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    <title>The life-changing magic of touching stuff | The Vergecast - YouTube</title>
    <dc:date>2026-07-08T02:03:07+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=8WEgL5xCTak</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["We have all become desensitized. Every place is like every other place, every experience is happening at a remove and on a screen. And Ian Bogost, a Washington University professor and a writer at The Atlantic, argues that this "dematerialization" is making our life worse. Ian joins David to explain how to once again commune with the world. He tells us of the magic of paper tickets, why he's kind of obsessed with the rubber on his water bottle, and why you don't need to throw phone into the ocean — but you should probably watch more ASMR videos.

0:00 Welcome and The Small Stuff
01:52 90 Seconds on the Verge
03:28 Tickets and Dematerialization
06:15 Gratification and Communing
10:18 Is the Smartphone to Blame
15:33 Beyond Friction Maxing
22:44 Digital Gratification and ASMR
24:59 Algorithms and Vicarious Delight
27:43 AI and Losing the Process
31:15 Happiness Versus Small Joys
33:07 The Ultimate Nerd Doorbell
35:33 Wrap Up"

[See also:

"The Small Stuff: How to Lead a More Gratifying Life" by Ian Bogost
https://www.simonandschuster.com/books/The-Small-Stuff/Ian-Bogost/9781668062630

"From popular The Atlantic columnist Ian Bogost, a lively reflection on how we’ve become disconnected from the physical world—and how to reclaim gratification in our day-to-day lives.

In an era dominated by convenience and efficiency, one would think that life would be simpler, easier, and most importantly, happier. After all, shouldn’t all the time saved with machines and technology leave us with more time for ourselves? The Atlantic columnist Ian Bogost thinks not. From digital tickets to automated faucets, he argues that the simple pleasures of daily life have been stripped away, replaced by sleek, but soulless, design.

Through engaging anecdotes and sharp analysis, Bogost uncovers how modern conveniences not only fail to deliver on their promises but also rob us of small, satisfying tasks and moments that keep us grounded and human. He challenges us to rethink our daily interactions with the material world and illuminates how the loss of these tangible interactions has contributed to widespread feelings of disconnection and dissatisfaction.

But all hope is not lost. Bogost guides us to identify and appreciate the overlooked joys hidden in everyday life. By reforming how we approach ordinary tasks, we can rediscover the gratification embedded in the tactile world around us.

Humorous, thought-provoking, and practical, The Small Stuff reveals that finding joy isn’t about achieving monumental happiness or prolonged satisfaction. It’s about doing small things, deliberately and with attention, to unlock the basic pleasures that flavor our daily lives."]]]></description>
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    <title>A Discussion on the New Novel 'Palaces of the Crow' (with Ray Nayler) | The Chris Hedges Report</title>
    <dc:date>2026-05-23T05:19:01+00:00</dc:date>
    <link>https://chrishedges.substack.com/p/a-discussion-on-the-new-novel-palaces</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["In his new book, “Palaces of the Crow,” Ray Nayler examines human nature through the lens of caring and community amidst the often hidden horrors of World War II."

...

"“We tell the stories that perpetuate the narrative or the myth we want, and we erase the others,” Chris Hedges states in this interview with Ray Nayler about his new book, “Palaces of the Crow,” which centers around four teenagers from varying backgrounds who struggle to survive during World War II. The war, Nayler says, fundamentally reshaped the world geopolitically, technologically and socially in ways that have profoundly impacted the environment in which we live today. Critical lessons from that moment in time are being lost, with media and governments covering up the deep and long-lasting wounds inflicted upon tens of millions of people. Nayler says that “We can’t move away from that time period before understanding it.”

During World War II people were trapped in unimaginably horrible circumstances and were forced to make difficult, and at times self-sacrificial, decisions. The story of the “ways in which people came together to protect their neighbors, to protect family members, to protect friends, to protect strangers” is rarely told, Nayler says.

In Nayler’s novel, crows play an essential role in the story. Like humans, crows are social animals. He describes the crows’ niche as the flock and the flock as a type of organism whose niche is the forest, much like the human’s niche is society and our society’s niche is the world. Contrary to their typical association with death and destruction, Nayler utilizes them as “a symbol of cooperation and group living and non-violence.” From this viewpoint, one sees that human connection, cooperation, nonviolence and mutual aid are fundamental to survival.

The theme of connection, “a primal sense of togetherness,” is central to the story of the four teenagers thrown together under hostile conditions. This connection allows people, and other animals, to find common ground and get along despite their different cultures. Civilization, which Nayler portrays as “being inside a painted box and trying to ignore what’s out there,” is an obstacle to connection that prevents us from recognizing reality. We erase the reality that humans are social, nonviolent, interconnected and caring beings at our own peril."

...

"Ray Nayler: Well, in a way, this book for me is a kind of response to a certain way of seeing human nature, right? I was very surprised when I found out that William Golding’s “Lord of the Flies” was based on a real event. That there really was a group of shipwrecked boys who survived for a long time on an island alone. They all went to a boarding school, right? And their teachers were not with them, so they were forced to form a society on this island and cooperate and find some way through. The difference between the book and reality is that in reality, nobody died. The boys divided the chores up between themselves, set up housekeeping, and lived very peacefully on that island together in a state of mutual aid and cooperation.

But that’s not the story that gets told in Lord of the Flies, of course. The story that gets told in Lord of the Flies is one of the strong against the weak, and this sort of perverted miniature version of the society that William Golding perceived us as living in in his day. Golding responds to that criticism in an interesting way and, at the contemporary moment when he wrote the Lord of the Flies, he says, “Well this is not a story about those boys. This is a story about British schoolboys and how they would form a society on an island.” And I take that point, but at the time, I think, there’s so many books that are written about people destroying one another in times of adversity. And one of the things that’s forgotten about World War II, for example, is that probably most of the people involved in World War II tried to protect both themselves and other people around them. And many, many people in World War II actually sacrificed their lives to protect other people, knowingly gave their lives up in order to shield other people from oppression. And that’s a story that we don’t talk about, I think, enough about the ways in which people came together to protect their neighbors, to protect family members, to protect friends, to protect strangers."

...

"Chris Hedges: I know from your wonderful book about the octopus that you probably didn’t make up anything about these crows. But set against this horror, and it is a horror that these four teenagers are attempting to hide from and survive through, is our relationship to the animal, to animals, in this particular case, crows. And one of the things I found interesting is that they kind of live in this underground shelter that had been previously occupied by a veteran of World War I and a hermit who had been very, very kind to the flocks of crows in the forest. And it raises that question of whether there was some kind of reciprocity. But I want you to talk about the use of crows that are a constant theme in the book. And at the end, I won’t spoil it, but I mean, there becomes a decision by one of them, I mean, to risk their life to save the crows that are trying to save her.

Ray Nayler: I think Corvids are fascinating. And crows, in particular, but other Corvids like ravens and rooks. One of the things that’s really interesting about them for me is that within the space that humans create, this very damaged space, urban spaces and suburban spaces and all of the spaces in which we’ve sort of invaded nature to some extent, many animals have been destroyed by that movement into nature by human beings. Crows, on the other hand, are one of the groups of animals whose numbers have increased along with humans and who seem very suited to taking advantage of our damaged liminal spaces.

I think we have a strong association with crows and negativity, right? We see their call as a sign sometimes of death, right? They’re associated with disease and war and all of these other things, but I think precisely because when humankind has gone into battle, historically crows have been there to take advantage of the food that we leave behind for them on the battlefield, right? And so, crows are creative and intelligent creatures themselves, of course. And these crows in this book are sort of an extension just of the tool use and intelligence that crows have. And crows are also an animal that has a direct weaving relationship with human beings. They’ve been with us as a symbol, probably throughout our entire history. We’ve, I think, learned a lot from them. And they learn from us. They watch us do things and imitate us. They exchange gifts with us. They remember our faces. They’ve clearly evolved alongside us for a long time.

I was on the beach with my daughter, and we were tide pooling and we were sort of standing there looking at some things. And I saw the crows come down off of the sea cliffs and start gleaning from the tide pools. And I asked the ranger what the crows were doing there because you don’t usually see crows right at the seashore. They’re usually driven away by gulls. And the ranger said, “Well, there was a student group here. There were children. It was a kindergarten group. And the crows know that when the children come through the tide pools, they’re not very careful about where they put their feet and they kill a lot of small animals and snails and things. And so, the crows watch from the forest above the beach, and they wait for children to come through the tide pools and then they go and they pick up what the children have left behind.” And I thought, that’s such a good summation of what much of the crow-human relationship has been historically. We make a mess. The crows take advantage.

But there’s also in the book, mutual care that emerges between the humans and the crows. And this is something that we see with human-animal relationships. And you see it with crows. People who treat injured birds, especially the more intelligent species like Corvids, will often find that they’ve gained a lifelong friend, right? And that bird will introduce them to other birds from their flock and soon they have a relationship with a whole group of birds. And so that thread of care that proceeds from the man who takes care of some crows and is kind to them, and then the children who come along and need help and the crows give it to them, and then later in the book, what the adults will do for the crows. All of that is for me a way of showing how care can move through species, through generations and build some kind of a system of care, right? Grow and grow, if it’s given that space to grow."

...

"Ray Nayler: You know, again, crows are an interesting species. They can be cruel. They can seem cruel to us. They certainly have these famous moments of having trials of other crows and for whatever reason deciding to kill one of their number and it’s completely unclear to us from the outside. No biologist can tell you why this happens, what has been done, because we don’t understand what their culture is and what the violation might have been. But crows show concern for one another, for the injured, for the weak, and they will protect a wounded crow. They will protect a fledgling fallen from the nest against predation. Crows will band together to drive off predators, even when those predators are not a direct threat to them. They will do it just for the sake of other crows, of other members of their group. And they risk their lives to do this. Driving a hawk off is a dangerous activity and it puts one at risk. And so, to do that as a crow, not for the sake of oneself, but for the sake of the flock, really shows the sort of mentality that exists. And I use that word in that exact sense of mentation and a sort of vision of the world or a picture of the world. In the crows’ picture of the world, it is worth risking one’s life for the other virtually at all times.

Chris Hedges: Well, in the book, they risk their lives for the children.

Ray Nayler: Yes. And I think that the implication is that in some way they’ve been able to extend this care out to the children because they have formed a relationship with one of them, Neriya, who has for many seasons been playing with them and interacting with them and building a kind of friendship with them. And so, on that foundation and on the foundation of the relationship that they had with this man before, they have a reason to extend that care to an interspecies level."

[Direct link to video:
https://www.youtube.com/watch?v=hjZ35_Rin3U

"(0:00) Intro  
(2:25) Why WWII? 
(4:21) Clash of totalitarians 
(6:13) The four characters 
(10:19) The symbology of crows 
(15:58) Karma and resurrection 
(19:46) Kropotkin’s naturalism 
(25:04) The complexity of crows
(27:53) Transgenerational communication 
(30:59) Rootlessness and evil 
(33:03) Human-animal communication 
(38:55) The myth of childhood 
(44:05) The forgotten history of WWII
(51:21) Trauma of veterans 
(52:11) Outro"]]]></description>
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<item rdf:about="https://www.lifeblogs.org/entertainment/fauxstalgia-when-the-internet-misses-a-past-that-never-existed.html">
    <title>Fauxstalgia: When the Internet Misses a Past That Never Existed</title>
    <dc:date>2025-12-31T07:06:41+00:00</dc:date>
    <link>https://www.lifeblogs.org/entertainment/fauxstalgia-when-the-internet-misses-a-past-that-never-existed.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["In the age of infinite scroll, nostalgia has become a marketing tool, a mood, and a meme. But the nostalgia flooding our feeds today isn’t about the past — it’s about the idea of it. This phenomenon, often called fauxstalgia, describes a longing for a time we never truly experienced. It’s the yearning for ‘simpler’ eras conjured through TikTok filters, vaporwave aesthetics, and AI-generated memories of 1980s summers we never had.

Fauxstalgia thrives in an internet culture obsessed with reboots, retro filters, and analog vibes. It’s comfort content — emotional escapism packaged as vintage fantasy. But beneath the sepia tones lies a fascinating question: why do we long for the unreal? And what does it mean when the internet manufactures collective memories?

This post explores how fauxstalgia works, who profits from it, and how we can engage with nostalgia consciously — not as a digital dream, but as a mirror for the anxieties of the present.

***

The Rise of Fauxstalgia in Digital Culture

The Internet’s Love Affair with the Past

From 8-bit graphics to lo-fi beats, digital spaces are saturated with simulated nostalgia. Social platforms, particularly TikTok, YouTube, and Instagram, recycle retro aesthetics — VHS filters, film grain, vintage fonts — to evoke emotions of innocence and comfort. These aesthetics aren’t authentic representations of the past; they’re aestheticized versions of it, stripped of complexity and hardship. The “good old days” are reconstructed for emotional impact, not historical accuracy.

Nostalgia Without Memory

Unlike traditional nostalgia, which comes from personal experience, fauxstalgia is borrowed emotion. A Gen Z user might romanticize the 1990s — floppy disks, MTV, mall culture — despite never having lived through it. This secondhand nostalgia is shaped by digital fragments: curated playlists, pixel art, and AI-enhanced footage that makes the past look better than it ever was. It’s a simulation of memory, a synthetic longing that feels real precisely because it’s shared collectively online.

Why We Crave the Simulated Past

Fauxstalgia offers emotional safety in uncertain times. As technology accelerates and the future feels unstable, the past becomes a psychological refuge. Online, nostalgia functions as an escape hatch — a pause button in an overwhelming digital world. But when that nostalgia is artificial, it reveals not our love for history, but our discomfort with the present.

***

Aesthetic Time Travel: The Digital Reconstruction of Memory

The Role of Aesthetics in Manufactured Memory

Every filter, soundtrack, and visual edit contributes to a sensory illusion of the past. Apps like Instagram and VSCO transform reality into a retro dreamscape, making even a 2025 selfie look like a Polaroid from 1979. These images aren’t about authenticity — they’re about emotional tone. The past becomes a brand aesthetic, a texture applied to modern life to make it feel meaningful.

The Rise of “Core” Culture

Online trends like “Y2K core,” “cottagecore,” and “90s core” illustrate how nostalgia has evolved into a taxonomy of moods. Each aesthetic reconstructs a version of the past designed for comfort: a stylized fantasy free of historical messiness. The 90s are remembered not for their inequality or turmoil, but for chunky sneakers and bright windbreakers. These selective memories flatten complexity into aesthetic pleasure, where emotion matters more than truth.

The Algorithmic Memory Machine

Algorithms play a crucial role in sustaining fauxstalgia. They learn which content evokes engagement — a pixelated filter, an old TV ad remix — and amplify it endlessly. The more users respond emotionally, the more nostalgia content gets pushed. In effect, platforms automate the past, creating an endless loop where yesterday is always trending.

***

The Commerce of Comfort: How Brands Sell Fauxstalgia



Marketing Through Memory

Brands have long understood the power of nostalgia, but the digital era has refined it into an art form. From Netflix’s retro series like Stranger Things to Pepsi’s 90s-style logos, companies resurrect cultural touchstones to trigger emotional loyalty. Fauxstalgia allows brands to connect emotionally even with audiences too young to remember the original eras they reference. It’s not about memory — it’s about mood.

The Resale of the Past

Products once considered obsolete — vinyl records, film cameras, typewriters — are being rebranded as lifestyle artifacts. The past is no longer gone; it’s re-merchandised. Online thrift platforms and retro subscription boxes sell experiences of authenticity in a world dominated by digital copies. This commodification of the past gives nostalgia a price tag, turning emotional connection into consumption.

The Ethics of Manufactured Memory

While fauxstalgia can feel harmless, it raises questions about authenticity and manipulation. When brands engineer longing for a past that never existed, they also shape how we interpret history. A glossy, corporate version of the 80s or 90s hides economic and social realities. By selling us curated comfort, companies risk erasing the complexity of real memory — and our ability to learn from it.

***

The Psychology of Fauxstalgia: Longing for an Unlived Life

Emotional Displacement and Digital Escapism

Fauxstalgia reflects a deeper psychological tension: the desire to escape modern disconnection. The internet offers boundless connection but limited intimacy. The idealized past, whether it’s a synthwave sunset or an imagined 2000s summer, becomes a symbol of simplicity. It’s not the past we miss — it’s the feeling of belonging and presence that modern digital life often lacks.

Collective Yearning in the Age of Uncertainty

Sociologists suggest that nostalgia spikes during cultural instability. Economic precarity, environmental anxiety, and information overload drive people toward emotional retreat. The collective longing for the “before times” — even invented ones — offers a sense of shared mourning. Fauxstalgia becomes both a symptom and a salve for collective unease, a digital campfire where users gather to remember what never was.

Memory, Authenticity, and Emotional Simulation

Fauxstalgia tricks the brain. Research shows that emotionally charged imagery can create false memories — we believe we’ve experienced things we’ve only seen or imagined. Online, constant exposure to curated “vintage” content reinforces these sensations, blurring the line between history and fantasy. The internet doesn’t just preserve memories; it fabricates them.

***

When Nostalgia Becomes a Loop: The Future That Keeps Looking Back

The Death of Newness

Fauxstalgia has created a culture of recycling rather than innovation. Music samples old tracks, fashion rehashes old silhouettes, and films reboot existing franchises. The obsession with the past has made cultural originality rare. We’re stuck in a feedback loop of remix culture — consuming the familiar endlessly while craving novelty we no longer trust.

The Emotional Cost of Endless Remakes

Living in constant nostalgia can dull our ability to experience the present. When every image and sound references something older, we risk emotional stagnation. Fauxstalgia offers comfort, but also a kind of cultural paralysis — a refusal to imagine new futures. The past becomes not a lesson, but a lullaby that keeps us from waking up.

Reimagining the Future Through Real Memory

Breaking free from fauxstalgia doesn’t mean rejecting nostalgia altogether. Authentic nostalgia — grounded in personal memory and reflection — can inspire creativity and healing. The key is awareness: recognizing when nostalgia is being sold back to us and choosing to engage with it critically. To move forward, we must reclaim memory as a tool for meaning, not marketing."]]></description>
<dc:subject>fauxstalgia nostalgia simulatednostalgia 2025 internet web online gilbertott digital digitalculture vaporwave aesthetics memory memories technology culture commerce marketing branding comfort psychology ethics yearning uncertainty authenticity emotions escapism remakes meaning capitalism 8-bit ai artificialintelligence 1980s presence tiktok youtive instagram retro innocence ahistoricism vacuity collectivity safety instability stability artificiality illusions meaningmaking y2k cottagecore 1990s messiness inequality whitewashing society manipulation hyperreality reality simplification disconnection unease despair stagnation consumerism consumption reflection criticalthinking</dc:subject>
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<item rdf:about="https://www.simonandschuster.com/books/The-Small-Stuff/Ian-Bogost/9781668062630">
    <title>The Small Stuff: How to Lead a More Gratifying Life, by Ian Bogost (2026) | Official Publisher Page | Simon &amp; Schuster</title>
    <dc:date>2025-12-13T03:41:56+00:00</dc:date>
    <link>https://www.simonandschuster.com/books/The-Small-Stuff/Ian-Bogost/9781668062630</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["From popular The Atlantic columnist Ian Bogost, a lively reflection about how we’ve become disconnected from the physical world—and how to reclaim joy and gratification in your day-to-day life.

In an era dominated by convenience and efficiency, one would think that life would be simpler, easier, and most importantly, happier. After all, shouldn’t all the time saved with machines and technology leave us with more time for ourselves? The Atlantic columnist Ian Bogost thinks not. From QR code menus and digital tickets to automated self-checkout counters, he argues that the simple pleasures of daily life have been stripped away, replaced by sleek, but soulless, design.

Through engaging anecdotes and sharp analysis, Bogost uncovers how modern conveniences not only fail to deliver on their promises but also rob us of small, satisfying tasks and moments that keep us grounded and human. He challenges us to rethink our daily interactions with the material world and illuminates how the loss of these tangible interactions has contributed to widespread feelings of disconnection and dissatisfaction.

But all hope is not lost. Bogost guides us to identify and appreciate the overlooked joys hidden in everyday life. By reforming how we approach ordinary tasks, we can rediscover the gratification embedded in the tactile world around us.

Humorous, thought-provoking, and practical, The Small Stuff reveals that finding joy isn’t about achieving monumental happiness or prolonged satisfaction. It’s about doing small things, deliberately and with attention, to unlock the basic pleasures that flavor our daily lives."]]></description>
<dc:subject>ianbogost slow small cv humans humanism humanity 2025 friction convenience efficiency optimization life living howwelive design disconnection dissatisfaction happiness gratification senses joy pleasure everyday</dc:subject>
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<item rdf:about="https://walklistencreate.org/2025/09/04/on-the-politics-of-walking/">
    <title>On the politics of walking – walk · listen · create</title>
    <dc:date>2025-10-01T02:55:12+00:00</dc:date>
    <link>https://walklistencreate.org/2025/09/04/on-the-politics-of-walking/</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>2025 walking babakfakhamzadeh marymarinopoulou grief solidarity resistance politics emergence nohadelhajj martamorenomuñoz robertyerachmielsniderman tomjeffreys violence injustice disconnection gaza india kenya greece us unrest literature beirut belgium connection place slow food cats buildings landscape landscapes climate climatechange extinctionrebellion environment climatecrisis ecology genocide ethniccleansing cemeteries rupture listening edinburgh care collaboration method ethic ethics walkingtours history memory storytelling place-based</dc:subject>
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<item rdf:about="https://www.sup.org/books/anthropology/something-between-us">
    <title>Something Between Us | Stanford University Press</title>
    <dc:date>2025-09-20T20:29:12+00:00</dc:date>
    <link>https://www.sup.org/books/anthropology/something-between-us</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["An anthropologist's quest to understand the deep social and political divides in American society, and the everyday strategies that can overcome them.

In 2016, Anand Pandian was alarmed by Donald Trump's harsh attacks on immigrants to the United States, the appeal of that politics of anger and fear. In the years that followed, he crisscrossed the country—from Fargo, North Dakota to Denton, Texas, from southern California to upstate New York—seeking out fellow Americans with markedly different social and political commitments, trying to understand the forces that have hardened our suspicions of others. The result is Something Between Us: The Everyday Walls of American Life, and How to Take Them Down, a groundbreaking and ultimately hopeful exploration of the ruptures in our social fabric, and courageous efforts to rebuild a collective life beyond them.

The stakes of disconnection have never been higher. From the plight of migrants and refugees to the climate crisis and the recent pandemic, so much turns on the care and concern we can muster for lives and circumstances beyond our own. But as Pandian discovers, such empathy is often thwarted by the infrastructure of everyday American life: fortified homes and neighborhoods, bulked-up cars and trucks, visions of the body as an armored fortress, and media that shut out contrary views. Home and road, body and mind: these interlocking walls sharpen the divide between insiders and outsiders, making it difficult to take unfamiliar people and perspectives seriously, to acknowledge the needs of others and relate to their struggles.

Through vivid encounters with Americans of many kinds—including salesmen, truck drivers, police officers, urban planners, and activists for women's rights and environmental justice—Pandian shares tools to think beyond the twists and turns of our bracing present. While our impasses draw from deep American histories of isolation and segregation, he reveals how strategies of mutual aid and communal caretaking can help to surface more radical visions for a life in common with others, ways of meeting strangers in this land as potential kin."

[See also:

https://events.berkeley.edu/geog/event/301902-the-everyday-walls-of-american-life-and-how-to-take-t 

"Anthropologist and UC Berkeley alum Anand Pandian (Sociocultural Anthropology, 2004) will speak from a new book about the United States called Something Between Us. The book is based on fieldwork in more than a dozen states, with everyone from homebuilders and truck drivers to activists for gender and environmental justice. The book seeks to show how our social and political impasses in the United States stem from the everyday walls that Americans have come to live with and take for granted: in their homes and on the road, for the body and the mind. It also tries to show how movements for mutual aid and solidarity can break through these barriers, making possible a different kind of collective life in the country.

Anand Pandian is Krieger-Eisenhower Professor of Anthropology at Johns Hopkins University. His previous books include A Possible Anthropology: Methods for Uneasy Times, and Ayya’s Accounts: A Ledger of Hope in Modern India. Anand serves as President of the Society for Cultural Anthropology, and as a curator of the Ecological Design Collective, a community for radical ecological imagination and collaboration. He lives with his family in Baltimore, where he is currently working on a new book project on decay, waste, and the crafting of ecological futures."]]]></description>
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<item rdf:about="https://www.ideo.org/perspective/whats-school-for">
    <title>We’re Losing the Plot on School | IDEO.org</title>
    <dc:date>2025-09-09T16:33:08+00:00</dc:date>
    <link>https://www.ideo.org/perspective/whats-school-for</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["What are we really preparing young people for?"

...

"Over the past year, I’ve been on an epic world tour, sitting in rooms with education and workforce leaders, thinkers, and practitioners who are all wrestling with the same question: What is the future of education?

Among teachers and prospective employers, there’s a growing urgency to rethink what it means to prepare young people for the future, largely driven by the proliferation of genAI and its impact on the future of work. In 2024, 77% of employers globally struggled to find talent with the right skills, while 72% of high school graduates report feeling unprepared to make decisions about their next steps. With millions of U.S workers expected to shift careers in the coming decade as skill demands evolve, the labor market is shifting faster than people can keep up with.

These trends around youth workforce readiness coalesce with another problem: mental health. In 2023, 40% of high school students reported feeling so sad or hopeless for at least two weeks in a row that they stopped engaging in their usual activities. ​​Technology and a changing social fabric are deepening isolation, reshaping not only how we work but how we relate. It has left young people with fewer chances to practice the messy but essential work of being in community. Unsurprisingly, teens are now turning to AI for companionship, a concerning signal that makes teaching relational skills more urgent than ever.

The narrowing of education

In a race to prepare for the future, education seems to be reduced to a single goal: preparing students for work.

It’s not a new phenomenon. Market-driven thinking has fueled pushes toward an increased emphasis on STEM and coding over the past two, three decades. Now, as the disruption from AI becomes more visible and visceral, the response feels familiar. At a recent education conference, I saw schools branding themselves as “AI schools”… whatever that means. But in this rush to ready young people for the future economy, I worry we risk losing sight of what they need to grow into whole, healthy humans.

When I was a teacher in 2018, I watched school become an increasingly isolating experience.

Students were spending more time completing assignments independently on Chromebooks rather than collaborating with each other on group projects. As educators, we were encouraged to tailor instruction to each student’s needs, but in practice, that often meant driving students apart.

Over those years, I rarely saw the most meaningful learning happen in isolation. More often, it unfolded during band concerts, football games, and messy group projects—moments when young people came together and came alive. In working with others, navigating frustration, leaning into collaboration, and ultimately feeling pride in what they accomplished together, I saw the real growth happen. As a teacher, I came to understand that learning isn’t just about mastering a skill. It’s about building interdependence and discovering what it means to contribute to something bigger than yourself. And that makes sense—our purpose as humans isn’t just to work. It’s to care, connect, love, imagine, and live meaningfully with one another.

Schools can’t lose sight of that.

How we get it right

Last year, we partnered with a Dallas-based education nonprofit and the Garland Independent School District to co-design interventions aimed at reducing behavioral issues in classrooms. As we spent time in the hallways and classrooms listening to teachers and students, we quickly saw that the kids weren’t ok and neither were the adults. Teachers were exhausted, stretched thin by the demands of the job and the lack of resources. Students were carrying their own burdens, feeling unseen, misunderstood, and treated like problems instead of people.

Students and teachers told us the real problem wasn’t “bad behavior.” It was burnout and disconnection. Together, we mapped the everyday moments when tensions ran high, surfaced what support would actually be useful in those moments, and tested quick, low-lift ideas. Teachers became invaluable co-designers, shaping a toolkit of simple, scalable tools to rebuild trust and strengthen relationships. In the rush to get through curriculum, schools had unintentionally designed out moments for connection. The mood meter—a quick check-in tool teachers could use after moments of tension or disruption to help the whole classroom reground—was one small way we designed it back in.

Because the people living the problem shaped the solution, the tools actually worked: in the first year, exclusionary discipline dropped 36%, and teachers reported that classrooms felt more supportive and engaged. More importantly, in a system where those closest to the problem rarely have the power to shape the solutions, teachers—who most intimately understand the challenges students face— felt seen and trusted with the agency to create change.

If we want schools to prepare young people for both work and life, we can’t design the future of education for them. We have to design it with them. That means working alongside young people, their teachers, their families, and others who know their lives best. These are the communities that yes—want young people to leave school ready for good jobs— but also ready to build healthy relationships, care for their communities, and navigate an ever-changing, complex world.

Schools are the foundation of our communities. We can’t lose the plot on that."]]></description>
<dc:subject>dianed'costa schools eduction ideo design 2025 schooling care caring community learning howwelearn collaboration individualism personalization work production productivity lcproject openstudioproject life living wellbeing behavior disconnection burnout academics well-being</dc:subject>
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<item rdf:about="https://www.youtube.com/watch?v=Y7USJ6ucupc">
    <title>Historia freak de nuestra relación con la naturaleza - Joaquín Barañao l Biobío 2024 - YouTube</title>
    <dc:date>2024-09-05T19:21:55+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=Y7USJ6ucupc</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Durante los últimos 200 mil años, un primate muy poco impresionante del este de África pasó de ser un puñado de bandas rasguñando la subsistencia a convertirse en el reescultor del planeta completo, al punto que hoy hablamos del Antropoceno. A lo largo de esos milenios, el ser humano evolucionó desde el temor reverencial y la incomprensión más absoluta de los sistemas naturales de gran escala hacia un dominio creciente de sus servicios y posibilidades. Del miedo y el asombro se pasó a la domesticación; de ahí a la sobreutilización inconsciente, seguido de las primeras alarmas de que el planeta es finito. Luego vinieron los movimientos medioambientales y ahora enfrentamos la amenaza de derramar pintura sobre obras maestras si no abandonamos los combustibles fósiles de inmediato.

El escritor Joaquín Barañao, autor de los exitosos libros sobre “historias freak”, guio un paseo histórico por la relación del ser humano con su entorno natural, a través de una narración construida con un pliego de anécdotas, curiosidades y serendipias que le hace honor a aquello de que la realidad, al menos en ocasiones, supera la ficción."]]></description>
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<item rdf:about="https://www.youtube.com/watch?v=eegzTvPT6xY">
    <title>An Honest Living: A Memoir of Peculiar Itineraries with Steven Salaita - YouTube</title>
    <dc:date>2024-03-14T18:34:25+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=eegzTvPT6xY</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["In this episode we welcome Steven Salaita back to MAKC to discuss his most recent book An Honest Living: A Memoir of Peculiar Itineraries

Book Description:

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

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

Now ten years later, with a job at American University at Cairo, Salaita reconciles his past with his future. His restlessness has found a home, yet his return to academe is met with the same condition of fugitivity from whence he was expelled: an occasion for defiance, not conciliation. An Honest Living presents an intimate personal narrative of the author’s decade of professional joys and travails."]]></description>
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<item rdf:about="https://marygaitskill.substack.com/p/the-despair-of-the-young">
    <title>The Despair of the Young - by Mary Gaitskill - Out of It</title>
    <dc:date>2023-09-03T21:42:44+00:00</dc:date>
    <link>https://marygaitskill.substack.com/p/the-despair-of-the-young</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["...and the madness of academia"

...

"There was something intimidating about the opulence of the place, and also a little eerie; to me, that kind of apparent perfection invariably holds the secret of its inevitable ruin.   I knew it was perverse to feel that way in the midst of a wonderful opportunity for which I was grateful-- but I did feel that way, almost on arrival.  The stark rectilinearity of the architecture, the Triumph of the Will plazas, huge terraced terracotta buildings—if you aren’t used to that scale of things it is disorienting, especially if you are the only human walking the huge expanse between the huge structures.  So, at the end of what turned out to be a lovely semester, when one of my favorite students, a kid from India, caustically informed me that this was “the happiest college in America” and that it got on his nerves, I sincerely replied, “Yeah, I know what you mean.  What’s wrong with them?”

But whatever was wrong wasn’t wrong with all of them; some people apparently were not so happy at all.  By the fall of 2015, the Dean of Students had been essentially forced to resign after a humongous campus-wide protest about her alleged racial insensitivity which somehow got combined (in the media) with a Facebook photo of two grinning blonde students in Halloween costumes that featured ponchos, sombreros, and glued-on mustaches.  A quivering apparatus sprang up to attack the unhappiness: more multicultural clubs, more diverse hiring, a mentoring program, and an administrator to oversee diversity came into being.

But when I returned for another engagement in 2019 I noticed that students were no longer so easy-going; in fact, they were positively touchy.  A higher percentage per class needed mental-health disability dispensations and a couple had to take time off due to break-downs.  During the semester a student published an essay in the school paper titled “On Being Unhappy at One of the Happiest Colleges in America.”  The writer identified his experience of racism as the source of his discontent, but towards the end of his piece he broadened his focus to note that the assumption of happiness could itself create mental health stress across the student body.  He mentioned the deaths of two white male students that had occurred within the same week that year, one a suicide, the other a drug overdose. 

An anecdote about those deaths that is minor but which seems relevant:  in conjunction with mass counseling services and a candlelit remembrance, a community gathering was also held featuring a free food truck, board games, and coloring supplies. 

Fast forward to 2021. The unhappiness was continuing its upward creep, for obvious reasons:  the pandemic, political madness culminating in the attack on the capital, the more visible presence of white nationalism, the murder of George Floyd, the vicious street attacks on Asian people which seemed to loom larger and more horrible in contrast with the extra anti-racist vigilance on campus—

Anyone who isn’t living in off-grid isolation is aware of the tireless efforts by hyper-conscious campus administrations to create classrooms where everyone feels safe and as few people as possible will be made “uncomfortable,” let alone unhappy.  Some institutions require “trigger warnings” to be announced before “problematic” material is read, and some classic texts might not be taught at all -- for example, professors of literature might hesitate to include a story by Flannery O’Connor (featuring the n-word) on their syllabus.  Title IX protects everyone from rape or harassment, and mandatory training “modules” educate faculty about proper codes of conduct and speech.  In response to the stressors listed above, the response at the now less-happy campus was to double down on such efforts:  fewer white male authors on the syllabus please, more instructional modules on how to engage students over Zoom, more anti-racist teacher trainings, more refinements of language (the n-word should not be uttered aloud for any reason by any not-black person, not even if the person is reading it from a hundred-year-old text), more polls on how more diversity might be achieved. 

Such strenuous gesticulation has been so widely mocked (even by academics who do it) that it is easy to forget why it started.  Campus assaults and sometimes horrific drunken rapes were a part of campus life for decades and I don’t doubt that they still occur. (For a recent example, see Hobart and William Smith frat rape 2014.)  In the almost thirty years in which I have taught as a visitor at various universities, I have witnessed or heard about disgusting and demoralizing racial insults (for example in 2005, a program on the student TV station at Syracuse University featured images of an actual lynching on a comedy show; the students were quickly and appropriately expelled) as well as the more subtly painful experience of isolation faced by minority groups—experience that professors could unintentionally exacerbate or not notice or not know how to address if they did notice.

But still, even people outraged by such cruelties might fairly mock the corrective apparatus, not only because it is ridiculous (which it often is) or dictatorial (which it often is, even if people on the ground are usually reasonable in its application). The deeper trouble is that it is ineffectual and confusing.  It is confusing to conflate the reading of a hate word in a book from one hundred years ago with its actual use in the present time; it’s confusing to treat the fictional expression of misogyny as if it is the real thing.  It is desensitizing to hear a routine “land acknowledgment statement” read before every gathering.  Anyone who thinks it’s funny to broadcast the image of a lynching victim or who would take part in a gang rape might grit their teeth and undergo the retraining, but I can’t imagine that their racism or misogyny would be moved by it. "

...

"We then moved on to the next startling moment, which arose from a discussion about technique.  The discussion concerned a moment of dialogue during a scene when the protagonist’s parents arrive at the hospital, right after she has come to consciousness; it was trite and emotionally flat.  I allowed that sometimes in terrible situations people do say things that are trite, because they are overwhelmed.  I suggested that the writer could add depth by describing the parent’s facial expressions, their voices and movements.  “When the mother hugs her daughter, what does the hug feel like?”  The student asked me what I meant.  I tried to explain:  her body could feel hard and tense, it could feel soft and warm.  It could feel weak or strong.  There are a lot of different gradations of touch, I said; a person’s body can say a lot of things that they don’t say in words.  And the student replied, “I have no idea what you’re talking about.  I’ve never felt anything like that in a hug.”

The thought popped into my head: “That is why you felt suicidal.”  Later, more sensibly, I thought that the student was possibly just being defensive.  But I wondered.  I meant what I had said to the admin person.  I think people are becoming crazy because they have become too estranged from their own bodies to feel them.  Or to feel other people.  

I am not alone in thinking that the pandemic made such estrangement worse.  But I remember becoming sharply aware of it over a decade earlier, during a discussion of internet porn with a nearly all-female class.  The discussion was triggered by a story about the inhibiting effects of porn on girls who, because boys have become so habituated to it, feel obligated to imitate the actresses.  Eventually I said that performance could never replace genuine bodily response.  One beautiful young woman in her late twenties looked at me with troubled eyes and said, “But how do you know if its genuine?”  I smiled and said “You can feel it.  Its unmistakable.”  She just looked at me, her troubled expression deepening."

...

"My main criticism of it was its uniformity of tone and the lack of the physical world rendered descriptively. 

But that wasn’t so bad, given that few of them seemed able to describe anything.  It is harder than it seems to accurately and evocatively “see” the world through a character’s eyes. It is even harder if your own eyes are so often fixed on a tiny screen that you barely register what is actually happening in front of you.  I have seen people walk into traffic while scrolling on their phones.  I have nearly walked off a sidewalk platform that suddenly came to an end because I was scrolling on my phone.  I know, everyone knows, that traffic accidents have happened because of people screwing around on their phones.

But there are more subtle effects.  Fifteen years ago, even ten years ago, when I took a long walk, either in the city or in the natural world, it was a kind of mediation that happened without my trying.  I became wholly absorbed in what was around me, in textures and shapes, in the human imprint of buildings, sidewalks, backyards, grasses, trees, fungus, worn roads, crushed leaves.  It was a profoundly calming and rejuvenating reminder of the greater world and my own animal connection with it.  When I go for walk now, it is different: even if I only look at my phone once or twice, the experience, while still soothing, is not as deep. My consciousness is kept from full absorption in the physical world by its neurological attunement to the electronic portal in my pocket—or back in my house, if I didn’t even bring the thing with me.  My bodily connection to the environment is thus weakened.  And I cannot believe I am the only one being affected in this way.

I was surprised by the final suicide story.  It was written by a seemingly temperate girl who had previously written subtle, quiet stories set in small towns; I wondered if—I hoped that -- she had written this thing about a guy blowing his brains out in front of a girlfriend under the influence of her peers.  But in a private conference she told me that she chose the subject because four people she had known in her small town had killed themselves or tried, and she was attempting to understand it.  I asked her why she thought this had happened in her town.  She replied that people now find it impossible to be satisfied with themselves, that no one thinks they are good enough, that girls in particular suffer profoundly over how their bodies look and cannot separate appearances from character.  She named the usual suspects: social media, particularly Tik Tok and Instagram.  We talked about how crippling this distorted mirroring can be, how ephemeral the sense of self can become when electronic images are more important than the actual human bodies around you."

...

"She asked if I thought there was a “safety issue” for me or anyone else.  I told her that I didn’t think so, but that I had found his email disturbing.  I described it to her; and I may have read from it, I don’t recall.  She said it wasn’t really enough to act on.  I understood—what kind of action would one take?—but I asked her if she would like me to send the email to her just so that she would have it. She said no, she preferred that I not send it.  I asked why.  She said, “Because if I see it, I’ll have to do something.”  I asked her what she would have to do.  She said she would have to report it and then Luke would be hauled before some committee or other, which in her opinion would just make the situation worse.  I could actually see the sense in this.  But I hung up wondering, where in hell is the safe space around here?  I want a safe space!

I also wondered why the only options were inaction and hauling the student before a committee.  I wondered what would happen if he was instead required to sit down with the assistant dean and myself and asked certain questions. What exactly are you thinking?  Why are you writing to your old lady professor about young men raping old ladies with whom they are acquainted?  I didn’t suggest this for the same reason that I didn’t respond to that part of the email; I did not want to feed it.  But I think a face-to-face sit-down that was not about a personal relationship between him and me but which involved university personnel—someone supportive—would have been different.  It could have been exactly what I think students -- not just students, but most people now -- are missing: physical engagement requiring that you look the person to whom you are speaking in the eye."

...

"This privileging of darkness, I’m pretty sure, informed my Texas students’ seemingly bizarre forbearance towards someone who actually frightened them.

But these days that breed of forbearance is looking like an indulgence that we cannot afford.  These days, niceness is looking pretty damn good; these days, the darkness is just too overwhelming.  Young children are being gunned down in schools, and mass shootings of all description take place weekly for weeks at a stretch, while Congressional leaders treat gun ownership as sacred; black people -- sometimes white people too -- are being murdered by the police; white nationalists are plotting a race war; lies and disinformation are everywhere; nuclear war in Europe suddenly looks possible; the West coast is alternately flooding/burning; last year Pakistan catastrophically flooded, as the impending wave of hell nicknamed “climate change” rises over our heads.  Yes, terrible things were happening in the 1980s, and terrible things have always been happening, but…not like this. 

That young people, including my students, are reacting to all of the above with fear, anguish, and rage is appropriate, even rational.  (The reaction makes particular sense in a cohort that has been encouraged to believe that happiness is an expected norm.)  That they are fixating on problems they can control and maybe solve (the pronouncement of offending words, gender madness, “shitty” men, “problematic” assigned reading material) is understandable.  That they want the safety -- or the illusion of safety -- provided by the corrective apparatus is also understandable.  Only a fool would not crave safety in the face what is happening now.  But while the corrective apparatus is providing a measure of control, it cannot really provide safety.  Metaphorically, it is making sure that the crusts are cut off all the sandwiches and that no dishes are left in the sink while zombie hoards beat on the walls and stick their hands through the windows.

I would like to end with a ringing conclusion of some kind, or at least a helpful suggestion.  But I’m afraid that I can’t.  The only thing I can say for sure is that the young deserve better.  It has become standard to complain about how inept and spoiled the young are but—my students were in some ways pretty great.  Their stories confronted not only suicide and violence but also dilemmas of artificial intelligence, gender animus, caring for a sick parent and sibling during the pandemic, the tenderness of asexual love, the awfulness of age, the timelessness of war—they were ambitious, humorous and bright in the face of everything.   But even if they weren’t, they would deserve better.  Not only them, not only the other young people whom I met at the colleges where I taught, but also the working class and poor kids who spend hours alone in apartments that their single mothers have forbidden them to leave because their neighborhoods are dangerous, possibly sitting glued to the same Instagram accounts that make their more privileged counterparts feel so inadequate they want to die.  All of them deserve better.  I wish to God that we knew how to give it to them. "

[update [7 April 2025]: referenced here:
https://blog.ayjay.org/two-quotations-on-the-effects-of-phones/ ]]]></description>
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    <title>You Are You. We Live Here. This is Now. - Freddie deBoer</title>
    <dc:date>2023-03-30T06:16:43+00:00</dc:date>
    <link>https://freddiedeboer.substack.com/p/you-are-you-we-live-here-this-is</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["What would a healthy culture and caring parents do for those kids? They would be pulled aside and told: you are you, and you will always be you; we live here, on this planet, in this culture, as this species; you live in the times you live in, and you will never live anywhere else. There’s no escape, for any of us. The world gets better and it gets worse. Your life gets easier and it gets harder. Progress happens. Happiness is possible. But the world is an irredeemably broken place, tragedy is the endowment of our bodies and our gods and our world, and you will always, always, always be you. You can hide in your room, but you’ll still be you. And you’ll still be you when you head off to college and make brand new friends, and you’ll still be you after you come out to your parents, and you’ll still be you after you get that job or that promotion or that raise, and you’ll still be you after you lose those last 10 pounds, and you’ll still be you after you fall in love, and you’ll still be you after the AI revolution or the socialist revolution or the love revolution or any other revolution. The only sensible path forward is to learn to accept the brokenness of human life, to develop resilience in the face of its petty cruelties, and to learn to live with yourself. Not to love yourself; I mean, if you can love yourself, great, but in general I find the commandment to love yourself paternalistic and annoying. Even with all the therapy and meds and growth I’ll never be someone who loves himself. But I have learned to live with myself. Young people need to be gently guided in that direction, but the anonymity and disconnection of online life directly obstruct that goal.

If you won't confront your relationship to yourself and the world, you can do what the NYT tells you to do and sleep with stuffed animals as an adult. Never leave childhood. Hide out in infancy forever. But I’m telling you: it’s not gonna work.

We’re trapped in a discursive culture where we spend most of our time trying to avoid appearing to say the stupid things stupid people say. And I think many are afraid to talk like this for fear of falling into “snowflake” territory. I’ve never called anyone a snowflake in my life. I’ve never been possessed of the feeling that young people are weak or cowardly or aren’t tough. What I do think is that, as time goes on and technological progress gives us more ways to numb the pain, it’s tempting to abandon resilience and try to simply avoid all of life’s heartache. Even more, I think it’s tempting for parents to try and do that for their children. We’re decades deep into the helicopter parenting era. Children have never been healthier or safer, but then, American children have been remarkably healthy and safe for decades longer, there was never any real “stranger danger,” and improvements to child health are the product of improving medical technology, not ever-more-anxious parents. What I constantly wonder is how much deeper parents can push this, how much more overprotective they can possibly get. The answer is always that they can indeed go deeper. What I would like to ask them, and our culture, gently, is how they can be sure that what they’re doing isn’t counterproductive. Forget snowflakes. Forget participation trophies. Forget conservative mockery. I’m asking, sincerely and from a place of empathy: isn’t there a chance that the only real way to defend your kids from harm is to show them how constant a companion pain is and teach them how to overcome it?"

...

"The people who talk about AI as this all-transforming technology - they’re telling you that our next step as a species is to build an army of Tyler Durdens and to give up on real love, real feeling, real people. And I’m asking you to refuse. I’m asking you to choose the other thing, in whatever way you can. That’s the existential question for humanity in the 21st century. That’s the challenge in front of all of us. Will you shoulder the risk of pursuing real human connection, as hard and intimidating and discouraging as that can be? Or will you hide in your room forever, comforted by fast food and porn and opiates and therapy and TikTok, risking nothing? It’s up to you. I don’t pretend that it’s easy to choose the former. I don’t pretend that I always choose it or will always choose it, or that I’ve chosen it well, or that choosing it hasn’t cost me a great deal, at times. I know it’s not easy. A lot of people reach out to another and have their hand slapped down. And that’s scary. But to keep trying is to declare to the universe that you will have the courage to be human, when everyone and everything tempts you to be otherwise. Remember: you are you. We live here. This is now."]]></description>
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<item rdf:about="https://unevenearth.org/2018/08/the-social-ideology-of-the-motorcar/">
    <title>The social ideology of the motorcar, by André Gorz (1973) - Uneven Earth</title>
    <dc:date>2023-01-15T22:50:58+00:00</dc:date>
    <link>https://unevenearth.org/2018/08/the-social-ideology-of-the-motorcar/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["This 1973 essay on how cars have taken over our cities remains as relevant as ever"

[Also here:
https://atlasofplaces.com/essays/the-social-ideology-of-the-motorcar/
https://www.resilience.org/stories/2018-08-13/the-social-ideology-of-the-motorcar/

See also:
https://www.youtube.com/watch?v=gxrhePD5pSQ ]

"The worst thing about cars is that they are like castles or villas by the sea: luxury goods invented for the exclusive pleasure of a very rich minority, and which in conception and nature were never intended for the people. Unlike the vacuum cleaner, the radio, or the bicycle, which retain their use value when everyone has one, the car, like a villa by the sea, is only desirable and useful insofar as the masses don’t have one. That is how in both conception and original purpose the car is a luxury good. And the essence of luxury is that it cannot be democratized. If everyone can have luxury, no one gets any advantages from it. On the contrary, everyone diddles, cheats, and frustrates everyone else, and is diddled, cheated, and frustrated in return."

...

"From being a luxury item and a sign of privilege, the car has thus become a vital necessity. You have to have one so as to escape from the urban hell of the cars. Capitalist industry has thus won the game: the superfluous has become necessary. There’s no longer any need to persuade people that they want a car; its necessity is a fact of life. It is true that one may have one’s doubts when watching the motorized escape along the exodus roads. Between 8 and 9:30 a.m., between 5:30 and 7 p.m., and on weekends for five and six hours the escape routes stretch out into bumper-to-bumper processions going (at best) the speed of a bicyclist and in a dense cloud of gasoline fumes. What remains of the car’s advantages? What is left when, inevitably, the top speed on the roads is limited to exactly the speed of the slowest car?

Fair enough. After killing the city, the car is killing the car. Having promised everyone they would be able to go faster, the automobile industry ends up with the unrelentingly predictable result that everyone has to go as slowly as the very slowest, at a speed determined by the simple laws of fluid dynamics. Worse: having been invented to allow its owner to go where he or she wishes, at the time and speed he or she wishes, the car becomes, of all vehicles, the most slavish, risky, undependable and uncomfortable. Even if you leave yourself an extravagant amount of time, you never know when the bottlenecks will let you get there. You are bound to the road as inexorably as the train to its rails. No more than the railway traveller can you stop on impulse, and like the train you must go at a speed decided by someone else. Summing up, the car has none of the advantages of the train and all of its disadvantages, plus some of its own: vibration, cramped space, the danger of accidents, the effort necessary to drive it.

And yet, you may say, people don’t take the train. Of course! How could they? Have you ever tried to go from Boston to New York by train? Or from Ivry to Treport? Or from Garches to Fountainebleau? Or Colombes to l’Isle-Adam? Have you tried on a summer Saturday or Sunday? Well, then, try it and good luck to you! You’ll observe that automobile capitalism has thought of everything. Just when the car is killing the car, it arranges for the alternatives to disappear, thus making the car compulsory. So first the capitalist state allowed the rail connections between the cities and the surrounding countryside to fall to pieces, and then it did away with them. The only ones that have been spared are the high-speed intercity connections that compete with the airlines for a bourgeois clientele. There’s progress for you!"]]></description>
<dc:subject>andrégorz cars urban urbanism 1973 cities transportation culture freedom walking interdependence individualism time efficiency capitalism fossilfuels energy dependence slow small wellbeing commuting commutes traffic maintenance care control trains publictransit conviviality urbanplanning suburbia suburbs bikes biking buses society safety life living neighborhoods community independence disconnection alienation liberty labor consumption consumerism well-being</dc:subject>
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<item rdf:about="https://lithub.com/rebecca-solnit-not-caring-is-a-political-art-form/">
    <title>Rebecca Solnit: Not Caring is a Political Art Form | Literary Hub</title>
    <dc:date>2018-06-23T02:48:53+00:00</dc:date>
    <link>https://lithub.com/rebecca-solnit-not-caring-is-a-political-art-form/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Sometimes it seems to me a better way to organize the political spectrum than along a continuum of right and left would be the ideology of disconnection versus the ideology of connection. In the short term we are working to protect the rights of immigrants and to prevent families from being torn apart at the border—and to address the relationship between our greenhouse gas emissions and the global climate, between our economic systems and poverty, between what we do and what happens beyond us, because the ideology of isolation is in part a denial of cause and effect relations, and a demand to be unburdened even from scientific fact and the historical and linguistic structures governing truth. In the long term our work must be to connect and to bring a vision of connection as better than disconnection, for oneself and for the world,  to those whose ideology is “I really don’t care”—whether or not it’s emblazoned on their jackets. Somewhere in there is the reality that what we do we do for love, if it’s worth doing."]]></description>
<dc:subject>rebeccasolnit 2018 immigration politics connection disconnection empathy compassion refugees donaldtrump race racism climatechange ideology care caring economics inequality poverty</dc:subject>
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<item rdf:about="https://www.zarinabhimji.com/dspseries/18/1FW.htm">
    <title>Zarina Bhimji: Yellow Patch</title>
    <dc:date>2017-12-26T08:10:01+00:00</dc:date>
    <link>https://www.zarinabhimji.com/dspseries/18/1FW.htm</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["A film installation entitled "Yellow Patch". This film was shot in India. 

I am interested in the spaces, micro details and the light of these distant interiors. The location of light is an element of my composition and becomes just as intricate and important as having a figure in my work. The stillness has a suspension of everyday life and yet narrative is deferred by mood and mystery and incompleteness. So that atmosphere is tactile, moist light. But as I worked further I kept coming back to disconnection and belatedness."

[See also: "Zarina Bhimji's world without people"
http://www.phaidon.com/agenda/art/picture-galleries/2012/january/18/zarina-bhimjis-world-without-people/ ]

[via: "Hapticality in the Undercommons, or From Operations Management to Black Ops," by Stefano Harney https://www.academia.edu/6934195/Hapticality_in_the_Undercommons_or_From_Operations_Management_to_Black_Ops

"I want to take just two examples, very different. The first is the performance artist Athi-Patra Ruga. The second is photographer and filmmaker Zarina Bhimji. I don’t intend to read these artists nor to place them in a school or tradition. I want to say instead that they inspire me to think about the line today and its killing rhythm, and to think about the ways this line runs through us, and how it bypasses subject formation at work. But most of all I want to look at their work to think about what Fred calls Black Ops, and the undercommons their work invites us to feel around us.

…

Empty but not unoccupied, rooms, buildings, and fields, the access in Zarina Bhimji’s aesthetically gorgeous film Yellow Patch at first might seem to be about memory. But memory for the line is a matter of metrics, of not making the same mistake twice. It is useful for improvement. And Bhimji’s camera resists the application of memory to the present for purposes of improvement. Her sound rumbles with labour and logistics, above the empty buildings, echoing in the rooms. But with her we enter a militant preservation, not keeping up, not improving, not looking for productive variance. I would say that old administrative papers stacked on the aging wooden office bookcases, or the yellow shutters cut by blocks of light from outside are aestheticised not to make memory useful through nostalgia, where it can be preserved and sold, or judgement where it can be used for improvement. Instead her film displays a calmness, peace, rest, in history, in contemporary history. Not the de-historicised rest of the meditation industry nor the preservation of the history industry, but a militant rest for history, in history, in struggle, right now. Her rooms, ships, fields, and bays do not leave history to give us preservation or provide us with rest in the struggle. Other lines are right here, the film suggests to me, the undercommons is never elsewhere, its touch is also a reach. Its touch is a rest, a caress. Hapticality occupies these rooms with a tap, tap, stroke rhythm of love."]]]></description>
<dc:subject>zarinabhimji film towatch belatedness disconnection 2011 haptic hapticality tactile everyday undercommons stefanoharney art artists uganda india</dc:subject>
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<item rdf:about="https://www.youtube.com/watch?v=fSQgCy_iIcc">
    <title>POLITICAL THEORY - Karl Marx - YouTube</title>
    <dc:date>2017-01-08T22:31:20+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=fSQgCy_iIcc</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Karl Marx remains deeply important today not as the man who told us what to replace capitalism with, but as someone who brilliantly pointed out certain of its problems. The School of Life, a pro-Capitalist institution, takes a look.

…

FURTHER READING

“Most people agree that we need to improve our economic system somehow. It threatens our planet through excessive consumption, distracts us with irrelevant advertising, leaves people hungry and without healthcare, and fuels unnecessary wars. Yet we’re also often keen to dismiss the ideas of its most famous and ambitious critic, Karl Marx. This isn’t very surprising. In practice, his political and economic ideas have been used to design disastrously planned economies and nasty dictatorships. Frankly, the remedies Marx proposed for the ills of the world now sound a bit demented. He thought we should abolish private property. People should not be allowed to own things. At certain moments one can sympathise. But it’s like wanting to ban gossip or forbid watching television. It’s going to war with human behaviour. And Marx believed the world would be put to rights by a dictatorship of the proletariat; which does not mean anything much today. Openly Marxist parties received a total of only 1,685 votes in the 2010 UK general election, out of the nearly 40 million ballots cast…”"]]></description>
<dc:subject>karlmarx marxism capitalism 2014 work labor specialization purpose alienation disconnection hierarchy efficiency communism belonging insecurity economics primitiveaccumulation accumulation profit theft exploitation instability precarity crises abundance scarcity shortage productivity leisure unemployment freedom employment inequality wealth wealthdistribution marriage relationships commodityfetishism feminism oppression ideology values valuejudgements worth consumerism materialism anxiety competition complacency conformity communistmanifesto inheritance privateproperty banking communication transportation eduction publiceducation frederickengels generalists specialists daskapital</dc:subject>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:daskapital"/>
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<item rdf:about="http://matthewbattles.tumblr.com/post/72977669629/social-media-surely-change-identity-performance">
    <title>Urge of the Letter: Social media surely change identity performance....</title>
    <dc:date>2014-01-12T05:26:27+00:00</dc:date>
    <link>http://matthewbattles.tumblr.com/post/72977669629/social-media-surely-change-identity-performance</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Often, the critique of device dependence in connected life today turns on forms of etiquette that emerge or change in the context of technology. Sherry Turkle is perhaps the best-known and most grounded of such critics—and yet I often find myself wondering whether she gets the moral and psychological import of such social forms precisely backward. “I talk to young people about etiquette when they go out to dinner,” she writes in a recent op-ed, “and they explain to me that when in a group of, say, seven, they make sure that at least three people are ‘heads up’ in the ‘talking’ conversation at any one time.” For Turkle, this is evidence of how “[t]echnology doesn’t just do things for us. It does things to us, changing not just what we do but who we are.” But isn’t this evidence instead of our social malleability and adaptability, our capacity for incorporating devices and signals into new modes of address? And as Jurgenson points out in the quote above, it isn’t as though devices arrived in the midst of a sociable utopia of autonomous persons engaged in exchanges of authenticity—for we humans always have deployed rituals and discursive forms to discipline, mediate, and construct social selves.

On the other hand, I’m reminded of Bruce Sterling’s observations about disconnection, in which device-independence becomes a kind of luxury practice akin to boutique poultry farming and meditation retreats—an indulgence of those wealthy enough to afford assistance in human form, or can avoid those dependencies of work, social, and civic life that increasingly require us to maintain our tech-mediated connectivity. Devices can make us susceptible to surveillance and control in insidious and comprehensive ways. It’s important to remember, however, that such control is not a thing technology does to us out of some inherent hegemonic impulse, but the result of choices we make about its design and use."]]></description>
<dc:subject>2014 matthewbattles digitaldualism nathanjurgenson sherryturkle brucesterling nuance disconnection socialmedia identity performance etiquette context technology morality psychology malleability behavior adaptability society social mediation discipline connectivity surveillance control design choice</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:6584fd54371f/</dc:identifier>
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    <title>Teju Cole on what connects Downton Abbey, the IMF, Drones, and Virgin's Upper Class · alexismadrigal · Storify</title>
    <dc:date>2012-03-04T01:01:59+00:00</dc:date>
    <link>http://storify.com/alexismadrigal/teju-cole-on-what-connects-downton-abbey-the-imf-d</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["1. Each age has its presiding metaphor. Ours is aerial bombing.

2. Drone warfare and the IMF are variations on a theme: decisions taken from a great height, with disregard for consequences on the ground.

3. Downton Abbey’s popularity is about a nostalgia for class superiority, and the desire to watch those who act from a great height.

4. Virgin Atlantic’s obnoxious designation of First Class as “Upper Class” is about the same idea: that class is benign and charming.

5. One question links the IMF, drones, Virgin’s “Upper Class,” Limbaugh’s violence and Strauss-Kahn’s, and the mania for “Downton Abbey.”

6. The question is this: those people down there, are they really people? It’s a question about for whose sake this world exists.

7. Someone in soft, casual clothes in a featureless building in Nevada presses a button, and the question disappears."]]></description>
<dc:subject>imf violence firstclass upperclass detatchment elitism superiority classsuperiority disconnection aerialbombing war warfare virginair virgin class drones tejucole downtonabbey</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:39d8d543184f/</dc:identifier>
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</item>
<item rdf:about="http://mediatedcultures.net/smatterings/why-good-classes-fail/">
    <title>Why Good Classes Fail [Digital Ethnography blog]</title>
    <dc:date>2012-02-20T00:44:41+00:00</dc:date>
    <link>http://mediatedcultures.net/smatterings/why-good-classes-fail/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["So rather than focusing on emulating particular techniques and methods, we should be doing everything we can to embrace, inspire, and use our own empathy in order to better understand and relate to our students. It is only from this space that we can effectively generate and use the appropriate techniques and methods for any particular task. In this way, there is no “recipe,” “secret sauce,” or “silver bullet” for teaching effectively that can be used by anybody, anytime, anywhere. Instead, I’m proposing a “generative” method, one in which we “generate” the appropriate method that takes into consideration the broadest range of factors that we can manage to accommodate."
]]></description>
<dc:subject>howweteach howwelearn method carlrogers 2012 listening interestedness disinterest disconnection disengagement engagement gardnercampbell pedagogy students connection reproductiion scalability personality approach silverbullets de-scripting unschooling highereducation education learning teaching michealwesch empathy interested scale</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:0db44b0746e7/</dc:identifier>
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</item>
<item rdf:about="http://kk.org/ct2/2008/01/sanctuaries-of-disconnection.php">
    <title>Conceptual Trends and Current Topics - Sanctuaries of Disconnection</title>
    <dc:date>2008-01-19T23:47:35+00:00</dc:date>
    <link>http://kk.org/ct2/2008/01/sanctuaries-of-disconnection.php</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Connectivity now so cheap, pervasive, democratic, common...will be small movement among individualists, trend-setters, early adopters to disconnect...renowned personage...rejects cell phones, email, and is available ONLY face to face."
]]></description>
<dc:subject>kevinkelly predictions future connectivity mobile phones internet web online wifi sanctuary scarcity disconnection</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:68c6328c923a/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:internet"/>
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</item>
<item rdf:about="http://kk.org/ct2/2007/10/disconnecting-the-dark-pools-o.php">
    <title>Conceptual Trends and Current Topics - Disconnecting the Dark Pools of Liquidity</title>
    <dc:date>2007-10-22T00:33:59+00:00</dc:date>
    <link>http://kk.org/ct2/2007/10/disconnecting-the-dark-pools-o.php</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Darknets, private channels, unlisted numbers, and dark pools of liquidity are all technologies of disconnection. Someday some of the most important information on earth will be information that is NOT connected to the global internet."
]]></description>
<dc:subject>money finance advantage economics insider information data darkpools disconnection trading investing</dc:subject>
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