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    <title>AI's Social Scene Is Shifting to Curated Offline Events, Dinner Parties - Business Insider</title>
    <dc:date>2026-06-26T01:15:39+00:00</dc:date>
    <link>https://www.businessinsider.com/ai-social-scene-curated-offline-events-dinner-parties-2026-6</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[In which the AI-saturated tech space is slowly rejecting its own dogfood of optimization, scalability, and slop. They seem to be slowly re-inventing the humanities and liberal arts that they skipped and derided.]

"If "taste" is the buzzword in the AI world right now, then IRL events have become the best way to demonstrate it.

As AI becomes more competitive and taste — the idea of having superior aesthetic judgment — emerges as a key differentiator, AI companies and young founders are hosting intimate, curated gatherings — often dinner parties — to cultivate cool and build real-world communities.

<blockquote>Hosting an intimate dinner in sf for lore builders.

    Founders, narrative architects, writers, world builders. Humans at the intersection of storytelling x culture x craft x storytelling x philosophy x design.

    Keeping it to <10. Who should be in the room? 🫶
    — Joumana (@JoumanaElomar) June 23, 2026 [https://x.com/JoumanaElomar/status/2069509402437222482 ]</blockquote>

Many of these curated events follow a similar blueprint: a promo that looks like an A24 film poster and grainy, film-like photos that make it feel more like a 90s-era house party than a tech founders' event.

"I think trusted (human) curation is so important now, even more than ever," said Michelle Fang, who leads Stripe Startups, a program offering financial support and resources to early-stage, venture-backed companies, and has a weekly newsletter that rounds up in-person tech events in San Francisco.

Fang said that when she first started the newsletter in 2023, she posted an average of 20 to 30 in-person events a week. That number has now risen to 70 to 80 a week.

"There's been a noticeable shift in both the frequency and types of events happening in SF, especially over the past year," she said.

AI has accelerated this trend dramatically, she said, as the AI boom brings an influx of talent who want to establish their community in the city.

While some of the events Fang has listed are traditional building workshops and hackathons, others include Pilates classes, peptide tasting parties — the latest self-optimization craze — and "intentionally curated" dinners.

It's a vibe shift from the large happy hours and networking events that defined post-pandemic tech socializing, said Fang. These smaller events don't require a big budget or venue, and with the speed of AI growth, people want to make sense of new concepts and the changes happening in real time, she said.

[image: "Dinner table with bowls of sushi and edamame at an event hosted by coworking and tech events startup Verci's / Verci, a coworking space and events startup, hosts monthly dinners and workshops for members.  Ami Yoshimura/Verci"]

'Taste is a new core skill'

The taste conversation kicked off earlier this year when Y Combinator cofounder Paul Graham wrote in a post on X that, as AI democratizes building, "taste will become even more important."

Two days later, OpenAI President Greg Brockman cemented the catchphrase on X, writing that "Taste is a new core skill." Since then, it's led the tech world to hyperfocus on AI companies and founders who are winning the taste battle.

Alongside the taste discourse, being offline has become a status symbol. Having the ability to de-digitalize is seen as a luxury and a way to connect with people more authentically, with in-person events being a means to achieve this, especially for those whose working lives already revolve around AI.

<blockquote>peak bengaluru and bangerlore pic.twitter.com/1imEhjhCBX
    — prerna (@Prerrrrna_) June 7, 2026 [https://x.com/Prerrrrna_/status/2063545613632037129 ]</blockquote>

An event "only for hot people and nerds" in Bangalore, which appeared to be in collaboration with the early-stage Bangalore-based consumer tech company Faff, made the rounds on X earlier this month. The vibe is artfully arranged cheese boards, trendy cocktail menus (with AI puns), and grainy photos.

Ami Yoshimura, the 23-year-old cofounder of Verci, a members club and coworking space in New York, hosts events such as rooftop parties and multi-day retreats for founders and creatives. "Relationships, aesthetics, and telling a story" have become crucial ways to stand out in the hyper-competitive AI industry, he said.
Small parties, big bucks

It's not just San Francisco that is seeing this event boom.

<blockquote>new york tech week highlights:1. went blind into an event hosted by @join_ef and successfully met a group of really cool people with 0 degrees of mutual connection2. met/made some really good friends from url ➡️ irl shoutout fonzi and corgi team3. ended off the week with a… pic.twitter.com/CA3h0mwmLe
    — sara kong (@saraknggg) June 8, 2026 [https://x.com/saraknggg/status/2064047927702782454 *]</blockquote>

Katia Ameri, a partner at A16z who spearheads Tech Week in San Francisco, LA, and New York City, wrote on X last month that New York was so far the largest Tech Week in history by events and attendees. The LA and San Francisco equivalents are coming up later this year.

Eliza Wu, cofounder of Corner, a social mapping app that describes itself as "Google but social," wrote in a post on X that there were over 600 RSVPs for a panel she was hosting at New York Tech Week.

Leading AI companies are also taking note. In April, Anthropic posted a brand events lead role in San Francisco, with a salary of up to $400,000.

There are four open marketing events positions at Anthropic, while OpenAI has two open positions for events, commanding over $200,000 salaries with options to gain equity too.

<blockquote>Anthropic is paying up to $400,000 a year for an events role.They're looking for someone to own the execution of brand experiences that translate Anthropic's values into physical moments.This person will produce everything from intimate thought-leadership gatherings to… pic.twitter.com/SWvmSarclY
    — Andrew Yeung (@andruyeung) April 26, 2026 [https://x.com/andruyeung/status/2048545188608364593 ** (archived: https://www.are.na/block/47316282 )]</blockquote>

Andrew Yeung, an ex-Google and Meta product lead turned event host and angel investor, wrote on X in response to the job advert that it shows Anthropic understands that "they need to create visceral, unforgettable IRL experiences that make complex technology feel accessible and human."

"The massive opportunity now is offline, analog, in-person," he said.

But while the taste that goes into hosting a party is human, we are living in an AI world — and as with your job applications, an AI screener might still be standing between you and an invitation.

Wu, the cofounder who hosted a New York Tech Week event with 600 RSVPs, said she turned to Claude to winnow down her guest list.

She said she prompted the chatbot to scan through potential attendees' social posts to identify "markers of excellence" and to suss out the "quality of their thoughts."

With the help of Claude, only 300 people made the cut."

[* full text of https://x.com/saraknggg/status/2064047927702782454:

<blockquote>new york tech week highlights:

1. went blind into an event hosted by @join_ef and successfully met a group of really cool people with 0 degrees of mutual connection
2. met/made some really good friends from url ➡️ irl shoutout fonzi and corgi team
3. ended off the week with a bang at vega (shoutout ben & maddie)

i think when it boils down to WHAT constitutes a good event, it varies based off what your specific persona is trying to get out of it.

for me, events with well-catered hospitality that are more intimate (without just randomly throwing people together sloppily) call out more to me because you make more solidified relationships. 

likewise, it’s good to put an online face to a name because that alone can unlock so much trust and future opportunities.

see you soon nyc!</blockquote>

** full text of https://x.com/andruyeung/status/2048545188608364593

<blockquote>Anthropic is paying up to $400,000 a year for an events role.

They're looking for someone to own the execution of brand experiences that translate Anthropic's values into physical moments.

This person will produce everything from intimate thought-leadership gatherings to large-scale industry activations.

The top AI research lab in the world recognizes that to cross the chasm and reach everyday consumers, they need to lean into hospitality. They need to create visceral, unforgettable IRL experiences that make complex technology feel accessible and human.

They understand that digital channels are getting increasingly saturated. Every feed is flooded with AI content... every inbox is overflowing.

The massive opportunity now is offline, analog, in-person.

The companies that win in the next decade won't just have the best product but the most emotional in-person presence and the most compelling storytelling.

If you're in events, experiential marketing, or brand activations, this is your moment. The biggest tech companies in the world are betting on you.

[two images of the job posting]</blockquote>]]]></description>
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    <dc:creator>robertogreco</dc:creator><description><![CDATA["Ten years ago, protesters took to the streets to slam San Francisco’s Super Bowl City and call for an end to homeless sweeps. As the game returns to the Bay this week, why are things so quiet?"]]></description>
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<item rdf:about="https://www.sanfranciscoisdead.com/">
    <title>San Francisco is Dead</title>
    <dc:date>2026-01-13T03:38:39+00:00</dc:date>
    <link>https://www.sanfranciscoisdead.com/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Nothing is happening in San Francisco. All the artists are dead. There are no books being made here. The world’s best bookstores are not here. There are no readings, no music venues, no art galleries, no libraries, no orchestras, no museums, no festivals that involve pianos in botanical flower gardens, and no food. There are definitely not poetry readings or theaters or handmade modernist saunas with views of the Golden Gate Bridge. There is absolutely no culture. Don’t even think about moving, or even visiting, here. It’s really terrible. If you do come, you will regret it. If you already live here, like we do, our sincere condolences.

“San Francisco Is Dead” is a free event calendar compiled by the editors of McSweeney’s, an independent nonprofit publishing house based in San Francisco. McSweeney’s publishes three magazines (McSweeney’s Quarterly, The Believer, Illustoria), a daily humor website, and an intrepid list of distinctive books of many genres. You can buy all of these things from our online store. You can also support us today by making a donation."

[via:

"San Francisco: Dead and loving it
A new listings site from McSweeney’s doesn’t quite prove that nothing ever happens in this city"
https://sf.gazetteer.co/san-francisco-dead-and-loving-it
https://archive.ph/Ahcg2 ]]]></description>
<dc:subject>sanfrancisco mcsweenys events libraries bookstores calendars humor music museums festivals books</dc:subject>
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<dc:identifier>https://pinboard.in/u:robertogreco/b:72bdde01c007/</dc:identifier>
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<item rdf:about="https://www.sportico.com/business/tech/2025/facial-recognition-ai-scanning-sports-teams-stadium-laws-1234880030/">
    <title>How Facial Recognition Technology Spread Across U.S. Sporting Events</title>
    <dc:date>2026-01-02T02:04:34+00:00</dc:date>
    <link>https://www.sportico.com/business/tech/2025/facial-recognition-ai-scanning-sports-teams-stadium-laws-1234880030/</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>sport surveillance events facialrecognition 2025 jacobfeldman</dc:subject>
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<dc:identifier>https://pinboard.in/u:robertogreco/b:d09b4d2bc57f/</dc:identifier>
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<item rdf:about="https://ceasefiremagazine.co.uk/alain-badiou-badiou-deleuze/">
    <title>Alain Badiou: On Badiou Versus Deleuze | Ceasefire Magazine</title>
    <dc:date>2025-07-20T06:39:26+00:00</dc:date>
    <link>https://ceasefiremagazine.co.uk/alain-badiou-badiou-deleuze/</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>2015 andrewrobinson alainbadiou deleuze philosophy comparison ontology metaphysics jameswilliams events jonroffe capitalism rebellion pariscommune culture culturalrevolution russianrevolution anarchism gillesdeleuze</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
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<item rdf:about="https://www.youtube.com/watch?v=kZDpsGO_siY">
    <title>Becoming Worthy of the Event: Deleuze, Nietzsche, and Revolutionary Ethics with Justin - YouTube</title>
    <dc:date>2025-07-18T05:05:48+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=kZDpsGO_siY</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["What does it mean to become worthy of the event? In this episode, we’re joined by Justin, longtime collaborator and host of our current reading group on Pierre Klossowski’s Living Currency. Together, we explore Deleuze’s stoic metaphysics, Nietzsche’s ethics of affirmation, and the revolutionary stakes of releasing ourselves from resentment. Along the way, we consider how play, pedagogy, and the dissolution of the self open us to the transformative force of the event."]]></description>
<dc:subject>acidhorizon nietzsche ethics revolutionaryethics pierreklossiwski affirmation play pedagogy will 2025 self metaphysics resentment events experience childhood earlychildhood playfulness education worthiness culture stoicism goodwill ontology revenge action expression necessity determinism interactions finality modernity hypermodernity capitalism fascism joy authoritarianism paternalism boides aesthetics asceticism revolution abstraction self-reflection judgement gillesdeleuze deleuze children watchfulness paulofreire objectification teaching howweteach chance chaos willtopower microfascism contradiction resentfulness resentfulliving repression mediocrity monstrosity collectivism individualism affect selflessness giving sacrifice memory emotions feelings thoughts perceptions tendencies introspection credit debt reckoning retribution cruelty vindictiveness joyfulness revolutionaries</dc:subject>
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<item rdf:about="https://www.e-flux.com/architecture/interdependence/669028/elective-affinities-for-the-common-good">
    <title>Interdependence - Gabriela Jauregui - Elective Affinities for the Common Good</title>
    <dc:date>2025-07-18T04:27:06+00:00</dc:date>
    <link>https://www.e-flux.com/architecture/interdependence/669028/elective-affinities-for-the-common-good</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The Insurgentes subway station is one of the main arteries in the beating heart of Mexico City. Located in the Juarez neighborhood, every month, one million people use this subway station as part of their commutes. It is where an epic battle between punks and emos took place in the early 2000s.

It is one of the neighborhoods that is most affected by earthquakes. It is where the local shoe-shine guy, the lady who delivers tupperware meals to office workers, and the man who sits as a security guard in one of the many parking lots, come to work after hours-long commutes, along with thousands of others every day. It is also home to Aeromoto, or “airquake,” named after the earthquakes that shake the city, but also avant-garde Chilean poet Vicente Huidobro’s prose poem “Sky-Quake” (1931). Aeromoto started off as an idea: a lending library in a newsstand, where people who work in the neighborhood could come off the subway, borrow a book for a few hours, read it during their workday, and return it on their way back home.

But the amount of bureaucracy to open a newsstand in Mexico is staggering. So instead, Aeromoto began in 2014 as a storefront on the aptly-named Calle Venecia, which floods during the rainy season. The space initially housed the one thousand books that Maru Calva, Mauricio Marcín, Macarena Hernández, and Jerónimo Rüedi had in their shared archive. Most were about or related to contemporary art, because that’s what they were all interested in or working on. Throughout the years, however, the collection has grown. But it all started with a revolutionary question: “Why should all these books be sitting on shelves in my house if I don’t even believe in private property?” Mauricio continued: “It’s not like they’re dead books. They’re just not being used, read, opened.” Everyone else agreed: it made no sense.

To begin, Maru, Mauricio, Macarena, and Jerónimo pooled some money together and took a carpentry workshop to build shelves. The spirit was very DIY during a moment when many art spaces were sprouting around the city, so Aeromoto inserted itself in a web of affinities and interdependencies. “Slowly, our collection started growing. This was a time when many small presses were starting in the city, and we became a house for ‘books without ISBNs,’ as we called them,” recalls Macarena. “It was really great to be able to buy books that I wouldn’t have bought for myself, like some really obscure performance art books, for example. I felt like a real librarian then,” adds Maru. Most of the art schools and schools in general were lacking art-related books, so they thought this could become a resource for students as well. “We wanted all the neighbors to come. We wanted it to be a neighborhood thing,” says Maru. But when they had their official opening, only one neighbor came. “We even had free mezcal and many flavors of water,” Maru laughs.

Calle Venecia was a universe unto its own. There was a used-clothing store, so many young people would walk by. Mauricio remembers, “Silvia, our front-door neighbor was a Mexican Muslim who used to bake and sell fresh pita bread for a living. She later converted to Christianity.” “The one neighbor who came to our grand opening was an old painter. He came because he thought we could sell his paintings,” adds Maru. They all laugh as they share these stories. Their nemesis back then was Araceli, the next-door neighbor who wanted to park her car and not have people reading books and hanging out in a makeshift garden in the street. But Aeromoto wanted to occupy public space, “to practice the commons.” “We were anti-object. We didn’t want to become an exhibition space. We only wanted books, printed matter. And nothing was for sale, ever,” explains Mauricio. Not even the enthusiastic neighbor’s paintings.

Friendship has been ever-present in everything that happens at Aeromoto. It all started with a group of friends, and the events were organized from an ever-expanding circle of friendships. Hanging out and making it a space for pleasure is at the core of Aeromoto. Maru, Mauricio, Macarena, and Jerónimo dedicate special care to the relationships that come from affection, and the affection that flows from new friendships. Aeromoto is also a space for play, expanding the definition of what a public art library can be and what our relationship with books can mean. Humor and spontaneity have guided them through years of fluctuating sources of income. Aeromoto has been self-funded, sought public grants, asked people to pay around fifteen dollars to become members for a year (half if you’re a student), and sold old donated atlases at the neighborhood second-hand bookstore to pay for office supplies. Everything is creatively solved. If they need pots for plants, they invite a friend to do a pottery workshop. The reading garden was made together with about three dozen people, old and young. From the very beginning, the idea was to make Aeromoto a space to do things that didn’t rely on buying things. “We also wanted to celebrate the handmade, different crafts, and making things ourselves with what’s at hand,” Maru explains.

Slowly, Aeromoto became an oasis in the busy neighborhood. When I first visited back in 2015, the first thing I noticed was the plants on the street that delineated a small perimeter (where, if one were like Araceli, one might be tempted to park one’s car), and a few chairs to sit in. At some point, someone took Aeromoto’s founding disdain for private property to heart and “liberated” their garden chairs. But even misfortune was taken in stride and with good humor. More chairs soon reappeared. The whole thing felt like a situationist prank, a haven for idleness and leisure.

Back then, the space was very unusual. Although plants and chairs outside have now become common in Mexico City after the pandemic, they work in the opposite way as Aeromoto’s reading garden: restaurants have privatized public space, while Aeromoto morphed and occupied it. That first day I visited, I entered the garage-like space and noticed how cozy it felt with large reading tables, ideal for communal activities. There were posters on the walls, including one that stated “At Aeromoto nothing is for sale.” Another one read “Something wonderful is happening.” And books were everywhere. It was my idea of paradise. I ended up there through friendship: a friend of mine invited me to curate a selection of books from their collection, and also to bring some books of my own to lend. So I walked in, carrying a heavy load of books, some of which would stay there as donations, and others which would be a part of that month’s “book table” selection. I was part of an independent collective press, and thanks to that invitation, Aeromoto now has a complete collection of all of our books.

They invited all kinds of people to do things, and all sorts of people came and proposed events. During “Infinite Pedagogies,” people would choose indispensable books for the library to buy with grant money. This was so moving to artist Abraham Cruzvillegas that he decided to sponsor a whole new “infinite pedagogy” section. In the stridentist trunk series, a library-goer and enthusiast who was an expert on the stridentist movement brought books, masks (now property of the Reina Sofía Museum), and stridentist paraphernalia. During “ethylic poetry” sessions, people would read poetry and get wasted on themed alcoholic beverages (caipirinhas while reading Brazilian concrete poetry; absinthe while reading the French accursed poets, and so on). Events called “Beauty Salons” featured people reading each other’s poetry in translation (now memorialized in a recently published bilingual anthology). There were also performances, printing workshops, presentations, punk concerts, experimental drawing sessions based on books from the collection, reading groups, study groups, activist circles, etc. There was anything and everything that would expand the definition of a public library.

Aeromoto has also changed and adapted over the years as its founders changed and their interests expanded. When Mau, Maru, and Macarena had children, they felt like they didn’t want to give up the time they have spent building community. So, their friend Paola Santoscoy, who was also a new mother, curated a series of “books to be read while breastfeeding”: books that are small and light enough to hold with one hand. “Aeromoto was a comfort for me as a new mom,” continues Maru. Everyone nods in agreement as they share how the space shifted, matured, and grew with them. There was mask-making for carnival and workshops for little ones. Pleasure and play continue to be the heart of the space. And so, no matter if it was twelve in the afternoon or late at night, there was always something going on. There was always coffee, tea, or a cold beer. There was always the possibility of an encounter.

At one point, the four friends decided they should hold a contest for Aeromoto to have a flag, to serve as a publicly visible indicator that “something is happening.” They held an open call, and the winning proposal was a koinobori, a flag shaped like a blue koi fish. The flag flew for a short time before the pandemic hit, during which time Aeromoto, like too many spaces, had to move out. As with every other time that things got hard and everyone was about to give up, someone would show up either with enough money or a new idea to keep things going. This time, Carolina Coppel and Catalina Urtubey, two friends and patrons, proposed to move Aeromoto to the second story of a seventeenth-century house right next to the Templo Mayor pyramid and museum on Seminario Street, in the heart of downtown Mexico City.

Anyone who has ever had to move with books knows what a pain this can be, but moving wasn’t as terrifying as expected because one of Aeromoto’s favorite activities is cataloging. The four friends came up with crazy categories like “books about books,” “Los claveles” (which plays on the word “clavel,” a pun on carnations but also people who are very deep into something), “water-damaged books,” and “revolutionaries,” to mention a few.

If there were already ghosts moving books out of their shelves and having fun at Aeromoto back on Venecia Street, their new location would prove to be an ideal haunt for the undead, the alive, and all kinds of spirits—for a couple of years anyway, before the rent would go up and Aeromoto would once again have to move, now to the San Miguel Chapultepec neighborhood, near the park. The book collection patiently awaits cataloging and reshelving at an artist-run space called Castillo de Chapultepec, which is run by longtime Aeromoto friends Willy González and Rodrigo Escandón. “Aeromoto is like quicksilver,” the four founders say. It can separate into little parts or join back together into a whole. And so once more, friendship is what binds Aeromoto together, keeps it afloat, and continuing to shake the Mexico City airwaves."]]></description>
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Come for the book analysis, stay for the balloon party!

ps. I finally figured out how to add subtitles."]]></description>
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    <dc:creator>robertogreco</dc:creator><description><![CDATA["Our stories help us make sense of a chaotic world, but they can be harmful and restrictive. There’s a liberating alternative"
]]></description>
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    <dc:creator>robertogreco</dc:creator><description><![CDATA["Each day begins with panel discussions about topics surrounding skateboarding culture, followed by skate events, exhibitions and film screenings held at different venues around the city."]]></description>
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    <title>NBC Sent 27 Creators to Paris. It Only Needed Snoop and Olympic Athletes | WIRED</title>
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    <dc:creator>robertogreco</dc:creator><description><![CDATA["In an attempt to lure in younger viewers, NBCUniversal sent dozens of social media influencers to the 2024 Paris Olympics. But the athletes and entertainers were the ones who went viral."]]></description>
<dc:subject>nbc 2024 olympics influencers snoop snoopdog celebrities atheletes socialmedia tiktok youtibe snapchat meta ovetime genz genalpha web internet online events attention tv television generationz generationalpha zoomers</dc:subject>
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<item rdf:about="https://medium.com/roteirosliterarios/o-caminho-do-sert%C3%A3o-pelas-veredas-de-guimar%C3%A3es-rosa-3b85646a1d8f">
    <title>O Caminho do Sertão: pelas veredas de Guimarães Rosa | by Roteiros Literarios | roteirosliterarios | Medium</title>
    <dc:date>2022-09-09T18:35:08+00:00</dc:date>
    <link>https://medium.com/roteirosliterarios/o-caminho-do-sert%C3%A3o-pelas-veredas-de-guimar%C3%A3es-rosa-3b85646a1d8f</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Nonada. É a primeira palavra que aparece em Grande Sertão: Veredas, de Guimarães Rosa e, ao longo das mais de seiscentas páginas, soma mais seis ocorrências. Antes de fechar o livro ela aparece de novo, na penúltima linha da última página.

[image]

Nonada é “coisa sem importância, um quase nada” e sai da boca de um jagunço e vai ganhando significado enigmático, assim como muitas outras palavras do livro: se mostra hora coloquial e quase banal, hora estranha e enigmática.

Esta tensão entre o corriqueiro, o popular, o cotidiano por um lado e o estranho, o enigmático, o hermético, por outro lado, é também uma característica do romance todo.

Além disso, Nonada é também o antônimo ao último sinal gráfico do livro, que é o símbolo do infinito. Assim, o movimento da trama e das ideias de certa maneira vai do quase nada ao infinito.

[image]

Ler Guimarães é sempre uma viagem muito grande. Grande Sertão: Veredas pega o leitor pela mão e o convida, literalmente, para um roteiro literário pelo interior das Minas Gerais, uma caminhada. O projeto O Caminho do Sertão [https://pt-br.facebook.com/caminhodosertao ] aproveitou esse universo roseano e concretizou essa travessia.

[image]

O Caminho do Sertão é um grupo que percorre anualmente a pé parte do caminho realizado por Riobaldo, personagem central do livro Grande Sertão: Veredas.

Oferece uma imersão no universo de Guimarães Rosa, na literatura, na geografia, nos saberes e fazeres dos habitantes dos vales dos rios Urucuia e Carinhanha, no noroeste e norte de Minas Gerais.

Na edição de 2016 que aconteceu em julho, a jornada bateu os 160km, pelos vales dos rios Urucuia e Carinhanha, percorrida a pé durante 7 dias. Saiu de Sagarana (distrito pertencente a Arinos/MG) e foi ao Parque Nacional Grande Sertão Veredas (Chapada Gaúcha/MG).

É uma jornada literária “de Sagarana ao Grande Sertão: Veredas” que leva os caminhantes desde sua primeira obra em prosa até a mais importante das obras de Rosa.

[image]

O esquema é simples: caminhada durante o dia, pouso à noite em pontos pré-selecionados, todo mundo em barraca. “Os pousos selecionados permeiam as rotas, nos mantendo em distâncias que medem entre 20 e 40 quilômetros uns dos outros”, contaram os organizadores.

“Nesses pousos, geralmente pequenas vilas, e/ou fazendinhas, organizamos uma dinâmica de camping, onde posterior à caminhada do dia cada caminhante monta sua barraca e a desmonta na manhã do dia seguinte (por volta de 4h). Nestes pousos há uma estrutura organizada de alimentação, banhos e interações variadas. Ah! Os caminhantes não levam suas mochilas e barracas nas costas, há transportes específicos para elas, que seguem diretamente para os pousos”.

https://vimeo.com/129214018

"Paulo Silva Jr. participou da caminhada em 2015 e conversei com ele para investigar um pouco mais sobre a relação da obra durante a andança, queria saber como Guimarães aparecia por lá.

“O itinerário é mais simbólico”, ele contou. “E a partir daí, Guimarães Rosa vai surgindo nessas imagens — o buriti, a vereda, o Vão Dos Buracos. Vai surgindo também com a contação de história, em rodas de conversa, com ouvir aquelas pessoas falando. Também nas referências todas, os idealizadores do projeto são seguidores do Rosa, a literatura está ali na formação daquelas iniciativas locais. E, claro, na coisa pessoal dos caminhantes, muita gente lendo os livros, falando sobre a experiência da leitura, compartilhando interpretações (afinal é o dia todo andando e trocando ideia)”.

Também fiquei curiosa sobre o perfil de quem faz a caminhada. Ele conta: “Fiz grandes amigos lá, gente que está junta até agora em andanças e ideias por aí, e dos mais variados perfis.

<blockquote>Eu diria que o nome do Rosa está no centro de tudo, ao menos que de forma simbólica, então sinto que as pessoas (as que não conhecem a região, claro, que é a esmagadora maioria) vão com esse imaginário do Rosa. Então, a partir dessa imagem da literatura vai saindo um leque de assuntos que se cruzam ou circulam essa ideia central: as questões ambientais (preservação ambiental, direito à terra, direito à água, retorno ao campo, agricultura familiar, orgânicos, pancs), artísticas (literatura, cinema, fotografia, teatro, enfim, gente procurando reverberações desse sertão do Rosa) e em algum ponto espirituais (não tenho uma palavra melhor, mas diante de toda a vertigem causada pela obra e pelo imaginário de sertão tem uma onda, uma magia, um mistério no ambiente, né)”.</blockquote>

“Em comum, são todas pessoas que em algum momento se encontram numa certa falta de lugar no mundo, questionando educação formal, mercado de trabalho e seus derivados, afinal é gente a fim de tirar 10 dias da vida para andar pelo sertão, já tem um recorte de intenção aí, então acho que a proposta junta uma galera que tem essa abertura do encontro espontâneo”.

[image]

Ele continua: “Eu diria que, como fala o projeto, é um encontro sócioecoliterário. Tem a literatura — muito, não dá para não ter -, mas não é um encontro literário”.

<blockquote>Como me ensina um amigo de Caminho do Sertão, o Gabão, eu acho que é a literatura enquanto mediação. No limite, essas pessoas não se reuniriam para andar até um buriti ou uma vereda no noroeste de Minas. Então a literatura taí, a arte nos movimentos, mediando essa nossa conversa, por exemplo”.</blockquote>

“Agora, existe todo um cenário político local de militância social e cultural que acabam também sendo apresentados. A folia de reis, por exemplo, é uma grande influência e eixo do debate — o caminho poderia ser visto como festa popular, também. Não é uma roda de conversa nem um grupo de leitura ou vivência do Rosa, é também esse encontro com esse lugar que é o sertão mineiro”.

[image]

Eu, que sou grande fã do livro e do Rosa, não poderia terminar a conversa sem a pergunta do milhão pro Paulo, né. E aí, essa tal de Nonada, como fica nisso tudo? Passou a ter outro significado depois dessa travessia?

“Não sou especialista, nem grande leitor do Rosa, muito menos estudo o assunto para valer, mas diria que o que faz da literatura dele uma coisa única são exatamente essas tensões em que ele consegue ser ao mesmo tempo simples e enigmático. É o nonada e o infinito. O grande livro brasileiro e um dos que mais carregam o peso do ‘difícil’ é definido por seu autor como um ‘monólogo dum jagunço’. Aí que está, o nível de complexidade da narrativa refletindo na simplicidade de você ouvir um homem do campo contando uma história.

“Então acho que sim, a caminhada me ajudou a pensar em outras coisas a respeito dessa desimportância. E o grande efeito de estar lá vale, primeiro, por ser um escritor onde o espaço é muito importante, as pessoas estudam a terra do Rosa, ele forjou um lugar e há uma série de pequenos lugares em Minas Gerais com suas narrativas de pertencimento sobre o tema (lembrei de um debate entre o José Miguel Wisnik e Dieter Heidemann porque disseram que tanto Rosa quanto Drummond revelaram que o primeiro estalo literário que tiveram foi numa aula de geografia, e o Rosa, um tarado por mapas e referências especiais, vai lá e faz esse livro labiríntico); segundo, é conhecer esse lugar que não só foi forjado pelo Rosa como também vive sob mediação do Rosa sem necessariamente ter lido a obra! Essa é uma pira, porque é uma região em que o Rosa está vivo, dando nome para a estrada, para o encontro dos povos, reunindo caminhantes, enfim, ele é um agente social e cultural do lugar; mas claro que não é um livro fácil para todo mundo sair lendo”.

[image]

No meio dessas ideias todas, também vale pensar na função intrínseca de um roteiro literário como esses.

Acho que a grande experiência é sacar a literatura como mediadora e, mais, agente de um lugar. É criar relações que se dão em torno disso. Se na vida criamos vínculos majoritariamente por influência geográfica, familiar, de trabalho ou de ambiente escolar, aqui o vínculo entre os caminhantes vai se dar pela literatura. Acho que isso é a coisa mais impressionante que me rendeu vivenciar literatura na pele, exatamente o fato de poder ver o mundo e estabelecer relações a partir daí. E, por fim, ter mesmo que de forma efêmera e talvez micro a literatura enquanto protagonista, a arte como fim de estar vivo, definitivamente”.

QUEM FAZ O CAMINHO
O Caminho do Sertão é realizado pela Agência de Desenvolvimento Integrado e Sustentável do Vale do Rio Urucuia com apoio da Secretaria de Estado de Cultura de Minas Gerais, em parceria com o Instituto Cultural e Ambiental Rosa e Sertão, o Centro de Referência em Tecnologias Sociais do Sertão (Cresertão), a Cooperativa de Agricultura Familiar Sustentável com base na Economia Solidária (Copabase), a Central Veredas e a equipe ECOS do Caminho do Sertão.

A organização da caminhada contou que o projeto nasceu ao longo do ano de 2013 (a primeira turma saiu em 2014) e a ideia foi anunciada oficialmente dentro da programação do Festival Sagarana, um festival de arte e cultura sertanejas produzido na Vila de Sagarana — Arinos/MG). Sua organização foi pensada e gerida por entidades que trabalham o desenvolvimento social e a agricultura familiar na região noroeste do Estado.

COMO FUNCIONA
Todo ano, o Caminho divulga o edital no site [https://pt-br.facebook.com/caminhodosertao ], uns dois meses antes da data de saída. Em 2016, foram aprovados 70 caminhantes. Além de preencher a ficha de inscrição, os candidatos precisam enviar uma justificativa, contando porque querem fazer a caminhada e qual seu envolvimento com aquilo.

Durante a organização da terceira edição d’Caminho cerca de 10 pessoas se envolveram na coordenação, mas a produção geral, juntamente com parceiros de diversas regiões do país, e claro da região, somaram mais de 30 pessoas responsáveis pela execução do projeto.

Muitos destes parceiros se envolvem no mundo literário como curiosos, outros amantes, e boa parte de pessoas que de fato, vivem à dinâmica do sertão, literatura vívida. Na coordenação geral, efetivamente todos mantém uma aproximação com a literatura roseana.

PARA LER
· Grande Sertão: Veredas, de João Guimarães Rosa (Editora Nova Fronteira)
· Sagarana, de João Guimarães Rosa (Editora Nova Fronteira)"]]></description>
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<item rdf:about="https://scratchingthesurface.fm/184-beatrice-galilee">
    <title>184. Beatrice Galilee | Scratching the Surface</title>
    <dc:date>2021-04-22T22:10:04+00:00</dc:date>
    <link>https://scratchingthesurface.fm/184-beatrice-galilee</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Beatrice Galilee is a curator, critic, and editor. She’s currently the founder and executive director of The World Around and is the author of the new book, Radical Architecture of the Future. She previous was the curator of contemporary architecture and design at the Metropolitan Museum of Art, architecture editor for Icon Magazine, and has curated exhibitions and written for publications all around the world. In this episode, Jarrett and Beatrice talk about blurry definitions of architecture, working in an institution versus going independent, and finding new ways to talk about architecture and design."]]></description>
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<item rdf:about="https://www.inputmag.com/culture/forget-amazon-prime-reading-public-libraries-are-more-important-than-ever">
    <title>Forget Prime Reading, public libraries are still as important as ever</title>
    <dc:date>2021-01-20T21:04:25+00:00</dc:date>
    <link>https://www.inputmag.com/culture/forget-amazon-prime-reading-public-libraries-are-more-important-than-ever</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[“Amazon’s new Prime Reading subscription aims to run civic institutions out of business.

It’s hard to think of an idea more on-brand for Amazon than “privatize the public library.” It almost boggles the mind.

On January 4, Bezos and company shut down the Amazon Lending Library after ten years of “diminished” returns (“diminished” in quotations, because, honestly, it’s hard to believe the service ever turned any major profits for Amazon). That didn’t seem to be much of an issue in the lead-up given how Jeff Bezos and everyone at the top of the company appeared to be doing just dandy. Essentially a free perk for Kindle users, offering eBook titles whose rights Amazon already secured, it was the least the company could do for its customers.

In its stead, people can now opt into Prime Reading, which is “free” to existing Prime members (already paying $119 a year) but costs $10 per month to non-Prime users. Prime Reading allows you to check out up to eight titles across its eBook and audiobook catalogs, which is more than Amazon tossed us in its Lending Library era, but these titles are selected from a vastly smaller range of releases.

Two years back, a classist piece of hate-clickbait made the rounds via Forbes contributor, Panos Mourdoukoutas, arguing that Amazon should simply start buying up all the “failing” libraries in the country to save taxpayers’ money. Public outrage was both predictable and swift, with Forbes soon retracting the piece while others pointed out that cutting all libraries would only save each American about $36. Still, with the usage of civic institutions often divided along socio-economic lines, it’s easy to imagine many out there feeling the same way as Mourdoukoutas. Programs like Amazon’s Prime Reading may seem trivial, but they point towards the larger strategy in mega-corporations’ ongoing war to privatize virtually every aspect of what remains of American public institutions.

So far, it’s proven a winning strategy. In the span of one night in July, Bezos added $10 billion to his net worth. At the beginning of January, his company announced its acquisition of eleven additional gently-used airplanes from Delta and WestJet in anticipation of a delivery logistics service to rival UPS and FedEx that’s slated to launch next year. With the USPS already overloaded and underfunded even before the pandemic, Prime Sky (or whatever other moniker Bezos bestows it) will take to the air in hopes of convincing the public it needs one less civic service. And we’ll probably buy it.

That’s what makes something like Prime Reading all the more insidious. Amazon rose to power by amassing a monopoly across multiple ailing industries by choking out the competition and taking advantage of our own civic failures, then presenting itself as one of the only viable means for commerce, entertainment, and communication.

Meanwhile, public libraries are still rolling along, but they aren’t getting the adequate funding they deserve. When its parts are routinely serviced and its gears oiled, the public library is a nearly perfect machine and has been for some time now. A recent report shows that now over 118 million Americans attend library programs each year, a number that has steadily grown over time. Patrons visited their libraries about 1.4 billion times in 2017 to access hundreds of millions of circulation items, including roughly 463.5 million eBooks, and rural access to these library materials continues to skyrocket. And while traditional services like in-person visitation, circulation, and reference consultations have declined over the past decade, programming continues to increase, particularly for children and young adults.

[two graphs]

Publicly available data show public libraries have offered an increasing number of programs attended by increasing numbers of patrons at libraries serving varying population sizes and in various locales. The concrete numbers won’t be known for some time, but even with in-person library work shuttered this past year due to COVID-19, the rise of eBook usage will assuredly be astounding.

Amazon wants to charge $120 a year for access to a few thousand titles that you can only access through its Kindle eReaders and app (aka Amazon-branded data harvesting machines). All the while, there is a functional, reliable service in pretty much every town in America whose membership fees are already taken care of by way of your taxes, and offers hundreds of times more physical and digital materials. Love reading on a tablet or Kindle? Cool. The Overdrive service exists for most devices and even comes pre-loaded onto Kindle competitors like Rakuten’s Kobo eReaders (which we love, by the way) for the sole purpose of accessing online library titles.

What’s particularly interesting about Prime Reading is that it brings nothing new to the “reading” experience nor the concept of a “library.” Prime Reading isn’t some ingenious business plan but a thinly veiled shakedown scheme. It is an attempt by Bezos to see just how much mileage he can truly get out of that smiley-arrow logo.

Unfortunately, it will be difficult to undermine as simple a con as Prime Reading. The profit margin is just too easily attainable to convince Amazon it would ever need to shutter the thing. But avoiding it entirely can show the limits of Amazon’s efficacy in privatizing every single aspect of our lives. Aspects that, somewhere along the way, we all forgot should be the rights of any citizen.”]]></description>
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<item rdf:about="https://www.internationalcongressofyouthvoices.com/">
    <title>THE INTERNATIONAL CONGRESS OF YOUTH VOICES</title>
    <dc:date>2020-08-20T05:46:43+00:00</dc:date>
    <link>https://www.internationalcongressofyouthvoices.com/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[“To explore sponsorship or partnership opportunities, please contact Amanda Uhle.

Student delegates are nominated by nonprofit organizations around the world that work with youth writing and youth activism. To nominate a prospective student delegate, please contact hello@internationalcongressofyouthvoices.com. Delegates should be dedicated writers, ages 16 to 20 years old. Please be in touch with questions about the nomination process.

Please let us know if you have other questions about the Congress or would like to be involved.”

[See also:
https://store.mcsweeneys.net/products/what-we-seek?taxon_id=3

"Too often young people are excluded from the political decisions that shape their lives. The International Congress of Youth Voices was founded in 2018 with the purpose of providing a way for young writers and activists to assemble and learn from established leaders in activism, politics, and publishing, and most importantly, to facilitate direct collaboration between young people determined to make a difference. The inaugural meeting of congress was in August 2018 in San Francisco. Its second meeting was in San Juan, Puerto Rico in August 2019.

The delegates, ages 16 to 22, come from 27 different nations and are working in a range of fields to create the change they want to see in the world. From climate justice to gender equity to education reform and beyond, these students’ perspectives on what they seek are an essential call to action for us all. Edited by Nyuol Lueth Tong, What We Seek featured 115 youth delegates, and is a primer—a sampling of the thoughts on the minds of Congress delegates, and a glimpse of the future of youth activism."]]]></description>
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    <title>Party in a Shared Google Doc - OneZero</title>
    <dc:date>2020-06-16T02:36:03+00:00</dc:date>
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    <dc:creator>robertogreco</dc:creator><description><![CDATA[[via: http://interconnected.org/home/2020/06/15/hallway_track ]]]></description>
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<item rdf:about="https://thepearlonline.com/2020/02/03/this-is-about-us-students-of-color-conference-centers-student-activism/">
    <title>This is About Us: Students of Color Conference centers student activism</title>
    <dc:date>2020-02-05T06:46:46+00:00</dc:date>
    <link>https://thepearlonline.com/2020/02/03/this-is-about-us-students-of-color-conference-centers-student-activism/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[“Many questions, both voiced and implied, hung in the air throughout the day Saturday at the first Students of Color Conference at Soka University. The overarching theme posed the question: How do we build a world without empires? 

The activists, educators, students and scholars who served as panelists, workshop leaders, and keynote speakers, raised many other questions.

But the biggest, perhaps, were these: How can we create lasting change? And how can we overcome the barriers set up deliberately in front of us?

The Students of Color Conference, spearheaded by the Black Student Union (BSU) and Students of Color Coalition (SOCC)—led by many students, but in particular Kristen Storms and Victoria Huynh, both class of 2021—is part of a larger movement on campus to hold the university accountable to its Black students and students of color. A consistent theme at the conference—the importance of bringing African and Ethnic Studies to campus, a fight which has gained steam in the past year, but has been ongoing for years—was driven home over and over again by many presenters.

Four students from California State University Northridge (CSUN), who have been involved in an activist movement on their campus to keep ethnic, gender and queer studies in the general education curriculum, led a workshop for Soka faculty, administration and staff about the importance of ethnic studies for students.

“Ethnic studies saved my life. You really see how it validates you and other communities you’re in struggle with,” said Kelly de Leon, a senior at CSUN and Chicanx and Central American studies double-major. 

The impact of Ethnic Studies isn’t just on students of color who are able to see themselves in history and in their curriculum, but also to see the struggles of other people of color. The underlying importance of these classes, the students emphasized, is their ability to foster empathy—both between differently identifying people of color and also for white students to better understand their role in oppression and overthrowing power structures.

“It’s easier to love each other when we take these classes,” de Leon said. 

But the stumbling block for many—namely those with the power to make or break these classes—is that these classes challenge the white-washed history many students are taught in public schools throughout the United States. Ethnic Studies classes threaten the status quo, de Leon said, and “that’s why Ethnic Studies is always under attack.”

The status quo benefits those who create it, as Yaba Blay, a Black scholar-activist and cultural consultant known for her work on Black women and girls, pointed out in her keynote as well.

“Students recognize education as a form of nationalism. That through education, we learn how to be good citizens,” she said. “That’s why education doesn’t look the same in every country, nor does every country teach the same histories. We teach particular histories of particular people, which of course is going to inform our relationship with those particular people.”

That’s why student-led approaches to reconstructing education are essential, the conference attendees affirmed throughout the day. 

“The person throwing the rope is often the person who dug the hole in the first place. We need to be mindful of that,” Kevin Graham, a panelist who conducts research related to undocumented students at UC San Diego, said. 

Rethinking Everything 

The specter of the institution hovered over the entire conference: Soka in the concrete, academia in the abstract. That’s what the conference and broader student movement was in response to, the student leaders reiterated—the role of institutions in oppression.

“We taught ourselves and we taught each other because we knew our institutions were never meant to,” SOCC leader Victoria Huynh said in her opening remarks.

Yaba Blay furthered this point in her keynote speech. Student activists have always “understood that education itself is political,” she said. “What does that mean? Well, to say that anything is political is to highlight that there are negotiations of power at play and in the case of education, there are power dynamics involved when we think critically about not only who is teaching or who gets to teach or what they are teaching and who gets to learn it.”

The phrase education is power is thrown around in a zealously positive light. It’s even painted in several languages on the wall of a living room in one of Soka’s residence halls. But it begs another question—who wields that power? Often, it’s those who designed the system, and those who designed the system are not Black, Indigenous, People of Color (BIPOC).

“Academia is a colonial institution,” Rocío Rosales Meza, a former professor who now practices as a Chicanx healer, said. 

Soka is not an exception to that rule, as Aneil Rallin, one of the university’s writing professors said. “Our university is not that just, egalitarian place it claims to be,” they said. “We have to rethink everything.” 

And the rethinking is less complicated than we think, the panelists noted. It’s not just a matter of destroying oppressive systems—it’s about reclaiming supportive systems and affirming lived experience, as was echoed throughout the day.

When Andrea Vazquez, class of 2020, came to Soka, she realized, “You learn things you already know in an elitist language. My community has already educated me.”

This is About Us 

BSU leader Kristen Storms opened the conference with a statement of purpose: “This space in and of itself is a space of resistance.” Student activism remained centered throughout the day, and that was a deliberate decision on the part of the organizers. The chosen hashtag for the movement, #ThisIsAboutUs, is a reaction against the hierarchical system of academia, where student voices—especially BIPOC voices—are often ignored and silenced. 

“For many communities of color, we have not been writing our own narratives,” said panelist and Asian American feminist Jenn Fang. “The first step in making change is to wrest back power over our own stories.”

Fang continued that despite the marginalization of BIPOC student voices, theirs are the ones that add the most to conversations about change. “We know what it’s like to be indoctrinated in the way things are,” Fang said, referencing members of academia. “Students are the ones who haven’t yet fallen into ‘this is the way things are’ indoctrination.” 

As the Soka BSU and SOCC have reiterated time and again, student activism is not a new phenomenon nor has it been unproductive in the past.

“Only radical change could bring social justice,” said Tomás Crowder-Taraborrelli, a Latin American Studies professor at Soka. He referenced his young adulthood as an activist in Argentina during that country’s dictatorship in the 1970’s and 1980’s, and the pivotal role students played in bringing light to the extent of government abuse. 

A central theme of the keynote speech by Yaba Blay was the student activism around African and Ethnic Studies in the late 1960’s, which ignited a movement to bring these programs to universities across the U.S. 

“At the height of the antiwar and Black Power movements, students understood that they could be miseducated,” Blay said. “That what they were learning or … what they were being presented with as options for learning was at the very least problematic, if not flat out racist.”

And these students fought for change. Not individually, but by building coalitions among BIPOC student organizations and coming together as the Third World Liberation Front. At San Francisco State University, students went on strike for five months before their administration not only heard, but implemented their demands for Ethnic Studies—including American Indian studies, Asian American studies, Black studies, La Raza studies—and greater representation university-wide. 

“This was 52 years ago, before I was even born. Twice as long as any of you have even been alive,” Blay said, addressing the student activists in the audience gathered at the Performing Arts Center. “I say all of this to remind you that your efforts are in line with a long and powerful history of student activism. Student activism, which ultimately led to measurable changes in university policies, structures, and curriculum.”

She added: “If it was possible 52 years ago, it is possible now.” 

A hopeful statement. And while the air at times felt bleak, a streak of hope underscored the testimonies of the speakers and student organizers. The hope of solidarity shone through at different moments, but especially brightly when a panel of activists of color addressed the student movement at Soka directly.

When Fang told Soka administration not to wait the students out—because another generation of activists would inevitably follow—the room filled with snaps of approval from the audience.

“To the students: Don’t stop. We got your back,” Norah Sarsour, an education activist, added. 

And then Sarsour reminded the administration that the students are not alone.

“We like to think these are isolated spaces,” but really Soka, just like any institution, is part of a bigger community, she said. Besides, she added, “the students are going to take their freedom and liberty.” So, what’s left for Soka administration to do?

Sarsour put it simply: “Surrender.””]]></description>
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<item rdf:about="https://www.facebook.com/events/1454130241420774/">
    <title>1st Annual Students of Color Conference [Soka University of America]</title>
    <dc:date>2020-02-02T18:07:16+00:00</dc:date>
    <link>https://www.facebook.com/events/1454130241420774/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["2020 Theme: Building a World Without Empire: Students of Color Activism

A space for students to engage with global social justice activism, with particular emphasis on a critical race & intersectional analysis.

Don't forget to RSVP using the tickets above or this link:
tinyurl.com/SOCConference

Conference Details

Our conference invites scholar-activists, activists, community organizers, student groups from campuses across California to engage in conversations that will challenge an unprecedented time of "student activism" across the world and across time. 

Schedule
8:30 Registration Begins
9:00 AM-9:15 AM - Opening Ceremony
9:15 AM-10:45 AM - Panel #1
10:45 AM - 11:00 AM - Break 
11:00 AM- 12:00 PM - Breakout Sessions (Workshops) 
12:00 PM- 1:30 PM - Resource Fair & Lunchtime
1:30 PM- 3:00 PM - Keynote Speaker
3:00 PM-3:15 PM - Break
3:15 PM - 4:45 PM - Panel #2
4:45 PM - 6:00 PM- Keynote Student/Youth Panel & Closing

FAQ

Who are we?

The Students of Color Coalition is an anti-imperialist, anti-white cisheteropatriachal coalition of students from student of color groups on Soka University of America's campus who look to reclaim their space in and outside of academia, willing to actively organize for our needs. We remind our readers that the Coalition re-emerged in order to address the lack of decolonial praxis inside and outside of the classroom, or in other words, the institutionally sanctioned stripping of our marginalized voices from knowledge production in campus culture.

Why are we creating this conference space?

Students of color have purposefully enabled our own alternative space, as itself an act of resistance:

1. Representation, resources and support for marginalized students in regards to our needs as well as our community's needs

2. A catalyst for social justice activism, a space to equip and empower students for the students, by the students, on behalf of the students to face white supremacy and its multiplicities in manifestation

3. Reclaiming our/our communities' lived experiences as sources of our learning of marginalized students and engaging ourselves with the interconnectedness of our movements and our people's anti-imperialist movements from all over the world-- we are not disconnect from oppressive institutions of power

4. Building community and network within Soka, across campuses, and across ethnic communities

5. Unsettling norms and teaching ourselves a critical analysis of power, while respecting and owning positionality

Objectives

With the absence of the centeredness of critical perspectives we believe need be required and maintained in all educational curricula such as Black/Ethnic Studies, Critical Race/Gender, anti-colonial/anti-imperial concepts, we hereby declare this space one we (re)claim and (re)define for our communities vis a vis grounded experiences and mobilization in the activism and scholar-activism of the very communities we belong to. We look to engage and equip students with knowledge founded on activisms from around the world so as to locate/define our own-- because our institutions are not doing that for us.

Here we are, teaching ourselves how to teach and dismantle our oppressors, teach administration/faculty/institutions, and most importantly how to teach one other.

This year, we peruse the site of a Conference space as an extension for the Students of Color Movements and look to activate one another to commit this year to what it would mean to live in a World Without Empire.

Questions We Aim to Address

1. What is ""student"", ""activism"", ""student activism""?

2. How can we reconcile our activisms with that of global anti-imperialist movements throughout time and in today's context?

3. What is the role of ""students"" in (re)grounding lived experiences and locating ourselves in the revolution we look to enacting? And what is subversive in our ""activism""?"]]></description>
<dc:subject>sokauniversityofamerica soka sua 2020 events socc activism ethnicstudies decolonization race gender power positionality highereducation highered studentactivism academia inclusivity diversity change socialjustice criticalracetheory intersectionality california bipoc crt</dc:subject>
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<item rdf:about="https://www.facebook.com/SUASOCC/">
    <title>Student of Color Coalition- SUA SOCC - Home | Facebook</title>
    <dc:date>2020-02-02T17:38:00+00:00</dc:date>
    <link>https://www.facebook.com/SUASOCC/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[“The Students of Color Coalition is an anti-imperialist, anti-white cisheteropatriachal coalition of students from student of color groups on campus who look to reclaim their space in and outside of academia, willing to actively organize for our needs.”]]></description>
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<item rdf:about="https://libguides.soka.edu/SOCC">
    <title>Resources - Students of Color Coalition Conference - LibGuides at Soka University of America</title>
    <dc:date>2020-02-02T17:15:16+00:00</dc:date>
    <link>https://libguides.soka.edu/SOCC</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[“List of readings recommended by SOCC”]]></description>
<dc:subject>socc sokauniversityofamerica soka sua events ethnicstudies resources readinglists libguides bipoc</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:3e0d70c78a8b/</dc:identifier>
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</item>
<item rdf:about="https://sites.google.com/tenstrands.org/ecclps/home">
    <title>ECCLPS: The Environmental and Climate Change Literacy Project and Summit</title>
    <dc:date>2019-09-19T23:44:28+00:00</dc:date>
    <link>https://sites.google.com/tenstrands.org/ecclps/home</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Now more than ever, climate change is an urgent issue that must be addressed. Education must be part of the solution. With that in mind, the University of California (UC) and California State University (CSU) systems are partnering with key stakeholders to support the urgent need to advance PK–12 environmental and climate change literacy by focusing on the preparation of current and future teachers to respond to these urgent issues.


The Environmental and Climate Change Literacy Project and Summit (ECCLPS, pronounced "eclipse") Steering Committee is a collaborative effort helping to make this work possible with the goal to:
Educate 500,000 graduating high school students per year in California to become literate in environmental and climate change issues and solutions."]]></description>
<dc:subject>climatechange universityofcalifornia 2019 events sustainability csu californiastateuniversity uc calstate california</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:03001d2163ae/</dc:identifier>
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</item>
<item rdf:about="https://www.instagram.com/p/B2ZVjlxF1C1/">
    <title>Black Mountain College Museum on Instagram: “Our 11th annual ReVIEWING Black Mountain College conference is coming up on Friday, September 20th at the UNC Asheville Reuter Center! We…”</title>
    <dc:date>2019-09-16T04:22:20+00:00</dc:date>
    <link>https://www.instagram.com/p/B2ZVjlxF1C1/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["This year's conference will kick off with a panel discussion with Mary Emma Harris (The Bauhaus and Black Mountain College: Envisioning an Education for a New Kind of World) and Thomas E. Frank (How Not to Start a College: Black Mountain Among the Experimental Colleges). That evening, artist Sara VanDerBeek and Chelsea Spengemann, Director of the Stan VanDerBeek Archive, will present a keynote address centered around the curation of VanDerBeek + VanDerBeek, opening that night at BMCM+AC. ⁠
⁠
For a full schedule of panel, performance and workshops visit www.blackmountaincollege.org/reviewing/⁠]]></description>
<dc:subject>thomasfrank maryemmaharris bmc blackmountaincollege colleges highered highereducation history events 2019</dc:subject>
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<item rdf:about="https://tinyletter.com/tchoi8/letters/mugwort-ocean-wave-sounds-and-early-morning-skies">
    <title>mugwort, ocean wave sounds and early morning skies</title>
    <dc:date>2019-07-28T19:58:26+00:00</dc:date>
    <link>https://tinyletter.com/tchoi8/letters/mugwort-ocean-wave-sounds-and-early-morning-skies</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[See also:
https://dwebcamp.org/
https://www.instagram.com/p/B0bC4IDFG2m/ ]]]></description>
<dc:subject>taeyoonchoi 2019 dwebsummity decentralization decentralizedweb events distributed distributedwebofcare meshnetworks networks dwebcamp securescuttlebutt dweb online web internet</dc:subject>
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</item>
<item rdf:about="https://hemisphericinstitute.org/en/">
    <title>Hemispheric Institute</title>
    <dc:date>2019-06-21T06:30:48+00:00</dc:date>
    <link>https://hemisphericinstitute.org/en/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The Hemispheric Institute connects artists, scholars, and activists from across the Americas and creates new avenues for collaboration and action. Focusing on social justice, we research politically engaged performance and amplify it through gatherings, courses, publications, archives, and events."]]></description>
<dc:subject>art socialjustice latinamerica activism glvo performance gatherings events</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:f26ce1bbd7cc/</dc:identifier>
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</item>
<item rdf:about="http://proxysf.net/">
    <title>PROXY</title>
    <dc:date>2019-05-03T03:20:50+00:00</dc:date>
    <link>http://proxysf.net/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["PROXY is a temporary two-block project located in San Francisco which seeks to mobilize a flexible environment of food, art, culture, and retail within renovated shipping containers. PROXY is both a response and solution to the ever changing urban lifecycle, existing as a temporary placeholder and an instigator of evolving cultural curiosities in art, food, retail and events. Our design embraces the vast diversity of a city and encourages the rotation of new ideas and businesses as well as innovative public art installations which come and go like new visitors at the site."]]></description>
<dc:subject>sanfrancisco art design film events hayesvalley</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:fa28c520a799/</dc:identifier>
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</item>
<item rdf:about="https://www.youtube.com/watch?v=lwgwRdxQtI4">
    <title>Refiguring the Future Conference | Day One - YouTube</title>
    <dc:date>2019-02-10T23:29:30+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=lwgwRdxQtI4</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[The Refiguring the Future conference convenes artists, educators, writers, and cultural strategists to envision a shared liberatory future by providing us with ideas that move beyond and critique oppressive systems. Participants in the conference will address concepts of world-building, ecologies, disability and accessibility, biotechnology and the body.  

The conference kicks off the opening weekend of the Refiguring the Future, a new exhibition offering a politically engaged and inclusive vision of the intersection of art, science, and technology, organized in partnership with the REFRESH collective and Hunter College Art Galleries, 

The Refiguring the Future conference is curated by Eyebeam/REFRESH Curatorial and Engagement Fellow Lola Martinez and REFRESH member Maandeeq Mohamed.

10:00 AM – 10:15 AM | Opening Remarks

Dorothy R. Santos and Heather Dewey-Hagborg, Co-Curators of Refiguring the Future
 
10:30 AM – 11:30 AM | World-building 

Exploring the settler ontologies that govern technoscientific inquiry, this panel will engage technology towards a liberatory, world-building politic.

shawné michaelain holloway, Artist

Rasheedah Phillips, Artist and Co-Creator of Black Quantum Futurism

Alexander G. Weheliye, Professor, Northwestern University

Moderated by Maandeeq Mohamed, Writer

 
11:30 AM – 12:30 AM | Keynote Lecture

 
12:30 PM – 02:00 PM | Lunch

 
02:00 PM – 02:30 PM | Keynote Performative Lecture

In this performative lecture, artist Zach Blas offers critical investigations on issues of the internet, capitalism, and state oppression.  

Zach Blas, Artist

Keynote Introduction by Heather Dewey-Hagborg, Artist

 
02:30 PM – 03:30 PM | Symbiotic Ecologies

Narratives of colonial legacy, migration, and extinction have shifted our cultural imagining of ecologies. Beginning by acknowledging our existence in unsustainable climates, this panel brings forth artistic and activist practices which provoke and foster symbiotic relationships for new understandings within environmental predicaments.

Sofía Córdova, Artist

Jaskiran Dhillon, Associate Professor, The New School

Sofía Unanue, co-founder and co-director of La Maraña

Moderated by Kathy High, Artist.

 
03:30 PM – 04:00 PM | Coffee Break


04:00 PM – 05:00 PM | Speculative Bodies: A Shell to be Surpassed

Technological biases categorize individuals according to markers such as race, gender, sexuality, and citizenship, and in turn undermine how we live and navigate our present and future worlds. This panel collectively examines how the fields of health, genomics, and technology are reinforced by Western scientific discourses and speculate new insights for alternative systems of knowledge.

Ruha Benjamin, Associate Professor, Princeton University

micha cárdenas, PhD, Assistant Professor, University of California, Santa Cruz 

Dr. Pinar Yoldas, Artist

Moderated by Dr. Kadija Ferryman, Researcher at Data and Society.


05:00 PM – 06:00 PM | Keynote Lecture

In this Keynote lecture, Keeanga Yamahtta-Taylor examines the politics of social liberation movements. Author of #BlackLivesMatter to Black Liberation, Taylor offers an examination of the history and politics of Black America and the development of the social movement Black Lives Matter in response to police violence in the United States.

Keeanga Yamahtta-Taylor, Assistant Professor, Princeton University

Keynote introduction by Dorothy R. Santos, Curator and Writer"

[See also:
Refiguring the Future Conference | Day Two
https://www.youtube.com/watch?v=oCa36fWJhyk

"The Refiguring the Future conference convenes artists, educators, writers, and cultural strategists to envision a shared liberatory future by providing us with ideas that move beyond and critique oppressive systems. Participants in the conference will address concepts of world-building, ecologies, disability and accessibility, biotechnology and the body.  

The conference kicks off the opening weekend of the Refiguring the Future, a new exhibition offering a politically engaged and inclusive vision of the intersection of art, science, and technology, organized in partnership with the REFRESH collective and Hunter College Art Galleries, 

The Refiguring the Future conference is curated by Eyebeam/REFRESH Curatorial and Engagement Fellow Lola Martinez and REFRESH member Maandeeq Mohamed.

See the full schedule here: https://www.eyebeam.org/events/refiguring-the-future-conference/

In the Annex:

Talks | Refiguring Planetary Health, Building Black Futures

We cannot have a healthy planet that sustains all human beings as long as the systemic oppression of Black and Indigenous peoples continues. And yet, prominent environmental science institutions concerned with conservation and climate change often fail to address this oppression or their role in perpetuating it. In this talk, we will explore how histories of scientific racism and eugenics inform current scientific policies and practice. Cynthia Malone will work with various forms of freedom practice, from hip hop to science fiction to scholarship in the Black Radical Tradition, to consider alternative visions for planetary health that advance both environmental stewardship and liberation from oppressive ideologies and systems.

Cynthia Malone, Activist, Scholar, and Scientist
---
The Spirit of the Water Bear

In this talk, Claire Pentecost will give an introduction and reading of Spirit of the Water Bear, a young adult novel set in a coastal town in the Carolinas. The novel’s protagonist, Juni Poole, is a 15-year-old girl who spends much of her time exploring the natural world. Inevitably, she finds herself confronting the urgency of a crisis that has no end, namely climate change and the sixth great extinction. Through experiences of activism, she finds comrades who feel environmental and political urgency much as she does, and learns that she has a place in the ongoing struggle for environmental justice. The book is a work of “Cli-Fi” or climate fiction, featuring Juni’s adventures, but it is also a work of “Cli-Phi” or climate philosophy, featuring conversations and musings on the nature of our existential predicament.

Claire Pentecost, Artist

Speaker Introductions by Lola Martinez, Eyebeam and REFRESH Curatorial and Engagement Fellow
---
Roundtables and Talks | Visible networks: Community Building in the Digital Arena

As notions of accessibility are being rendered visible on networks and digital medias, disability and chronic illness communities are utilizing networks to provide resources and representations. Yet what does it mean to build community within these platforms? This roundtable discussion offers reflections by artists working to provide new insights into biomedical discourses which reinforce apparent and unapparent representations of disabled bodies.

Hayley Cranberry, Artist

Anneli Goeller, Artist

Yo-Yo Lin, Artist
---
#GLITCHFEMINISM

Legacy Russell is the founding theorist behind Glitch Feminism as a cultural manifesto and movement. #GLITCHFEMINISM aims to use the digital as a means of resisting the hegemony of the corporeal. Glitch Feminism embraces the causality of ‘error’ and turns the gloomy implication of ‘glitch’ on its ear by acknowledging that an error in a social system disturbed by economic, racial, social, sexual, cultural stratification, and the imperialist wrecking-ball of globalization—processes that continue to enact violence on all bodies—may not be ‘error’ at all, but rather a much-needed erratum. The digital is a vessel through which our glitch ‘becoming’ realises itself, and through which we can reprogramme binary gender coding. Our ‘glitch’ is a correction to the machine—f**k hegemonic coding! USURP THE BODY—BECOME YOUR AVATAR!

Legacy Russell, Curator and Writer

Speaker Introductions by Lola Martinez, Eyebeam and REFRESH Curatorial and Engagement Fellow"]

[See also:
"Eyebeam presents Refiguring the Future: an exhibition and conference organized by REFRESH, produced in collaboration with Hunter College Art Galleries."
https://www.eyebeam.org/rtf/

EXHIBITION
Curated by REFRESH collective members Heather Dewey-Hagborg and Dorothy R. Santos, the exhibition title is inspired by artist Morehshin Allahyari’s work defining a concept of “refiguring” as a feminist, de-colonial, and activist practice. Informed by the punk ethos of do-it-yourself (DIY), the 18 artists featured in Refiguring the Future deeply mine the historical and cultural roots of our time, pull apart the artifice of contemporary technology, and sift through the pieces to forge new visions of what could become.

The exhibition will present 11 new works alongside re-presented immersive works by feminist, queer, decolonial, anti-racist, and anti-ableist artists concerned with our technological and political moment including: Morehshin Allahyari, Lee Blalock, Zach Blas*, micha cárdenas* and Abraham Avnisan, In Her Interior (Virginia Barratt and Francesca da Rimini)*, Mary Maggic, Lauren McCarthy, shawné michaelain holloway*, Claire and Martha Pentecost, Sonya Rapoport, Barak adé Soleil, Sputniko! and Tomomi Nishizawa, Stephanie Syjuco, and Pinar Yoldas*.  

Names with asterik denotes participation in the conference.   ]]]></description>
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    <title>SUA Audio-Visual Services on Livestream</title>
    <dc:date>2019-02-10T01:31:19+00:00</dc:date>
    <link>https://livestream.com/accounts/4434716</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>soka sokauniversityofamerica video archives events livestream sua</dc:subject>
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<item rdf:about="https://www.catranslation.org/">
    <title>Center for the Art of Translation | Two Lines Press</title>
    <dc:date>2019-01-27T19:31:05+00:00</dc:date>
    <link>https://www.catranslation.org/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["MISSION

The Center for the Art of Translation champions literary translation.

We are dedicated to finding dazzling new, overlooked, and underrepresented voices, brought into English by the best translators, and to celebrating the art of translation. Our publications, events, and educational programming enrich the library of vital literary works, nurture and promote the work of translators, build audiences for literature in translation, and honor the incredible linguistic and cultural diversity of our schools and our world.

HISTORY

The Center for the Art of Translation, a 501(c)(3) nonprofit organization based in San Francisco, was founded in 2000 by Olivia Sears, an Italian translator and editor who serves as the Center’s board president. In 1993, prior to forming the Center, Sears helped to establish the literary translation journal Two Lines: World Writing in Translation at a time when there were very few venues for translated literature in English, and those handful rarely paid much attention to the translator beyond a brief acknowledgment. Two Lines set out to challenge that trend—to make international literature more accessible to English-speaking audiences, to champion the unsung work of translators, and to create a forum for translators to discuss their craft. In this way, Two Lines serves as the Center’s cornerstone, and the journal’s spirit radiates through all of the Center’s work today.

OUR PROGRAMS

Two Lines Press is an award-winning press committed to publishing outstanding literature in translation.

With the rich publication history of Two Lines serving as its foundation, Two Lines Press specializes in exceptional new writing and overlooked classics that have not previously been translated into English. With books such as Naja Marie Aidt’s Baboon (translated by Denise Newman), which won the 2015 PEN Translation Prize, and Marie NDiaye’s Self-Portrait in Green (translated by Jordan Stump), which won the 2015 CLMP Firecracker Award, Two Lines Press seeks to publish daring and original voices in striking editions.

The biannual journal Two Lines amplifies the aims of the press by capturing the most exciting work being done today by the world’s best translators—and by forging a space to celebrate the art of translation. Within our pages you’ll find work by writers such as Yuri Herrera, Kim Hyesoon, Christos Ikonomou, Rabee Jaber, Emmanuel Moses, Anne Parian, Chika Sagawa, Enrique Vila-Matas, and Jan Wagner—in translations by Lisa Dillman, Don Mee Choi, Karen Emmerich, Kareem Abu-Zeid, Marilyn Hacker, Emma Ramadan, Sawako Nakayasu, Margaret Jull Costa, and David Keplinger, respectively. You’ll also encounter arresting insights on language, literature, and translation from the point of view of writers such as Lydia Davis, Johannes Göransson, Wayne Miller, and Jeffrey Yang.

***

The Two Voices event series hosts international writers and translators for original and provocative conversations about literature and language.

Recent events include Yoshimasu Gozo in conversation with Forrest Gander, Best Translated Book Award-Winner Yuri Herrera in conversation with Daniel Alarcón, Eka Kurniawan in conversation with Annie Tucker, Horacio Castellanos Moya in conversation Katherine Silver, and Malena Mörling in conversation with Pulitzer Prize-Winner and former Poet Laureate Robert Hass.

For our salon series we speak with superior translators, many of whom join us via Skype from far beyond the Bay Area, about their work. Recent conversations have featured Chris Andrews on César Aira, Bela Shayevich on Nobel Prize-Winner Svetlana Alexievich, Ottilie Mulzet on International Man Booker Prize-Winner László Krasznahorkai, Ann Goldstein and Michael Reynolds on the ineffable Elena Ferrante, and Valerie Miles on Enrique Vila-Matas.

Whenever possible, we offer post-event audio online.

***

Poetry Inside Out is a collaborative language arts curriculum that celebrates classroom diversity, builds literacy skills, improves critical thinking, and unlocks creativity by teaching students to translate great poetry from around the world.
As a cross-cultural literacy program, Poetry Inside Out embraces—and relies upon—cultural and linguistic differences in classrooms in schools. It is also a world literature program that treats great poets as teachers and their work as models.

Students who participate in Poetry Inside Out come to understand how close reading heightens comprehension, precise writing enhances communication, and attentive listening builds new knowledge. By practicing the art of translation, students become familiar with the building blocks of language and the full range of expression available to them as readers, writers, speakers, poets, thinkers, and world citizens. Student translations reflect profound responses to language, society, and one another’s personal experiences."]]></description>
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    <title>Scott Richmond on Twitter: &quot;Are any academic organizations thinking about or planning for the replacement for &quot;1,000+ people all fly to the same city&quot; model for a conference? If we do this fighting climate change thing right, flying will get massively mor</title>
    <dc:date>2018-11-19T00:34:52+00:00</dc:date>
    <link>https://twitter.com/bazintastic/status/1050225871963996161</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Are any academic organizations thinking about or planning for the replacement for "1,000+ people all fly to the same city" model for a conference? If we do this fighting climate change thing right, flying will get massively more expensive. And I like intellectual community.

I'm flying to St. Louis this upcoming weekend to give a 15-minute paper. I'm staying a single night. This feels untenable.

If I had more followers I'd do a poll: Why do you go to an academic conference? But I don't have enough for it to be meaningful. It would have answers like (a) hear new scholarship (b) give a paper and impress folx (c) meet new people (d) see my friends and drink.

My intuitive sense (but I could be wrong!) is that (c) and (d) are the most important, depending on how old you are and how quickly you alienate your friends.

Jesse Stommel (@Jessifer):
What I’d love to see is more distributed communities, with regional nodes simultaneously meeting in person and using digital tools to connect with a bigger international community. I think we’d have to build this around things broader than single disciplines.

Scott Richmond:
That's a thing I have a vague, warm, fuzzy fantasy about. Basically, that sounds & feels right, but I can think of at least a dozen deal-breaking objections to work through, from disciplinary integrity to scholars in further-flung places remaining isolated to funding models.

Which is to say, there's a lot of devil in them there details, and actual execution will be both difficult & important. I'd love to know if any organizations have been working on practical & practicable models for this kind of thing. Canada's Congress might actually be a start.

Shannon Mattern (@shannonmattern):
The Society for Cultural Anthro hosted a distributed virtual conference in April! https://displacements.jhu.edu 

Scott Richmond:
Thanks, Shannon! This, too, looks like a v. interesting model. i worry about how to foster things that aren't the talks at conferences—schmoozing, dinners, parties, Q&A, chance encounters, etc. If you can do it alone at your computer, it's not really a conference..."

Susan Potter (@specksofthings):
Following. There's also the UCSB guide http://hiltner.english.ucsb.edu/index.php/ncnc-guide/ … Myself and colleagues in a smaller scholarly community, Women and Film History International, are thinking about this. @Jennife24950218

Scott Richmond:
Wow. Thank you very much for this link.

I have reservations about any version of a conference that takes the form of sitting alone at a computer, but this is rich & obviously very well thought through.

Susan Potter:
I have the same reservations. I wonder if shorter (carbon neutral) trips to conference nodes might be the answer. Someone else in this thread mentioned that. I've been thinking about the (no doubt) fanciful idea of of cruise ship conferences ;-)

Scott Richmond:
.@Jessifer had a substantially similar idea: train trip conferences! I like fanciful. I think we need fancy & whimsy & not mere technocracy and tech fetishism to work this out. We have to expand our imaginations about our ways of being & thinking & working together.

V21 Collective (@V21collective):
Caroline Levine is very invested in this.  there was a big virtual endeavor at usb http://www.news.ucsb.edu/2016/016796/more-conference-less-carbon

Scott Richmond:
Thanks!!! I knew I couldn't be the only person thinking about this.

This is v. interesting, but also gives up the thing about conferences—being together, the conviviality of thinking. (I mean, in the humanities, we just read at one another; why not just post papers online?)

V21 Collective:
conviviality and collective collaborative thinking are huge; giving them up would be devastating.  but drastic changes are necessary.  preferably starting with fossil fuel producers!  tho some advocate starting w consumers."]]></description>
<dc:subject>displacement displacements #displace18 conferences sustainability academia highered highereducation scottrichmond jesestommel distributed decentralization climatechange events susanpotter 2018 v21collective education zero-carbonconferences carbonneutrality carbonemissions travel globalwarming environment flights airplanes airtravel aviation decarbonization</dc:subject>
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<item rdf:about="https://culanth.org/fieldsights/1595-reflections-on-displace18">
    <title>Reflections on #displace18 — Cultural Anthropology</title>
    <dc:date>2018-11-19T00:28:00+00:00</dc:date>
    <link>https://culanth.org/fieldsights/1595-reflections-on-displace18</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["In the spring of 2018, the Society for Cultural Anthropology (SCA) organized an international conference in the form of a virtual and distributed event, to our knowledge the first of its kind in anthropology. Displacements was the 2018 iteration of the SCA biennial meeting, cosponsored by the Society for Visual Anthropology. SCA biennials had hitherto taken place in cities around the United States, most recently Ithaca, Detroit, Providence, and Santa Fe. This year, the conference instead took place as a hybrid virtual and in-person gathering. Taking place in this manner, the meeting was meant to focus anthropological attention on contemporary forms of displacement, but also to displace the conventional conference format. The meeting was anchored by a dedicated website (https://displacements.jhu.edu) that hosted and streamed over one hundred prerecorded multimedia presentations. Participants were invited to watch these on their own or to gather with others to take in the conference experience collectively at one of dozens of nodes around the world. The conference thus unfolded as a distributed happening; people were invited to participate wherever they were.

Planning and organizing an event of this kind, we had many rationales in mind. Conference travel carries one of the most significant carbon footprints for scholars and academics, sometimes involving millions of miles of carbon-fueled travel for everyone to reach one place. We were also thinking about equitable access—the fact that many people can’t afford such travel, including students and scholars working in precarious circumstances, and that many others can’t do it at a time of travel bans and visa restrictions, especially here in the United States. Finally, we had been thinking about the odd experience that one often has as an anthropologist, trying to give some immersive and evocative sense of a distant place while standing in the midst of an ornate hotel ballroom or bland corporate conference center. If we gave presenters the chance to craft their presentations as audiovisual artifacts, could this mode of presentation actually be more immersive and engaging than a conference talk rather than less so?

The conference was an experiment, one that was charged with a tremendous degree of uncertainty. It was exciting to visualize and plan, but frankly also rather nerve-wracking. Ultimately, Displacements proved an unexpected success. In the past, SCA biennials have typically drawn around 200 participants, most of whom come from somewhere in the United States. In 2018, with Displacements, over 1,300 people participated from over 40 countries, more than half from outside the United States. The conference provided a way to pursue an internationalization of access to anthropological knowledge on a shoestring budget, in a format that was also much more financially accessible to those without formal and secure employment in the field. And all this through what one attendee described enthusiastically as “one of the best binge-watching experiences”: not a bad verdict in this era of streaming video!

In the years ahead, we hope to see more experiments of this kind, especially as the discipline wrestles with the difficult work conditions under which ever more anthropologists pursue the vocation. Such experiments can serve as crucial ways of responding to the geopolitical, professional, and institutional hierarchies that still organize the production and dissemination of knowledge in the field. With an eye to such future possibilities, we present here a few lessons from our own pursuit of this endeavor, with the hope that they might be useful to others thinking of going down this road. What follows is derived from the experiences of the conference planning team; analytics from the various technical interfaces we used; survey data gleaned from conference presenters, attendees, and node organizers; and social media reportage on the event. Those of us most closely involved in this effort believe that it poses a viable alternative to the in-person megaconference model, and we hope that these findings will substantiate why."]]></description>
<dc:subject>anandpandian 2018 events conferences eventplanning academica sustainability climatechange distributed decentralization displacements #displace18 highered highereducation academia education zero-carbonconferences carbonneutrality carbonemissions travel globalwarming environment flights airplanes airtravel aviation decarbonization</dc:subject>
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<item rdf:about="https://twitter.com/camerontw/status/1058863743017213952">
    <title>cameron tonkinwise on Twitter: &quot;How long is the list of things you have learned from attending a conference (that you could not have learned by reading a blogpost/article [versus: would not have learned because TL;DR/‘pivot to video’]?&quot;</title>
    <dc:date>2018-11-19T00:27:34+00:00</dc:date>
    <link>https://twitter.com/camerontw/status/1058863743017213952</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["How long is the list of things you have learned from attending a conference (that you could not have learned by reading a blogpost/article [versus: would not have learned because TL;DR/‘pivot to video’]?

Of those things you did learn, how many did you put into (your) practice [without reading further to get more detail]?"

[my response, in a way:
https://twitter.com/rogre/status/1059178110703136768

"@jarrettfuller I fell asleep thinking about this"

@jarrettfuller and I woke up thinking about how your look into video essays http://jarrettfuller.com/projects/roughsketch … +

@jarrettfuller might go very well with the idea of the zero(/low)-carbon conference https://pinboard.in/u:robertogreco/t:conferences/t:sustainability … (first three bookmarks) + [no longer the fist three, but more than that]

@jarrettfuller and now I am wondering about what that would mean for teaching writing (video essay producing) and also what this all means now that we have seen the pivot-to-video debacle /fin ]]]></description>
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<item rdf:about="https://twitter.com/ZoeSTodd/status/1063889272514609152">
    <title>Dr Fish Philosopher🐟 on Twitter: &quot;1. #AmAnth2018 is taking place in the midst of one of the deadliest fires in California history. If breathing in the smoke of burning trees, homes, cities doesn't convince us that we need radically different ways to en</title>
    <dc:date>2018-11-19T00:11:15+00:00</dc:date>
    <link>https://twitter.com/ZoeSTodd/status/1063889272514609152</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["1. #AmAnth2018 is taking place in the midst of one of the deadliest fires in California history. If breathing in the smoke of burning trees, homes, cities doesn't convince us that we need radically different ways to engage beyond conference center model...I don't know what will

2. I have deep respect for labour that goes into planning these events. I know folks are doing their best+striving to make spaces for connection. I hope we can build on that spirit+find ways to support relationality while tending to the disasters (thinking with @hystericalblkns )

3. Things I am thinking about after the #RefuseHAU #HAUTalk panel is: how do we ensure those who are most marginalized within anthro (and beyond) are seen, heard, cited while also disrupting the structures that operate to exclude myriad voices. What can we salvage from anthro?

4. This year, with the smoke, #AmAnth2018 really feels like a salvage operation (thinking here with Anna Tsing). What can we take from the existing structures -- what can we reconfigure to make these more capacious spaces at the end of certain worlds?

5. It may very well be that the environment refuses these spaces for us -- makes it that much harder to operate as 'normal'. What ethical imaginations can we mobilize to maintain and foster connection while considering our nonhuman kin literally burning/vaporizing as we meet."

[See also:
https://twitter.com/LysAlcayna/status/1064172084325048320
"Two takeaways from #AmAnth18: ‘the smoke is telling us something’ @ZoeSTodd | ‘anti-capitalism is the only sane position - the alternative is just f*cking ridiculous’ @profdavidharvey"

…

https://twitter.com/anandspandian/status/1063947610216525824
"One utopian vision after smoky #AmAnth2018. Make the megaconference a biennial. Imagine instead, every other year, dozens of simultaneous regional gatherings, each streaming sessions online and holding virtual meetups. Gather with folks in person & tune in elsewhere. Speculating."

https://twitter.com/anandspandian/status/1064166786294317056
"Here's a description of the distributed model we used at @culanth for #displace18 this spring. Registration for $10, less than 1% of typical carbon emissions, and an average panel audience of 125 people. An alternative to the empty conference center room. https://culanth.org/fieldsights/1595-reflections-on-displace18 "

https://twitter.com/OmanReagan/status/1063952375428218880
"Reading this, I also realized I was able to attend more talks at Displacements by tuning in from home (cost: $10), than I was able to attend at #AmAnth2018 by actually flying to San Jose for two days with two days of travel on either end to present my paper (cost: over $900)."

https://twitter.com/nativeinformant/status/1063952575647703040
"I like this, although for those of us at small teaching colleges with little intellectual community, conferences are a welcome (though exhausting and expensive) change."

https://twitter.com/RJstudies/status/1064208726461112320
"I have this problem. There are universities close by who could be more welcoming to those of us not working at research institutions. I am thrilled that this conversation is happening."

https://twitter.com/nha3383/status/1063980370901655552
"Probably the most expensive academic conference I have ever participated/presented in coming from the Global South. My university covered me but what about those scholars who will never get an opportunity because AAA provides no bursaries or lower rates for membership. Ripoff."

…

https://twitter.com/anandspandian/status/1063939720202186752
"I'm trying to imagine how to salvage the promise of connection & kinship without binging so much on carbon & vaporizing life. No simple answer. Building & deepening regional intellectual communities as an alternative? A social foundation for a distributed conference model."

https://twitter.com/ZoeSTodd/status/1063940974391418880
"Yes, the conversation today has given me lots to think about. How do we balance need for meaningful opportunities to engage while also addressing the visceral environmental, economic issues that come any professional organization converging on a city."

https://twitter.com/anandspandian/status/1063940871538671616
"I would also love to see develop a virtual platform for alternative access to the @AmericanAnthro annual meeting, not to substitute, but to supplement. Those who can't afford to attend in person, or can't stomach the carbon burden, shouldn't have to fly this far in a digital era."

https://twitter.com/g_mascha/status/1064082401004056577
"There's an obsession with attending all annual meetings. It's not necessary, exhausting and takes time from regional networking that could emphasize not just presenting but working with each other. Also, AAA could alternate between virtual and in-person (+virtual) meetings."]]]></description>
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<item rdf:about="https://www.laborfest.net/">
    <title>LaborFest : San Francisco | 25th Annual LaborFest 2018 : Surviving The Billionaire Robot Assault in 21st Century</title>
    <dc:date>2018-10-17T01:08:33+00:00</dc:date>
    <link>https://www.laborfest.net/</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>sanfrancisco eastbay bayarea labor work events laborfest togo</dc:subject>
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<item rdf:about="https://sanfranciscomapfair.com/">
    <title>San Francisco Map Fair</title>
    <dc:date>2018-09-24T04:48:15+00:00</dc:date>
    <link>https://sanfranciscomapfair.com/</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>sanfrancisco maps mapping events</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
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</item>
<item rdf:about="http://fonografiacollective.com/">
    <title>Fonografia Collective</title>
    <dc:date>2018-09-06T00:00:01+00:00</dc:date>
    <link>http://fonografiacollective.com/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[via: https://clockshop.org/project/south-of-fletcher-fonografia-collective/ ]

"Fonografia Collective believes in empathetic and culturally-sensitive documentary storytelling about everyday people around the world. We find and craft compelling stories about human rights, politics, the environment, and social issues (or any combination thereof) and share them with the general public using radio, oral histories, photography, the printed word, multimedia, public installations, gatherings and events.

Since 2005, we've been working together to advance our vision of a more inclusive and diverse approach to nonfiction storytelling, focusing on communities across the U.S. and Latin America that are often underrepresented or misunderstood by the mainstream media or the public. As consultants with a variety of institutions, nonprofits, and individuals, we strive to do the same. We also run Story Tellers, a social media platform connecting storytellers from around the world to gigs, funding, collaboration opportunities, and to one another. 

We are producers and board members of Homelands Productions, a 25 year-old independent documentary journalism cooperative. Until Spring 2017, we collaborated with public radio station KCRW on a year-long multimedia storytelling series about aging called "Going Gray in LA." At present, we are developing a storytelling project about the Bowtie in conjunction with Clockshop, an arts organization in Los Angeles, and California State Parks.

*******

Bios

Ruxandra Guidi has been telling nonfiction stories for almost two decades. Her reporting for public radio, magazines, and various multimedia and multidisciplinary outlets has taken her throughout the United States, the Caribbean, South and Central America, as well as Mexico and the U.S.-Mexico border region. 

After earning a Master’s degree in journalism from U.C. Berkeley in 2002, she assisted independent producers The Kitchen Sisters; then worked as a reporter, editor, and producer for NPR's Latino USA, the BBC daily news program, The World, the CPB-funded Fronteras Desk in San Diego-Tijuana, and KPCC Public Radio's Immigration and Emerging Communities beat in Los Angeles. She's also worked extensively throughout South America, having been a freelance foreign correspondent based in Bolivia (2007-2009) and in Ecuador (2014-2016). Currently, she is the president of the board of Homelands Productions, a journalism nonprofit cooperative founded in 1989. She is a contributing editor for the 48 year-old nonprofit magazine High Country News, and she also consults regularly as a writer, editor, translator and teacher for a variety of clients in the U.S. and Latin America. In 2018, she was awarded the Susan Tifft Fellowship for women in documentary and journalism by the Center for Documentary Studies at Duke University.

Throughout her career, Guidi has collaborated extensively and across different media to produce in-depth magazine features, essays, and radio documentaries for the BBC World Service, BBC Mundo, The World, National Public Radio, Marketplace, Canadian Broadcasting Corporation, Orion Magazine, The Walrus Magazine, Guernica Magazine, The Christian Science Monitor, National Geographic NewsWatch, The New York Times, The Guardian, Virginia Quarterly Review, and The Atlantic, among others. She’s a native of Caracas, Venezuela.

*
 
Bear Guerra is a photographer whose work explores the human impact of globalization, development, and social and environmental justice issues in communities typically underrepresented in the media.

In addition to editorial assignments, he is consistently working on long-term projects, and collaborates with media, non-profit, and arts organizations, as well as other insititutions. His photo essays and images have been published and exhibited widely, both in the United States and abroad.

He was a Ted Scripps Fellow in Environmental Journalism for the 2013-2014 academic year at the University of Colorado - Boulder; a 2014 Mongabay Special Reporting Initiative Fellow; as well as a 2014 International Reporting Project Health and Development Reporting Fellow. In 2012, he was chosen as a Blue Earth Alliance project photographer for his ongoing project "La Carretera: Life Along Peru's Interoceanic Highway". Other recognitions have included being selected for publication in American Photography (2005, 2015, 2016) and Latin American Fotografía (2014, 2016, 2017); an honorable mention in the 2012 Photocrati Fund competition for the same project. Bear has also been a finalist for a National Magazine Award in Photojournalism (2010).

A native of San Antonio, TX, Bear is currently based in Los Angeles. 

For more information, a CV, or to order exhibition quality prints please contact Bear directly.

Editorial clients/publications (partial list): The New York Times, The Wall Street Journal, Bloomberg BusinessWeek, Le Monde, The Atlantic, Orion Magazine, The Boston Globe Magazine, Virginia Quarterly Review, OnEarth, ProPublica, National Public Radio, BBC's The World, California Watch, High Country News, Quiet Pictures, Texas Monthly, Time.com, Earth Island Journal, O Magazine, Glamour, Ms. Magazine, NACLA Magazine, Yes! Magazine, SEED Magazine, The Sun, The Walrus, Guernica, and others.

Nonprofit/NGO clients & other collaborators: International Rescue Committee, Doctors Without Borders, Lambi Fund of Haiti, Children's Environmental Health Institute, Community Water Center, Environmental Water Caucus, Collective Roots, Other Worlds Are Possible, Immigration Justice Project/American Bar Association, Fundacion Nueva Cultura del Agua (Spain), Chinatown Community for Equitable Development, St. Barnabas Senior Services, Jumpstart, Global Oneness Project, Quiet Pictures."]]></description>
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<item rdf:about="https://motherboard.vice.com/en_us/article/ywq5zy/the-pentagon-has-the-worst-powerpoint-slides-youve-ever-seen">
    <title>The Pentagon Has the Worst PowerPoint Slides You’ve Ever Seen - Motherboard</title>
    <dc:date>2018-02-25T19:30:19+00:00</dc:date>
    <link>https://motherboard.vice.com/en_us/article/ywq5zy/the-pentagon-has-the-worst-powerpoint-slides-youve-ever-seen</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The Pentagon isn’t just America’s military brain—it’s also a vast bureaucracy filled with middle managers and that means it’s churning out lots of presentations. Bureaucratic presentations means PowerPoint, the universally loathed presentation software, and no one gives a shitty PowerPoint quite like the US military.

The Internet Archive—the site that catalogs the world’s digital detritus—has scooped up hundreds of publicly available military PowerPoints and preserved them for public consumption. The Archive calls it the Military Industrial PowerPoint Complex and it's as bad as you’d expect a mix of high technology, bloody wars, and banal graphics to be.

The Archive will be hosting a an event it calls Military PowerPoint Karaoke in San Francisco on March 6. Participants will take the stage to give a presentation based on military PowerPoint slides they’ve never seen, shuffled at random, and displayed behind them.

For those who can’t make it to San Francisco, allow me to show you some of the worst slides in the archive. Some of the presentations archived are outdated and offensive, others are painfully boring, all of them are garbage tier PowerPoint."]]></description>
<dc:subject>powerpoint 2018 design military us pentagon internetarchive events togo militaryindustrialcomplex communication documents archives</dc:subject>
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<item rdf:about="http://machineproject.com/publications/">
    <title>Machine Project</title>
    <dc:date>2018-01-26T05:55:37+00:00</dc:date>
    <link>http://machineproject.com/publications/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Download
Machine Project Guide to Curating and Planning Events
This tool kit covers the basic ideas, philosophies, and techniques for event-based programming. It's for anyone interested in producing events as a form of cultural programming. It's for anyone who wants to make something exciting happen with other people but isn't sure where to start.

Download
Machine Project Guide to Workshops
This tool kit covers the basic ideas, philosophies, and techniques for workshop-based programming.

Download
Machine Project Guide to Starting Your Own Art Space
This tool kit is for anyone who is considering starting an arts or cultural organization. We will guide you through the ins and outs of conceptualizing, setting up, and running your organization."

[via: "Oh nice—Machine Project has published free downloadable toolkit’s for starting your own art space, curating events, etc. nice way to end their terrific 15-year run:"
https://twitter.com/ablerism/status/956683123730808834 ]]]></description>
<dc:subject>machineproject via:ablerism curation lcproject openstudioproject workshops howto tutorials events</dc:subject>
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<item rdf:about="https://anthrodendum.org/2018/01/13/climate-change-ethics-code-end-aaa-annual-meeting/">
    <title>In an era of climate change, our ethics code is clear: We need to end the AAA annual meeting – anthro{dendum}</title>
    <dc:date>2018-01-22T04:40:10+00:00</dc:date>
    <link>https://anthrodendum.org/2018/01/13/climate-change-ethics-code-end-aaa-annual-meeting/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["I remember when the AAA shifted from the old printed program to the new default paperless version.  It was part of a noble effort to “green” the meetings, and of course we all welcomed it.  But I couldn’t help but think it was all a bit quaint given that the annual meeting itself is so obviously an enormous carbon bomb.  The programs are barely a drop in the bucket.

Each year some 6,000 anthropologists descend on a North American city for five days.  The vast majority fly to get there, covering distances that average (I estimate) about 3,000 miles round trip, emitting 900 kgs of CO2 per person in the process.  For perspective, 900 kgs of CO2 more than twice what the average citizen of Bangladesh emits in a whole year.

In an age of dangerous climate change, is this morally justifiable?

Our ethics code suggests not.  It states: “Anthropological researchers must do everything in their power to ensure that their research does not harm the safety of the people with whom they work.”

We know that the effects of climate change are most acute in the global South – where most anthropologists work – and particularly among the poorest communities.  Climate change claims some 400,000 lives in the South each year, and inflicts damages up to $600 billion annually.  And this is just the beginning.  If we continue on our present trajectory and exceed 2C of warming, the South is likely to see mass famine and human displacement on a scale unlike anything we can imagine.

In order to avoid this catastrophic future, rich nations need to cut their emissions by around 10% per year, starting in 2015.  At the level of organizations like the AAA, by far the easiest way to do this is to cut out unnecessary flights.  And given our professional code of ethics, this is really less an option than an obligation.   It’s time to rethink the annual meeting.

There are lots of ways we could do this:

1. We could start by holding the meeting every other year, or even every third or fifth year. I can imagine that this would make them even more exciting and useful than they already are. More bang for our carbon buck, so to speak.

2. We could devolve the meeting to regional centers that can be reached by train or carpool. Washington DC for the East Coasters, San Francisco for the West Coasters, Chicago for the Midwesterners, etc. They would be smaller, more intimate, more engaging meetings.  Decentralizing knowledge production would make our knowledge more diverse, and hopefully more egalitarian.

3. We could shift the meeting online. Webinar technology has made extraordinary advances in recent years. Presenters could post their presentations as videos, accompanied by text and slides, and open them to comment and dialogue.  This would make it easier for us to engage with all the presentations we want without scurrying half-mad between meeting rooms.

Or we could do some permutation of the above.

Will this somehow cripple our discipline intellectually?  I don’t think so.  I’ve attended my fair share of AAA meetings, and I can’t say that they’ve been so vital to my research that I couldn’t manage without them in their present form.  I think most would agree.  Plus, even if the meeting was essential to our intellectual project, our ethics code is clear that the obligation to do no harm “can supersede the goal of seeking new knowledge.”

But what about the job center?  The pre-interviews to select for campus visits?  Good riddance, I say.  It’s just not necessary, and it generates immense amounts of needless angst.  The UK seems to manage just fine without it.  In fact, they manage without the whole campus-visit game altogether: they interview all finalists in a single day, and use video-link for those who can’t make it easily by train.

The important thing to remember about climate change is that the carbon budget is a zero-sum thing.  Every unnecessary ton of CO2 that we in rich nations emit is a ton that people in poor nations cannot emit in order to meet their basic needs.  This introduces a stark moral calculus.  By insisting on our carbon-intensive annual meeting, we’re effectively saying that our surplus pleasure (if it can be called that) is ultimately worth more than the survival of the very people we claim to care so much about.   This is not a morally tenable stance.

During the 20th century we established ourselves as the moral discipline – the discipline with a political conscience and a truly global perspective.  We leveraged the insights of our work to fight against racism and colonialism in its many forms.  If we want to maintain this stance into the 21st century, we have no choice but to take climate justice seriously.  After all, what’s at stake here is nothing short of carbon colonialism, shot through with violent disparities of race, class, and geography.

The US government will not help us toward this end – certainly not under Trump.  As cities around the country are now pointing out, we cannot wait for Congress to impose the necessary emissions reductions to keep us within our 2C budget, for by then it will be too late.  We have to take matters into our own hands, and quickly.

We as anthropologists – we as the AAA – have the opportunity to lead on this front, just as we led on anti-racism and anti-colonialism in the past.  We can set an example that other disciplines and professional associations will follow.  Climate scientists are already taking this step.  We should be right behind them.

The ethical imperative is clear: it’s time to end the annual meetings in their present form and come up with a safe, just, and sustainable alternative.  Paperless programs simply aren’t going to cut it – not in the face of climate emergency.  I have no doubt that this shift would attract landslide support among anthropologists eager to help usher in a better world.  Let’s make it happen, starting in 2018.  We have little time to lose."]]></description>
<dc:subject>events conferences 2018 ethics climatechange academia anthropology jasonhickel sustainability highered education highereducation racism colonialism anti-colonialism anticolonialism zero-carbonconferences carbonneutrality carbonemissions travel globalwarming environment flights airplanes airtravel aviation decarbonization</dc:subject>
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<item rdf:about="http://parallel-school.org/">
    <title>Parallel School</title>
    <dc:date>2018-01-01T21:08:11+00:00</dc:date>
    <link>http://parallel-school.org/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Parallel School offers an open environment for self-education in the broader context of art and design. We want to bring people from different places and backgrounds together to share knowledge, connect and initiate projects, publications, meetings and workshops. 

Parallel School belongs to no one. 
Parallel School has no location. 
Parallel School is not teaching.
Parallel School is learning."

…

"Parallel School encapsulates the idea of non-institutional, self-organized education in the broader context of Art and Design. The idea is that anyone around the world, whether currently a student or not, can create a new type of school, parallel to existing ones. It serves as a structure to share knowledge, connect with other individuals and initiate projects and workshops. But it can be anything. Self-education and sharing knowledge are possibilities through which we can engage emphatically with one another.

Parallel School originally started as a way for sharing and exchanging ideas and topics (self-education) and organizing workshops across borders, for example in Paris, Berlin and Moscow and was continued in Glasgow, Brno, Leipzig and Lausanne.

The goal is to bring people from different places and different backgrounds, not only from the world of (graphic) design, and work in an autonomous, self-set open structure. The focus will be on topics participants propose themselves around the subject of education. We will invite guests and lecturers from different disciplines to complement the workshop series. In the spirit of self-education every participant holds a short workshop, conducts a discussion or does whatever suits best to share her/his interests or specialties. We believe that inspiring and productive situations can be created without hierarchy.

Spread the word, contribute and be part of Parallel School!"

[via: https://walkerart.org/magazine/never-not-learning-summer-specific-part-1-intro-and-identities ]

[previously: https://pinboard.in/u:robertogreco/b:aecd0852151a ]]]></description>
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<item rdf:about="https://www.universityofcalifornia.edu/news/how-nearly-zero-carbon-conference-can-be-better-conference">
    <title>How a (nearly) zero-carbon conference can be a better conference | University of California</title>
    <dc:date>2017-07-19T22:59:07+00:00</dc:date>
    <link>https://www.universityofcalifornia.edu/news/how-nearly-zero-carbon-conference-can-be-better-conference</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["A conference wrapped up recently at UC Santa Barbara, but this was not a typical academic conference. There was no mess to clean up at the end: no coffee-stained tablecloths and muffin crumbs. The attendees were from campuses all across California, but no one had to rush to catch a flight home. The cost of the conference: essentially free. The carbon footprint of the conference: nearly zero.

John Foran, professor of Sociology and Environmental Studies at UC Santa Barbara, was part of the team that put on the recent UC-CSU Knowledge Action Network Conference as part of UC’s Carbon Neutrality Initiative.

Given the topic of the conference — developing resources for teaching sustainability, climate change, climate justice and climate neutrality to all California students from kindergarten through college — the idea of having people fly in, and contribute greenhouse gases in the process, seemed sadly ironic, if not "morally bankrupt," in Foran's words.

In fact, air travel to conferences, talks and meetings accounts for about a third of the carbon footprint for a typical university. For many professors who travel to multiple conferences and meetings per year, air travel can easily make up over half of their annual carbon footprint.

“Knowing what we know now, it’s just not responsible to fly to conferences all over the world,” said Foran.

For universities concerned about trying to reduce — or even eliminate — their carbon footprints, the problem of air travel is especially acute. Both the carbon footprint and the cost of air travel and honoraria have pushed many institutions to support virtual meetings, but traditional teleconferencing has proved a largely unsatisfying alternative. Dropped connections, inadequate bandwidth and other technological issues have made live video conferences a poor substitute for in-person attendance."

[See also: http://www.news.ucsb.edu/2016/016796/more-conference-less-carbon ]

[See also: http://ehc.english.ucsb.edu/?page_id=16797/

"UC-CSU KAN Conference
a nearly carbon-neutral conference

Interested in staging a nearly carbon-neutral (NCN) conference? For the rationale behind this approach & details on how to coordinate such events, see our White Paper / Practical Guide.
[http://hiltner.english.ucsb.edu/index.php/ncnc-guide/ ]

“Building a UC/CSU Climate Knowledge Action Network”
Spring 2017 Nearly Carbon-Neutral Conference

The UC-CSU Knowledge Action Network
for
Transformative Climate and Sustainability Education and Action

…

Welcome!

We are delighted to host this virtual space and welcome you to our community – We’re all in for an adventure, if this goes as we hope!  This conference opened on Monday, June 12, 2017, and we now invite all participants to please view and comment on the talks for the next three weeks! On Monday, July 3, the conference and the Q&A will close.  After that, the website will remain open to the public and continue to invite participation in the building of this Knowledge Action Network.

 Guiding Principles

We affirm the essential roles social scientists, humanists, educators, and arts and culture play in advancing transformative climate action. We affirm the roles of California faculty in supporting younger generations to act on climate and in reaching beyond the campus to engage various publics to accelerate the shifts. We affirm the United Nations 2030 Sustainable Development Goal 4.7:  “To ensure that all learners acquire the knowledge and skills needed to promote sustainable development, including, among others, through education for sustainable development and sustainable lifestyles, human rights, gender equality, promotion of a culture of peace and non-violence, global citizenship and appreciation of cultural diversity and of culture’s contribution to sustainable development.”

Purpose

Over the course of the 2016-17 academic year, a network of 32 University of California and California State University teachers has been building a Knowledge Action Network (KAN) around issues of teaching sustainability, climate change, climate justice, and climate neutrality to all California students, from kindergarten to the graduate university level.

The purpose of this knowledge action network is to begin to take the steps necessary to provide California educators a collaborative framework to facilitate highly integrative sustainability and climate education and action. The KAN will accelerate California educators’ abilities to offer climate neutrality, climate change, climate justice,[1] and sustainability education to all Californian students in ways that are culturally contextualized, responsive and sustaining, as well as actionable and relevant to their futures. The network will also enable California educators to engage across and beyond our educational institutions for transformative climate action over time.
Process

In the spring of 2017, we came together in four regional workshops, and spent one and a half days together at each site getting to know each other, identifying the current state of climate change and climate justice education in California, envisioning what we hope to see in the future, and then beginning to identify ways to get there.  In doing so, we explored the facilitation process of “emergent strategy,” based on the book by Adrienne Maree Brown, Emergent Strategy:  Shaping Change, Changing Worlds.

The present “nearly carbon-neutral conference” is the next step in that process.  Each participant was asked to make a video of approximately fifteen minutes on one of the following themes:

Option 1: 

What is one of your best practices in teaching climate change, climate justice, carbon neutrality/greenhouse gas emissions reductions, and/or sustainability in a culturally responsive and sustaining way?

What makes it work?

How does/can it scale?

[If appropriate] What obstacles and barriers have you encountered?  Where are you stuck?  What would you need to go forward?

Option 2: 

What vision, proposal, or idea do you have for achieving the goals of the KAN in teaching climate change, climate justice, carbon neutrality/greenhouse gas emissions reductions, and/or sustainability in a culturally responsive and sustaining way?

What is exciting about it?

How does/can it scale?

[If appropriate] What obstacles and barriers have you already or might you encounter?  Where are you stuck?  What would you need or what would need to happen to make it a reality?

Format

This conference was unusual because of its format, as we took a digital approach. Because the conference talks and Q&A sessions reside on this website (the talks are prerecorded; the Q&As interactive), travel was unnecessary. By 2050, the aviation sector could consume as much as 27% of the global carbon budget (more). We need to immediately take steps to keep this from happening. This conference approach, which completely eschews flying, is one such effort (more).

Website

UCSB’s Environmental Humanities Initiative (EHI) is hosting this conference on the EHI website. While here, please feel free to explore the EHI site, perhaps starting with our Intro and Home pages."]]]></description>
<dc:subject>conferences carbonneutrality events planning 2017 johnforan virtual environment sustainability teaching pedagogy sfsh airtravel climatechange climate climatejustice climateneutrality carbonfootprint kenhiltner internet web online access accesibility community howto ucsb highered education highereducation academia zero-carbonconferences carbonemissions travel globalwarming flights airplanes aviation decarbonization</dc:subject>
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<item rdf:about="http://blogs.lse.ac.uk/lsereviewofbooks/2017/04/10/book-review-academic-conferences-as-neoliberal-commodities-by-donald-j-nicolson/">
    <title>Book Review: Academic Conferences as Neoliberal Commodities by Donald J. Nicolson | LSE Review of Books</title>
    <dc:date>2017-07-13T00:02:16+00:00</dc:date>
    <link>http://blogs.lse.ac.uk/lsereviewofbooks/2017/04/10/book-review-academic-conferences-as-neoliberal-commodities-by-donald-j-nicolson/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["What role do academic conferences play in the construction of an academic career? In Academic Conferences as Neoliberal Commodities, Donald J. Nicolson examines the link between the value attributed to participation in academic conferences and the broader neoliberalisation of the academy. Fawzia Haeri Mazanderani welcomes this short book for beginning a meaningful conversation about the significance of this aspect of academic life.

******

While rarely interrogated for the role that they play, academic conferences form a significant part in the construction of an academic career. Any aspiring, or indeed expiring, academic has at some point presented at, or attended, a conference. How many researchers have sat sleepily in a stuffy room, listening to the chap who ate all the egg-and-cress sandwiches at lunch drone on about something that they suspect might be interesting and important, but which they can’t quite pay attention to because they are too distracted with thoughts of their own impending presentation? How many researchers have made obligatory nods to a slideshow that could have been in a different language for all they understood, and then bit their lip in silence when someone asked a ten-minute question that was not really a question but instead sounded suspiciously like self-aggrandisement?

If such ponderings resonate with you, then you have probably found yourself like Donald J. Nicolson, speculating on the value and purpose of attending an academic conference. Nicolson’s book Academic Conferences as Neoliberal Commodities provides an exploratory study into conferences in the social sciences, looking explicitly at the link between conferences and the neoliberalism of academia itself. In this strikingly original work, the author draws upon an assortment of methods, including an analysis of five conference case studies, notes made at conferences he personally attended, conference records, abstract booklets and interviews with people from a range of backgrounds. The novel layout of the book starts each chapter as though a conference presentation, with an abstract and keywords. Opening with a ‘Welcome’, the reader moves through several ‘parallel’ sessions before the ‘Closing Keynote’. Nicolson, a freelance writer with a background in academic research, writes independently of any university or funding body and employs a lucid writing style that makes for an accessible and enjoyable read.

After reflecting upon the difficulties of defining ‘neoliberal’, he argues that, ultimately, the neoliberalisation of the university has resulted in changes whereby in place of the traditional professional culture of open intellectual enquiry and debate, there is now an institutional stress on measurable performance. By seeing knowledge as a product that can arise from a conference, Nicolson considers such events as having a role in the ‘knowledge enterprise’ industry that by promoting a method, data set or research cause as a commodity, becomes the product and marketplace itself. The academic culture of conferences themselves may vary: a point noted by Les Back when he characterises Australian ones as ‘vicious and boozy’, US conferences as ‘status conscious and networking-obsessed’ and British equivalents as ‘polite and consensual’. While recognising that reasons for attending conferences are also variable, the book nonetheless demonstrates how the overarching function of the conference lies in its premise of promoting intellectual communication.

Acknowledging that academia plays out differently across contexts, the book alludes to what conferences of our increasingly neoliberal future may look like. Nicolson makes brief references to the rise of ‘5 minute presentations’ and ‘posters’, and relays the potential role of Twitter as well as variants on the academic conference, such as TED Talks. While his own study is not extensive, this raises the need for further exploration of the different directions in which academic conferences could be heading and the ways in which technology is changing the traditional structure of the conference.

Appreciating that ‘the Helsinki Conference would not have been the same had it been conducted as a group email’ (17), the author also considers the constraints of conference attendance where travel plays a pertinent role. He raises concerns about the environmental impact of carbon emissions from airplanes and money wasted on conferences. While academics from universities in the northern hemisphere may enjoy generous travel budgets and mobility, this is generally not the case for researchers coming from the Global South. Nicolson reflects upon how last year, at the biannual conference of the African Studies Association of the United Kingdom, an unconfirmed number of delegates were unable to attend due to visa refusals. Where a conference is hosted inevitably influences who can attend, and as such has implications for knowledge sharing and development: a pressing concern in a world of increasing walls. Nicolson importantly points out that while conferences are often labelled ‘international’ and ‘global’, the reality is that they often have a homogenising effect given that the intellectual environment within which they are held largely celebrates Anglo-American, English-speaking academic culture.

The book notes that a key reason for people to go to conferences is to engage with colleagues in their field and establish networks. As such, conferences can help prevent the isolation often associated with academia. In reality, however, conferences can themselves be potentially alienating, and such socialising may not come naturally to everyone. This is particularly the case given the ambiguous nature of ‘professional socialisation’, whereby one partakes in the awkward juggling act of grasping at something intelligent to say, while at the same time not too intelligent, lest you come across as if you aren’t a well-rounded person who has no interests beyond the article that is currently keeping you up at night. This socialisation may be traditionally performed over the conference dinner, a seemingly cordial opportunity for delegates to make new acquaintances or catch up with colleagues. Some of Nicolson’s respondents reflected upon how the ‘real work’ at a conference happens at the bar (53). While this point is not merely about enjoying an alcoholic beverage but rather the significance of face-to-face interaction, it again reflects the Eurocentric manner by which professional socialisation often takes place within academia. This is a point that Nicolson unfortunately does not reflect upon, but which might have bearing for scholars who do not drink alcohol for personal reasons or due to religious practices. Another limitation of the book, which the author duly acknowledges, is that the research reported does not provide a representative sample of conferences or interviewees.

Nonetheless, while narrow in its scope, Academic Conferences as Neoliberal Commodities represents the start of a meaningful conversation, and is highly recommended to anyone working within the social sciences who aspires to make the most out of this unexplored yet integral part of performing and producing academia. The lingering impression for me is that while calls for abstracts at conferences often express ambitious aims and desires to transform the face of a field, there is little evidence that conferences in themselves have led to ground-breaking change. Yet, as noted by Nicolson, the very notion of conferences having a measurable impact is in itself a reflection of neoliberal thinking whereby everything has a cost and a value. The examples in the book highlight how the impact of a conference need not be that it is paradigm-defining, but can be experienced at a personal level. This might just be through the strategic rationale of fluffing out one’s CV or through the way in which, if the conference is a good one, it could make the attendee feel excited and enthused about research, triggering new ideas. While demonstrating that the individual gain of conferences fits with neoliberal ideology, there is room to explore how conferences could serve as spaces for collaboration, and indeed, for resistance of the same structures that perpetuate their existence."

[via: https://twitter.com/AlJavieera/status/883043997362470912 ]]]></description>
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<item rdf:about="http://www.documenta14.de/en/calendar/23687/under-the-mango-tree">
    <title>Under the Mango Tree—Sites of Learning - documenta 14</title>
    <dc:date>2017-07-12T19:29:15+00:00</dc:date>
    <link>http://www.documenta14.de/en/calendar/23687/under-the-mango-tree</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["To come under the shade of this mango tree with such deliberateness and to experience the fulfillment of solitude emphasize my need for communion. While I am physically alone proves that I understand the essentiality of to be with.
—Paulo Freire, Pedagogy of the Heart

The structures of formal education systems are increasingly reaching their limits due to their outmoded and inflexible foundations. However, informal and artist-led educational initiatives are taking root. documenta 14’s aneducation and ifa (Institut für Auslandsbeziehungen) are organizing the gathering of Under the Mango Tree—Sites of Learning, which addresses current educational shifts by inviting different artistic initiatives and schools from multiple geographies to come to Kassel. These different organizations are critically positioned both within and outside the Western canon.

With a special emphasis on historical and contemporary accounts and examples from nonhierarchical models of learning, the gathering presents Indigenous, communal practices of producing and preserving knowledge as well as initiatives that reflect on postcolonial knowledge production in nonhierarchical settings.

The some twenty contributors are each working towards new vantage points for a contemporary and broadened understanding of learning and knowledge production. Their work is presented in forms ranging from lectures to performances and workshops, in which active participation is welcome. Drawing on the model of a communal garden as a place of teaching and learning, the gathering takes place at various sites in Kassel during documenta 14.

Contributing projects, initiatives, and schools: Óscar Andrade Castro and Daniela Salgado Cofré (Ciudad Abierta), David Chirwa (Rockston Studio 1985), Sanchayan Ghosh (Santiniketan), Rangoato Hlasane (Keleketla! Library), Anton Kats (Narrowcast House), Duane Linklater, Tanya Lukin Linklater and cheyanne turions (Wood Land School), Sofía Olascoaga, Alessandra Pomarico (Free Home University), Marcelo Rezende, Syafiatudina (KUNCI), Jorge I. González Santos (Escuela de Oficio), Marinella Senatore (The School of Narrative Dance), and others

*Please register for the gathering by filling in the form at: www.ifa.de/en/events/under-the-mango-tree.html. More information will be provided upon registration.

Under the Mango Tree is a cooperation between documenta 14 aneducation and the Visual Arts Department of ifa (Institut für Auslandbeziehungen).

The gathering is supported by a partnership with ArtsEverywhere, an online platform by Musagetes, which discusses the arts in relation to all aspects of the world around us."]]></description>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:indigenous"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:communal"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:amereida"/>
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</item>
<item rdf:about="https://www.alliedmedia.org/amc">
    <title>Allied Media Conference | Allied Media Projects</title>
    <dc:date>2017-06-19T20:21:42+00:00</dc:date>
    <link>https://www.alliedmedia.org/amc</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["A collaborative laboratory of media-based organizing strategies

Join us for the 19th annual Allied Media Conference: June 15-18, 2017. Held every summer in Detroit, the conference brings together a vibrant and diverse community of people using media to incite change: filmmakers, radio producers, technologists, youth organizers, writers, entrepreneurs, musicians, dancers, and artists. We define "media" as anything you use to communicate with the world. You are a media-maker!

We define media-based organizing as any collaborative process that uses media, art, or technology to address the roots of problems and advances holistic solutions towards a more just and creative world.

The Allied Media Conference is a collaboratively designed event. Conference content is curated with care every year by 100+ volunteer coordinators of tracks, practice spaces, and network gatherings. The conference features over 300 hands-on workshops, panels, film screenings, Detroit tours, art and music events, strategy sessions, karaoke, bowling, collaborative art and more!"

[via Jack Cheng: http://mailchi.mp/fb17da1d60fb/207-get-ready-stay-ready?e=b44b7ebd51 ]]]></description>
<dc:subject>conferences events togo detroit sfsh media mediamaking communication</dc:subject>
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<item rdf:about="http://bayareaanarchistbookfair.com/">
    <title>Bay Area Anarchist Bookfair</title>
    <dc:date>2016-12-24T07:22:05+00:00</dc:date>
    <link>http://bayareaanarchistbookfair.com/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The Bay Area Anarchist Book Fair is an annual event that brings together people
interested and engaged in radical work to connect, learn, and discuss through books
and information tables, workshops, panel discussions, skillshares, films, and more!
We seek to create an inclusive space to introduce new folks to anarchism, foster a
productive dialogue between various political traditions as well as anarchists
from different milieus, and create an opportunity to dissect our movements’
strengths, weaknesses, strategies, and tactics."]]></description>
<dc:subject>books sanfrancisco oakland events anarchism dissent resistance</dc:subject>
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<item rdf:about="http://calacademy.org/citizen-science">
    <title>Citizen Science at the California Academy of Sciences</title>
    <dc:date>2016-11-28T01:29:16+00:00</dc:date>
    <link>http://calacademy.org/citizen-science</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[See also: https://itunes.apple.com/us/app/inaturalist/id421397028 ]]]></description>
<dc:subject>californiaacademyofsciences classideas science citizenscience events datacollection</dc:subject>
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</item>
<item rdf:about="http://igd.ala.org/">
    <title>International Games Day @ your library</title>
    <dc:date>2016-11-19T19:11:06+00:00</dc:date>
    <link>http://igd.ala.org/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["International Games Day is an initiative run by volunteers from around the world and supported by the American Library Association's Games and Gaming Round Table, in collaboration with Nordic Game Day and the Australian Library and Information Association, to reconnect communities through their libraries around the educational, recreational, and social value of all types of games.

It is completely free to participate! In fact, it is cheaper than free, because after registering you stand a chance to get free donations for your library, and this site hosts a free press kit with press release templates and posters.

You can register for IGD 2016 here.

In the 21st century, libraries are about much more than books. On Saturday, November 19, 2016, more than two thousand libraries around the world will showcase gaming programs and services in support of IGD16.

This year marks our 9th annual event!

Gaming of all types at the library encourages young patrons to interact with a diverse group of peers, share their expertise with others (including adults), and develop new strategies for gaming and learning. Plus, it's a way for traditionally underserved groups to have fun in the library and interact with other members of the community. International Games Day @ Your Library is a great opportunity for families to get out of the house and play together in the one community institution that welcomes everyone.

Libraries that want to participate in this year's event need to register online in order to participate in the international events (Minecraft Hunger Games and/or Global Gossip Game), receive free donations (while available), and appear on the international map of participating locations.

Who creates this event each year?
International Games Day is run by volunteers from the three following organizations.

American Library Association
The American Library Association is the oldest and largest library association in the world, with more than 55,000 members. Its mission is to promote the highest quality library and information services and public access to information. For more information on the American Library Association please visit ala.org.

Games and Gaming Round Table (GameRT)
The Games and Gaming Round Table (GameRT) of the American Library Association provides a venue for librarians interested in the use of games and gaming in libraries of all types a place to gather and share. GameRT was formed in 2011, replacing and extending the pre-existing gaming member interest group. As a round table, GameRT is built around our shared passion for games and the use of gaming within libraries. With members from all types of libraries, GameRT encompasses a wide variety of viewpoints, situations, and user types.

Australian Library and Information Association
The Australian Library and Information Association is the national professional organisation for the Australian library and information services sector. Together we seek to empower the profession through the development, promotion and delivery of quality library and information services to the nation, through leadership, advocacy, and mutual professional support. For more information on the Australian Library and Information Association please visit alia.org.au

Nordic Game Day
Nordic Game Day 2015 is a cooperation between the Nordic Libraries working with computer games and the Nordic Game Institute. The goal is to have public libraries all over the Nordic region put extra focus on games as a medium – both physical board games and digital games – for just one day. This is to show the patrons and the world that games are an established medium that belongs in the libraries now and in the future. For more information about Nordic Game Day please visit nordicgameday.wordpress.com.

L’Associazione Italiana Biblioteche
The Italian professional librarian association with the goal of promoting library services and recognition of the library profession in Italy.
International Games Day Italia"]]></description>
<dc:subject>games gaming events ala videogames libraries edg</dc:subject>
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<item rdf:about="https://www.eventbrite.com/e/ac-16-film-lost-landscapes-of-san-francisco-2013-tickets-27003292575">
    <title>A+C 16: Film | Lost Landscapes of San Francisco (2013) Tickets, Wed, Sep 21, 2016 at 6:00 PM | Eventbrite</title>
    <dc:date>2016-09-04T00:06:41+00:00</dc:date>
    <link>https://www.eventbrite.com/e/ac-16-film-lost-landscapes-of-san-francisco-2013-tickets-27003292575</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>events sanfrancisco togo rickprelinger sfsh</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
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<item rdf:about="http://www.exploratorium.edu/visit/calendar/after-dark">
    <title>After Dark Thursday Nights: Evening Hours for Adults | Exploratorium</title>
    <dc:date>2016-08-04T23:18:49+00:00</dc:date>
    <link>http://www.exploratorium.edu/visit/calendar/after-dark</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>exploratorium events afterdark sanfrancisco sfsh</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:a6a2ac7d4a21/</dc:identifier>
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</item>
<item rdf:about="http://www.emojicon.co/">
    <title>Emojicon</title>
    <dc:date>2016-07-26T22:28:20+00:00</dc:date>
    <link>http://www.emojicon.co/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Emojicon is a multi-day celebration 🎉 of all-things emoji that will take place at the beautiful California College of the Arts campus in San Francisco.
 
There will be lots of things to do! See emoji art🎨 . Watch emoji films 🎥. Discuss emoji policy📃 . Get your picture taken in an emoji photo booth📸 . Eat emoji-themed food (🍕 anyone?). Discuss emoji with members of the Unicode Emoji Subcommittee📣 .
 
Mix. Mingle. Enjoy."]]></description>
<dc:subject>events emoji sanfrancisco 2016</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:3ffa9c3d6d9e/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:sanfrancisco"/>
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</item>
<item rdf:about="http://space.dentthefuture.com/">
    <title>Dent:Space</title>
    <dc:date>2016-07-13T19:24:59+00:00</dc:date>
    <link>http://space.dentthefuture.com/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["September 21-22, 2016 • The Innovation Hangar • San Francisco, CA"

…

"SPACE EXPLORATION, TOGETHER
Scientists, makers, entrepreneurs, thinkers. Talented people of all backgrounds are pushing us farther, and Dent:Space brings them together. It’s time to make our ambitions a reality. Look up, let’s go."

…

"Dent:Space will take place at the Innovation Hangar at the Palace of Fine Arts, right next to the Golden Gate Bridge in San Francisco, CA. Hotels in San Francisco book up quickly in September. If you’re traveling to attend Dent:Space, we recommend you reserve your hotel room as soon as possible. Hotel Del Sol is a great nearby option (and it’s where we’re staying). Mention you’re attending Dent:Space to get a special, discounted rate."]]></description>
<dc:subject>events sfsh sanfrancisco 2016 space togo srg edg</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:34de3064c34a/</dc:identifier>
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</item>
<item rdf:about="http://sfartbookfair.com/">
    <title>SF Art Book Fair</title>
    <dc:date>2016-06-30T06:18:26+00:00</dc:date>
    <link>http://sfartbookfair.com/</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>sanfrancisco art artbooks books events sfsh classideas artistsbooks</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:5235d8f394e5/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:events"/>
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</item>
<item rdf:about="http://snarkmarket.com/2016/8275">
    <title>A Doll Cabinet in Iowa / Snarkmarket</title>
    <dc:date>2016-02-18T21:22:14+00:00</dc:date>
    <link>http://snarkmarket.com/2016/8275</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["To know the future … that’s the dream, right? But it’s a dream that makes sense only if the future is merely revealed, rather than being constructed bit by bit from the traces of the present, which we still have the ability to shape. Let me argue instead for seeking future history — the ability to consider the present through the lens of the future, to find imminent anachronisms hidden in plain sight. What do we take for granted today that will come to seem remarkable tomorrow? What will the history books say about us?

A few months ago, my friends Andy, Amanda, and Amy, and I decided to build a weekend around these questions. And now I’m seeing future history everywhere.

Like all right-thinking people, I’ve been infected with Hamilton fever. The theme of the show that resonates most loudly is the obsession of all the central characters with their place in history. After one recent replay of the score, I found myself tearfully re-reading Washington’s farewell address, a message sent across the ages, to us. Of course, nearly every Presidential farewell has that time-capsule quality — it’s the last best chance for a President to spin his legacy. But fast-forward through more recent ones, and Washington’s stands out all the more. Other Presidents are aware of the watchful eyes of history, but they spend most of their parting speeches dwelling on the recent past — what they saw, what they did, why they did it. Consequently, moments in these speeches can seem parochial or short-sighted, just decades later. “There hasn’t been a failure of an insured bank in nearly 9 years,” Truman says. “The Persian Gulf is no longer a war zone,” Reagan says. We’re “on track to be debt-free by the end of the decade,” Clinton says.

Washington, though, scours his Presidency for lessons that would reverberate across centuries: Cherish your union, he tells us. “It is a main pillar in the edifice of your real independence, the support of your tranquility at home, your peace abroad; of your safety; of your prosperity; of that very liberty which you so highly prize.”

It’s not just lofty Presidential speeches; tiny gestures can mark a break with the past. When Tom Vilsack ascended to the Iowa governor’s mansion, his wife Christie broke slightly with tradition: she elected to have her doll identified by her own name in the cabinet. “I’ve never called myself ‘Mrs. Tom Vilsack,’ ever,” she said. Iowa’s next first lady echoed Christie Vilsack’s choice; her doll is called “Mrs. Mari Culver.”

In 2012, Christie Vilsack tried to change another longstanding Iowa tradition: she ran for Congress. Not only had a woman never been governor of Iowa in 2012, no woman had ever represented the state in either the House or the Senate. “We really have a wonderful history,” the state’s Democratic Party chair said when Vilsack announced her exploratory committee. “With this one problem.”

Vilsack’s run failed; she was defeated by Steve King in 2012. But then something happened, just last year. A streak unbroken since Iowa entered the union in 1846 — nearly 170 years in which a long succession of men exclusively represented Iowa in Congress — ended. Joni Ernst, the daughter of the same Mrs. Mari Culver whose doll sits in a cabinet in the Iowa statehouse, became Iowa’s first ever Congresswoman.

For a weekend in Baltimore in April, we’re going to look for moments like this, and scour our own experiences for ideas and lessons that will endure. We’ll make a time capsule, and we’ll end with a prom; we couldn’t think of two better ways to bring a far-seeing lens to the present. It will be massive fun and I hope you join us if you can. But most of all, I want to know: What do you see around you today that will come to seem remarkable?"]]></description>
<dc:subject>mattthompson 2016 future history anachronisms futurehistory futurehistoryfestival events perspective legacy posterity georgewashington iowa change</dc:subject>
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<item rdf:about="http://www.unprofessionaldevelopment.org/#for-the-troublemakers">
    <title>Unprofessional Development</title>
    <dc:date>2015-11-22T04:45:32+00:00</dc:date>
    <link>http://www.unprofessionaldevelopment.org/#for-the-troublemakers</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["creativity courses for (trouble)makers who teach"

"OUR BEST TEACHERS INSPIRE STUDENTS
TO BE BRAVE AND THINK DIFFERENTLY.

But professional development rarely acknowledges – or inspires – the courage and curiosity that educators bring to their own classrooms. Unprofessional Development is based on the belief that teachers must be celebrated as professional learners who find truth in discovery and joy in taking bold risks. It is a call to ignite a rigorous and personal creative habit. It is a challenge to resist judgment, perfectionism, discomfort and procrastination, and to put creativity at the root of all learning. Unprofessional Development is a charge to write, weld, cook, construct, jury-rig, sketch, stitch, bend and build both in and out of our classrooms."

"WE OFFER THREE TYPES OF COURSES.

Learn more about our Workshop 101, featuring a day of creative provocations; our Oakland Lab series on projects unrelated to classroom practice; and our Custom classes designed just for you.

We believe educators have the inspiration, intuition and experience to do creative work in every classroom. Our day-long Workshop 101 offers hands-on creative provocations and time to collaborate with other like-minded educators in a space that will refresh and inspire new ideas. We invite educators of all disciplines, grade levels and learning environments to attend together to share this experience and build creative capacity back on campus. We're committed to making creativity accessible to everyone: Please email christina@projecthdesign.org to learn about scholarships."

"Emily Pilloton is an architect, educator, and founder of the nonprofit Project H Design. She has worked for a decade designing and building community architecture projects with students, supporting teachers' creative growth through project-based learning and making, and researching the role of creativity in all aspects of learning. Her ideas and work have made their way to the TED Stage, The Colbert Report, the New York Times, and more. She is the author of two books, Design Revolution: 100 Products that Empower People, and Tell Them I Built This: Transforming Schools, Communities, and Lives with Design-Based Education. Her work is featured in the full-length documentary, If You Build It.

Christina Jenkins is a teacher and designer who developed her practice over nearly ten years in New York City classrooms. She launched a middle school technology program featured by PBS Frontline, and later taught interdisciplinary courses ranging from anthropology to cartography at the NYC iSchool. She is a Fund for Teachers fellow, an Academy for Teachers fellow, and a Blackboard award recipient, and has spoken widely about her work. She made an extremely popular animation about Kumon, and wrote a mini-comic about the time during her first year of teaching that she saw Picasso's Dora Maar au Chat sell for $95 million at Sotheby's. She's studying computer science and has a lifelong love of classical piano."]]></description>
<dc:subject>christinajenkins emilypilloton education professionaldevelopment togo teaching creativity events lcproject openstudioproject</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
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<item rdf:about="https://medium.com/@bryan/the-mystery-of-the-white-dress-shirt-6d95199177a6#.aanigpjs8">
    <title>The mystery of the white dress shirt: Makeshift Society Brooklyn postmortem — Medium</title>
    <dc:date>2015-11-22T04:28:07+00:00</dc:date>
    <link>https://medium.com/@bryan/the-mystery-of-the-white-dress-shirt-6d95199177a6#.aanigpjs8</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["We hosted rad events with nationally recognized partners including Adobe, HP, and SXSW on the assumption that if we get people to visit, we would get more conversions to memberships. But we saw little correlation between event attendees and future memberships. We also tried referral bonuses and monthly discounts for different skill sets (e.g. 50% off for photographers in May). That didn’t work either. The one thing that did work quite well, ironically, was a “three months for the price of two” membership offer that we launched when we had exactly 3 months left before closing. This resulted in about four conversions, which sounds small but is not insignificant (about 6% of the core membership base we were counting on in our original business plan). We probably should have experimented more with membership packages, but we were trying to avoid the situation where current members feel burnt by deals offered to new members. Strong impulses towards fairness are a liability for capitalists."

…

"Is community a side, or the main dish?

On the coworking as community — commodity spectrum, we existed somewhere in the middle. The feel of Makeshift Society Brooklyn was relatively communal and friendly, but ultimately it was a pay-to-play membership organization. We found that people genuinely seek community when it comes as a freebie side dish, but it’s somewhat rare that people want to pay for it as the main dish. In retrospect, this makes sense. One pays for golf at the club because paying explicitly for access to likeminded peers feels dirty. Even Airbnb, who claim to offer belonging (which is dubious, but we’ll take it at face value for now), are actually selling accommodations. The feeling of belonging is a mint on your pillow — the thing you enjoy most but would never pay for on its own.

When prospective members came through our doors asking about what amenities we offer, I could usually tell that they were not going to choose to join our community. Whereas other spaces offer hard amenities such as free beer on tap or access to legal advice, our biggest “amenity” was the ability to get to know a group of down to earth people who did something relatively close to what you’re doing, to call on them for emotional support, and occasionally to do some work together. Second to this, daylight and a dignified workspace were our primary distinctions (this says a lot about what passes for ‘quality’ in the state of workspaces). If you’ve already gotten wasted on the free beer, worked in your glass cubicle, and still haven’t found a supportive community of practice, you’d be more likely to arrive at the doors of MSS BK genuinely in search of what we offered. Leigh summed it up nicely:

<blockquote>At Makeshift I’m surrounded by amazingly smart and creative individuals. Whether it’s asking for a second set of eyes from a deskmate or seeing the other things members are building, being surrounded by that energy is inspiring.</blockquote>

It was also important to us that our people feel connected to the broader community of the neighborhood and the city, which is something that Matt and Cory picked up on:

<blockquote>Makeshift has all the productivity benefits of a coffee shop without the drawbacks. Well, it doesn’t have coffee, but that’s actually a benefit too. There are plenty of great cafés [nearby] that are easy to walk to. One of my favorite things about Makeshift’s space is that it really encourages creativity by making it easy to get up and move around. The location is a big, airy, bright area right on street level, on a nice quiet street, which makes it very easy to get up and get out for a quick walk outside to clear one’s head… Other co-working spaces that I’ve worked at are on high floors and I have to pack up my computer in my backpack before I can get outside, which makes it subtly harder to get up and move around. At Makeshift I can just get up, walk around, and get right back to work.</blockquote>

Before the Brooklyn expansion, Rena and I discussed converting MSS into a non-profit. We decided not to because we wanted to retain agility. As MSS BK was struggling I spent a good amount of time considering this as an alternative future for the space. By sliding from our midpoint on the community — commodity spectrum to somewhere more resolutely on the community side of things, such as a co-op, we would give up some or all control over the community, perhaps even the operations of the space. From the perspective of the balance sheet this could work out OK. Giving up control to a co-op could also mean freeing the MSS business entity of the responsibility to look after and pay for every little thing (printer toner, cleaning, etc) as those become shared responsibilities.

By the time we got to seriously considering converting ourselves into a co-op, we were too late to practically make the transition. It would have required a new cooperatively owned entity taking over the lease, which would require enough co-op members to assemble the tens of thousands of dollars needed just for the security deposit, not to mention a similarly formidable monthly sum to cover rent. In theory MSS could have retained the lease and sublet the space to a new co-op, but that’s a risky transition with a lot of opportunity for things to fall apart. Too risky.

By the time we were ready to do it, there was not enough money in our bank account to protect MSS in the event that the transition was less than perfect. Instead I’ll daydream of a benevolent co-op that performs hostile takeovers, converting struggling but beloved for-profit businesses into community-owned infrastructure. In the meantime, I’ll be watching Prime Produce closely as they progress with their co-op in midtown with the assist of “sympathetic investors”."]]></description>
<dc:subject>bryanboyer 2015 capitalism coworking makeshiftsociety business marketing events community agility markets communication cooperatives</dc:subject>
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<item rdf:about="http://mathesonmarcault.com/">
    <title>Matheson Marcault</title>
    <dc:date>2015-08-17T03:28:43+00:00</dc:date>
    <link>http://mathesonmarcault.com/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Matheson Marcault work with culture, history and physical space. We use game design to engage people with places and ideas. Our work fits in museums, in public squares, at arts festivals, and online.
Our work focuses on words, play, installations, and interactive history.

Follow us on twitter at @mathmarcault for more."

…

"Holly Gramazio [https://twitter.com/hollygramazio ] is a game designer with a particular interest in site-specific work and physicality. As Lead Game Designer at Hide&Seek she led on projects including The New Year Games, a street game for 12,000 players; Castle, Forest, Island, Sea, an online game for the Open University exploring philosophy and reason in a crumbling castle; and 99 Tiny Games, an installation of low-tech games across every borough of London.

Working independently she’s created installations like Games for Places, painting rulesets on sites across East Durham; How To Be A Blackbird, an online narrative about the life of a blackbird in the city, and Hotel Room, in which players simultaneously navigate a real-life hotel room and an interactive story about the room. She started designing games after completing a PhD in online fiction in 2008, and also curates game events, including the Sandpit, a regular playtesting night for experimental work that ran for five years.
 
Sophie Sampson [https://twitter.com/ultracobalt ] is a producer of games, playful interaction design, and digital prototyping, with a particular interest in work that spans the physical and digital worlds, and projects deeply rooted in history and archives.

Her work uses research and game-related thinking for cultural institutions and commercial clients. She has produced web and iOS projects for clients like Royal Botanic Gardens, Faber&Faber, BBC and Warner Bros, as well as making games around history and science including So Wrong It’s Right for the Wellcome Collection, House of Shadows for the V&A and Concubines with Exeter University.

She also writes on history, game design and culture, and has written video games and historical content for exhibitions, including Coney’s House of Cards at Kensington Palace."]]></description>
<dc:subject>hollygramazio sophiesampson games gaming play culture mathesonmarcault place gamedesign museums events installations words interaction interactiondesign history edg srg</dc:subject>
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<item rdf:about="http://www.chasepublic.org/">
    <title>Chase Public</title>
    <dc:date>2015-08-07T12:00:04+00:00</dc:date>
    <link>http://www.chasepublic.org/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Chase Public is a collaborative space for art and assembly in the Northside neighborhood of Cincinnati.

Chase Public was conceived with the intent to create an environment that could help balance consumption with creativity, individualism with collaboration, high art with honest work and plain language. Occupying a room that was previously Elyse's Passion, a feminist sex shop, Chase Public hosts poetry readings, music concerts, art openings, book signings, independent theater, stand-up comedy, hotly-contested debates, collaborative art-making, radical activism workshops, crazy-ass parties, and maybe one bird fight. Mostly poetry readings."]]></description>
<dc:subject>chasepublic cincinnati lcproject openstudioproject poetry events community nathanswartzendruber</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
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</item>
<item rdf:about="http://blog.valerieaurora.org/2015/06/23/ban-boring-mike-based-qa-sessions-and-use-index-cards-instead/">
    <title>Ban boring mike-based Q&amp;A sessions and use index cards instead | Valerie Aurora's blog</title>
    <dc:date>2015-07-12T21:33:22+00:00</dc:date>
    <link>http://blog.valerieaurora.org/2015/06/23/ban-boring-mike-based-qa-sessions-and-use-index-cards-instead/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["If you’ve ever been to a conference, you know the problem: A brilliant and engaging talk is coming to a close, and already a line of fanatic wild-eyed people (okay, mostly men) is forming at the audience microphone. Just by looking at them you know they will inevitably start their questions with, “This is more of a comment than a question, but…” Actually, you are grateful for the ones who are that self-aware, because most of them seem to genuinely believe that their barely disguised dominance play or naked self-promotion is an actual question that the rest of the audience would like to hear the answer to. So you scooch down lower in your seat and open your Twitter client so you can complain about how awful Q&A sessions inevitably are.

Fortunately, there is a way to prevent this situation entirely! Here is the formula:

1. Throw away the audience microphones.
2. Buy a pack of index cards.
3. Hand out the cards to the audience before or during your talk.
4. Ask people to write their questions on the cards and pass them to the end of the row.
5. Collect the cards at the end of the talk.
6. Flip through the cards and answer only good (or funny) questions.
7. Optional: have an accomplice collect and screen the questions for you during the talk.

Better yet, if you are a conference organizer, buy enough index cards for every one of your talks and tell your speakers and volunteers to use them.

Why is the typical line-at-the-mike style of audience question so productive of bad questions? To start with, it gives the advantage to people who aren’t afraid to put themselves forward first and rush to the mike first. This means most or all of the questions are from people with relatively little self-doubt and a high opinion of themselves. Another draw for the self-centered overconfident type is the chance to be the center of attention while asking the question using the audience microphone. Then there is the lack of built-in limit on the time the purported question-asker is speaking. Finally, there is no way to screen the question for quality until the question has been fully asked (sometimes taking minutes). The end result is a system that practically invites self-centered, overconfident, boring, long-winded people to dominate it. (And you wonder why women almost never ask questions at your conference?)

By contrast, writing questions on index cards appeals more to quiet, thoughtful, self-effacing folks who are considerate of those around them. It allows you to screen the questions for quality. It limits the length of the question. It encourages actual genuine requests for clarification on the subject of your talk.

Get rid of line-at-the-mike style Q&A sessions. Replace them with index cards. Your conference attendees will thank you."]]></description>
<dc:subject>q&amp;a conferences commenting microphones audience indexcards events valerieaurora 2015</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:37889f12ae99/</dc:identifier>
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<item rdf:about="http://opennews.org/blog/srccon-tickets/">
    <title>SRCCON Ticketing—What We Did and Why | Knight-Mozilla OpenNews</title>
    <dc:date>2015-05-13T00:46:08+00:00</dc:date>
    <link>http://opennews.org/blog/srccon-tickets/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Loosely based on the pragmatic, building-centric sessions at the Mozilla Festival in London, SRCCON’s session formats are peer-led and highly participatory. In part because there are so many other opportunities to attend lecture-style, slide-heavy talks and presentations, we don’t do those things. Instead, our sessions range from structured games to skillshares with practice sessions to straight conversation groups focused on hashing out a shared problem among news organizations, be it technical, financial, or cultural.

Given that focus, we wanted to define a ticketing process that allowed people who pitched great sessions to actually attend, and that emphasized participation by design. In particular, we wanted everyone who felt able to pitch a session to do so, and to be assured of a ticket if their session was accepted. SRCCON relies on the enthusiasm and engagement of session facilitators, and on the variety of ideas and approaches they bring to the program. (We’ll talk more about our session solicitation and selection processes in the an upcoming post.)

We also didn’t want to create two classes of attendees—SRCCON is a conversation between enthusiastic equals—so all SRCCON attendees, including session facilitators, purchase a ticket. (Comp tickets are part of our scholarship and sponsorship packages, which are the exceptions to the rule.)

… 

We wanted SRCCON to be accessible and welcoming to people whose communities have been underrepresented in journalism and the tech industry—primarily women and people of color—and to people working in news organizations in smaller and non-coastal markets. We also wanted to make sure local news organizations and people who are allies of journalism tech but not actually in newsrooms, like civic hackers, were represented.

We wanted plenty of space for wildcards, and for people who should absolutely be at SRCCON but are far enough from our networks that they wouldn’t have heard about it before tickets went on sale."]]></description>
<dc:subject>events conferences 2015 erinkissane eventplanning conferenceplanning inclusion srccon accessibility howto inlcusivity inclusivity</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
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<item rdf:about="http://storylinestjsd.com/">
    <title>Storylines TJ/SD</title>
    <dc:date>2015-04-22T17:39:57+00:00</dc:date>
    <link>http://storylinestjsd.com/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Storylines TJ/SD maps subjective narratives from the past century that mark, trace, and challenge the transborder condition of Tijuana/San Diego, by highlighting bilingual stories of place-based resistance that have often gone underrepresented and bringing first person narrative to a region that is often interpreted through dehumanizing ideologies.

Organized by a binational editorial board of artists, art historians, and activists, Storylines: TJ/SD  serves as a living narrative archive, manifesting as both live programming + public events accessible on both sides of the border, and as an interactive website and podcast released serially.

Storylines TJ/SD is:

Kate Clark (SD)

Misael Diaz (TJ)

Amy Sanchez (TJ)

Emily Sevier (SD)

Sara Solaimani (SD)

Adriana Trujillo (TJ)"]]></description>
<dc:subject>sandiego tijuana border borders stories storytelling bilingual spanish english español via:publichistorian kateclark misaeldiaz amysanchez emilysevier srasolaimani adrianatrujillo art history events mexico us activism resistance place</dc:subject>
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<item rdf:about="http://www.facets-con.com/#home">
    <title>FACETS</title>
    <dc:date>2015-04-21T18:05:30+00:00</dc:date>
    <link>http://www.facets-con.com/#home</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["An interdisciplinary creative coding, interactive art, and videogames un-conference.

FACETS is a conversational based creative un-conference with a focus on underrepresented voices and demographics in STEM and art."

…

"MISSION STATEMENT

FACETS grew out out of a need for a new type of conference and a new type of conversation. Art, interactive technology, new media and game design are making innovative, beautiful things and are using similar tools and having similar, ground breaking discoveries and conversations but not with each other. What can a game designer learn from the linear mathematics used from procedurally generated music? What can the new media academic teach the creative technologist? How does technology inform storytelling, and how will video game design change cinema? The aim of FACETS is to create a cross disciplinary conference that facilitates conversation, mentorship, innovation, and ideation across these disciplines. We all make amazing things, let's make them together. 

Organized by Caroline Sinders and created by Caroline Sinders, Mohini Freya Dutta, Phoenix Perry, and Jane Friedhoff, FACETS started out of a frustration with a lack of places to discuss interactive art, media, and game design, particularly with talented and underrepresented demographics in STEM."
]]></description>
<dc:subject>facets events nyc brooklyn 2015 coding art videogames unconferences carolinesinders janefriedhoff phoenixperry mohinidutta rachelbinx sarahjaffe paoolopedercini ingridburrington joannemcneil</dc:subject>
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<item rdf:about="http://opennews.org/blog/srccon-human-stuff/">
    <title>Making SRCCON Good for Humans | Knight-Mozilla OpenNews</title>
    <dc:date>2015-04-01T20:50:31+00:00</dc:date>
    <link>http://opennews.org/blog/srccon-human-stuff/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["In our first year of planning SRCCON, we knew we wanted attendees be able to focus completely on the conference experience itself: sessions, activities, and other official stuff, but also the conversations in hallways and corners that are usually a highlight of gatherings of enthusiastic colleagues. To make that possible, we tried to arrange the SRCCON schedule, space, and life-support systems to be as accommodating and helpful as possible. And to be clear, that’s not the same thing as being fancy. We ran the conference on a nonprofit budget, and nothing we did was geared toward luxury—instead, we tried to just handle the basics thoughtfully so that attendees could relax and enjoy the work and socializing.

To assemble our wish-list of humane elements, we began by collecting our own experiences as frequent conference-goers and event organizers—and as people with widely differing family situations, metabolic needs, and feelings about coffee. And then we started working through the next order of human needs: the ones that none of us had, but that we might expect to encounter in a group the size of SRCCON, and that we’d heard people wish for at other events. Our list will certainly continue to evolve, but here’s our progress report from last year, and the things we’re keeping a close eye on for SRCCON 2015.

ATTENTION & RHYTHMS

For most people, a successful conference experience is only fractionally about the content of the sessions themselves. “Hallway conversations” are some of our favorite parts of any conference, so we built generous breaks in between sessions, as well as a long morning breakfast with enough real food that people could come straight to the venue in the morning and not starve. We also created a DIY coffee-hacking station in the center of our conference space—in part to ensure access to delicious hot drinks, but also to give attendees a semi-structured way to hang out and do something low-pressure together during breaks, or instead of attending a session during a given schedule block.

Our evening block on the first night of the conference was also about keeping attendees together, but breaking up the kinds of attention they were using. Instead of more sessions about coding and data in newsrooms, people ran cooking skillshares, played tabletop games, did lightning talks, and worked on projects together. And because we expected that folks would keep socializing well into the night, we started sessions at 11am on the second morning out of respect for early-morning zombie feels.

Lastly, we kept organizational affiliation off of the attendee nametags to help people connect in an individual, collegial ways and reduce conversational barriers and assumptions based on affiliation. (No one ever intends to do that kind of social shortcutting, but once sleepy conference-brain kicks in, it’s as hard to ignore as an airport TV, so we did what we could to help nix it.)

NOTES FOR NEXT TIME
Our session length options needed a little tuning, so we’re experimenting with a greater variety of length and format possibilities this year. And on the subtler side, we’ll be paying more attention this year to the culture markers we explicitly endorse as part of the evening events. Plenty of people enjoyed extra-nerdy references in our evening setup, but we also heard from some who found those elements alienating, so we’re thinking through ways of offering nerd-culture options without making people uncomfortable.

EATING & DRINKING

We planned the catered meals at SRCCON to be plentiful, varied, reasonably healthy, and friendly to many dietary preferences and restrictions. We also kept snack stations full of fresh fruit and vegetables, nuts and other protein snacks, and a few sweet things to keep everyone’s energy steady through the day. Our coffee-hacking station complemented catered coffee, tea, and sodas, and we had plenty of water at all times—which is the kind of thing I wish I didn’t need to list, but isn’t always the case at conferences.

On the allergy and dietary preferences tip, we made sure there were hot meals (and even morning doughnuts) that worked for people with gluten intolerances and common food allergies, as well as solid vegetarian and vegan options. SRCCON took place during Ramadan, so we also offered delayed meal options for anyone observing a fast.

When we offered alcohol, we also offered non-alcoholic drinks, and we served food at the same time to make it less likely for anyone to accidentally drink more than they’d intended. After dinner was cleared, we brought in ice cream and held activities throughout the space so that there were plenty of things to do that weren’t drinking-centric.

Finally, the director of events at the Chemical Heritage Foundation was able to connect us with a local shelter organization to make sure untouched food—a liability in any catering scenario—would go to good use and not be wasted.

NOTES FOR NEXT TIME
This year, we plan to include a more serious tea-making operation as well as the coffee-hacking equipment, and to get a little more hardline about labeling on the catered food, some of which had allergen labels and some of which didn’t, just for added peace of mind.

OTHER THINGS ABOUT ACCOMMODATING EMBODIED HUMANS

In addition to holding SRCCON in a wheelchair-accessible space, we brought in a live transcription team from White Coat Captioning (about which much more later this week) to livestream captions of three concurrent sessions throughout the event. For parents, we offered a free subscription to SitterCity, a childcare matchmaking service, and a clean, secure space for pumping and nursing. And, of course, we offered a clear code of conduct underpinned by action and safety plans.

NOTES FOR NEXT TIME
This year, we are taking a big step forward on childcare and offering licensed on-site care to all SRCCON attendees in a friendly space at the conference hotel next door, for free. We’ll also post meeting information for local AA chapters and other peer support groups so that it’s easy to find, and we’re absolutely taking the Ada Initiative’s suggestion to use color-coded lanyards to visually mark photo policy preferences.

ONWARD/UPWARD

Our goal was to be good enough at meeting basic human needs that people could focus on what they came to SRCCON for: learning together, hanging out with peers and colleagues, and having fun. In our first year of running the conference, we did pretty well, though we came out with a laundry list of things to do better this year.

Notably, none of the specific tasks we took on were particularly challenging, and many weren’t even expensive—they just involved taking the needs of a larger group into consideration when we made initial plans, rather than at the very end of the process (or not at all). For the pieces that did involve greater expense, we found that sponsors were very willing to help us come up with the money to help make SRCCON more accessible and more humane. Maybe most importantly, we learned that taking time up front to be thoughtful about human needs paid tremendous dividends at the event itself in the form of happy, rested, relaxed colleagues.

As always, we thrive on feedback and questions, so please send us a note if you have either one."]]></description>
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<item rdf:about="http://cstms.berkeley.edu/current-events/faking-it-counterfeits-copies-and-uncertain-truths-in-science-technology-and-medicine/">
    <title>“Faking It:” Counterfeits, Copies, and Uncertain Truths in Science, Technology, and Medicine :: Center for Science, Technology, Medicine, &amp; Society</title>
    <dc:date>2015-03-26T08:32:50+00:00</dc:date>
    <link>http://cstms.berkeley.edu/current-events/faking-it-counterfeits-copies-and-uncertain-truths-in-science-technology-and-medicine/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Symposium Abstract:

We invite colleagues to join us for a two day symposium at the University of California, Berkeley on “faking it”–here construed broadly as fudging, imitating, juking, playing the trickster, pretending, feigning, re-creating, manipulating, falsifying.  Our aim is to bring together a wide variety of scholars whose work, in some way, touches upon this issue.  We invite colleagues to consider any aspect of the practices, epistemologies, ontologies, and politics of faking, copying, counterfeiting, or quackery.  We seek to amplify and incubate a growing attention to the theory and practice of fake truths on Berkeley’s campus and beyond.

Over the past several decades, science studies scholars have explored the ways in which scientific knowledge and practice is socially constructed, debated, contested, and deemed credible by the public.  Others have turned their attention to the politics and poetics of “agnotology,” or the social, political, economic, and cultural circumstances that promulgate and substantiate ignorance.  Both of these takes on the sociology of knowledge have opened up room for examining the creative ways in which actors fake, fudge, and forge. In the contested space between corporations and the broader public, for example, sociologists and historians have explored the tobacco wars, global warming debates, and the regulatory boundaries of “permissible exposure” to industrial toxins.  So too, anthropologists and STS scholars working from below are increasingly turning attention to artisanal knowledge and ingenuity, be it cultures of repair or improvisation in medicine. At each of these registers, there are possibilities for both creativity and catastrophe.

For this symposium, we invite scholars working on issues as diverse as climate change, voting machines, and art forgery, as we probe the validity of data, the fabrication of evidence, and the harmful as well as potentially liberating practices and ramifications of faking it.

Keynote Speaker:

Joseph Masco is Professor of Anthropology at the University of Chicago. He writes and teaches courses on science and technology, U.S. national security culture, political ecology, mass media, and critical theory. He is the author of The Nuclear Borderlands: The Manhattan Project in Post-Cold War New Mexico (Princeton University Press, 2006), which won the 2008 Rachel Carson Prize from the Society for the Social Studies of Science and the 2006 Robert K. Merton Prize from the Section on Science, Knowledge and Technology of the American Sociology Association. His work as been supported by the American Council of Learned Societies, The John D. and Catherine T. MacArthur Foundation, The Wenner-Gren Foundation and the National Endowment for the Humanities. His current work examines the evolution of the national security state in the United States, with a particular focus on the interplay between affect, technology, and threat perception within a national public sphere."]]></description>
<dc:subject>via:javierarbona faking fakingit trickster events 2015 imitation fakes impostors falsification manipulation copying counterfeiting quackery agnotology ignorance fraud science sociology knowledge forgery anthropology improvisation notknowing medicine creativity fabrication evidence truth josephmasco technology culture society academia ethics invisibility bullshit</dc:subject>
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<item rdf:about="http://www.oxy.edu/third-los-angeles-project">
    <title>Third Los Angeles Project | Occidental College | The Liberal Arts College in Los Angeles</title>
    <dc:date>2015-02-10T22:41:30+00:00</dc:date>
    <link>http://www.oxy.edu/third-los-angeles-project</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["A series of public conversations examining a city moving into a dramatically new phase in its civic development.

Los Angeles, as it finally builds a comprehensive public transit system and pays serious attention to its long-neglected civic realm, is in the midst of profound reinvention. Or perhaps it’s better to call it a profound identity crisis. Either way, the old clichés about L.A. clearly no longer apply. This is a city trying, and often struggling, to define a post-suburban identity.
 
At the same time, it’s important to remember that all of the things that L.A. is aiming to add (and in fact grew infamous around the world for lacking) in the post-war years -- mass transit, places to walk, civic architecture, forward-looking urban planning, innovative multifamily housing -- it actually produced in enviable quantities in the early decades of the 20th century.  Contemporary L.A. also shares with that earlier city an anxiety about the environment, in contrast to the confidence about controlling nature that shaped Los Angeles in the post-war decades.

In the most basic sense, that’s why we’re calling the initiative the Third Los Angeles Project. We are not just entering a new phase. We are also rediscovering the virtues and challenges of an earlier one -- and acknowledging the full sweep of L.A.’s modern history.

In the First Los Angeles, stretching roughly from the city’s first population boom in the 1880s through 1940, a city growing at an exponential pace built a major transit network and innovative civic architecture.

In the Second Los Angeles, covering the period from 1940 to the turn of the millennium, we pursued a hugely ambitious experiment in building suburbia –- a privatized, car-dominated landscape –- at a metropolitan scale.

Now we are on the cusp of a new era. In a series of six public events, some on the Occidental College campus and others elsewhere, the Third Los Angeles Project will explore and explain this new city. 

The Third Los Angeles Project is a unique collaboration between Occidental College, Southern California Public Radio and Christopher Hawthorne, professor of practice in the Urban & Environmental Policy Department at Occidental, as well as architecture critic at the Los Angeles Times since 2004. A corresponding academic course is running concurrent with the public events.

All events are open to the public and free of charge. Register by clicking on any of the events below:

Welcome to the Third Los Angeles - Thursday, Feb. 12, 7:30 PM
The series kicks off with an introduction to the goals and central themes of the Third Los Angeles project.

Post-Immigrant Los Angeles - Wednesday, Feb. 18, 7:30 PM
Immigration to Southern California peaked in 1990, and we’ve now entered a post-immigrant phase, with foreign-born residents likely to be more financially and culturally stable and better connected than they were a generation ago.

City of Quartz at 25 - Wednesday, Mar. 4, 7:30 PM
Arguably the most important book written about Los Angeles in the last four decades -- and easily the most controversial -- City of Quartz is about to turn 25.

A Debate over the New LACMA - Wednesday, Mar. 25, 7:30 PM
Architect Peter Zumthor’s plan to radically redesign the Los Angeles County Museum of Art has divided critics and architects in L.A. like no other proposal in recent memory.

The Future of the Single-Family House: New Housing Models for Los Angeles - Wednesday, Apr. 8, 7:30 PM
At once vulnerable and inviolate, a disappearing architectural species and the most protected building type in the city, the single-family house continues to play an outsize role in debates over architecture, planning and growth in Los Angeles."]]></description>
<dc:subject>losangeles christopher hawthorne events future history occidentalcollege immigration socal urban urbanism cities 2015 cityofquartz mikedavis peterzumthor development transportation transit suburbia housing infilling masstransit architecture thordlosangeles futures lacma</dc:subject>
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<item rdf:about="http://interconnected.org/home/2015/02/06/events">
    <title>The best event I've ever attended ( 6 Feb., 2015, at Interconnected)</title>
    <dc:date>2015-02-08T03:52:33+00:00</dc:date>
    <link>http://interconnected.org/home/2015/02/06/events</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["I've been to a ton of events. Weekend campouts where, like Fight Club, everyone presents. Conferences which are a bundle of laughs with my friends I see once a year, and a massive mental accelerant. That one that James took me to in the basement under a shop that was all about magic and Plato and made me see the universe behind this one for like a month. Everyone in my world now knows how to make slides and give a talk; it used to be super raw and I loved that. Now talks aren't an hour, they're 18 minutes and everyone has the TED guidelines engraved on their soul: Black turtleneck and start with a personal story. Not bad, just different.

By the best event, I mean the one that has had the longest lasting effect on my thinking. And sure that's mostly about the content and the time in my life, but also a ton about the format:

Nature, space, society at Tate Modern, London, ran across three successive Fridays in 2004. Each started at 2.30pm, and took the same format: a lecture for one hour - with few or zero slides - followed by 90 minutes of panel discussion and audience questions. Then: done, go home.

The videos of the three speakers are online:

• Manuel DeLanda [http://www.tate.org.uk/context-comment/video/manuel-delanda-nature-space-society ]
• N. Katherine Hayles [http://www.tate.org.uk/context-comment/video/n-katherine-hayles-nature-space-society ]
• Bruno Latour [http://www.tate.org.uk/context-comment/video/bruno-latour-nature-space-society ]

The lectures are long by 2015 standards -- the speakers were captivating.

But the format! There was something about the weekly rhythm which meant that there was time for me to digest each download of new thoughts. The session stayed with me for the week... and the ideas were then multiplied by the following lecture.

Over the two weeks I was taken somewhere... somewhere not accessible in a dense day of short talks. An hour is time to explore and speculate, time for poetry. A week is time to discuss with friends, contemplate, see the deeper patterns. The repetition pumps the swing. But only three talks: Not a lengthy course, contained enough that it's still a single event.

And - honestly - Friday afternoons are a good time to take away from work. No getting distracted and anxious about email.

So over a decade later I look back, and I realise that these thinkers have guided me. Change happened in me.

If I was putting on an event now, this is what I'd want to do."]]></description>
<dc:subject>mattwebb conferences 2015 events pace time manueldelanda ncatherinehayles brunolatour reflection conferenceplanning eventplanning repetition patternsensing</dc:subject>
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<item rdf:about="http://www.theatlantic.com/technology/archive/2015/01/how-to-build-the-museum-of-the-future/384646/">
    <title>The Smithsonian's Cooper Hewitt: Finally, the Museum of the Future Is Here - The Atlantic</title>
    <dc:date>2015-01-22T06:28:58+00:00</dc:date>
    <link>http://www.theatlantic.com/technology/archive/2015/01/how-to-build-the-museum-of-the-future/384646/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["When I visited, I talked to the Labs team in their office and then toured the then not-quite-finished mansion. We talked about the museum first—the physical one we were in. Unlike leaders of other New York museums, who are investing in events, Chan (and the Cooper Hewitt generally) believe the heart of the museum is in its collection and its visitors. In other words: its stuff and its people.

“They don’t want to have the burden of this preservation forever,” he said of the increasingly event-focused Museum of Modern Art, 40 blocks south. “The beauty here is: We’re the Smithsonian. We don’t have a choice. No matter what other staff in this building might say, we don’t have a choice but to keep all this stuff forever.”

The museum will forever be committed to its stuff. But it has to have a more enlivening presence, he believes, than placards and shelves. Cope held up his smartphone at one point and pointed at it."

…

"Notice the trick the Labs team has completed. The API seems to be first for users and developers. It lets them play around with the collection, see what’s there. As Cope told me, “the API is there to develop multiple interfaces. That’s the whole point of an API—you let go of control around how people interpret data and give them what they ask for, and then have the confidence they’ll find a way to organize it that makes sense for them.” But who is doing the most work around the collection—the most organizing, the most-sensemaking? It’s the museum itself.

“When we re-open, the building will be the single largest consumer of the API,” said Chan.

In other words, the museum made a piece of infrastructure for the public. But the museum will benefit in the long term, because the infrastructure will permit them to plan for the near future.

And the museum will also be, of course, the single largest beneficiary of outsider improvements to the API. It already talks to other APIs on the web. Ray Eames’s page, for instance, encourages users to tag their Instagrams and Flickr photos with a certain code. When they do, Cooper Hewitt’s API will automatically sniff it out and link that image back to its own person file for Eames. Thus, the Cooper Hewitt’s online presence grows even richer.

The Cooper Hewitt isn’t the only museum in the world with an API. The Powerhouse has one, and many art museums have uploaded high-quality images of their collections. But the power of the Cooper Hewitt’s digital interface is unprecedented. There’s a command that asks for colors as defined by the Crayola crayon palette. Another asks if the snack bar is open. A third mimics the speech of one of the Labs members. It’s a fun piece of software, and it makes a point about the scope of the museum’s vision. If design is in everything, the API says, then the museum’s collection includes every facet of the museum itself. "

…

"Even if things do work, the model turns museum websites into museums themselves, catalogs of once-snazzy apps built for special occasions before being discarded forever. Exhibits go away, but those apps never do. A museum’s website—the primary face of the museum to the world—winds up looking like a closet of old prom dresses.

When Bill Moggridge became the Cooper Hewitt’s director in 2010, he wanted the museum to make its digital infrastructure more thoughtfully. Moggridge, it should be noted, is a legend. He helped design the first laptop computer. He founded the world-famous firm IDEO. And he invented the term “interaction design.” Moggridge died in 2012, not living to see the renovation project he began.

Moggridge created Chan’s position and hired him for it. And while Chan could have kept outsourcing projects to big outside firms, he instead lobbied for funding and hire a staff. The museum’s digital work was too important. It had to have in-house experts. “There's a lovely phrase we use a lot,” Cope said. “The guy who invented the Perl programming language talked about Perl as being there to make easy things simple and hard things possible.”

“That’s how we try to think about this. Not everyone’s gonna understand what we’ve built or the potential of what we’ve built right away. It’s gonna take some of the curators longer than others to figure it out. But the minute they get it, they should be able to turn around and be like, 'What if…? Can we do…?'—and if it’s easy, it should be live in 15 minutes.”"

…

"The team has accomplished so much largely by accepting imperfection. When the Labs launched the API, it was missing a lot of information. Cope called the quality of its metadata at launch “incredibly spotty,” before Chan clarified, “it’s terrible.”

But that was on purpose. Better to put the museum’s grand imperfection and incompleteness out in the world and let people make of it what they will, the team decided, then wait for it to be perfect. “It was a tactical play to say, don’t obsess about that stuff, because its what people do with it that matters,” said Chan.

“We could spend the next 50 years trying to make that data perfect and it still would not ever be perfect. There was 70 years of collecting that had different documenting standards. Museums only started collecting policies in the eighties and nineties. How can you retrospectively fix everything? It just can’t be done. So let’s move on and figure out what we want to do with it,” he said.

This attitude—popularized by Steve Jobs with the phrase, “Real artists ship”—extends to how the team thinks through media production, too. “I can’t sit on a video for six months, making these minute edits. I have to pitch it out door, so we can say: This interview got this many views, this thing got this many views, let’s keep going with this,” said Shelly.

The Labs’s work, as a whole, is an investment in a particular idea of cultural democracy. It’s a view where imperfect speech can always—and will always, and should always—be augmented by further speech. It trusts in the discourse over the perfection of the original work."

…

"And perhaps already, the Labs team believes, that digital information will be inextricable from the physical object. The Cooper Hewitt has long collected napkin sketches of famous logos and inventions. If it wants to collect the rough thoughts of today, it will have to work fast, because napkins last longer in files than sketch files do on iPads.

“To collect a Nest absent of any data, what does that tell you?,” asked Cope.“It tells you it’s a beautiful piece of industrial design. Well, maybe the museum should start thinking about some way of keeping that data alongside the object, and maybe it doesn’t need to be privileged in the way the object is.”"]]></description>
<dc:subject>robinsonmeyer 2015 museums collections archives internet web sebchan aaronstraupcope billmoggridge design interaction api data digital online objects things applications software unfinished imperfection democracy culture culturaldemocracy infrastructure visitors events cooper-hewitt cooperhewitt</dc:subject>
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<item rdf:about="http://d-e-futures.com/symposium/">
    <title>Design + Ethnography + Futures | Symposium</title>
    <dc:date>2014-11-24T09:17:13+00:00</dc:date>
    <link>http://d-e-futures.com/symposium/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["10th – 11th December 2014

Invitation only symposium

Through this symposium we will explore how by bringing together Design + Ethnography + Futures we can deliberately step out of established disciplinary methodologies. This means moving into the future with people and challenging what we habitually do and think about. We want to open up a space where we can question the taken-for-granted, trigger genuine surprise, play with the edges of boundaries and reconfigure ways knowledge is produced.

Throughout 2014, we have been developing an agenda for our Design + Ethnography + Futures programme to propose a new meeting of design and ethnography through a focus on futures. D+E+F builds on design anthropology and design ethnography, but is not exactly either of these. Our work, which has developed through a series of workshops and iterating research projects, has focused around concepts of knowing, sharing, making, moving and disrupting. We are exploring how the future orientation of combining design + ethnography approaches invites different forms of change-making, where uncertainty and the ‘not-yet-made’ is at the centre of inquiry. It brings the improvisory, playful, imaginative, sensorial and somewhat contested edges of both fields to create an opening to experiment with what might emerge out of an assembly of ideas, people, feelings, things and processes.

This symposium is above all a context where we will get to explore these ideas with you – by talking and engaging in workshop-like activities. By ‘hacking’ a traditional symposium format, we are inviting you to explore together ways not to know, rather than sharing what we each already know through argument and consolidation. In joining us in this endeavour, we are also asking the participants to ‘let go’ of their preconceptions behind, forego the need for a resolution, and enter into this together, to anew and awaken and become more aware of the emergent.

By embarking on this journey, we also have some specific and more strategic objectives:

• To consolidate a global network of researchers who will continue to develop these themes together, located in hubs across the world;
• To apply for funding internationally for future network meetings;
• To look into possibilities for applying for research funding together for shared projects; and,
• To produce a publication output as well as creative practice works where relevant.

Sarah Pink & Yoko Akama
RMIT Design + Ethnography + Futures research program leaders"]]></description>
<dc:subject>via:anne uncertainty ethnography design interdisciplinary transdisciplinary anthropology sarahpink yokoakama events workshops notknowing future hacking</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
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<item rdf:about="http://www.festival-of-dyslexic-culture.org.uk/">
    <title>Festival of Dyslexic Culture — A Celebration of who we are, through what we create</title>
    <dc:date>2014-11-10T21:22:36+00:00</dc:date>
    <link>http://www.festival-of-dyslexic-culture.org.uk/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The vision for the Festival of Dyslexic Culture arose out of the realisation that dyslexia is not simply a set of apparent difficulties, but a cultural difference in how we make meaning, problem solve and create solutions and ideas.  We want to articulate and celebrate this cultural identity while raising awareness about how we achieve.

We would not have arrived at this idea without other excellent initiatives such as DysPla, Dyslexic Advantage, and the LSE Disability Identity conference.  But we also felt that we could go further in making and celebrating the nature of innovative practice not just in the arts, and among extraordinary individuals, but among us all as creative innovators in every field including learning and academia.  In short, we are great learners that are often failed by tests.

The idea of a holistic cultural identity that spans dyslexia, dyspraxia, dyscalculia, AD(H)D, and Aspergers seems to have caught fire.  The organising team for the Festival are working through consensus to stage the Festival and articulate the vision.  Already the idea has sparked other supportive dyslexia initiatives across the world.  In the spirit of innovation, collaboration and cultural identification we are happy to support them all.  Dyslexic people are already at the forefront of changing the world for the better, we hope to enable the world to see us for ourselves, through what we create."]]></description>
<dc:subject>events dyslexia identity culture dyspraxia dyscalculia adhd aspergers</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
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<item rdf:about="http://exposureskate.org/">
    <title>EXPOSURE | A Women's Benefit Event</title>
    <dc:date>2014-11-10T21:10:24+00:00</dc:date>
    <link>http://exposureskate.org/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[See also:
https://www.facebook.com/EXPOSUREskate
http://instagram.com/exposureskate
https://vimeo.com/exposureskate
https://twitter.com/exposureskate ]]]></description>
<dc:subject>skating sandiego women girls events skateboarding gender skateboards</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
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<item rdf:about="https://www.youtube.com/watch?v=sbqNkz_mjng">
    <title>▶ Building for Inclusive Community Participation: Meeting Residents Where They Are - YouTube</title>
    <dc:date>2014-10-30T22:39:43+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=sbqNkz_mjng</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Laurenellen McCann, Civic Innovation Fellow, New America on the importance of meeting citizens where they are."]]></description>
<dc:subject>inclusion community communities via:bernardyu 2014 laurenellenmccann events eventplanning conferences conferenceplanning accessibility outreach diversity inclusivity inlcusivity</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
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