer lannydavis leesiegel cynicism negativity tone politics writing critique mittromney barackobama michaelbloomberg ianfrazier centrists power redistribution rebeccablank civilization dialog conversation purpose jedediahpurdy irony joelieberman marshallsella billclinton mainstream georgewbush maureendowd rudeness meanness plutocrats wealth publishing media respect niallferguson alexpareene mariabartiromo gawker choiresicha anger confidence humor spikelee upworthy adammordecai juliachild success successfulness niceness tompeters bullshit morality ethics misdirection insecurity prestige audience dialogue jedediahbritton-purdy</dc:subject>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:success"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:niceness"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:tompeters"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:bullshit"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:morality"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:ethics"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:misdirection"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:insecurity"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:prestige"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:audience"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:dialogue"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:jedediahbritton-purdy"/>
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</item>
<item rdf:about="http://www.wired.com/rawfile/2013/08/raw-meet-marvin-heiferman/all/">
    <title>Photography Is the New Universal Language, and It's Changing Everything | Raw File | Wired.com</title>
    <dc:date>2013-09-02T02:12:03+00:00</dc:date>
    <link>http://www.wired.com/rawfile/2013/08/raw-meet-marvin-heiferman/all/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Thinker, writer, curator, editor, blogger, and currently a Contributing Editor for Art in America and on the faculty at ICP-Bard College and the School of Visual Arts, Heiferman has watched the photography market explode and the acquisition policies of galleries and museums adapt accordingly. The art market is a one-percenter game, and Heiferman thinks it distracts us from the uses of images in our everyday lives. Photography is all around us and used in ways we don’t even consider. Raw File spoke to Heiferman about surveillance, facial recognition, the obsolescence of future technologies and why Midwest newspapers are so good at reporting the weird stuff about image use."

…

"People talk about photography being a universal language but really it’s not; it’s multiple languages. The dialogues you can have with neuroscientists about photographic images are as interesting and as provocative as the dialogues you can have with artists. People have wildly different contexts in which they use photographs — different criteria for assessing them, reasons for taking them, priorities when looking at and evaluating them. It creates incredible possibilities for dialogue when you realize the medium is so flexible and so useful."

…

"Look at Flickr. Look at what people do. It is fascinating to look at what people are taking pictures of, as we all take more and more pictures. I spoke with a guy named Steve Hoffenberg who worked for Lyra Research [now owned by Photizo] and is one of the go-to-guys when you want to find out how many people are taking pictures any given day. Steve talked about how the availability of cell phones cameras has changed the way we make images.

In the past, it was more conventional; we had to have reason to make a picture and it was usually to document something specific. Whereas now people are now take pictures because the camera is there [in their hand]. It has got to the point where sometimes if you ask people why they take pictures they can’t even say. I think people are using images in a completely different way and as a communicative tool."

…

"With people more actively using images, visual literacy becomes an important thing to talk about. Everybody pays a lot of lip service to visual literacy but very few schools teach it. There’s not a lot of discussion about what photography is. What’s a photograph? How does it work? Photographs are useful to you in different ways than they are useful to me."

[The book, Photography Changes Everything:
http://www.aperture.org/shop/books/photography-changes-everything-book
http://www.amazon.com/Photography-Changes-Everything-Marvin-Heiferman/dp/1597111996 ]]]></description>
<dc:subject>materiality photography technology marvinheiferman everyday communication language universallanguage expression dialog media jonathancoddington mobilephones cellphones cameras digital lyraresearch stevehoffenberg instagram visualliteracy literacy stephenmayes images imagery photosynth philippekahn hanyfarid photoshop davidfriend flickr newliteracies multiliteracies dialogue books</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:2fd7dd573994/</dc:identifier>
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<item rdf:about="http://documents.stanford.edu/michaelshanks/227">
    <title>Michael Shanks: Archaeologies of the contemporary past</title>
    <dc:date>2013-03-09T08:21:43+00:00</dc:date>
    <link>http://documents.stanford.edu/michaelshanks/227</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The origin of many of the ideas here can be tracked back to Reconstructing Archaeology written with Chris Tilley, particularly through my book Experiencing the Past - where I sketched the elements of a contemporary archaeolgical sensibility - see now The Archaeological Imagination - a new work revisiting these matters."

"Embodiment and archaeologies of the ineffable: photographs and archaeological objects can introduce the heterogeneous and ineffable into discourse, that richness and detail in every photograph and artefact which lies outside the categories and schemes of discourse. I use the term embodiment to introduce bodily sensitivity as a means of suspending our conventional categorisations and a means of achieving more textured understanding of social realities. Photographs and artefacts can help us attend to materiality by saying "look at what has been omitted", rather than "look, believe this text". An imperative here is to keep open things which are passed over in an instant. Archaeological source materials are, after all, of a material world with a distinctive temporality. The challenge is to work with this.

To end then I extend an invitation to conceive of the dialectical text and image as tangent to the past - a vector (from the present) touching the past at the point of sense and then moving off to explore its own course, partaking of actuality, the temporality of memory. Such texts are part of a method which lends contexts of all sorts to images, words and artifacts. Good archaeology is such a humanistic discipline which is dialectical because it denies the dualisms of past and present, objective and subjective, real and fictive, with all their pernicious variations. We may work instead upon the continuities which run through our encounters with the shattered remains of the dead."]]></description>
<dc:subject>christilley michaelshanks archaeology photography documentation anthropology past present words artifacts memory time humanism humanities dialectic dialog sensitivity discourse temporality via:selinjessa dialogue vectors</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
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</item>
<item rdf:about="http://www.sandberg.nl/">
    <title>Sandberg Instituut [from the Dirty Art Department page]</title>
    <dc:date>2013-03-04T23:27:00+00:00</dc:date>
    <link>http://www.sandberg.nl/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The Dirty Art Department is an open space for all possible thought, creation, and action. It sees itself as a dynamic paradox, flowing between the pure and the applied, the existential and the deterministic, the holy and the profane. It is concerned with individuality, collectivity, and our navigation of the complex relationship between the built world and the natural world, and between other people and ourselves. It is a place to build objects or totems, religions or websites, revolu­tions or business models, paintings or galaxies.

Although The Dirty Art Department comes from a common background of design and applied art, it rejects the Kantian division between the pure and the applied. Since god is dead and the spectacle is omnipresent, the creation of new and alternative realities is the only way to provide a new perspective on our life on this planet.

The department is structured as an open space for all possible thought, creation, and action. It sees itself as a dynamic paradox, flowing between the pure and the applied, the existential and the deterministic, the holy and the profane. It is concerned with individuality, collectivity, and our navigation of the complex relationship between the built world and the natural world, and between other people and ourselves. It is a place to build objects or totems, religions or websites, revolutions or business models, paintings or galaxies.

In line with its inclusive view on design, the Master’s degree programme is open to students from all backgrounds, including designers, artists, bankers, sceptics, optimists, economists, philosophers, sociologists, independent thinkers, poets, urban planners, farmers, anarchists, and those with an inquiring mind. Encounters and crossovers with the other Master’s programmes at the Sandberg Instituut form an integral part of The Dirty Art Department’s mission.

Reflection at The Dirty Art Department takes the form of dialogue and exchange; a conference series and an online platform allow the course to function as an open school of thought, by sharing the toolbox, subjects, and lectures of the programme with the world at large."

[via: https://twitter.com/ablerism/status/308572231770980352 ]]]></description>
<dc:subject>art design holland dirtyart dirtyarts openstudioproject thinktanks lcproject individualism individuality interdependence dirtyartdepartment sandberginstituut collectivity making doing dialog exchange conversation dialogue</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:ea65bebdf569/</dc:identifier>
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</item>
<item rdf:about="http://www.strelka.com/blog_en/andreas-gjertsen-and-rune-stangeland-from-tyin-tegnestue-architects-we-are-trying-to-start-a-dialogue/?lang=en">
    <title>Andreas Gjertsen and Rune Stangeland from TYIN tegnestue Architects: “We are trying to start a dialogue” - Strelka Institute for media, architecture and design</title>
    <dc:date>2012-08-18T17:30:05+00:00</dc:date>
    <link>http://www.strelka.com/blog_en/andreas-gjertsen-and-rune-stangeland-from-tyin-tegnestue-architects-we-are-trying-to-start-a-dialogue/?lang=en</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["With the help of Andreas Gjertsen and Rune Stangeland from TYIN tegnestue Architects Strelka started to build its first objects. Curators of the workshop “Public space as a tool for dialogue” talked to us about their experience of constructing in Moscow and explained conclusions and observations which they came to during the last week."

"You see that the most difficult sites are those that nobody owns — in-between spaces between public and private — because nobody cares about them. And that is precisely the issue which we are discussing now: how to use this unused space in a way that would benefit people in the area. You do not have to be a proud inhabitant you actually have to feel that this is your area. Only after that you start caring about what happens around. It is supercomplex and seems to be very slow work."]]></description>
<dc:subject>2012 moscow dialog dialogue publicspace design architecture strelkainstitute runestrangeland andreasgjertsen</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:d824b248cfba/</dc:identifier>
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</item>
<item rdf:about="http://www.wallandbinkley.com/rcb/articles/newtools-output.html">
    <title>New Tools for Men of Letters</title>
    <dc:date>2012-06-11T00:25:27+00:00</dc:date>
    <link>http://www.wallandbinkley.com/rcb/articles/newtools-output.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The new graphic arts devices are, I believe, capable of working the other way—as implements for a more [p.180] decentralized and less professionalized culture, a culture of local literature and amateur scholarship.

This possibility is especially important today, when electric power promises to develop the village at the expense of the metropolis, and when shorter working hours offer a prospect of leisure to a population of which an increasing proportion is being exposed to college education.

…

Today the Western scholar’s problem is not to get hold of the books that everyone else has read or is reading but rather to procure materials that hardly anyone else would think of looking at. 

…

Western civilization now expects even poetry to fit the Procrustean bed of the publishing industry.

…

The art of conversation, with its counterpart the dialogue [p.186] as a literary form for presenting ideas, has also declined since the days of Galileo, while the art of advertising has advanced.

…"

[So much more, but another reaction: academics will always hope everyone is more like them.]]]></description>
<dc:subject>poetry printing duplication microfiche microfilm near-print micro-copying books photo-offset learning decentralization professionalization wpa greatdepression dialog conversation letterwriting letters ruricomp rural local localstudies academics academia research writing amateurresearch amateurism literature graphicarts liberalarts leisurearts leisure education community publishing microformats mimeograph media technology communication scholarship digitalhumanities 1935 robertbinkley dialogue artleisure amateurs</dc:subject>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:scholarship"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:digitalhumanities"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:1935"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:robertbinkley"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:amateurs"/>
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</item>
<item rdf:about="http://dailyserving.com/2010/07/summer-of-utopia-interview-with-ted-purves/">
    <title>DAILY SERVING » Summer of Utopia: Interview with Ted Purves</title>
    <dc:date>2012-05-28T02:27:49+00:00</dc:date>
    <link>http://dailyserving.com/2010/07/summer-of-utopia-interview-with-ted-purves/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["I feel like a project is successful if we have had substantive encounters with people, if we have created spaces where a kind of exchange—whether it’s family history, or talking about why something should or shouldn’t be in an art museum, or sometimes it’s just swapping recipes—some form of animated or engaged dialogue comes out, or some sort of story emerges.  It means we learn something, a story can be brought forward from that, that’s when things are successful.  Another high-five moment comes when there is something compelling to look at.  A lot of times when you see a social practice show, it’s either a room full of crap to read, or it looks like a place where they had a party and you didn’t get to go.  I’ve been to a lot of those, and they’re not satisfying!  You either wish they had just printed a book you could take home and read in your own chair—because it’s not very comfortable to sit in a museum—or you wish that you’d been at the party."

[via: http://randallszott.org/2012/05/25/ted-purves-aesthetics-social-practice-personal-economies/ ]]]></description>
<dc:subject>urbanism rural cities urban suburban suburbia suburbs belief via:leisurearts democracy alteration change perception lemoneverlastingbackyard wrongness weirdness glvo openendedness seeing art aesthetics fruit dialog publicspace workinginpublic disagreement decisionmaking debate negotiation unplanning thebluehouse temescalamityworks susannecockrell sharing 2010 overlappingeconomies capitalism economics utopia thomasmore socialpractice tedpurves dialogue</dc:subject>
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</item>
<item rdf:about="http://pastebin.com/0xXV8k7k">
    <title>We, the Web Kids - Pastebin.com</title>
    <dc:date>2012-02-20T23:38:57+00:00</dc:date>
    <link>http://pastebin.com/0xXV8k7k</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["We grew up with the Internet and on the Internet. This is what makes us different; this is what makes the crucial, although surprising from your point of view, difference: we do not ‘surf’ and the internet to us is not a ‘place’ or ‘virtual space’. The Internet to us is not something external to reality but a part of it: an invisible yet constantly present layer intertwined with the physical environment. We do not use the Internet, we live on the Internet and along it. If we were to tell our bildnungsroman to you, the analog, we could say there was a natural Internet aspect to every single experience that has shaped us. We made friends and enemies online, we prepared cribs for tests online, we planned parties and studying sessions online, we fell in love and broke up online. The Web to us is not a technology which we had to learn and which we managed to get a grip of. The Web is a process, happening continuously and continuously transforming before our eyes; with us and through us…"

[Update: Response by Alan Jacobs: http://ayjay.tumblr.com/post/18029873515/participating-in-cultural-life-is-not-something ]

[Update 2: Lengthy response, take-down: http://www.lileks.com/bleats/archive/12/0212/022212.html ]

[Chaser: http://metalab.harvard.edu/2012/02/twitter-nprs-morning-edition-and-dreams-of-flatland/ ]

[Cross-posted by Alexis Madrigal: http://www.theatlantic.com/technology/archive/2012/02/we-the-web-kids/253382/ ]]]></description>
<dc:subject>participatoryculture criticalpractice memories govenment dialog cooperation socialstructure anarchy anarchism freedom change society democracy webculture culture cv prostheticmemory externalmemory reality anonymous ACTA 2012 piotrczerski digitalnatives webkids manifesto cyberspace dialogue manifestos</dc:subject>
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</item>
<item rdf:about="http://www.guardian.co.uk/books/2012/feb/10/richard-sennett-montaigne-cooperation">
    <title>All together now: Montaigne and the art of co-operation | Books | The Guardian</title>
    <dc:date>2012-02-11T09:18:16+00:00</dc:date>
    <link>http://www.guardian.co.uk/books/2012/feb/10/richard-sennett-montaigne-cooperation</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Economic insecurity has rendered our social life brutally simple: 'us-against-them' coupled with 'you-are-on-your-own'. But the French essayist can inspire radical new forms of co-operation"]]></description>
<dc:subject>cats living life curiosity brunolatour communication richardsennett society cooperation tolerance dialog via:preoccupations dialogue conversation 2012 micheldemontaigne capitalism empathy anxiety modernity writing diplomacy everydaydiplomacy spezzatura listening fetishassertion bernardwilliams self-knowledge sympathy self-struggle norbertelias sarahbakeswell civility tyranny habits simplicity slow dialogics sarahbakewell sprezzatura fetishofassertion montaigne</dc:subject>
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</item>
<item rdf:about="http://clairewarwick.blogspot.com/2012/01/inaugural-lecture.html">
    <title>Claire Warwick's Blog: Inaugural lecture</title>
    <dc:date>2012-02-07T09:31:57+00:00</dc:date>
    <link>http://clairewarwick.blogspot.com/2012/01/inaugural-lecture.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["One of the great assets of the digital, and what it encourages and enables is multiple voices entering into a dialogue and creating new knowledge out of conversation and discussion." 

"I was lucky enough to be taught by some of the greatest international authorities yet it was never assumed that their voice in the conversation was necessarily more important than mine. Far more important than who was talking was the quality of thought expressed and the nature of knowledge that emerged from the dialogue, and I think that's quite right."

"DH is…a collaborative field. We have to learn to work together and understand the different languages that are spoken by different partners in the dialogue: geeks, humanities scholars, information professionals, technical support people & indeed the public. In that sense, therefore, the voice of the DH scholar is of use as an interpreter between different languages & cultures. But interpreters cannot, but the nature of their job, exist in isolation."]]></description>
<dc:subject>information mediadiversity communication diversity complexity email affordances gender curating curations digitaldiversity publicengagement blogging blogs mentorships mentoring community collaboration socialmedia facebook twitter socialization media context understanding meaningmaking meaning makingmeaning hierarchy dialogue dialog knowledge lectures 2012 digital discussion conversation learning digitalhumanities ethnography education teaching academia clairewarwick mentorship</dc:subject>
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</item>
<item rdf:about="http://www.fastcodesign.com/1664704/the-creator-of-ted-aims-to-reinvent-conferences-once-again">
    <title>The Creator Of TED Aims To Reinvent Conferences Once Again | Co. Design</title>
    <dc:date>2011-08-10T10:15:02+00:00</dc:date>
    <link>http://www.fastcodesign.com/1664704/the-creator-of-ted-aims-to-reinvent-conferences-once-again</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The format may or may not work -- most likely it will depend on the delicate chemistry between the pairing -- but in some ways, Wurman’s “conversation-over-presentation” approach seems in keeping with a current trend toward applying collaborative inquiry and discussion to today’s big issues and challenges. Of late, various types of innovation salons and conversational events have been popping up: Recently, Seth Goldenberg (a Bruce Mau Design alumni) launched the “IDEAS Salon,” initially in Rhode Island in April with a follow-up Silicon Valley event this fall. Instead of giving presentations, the high-level guests joined together to grapple with weighty questions; Goldenberg wanted to get away from what he dubs “the sage on stage” model used at TED and other conferences, in favor of a more conversational format. Similarly, the design firm Method has been hosting a series of salons in New York to explore big ideas in a more open and freewheeling manner."]]></description>
<dc:subject>education ted conferences dialogue saulwurman 2011 www.www improvisation vulnerability sageonthestage conversation collaboration collaborativeinquiry discussion tedtalks tcsnmy classideas dialog</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:0de52deeba8c/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:conversation"/>
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</item>
<item rdf:about="http://speedchange.blogspot.com/2011/08/hulu-in-classroom-building-literacy.html">
    <title>SpeEdChange: Hulu in the Classroom: Building Literacy</title>
    <dc:date>2011-08-03T11:40:25+00:00</dc:date>
    <link>http://speedchange.blogspot.com/2011/08/hulu-in-classroom-building-literacy.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[""I've never understood our classroom commitment to "the book," but, I've really never understood our classroom commitment to "the chapter book."

What skills are learned from reading a book which are not learned from watching a film? I'm not saying books are "bad," just asking, "why are they 'better'?"

And why is longer 'better'?

[Short stories discussion]

But then I thought, why do we start with text on a page. I thought back to discovering books of those Twilight Zonestories after years of watching the show, and how much I loved "reading" them (or really, listening to them via audiobook, but I think that's the same).

And I thought that, as part of our effort to make kids want to read, want to write, we must first get them interested in stories, in wanting to know stories, and in how stories are told, and why.

And one great way to do that is to use short fiction in another medium - the short fiction of Hulu and other free sources of video - film and television."]]></description>
<dc:subject>irasocol classideas shortstories reading writing hulu youtube film learning stories storytelling narrative dialogue 2011 lists video tv television twiliightzone huma8 literature dialog</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:3fc364edd967/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:2011"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:literature"/>
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</item>
<item rdf:about="http://www.educationrethink.com/2011/07/customized-learning-slideshow.html">
    <title>Customized Learning - The Slideshow | Education Rethink</title>
    <dc:date>2011-07-30T18:01:50+00:00</dc:date>
    <link>http://www.educationrethink.com/2011/07/customized-learning-slideshow.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[Great set of slides from John T Spencer. Notes are forthcoming, but the slides should speak for themselves. These were for his Reform Symposium presentation in 2011. (I missed it, so I'm glad it put them online.)]]></description>
<dc:subject>teaching learning tcsnmy differentiatedlearning customization self-directedlearning student-centered studentdirected pedagogy unschooling deschooling standards mastery presentations classideas networking hierarchy freedom autonomy projectbasedlearning science socialstudies reading writing flexibility choice dialogue relationships conversation assessment metaphor ownership empowerment fear johnspencer dialog pbl</dc:subject>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:differentiatedlearning"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:studentdirected"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:pedagogy"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:metaphor"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:ownership"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:empowerment"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:fear"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:johnspencer"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:dialog"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:pbl"/>
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</item>
<item rdf:about="http://steelweaver.tumblr.com/post/8175553314/reality-as-failed-state-tl-dr-version-i-like-doing">
    <title>steelweaver - Reality as failed state - tl;dr version (I like doing this)</title>
    <dc:date>2011-07-29T20:41:54+00:00</dc:date>
    <link>http://steelweaver.tumblr.com/post/8175553314/reality-as-failed-state-tl-dr-version-i-like-doing</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["I believe part of the meta-problem is this: people no longer inhabit a single reality.

Collectively, there is no longer a single cultural arena of dialogue…

The point, for the climate denier, is not that the truth should be sought with open-minded sincerity – it is that he has declared the independence of his corner of reality from control by the overarching, techno-scientific consensus reality. He has withdrawn from the reality forced upon him & has retreated to a more comfortable, human-sized bubble.

…denier’s retreat from consensus reality approximates role of the cellular insurgents in Afghanistan vis-a-vis the American occupying force: this overarching behemoth I rebel against may well represent something larger, more free, more wealthy, more democratic, or more in touch with objective reality, but it has been imposed upon me…so I am going to withdraw from it into illogic, emotion & superstition & from there I am going to declare war upon it."]]></description>
<dc:subject>reality climatechange climatechangedeniers alternatereality philosophy mind conspiracy afghanistan dialogue environment environmentalism 2011 awareness conviviality sharedhumanpresence change division staugustine truth politics policy voting politicalprocess conflict control freedom agency technocrats science scientists consensus intuition intuitivethinking thinking myths narrative meaning meaningmaking understanding psychology birthers teaparty realityinsurgents dialog saintaugustine augustine augustineofhippo</dc:subject>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:climatechangedeniers"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:alternatereality"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:philosophy"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:mind"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:voting"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:control"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:agency"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:technocrats"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:narrative"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:meaning"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:meaningmaking"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:understanding"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:psychology"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:birthers"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:teaparty"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:realityinsurgents"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:dialog"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:saintaugustine"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:augustine"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:augustineofhippo"/>
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</item>
<item rdf:about="http://www.theatlantic.com/technology/archive/2011/07/composition-101-how-a-tool-everyone-has-could-change-education/242468/">
    <title>Composition 1.01: How a Tool Everyone Has Could Change Education - James Somers - Technology - The Atlantic</title>
    <dc:date>2011-07-27T18:23:18+00:00</dc:date>
    <link>http://www.theatlantic.com/technology/archive/2011/07/composition-101-how-a-tool-everyone-has-could-change-education/242468/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Whatever you produce joins dozens of other efforts in a stack whose growing thickness doesn't exactly thrill your professor. But still he'll soldier on and read, and maybe re-read, and mark up and grade each one. Along the way he might leave short contextual notes in the margin; he might write one long critique at the end; he might do both; or he might do neither and let your grade do all the talking.

Trouble is, no matter how detailed and incisive the feedback, by the time it gets back to you it's already too late -- and, in a way, too early. Too late because your paper has already been written, and what you really needed help with was its composition, with the micromechanics of style, with all the small decisions that led you to say whatever it is you said. And too early because even if the professor's ex post pointers make every bit of sense, a whole month might go by before you next get to use them.

This is not the way to develop a complicated skill."]]></description>
<dc:subject>email writing teaching education practice feedback composition 2011 jamesomers dialogue learning kandersericsson malcolmgladwell dialog</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:5e5cb4b03536/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:kandersericsson"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:malcolmgladwell"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:dialog"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://moma.org/interactives/exhibitions/2011/talktome/home.html">
    <title>MoMA | Talk to Me BETA</title>
    <dc:date>2011-07-22T04:06:40+00:00</dc:date>
    <link>http://moma.org/interactives/exhibitions/2011/talktome/home.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["New branches of design practice have emerged in the past decades that combine design’s old-fashioned preoccupations—with form, function, and meaning—with a focus on the exchange of information and even emotion. Communication design deals with the delivery of messages, encompassing graphic design, wayfinding, and communicative objects of all kinds, from printed materials to three-dimensional and digital projects. Interface and interaction design delineate the behavior of products and systems as well as the experiences that people will have with them. Information and visualization design deal with the maps, diagrams, and tools that filter and make sense of information. In critical design, conceptual scenarios are built around hypothetical objects to comment on the social, political, and cultural consequences of new technologies and behaviors."]]></description>
<dc:subject>cities interaction interface augmentedreality 2011 talktome moma design media objects dialogue socialnetworks information technology dialog ar</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:2b9f064e2cc5/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:cities"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:interface"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:augmentedreality"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:2011"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:objects"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:dialogue"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:socialnetworks"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:information"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:technology"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:dialog"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:ar"/>
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</item>
<item rdf:about="http://en.wikipedia.org/wiki/Neil_Gaiman">
    <title>Neil Gaiman - Wikipedia</title>
    <dc:date>2011-06-27T07:36:14+00:00</dc:date>
    <link>http://en.wikipedia.org/wiki/Neil_Gaiman</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["For his seventh birthday, Gaiman received C. S. Lewis's The Chronicles of Narnia series. He later recalled that "I admired his use of parenthetical statements to the reader, where he would just talk to you...I'd think, 'Oh, my gosh, that is so cool! I want to do that! When I become an author, I want to be able to do things in parentheses.' I liked the power of putting things in brackets.""]]></description>
<dc:subject>writing classideas dialogue narration storytelling via:lukeneff neilgaiman literature books cslewis chroniclesofnarnia parentheticalstatements brackets thewaywespeak thewaywewrite howwethink mimicry copying voice dialog parenthesis parentheses</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:ded3e992f55f/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:dialogue"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:via:lukeneff"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:neilgaiman"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:cslewis"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:chroniclesofnarnia"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:parentheticalstatements"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:thewaywespeak"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:howwethink"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:mimicry"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:parenthesis"/>
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</item>
<item rdf:about="http://vimeo.com/22591307">
    <title>Hip Hop Genius: Remixing High School Education on Vimeo</title>
    <dc:date>2011-05-18T05:57:18+00:00</dc:date>
    <link>http://vimeo.com/22591307</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["this video illustrates (literally!) the concept of Hip Hop Genius. these ideas are explored more fully in my book, Hip Hop Genius: Remixing High School Education (hiphopgenius.org)

the drawings were done by Mike McCarthy, a student at College Unbound (collegeunbound.org), a school that exemplifies many of the values espoused in the film. the entire video was shot in College Unbound's seminar space, where Mike has built a studio for his company Drawn Along (drawnalong.com)."]]></description>
<dc:subject>education learning politics economics creativity hiphop meaning meaningmaking dialogue pedagogy classideas conversation commonality engagement culture love identity meaningfulness ingenuity instinct confidence remixculture art music streetart graffiti resourcefulness genius sampling individualization projectbasedlearning collegeunbound change gamechanging flux flow freshness emergentcurriculum contentcreation schools unschooling deschooling mindset dialog pbl remixing</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:27da16db8f0b/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:politics"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:economics"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:creativity"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:hiphop"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:meaning"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:meaningmaking"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:classideas"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:love"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:ingenuity"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:instinct"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:confidence"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:remixculture"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:art"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:music"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:streetart"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:graffiti"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:projectbasedlearning"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:collegeunbound"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:change"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:gamechanging"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:emergentcurriculum"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:contentcreation"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:schools"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:unschooling"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:deschooling"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:mindset"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:dialog"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:pbl"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:remixing"/>
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</item>
<item rdf:about="http://www.ted.com/talks/eli_pariser_beware_online_filter_bubbles.html">
    <title>Eli Pariser: Beware online &quot;filter bubbles&quot; | Video on TED.com</title>
    <dc:date>2011-05-18T04:34:15+00:00</dc:date>
    <link>http://www.ted.com/talks/eli_pariser_beware_online_filter_bubbles.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["As web companies strive to tailor their services (including news and search results) to our personal tastes, there's a dangerous unintended consequence: We get trapped in a "filter bubble" and don't get exposed to information that could challenge or broaden our worldview. Eli Pariser argues powerfully that this will ultimately prove to be bad for us and bad for democracy."]]></description>
<dc:subject>elipariser echochambers serendipity internet online web media relevance search google facebook exposure 2011 ted via:jessebrand politics crosspollination dialogue walledgardens algorithms censorship personalization advertising yahoonews huffingtonpost nytimes washingtonpost impulse aspirationalselves filterbubble dialog wapo</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:67e3141d4260/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:serendipity"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:internet"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:online"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:web"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:relevance"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:search"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:facebook"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:politics"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:censorship"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:personalization"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:advertising"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:yahoonews"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:huffingtonpost"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:nytimes"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:washingtonpost"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:impulse"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:aspirationalselves"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:dialog"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:wapo"/>
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</item>
<item rdf:about="http://squishynotslick.tumblr.com/post/5250352923/squishy-not-slick">
    <title>Squishy Not Slick - Squishy Not Slick</title>
    <dc:date>2011-05-18T02:27:17+00:00</dc:date>
    <link>http://squishynotslick.tumblr.com/post/5250352923/squishy-not-slick</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Squishy Teaching =

Spontaneous - Unique - Particular - Tailored - Entangled - Mixed together - Woven - Patched - Organic - Rebel Forces - Poetic - Ambiguous - Emotional - Non-linear - Non-sequenced - Inquisitive - Inextricably-linked - Constructivist - Experiential - Holistic - Democratizing - Authentic - Collaborative - Adaptive - Complicated - Contextual - Relational


Slick Teaching =

Mass produced - Psychologically manipulative - Planned years in advance - Manufactured - Imperial - Hegemonic - Afraid - Spreadsheeted - Shallow - Narcotizing - Cauterizing - Anti-intellectual - Uncritical - Uncreative - Emotionless - Scripted - Juking the stats - Dropout factories - Assembly-lined"]]></description>
<dc:subject>lukeneff teaching education lcproject unschooling deschooling mentoring squishy slick frankchimero pedagogy holisticapproach holistic constructivism democratic ambiguity audiencesofone individualization emotions empathy authenticity spontaneity collaboration collaborative adaptability adaptive context contextual relationships meaning sensemaking meaningmaking meaningfulness dialogue discussion dialog makingsense</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:c68bcacbe641/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:teaching"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:education"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:lcproject"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:unschooling"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:deschooling"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:mentoring"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:squishy"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:slick"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:frankchimero"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:pedagogy"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:holistic"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:collaborative"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:adaptive"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:context"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:relationships"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:sensemaking"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:meaningmaking"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:makingsense"/>
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</item>
<item rdf:about="http://www.bbc.co.uk/news/entertainment-arts-11799527">
    <title>BBC News - Five Minutes With: Alain de Botton</title>
    <dc:date>2011-04-17T16:23:33+00:00</dc:date>
    <link>http://www.bbc.co.uk/news/entertainment-arts-11799527</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["I was a disturbed child, an adolescent, and I think that's where my interest in ideas comes from. I think that people become intellectual because of disturbance. My goal, raising my own children, is that they will never read a book or at least not be that dramatically inclined towards writing and reading. <br />
<br />
I think that reading and writing is a response to anxiety, often having a basis in childhood. I hope to at least quench some of that need in my children…<br />
<br />
The point of reading is to help you to live. It's not to pass an exam. It's not to sound clever. It's to get something out of it that you can use…<br />
<br />
We should be reading to help ourselves and help our societies. I don't believe in knowledge that is abstract and simply made to impress. I believe in knowledge that can be practical and that can bring us, in the broadest sense, happiness."]]></description>
<dc:subject>alaindebotton philosophy ideas thinking action 2010 parenting paternalism government life art bbc dialogue debate conversation reading writing anxiety tests testing adolescence intellectualism living dialog</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:faeff9b9c56d/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:tests"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:testing"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:adolescence"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:intellectualism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:living"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:dialog"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://www.lrb.co.uk/v28/n07/slavoj-zizek/nobody-has-to-be-vile">
    <title>LRB · Slavoj Žižek · Nobody has to be vile</title>
    <dc:date>2010-11-12T05:30:05+00:00</dc:date>
    <link>http://www.lrb.co.uk/v28/n07/slavoj-zizek/nobody-has-to-be-vile</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Being smart means being dynamic and nomadic, and against centralized bureaucracy; believing in dialogue and co-operation as against central authority; in flexibility as against routine; culture and knowledge as against industrial production; in spontaneous interaction as against fixed hierarchy."]]></description>
<dc:subject>zizek communism journalism hierarchy nomads nomadic neo-nomads bureaucracy anarchism flexibility routine culture knowledge spontaneity spontaneous interaction dialogue cooperation decentralization dialog</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:e0b6b1d2c144/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:zizek"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:communism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:journalism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:hierarchy"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:nomads"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:nomadic"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:neo-nomads"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:bureaucracy"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:anarchism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:flexibility"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:decentralization"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:dialog"/>
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</item>
<item rdf:about="http://www.themonthly.com.au/anthropology-and-passion-political-ghassan-hage-2230">
    <title>SlowTV | Anthropology and the passion of the political. Ghassan Hage | The Monthly</title>
    <dc:date>2010-09-27T01:26:44+00:00</dc:date>
    <link>http://www.themonthly.com.au/anthropology-and-passion-political-ghassan-hage-2230</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Ghassan Hage is an internationally acclaimed thinker, both as an academic and an arresting public intellectual. In this Inaugural Distinguished Lecture for the Australian Anthropological Society, he looks at the function of anthropology today. He asks, what is the discipline's potential to help us understand, and be, 'other than what we are'?"

[via: http://plsj.tumblr.com/post/1190216571/anthropology-and-the-passion-of-the-political ]]]></description>
<dc:subject>ghassanhage anthropology otherness understanding dialogue conversation purpose primitivist traditionalism academia selflessness empathy learning philosophy colleges universities perspective perception sociology differentiation dialog</dc:subject>
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</item>
<item rdf:about="http://www.swaraj.org/shikshantar/">
    <title>Shikshantar - The Peoples' Institute for Rethinking Education and Development</title>
    <dc:date>2010-08-01T03:56:58+00:00</dc:date>
    <link>http://www.swaraj.org/shikshantar/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Shikshantar is an applied research institute dedicated to catalyzing radical systemic transformation of education in order to facilitate Swaraj-development throughout India."]]></description>
<dc:subject>alternativeeducation education india learning deschooling activism development dialogue organizations research unschooling lcproject factoryschools tcsnmy transformation gamechanging ivanillich johnholt kenrobinson johntaylorgatto schools schooling schooliness dialog shikshantar manishjain</dc:subject>
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</item>
<item rdf:about="http://www.nonformality.org/2010/03/quality-dialogue/">
    <title>Nonformality | The quality of dialogue</title>
    <dc:date>2010-06-13T18:29:26+00:00</dc:date>
    <link>http://www.nonformality.org/2010/03/quality-dialogue/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The nature of our conversations determines the quality of the ideas we share, and therefore it’s worth reflecting on the ways that we talk to each other – check out this infographic on dialogue by Peter Stoyko:"
]]></description>
<dc:subject>communication dialogue groups meetings roles organizations conversation tcsnmy peterstoyko learning conflict infographics dialog</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:6ba2c11b7ce5/</dc:identifier>
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</item>
<item rdf:about="http://shop.frankchimero.com/">
    <title>Shop: Frank Chimero</title>
    <dc:date>2010-04-28T06:30:36+00:00</dc:date>
    <link>http://shop.frankchimero.com/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["It’s a print. It’s a letter.]]></description>
<dc:subject>design gifts frankchimero collaboration socialexperiments meaning play conversation dialogue wishidthoughofthis dialog</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:0881230effd9/</dc:identifier>
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</item>
<item rdf:about="http://www.cultureby.com/trilogy/2009/06/itzhak-mizrahi-on-metro-north.html">
    <title>This Blog Sits at the: Issac Mizrahi on Metro North</title>
    <dc:date>2009-07-13T03:36:08+00:00</dc:date>
    <link>http://www.cultureby.com/trilogy/2009/06/itzhak-mizrahi-on-metro-north.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["wonderful piece of advertising...certain emotional tonality that distinguishes it from most fashion advertising I've ever seen...has a narrative verve...But...semantics of the narrative have been withheld from us. So the fun of the ad is figuring out what's up." + comment: "There's a meta-story here, as well. In his post, Grant highlighted the Paper Monster graffiti detail, riffed a few hypotheses on what it might mean & then the actual PaperMonster wrote in clarifying that the graffito was one of his tags. So the Mizrahi ad has now become, at least for the several people involved in this interaction, a platform for dialogue & a "place where people are meeting." As with the best viral marketing, the distinctions between the realms of media & "life" have dissolved & we are left with a multiplicity of forces exerting influence on each other. Advertising in the age of the critically literate consumer & the internet has the opportunity to create this mechanism & the chance to exploit it."
]]></description>
<dc:subject>advertising isaacmizrahi fashion grantmccracken internet medialiteracy literacy viral marketing dialogue discussion metastories graffiti conversation meaning storytelling understanding dialog</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:7c014a7d9d79/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:isaacmizrahi"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:discussion"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:graffiti"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:conversation"/>
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</item>
<item rdf:about="http://thehill.com/k-street-insiders/why-washington-doesnt-get-new-media-2009-05-19.html">
    <title>TheHill.com - Why Washington doesn’t get new media </title>
    <dc:date>2009-05-27T04:22:44+00:00</dc:date>
    <link>http://thehill.com/k-street-insiders/why-washington-doesnt-get-new-media-2009-05-19.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["And let’s be clear: What is newfangled in Government 2.0 is not the technology; it is the approach to communications — the idea that, suddenly, the public expects to talk back to its government.]]></description>
<dc:subject>government newmedia communication dialogue missingthepoint policy politics dialog</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:cfa6f311c3b6/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:government"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:newmedia"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:missingthepoint"/>
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</item>
<item rdf:about="http://debategraph.org/">
    <title>Debategraph</title>
    <dc:date>2009-04-11T04:22:46+00:00</dc:date>
    <link>http://debategraph.org/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Our goal is to make the best arguments on all sides of any public debate freely available to all and continuously open to challenge and improvement by all. In pursuit of this goal, Debategraph is: (1) A wiki debate visualization tool ... (2) A web-based, creative commons project ... (3) A global graph of all the debates"
]]></description>
<dc:subject>debategraph debate semanticweb community mapping visualization politics learning tcsnmy reference mindmap dialogue argument data dialog maps</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:acb113f6dc84/</dc:identifier>
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</item>
<item rdf:about="http://schulzeandwebb.com/blog/2009/03/03/the-utility-of-the-unfinished/">
    <title>Pulse Laser: The Utility of the Unfinished</title>
    <dc:date>2009-03-03T19:30:08+00:00</dc:date>
    <link>http://schulzeandwebb.com/blog/2009/03/03/the-utility-of-the-unfinished/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Matt has described this to me as “physical PowerPoint”. You instantly know from looking at this thing that it’s not necessarily finished yet; not quite complete. And rather than letting you down, that incompleteness (in this case, an aesthetic one) opens up a communication. It informs the observer that they can engage in a kind of dialogue with the radio, about what it is and what it does. Its form is not final, and that means that there is still space to explore and examine that form. A more finished project would shut out any such exploration from the user or observer, and simply impose its form on them; the only reactions left are accepting that form, denying it, or ignoring it."
]]></description>
<dc:subject>schulzeandwebb writing conversation design unproduct unbook dialogue patina wear glvo prototyping unfinished berg berglondon dialog</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:9d66d1008db0/</dc:identifier>
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</item>
<item rdf:about="http://www.teachandlearn.ca/blog/2009/02/20/thoughts-on-assessment/">
    <title>Thoughts on Assessment | blog of proximal development</title>
    <dc:date>2009-02-20T20:01:18+00:00</dc:date>
    <link>http://www.teachandlearn.ca/blog/2009/02/20/thoughts-on-assessment/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["students had turned to community of peers to request feedback...none...asked me...didn’t see me as contributor in community...associated me w/ corrections & grades. At this stage, they were not ready for corrections yet...simply interested in having conversations about ideas...needed somebody to talk to & as teacher, I was not at top of list...we don’t spend enough time providing feedback for students & most of what teachers consider teaching & assessment consists of marking/correcting student work...does not engage students in rich interactive processes of talking about work & ideas. Initially, my role as teacher was limited to first presenting material (& initiating conversations) & marking work. I was absent from that rich part...in the middle where students continued classroom conversations online by brainstorming on blogs, requesting & providing feedback & engaging in conversations about...key ideas...Instead of engaging with them, I just waited for them to submit their work."
]]></description>
<dc:subject>konradglogowski teaching grades learning assessment engagement community blogs peers tcsnmy grading discussion conversation hierarchy pedagogy democracy dialogue teacheraspeer teacherascollaborator collaboration dialog</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:dee27d618c02/</dc:identifier>
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<item rdf:about="http://archinect.com/features/article.php?id=74774_0_23_0_C">
    <title>Archinect : Features : Markus Miessen on Participation - &quot;Did Someone Say Participate?, edited with Shumon Basar</title>
    <dc:date>2008-05-05T08:54:08+00:00</dc:date>
    <link>http://archinect.com/features/article.php?id=74774_0_23_0_C</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["describes the resourceful strategies by which spatial practitioners navigate and radically engage the system." "How does one manage to gain access into fields of knowledge and practices that one is usually not invited to take part in."
]]></description>
<dc:subject>architecture books outsiders interdisciplinary crosspollination ideas thinking gamechanging participation europe dialog change dialogue outsider</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:a24c5752d6e3/</dc:identifier>
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</item>
<item rdf:about="http://www.seedmagazine.com/news/2008/04/design_and_the_elastic_mind.php?page=all&amp;p=y">
    <title>Seed: Design and the Elastic Mind: In the emerging dialogue between design and science, scale and pace play fundamental roles. By MoMA curator Paola Antonelli.</title>
    <dc:date>2008-04-15T22:20:57+00:00</dc:date>
    <link>http://www.seedmagazine.com/news/2008/04/design_and_the_elastic_mind.php?page=all&amp;p=y</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Much of this is being done by bona fide designers, but scientists and artists have also turned to design to give method to their productive tinkering, what John Seely Brown has called "thinkering." They all belong to a new culture in which experimentation is guided by engagement in the world and by open, constructive collaboration with colleagues and other specialists." ... "...importance of "critical design," or "design for debate," which he defines as a way of using design as a medium to challenge narrow assumptions, preconceptions, and givens about the role products play in everyday life"
]]></description>
<dc:subject>paolaantonelli seed design science moma gamechanging designandtheelasticmind nanotechnology biomimicry topography brain art debate eames architecture society dialogue interdisciplinary crosspollination johnseelybrown dialog biomimetics</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:8812b368351a/</dc:identifier>
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<item rdf:about="http://www.purselipsquarejaw.org/2008/04/social-sciences-and-design-managing.php">
    <title>Purse Lip Square Jaw: Social sciences and design: managing complexity and mediating expectations</title>
    <dc:date>2008-04-15T22:17:50+00:00</dc:date>
    <link>http://www.purselipsquarejaw.org/2008/04/social-sciences-and-design-managing.php</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Now, the idea that design can play a productive role in managing complexity is hardly new, but I do see a lot of potential in designing and using objects (things) to engage publics around particular issues, or matters of concern."
]]></description>
<dc:subject>design debate socialsciences emergingtechnologies complexity conversation dialogue public objects annegalloway gamechanging technology critique dialog</dc:subject>
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<item rdf:about="http://www.paulgraham.com/disagree.html">
    <title>How to Disagree</title>
    <dc:date>2008-03-30T00:34:47+00:00</dc:date>
    <link>http://www.paulgraham.com/disagree.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["If we’re all going to be disagreeing more, we should be careful to do it well...Most readers can tell difference between mere name-calling & carefully reasoned refutation, but...intermediate stages...here’s an attempt at a disagreement hierarchy."
]]></description>
<dc:subject>writing arguments communication language howto paulgraham blogging psychology debate dialog discourse discussion internet web logic netiquette etiquette conflict conversation culture philosophy argument dialogue</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:81615a9dce67/</dc:identifier>
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<item rdf:about="http://obama.senate.gov/speech/060628-call_to_renewal/index.php">
    <title>'Call to Renewal' Keynote Address [Wednesday, June 28, 2006] | U.S. Senator Barack Obama</title>
    <dc:date>2008-02-10T16:38:10+00:00</dc:date>
    <link>http://obama.senate.gov/speech/060628-call_to_renewal/index.php</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["need to understand critical role separation of church & state has played in preserving not only democracy, but robustness of religious practice...Democracy demands religiously motivated translate concerns into universal, rather than religion-specific, va
]]></description>
<dc:subject>barackobama politics religion christianity democrats atheism belief elections 2008 2006 us government nuance dialog gamechanging dialogue</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:a15038c554f3/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:christianity"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:democrats"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:atheism"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:2008"/>
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<item rdf:about="http://ateacherswrites.wordpress.com/2007/11/15/education-is-a-two-way-street/">
    <title>Education is a two way street « A Teacher’s Writes</title>
    <dc:date>2007-11-17T02:52:43+00:00</dc:date>
    <link>http://ateacherswrites.wordpress.com/2007/11/15/education-is-a-two-way-street/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["So then you have teachers who know how to use Power Point or wikis or blogs, and they utilize them in the classroom. But can we then teach them how to reconsider these tools as two-way communication tools rather than one way?"
]]></description>
<dc:subject>dialogue education learning technology via:preoccupations twoway reform change schools curriculum dialog</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:7328aae6faa0/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:dialogue"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:learning"/>
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</item>
<item rdf:about="http://www.boingboing.net/2007/09/23/seed-science-essay-c.html">
    <title>Seed Science Essay contest winners: What does 'scientific literacy' mean? - Boing Boing</title>
    <dc:date>2007-09-24T18:54:35+00:00</dc:date>
    <link>http://www.boingboing.net/2007/09/23/seed-science-essay-c.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["In the present cultural climate, altering one's beliefs in response to anything (facts included) is considered a sign of weakness...students must comprehend that it is not only possible but absolutely vital that we criticize each other's ideas firmly yet
]]></description>
<dc:subject>literacy science society ideas politics policy thinking etiquette discourse dialogue debate education learning children schools universities colleges students dialog</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:442561804063/</dc:identifier>
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<item rdf:about="http://www.preoccupations.org/2007/07/microlearning-2.html">
    <title>Preoccupations: Microlearning 2007 … and conversation</title>
    <dc:date>2007-07-06T01:25:00+00:00</dc:date>
    <link>http://www.preoccupations.org/2007/07/microlearning-2.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[A link-rich post on conversation and learning, among other things
]]></description>
<dc:subject>conversation education learning discussion twitter richardfeynman jaiku pownce community dialogue collaborative collaboration teaching process practice mobile microlearning dannyhillis conferences events unconferences del.icio.us youth dialog</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:880a4c9c63d2/</dc:identifier>
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<item rdf:about="http://www.teachandlearn.ca/blog/2006/07/14/unending-conversation/">
    <title>blog of proximal development » Blog Archive » Unending Conversation</title>
    <dc:date>2007-07-04T02:34:16+00:00</dc:date>
    <link>http://www.teachandlearn.ca/blog/2006/07/14/unending-conversation/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["*classroom = community of inquiry where knowledge emerges from conversation *thought is internalized conversation generated in the process of contributing and interacting with others in a social space *All members enter into a semiotic apprenticeship"]]></description>
<dc:subject>learning education conversation community collaboration blogs practice teaching lcproject process konradglogowski dialogue uncertainty drafts unfinished imperfection wabi-sabi dialog</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:86f2fd6bd736/</dc:identifier>
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    <title>Thingology (LibraryThing's ideas blog): Libraries as Conversations: Gorman, Hives and Catalogs</title>
    <dc:date>2007-06-28T02:47:40+00:00</dc:date>
    <link>http://www.librarything.com/thingology/2007/06/libraries-as-conversations-gorman-hives.php</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["important learning and knowledge are conversation [that we ascend to over our lives through] *encyclopedias, books of facts *monographs (really "arguments") *academic journals *conferences Conversations work because they know/produce more than their memb
]]></description>
<dc:subject>classification conversation education information knowledge learning libraries reference dialog catalogs folksonomy communication academia dialogue</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:4541b32e702a/</dc:identifier>
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<item rdf:about="http://commentisfree.guardian.co.uk/mark_braund/2006/10/post_534.html">
    <title>Comment is free: Faith in common ground</title>
    <dc:date>2006-10-23T21:50:06+00:00</dc:date>
    <link>http://commentisfree.guardian.co.uk/mark_braund/2006/10/post_534.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Claiming that our own beliefs are superior does nothing to promote understanding between people of faith and atheists."
]]></description>
<dc:subject>religion science dialog atheism dialogue</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:31d0ce254ae4/</dc:identifier>
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