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    <title>Pluralistic: Refining humanity (05 Jun 2026) – Pluralistic: Daily links from Cory Doctorow</title>
    <dc:date>2026-06-07T00:57:07+00:00</dc:date>
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    <dc:creator>robertogreco</dc:creator><description><![CDATA["One of the best ways to evaluate your own understanding of a subject is to attempt to explain it to someone else. Through explaining things, we discover how much of the "totally obvious" world is actually full of ambiguity, mystery and contradiction.

There's a great bit in Rowan Atkinson's historical sitcom Blackadder that illustrates this principle. In "Ink and Incapability" Blackadder and friends have accidentally burned the only copy of Samuel Johnson's original dictionary of the English language. To cover up their mistake, they decide that they will recreate the dictionary themselves. However, they founder on the first word they try to define, "A":

<blockquote>Blackadder: Let's start at the beginning, shall we? First: 'A.' How would you define 'A'?

    Prince George: Ohh…'A' (continues this in background). Oh, I love this! I love this! Quizzies! Erm, hang on, it’s coming. Ooh, crikey, erm, oh yes, I’ve got it!

    B: What?

    PG: Well, it doesn’t really mean anything, does it?

    B: Good. So we're well on the way, then. "'A'; impersonal pronoun; doesn't really mean anything."</blockquote>

I mean, what does "A" mean? The Oxford English Dictionary has more than a dozen definitions, and just the first one runs to more than 1,500 words:

https://archive.org/details/the-oxford-english-dictionary-all-volumes_202208/The%20Oxford%20English%20Dictionary%20Volume%201%20-%20A%20to%20B/page/n25/mode/2up

Now, normal life involves a lot of explaining things to other people. You have to explain your problems to customer service reps, who have to explain why they can't solve those problems to you. You need to explain to your loved ones why you want to leave your toothbrush in the shower, and they have to explain why they hate having your toothbrush in the shower. These explanation-exchanges teach you as much as they teach the person you're locked in dialog with. The reasons for leaving your toothbrush in the shower may seem totally obvious to you, and your partner's inability to understand this reveals the assumptions you've never even considered.

For the past four decades, an increasing proportion of the population have spent an increasing proportion of their lives explaining things to machines that have no assumptions or shared context: computers. What we call "programming a computer" is really "breaking down a thing that seems obvious to you into increasingly simple instructions that will be followed to the letter."

Computers are like the genies of legend, bloody-minded literalists who will do exactly what you say, in the way that is perversely furthest from what you mean. To get a computer to do anything, you must first understand it to a degree that far exceeds the understanding needed to explain something to any other human, even a small child.

To take just one example: yesterday, I was on a plane, and the seatback video started cycling through its video-on-demand offerings. All of the movie titles that began with "the" were rewritten to put "the" at the end of the title (for example, "The Sting" was written as "Sting, The"). It's obvious why the system's designer had done this: we expect to find movies whose titles begin with "The" alphabetized under their second word ("The Sting" should appear between "Star Wars" and "Story of a Love Affair"; not between "The Godfather" and "The Untouchables").

I remember when I learned this from my elementary school's teacher-librarian, when I was seven and my class got a tutorial on the school library's card catalog. The librarian explained this principle to us in a matter of minutes, as part of a longer set of instructions, and still, it stuck with me forever.

But here we are, 48 years later, and we still haven't standardized a way to get computers to grasp this foundational principle of alphabetization. Many different databases handle this, to be sure, but it's so inconsistent across so many platforms that someone at the head-end of the video distribution system that feeds American Airlines' VOD system decided, "Fuck it, I'm just gonna put the 'The' at the end of these titles."

Computers are stupid, in other words, which means that the people who program them have to have smarts enough for both of them. Unfortunately for our entire species and civilization, the software industry has historically valued skill at writing efficient and reliable software over writing software that adequately reflects reality. There is an entire genre of lists that illustrate the problem with this; the "falsehoods programmers believe" lists:

https://github.com/kdeldycke/awesome-falsehood

From "names of people" and "street addresses"; from "prices" to "time"; from "email addresses" to "phone numbers"; the "awesome falsehoods" lists are awesome because they reveal how much subtlety and complexity is lurking in these seemingly simple and intuitive concepts. This subtlety and complexity might never emerge through the process of trying to teach a person about them, but when you try to teach a computer about them, you have to confront them in all their awesome fuggliness.

That's because humans have context, agency and flexibility. Sure, the person who designs a form with a blank for "name" might never have met a Malagasy person whose first name is Randriamananjararadofabesata, but in the pre-digital world, when Madagascar Slim met a public official who had to transcribe his name onto a paper form, that official could simply draw an arrow in the margin next to the "name" blank, turn the form over, and write out all 28 characters on the reverse:

https://en.wikipedia.org/wiki/Madagascar_Slim

Computers can't do this. If the programmer doesn't know about Malagasy first names, the computer doesn't know about them either, and the only person who can "teach" the computer about these names is a programmer with access to the code for the database, who has to manually alter the code, compile it, and distribute it to everyone who uses it.

This is partly why digitization has been accompanied by a rise in people asserting that they exist on spectrums rather than in binaries. There were always people whose names, genders, races, and other biographic "immutables" changed, or failed to fit within the blanks on the forms. When those people's realities ran up against failures in the system's abstractions, they could petition a bureaucrat to turn the paper over and write an explanatory note, or to write really small to fill in a blank:

https://pluralistic.net/2023/02/02/nonbinary-families/#red-envelopes

Getting a human official to turn the paper over and write something that didn't fit in the blank is a personal challenge. It requires that a subject convince the person who controls the form to make an exception. This isn't always easy, but officials on the front lines necessarily deal with reality, and they can't get their jobs done unless they're capable of interpreting the necessarily incomplete procedures they operate under to fit things as they really are.

But a computer doesn't have any agency or context or flexibility. If the computer says your name isn't valid, you can't argue the computer into accepting it. The only way to get a digital world to acknowledge your existence is to campaign for systemic change. A trans person might (with great difficulty, to be sure) convince the regional registrar to white-out an old X on one "gender" box and mark a new X in the other box. But the only way to make that change in a software system that has been programmed to treat the "gender" field as immutable is to change society itself.

In this way, computers are machines for teaching us what we don't know about ourselves. They require that we interrogate and faithfully recreate our personal tacit knowledge, and they require that our societies interrogate their tacit presumptions as well. When you are forced to turn your tacit knowledge into explicit knowledge, you're also forced to confront how many broken assumptions lurk inside your reasoning. At best, it's a clarifying process.

Computers don't just clarify what we know and how we organize our society: they also clarify what we are. There are lots of things that we have supposed that a computer would never do, because we believed that these things required something that only humans could do.

Take chess: there are more possible chess games than there are hydrogen atoms in the universe, so brute-forcing chess by running all possible games is a technological impossibility. The best human chess players do something we don't quite understand, mixing their recollections of previous games with rules-of-thumb about the best strategies, with "creativity" (whatever that is) that lets them spontaneously develop new strategies. We can easily get a computer to memorize all the known-good chess sequences and all the rules of thumb, but we don't know what "creativity" is, so we can't encode it as a series of instructions.

But thanks to breakthroughs in machine learning and its successor, "deep learning," we have created chess-playing software that can beat every human, partly by assaying gambits that we would term "creative" if they originated with a human player.

What we make of this new fact is controversial. For many people (myself included), this is a refinement: it tells me that behaviors that are indistinguishable from "creativity" can, at least some of the time, be created by mechanical processes, and the mere fact that a machine does something that appears "creative" doesn't mean that machines are human.

For others, the fact that a mechanical system can evince a behavior that we would call "creative" in a human doesn't mean that we defined "creativity" too broadly, it means that we defined "human" too narrowly, and now we have made a machine that is, at least partially, a person.

I think this is the wrong conclusion to draw, for reasons that Ted Chiang sets out with luminous brilliance in a recent Atlantic article entitled "No, Artificial Intelligence Is Not Conscious":

https://www.theatlantic.com/philosophy/2026/06/no-artificial-intelligence-is-not-conscious/687378/

(If you're hitting the paywall on that one and you're on Firefox, you can try my favorite trick: switch to "Reader Mode" and hit "reload" – your mileage may vary.)

For all the reasons Chiang articulates, I think that drawing the "personhood" line to include machines is a technical mistake, but it's worse than that. Admitting machines to the "personhood" club is a tactical mistake, on par with the mistake we made when we admitted corporations to the personhood club. We should absolutely consider expanding personhood to incorporate living things, including animals and ecosystems, but at the same time, we must purge these dead, artificial constructs from the club:

https://pluralistic.net/2026/04/15/artificial-lifeforms/#moral-consideration

There is a way in which the recognition of new capabilities in machines parallels the recognition of new capabilities in animals other than ourselves. When those animals manage to do things that we once thought were the exclusive province of humans, we (should) take that as an opportunity to refine our conception of humanity. We're not "the animals that use tools" or "the animals that make plans" or "the animals that recognize themselves in mirrors," because there are other animals that do those things. We are an "animal that uses tools"; not the animal that does so.

Likewise, if we thought that some activity was unique to humans, or to living beings, and we manage to get a machine to replicate that activity, we should revise our view of the activity – not our view of the machine. Creative breakthroughs in chess are not "a thing that requires a human mind," they're "things that can be done by human minds and by machines."

Edsger Dijkstra once famously asked "can a submarine swim?"

https://www.cs.utexas.edu/~EWD/transcriptions/EWD08xx/EWD898.html

Submarines and fish and humans and dolphins all propel themselves through water by different means. But when an animal swims, it does something that is different from what a submarine does. The submarine has no intention, while (complex multicellular) animals swim to pursue goals. Building machines that propel themselves through water is very useful, but it's not the same thing as creating life. In some ways, it's better than creating life: for one thing, we owe other living things moral consideration that is not due to machines. Harnessing a machine to accomplish our own goals is more morally clear than controlling living things to achieve those goals. By the same token, creating machines that can do some of the tasks that we ask of other humans can be the superior moral course. I'd rather have a machine remove mines from a minefield than getting humans to do it.

But beyond this moral relief, creating machines is a fantastic way to learn more about ourselves – making explicit our tacit knowledge, our implicit social assumptions, and the limitations of our conception of what sets us apart from the rest of the universe.

One way in which AI is exceptional is in how it undermines this principle. Conventional software techniques struggled to produce a program that could identify objects in photographs. It turns out that defining all the visual correlates of "cat" is even harder than defining the letter "A." Deep learning techniques solved this previous insoluble problem by relieving us of the job of making explicit all the implicit factors that we deploy when distinguishing an image of a "cat" from an image of a "dog" or a "tiger" (or a "tractor").

Instead of forcing humans to engage in introspection until we'd made a list of every factor we use to identify cat pictures, we simply identified pictures of cats and fed them to a program that tried to find the commonalities among them. The more pictures we fed to that program, the better it got at identifying cats. Today, we have programs that can reliably distinguish an image of a cat from an image of a tiger cub!

This represents a major breakthrough in the power of computers to perform useful work for us, but it's also a huge regression in computers' role in forcing us to make our tacit thought processes explicit through systematic introspection. That's probably fine: we didn't create computers to make us introspect, we created them to do useful work for us. All things considered, it might be better to have genies who grant our wishes according to the spirit of our words, not their letter.

AI may not force us to render our implicit thoughts as explicit instructions, but it absolutely forces us to reconsider and narrow the realm of the numinous. Our own creativity is still delightful and important, but the fact that this squishy, amazing process can (sometimes) be replicated by procedural machines changes the definition of living things. We're "a thing that can produce creative outcomes" but not "the things that can produce creative outcomes." The machines aren't being creative (any more than a submarine is swimming) but they're outputting things that we used to only achieve by means of creativity.

An AI that does something that used to require creativity is fulfilling my favorite of Brian Eno and Peter Schmidt's Oblique Strategies: "Be the first person to not do something that no one else has not done before":

https://stoney.sb.org/eno/oblique.html

Just as bosses fantasize about AI bringing about a worksite without workers, and Zuckerberg is trying to build social media without socializing, and politicians want a bureaucracy without bureaucrats, we can sometimes use AI to produce creative outcomes without creativity:

https://pluralistic.net/2026/05/27/unnecessariat/#rubbuts-stole-my-jerb

That isn't to say that AI art is any good. AI may produce things that are aesthetically interesting, but it can't produce things that mean anything:

https://pluralistic.net/2026/06/02/must-we-pretend/

But art isn't the only realm that we apply creativity to. There are plenty of outcomes that we've always believed we couldn't bring about without applying creativity. AI – like all software – is making us realize that an ingredient we once deemed uniquely essential turns out to have substitutes. AI can sometimes accomplish things without us explaining how we do them. That relieves us of a useful but difficult chore – but in so doing, it forces us (yet again!) to revisit what sorts of things are needed to do the things that matter to us, and therefore, what makes us special."]]></description>
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    <title>The Dream of the Universal Library—Asterisk</title>
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<item rdf:about="https://daily.jstor.org/how-libraries-stand-the-test-of-time/">
    <title>How Libraries Stand the Test of Time - JSTOR Daily</title>
    <dc:date>2025-08-21T21:19:47+00:00</dc:date>
    <link>https://daily.jstor.org/how-libraries-stand-the-test-of-time/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The digital era builds upon millennia of librarianship as humans strive to preserve our cultural heritage."]]></description>
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<item rdf:about="https://www.beyondthedial.com/post/e63-rolex-vs-gen-x/">
    <title>Podcast Insights E23 - Rolex vs. Gen X - BEYOND THE DIAL</title>
    <dc:date>2025-07-24T23:14:55+00:00</dc:date>
    <link>https://www.beyondthedial.com/post/e63-rolex-vs-gen-x/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Can irony reconcile the cynical Gen X world view with a luxury hobby? Does the Swiss watch industry sell us “Vintage Nationalism” along with our watches? Did Jean-Claude Biver leverage anti-establishment tendencies with his anti-electronic rhetoric of the 1980s and 1990s?  Allen takes a stab at these topics and more in this essay episode."

[Also here:
https://podcasts.apple.com/us/podcast/insights-e23-rolex-vs-gen-x/id1472733566?i=1000518322057
https://open.spotify.com/episode/30aIknfcJE6JPuVshl0jru ]]]></description>
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<item rdf:about="https://futuress.org/stories/taming-the-chalk/">
    <title>Taming the Chalk</title>
    <dc:date>2025-01-28T20:57:39+00:00</dc:date>
    <link>https://futuress.org/stories/taming-the-chalk/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["A Xakriabá activist reclaims the enduring power of clay, genipap, and chalk for a decolonized education.

----

Célia Xakriabá is an educator, activist, and politician from the Xakriabá people, the Indigenous group inhabiting Minas Gerais state in southeast Brazil. Rooted in the traditions of her ancestors, her activist and educational work challenges the colonial erasure of Indigenous voices in a nation built on centuries of violence, oppression, and expulsion. The Xakriabá people anchor their history in relationships to clay, genipap fruit, and chalk—symbols of their cultural and educational journey.

As a teacher and leader, Célia Xakriabá redefines education as a tool of resistance, transforming imposed systems into spaces of resilience. In 2022, she became the first Indigenous woman from Minas Gerais elected to Brazil’s Congress, advocating for Indigenous and Afro-Brazilian rights, land protection, and environmental justice. Her vision of “body-territory”—a philosophy that sees the body and identity as inseparable from the land, emphasizing their mutual care and interconnectedness—bridges tradition with politics and education, weaving ancestral knowledge into the fabric of contemporary advocacy and policy-making.

In the following text, originally published in Portuguese in Piseagrama in 2020, Célia Xakriabá reflects on “taming the chalk”—a metaphor for reclaiming and reshaping education. She explores the interplay of ancestral knowledge, ritual, and resistance, offering a vision of decolonization rooted in Indigenous wisdom and the strength of her people. This is a story of survival and a call to craft futures shaped by remembrance and creativity.

***

By building history as a counter-narrative, Indigenous people become more than a mere part of the past. Rather, they tell their own version in order to contribute to a history that is being woven in the present towards the future. To “tame the chalk” means to give new meaning to Indigenous schools, reflecting on the challenges and importance of a territorialized education.

The clay, the genipap, and the chalk are the three temporalities that mark the Xakriabá history. These three symbols narrate our trajectory, inspired by our deepest roots. Being in touch with clay, with the earth, even as small children, is a significant experience that brings us close to the two bodies that establish our belonging: the body as a territory, and the territory as a body.

Pottery and handmade items made of clay carry meanings beyond the actual object; specific abilities and peculiar bearings mold a pot or a pan. Such objects have an immateriality, a subjectivity that carries symbolic value. Each piece of clay carries part of the territory, not only as a place where our bodies live, but also as a sacred place where our souls reside.

Indigenous knowledge is not restricted to the development of thought. It is also the development of a sort of wisdom that comes from the hands, from practice, from the body. The entire body is a territory moving from the past to the future. That is how Indigenous intellectuality takes shape.

Our people’s strong suit has always been orality, but with technology, the expansion of records becomes possible, bringing us some advantages. Through photographs, digital writing and audiovisual testimonies, we work so that the next generations will also have the opportunity to reactivate memories, understanding the different historical crossings experienced by the Xakriabá. 

By building alliances among us, Indigenous peoples, and with our non-Indigenous friends, we build our Xakriabá school. It is an epistemological work that aims to establish ourselves as a body-territory in a permanent process of (re)territorialization—open, therefore, to a historicity that must be reactivated by memories that teach us not only about the past, but also about the present and the future. 

We inherit our native memory from our parents, grandparents, and great-grandparents: these are ancient, ancestral memories that we carry with us. Active memories, on the other hand, are those that need to be reactivated in matrices of the past, but are still present and active today. They are dynamic and marked by processes of resignification that will define the memories of the body-territory in the future of those who are still to come.

The Xakriabá people, the old inhabitants of the São Francisco Valley, are the largest Indigenous population in the state of Minas Gerais and one of the largest in Brazil. Our interaction with the surrounding society was not different from that of other Indigenous peoples—it was marked by struggle and blood.

Matias Cardoso, a bandeirante—one of the colonial-era “flag-carriers” who penetrated Brazil’s interior in search of gold—was a great colonizer in the São Francisco Valley. He played a central role in enslaving the Indigenous peoples of the region, and exterminated escaped enslaved communities known as quilombos, leaving a legacy of violence and dispossession. After 1728, we received the title deeds of our lands because our ancestors supported the State—the Portuguese colonial administration—in the war against the Kayapó people, which, according to history, also inhabited this region. This is what is shown in the cave paintings at the Peruaçu National Park. Ever since our people supported the State in that war, we were able to live without external conflict, cohabiting with other peoples from the state of Bahia and from other regions in Minas Gerais.

However, our territory has always been under threat and, from the 1960s and 1970s onwards, the so-called “development” intensified the invasion of our lands, and agricultural projects in the region attracted large farmers from neighboring cities. The Xakriabá people are known for their unique internal social organization as well as their external politics. Today, we have the fourth consecutive Indigenous mandate in the city of São João das Missões.

I was the first Xakriabá to study for a master’s degree and this creates another challenge—that of dealing with the pressures of timing from the academic environment, which does not recognize our temporality. Our time, like our knowledge, operates in another order. Such order does not represent a deficiency in knowledge; rather, it reflects a difference in rhythms.

When asked how I felt about being the first Xakriabá to study for a master’s degree, I replied that being in such a place does not put me in a privileged position, but instead it makes me commit to questioning why, after so many years, I am the first. Being first doesn’t make me more important, but it makes me commit to struggle to not be the last.

By entering the academic territory, I commit to the construction of other native epistemologies, highlighting the production of Indigenous knowledge in the academic territory and in the territory of science. We have a challenging task, as it is not enough to recognize traditional knowledge; it is also necessary to recognize those who hold the knowledge.

The more I learn new things, the more I feel the need to go back to my origins, and my academic experience only reinforced my understanding of how I am deeply constituted by these origins. Although the challenge our people experienced decades ago to guarantee access to land and establish ourselves in the territory still endures, today we have a new challenge: to demarcate space in the academic territory, to indigenize it, transforming its educational practices.

We have shown that we are originary from this land, and that the history that has been told about us consisted of a singular, hegemonically constructed story. Now, we also claim the opportunity to build history as a counter-narrative. We claim the autonomy of telling our own version. We also want to demonstrate that the Indigenous presence in this country is not just part of the past (past history, as historians say), because we are protagonists of a history that is being woven in the present. 

As usually happens in academia, the teaching materials that reach our schools are always skewed towards theories produced in the center. It is as if the culture of the other was stronger. There is a fading and a significant devaluation of Indigenous students in the academic environment. Some students go to university and are not considered authors, interlocutors, or producers of knowledge in that environment. We want to reverse this. That is what I call indigenization. Why not indigenize the other? Why not quilombolize the other, embracing the solidarity and resistance of quilombo communities, or campesinize the other, valuing the deep connection to land and sustainable practices of rural traditions? Recognizing Indigenous participation in epistemological work contributes to the process of decolonizing minds and bodies, deconstructing the mistaken idea that we, Indigenous peoples, cannot keep up with technological trends or anything else outside the village context.

The village where I live is called Barreiro Preto, which means “black clay.” According to my grandfather, the name’s origin comes from the relationship we have had with clay over time. The elders named our village this because of the dark, almost purple clay. There was a perennial stream close to my house, and all the cattle raised in the region came not only to drink water, but also to eat the saline clay. 

In that same place, at certain spots, one could find very argillaceous clay that was used to make pottery, tiles and adobe bricks. The walls of our houses were made of clay and mud. Even today, it is possible to find places where there are traces of pottery workshops built from 35 to 150 years ago.

My great-grandparents and grandparents always worked with clay to build their own houses. My father’s generation also worked in adobe production. He says that in order to buy his first watch, he had to manufacture two thousand adobe bricks. 

I remember that, in order to build our house, my father showed us how to make adobe. I am proud to have helped construct our first house, because this practice is now almost non-existent among the Xakriabá. In the past twenty years there has been an accelerated transformation process, and today most people buy building materials from outside. It is possible to observe the cultural and economic impacts caused by the lack of such practices and, concerned with the impacts, some people are mobilizing to restore and encourage these traditional practices. 

Once, during a Xakriabá house-building workshop at the Federal University of Minas Gerais, a student was impressed by the abilities and knowledge that the Xakriabá masters had about adobe. He asked if they would like the help of architecture students in order to develop a technique that would make the houses last longer, to make them last their whole life. The student felt sorry that such a beautiful house would come undone in four or six years. Libertina, one of the Xakriabá masters, answered him: “No, son, your proposition is dangerous. The house needs to come undone in four or six years so I can keep teaching my children and grandchildren! If the house lasts a lifetime, we will endanger this knowledge and its transmission.” 

The Indigenous sages claim that school needs to be interesting. They say that non-Indigenous schools have a lot to learn from our schools, because we know how to make them interesting for the students. To such a formative matrix, initiated in the territory, I assign the motto of a territorialized education. It carries the power of native epistemology as a starting and ending point, and it is present in memory, in oral transmission and resonating with the melody of Xakriabá writing.

Among the Xakriabá people there are different experts, with different skills. Some are born, for example, with the heritage of profound knowledge, such as those who know the healing blessings. They have the power to heal not only through the active principles of plants, but also through the power of simple gestures (such as placing a hand on a body), and through the power of words and orality. 

There are other knowledges enunciated by orality and by memory, such as time and weather prophecies. Some can, by observing nature in certain months, predict whether the year will be rainy and when the rains will fall. The Xakriabá people have a multiplicity of skills passed from generation to generation, and we are concerned about keeping our knowledge alive.

If we see the wisdom of our elders as a source of knowledge, we can both let this knowledge pass us by, like sudden rain, or convert ourselves into wells that store and keep water for times of need. It is thus, through metaphors, that the elders’ knowledge takes shape. They tell us more or less so: “Intelligence can be acquired with time at school, while wisdom requires another temporality; it requires a greater movement of the mind, but also of the body. It is a kind of knowledge that is not only developed by the mind, but also by the hands.”

Xakriabá women, in addition to keeping very distinct practices, store seeds, and are responsible for a network of seed exchange and sharing. They are responsible for keeping the biodiversity of cucurbit seeds such as watermelon, melon, pumpkins, gourds, etc. In addition to preserving these varieties, they promote the circulation of seeds in the Xakriabá territory. They maintain an exchange network between friends and relatives, supporting those who may not have or have not managed to keep some variety that year. Pumpkin, melon and watermelon seeds are deposited on the muddy walls, and with this practice the women reaffirm yet another act of resistance.

Such forms of traditional education inspire me greatly when drawing plans as a Xakriabá teacher. It is a challenge to translate our traditional methods into school practices—to exercise the indigenization of school practices.

Being an Indigenous teacher is far beyond the simple role of an instructor of each specific field of knowledge. We understand our role in strengthening Indigenous culture through voluntary and solidary participation. We know that it is essential for our own training to listen to our elders, who are living books on the history of the past, present and future.

When I talk about “learning,” I resort to the native Xakriabá sense of the word, which concerns learning by imitation, which is done by associating creativity and tradition. The attentive eyes of children over their parents and grandparents are rhythmic, as the elders inspire creativity and a kind of evolving that originates from re-involvement.

Throughout my trajectory, what has driven me is the certainty that it is possible to build, with the protagonism of collectivity and tradition, a future where the cultures of Indigenous peoples are relished. It is necessary and urgent to give voice to Indigenous peoples’ narratives so that we actually have a truly democratic society, in which symmetrical dialogue is possible.

The time of clay learning represents a period in which the school as an institution did not exist, and in which Indigenous education took place through chanting, through spoken words. There was no writing, but there was memory. Knowledge was acquired and experiences were lived by many generations, passed from the oldest to the youngest. This kind of learning is important to the present day for the preservation of traditions and for constructing the identity of each Xakriabá that comes to the world.

The genipap fruit, in turn, refers to the ritual moments in which our traditions materialize in our bodies. The Xakriabá people and the genipap have historically established a strong relationship through body painting. Body paintings represent the consolidation of our identity, and they give shape to another form of Indigenous learning, which also takes place not in school, but in our daily lives.

When we paint ourselves, at specific times, we believe that it is not just the skin that is being painted, but the spirit itself. Body painting marks and demarcates identity in the contact between body and spirit. The genipap is a tree of good knowledge, because it is the source of our ink. With it we register our culture, which gives us strength.

The time of the genipap was a moment in time when there were no school buildings either, but in which, as in the time of clay, people learned by other means. It is interesting to observe that the time of clay crosses the time of the genipap. There was a period in history when the Xakriabá people were persecuted by farmers and grileiros—land grabbers who falsified documents to illegally claim vacant or third-party land. During this time, the Xakriabá, in order not to be harassed or killed, were forced to stop painting themselves or wearing any items that revealed the identity of our people. We had to think of a strategy to save our body paintings.

For a long time, at least two or three decades, our body paintings were kept in our ceramics—and a lot of those were kept in the earth. The ceramics were therefore fundamental, as they served as a set of samples of our body painting.

It is imperative to reflect on how the body paintings carry elements of a different kind of writing. They work as symbolic narratives that convey subjectivities. The act of painting a body, as well as being painted, is ritual; it is a spiritual preparation. It is not only drawings made on skin; the marks penetrate, reinforcing our ancestors’ memories for our children and for future generations.

The third Xakriabá temporality is that of the chalk. I use the chalk to symbolize the resignification of the school from our own perspective on education. We have had to confront the school that was imposed upon us as an external institution, at first disaggregating our culture.

After quite a struggle, we were able to construct narratives in which our version of history is told. We were able to secure a differentiated school, which does not suppress Xakriabá knowledge and ways of being, thus subverting what has been for decades instrumentalized by the chalk.

We have had to tame the chalk, a tool used by Indigenous teachers, in order to re-signify the school from our own conception of education. This achievement was the result of a long struggle carried on by the Xakriabá leaders. After all, in everyday Xakriabá life there is no dissociation between politics, culture, and education.

We, traditional peoples, can produce another project for society, not based on the fallacy of development, but on re-involvement, on the resumption of other values. In our relationship with the Earth—which is with the whole environment and not just parts of it—we cannot create impersonal or non-spiritual bonds. The Xakriabá cannot see nature as a good to be exploited or as a mere place where food is produced.

Contemporary society needs to recover some values from the relationship with the body-territory. It is necessary to consider the territory as a vital element that feeds us, teaches us, and constitutes our being as people in the world. We cannot see ourselves as separated from the territory, because we are an inseparable part of it; it is in our bodies.

Our community, as of 1996, stopped adapting to the school, and an inverse movement was initiated: the school started to interact with the experiences lived by the community. The school did not arrive first; the community already existed before the school. The school began to respect local culture, establishing dialogues with the ways of living and doing of the Xakriabá people.

Although there are still significant challenges in our relations with the system and the State, we understand that assuming a subversive education makes the Xakriabá school a powerful place for the articulation of knowledge. In addition to studying conventional subjects, we also have classes on culture, language, and Indigenous rights as part of the curriculum.

The practice of organizing the school activities according to the times of the village—such as times of drought and rain—is also an important strategy to enable a dialogue between traditional knowledge and other forms of knowledge. It is a fundamental part of making a differentiated school education.

If someone asks me where the Xakriabá school is, I would answer that it is as far as their eyes can see, with the conviction that our school will be present even where my eyes cannot see. When we go out into the world and encounter another science, that does not mean we cannot keep our own science.

We believe that the educational process needs to be built based on our own beliefs. What we want is not an Indigenous school education designed for Indigenous peoples, but an education built by Indigenous peoples. To strengthen the educational processes, it is necessary to feed it practices woven into our culture, which are present in orality, in our rituals, in our social organization, in sacred and secret practices.

Instead of using the concept of reappropriation, which is widely employed in anthropology, we resort to “taming” because it is a concept elaborated from the perspective of those who had to resist and tame that which was ferocious, and, therefore, attacked and violated our culture. We made this choice because the concept of reappropriation, although it can have a similar meaning, does not express the impact and violence of the arrival of schools in Indigenous territories. 

Another concept with which we dialogue is that of indigenization. It is a concept well known among anthropologists and historians, coined by the US anthropologist Marshall Sahlins. We use it to talk about the strategies with which the Xakriabá people deal with the school that came to us and how we re-signified it. Sahlins proposed the term “indigenization,” seeking to differentiate it from the concept of acculturation—and this interests us, above all, as a way of opposing the preconceived idea that we, Indigenous peoples, have been “acculturated.”

In order to subvert, body and mind need to go into action, and this causes displacement. However, there is no alternative but to start doing it. But how to start? One must start doing it somewhere, and the only clue I would give is: learn to take off the shoes used to walk paths and access theoretical knowledge produced in the center. Let your feet touch the earth in the territory. Your shoes will become small and will not fit our collective feet; they will squeeze our minds so much that they will limit access to knowledge in the territory of the body.

If the path is not open, start with chopping the wood; if that has been done, open a trail. If the trail is already there, make it bigger, wider, make it a road. That is the only way to widen horizons and to build a territorialized education, inspired by the experience of Indigenous peoples; it is the only way to actualize decolonial practices beyond discourse.

***

Célia Xakriabá (she/her) is a teacher and indigenous activist from the Xakriabá people from Minas Gerais. She holds a Master’s degree in Sustainability with Traditional Peoples and Lands (MESPT) from the University of Brasilia (UnB), and is pursuing a doctorate in Anthropology at the Federal University of Minas Gerais (UFMG). She was a teacher of the Transversal Training in Traditional Knowledge Program at UFMG and became the first Indigenous woman elected as a federal deputy from the state of Minas Gerais (2023-26).

Title image: Curumim, the Keeper of Memories by Denilson Baniwa, Acrylic on raw cotton, 2018.

Denilson Baniwa (he/him) is Indigenous to the Baniwa people, from the state of Amazonas. He is an artist, curator, designer, illustrator, and activist. Currently, he lives and works in Niterói, Rio de Janeiro, Brasil. As an activist for the rights of Indigenous peoples, he has held lectures, workshops, and courses since 2015. As an artist, he has participated in exhibitions at Pinacoteca de São Paulo, CCSP, Helio Oiticica Arts Center, Afro Brasil Museum, MASP, MAR, the São Paulo Biennale, and the Sydney Biennale.

Translation: Brena O’Dwyer.

Brena O’Dwyer (she/her) is a Brooklyn-based Brazilian professional with a multidisciplinary background. She holds a PhD in Anthropology and is the author of the poetry book As Ilhas. Brena was the editor of O’Cyano magazine and worked as a translator. Now in a new chapter, she works as a software developer.

CROSSINGS—TRAVESSIAS is a collaboration with the Brazilian publishing platform Piseagrama We will be working together to translate into English a series of urgent Afro-Brazilian, indigenous and LGBTQIA+ voices, originally published in Portuguese by Piseagrama. The project aims to function as a transnational meeting point across cultural, geographical, cosmological, and linguistic borders."]]></description>
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How to read a Library the topics of digitization, access, visualization, discovery, the democratization of digital technologies, digital/data literacy, and community participation in the context of cultural archives and libraries. The practice-based research departs from the research questions: Can we use the physical library and its collection to imagine access to knowledge in the digital library? Can we use digital tools to allow readers to link data, share knowledge and collaborate within and across libraries? Can machine learning and AI be used in a library to enhance reading and promote access instead of being used for targeting advertisement and surveillance? Is it possible to make the library a digital public space? The research was concluded with the exhibition Catching up in the Archive in which the entire archive of de Appel was displayed. We produce a Mobile Archive Unit as a method to involve the community in the digitization process."]]></description>
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    <title>Stitching together an archive of an endangered Palestinian art - The Verge</title>
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<item rdf:about="https://futuress.org/magazine/please-say-more/">
    <title>“Please Say More”</title>
    <dc:date>2022-03-09T22:56:54+00:00</dc:date>
    <link>https://futuress.org/magazine/please-say-more/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Bec Wonders on the Vancouver Women’s Library, the legacy of feminist archives, and the complex history of female conflict."

...

“Often when you have a disagreement with another woman, especially in a feminist context, it feels like this is the first time it’s ever happened [...]. Something about reading those magazines made me realize that it’s just inevitable that women disagree. We’re always gonna disagree, cuz we’re different!”

...

“When I’m going into an archive, I’m relating and speaking to the women in that material. It’s a way for me to bridge that generational divide.”

...

“In her book Feminist Literacies, Kathryn Thoms Flannery talks about feminist periodicals being like counter institutions to the university because women were teaching themselves everything. The feminist periodical functions as a pedagogical tool of teaching each other, but also mostly teaching yourself about something. You wanted to write a response to some woman talking about socialist feminism, or whether we should allow men into the movement, and in crafting that response you are actually teaching yourself, and you are learning your position on the subject. It allows for a lack of categories and categorical positioning, which we can get trapped in so often.”]]></description>
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<item rdf:about="https://thecreativeindependent.com/people/kameelah-janan-rasheed-on-research-and-archiving/">
    <title>Kameelah Janan Rasheed on research and archiving – The Creative Independent</title>
    <dc:date>2021-04-13T04:33:44+00:00</dc:date>
    <link>https://thecreativeindependent.com/people/kameelah-janan-rasheed-on-research-and-archiving/</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>kameelahjananrasheed 2017 archives archiving research howwework writing howwewrite art school schooling learning howwelearn generative invasivespecies nyc landscape colonialism imperialism blackness collections collecting curriculum digitization digital hypertext online octaviabutler web crisscross teaching schools</dc:subject>
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<item rdf:about="https://www.youtube.com/watch?v=kikzjTfos0s">
    <title>On Bullsh*t Jobs | David Graeber | RSA Replay - YouTube</title>
    <dc:date>2019-01-09T07:31:17+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=kikzjTfos0s</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["In 2013 David Graeber, professor of anthropology at LSE, wrote an excoriating essay on modern work for Strike! magazine. “On the Phenomenon of Bullshit Jobs” was read over a million times and the essay translated in seventeen different languages within weeks. Graeber visits the RSA to expand on this phenomenon, and will explore how the proliferation of meaningless jobs - more associated with the 20th-century Soviet Union than latter-day capitalism - has impacted modern society. In doing so, he looks at how we value work, and how, rather than being productive, work has become an end in itself; the way such work maintains the current broken system of finance capital; and, finally, how we can get out of it."]]></description>
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    <title>William Deresiewicz: The New Age of Creativity on Vimeo</title>
    <dc:date>2017-08-25T05:58:39+00:00</dc:date>
    <link>https://vimeo.com/172646692</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>williamderesiewicz creativity 2016 art internet amateurism business entrepreneurship democratization longtail youtube slow feedback uniqueness media immediacy food craft crafts design socialmedia digitization digital economics academia labor multitasking interdisciplinary multidisciplinary crossdisciplinary audience creation specialization history genius individualism rebelliousness youth religion gigeconomy freelancing self-employment music amazon newspapers funding marketing amateurs</dc:subject>
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<item rdf:about="http://crapfutures.tumblr.com/post/136818232954/constraint-no-4-education">
    <title>crap futures — constraint no. 4: education</title>
    <dc:date>2016-01-12T06:35:51+00:00</dc:date>
    <link>http://crapfutures.tumblr.com/post/136818232954/constraint-no-4-education</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["We hesitated a bit before tackling this one, because education is such a vast and complex subject. But as far as constraints on possible futures go, education is impossible to ignore. Skill sets and thought paths are determined at an early age, shaping and constraining future possibilities for entire generations of pupils. (It is worth rediscovering Ken Robinson’s 2008 talk on changing paradigms in relation to educational constraints.) There are serious consequences to enforcing the constraint of economic utility on education, drastically narrowing curricula to what are considered core subjects, replacing older - not to say obsolete or useless - technologies with newer ones in the classroom, and so on. Maslow’s evocative maxim, often attributed to Mark Twain for reasons unknown, comes to mind: ‘It is tempting, if the only tool you have is a hammer, to treat everything as if it were a nail.’ Today this might be paraphrased as: ‘Give a child a computer, and everything has to be coded.’ Or 3D printed. Or laser cut. Or CNC machined. Obviously the more of these tools girls and boys are given, the better for them and the country they live in.

Unfortunately, recent educational trends in the UK paint a rather bleak picture where constraints are concerned. An article from the BBC on the rise of 3D printing in schools states: ‘the key inspiration … has been what is loosely termed the “digital maker” movement’. But why digital maker movement and not simply maker movement? The article goes on to tell us that ‘"Fab lab" stands for a “fabrication laboratory”, where digital ideas are turned into products and prototypes.’ Again, why digital ideas and not just ideas? What is it about a fablab that needs to be wholly digital and not a hybrid of materials and practices? (Some spaces and curricula do seek to fuse the old ‘shop’ class with the new computer lab, but other concerns may arise - as in the case a few years ago of controversial DARPA military funding to put a thousand DIY workshops in US high schools.)

A UK Government report, meanwhile, that lays out the agenda on 3D printing in education there, includes the following ‘points to consider’: ‘Who will use it? What will it be used for?’ These are good questions, too seldom asked. As for the questions that were not asked, they might include: ‘What will happen to the old machines?’, ‘What will happen to the old knowledge?’ and ‘What is lost in the headlong rush to full digitalisation?’ 3D printing holds an enormous amount of potential, as boundary pushing movements like 3D Additivism demonstrate. But the 3D printer and the laser cutter shouldn’t be the only tools in the box, and deskilling leads to a narrowing of possibilities for everyone.

Roland Barthes, writing in the 1950s about the sudden shift from traditional wooden toys to plastic ones, observed:

<blockquote>Wood makes essential objects, objects for all time. Yet there hardly remain any of these wooden toys…. Henceforth, toys are chemical in substance and colour; their very material introduces one to a coenaesthesis of use, not pleasure. These toys die in fact very quickly, and once dead, they have no posthumous life for the child.</blockquote>

A word of warning to those who would abandon old areas of knowledge and useful materials too quickly."]]></description>
<dc:subject>crapfutures 2016 rolandbarthes wood education children durability materials time slow plastic future futures 3dprinting digital digitization 3dadditivism fablabs darpa diy making makermovement economics purpose additivism fablab</dc:subject>
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<item rdf:about="http://www.nature.com/news/museums-the-endangered-dead-1.16942">
    <title>Museums: The endangered dead : Nature News &amp; Comment</title>
    <dc:date>2015-02-19T21:47:27+00:00</dc:date>
    <link>http://www.nature.com/news/museums-the-endangered-dead-1.16942</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The billions of specimens in natural-history museums are becoming more useful for tracking Earth's shrinking biodiversity. But the collections also face grave threats."

…

"Some scientists see applications for collections beyond documenting new species and studying biodiversity. The Bernice Pauahi Bishop Museum collection in Honolulu, for example, contains millions of mosquito specimens, which might tell virologists about the dynamics of mosquito-borne pathogens. Ten years ago, says Norris, researchers assumed that preservatives would have degraded the DNA of any pathogens in a specimen. But studies are showing that it is possible to recover and analyse viral DNA from museum specimens. In 2012, researchers were able to study the evolution of a retrovirus by extracting viral DNA from 120-year-old koala skins and comparing it with DNA found in skins from the 1980s4.

Norris says that the same could be done with bats to help track diseases such as Ebola. (Researchers strongly suspect that bats triggered the recent outbreak in West Africa.) “You could go into museum collections and you could prospect for viral DNA,” says Norris. The AMNH alone has more than 125,000 bat specimens from around the world. “I guarantee there is something out there that is probably more scary than Ebola that we haven't encountered yet.”

But thoughts of deadly diseases are far from the mind of Moratelli as he bends to his work at the Smithsonian, calipers in hand. He carefully measures another bat, enters the data into his spreadsheet and places the animal onto a tray. Measure and repeat. In cabinets within reach, he has yet more specimens on loan from museums in Pennsylvania, Louisiana and California.

Last year, while at Texas Tech University in Lubbock, Moratelli discovered what appeared to be a specimen of an unknown species of Guyanese bat. He will know for certain later this year when he travels to Canada to compare the specimen to a large collection of several hundred bats from Guyana.

A few years ago, he travelled to the French National Museum of Natural History in Paris to inspect just two specimens. In the months ahead, Moratelli will repeat the measurement process thousands of times, and he knows he will discover new species. For some of these — critically endangered bats with dwindling habitats — his findings might help to avert extinction.

For others, it is already too late."]]></description>
<dc:subject>naturalhistory museums archives 2015 collections biodiversity research specimens digitization repositories</dc:subject>
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<item rdf:about="http://www.economist.com/blogs/babbage/2012/05/book-digitisation">
    <title>More than just text</title>
    <dc:date>2012-05-22T14:53:00+00:00</dc:date>
    <link>http://www.economist.com/blogs/babbage/2012/05/book-digitisation</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[<blockquote>BOOKS may appear to inhabit a flat, monochromatic space. But Sarah Werner, a director at the Folger Shakespeare Library in Washington, DC, stresses that they carry a wealth of information which pours out only on close inspection, by looking, touching or even smelling a physical copy. They also change over time. This richness cannot—at least not yet—be captured in book-scanning projects.</blockquote>

<blockquote>She turns to a page with a handprint on it. The stain had to be that of a printer's devil, as a young shop assistant was known in those days. The handprint extends into the binding (see picture), so it must have been made before the book was still in large sheets (called signatures) and before it was folded and bound, she explains. In "Incipit textus Sententiarum", a book printed in Basel in 1482, she shows your correspondent a similar handprint on an outer margin. That was probably smeared at a later stage, possibly by a reader.</blockquote>

<blockquote>The assembly is important. Previous centuries treated books and manuscripts interchangeably, Dr Werner says, and some books were delivered as loose pages that were folded, sewn and bound. Books had their covers and bindings removed at times, and were rebound into new forms that suited the owner.</blockquote>]]></description>
<dc:subject>books technology digitization waggledance via:tealtan</dc:subject>
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    <title>Books In Browsers 2011: James Bridle, &quot;Books as Data&quot; - YouTube</title>
    <dc:date>2012-01-26T03:36:39+00:00</dc:date>
    <link>http://www.youtube.com/watch?&amp;v=uTprAVmG204</link>
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<item rdf:about="http://designobserver.com/observersroom/robwalker/post/questions-about-the-new-aesthetic/30878/">
    <title>Rob Walker: Questions About 'The New Aesthetic': Observers Room: Design Observer</title>
    <dc:date>2011-11-13T20:09:49+00:00</dc:date>
    <link>http://designobserver.com/observersroom/robwalker/post/questions-about-the-new-aesthetic/30878/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Stumbling into other peoples' back yards is good, as it helps to define one's own territory. I'm realising I'm more interested in the communicative and psychological effects that living with these technologies produces, the cross-fertilisation between technology and culture and the normalisation of those cross-overs—as well as the sheer temporal vertigo it can produce."

"The New Aesthetic is not criticism, but an exploration; not a plea for change, rather a series of reference points to the change that is occurring. An attempt to understand not only the ways in which technology shapes the things we make, but the way we see and understand them."]]></description>
<dc:subject>jamesbridle robwalker crossdisciplinary crosspollination interdisciplinary thenewaesthetic machine-readableworld dataobjects bernhardrieder digitization technology noticing change nearfuture 2011 newaesthetic</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:d339bf271b6e/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:interdisciplinary"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:thenewaesthetic"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:machine-readableworld"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:dataobjects"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:bernhardrieder"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:digitization"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:technology"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:change"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:nearfuture"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:2011"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:newaesthetic"/>
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</item>
<item rdf:about="http://sarahwerner.net/blog/index.php/2011/08/serendipity-of-the-unexpected/">
    <title>the serendipity of the unexpected, or, a copy is not an edition » Sarah Werner</title>
    <dc:date>2011-08-03T11:22:28+00:00</dc:date>
    <link>http://sarahwerner.net/blog/index.php/2011/08/serendipity-of-the-unexpected/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The best thing about old books, I think, is their longevity and the traces of the history that they carry with them. Inscriptions, marginalia, doodles, vandalism, erasures, cutting out images and leaves–none of those are captured if your focus is solely on the text, and all of them have something to tell us about how a book was used."]]></description>
<dc:subject>unexpectedencounters serendipity marginalia books history digitization 2011 socialtransactions sarahwerner intangibles print printing</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:f5eb9e99a905/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:marginalia"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:books"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:history"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:digitization"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:2011"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:socialtransactions"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:sarahwerner"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:print"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:printing"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://longboredsurfer.com/blog/2010/07/tile-we-meet-again.php">
    <title>Tile we Meet Again - Longbored Surfer - Blog</title>
    <dc:date>2010-08-13T12:40:11+00:00</dc:date>
    <link>http://longboredsurfer.com/blog/2010/07/tile-we-meet-again.php</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The other day, Cabel Sasser (@cabel) (of Panic, fireworks displaying, and snack hunting), tweeted about some tile work uncovered in a building undergoing renovations (I'd love to know the building's name). Five days later, he tweeted again showing the unfortunate destruction of that same tile work. I thought it'd be a shame if that tile didn't get more attention/rememberance, and spent the time to digitize it.

Here is the base hexagonal pattern, and a modification using Panic's (and their awesometastic FTP application Transmit's) colors: [image]

Additionally, I've gone and created a full-sized desktop picture (perfectly fits my 27" iMac)."]]></description>
<dc:subject>tiles digitization cabelsasser portland oregon</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:8d571661267c/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:cabelsasser"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:portland"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:oregon"/>
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</item>
<item rdf:about="http://roomfordebate.blogs.nytimes.com/2010/02/10/do-school-libraries-need-books/">
    <title>Do School Libraries Need Books? - Room for Debate Blog - NYTimes.com</title>
    <dc:date>2010-02-16T17:09:07+00:00</dc:date>
    <link>http://roomfordebate.blogs.nytimes.com/2010/02/10/do-school-libraries-need-books/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Keeping traditional school libraries up to date is costly, with the constant need to acquire new books and to find space to store them. Yet for all that trouble, students roam the stacks less and less because they find it so much more efficient to work online. One school, Cushing Academy, made news last fall when it announced that it would give away most of its 20,000 books and transform its library into a digital center.]]></description>
<dc:subject>education learning technology schools internet future online books research libraries digital digitization reading ebooks advocacy debate library2.0 nicholascarr lizgray williampowers jamestracy cushingacademy matthewkirschenbaum</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:4097e33e8dd7/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:schools"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:library2.0"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:nicholascarr"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:williampowers"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:cushingacademy"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:matthewkirschenbaum"/>
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</item>
<item rdf:about="http://www.prelingerlibrary.org/">
    <title>Prelinger Library</title>
    <dc:date>2009-11-29T04:33:38+00:00</dc:date>
    <link>http://www.prelingerlibrary.org/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Though libraries live on (and are among the least-corrupted democratic institutions), the freedom to browse serendipitously is becoming rarer. Now that many research libraries are economizing on space and converting print collections to microfilm and digital formats, it's becoming harder to wander and let the shelves themselves suggest new directions and ideas. Key academic and research libraries are often closed to unaffiliated users, and many keep the bulk of their collections in closed stacks, inhibiting the rewarding pleasures of browsing. Despite its virtues, query-based online cataloging often prevents unanticipated yet productive results from turning up on the user's screen. And finally, much of the material in our collection is difficult to find in most libraries readily accessible to the general public."

[via: http://berglondon.com/blog/2009/11/26/another-science-fiction/ ]]]></description>
<dc:subject>sanfrancisco education history art books research tovisit libraries databases serendipity ephemera archives reference public resources film digitization</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:af7a4d63b670/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:tovisit"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:databases"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:film"/>
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</item>
<item rdf:about="http://www.codexsinaiticus.org/">
    <title>Codex Sinaiticus</title>
    <dc:date>2009-07-08T05:13:52+00:00</dc:date>
    <link>http://www.codexsinaiticus.org/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Codex Sinaiticus is one of the most important books in the world. Handwritten well over 1600 years ago, the manuscript contains the Christian Bible in Greek, including the oldest complete copy of the New Testament. Its heavily corrected text is of outstanding importance for the history of the Bible and the manuscript – the oldest substantial book to survive Antiquity – is of supreme importance for the history of the book"
]]></description>
<dc:subject>codexsinaiticus manuscripts online history greek ancient digitization classics christianity bible religion archives</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:2089d2c6bb89/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:history"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:greek"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:ancient"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:digitization"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:classics"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:christianity"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:bible"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:religion"/>
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</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://chronicle.com/free/v55/i36/36a00103.htm">
    <title>Alumni Try to Rewrite History on College-Newspaper Web Sites - Chronicle.com</title>
    <dc:date>2009-05-24T18:46:18+00:00</dc:date>
    <link>http://chronicle.com/free/v55/i36/36a00103.htm</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["As the papers have begun digitizing their back issues, their Web sites have become the latest front in the battle over online identities. Youthful activities that once would have disappeared into the recesses of a campus library are now preserved on the public record, to be viewed with skeptical eyes by an adult world of colleagues and potential employers. Alumni now in that world are contacting newspapers with requests for redaction. For unlike Facebook profiles — that other notable source of young-adult embarrassment — the ability to remove or edit questionable content in these cases is out of the author's hands." via: http://www.boingboing.net/2009/05/24/school-newspaper-arc.html
]]></description>
<dc:subject>digitalfootprint education privacy newspapers digitization consequences lifeonline online internet web uncoveredpasts</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:ec196f3bcf58/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:digitalfootprint"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:newspapers"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:digitization"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:consequences"/>
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</item>
<item rdf:about="http://www.wdl.org/en/">
    <title>World Digital Library</title>
    <dc:date>2009-04-24T03:00:16+00:00</dc:date>
    <link>http://www.wdl.org/en/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The World Digital Library (WDL) makes available on the Internet, free of charge and in multilingual format, significant primary materials from countries and cultures around the world.]]></description>
<dc:subject>education art culture online history books research media maps information visualization reference world international archives libraries unesco resources digitization images classideas latinamerica middleeast asia europe us northamerica caribbean africa timelines timeline primarysources mapping interactive</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:ac2725a0886f/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:education"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:art"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:online"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:history"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:books"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:research"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:media"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:information"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:reference"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:asia"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:northamerica"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:caribbean"/>
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</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://blog.ted.com/2008/09/brewster_kahle.php">
    <title>TED | TEDBlog: Building a free digital library for the world: Brewster Kahle on TED.com</title>
    <dc:date>2008-12-23T04:37:02+00:00</dc:date>
    <link>http://blog.ted.com/2008/09/brewster_kahle.php</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Brewster Kahle is building a truly huge digital library -- every book ever published, every movie ever released, all the strata of web history ... It's all free to the public -- unless someone else gets to it first. At the 2007 EG conference, he talks through the challenges, especially, of converting printed books to scanned pages (call it the "10-cent problem")."
]]></description>
<dc:subject>books ebooks olpc digitization opensource ted libraries education knowledge</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:a9e4e624e7cb/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:books"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:ebooks"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:olpc"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:digitization"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:opensource"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:ted"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:knowledge"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://www.nybooks.com/articles/21514">
    <title>The Library in the New Age - The New York Review of Books</title>
    <dc:date>2008-05-25T16:28:46+00:00</dc:date>
    <link>http://www.nybooks.com/articles/21514</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["As a citadel of learning and as a platform for adventure on the Internet, the research library still deserves to stand at the center of the campus, preserving the past and accumulating energy for the future."
]]></description>
<dc:subject>libraries books google history future digitization academia research information printing library2.0 knowledge literacy media newspapers culture democracy technology</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:035b74fae5ab/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:libraries"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:books"/>
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    <dc:creator>robertogreco</dc:creator><description><![CDATA["means that archivists must re-copy or auto-refresh existing digital archives on ongoing basis – in parallel w/ creating archives from original formats. Until cost-effective, ultra-long-term digital storage is achieved, “re-archiving the archives” w
]]></description>
<dc:subject>archiving audio video film audiovisual kevinkelly digitization automation</dc:subject>
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    <title>The new LA school | icon 52 | October 2007 - ICONEYE</title>
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    <dc:creator>robertogreco</dc:creator><description><![CDATA["The new LA school is a band of digital revolutionaries. Obsessed with form and technique, this generation of young architects is milking the city’s resources – from Hollywood to the aerospace industry – to redefine how architecture is made."
]]></description>
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    <title>if:book: the really modern library</title>
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    <dc:creator>robertogreco</dc:creator><description><![CDATA["The goal of this project is to shed light on the big questions about future accessibility and usability of analog culture in a digital, networked world."
]]></description>
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    <title>New Freedom Destroys Old Culture: A response to Nick Carr. Many-to-Many:</title>
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]]></description>
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    <title>Dopplr Blog » Slides from the Reboot talk</title>
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    <dc:creator>robertogreco</dc:creator><description><![CDATA["Travel and Serendipity: How personal informatics are engineering coincidence, lowering environmental impacts and forging a new golden age of travel"
]]></description>
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