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    <title>Conjuncture: Kanishka Goonewardena on Nationalism and Imperialism in the Global South | S4 Ep3 - YouTube</title>
    <dc:date>2026-07-13T01:10:19+00:00</dc:date>
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    <dc:creator>robertogreco</dc:creator><description><![CDATA["Christina Heatherton speaks with geographer Kanishka Goonewardena about nationalism and imperialism in the global South. They discuss the current conjuncture in Sri Lanka, the politics of ethnic nationalism, space, and the history of the concept of imperialism. This season is co-sponsored by the Antipode Foundation.  

Conjuncture is a web series and podcast curated and co-produced by Jordan T. Camp and Christina Heatherton with support from the Trinity Social Justice Institute. It features interviews with activists, artists, scholars, and public intellectuals. Taking its title from Antonio Gramsci and Stuart Hall’s conceptualization, it highlights the struggles over the meaning and memory of particular historical moments. 

Kanishka Goonewardena is a Professor of Geography and Planning at the University of Toronto. He is a co-editor of Space, Difference, Everyday Life: Reading Henri Lefebvre and is completing the book The Future of Planning at the End of History.

Christina Heatherton is an Associate Professor of American Studies and Everett and Joanne Elting Associate Professor for Human Rights and Global Citizenship, founding Co-Director of the Trinity Social Justice Institute, and the co-host and co-producer of Conjuncture."]]></description>
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    <title>The Wounded Walker | Commonweal Magazine</title>
    <dc:date>2026-06-25T21:14:53+00:00</dc:date>
    <link>https://www.commonwealmagazine.org/ward-graham-michel-de-certeau-wounded-walker</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Michel de Certeau’s search for the murmuring of the mystical in secular society"

...

"The Czech poet and painter Josef Čapek, who was killed in Bergen-Belsen in 1945, described himself as a limping pilgrim “hobbling through the Gateway to Eternity.” Certeau—and Fern in Nomadland—could be described the same way. In his biography of Certeau, Françoise Dosse calls him “le marcheur blessé,” “the wounded walker.” 

Part of Certeau’s attraction to the Society of Jesus was that he wanted to be a missionary. He did travel widely, but his real wayfaring ended up being internal—an inner movement that could not be stilled or staunched. For Certeau, the transience of desire, including his own, cannot be pinned down but only attested to. We can only trace it in and through its various inscriptions and behaviors. The city may be mapped and its entrances and exits prescribed, but it can be walked in a million different ways. In his numerous and multifaceted investigations, Certeau traces the murmuring of a desire that no secularism can conceal or abrogate. This is the spiritual vision in his work that roamed and transgressed across anthropology, theology, history, sociology, psychoanalysis, ethnography, and what is now known as cultural studies.  

One can understand why Catholic theologians have paid him little attention. Though he wrote about the Church, the Eucharist, and even Christ, he had little interest in dogmatics, philosophical theology, moral theology, or ecclesiology. And his writing style can be forbidding, as we have seen. But beyond its eclecticism and difficulty, Certeau’s work may have been avoided by theologians because of a critical question it raises: To what extent are their theologies themselves “sociocultural productions” reacting to, rather than excavating, secularism? Certeau wants to ask of theology not whether its critique of secularism is right or wrong, but what fears and desires it is itself expressing.

Certeau invented interdisciplinary study before it was fashionable or even had a name. He recognized that the truly big questions—like what makes a belief believable or why one would believe anything—cannot be answered by any one intellectual discipline, including theology, with its siloed modes of inquiry and strictly policed faculty boundaries. And yet such questions tap into the very roots of any religious faith. Certeau was likely not surprised at theologians’ neglect of his work. He would have known from his reading of the mystics that the Church is always wary of lived experience and religious enthusiasm uncontainable by its boundaries."]]></description>
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    <title>Walking in Supermarkets – walk · listen · create</title>
    <dc:date>2025-11-12T18:51:40+00:00</dc:date>
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    <dc:creator>robertogreco</dc:creator><description><![CDATA["Annemarie Lopez visits her local supermarket and reflects on unheroic everyday walking."]]></description>
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<item rdf:about="https://www.berghahnjournals.com/view/journals/jbsm/5/1/jbsm050106.xml">
    <title>Acid Fascism in: Journal of Bodies, Sexualities, and Masculinities Volume 5 Issue 1 (2024)</title>
    <dc:date>2025-01-13T01:35:15+00:00</dc:date>
    <link>https://www.berghahnjournals.com/view/journals/jbsm/5/1/jbsm050106.xml</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["What comes after the New Man? An urgent dilemma for twenty-first-century anti-fascism is the global resurgence of a radical right masculinist consciousness that is at once nostalgic for strictly codified and hierarchical symbols of manhood while culturally immersed in accelerative, amorphous, and acentric digital networks. I trace this precarious and unsettled ultra-masculinity back to the material context of fascist psychedelic experimentation with consciousness in the sixties counterculture, through the example of the Lyman Family, to contend that Acid Fascism provides a new and important way to think about an emerging desire for an experimental—rather than utopian—reactionary manhood. Alt-right subjectivity requires a theoretical approach toward technological acceleration that is at ease with morphing affective complexions of nostalgic and paranoid masculine sensibility."

[See also:

"Mark Fisher vs. Peter Thiel: Acid Communism Against the Coming Fascism with Jac Lewis"
https://www.youtube.com/watch?v=eT2YlaPqrpg

"In this episode, we are joined by Jack Lewis to explore his reflections on the counter-revolutionary psychedelic politics of the 1960s and early 1970s, and how today's reactionaries pursue similar agendas through what he calls "experimental alienation." The rise of "acid fascism" emerges as a rival to Mark Fisher's concept of "acid communism." How do contemporary trends in online fascist politics converge with the broader reactionary turn shaping today's world?"]]]></description>
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<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:992a29fbe6dc/</dc:identifier>
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<item rdf:about="https://journals.sagepub.com/doi/abs/10.1177/0309132517708844">
    <title>The Angel of Geography: Superman, Tiger Mother, aspiration management, and the child as waste* - Cindi Katz, 2018</title>
    <dc:date>2021-09-26T00:30:18+00:00</dc:date>
    <link>https://journals.sagepub.com/doi/abs/10.1177/0309132517708844</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[via: https://pinboard.in/u:robertogreco/b:d16351c2f547 ]

“Contemporary capitalism is in the throes of crises precipitated by over-accumulation and the effects of decades of privatization, commodification, and financialization, each sieved through the other. The angel of geography is conjured to mark these crises on the grounds of everyday life. Their profound and uneven consequences for the present and future, seen in the shifting discourses and material social practices around children and childhood, call for redress. This piece builds upon my ongoing project, ‘childhood as spectacle’, to examine what is at stake in the accomplishment of social reproduction – and its failures – in turbulent times and heterogeneous spaces. Looking closely at the ways aspirations for the future are defined, managed, reached, and deferred in and through the family and schools, I take stock of contemporary social reproduction and its anxieties. Drawing on three popular and contradictory cultural productions, the films Race to Nowhere and Waiting for Superman, and the best-selling book Battle Hymn of the Tiger Mother by Amy Chua, I will address some of the ways the lives and wellbeing of some children – middle-class and wealthier children – have been fetishized while others – the vast majority of children – suffer the consequences of a disinvested public sphere and a radically reduced social wage. As the sense of precariousness stemming from the financial crises of the past decade widens and infiltrates everyday life more deeply, this situation becomes more acute. In this context, aspiration and its management can be framed as a cultural politics ripe for unpacking; a structure of feeling whose drives and effects may illuminate the present as a political moment.”]]></description>
<dc:subject>cindikatz capitalism neoliberalism privatization commodification financialization everydaylife childhood children future schools schooling families socialreproduction racetonowhere waitingdforsuperman amychua class middleclass inequality education society tigermoms</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:79d4046915e9/</dc:identifier>
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</item>
<item rdf:about="http://whitehole.gallery/">
    <title>White Hole Gallery</title>
    <dc:date>2015-03-24T19:48:51+00:00</dc:date>
    <link>http://whitehole.gallery/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["White Hole is a platform devoted to the production and dissemination of critical investigations into the relationship between technology, authority, the landscape and everyday life.

It operates through an international network of people invited to curate one-month exhibitions, combining strategies of artistic practice and journalism to investigate, document and debate the forces — visible and invisible — that shape society and the landscape.

The space functions as a remotely-controlled micro-gallery. Borrowing from the theory of general relativity, in which a white hole is a hypothetical region of spacetime which is inaccessible from the outside, the space itself cannot be entered, although matter and light can escape from it. It projects critical debate, increasingly confined to the online realm, into the public domain.

The network of people contributing to the gallery operates as a peer-to-peer system, exchanging, producing or commissioning new contents that is fed into the network through a Dropbox folder activating and controlling the gallery from distance.

The first White Hole project space opened in Genoa, Italy, on January 31st, 2015 and will run until January 31st, 2016. It will exhibit 12 works over the course of its lifespan, displaying each piece for the duration of one month.

White Hole is a project by Lorenza Baroncelli, Marco Ferrari, Joseph Grima, Antonio Ottomanelli, Elisa Pasqual, in collaboration with Fitzgerald G. Saenger. Scientific direction by Simone C. Niquille. 

The logo animation is by Aaron Siegel."

…

""White Hole is a new research platform and a project space in Genoa, Italy, which opened on January 31st, 2015, and will run until January 31st, 2016.

White Hole is a project by Lorenza Baroncelli, Marco Ferrari, Joseph Grima, Antonio Ottomanelli and Elisa Pasqual, in collaboration with Simone C. Niquille and Fitzgerald G. Saenger.

The third exhibition, Drone Strikes. The Miranshah Case by Forensic Architecture, will be on show from March 28th to April 24th, 2015. The opening will be on Saturday, March 28th at 7 PM in the square in front of the gallery."

…

"Environmental Migrants [28.02—27.03.2015]

As the pace of climate change accelerates, each year millions of people are forced to abandon their places of origin. By 2050, of the six billion people who live in cities, two hundred million will be climate refugees: six times more than political refugees. It is a phenomenon that is destined to become the humanitarian emergency of this century.

Environmental Migrants is a unreleased video recorded by Alessandro Grassani between Mongolia and Bangladesh. The video, edited by White Hole, is an uninterrupted sequence of discontinuous material sampled from Grassani’s archive. It is divided in two chapters, each of which dedicated to one country.

As the photographer reported: “The choice of these two sites was dictated by the desire to represent the different types of climate change that cause environmental migration to the cities, in the geographic areas most affected by this new phenomenon: from the extreme cold of Mongolia, through floods, cyclones and sea level rise in Bangladesh.”]]></description>
<dc:subject>whiteholegallery italy genoa italia galleries technology landscape authority everyday everydaylife lorenzabaroncelli marcoferrari josephgrima antonioottomanelli elisapasqual simoneniquille fitzgeraldsaenger refugees climatechange migration mongolia nomads alessandrograssani bangladesh urbanization cities environment drones</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
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<item rdf:about="http://calvertjournal.com/comment/show/1077/critical-mass-gareth-kennedy-public-art">
    <title>Going public: suburbanites become situationists in St Petersburg art project Critical Mass | The Calvert Journal</title>
    <dc:date>2013-06-27T04:08:06+00:00</dc:date>
    <link>http://calvertjournal.com/comment/show/1077/critical-mass-gareth-kennedy-public-art</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Participatory art projects are increasingly popular around the world, not least because their social agenda can attract considerable sponsorship. However, these projects are also often criticised for failing to achieve results. Bitkina and Veits, who had to look abroad for funding, even though their work is almost unprecedented in Russia, do not make unrealistic claims about grandiose changes. Their aim is to make small, lasting changes for the people who interact with the work. “We don’t want to shock and intersect with public space in an aggressive way,” says Bitkina. “We want to engage as many people as possible.” They deliberately involve the police and city administration, striving gradually to “enlighten them and change their ways, to show them that things can be done in a certain way”.

The process begins with Veits consulting with other sociologists, anthropologists, historians and residents to locate stories and problems in the area; then Bitkina commissions and curates artists (eight this year) to respond to these problems in public spaces. “The last wooden house in Kupchino” is typical of Critical Mass in its attempt to engage with communities that are normally cut off from both the art world and from discussions about development, and in its focus on neighbourhood and belonging."

…

"Kennedy’s work stands out from this lineage because of its emphasis on myth and tradition. His folk-fictions seek to create new traditions that will represent the community and provide them with common touchstones of identity. He is guided by Claude Levi-Strauss’s belief that the myth must be enacted to find new relevance in the contemporary, and by the notion of “shared anthropology” pioneered by filmmaker Jean Rouch, whose documentary films made North African communities act out their daily lives with “critical awareness”. “Myth,” says Kennedy, “becomes something that is embodied and manifested, in this case in public and civic space through the aesthetic form of the procession.” In the Kupchino action the artist takes an intimate, personal tradition — the story of one family — and turns it into a shared myth for the whole community by re-enacting it in a public space with 60 participants, and then by showing them his Super-8 recording of the event. "

…

"But the greatest sense of public gratification came from one of the unscripted moments that occur naturally when the artist-viewer hierarchy is broken in public art. Just as Kennedy and Vasiliyeva shook hands and posed for photos by the handmade wooden house, a brightly coloured rocket exploded in the sky above them. It was the flare her mother had given her back in 1976. Vasiliyeva’s brother had decided to fire it today — clear confirmation of the significance and resonance of this social project for the family and for all of Kupchino."]]></description>
<dc:subject>stpetersburg russia art community situationist suburbia 2013 garethkennedy folk-fiction criticalmass jeanrouch claudelevi-strauss myth social kupchino annabitkin mariavets iraidavasiliyeva alexandranyskova guydebord societyofthespectacle everyday everydaylife communes privacy self kommunalki communism society engagement glvo participatoryart socialpracticeart development sociology anthropology publicspace workshops openstudioproject ncmideas claudelévi-strauss</dc:subject>
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<item rdf:about="http://contentsmagazine.com/articles/the-garden/">
    <title>The Garden | Contents Magazine</title>
    <dc:date>2013-04-21T21:30:34+00:00</dc:date>
    <link>http://contentsmagazine.com/articles/the-garden/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Tagore’s influence scattered into the world, beloved but uncollected, like the impromptu stanzas that he wrote on admirers’ paper scraps while touring. He is in politics and activism, hidden behind the image of his friend Mohandas Gandhi, whom he held back from many ill-advised projects. He is in education via Montessori, and in economics via Sen and the Grameen Bank. He is especially in literature: via Anna Akhmatova, Bertolt Brecht, T. S. Eliot, Pablo Neruda, Victoria Ocampo—a reader could live many happy years on books by his admirers. Kawabata, who wrote The Master of Go, was a particular fan."

…

"The archives are best just before sleep, as memory and imagination take sway. Every archive has an intended logic, a day logic, with well-defined topics, alphabetical orderings, hierarchical taxonomies, or cross-referenced indexes. At night we see less of what is intended and more of what is there. "

…

"Archives cut up the understandings we make of things as we live them. As fragments, distant pieces of the world can find each other. When we visit the archives, we are visited by what arises among the fragments: by memories with their own power, by coincidences, by hidden patterns and new understandings. As we step out of the archives into everyday life, and back and forth, like we cycle between dreaming and waking, we stitch our own seams."]]></description>
<dc:subject>dreams archives writing memory memories seams 2013 contentsmagazine rabindranathtagore tagore darkmatter taxonomy night understanding everyday everydaylife fragments assemblage bricolage patterns patternsensing patternrecognition dreaming sleep monetssori mariamontessori grameenbank victoriaocampo tseliot bertoldbrecht annaakhmatova pabloneruda gandhi charlieloyd</dc:subject>
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<item rdf:about="http://www.designculturelab.org/2013/03/31/5-things-about-ubiquitous-computing-that-make-me-nervous/">
    <title>5 Things About Ubiquitous Computing That Make Me Nervous | Design Culture Lab</title>
    <dc:date>2013-03-31T18:19:10+00:00</dc:date>
    <link>http://www.designculturelab.org/2013/03/31/5-things-about-ubiquitous-computing-that-make-me-nervous/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["[I]t is difficult to develop a critical perspective whilst in school that includes the possibility of *not* designing something, simply because we force them to make things."

"[O]ur imaginations are not as strong when we come to the task of redesigning design itself."

"to understand … *process* as a form of social, cultural, political, ethical, etc. *agency*"

***

"1. Technological determinism & defeatism

Or, the cultural belief that technological development and progress is inevitable, and we have to adapt.

2. Technological solutionism

Or, the cultural belief that technology is the best solution to life’s problems.

3. Quantification imperatives

Or, the cultural belief that everything can and should be measured, and that everyday life would be better if all our decisions were based on these data.

4. Connection & sharing imperatives

Or, the cultural belief that everyday life would be better if more information was transmissible and accessible to people.

5. Convenience & efficiency imperatives

Or, the cultural belief that people would be better off if there were more technologies to make daily life more convenient, and common tasks more efficient."

"Like many students facing a critique of their practice, they struggled to understand how they could proceed. Some still focussed on how to provide the right solutions to the right problems (I asked who should get to decide what is right); others wanted to know how they could predict the likelihood of something bad happening (I pointed back to #3); and a few wanted ethical guidelines (I wondered if this fell under #2, or if I needed to add a #6, Prescriptive imperatives). Taking a more pedagogical perspective, a couple of students recognised that it is difficult to develop a critical perspective whilst in school that includes the possibility of not designing something, simply because we force them to make things."

"A few students even accused me of being defeatist and anti-technology in my critique, but I responded that I never said that ubicomp shouldn’t be designed, and neither did I say that we couldn’t create technologies in more critical, or interrogative ways. A serious problem, I think, is that our imaginations are not as strong when we come to the task of redesigning design itself. Design still suffers, for example, from having contradictory interests in sustainability and planned obsolescence, and still responds to the perils of mass production through the design of small-run luxury goods. In these, and other cases, one problem is simply substituted for another–and the solutionist imperative encourages us to respond by designing and producing more and more in turn.

In my class this term we’re using Anne Balsamo’s Designing Culture as a starting point for identifying when, where and how designers make decisions. For all our focus on teaching students to design digital and physical products, I don’t think we’re doing a good enough job of getting them to understand their process as a form of social, cultural, political, ethical, etc. agency. There is still, I think, too much emphasis on design process as some sort of mythical, mystical, essentially ineffable, act of creation.

This problem, I think, is further compounded in more critical approaches, where design effectively begins and ends with the creative act."

…

"By articulating “things that make me nervous” instead of talking about “things that are bad,” I had hoped to help students realise that critique is also not a final act. I wanted them to keep moving, to keep acting–but with greater awareness, responsibility and accountability. Critique shouldn’t stop us from acting or, in my opinion, tell us how to act. Critical awareness should help us situate ourselves, make active decisions to do some things and not others, and accept the consequences of these actions for ourselves and others."

***

[See also: 

"And indeed true “interrogative” works, in my estimation, are best when they suspend questions indefinitely. They press and hold two or more opposing functions or symbolic/expressive gestures together at once, without resolve."

"resisting the seduction of “solutions” in design where “problems” become invisible" 

http://hastac.org/forums/disability-moving-beyond-access-academy 

and 

"Sometimes *not* building is the right answer, but it is not one that architects are trained to recommend." 

http://www.wired.com/wired/archive/8.06/koolhaas_pr.html ]]]></description>
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<item rdf:about="http://blog.wk.com/2013/01/09/wk-announces-new-joint-venture-led-by-john-c-jay-wk-garage/">
    <title>Wieden+Kennedy » W+K Announces New Joint Venture Led by John C Jay, W+K Garage</title>
    <dc:date>2013-01-12T05:33:34+00:00</dc:date>
    <link>http://blog.wk.com/2013/01/09/wk-announces-new-joint-venture-led-by-john-c-jay-wk-garage/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["In an all-agency meeting today, Jay described W+K Garage as focusing on “expanding the definition of what a modern agency can do, and should do.” He said it will be “a strategic and entrepreneurial shop that will concept, create and invest in innovative products, experiences, content and technology that will help to redefine the idea of what a modern, global brand is.”
He added: “Simply, I want to make things. Not to make meetings, but make in new ways. Make new products, digital and analogue. I want to make new businesses. I want to make new experiences–interactive or physical, in business and in culture.”

Jay described the intersection of technology, culture, arts, science and business in our everyday lives, and noted the importance of being able to think, communicate and act globally. “We’re living in the greatest creative moment in history,” he said.

Jay also emphasized the importance of humanity and beauty to making an idea “great”.

On his decision to join W+K in 1993, he said, “I told myself, go where you can do the best work of your life–no asterisks.” In the meeting, he described W+K as a place that encourages each of its employees to become their best possible selves, leading to their best work, and said that this new venture was an opportunity to not only help W+K, but to help W+Kers achieve their creative potential, too."]]></description>
<dc:subject>wk wieden+kennedy 2013 lcproject openstudioproject johnjay technology culture arts science business everyday everydaylife w+kgarage making meetings</dc:subject>
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<item rdf:about="http://randallszott.org/2012/11/12/who-counts-or-should-count-as-a-meaning-maker-the-problem-with-cultural-production-one-side-of-of-a-facebook-conversation-on-art-and-culture/">
    <title>Who counts, or should count, as a “meaning maker?” – The problem with “cultural production.” – One side of of a facebook conversation on art and culture « Lebenskünstler</title>
    <dc:date>2012-11-17T21:24:20+00:00</dc:date>
    <link>http://randallszott.org/2012/11/12/who-counts-or-should-count-as-a-meaning-maker-the-problem-with-cultural-production-one-side-of-of-a-facebook-conversation-on-art-and-culture/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Not only would critics of art from other disciplines be interesting so too would artists. One of the reasons I gave up on undergraduate art education was that everybody was busy making stuff without any foundation to drive it – except art. They were all living in an art school bubble (not unlike a Fox News bubble). Making art completely within the framework of art and only questioning it within its own terms.

Sure there were other courses than studio ones, but they were those dumbed down “math for artists” sorts of classes. I would love an art world in which there was no such thing as an undergraduate art degree. Art created from a vantage point of something in the world other than art would be so much healthier and relevant than the inbred mess we have now."

"Oh how the art world LOVES its criticality! Looking to other academic disiciplines, is fine (as **** suggests) but let’s not confine ourselves to academia."

[More Claire Bishop:

"Claire Bishop's "Participation and Spectacle: Where Are We Now?," Presented as part of Living as Form"
https://vimeo.com/24193060

"Clair Bishop. Directed Reality: From Live Installation to Constructed Situation. Lecture"
https://vimeo.com/2572410 ]]]></description>
<dc:subject>everydaylife rural suburban urban culturemaking culturalproduction collections making clairebishop professionalization jouissance pleasure leisurearts meaning meaningmakers meaningmaking artworld criticism artcriticism everydayaesthetics everyday theeveryday theory socialpractice randallszott art post-productiveeconomy amateurs artleisure culturecreation ordinary ordinariness amateurism</dc:subject>
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</item>
<item rdf:about="http://www.ucpress.edu/content/chapters/11376.introduction.pdf">
    <title>Introduction to the book Learning Mind: Experience into Art [.pdf]</title>
    <dc:date>2012-11-08T20:55:17+00:00</dc:date>
    <link>http://www.ucpress.edu/content/chapters/11376.introduction.pdf</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["This first section concludes with a discussion…In this exchange, led by educator Lisa Wainwright, artist Kerry James Marshall and designer Bruce Mau engage in a lively, probing debate about what artists and designers have in common, how they are different, and what each contributes to society. Wainwright’s questioning leads Marshall and Mau to reveal how they came to art and what role education played. While academic institutions question what artists, architects, and designers need to know, Mau suggests that art education may be the ideal mode of education for everyone. “I think there is an underlying power and positive effect of invention and creation,” Mau asserts. “We underestimate how important art is. If you could put everyone in society through art school, think about how different it would be to have a general population that… embraces the capacity of art to affect the way we see the world."

[Book link: http://www.amazon.com/Learning-Mind-Experience-into-Art/dp/0520260767 ]]]></description>
<dc:subject>reading buddhism everydaylife everyday documenta cv howweteach howwelearn experience robertirwin christopherbedford michaelbrenson marcelduchamp utemetabauer davidgetsy lisawainwright artandthemind practice theory mikahannula jacquesrancière thinking teaching pedagogy design kerryjamesmarshall brucemau johndewey deschooling unschooling edg glvo openstudioproject lcproject 2010 jacquelynnbaas maryjanejacob books learning arteducation education art rancière</dc:subject>
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</item>
<item rdf:about="http://www.brokencitylab.org/drift/">
    <title>Drift: an app for getting lost in familiar places | Broken City Lab</title>
    <dc:date>2012-05-28T05:53:42+00:00</dc:date>
    <link>http://www.brokencitylab.org/drift/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Finally launched and available in the iOS App Store! [http://itunes.apple.com/us/app/drift/id524083174 ]

Drift helps you get lost in familiar places by guiding you on a walk using randomly assembled instructions. Each instruction will ask you to move in a specific direction and, using the compass, look for something normally hidden or unnoticed in our everyday experiences.

As you find these hidden or unnoticed things, you will be asked to document them with the camera, creating a photographic record of you walk. Drift also keeps track of where and when you took the photos and makes your documentation optionally available for others to view through the Drift website.

Drift was made possible with the generous support from the Ontario Arts Council Media Arts Grant for Emerging Artists.

Drift was developed by Justin Langlois in collaboration with Broken City Lab.

This project was generously supported by the Ontario Arts Council Media Arts Grant for Emerging Artists."]]></description>
<dc:subject>2012 observation documentation photography justinlanglois psychogeography experience everydaylife everyday compass cities brokencitylab drift iphone ios applications noticing exploration walking situationist flaneur derive dérive flâneurs flaneurs flâneur compasses drifting</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:6bd380347f43/</dc:identifier>
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</item>
<item rdf:about="http://randallszott.org/2012/04/09/nel-noddings-caring/">
    <title>Nel Noddings – Caring « Lebenskünstler</title>
    <dc:date>2012-04-11T05:12:31+00:00</dc:date>
    <link>http://randallszott.org/2012/04/09/nel-noddings-caring/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[“The one-caring, then, is not bored with ordinary life…the one-caring finds new delight in breakfast, in welcoming home her wanderers, in feeding the cat who purrs against her ankle, in noticing the twilight. She does not ask, ‘Is this all there is?,’ but wishes in hearty affirmation that what-is might go on and on…Now one may ask just how the celebration of everyday life contributes to the maintenance of the ethical ideal. First, of course, as we have seen, such celebration turns the one-caring in wonder and appreciation to the source of her ethicality. It is for the most part in ordinary situations that  we meet others for whom we shall care and who care for us. Second, celebration of ordinary life requires and is likely to enhance receptivity. The magic of daily life may be missed by one who constantly seeks adventure and ‘something new.’ Celebration of daily experience provides opportunities for engrossment, for complete involvement in living”]]></description>
<dc:subject>care caring leisurearts noticing everyday everydaylife wisdom living life ethics randallszott nelnoddings artleisure ordinary ordinariness</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:f9a95576bea0/</dc:identifier>
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</item>
<item rdf:about="http://www.temporaryservices.org/">
    <title>TEMPORARY SERVICES - Non-commercial since 1998</title>
    <dc:date>2012-04-09T22:20:41+00:00</dc:date>
    <link>http://www.temporaryservices.org/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Experiencing art in the places we inhabit on a daily basis remains a critical concern for us. It helps us move art from a privileged experience to one more directly related to how we live our lives. A variety of people should decide how art is seen and interpreted, rather than continuing to strictly rely on those in power. We move in and out of officially sanctioned spaces for art, keeping one foot in the underground the other in the institution. Staying too long in one or the other isn’t healthy. We are interested in art that takes engaging and empowering forms. We collaborate amongst ourselves and with others, even though this may destabilize how people understand our work."

 "AGAINST COMPETITION…  GROUP WORK & WORKING WITH OTHERS… BUILDING LONG-TERM INFRASTRUCTURE TO SUPPORT SIMILAR WAYS OF WORKING" 

[via: http://www.dismalgarden.org/pages/links.html
now here http://web.archive.org/web/20101029173446/http://www.dismalgarden.org/pages/links.html ]]]></description>
<dc:subject>temporaryservices leisurearts artproduction competition philadelphia copenhagen zines publishing marcfischer salemsollo-julin brettbloom unschooling deschooling deinstitutionalization everydaylife artists design community chicago collective activism art collaboration nilsnorman artleisure</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:037d360dd1e8/</dc:identifier>
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</item>
<item rdf:about="http://www.designculturelab.org/2012/03/01/more-thoughts-on-writing-and-making/">
    <title>More thoughts on writing and making | Design Culture Lab</title>
    <dc:date>2012-03-20T20:21:00+00:00</dc:date>
    <link>http://www.designculturelab.org/2012/03/01/more-thoughts-on-writing-and-making/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Unstable. Shifty. Unreliable.

Yes please!

I love that people and our words are all those things. As I replied to Peter, and would say to Matt, I prefer the sense of potential that comes from this kind of material and making.

It’s less prescriptive. Less efficient. Less technological. Less machinic.

More space to become something, someone else."

"I don’t mean to romanticise words and writing. And I don’t mean to suggest they are divorced from technology or machines or even code.

By identifying what is included in our definitions of making or Making–and asking what is excluded–we might, as Ben Highmore writes in the introduction to The Everyday Life Reader, be able to “find new commonalities and breathe new life into old differences.”

And I’m pretty sure there’s lots more to be thought and said about what gets made, how, when and where it gets made, and by whom it gets made."

[Follow-up to: http://www.designculturelab.org/2012/02/26/hi-my-name-is-anne-i-make-stuff-with-words/ ]
]]></description>
<dc:subject>materials technology craft text benhighmore everydaylife patrickness robertcreeley poetry jwarton peterrichardson mattjones makerculture makers making writing 2012</dc:subject>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:robertcreeley"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:poetry"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:jwarton"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:peterrichardson"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:mattjones"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:makerculture"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:makers"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:making"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:writing"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:2012"/>
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</item>
<item rdf:about="http://www.designculturelab.org/2012/02/24/true-writing-and-ethnographic-fiction/">
    <title>True writing and (ethnographic) fiction | Design Culture Lab</title>
    <dc:date>2012-03-20T20:14:47+00:00</dc:date>
    <link>http://www.designculturelab.org/2012/02/24/true-writing-and-ethnographic-fiction/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["I’m most struck by the possibility that a story’s capacity to affect a reader depends on how successfully a writer can bring people, places and things to life. And what I take from Hemingway here is that this requires a writer to blur the line between fact and fiction, to write truly without writing the Truth.

In any case, I want my writing to inhabit, and evoke, this space–and moving in this direction is, I think, the key to merging researcher and writer to create good ethnographic fiction."
]]></description>
<dc:subject>hemingway fscottfitzgerald thewind-upbirdchronicle harukimurakami 2012 truth ethnographicfiction space thinking fiction writing everydaylife annegalloway designfiction ernesthemingway</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:e203f43432b8/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:fscottfitzgerald"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:thewind-upbirdchronicle"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:harukimurakami"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:2012"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:truth"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:ethnographicfiction"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:space"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:thinking"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:fiction"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:everydaylife"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:annegalloway"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:designfiction"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:ernesthemingway"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://randallszott.org/2012/02/21/the-art-of-work-roger-coleman/">
    <title>The Art of Work – Roger Coleman « Lebenskünstler</title>
    <dc:date>2012-02-24T10:04:56+00:00</dc:date>
    <link>http://randallszott.org/2012/02/21/the-art-of-work-roger-coleman/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[“The very artiness of the events organized by even the most progressive artists showed thay they still saw themselves and their work as an elite – as somehow special. Nor could I sympathize with people who wanted to form an artists’ union or, to give a more proletarian ring to it, an art-workers’ union. To me such a pretence served only to emphasize the split between art and everyday life…Seeing art increasingly as a middle-class pretension, I had little choice but to give it up…I would have to sleep in a lonely bed.” – Roger Coleman
]]></description>
<dc:subject>everydaylife leisurearts randallszott progressives marxism proletarian philosophy elitism art rogercoleman artleisure</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:a4d939a56c8e/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:everydaylife"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:leisurearts"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:randallszott"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:progressives"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:marxism"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:elitism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:art"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:rogercoleman"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:artleisure"/>
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</item>
<item rdf:about="https://twitter.com/#!/footage/status/172835753922019329">
    <title>Twitter / @footage: I like &quot;minutiae of everyd ...</title>
    <dc:date>2012-02-24T07:40:38+00:00</dc:date>
    <link>https://twitter.com/#!/footage/status/172835753922019329</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["I like "minutiae of everyday life" more than @cowbird does. I suspect ephemera may often outlast more consciously crafted stories. #pda12"
]]></description>
<dc:subject>minutiae everydaylife everyday 2012 rickprelinger cowbird ephemeral ephemera ephemerality</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:4386bfc84c4a/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:everydaylife"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:everyday"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:2012"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:rickprelinger"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:cowbird"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:ephemeral"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:ephemera"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:ephemerality"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://www.designculturelab.org/2012/02/20/teaching-cultures-of-design-or-design-and-everyday-life/">
    <title>Teaching: Cultures of Design, Or Design and Everyday Life | Design Culture Lab</title>
    <dc:date>2012-02-20T23:04:10+00:00</dc:date>
    <link>http://www.designculturelab.org/2012/02/20/teaching-cultures-of-design-or-design-and-everyday-life/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Original and world-changing design was long considered the product of solitary geniuses, masters and heroes, but recent research has argued that cultural innovation is often the result of everyday actions by ordinary people. This course critically and creatively examines the dynamic and collaborative networks that characterise professional and amateur design today, and prepares students to face the challenges and opportunities that lie ahead."

[Course aims, course content, course assignments (4 of them) follow, all worth reading]

To get started, students are required to complete the following task (adapted from The Exercise Book) for the first tutorial:

1) Go for a walk with a notebook and pay close attention to what’s going on around you.

2) Compose one written page with three sections. Start the first section with “I see…”, the second section with “I remember…” and the third section with “I imagine…”."]]></description>
<dc:subject>culturalphenomena socialphenomena place objects social future present past culture innovation creativity cocreation speculativedesign amateurism ethics aesthetics everydaylife anthropology classideas criticalpractice noticing 2012 annegalloway teaching ethnography design designfiction amateurs</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:e58226104faa/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:place"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:speculativedesign"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:amateurism"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:anthropology"/>
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