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    <title>Writing Like There's No Tomorrow - Front Porch Republic</title>
    <dc:date>2026-07-04T08:29:38+00:00</dc:date>
    <link>https://www.frontporchrepublic.com/2026/07/writing-like-theres-no-tomorrow/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["As writers, our job is to remind us of our truest selves."]]></description>
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    <title>The Dominance of Place | Commonweal Magazine</title>
    <dc:date>2026-07-03T07:20:05+00:00</dc:date>
    <link>https://www.commonwealmagazine.org/dominance-place</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["‘Last Letter to a Reader’"

...

"Near where I was raised, there is an island that was used as a training ground for amphibious campaigns during the Second World War. By the time I was born, the island had long since been claimed by the state parks service. It was only through public-education initiatives that I learned its full history—from its place in the geography and politics of indigenous peoples, to its use as farmland in the nineteenth century and its later wartime function, up to present-day conservation efforts focused on its modest but remarkable flora, fauna, and marine ecosystems. When I was growing up, my family would visit the island weekly, sometimes daily, for the usual summer recreation. The other children of this little community and I would roam the island’s thick woods, splashing through marshes and jumping down sand dunes. Together with the simple fun of childhood play, there was the added thrill of an overgrown airstrip, the frame of a Jeep rusted and contorted by time and the elements, a fence post older than the trees that surrounded it. From a certain vantage, I could observe the stack of sea, sand, trees, and sky, following the colors up toward the sun, where they disappeared and seeing clearly meant seeing nothing at all. It seemed to me that in this particular place, made special both by the stories people told about it and by forces beyond anyone’s control, time itself behaved differently, coiling back rather than leading forward.

The Australian writer Gerald Murnane has long held that time is an illusion, and that our experience is made up not of moments, but of the succession of places we’ve inhabited, each of which remains long after we’ve left it. His belief in this “secret dominance of place,” as he (or, rather, one of his unnamed narrators) once called it, has led him to an aesthetic vision at once beguilingly strange and familiar. His prose, though clean and approachable, bears the mystical aura of one who has not only seen things others have not, but has also seen common things in a way no one else has.

This revelatory aspect of Murnane’s “fictions” (he prefers this term to “novels” or “stories”) is not one of blinding light and sudden comprehension, but of journeys through increasingly well-lit landscapes. His real subject is fiction itself, which in his estimation allows access to places one can reach by no other means. The territory he writes about expands inward toward a mysterious center rather than outward. A paragraph will often double back to qualify or fill in a preceding observation: “Having written the previous paragraph, I now remember…” In Murnane’s hands these interpolations and revisions do not feel intrusive. Rather, they are part of an excavation disclosing ever-deeper layers of self-knowledge, reports from an interiority so particular it begins to seem universal.

Now, it would seem, no more reports will reach us—not, at least, while the reporter is still alive. With Last Letter to a Reader, Murnane has officially concluded his career as a writer for publication. It’s unclear what to make of this. Quitting writing, at least for publication, is a crucial part of the strange story of Murnane’s legendary career. Beginning with Tamarisk Row (1974), which is being reissued with Last Letter, Murnane published a series of novels written in an increasingly distinctive and self-possessed style, including his 1982 masterpiece, The Plains. His life has been as eccentric as his work. He has lived the whole of his eighty-two years in the state of Victoria, rarely leaving the greater Melbourne area until his 2009 move to the small border town of Goroke (population 299), where he occasionally tends bar at the local “men’s shed.” He is obsessed with horse racing and has an encyclopedic knowledge of the subject. He has never been on an airplane or worn sunglasses. Or so he says.

When Emerald Blue (1995) sold only six hundred copies, Murnane stopped publishing new work for a decade, returning in 2005 with the essay collection Invisible Yet Enduring Lilacs. It was not until 2009 that he published another novel, Barley Patch. Since then he has published more novels, essays, and a memoir of extraordinary quality. In 2018 the New York Times Magazine ran a profile of Murnane with the title: “Is the Next Nobel Laureate in Literature Tending Bar in a Dusty Australian Town?” The answer turned out to be no, but the point stands: Murnane has secured an international reputation with all his eccentricities and preoccupations intact. No better moment, then, to hang it all up. In the very brief foreword to Last Letter to a Reader, Murnane writes:

<blockquote>Nearly six years ago, when I had written the last of my poems for the collection Green Shadows and Other Poems, I felt sure that I could write nothing more for publication. I went on writing, of course, but only for my archives.</blockquote>

But with Covid lockdowns and a bit of cajoling from his publisher, Murnane embarked upon Last Letter. The book comprises a series of short essays on his own published work, beginning with Tamarisk Row and ending with Last Letter itself. Last call, says the provincial bartender. And yet, as the reference to his archives suggests, he plans to continue serving himself.

***
 

Murnane readers will know of the famous archives, a detailed catalog of which was first published in 2013 in Music & Literature: three separate sets of large filing cabinets in the author’s home, each containing an aspect of Murnane’s life. The first is his “chronological archive,” containing records and memorabilia, including old photos and keepsakes, reflections with titles like “Letter of 8,000 words to the Canadians” and “I’m a vengeful bastard!”, and an extensive collection of Magyar flash cards (he is a great lover of all things Hungarian.) The second archive is his “literary archive,” which houses early drafts, unpublished novels and stories, and notes for future work. Finally, and most intriguingly, there is what Murnane calls his “Antipodean archive,” his entirely private exploration—including manuscripts, maps, and geographical surveys—of two fictional islands he has named New Arcady and New Eden, together called the Antipodes.

He has made reference to these islands in his fiction, notably in 1995’s “The Interior of Gaaldine,” which recounts in Murnane’s distinctive first-person voice the narrator’s travel by sea to Tasmania to meet other writers for a tour of the country. Averse to travel, like Murnane himself, the narrator drinks endless “stubbies” of beer and flasks of vodka, eats only some fruit he has brought with him, and goes without sleep for well over twenty-four hours, despite comfortable accommodations and scant obligations. When he is finally able to sleep for a few hours, he is awoken by a mysterious woman who knocks on his door, enters without invitation, and foists upon him a manuscript, which she claims was written by an unnamed friend of hers. The narrator then summarizes the manuscript: a typically Murnanian character—solitary, outwardly average, with an inner-life so rich it makes deep engagement with the outer world altogether unappealing—tells the story of his own life and his invention of an island named New Arcadia. Toward the end of this summary, Murnane interjects:

<blockquote>A different sort of writer than myself might have wondered why the author of the pages in the briefcase had gone to such trouble to invent a duplication of what was already available to him: why should he have invented the racecourses of New Arcadia when he could have bought a racehorse for himself and watched it of a Saturday at Mowbray or Elwick. I have always been interested in what is usually called the world but only insofar as it provides me with evidence for the existence of another world. I have never written any piece of fiction with the simple purpose of understanding what I might call the real world. I have always written fiction in order to suggest to myself that another world exists.</blockquote>

It is worth noting that “The Interior of Gaaldine” appears in Emerald Blue, the last fiction Murnane published for nearly fifteen years. The chapter in Last Letter to a Reader devoted to this collection focuses almost entirely on this story, which Murnane had intended to be his farewell to fiction. “I believe today,” he writes, “that I was driven to write ‘The Interior of Gaaldine’ partly to reassure myself that my Antipodean Archive, as I mostly call it nowadays, is as worthy a task as the planning and writing of any of my published works.”

The drunken delirium of Murnane’s narrator, like the ecstasy of a child, leads directly to his unanticipated entrance into a world not simply parallel with his own, nor born out of it, but somehow intertwined with the stuff of his everyday experience. For want of a better term, Murnane calls this other world “his mind,” or simply “the Mind.” I might suggest “Spirit.” Whatever you call it, it is difficult not to be torn by his devotion to it. On the one hand, Murnane’s reports are those of a genuine explorer: with a strange mixture of single-mindedness and openness to surprise, his work persistently follows the singular capacities of language for both the discovery and the creation of worlds. On the other hand, one begins to wonder where all of this leads. Murnane already abandoned his readers once, in 1995. And now, after the second half of a career increasingly marked by self-reference—the author endlessly reflecting on his own utterances, even from one sentence to the next—Murnane is again retreating from the world. Of course, that doesn’t mean he will stop writing. The archives will grow, and when we finally enter into them, perhaps that will reveal a deeper communion, one that had been ongoing, however invisible.

Last Letter to a Reader
Gerald Murnane
And Other Stories
144 pp. | $17.95"]]></description>
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<item rdf:about="https://matthewbattles.substack.com/p/a-prayer-for-limits">
    <title>A Prayer for Limits - by Matthew Battles</title>
    <dc:date>2026-07-03T07:04:10+00:00</dc:date>
    <link>https://matthewbattles.substack.com/p/a-prayer-for-limits</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["I’ve found myself stretched and challenged by Pope Leo’s encyclical, Magnifica humanitas [https://www.vatican.va/content/leo-xiv/en/encyclicals/documents/20260515-magnifica-humanitas.html ], which has helped to reset the public conversation about the perils of AI (perils that exist in the present, coarsening and riving us at every touchpoint). And beyond the horse-race punditry of so much of the media response, I’ve been grateful for nourishing commentary both appreciative and critical. Some thoughtful critics have pointed out how the encyclical blunts its effect in taking up some of the more shopworn tropes of tech criticism—in particular, the pale nostrum that tech is somehow “neutral.” For all the idolatrous evangelism of Silicon Valley, millions of users are turning to the bot not as oracle but as assistant—as a “tool,” anodyne and frictionless, with which to offload much of their mundane decision-making. Writing at the Hedgehog Review [https://hedgehogreview.com/web-features/thr/posts/should-the-lion-lie-down-with-the-electric-lamb ], Antón Barba-Kay incisively describes the serpentine infiltration of the technocratic paradigm with its framework of “habitual incentives that, once internalized, become practically imperative.”

In the same spirit, Mike Sacasas describes how the technocratic framework of utility, which poses problems of alignment and impact as mere matters of habit and skill, misses the extent to which technology is not a tool but an environment [https://theconvivialsociety.substack.com/p/your-ai-is-not-a-tool ]. Following Marshall McLuhan’s observation that tech works to “alter sense ratios or patterns of perception steadily and without any resistance,” Sacasas suggests that we might best understand AI as “a denial of service attack on the human psyche.” I find this framing resonant—and to be sure, there’s much in the encyclical that unpicks this pattern as well.

I want to say that Magnifica Humanitas does its most important work not where it seeks to apprehend technology, but where it reminds us of all that we bring to our encounter with it—and all that we risk losing to it. Again and again the encyclical steps back from a speculative and theoretical encounter with technology and its perils to express, enumerate, and celebrate the richness of being human. This homiletic thread struck me especially while listening to Matthew Sitman and Sam Adler-Bell’s recent, glorious conversation with Jack Hanson on their podcast, Know Your Enemy [https://dissentmagazine.org/online_articles/know-your-enemy-pope-leo-xiv-magnifica-humanitas/ ]. I was moved by their recital of paragraphs 119 and 120 of the encyclical, where Leo voices the beauty and grace of our limits—the very limits of knowledge and the body which technocracy seeks to abolish. I will quote from them here:

<blockquote>Our relationship with life seems to be in crisis today. Everything that appears as a “limit” — incapacity, illness, old age, suffering, vulnerability — tends to be seen primarily as a defect to be corrected, rather than as a reality through which our humanity matures and opens itself to relationship. And yet we must remember that humanity flourishes not despite limitations, but often through them….

    It is precisely within our limitations that the following find a place: compassion, as well as a sincere concern for the needs of others; a generosity that can emerge even in the midst of darkness and failure; spiritual experience and the worship of God…. Mysteriously, it is precisely in such moments that we can discover a new wisdom, tangibly experience the closeness of others and encounter the presence of the Lord.</blockquote>

I found myself wanting not merely to assent to these words, but to pray with them. It was a curious and inexorable feeling. I have not made a practice of composing and sharing prayers; but a spiritual confidante whose fellowship I trust has encouraged me to share this one. And so here is a prayer for our limits, offered not for intercession or supplication but in adoration:

It is through your love, O Lord, that we learn to love our limits, 
which give force to our compassion
and shape to the fear we feel for others in their need; 
which nurture our generosity even as we fall and fail; 
which frame and enfold our measures of adoration. 
Confronted as we shall be by rejection, 
grieving as we must at the loss of all we hold dear, 
quaking as we do in the face of our failures, 
may we gather our wits, sense your nearness, 
and come to rest in the embrace of our entanglement.

We suffer from these limits and we learn from them. 
Without them, we would cease yearning even for love. 
To love, to learn, and to desire is to wound and be wounded. 
What a gift it is to be drawn into your woundedness, 
into this adventure of failure and freedom, disappointment and dream. 
In you, we affirm the tragedy and splendor and glorious mystery 
of being your body together; with you, we choose the human."]]></description>
<dc:subject>matthewbattles 2026 popeleoxiv magnificahumanitas encyclicals ai artificialintelligence catholicchurch catholicism antónbarba-kay technology siliconvalley lmsacasas technocracy utility tools environment marshallmcluhan perception resistance matthewsitman samadler-bell jackhanson beauty grace life living limits incapacity illness age aging suffering vulnerability humanity humanism compassion wisdom experience prayer spirituality failure freedom disappointment entanglement human humanness humans knowyourenemy friction frictionlessness</dc:subject>
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<item rdf:about="https://www.youtube.com/watch?v=olyBoqfEPGY">
    <title>Lenka Clayton in &quot;Human Nature&quot; – Season 12 | Art21 - YouTube</title>
    <dc:date>2026-07-02T02:47:02+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=olyBoqfEPGY</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Art21 proudly presents an artist segment featuring Lenka Clayton from the "Human Nature" episode in the twelfth season of the Art in the Twenty-First Century series. 

"Human Nature" premiered in June 2026 on PBS. 

Lenka Clayton was born in 1977 in Cornwall, England, and lives and works in Pittsburgh, Pennsylvania. Learn more about the artist: https://art21.org/lenkaclayton/ "

[See also:
https://www.thisiscolossal.com/2026/06/lenka-clayton-art-21-film/ ]]]></description>
<dc:subject>lenkaclayton 2026 art artmaking collections collecting motherhood pittsburgh everyday typewriters maternityleave measurement parenting artresidencies lighthouses nonsense children engagement sharedexperience experience</dc:subject>
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<item rdf:about="https://www.youtube.com/watch?v=ljqTo7GC7HM">
    <title>Walking and the Art of Public Space: Alisa Oleva on Cities, Belonging &amp; Nuart Aberdeen - YouTube</title>
    <dc:date>2026-06-29T03:15:35+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=ljqTo7GC7HM</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Walking can be much more than getting from A to B. In this interview from Nuart Aberdeen, walking artist Alisa Oleva talks about how she turns walks through the city into a form of art and a way of seeing places differently.

Alisa describes one-to-one walks with people who are new to a city, helping them explore ideas of home and belonging through everyday routes. She talks about blindfolded walks, long group walks that repeat the same path for hours, and workshops where people try simple exercises like walking differently, touching surfaces or noticing small details. She also explains how  she spends time “deep hanging out” in neighbourhoods. She connects her work to ideas from performance art, psychogeography and parkour. Especially the idea of “desire lines”, the paths people make when they don’t follow the official route.

Contents
00:00 – Walking as an art practice
01:50 – What it feels like on a walk
05:00 – Preparing a walk in a new city 
07:30 – Long-term projects, deep hanging out and working with strangers
10:20 – Simultaneous distant walks (Mariupol and beyond)
12:10 – Covid, virtual walks and “let me be your eyes”
14:30 – Migration, London and how the practice began
18:30 – Parkour, desire lines and small acts of disobedience in the city
21:20 – Performance, liveness and walking scores"

[via:

"Alisa Oleva the Walking Artist Inviting Us to View the City Differently • Inspiring City"
https://inspiringcity.com/2026/06/22/alisa-oleva-the-walking-artist-inviting-us-to-view-the-city-differently/ ]]]></description>
<dc:subject>alisaoleva walking 2026 london cities experience art walkingart urban wandering psychogeography situationist home belonging slow desirelines place attention movement noticing observation aberdeen scotland publicsace performance immersion familiarization learning howwelearn place-basedlearning everyday hangingout parkour notknowing strangers gettinglost time unknowing discovery exposure disoberdience walkingscores georgesperec geography resistance senses sensory walkshops</dc:subject>
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<item rdf:about="https://inspiringcity.com/2026/06/22/alisa-oleva-the-walking-artist-inviting-us-to-view-the-city-differently/">
    <title>Alisa Oleva the Walking Artist Inviting Us to View the City Differently • Inspiring City</title>
    <dc:date>2026-06-29T02:53:49+00:00</dc:date>
    <link>https://inspiringcity.com/2026/06/22/alisa-oleva-the-walking-artist-inviting-us-to-view-the-city-differently/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[embedded video:

"Walking and the Art of Public Space: Alisa Oleva on Cities, Belonging & Nuart Aberdeen"
https://www.youtube.com/watch?v=ljqTo7GC7HM 

"Walking can be much more than getting from A to B. In this interview from Nuart Aberdeen, walking artist Alisa Oleva talks about how she turns walks through the city into a form of art and a way of seeing places differently.

Alisa describes one-to-one walks with people who are new to a city, helping them explore ideas of home and belonging through everyday routes. She talks about blindfolded walks, long group walks that repeat the same path for hours, and workshops where people try simple exercises like walking differently, touching surfaces or noticing small details. She also explains how  she spends time “deep hanging out” in neighbourhoods. She connects her work to ideas from performance art, psychogeography and parkour. Especially the idea of “desire lines”, the paths people make when they don’t follow the official route.

Contents
00:00 – Walking as an art practice
01:50 – What it feels like on a walk
05:00 – Preparing a walk in a new city 
07:30 – Long-term projects, deep hanging out and working with strangers
10:20 – Simultaneous distant walks (Mariupol and beyond)
12:10 – Covid, virtual walks and “let me be your eyes”
14:30 – Migration, London and how the practice began
18:30 – Parkour, desire lines and small acts of disobedience in the city
21:20 – Performance, liveness and walking scores"]]]></description>
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<item rdf:about="https://www.youtube.com/watch?v=4FZy1lBNykA">
    <title>The Richest Country Is Pretty Mid Now - YouTube</title>
    <dc:date>2026-06-28T22:50:35+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=4FZy1lBNykA</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[""Leveragism" is a term I made up, and it describes what the American economy is increasingly heading towards. As you will see, this is really bad news. 

0:00 - About Capitalism
3:53 - Political Leverage
6:01 - The Gold Trap
8:00 - The Rug Pull
11:34 - The Bond Trap
15:23 - Classical Leverage
19:00 - Debts R' Us
20:32 - AI Circlejerk
22:45 - My Awesome Trip To Israel 
29:09 - Authoritarian Leverage
35:01 - Siphoning Your 401K
39:02 - Time and the Smokescreen of Numbers"]]></description>
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<item rdf:about="https://timothyburke.substack.com/p/academia-epistemological-graveyards">
    <title>Academia: Epistemological Graveyards We (Mostly) Whistle Past</title>
    <dc:date>2026-06-26T11:56:35+00:00</dc:date>
    <link>https://timothyburke.substack.com/p/academia-epistemological-graveyards</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["When I read across a broad range of both qualitative and quantitative work in the social sciences, I really find myself epistemologically uneasy about the underlying conceptual weaknesses lurking underneath a wide variety of confident claims and supposedly established paradigms. Some of this unease extends even into more humanistic work, but I find there is at least some acknowledgement in that quadrant of academia of just how difficult a number of difficult problems are. (Except when humanists draw in social science to make empirical claims that then justify particular interpretations or readings…) Among the many reasons I dislike the bashing of humanistic or qualitative social sciences that appears in polemics like the recently released Vanderbilt report is that I don’t think quantitatively-based social sciences have any right to be as confident as they sometimes are about their own claims—in many cases, tautological models and datasets that conceal the limitations of their creation are used to make very broad claims that go well beyond what the data can bear. In other cases, those same models and techniques are used to make predictive claims that fail time and time again to hold up, which somehow never seems to perturb the confidence that goes with such claims.

For many of the kinds of epistemological maneuvers that I find questionable, I don’t know that there’s a better way to arrive at arguments, interpretations, or recommended interventions. What I’d prefer is considerably more intellectual and philosophical humility about claims along those lines, first among scholars but then radiating outward into political leadership, policy analysis, and even the way people apply expert claims to everyday life. So I am arguing less here about preferred methodologies and more about preferred affect, the “enactment” of social claims.

I’ll just name six kinds of metacognitive, metadisciplinary questions that I think are worked unsatisfyingly in a lot of social science, often because of methodological or disciplinary reductionism.

1. How do we know what people believe to be true or plausible about the world? Both as individuals and collectively.

We ask people to tell us what they believe in polls, in surveys, in interviews. We interpret texts, art, and performance made by people as a kind of artifactual tracing of inner beliefs. We look at data of recordable behavior in the world as “revealed belief” (which the believer may or may not be consciously aware of). We conduct laboratory experiments and use neuroscientific instruments to try and trace cognitive processes that correspond to belief, bias, inclination, common sense.

Much of this work for the sake of making concrete claims treats belief, ideas, common sense, and predisposition as singular and distinct. E.g., a person either believes in God or science or romantic love or a person does not. A person either believes in treating other people fairly or they believe in taking every advantage and looking out for #1. Whereas it is at least possible that what we call beliefs are usually a probabilistic fog of inclinations or orientations that collapse into something singular when we ask them to be communicated or when circumstances create a confined topography in which “belief” can be felt and articulated. Maybe we don’t really even “believe” what we testify to believing, or know some of the beliefs that guide our daily actions. In other disciplinary contexts like psychology where it may be well-understood that belief or bias are more like general orientations that do not necessarily exist in the mind as fixed propositions, interpretations get hazy when we have to explain why, when and how the probabilities collapse into decisions, actions, allegiances, or concrete motivations not in terms of models but in terms of visible actions in the world both by individuals and collectivities. If you think of people as having particular dispositions or orientations in terms of beliefs, why are they different? Those determinations tend to get punted to vague naturalistic attributions to evolution and environment that are truistic or axiomatic rather than empirical and demonstrable in any specific case.

Another problem that historians and anthropologists are more sensitive to: everything we think we know in social science about how people think and believe is highly skewed towards the last fifty years and towards European and American populations and individuals.

Put it all together and you might be standing on firmer ground, but even in mixed-methods research, something epistemologically important is always going to be left out of the resulting interpretation. Much of the time we don’t even get that close.

2. Relatedly, how do what people believe or think or hold as common sense actually influence what they do in the world? Both as individuals and at larger social scales?

Much of the time in both popular and academic interpretation, we handle these claims through hindsight. Something happens that has the concreteness that we see as an “action” and we try to locate its psychological, cognitive or ‘cultural’ priors. A person does something, a group or class of people act together, and we identify a precursor belief, idea or psychological disposition as the cause of what they did. When the action we’re talking about is individual, we often privilege attributions that are highly particular unless the individual in question belongs to a class or group that are associated with highly prevalent stereotypes. When the action we’re talking about is massified, we often invoke ideas about universal cognitive and psychological mechanisms that are asserted to exist in all people to some extent or another—utility maximization, sex drive, rational self-interest, the will to power, the Big Five personality traits, and so on. Or we point to physiological and environmental mechanisms that dictate action that are imagined to be largely independent of conscious thought: fight-or-flight, addiction, trauma, bias.

Problems: Issues carry over from the problems of determining what people believe or think. Moreover, “action” has the same kind of problem—often actions bleed into one another, are complicatedly indeterminate, or only becomes “actions” when they produce reactions. If I wave my hands wildly after writing this sentence and no one sees me do that, have I acted?

We either think about “agentive” actions that presume a more or less liberal subjectivity, an “I” that is conscious and self-aware and chooses to do something, or we think of unconscious and unwilled actions that we tend to think of as everyday, repeated, structural. But “agentive” actions are often a convention of narrative, a post-facto isolation of a “decisive moment” from everything else that individuals, groups and crowds did within a constrained time period. They also need visibility to count as actions—a purely internal resolve, experienced as an action phenomenologically, is only called action when it expresses into something that can be seen in the world. Individuals often say that they decided at a particular time to change or to do something but that the first opportunity to act on that was days or weeks later. We often want the moment of the action to refer to a mental ‘cause’ that is temporally local to that moment, and that might not be so. We don’t have reliable ways of proving that various allegedly universal mechanisms actually exist cognitively, or actually cause behavior: most of them are both pattern-recognizing and pattern-creating, e.g., they lead us to filter the complexity and chaos of empirically documentable actions into the patterns that domestic those actions into interpretations. We don’t have fully reliable ways to account for how experiences of conscious thought interact with actions attributed to embodied or unconscious causes. Psychological modellings of the relation between thought and action are notoriously bad at predicting what trends will emerge in behavior in the near-term future.

The problem of making big claims from modern and Western data is also just as acute here.

3. How do decisions actually emerge out of institutional and governmental leaderships?

This is a sub-question of #2 but it points at something that especially frustrates me about certain branches of social science. It is really striking at times how little some fields of scholarship pay empirical attention to the real processes of how states or institutions gather and transmit information from the wider world into their specific infrastructures, how or whether that information is translated and transmitted from the people who gather it up and down various hierarchies or networks, whether that information actually is put to use in shaping decisions, and for that matter, whether decisions are in a formal sense actually consciously or deliberately taken—at least some studies of institutional processes suggest to me that a fair amount of the time, “decisions” are, like “actions”, a post-facto story told about more implicit, tacit and assumed activities that come to look like decisions the more they are narrated as such.

The presumption that more information—or the suppression of information—correlates to or causes something like institutional effectiveness or success is so profound in some fields of social science and yet is frequently based on little to nothing in terms of data or evidence. There are specific micro-contexts where better information produces “winning outcomes” but in more complex structures it is neither clear that better information produces power or that power always is synonymous with effectiveness and success. (e.g., sometimes maximizing power produces reactions or instabilities which very immediately threaten the maintenance of power.)

4. What aggregates of people are meaningful when it comes to talking about thoughts, feelings and actions? How do groups and collectivities structure thought and action?

Are social classes and collectivities “real” cognitively or in everyday practice? How persistently present are they in how we think, how we identify, how we act, how we represent?

Most social scientists understand our definitions of groups to be models or approximations but we often come to treat them as empirically real and in so doing often effect change in the subjects we’re seeking to describe. E.g., efforts to define “middle-class” as a politically central identity in American life after 1945 led to many Americans saying that they believed they were middle-class even when data-driven definitions of socioeconomic class suggested otherwise. Talking about “adolescents” as a distinctive group in social science seems to have created adolescence as a group experience, or at least reified a much more inchoate understanding. So this at least a good question to think about what social science does not always think about, which is how social science about a particular subject can shape—accidentally or intentionally—what it is trying to study.

That said, we do think about this point sometimes, and generally there is a lot of work that’s been done on how ideas about groups shape the social reality of groups and how or when groups do seem to meaningfully coordinate actions of individuals who may be isolated spatially and even temporally from one another. But all of this work lives alongside a much more debased language, both scholarly and popular, that relies on groups that are either debatably real or that have extremely weak effects on most of their supposed members.

5. What is actually happening in unmeasured economies, political systems, and sociocultural domains?

So much social science goes to where the data is and forgets what we often tell ourselves, that what we want to know has to lie in data we don’t have. As the commonplace example notes, it’s the planes that got shot down that you want to examine in order to understand how to improve rates of survival.

Sometimes social scientists at least recognize the scale of what we don’t know. In studies of Africa, at least some economists and political scientists recognize that official data compiled on formal economies tells you very little about the actual value and labor circulating in a given national economy, for example. But the list of what we don’t know about the contemporary world is vast and sometimes plainly dwarfs the causal significance of what we have good data about. Social scientists write about military coups, for example, but we know extremely little about the internal nature of most such coups, just as we know relatively little about how some authoritarian governments operate internally or how many privately-held corporations work. Several major exposes like the Panama Papers suggest the scale of capital moving around the world that is unmeasured and untaxed by any government, but social scientists largely prefer to treat what we can see and document as more important. Our understanding of many illegal activities comes through law enforcement agencies, which are hardly reliable sources of data in multiple ways. And so on. Social scientists have fierce arguments about proxy models that aim to create data that doesn’t exist by design or to correct data that is meant to be disinformation and then we often forget the underlying epistemologies involved in making those proxies and the numerous other kinds of consequential information that we don’t even approximate.

6. Why does change happen? Where do new thoughts, new behaviors, new group concepts, new institutional infrastructures, etc., come from?


Historians think they have a handle on this question, but because they do, they also know it’s a theoretical and philosophical minefield. E.g., we do not have a fixed disciplinary position on the underlying engines of change, but instead have to engage it empirically every single time we study what seems like an example of change over time in the past.

We’re not even sure often that there was change: one historian’s revolutionary break will be rendered as continuity by another historian. One historian’s dogged insistence that serfs and peasants are approximately the same kind of servile social formation in relation to agricultural production separated by minor contextual details will be aggressively countered by another historian who insists that there aren’t even “serfs” or “peasants” as comparative social groupings within particular time periods but only many non-comparable forms of social organization of agriculture in different times and places.

    But at least historians and anthropologists know that change is something to think and argue about. I often feel that other social sciences, especially psychology and economics, have extremely attenuated ways to account for or even recognize change to the point of making some of their work implicitly inaccurate because of that presentism."]]></description>
<dc:subject>timothyburke socialscience socialsciences humility history anthropology economics psychology change revolution panamapapers notknowing data politics culture society sociology experience collectives class everyday information academia highered highereducation institutions governance government decisionmaking behavior human humans hindsight cognition personality trauma addiction bias epistemology phenomenology howwethink thinking collectivity collectivities collectivism neuroscience belief beliefs metacognition inclination polemics datasets confidence policy analysis socialclaims danieldiermeier</dc:subject>
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<item rdf:about="https://podcasts.apple.com/us/podcast/pope-leo-xivs-magnifica-humanitas-w-jack-hanson/id1462703434?i=1000773716438">
    <title>Pope Leo XIV's 'Magnifica humanitas' (with Jack Hanson) - Know Your Enemy - Apple Podcasts</title>
    <dc:date>2026-06-26T08:30:11+00:00</dc:date>
    <link>https://podcasts.apple.com/us/podcast/pope-leo-xivs-magnifica-humanitas-w-jack-hanson/id1462703434?i=1000773716438</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[also here:
https://dissentmagazine.org/online_articles/know-your-enemy-pope-leo-xiv-magnifica-humanitas/ ]

"As promised, here is our episode about Pope Leo XIV's recent encyclical, Magnifica humanitas, in which he brings to bear Catholic social teaching on the perils of artificial intelligence and what they reveal about what it really means to be human being. It's a distinctly Augustinian reading of our nature and destiny, marked not just by Leo's attention to our limits as flawed and fallible creatures, but the joy and hope found by living into them—which, finally, becomes his plea to see life from the perspective of the lowly, the downcast, the abandoned. 

To help us explain such a rich document, we had on our friend Jack Hanson, one of the most perceptive American writers on the Catholic Church. We tease out the connections between this Leo's first and encyclical and that of his namesake Leo XIII's Rerum novarum, an intervention on behalf of working people during the industrial and considered the origin of Catholic social teaching; Leo's "Augustinianism"; the encyclical's critique of artificial intelligence and what that has to do with its account of what really makes us human; and more.

Sources:

Pope Leo XIV, Magnifica humanitas, May 15, 2026
https://www.vatican.va/content/leo-xiv/en/encyclicals/documents/20260515-magnifica-humanitas.html

Pope Leo XIII, Rerum Novarum, May 15, 1891
https://www.vatican.va/content/leo-xiii/en/encyclicals/documents/hf_l-xiii_enc_15051891_rerum-novarum.html

Jack Hanson, "A Serious Man: The Militant Mysticism of Charles Péguy," Commonweal, May 3, 2021
https://www.commonwealmagazine.org/serious-man-0

– “The Heresy of Americanism,” The Drift, Jun 10, 2025. 
https://newsletter.thedriftmag.com/p/the-heresy-of-americanism

Michael Oakeshott, "The Tower of Babel" in On History and Other Essays (1983)
https://about.libertyfund.org/books/on-history-and-other-essays/

Reinhold Niebuhr, "The Tower of Babel" in Beyond Tragedy: Essays on the Christian Interpretation of History (1937)
https://books.google.com/books/about/Beyond_Tragedy.html?id=-Y0WAQAAMAAJ

Donna Haraway, “A Cyborg Manifesto,” (1985)
https://warwick.ac.uk/fac/arts/english/currentstudents/undergraduates/modules/fictionnownarrativemediaandtheoryinthe21stcentury/manifestly_haraway_----_a_cyborg_manifesto_science_technology_and_socialist-feminism_in_the_....pdf "]]></description>
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<item rdf:about="https://theconvivialsociety.substack.com/p/your-ai-is-not-a-tool">
    <title>Your AI Is Not a Tool - by L. M. Sacasas</title>
    <dc:date>2026-06-23T10:09:03+00:00</dc:date>
    <link>https://theconvivialsociety.substack.com/p/your-ai-is-not-a-tool</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["I’ll draw things to a close by posing the following thesis for your consideration: the best response to emerging technologies, perhaps especially AI, is not media literacy in a cognitivist mode. Rather, what is required is the training of our perception in an ascetical mode.

In the latter part of his intellectual pilgrimage, Ivan Illich, whose work has deeply shaped my own thinking, concluded that his earlier work was inadequate because he had not yet grasped that somewhere in the mid-20th century we had passed from the age of tools to the age of systems.6 While to my knowledge Illich never worked out this distinction at length, the difference seems to lie in the fact that we can stand over a tool, as it were, but we cannot stand outside of a system. The system is an environment rather than a singular artifact. And what is at issue is not simply what we are able to do or not to do, nor even what can be done to us. What is most urgently at issue is our perception.

Although still using the language of tools, in 1988 Illich explained, “I would like to get together a certain number of people to think about what tools do to our perception rather than what we can do with them, to look at how tools shape our mind, how their use shapes our perception of reality, rather than how we shape reality by applying or using them.”

Near the end of his life, in the mid-1990s, Illich argued that “existence in a society that has become a system finds the senses useless precisely because of the very instruments designed for their extension. One is prevented from touching and embracing reality.” It was this “radical subversion of sensation,” Illich added, “that humiliates and then replaces perception.”7

Illich went so far as to claim that “we submit ourselves to fantastic degradations of image and sound consumption in order to anesthetize the pain resulting from having lost reality.”

You may not be inclined to take as dire a view of our situation as Illich did nearly thirty years ago, but I believe that his prescription is the right one. Just as McLuhan believed that his role as teacher in response to our technological environment was to train new perception, so Illich believed that what was called for was a new asceticism, although, as he put it in a proposal for a research project exploring the history of perception, “The asceticism which can be practiced at the end of the 20th century is something profoundly different from any previously known.”

“It appears to me that we cannot neglect the disciplined recovery, an asceticism, of a sensual praxis in a society of technogenic mirages,” Illich argued. “This reclaiming of the senses,” Illich went on to elaborate, “this promptitude to obey experience […] seems to me to be the fundamental condition for renouncing that technique which sets up a definitive obstacle to friendship.”

I have always been particularly struck by the line Illich draws from the disciplined training of our perception to friendship. This link is born out by how our digital media environments have constituted not only an epistemic threat but also a threat to our social fabric.

It appears to me, then, that we would do well to take up Illich’s unfinished project. At the very least we should dispense with the idea that AI is just a tool we need to learn to use wisely."]]></description>
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<item rdf:about="https://www.youtube.com/watch?v=qYjWtt0ItWM">
    <title>Snow Line - Seasoning a Kid: A Search for a Practice of Place by adam amir - YouTube</title>
    <dc:date>2026-06-19T07:33:14+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=qYjWtt0ItWM</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Within four vignettes, filmmaker adam amir takes his young son Rumi out to meet each season with annual practices welcoming the return of snow, migrating animals, cherry blossoms, and berries. 

In Snow Line, the first segment of the multimedia feature Seasoning a Kid, filmmaker adam amir and his young son, Rumi, climb the same mountain near Vancouver year after year to feel the impossibly vivid shift in color on either side of the snow line.

"Seasoning a Kid: A Search for a Practice of Place" by adam amir
https://emergencemagazine.org/feature/seasoning-a-kid/

CREDITS
Featuring Rumi Amir
Written, Narrated & Directed by adam amir
Produced by adam amir & Noal Amir
Executive Producer Emmanuel Vaughan-Lee
Director of Photography Adam Amir
Edited by adam amir
Original Music Composed & Performed by Phillip Hermans
Sound Design & Mix by  Phillip Hermans"

[See also:

"Meeting the Migration"
https://www.youtube.com/watch?v=3qal6X1DpyU

"In this second film from the multimedia feature Seasoning a Kid, adam and Rumi go out to greet migrating animals arriving at stopover sites in British Columbia, camping underneath skies and beside waters as they fill with the vast, kinetic presence of sandhill cranes, snow geese, spawning herring, and all manner of Pacific salmon."

"Sakura"
https://www.youtube.com/watch?v=bTp0fclKG-M

"In this third film from the multimedia feature Seasoning a Kid, adam and his young son, Rumi, revel in the days-long blooming of cherry trees in Vancouver. Opening the way to notice the myriad traditions that welcome spring in this landscape, this practice shows how we can connect with the seasons by both honoring the relationships that have existed for millennia and recognizing the new relationships taking shape in the land."

"Plucking as Prayer"
https://www.youtube.com/watch?v=6_wHKW3KyqQ

"In this final film from the multimedia feature Seasoning a Kid, adam and Rumi celebrate the coming of berry season in Vancouver, BC. Gorging on an abundance of salmonberries, thimbleberries, strawberries, salal berries, blackberries, red, purple, and blue huckleberries, they bend, kneel, and offer gratitude in a practice where plucking becomes prayer."]]]></description>
<dc:subject>adamamir 2026 2025 children nature seasons outdoors place time experience parenting wildlife tradition traditions language berries animals multispecies morethanhuman unschooling education film land place-basedlearning place-basededucation learning howwelearn childhood vancouver britishcolumbia spring summer fall winter autumn land-basedlearning land-basededucation</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:7df169112493/</dc:identifier>
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<item rdf:about="https://www.youtube.com/watch?v=bTp0fclKG-M">
    <title>Sakura - Seasoning A Kid: A Search for a Practice of Place by adam amir - YouTube</title>
    <dc:date>2026-06-19T07:31:44+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=bTp0fclKG-M</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Within four vignettes, filmmaker adam amir takes his young son Rumi out to meet each season with annual practices welcoming the return of snow, migrating animals, cherry blossoms, and berries. 

In this third film from the multimedia feature Seasoning a Kid, adam and his young son, Rumi, revel in the days-long blooming of cherry trees in Vancouver. Opening the way to notice the myriad traditions that welcome spring in this landscape, this practice shows how we can connect with the seasons by both honoring the relationships that have existed for millennia and recognizing the new relationships taking shape in the land.

"Seasoning a Kid: A Search for a Practice of Place" by adam amir
https://emergencemagazine.org/feature/seasoning-a-kid/

CREDITS
Featuring Rumi Amir
Written, Narrated & Directed by adam amir
Produced by adam amir & Noal Amir
Executive Producer Emmanuel Vaughan-Lee
Director of Photography Adam Amir
Edited by adam amir
Original Music Composed & Performed by Phillip Hermans
Sound Design & Mix by  Phillip Hermans"

[See also:

"Snow Line"
https://www.youtube.com/watch?v=qYjWtt0ItWM

"In Snow Line, the first segment of the multimedia feature Seasoning a Kid, filmmaker adam amir and his young son, Rumi, climb the same mountain near Vancouver year after year to feel the impossibly vivid shift in color on either side of the snow line."

"Meeting the Migration"
https://www.youtube.com/watch?v=3qal6X1DpyU

"In this second film from the multimedia feature Seasoning a Kid, adam and Rumi go out to greet migrating animals arriving at stopover sites in British Columbia, camping underneath skies and beside waters as they fill with the vast, kinetic presence of sandhill cranes, snow geese, spawning herring, and all manner of Pacific salmon."

"Plucking as Prayer"
https://www.youtube.com/watch?v=6_wHKW3KyqQ

"In this final film from the multimedia feature Seasoning a Kid, adam and Rumi celebrate the coming of berry season in Vancouver, BC. Gorging on an abundance of salmonberries, thimbleberries, strawberries, salal berries, blackberries, red, purple, and blue huckleberries, they bend, kneel, and offer gratitude in a practice where plucking becomes prayer."]]]></description>
<dc:subject>2026 adamamir 2025 children nature seasons outdoors place time experience parenting wildlife tradition traditions language berries animals multispecies morethanhuman unschooling education film land place-basedlearning place-basededucation learning howwelearn childhood vancouver britishcolumbia spring summer fall winter autumn land-basedlearning land-basededucation</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:b561b53b7add/</dc:identifier>
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<item rdf:about="https://www.youtube.com/watch?v=3qal6X1DpyU">
    <title>Meeting the Migration - Seasoning A Kid: A Search for a Practice of Place by adam amir - YouTube</title>
    <dc:date>2026-06-19T07:30:10+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=3qal6X1DpyU</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Within four vignettes, filmmaker adam amir takes his young son Rumi out to meet each season with annual practices welcoming the return of snow, migrating animals, cherry blossoms, and berries. 

In this second film from the multimedia feature Seasoning a Kid, adam and Rumi go out to greet migrating animals arriving at stopover sites in British Columbia, camping underneath skies and beside waters as they fill with the vast, kinetic presence of sandhill cranes, snow geese, spawning herring, and all manner of Pacific salmon.

"Seasoning a Kid: A Search for a Practice of Place" by adam amir

https://emergencemagazine.org/feature/seasoning-a-kid/

CREDITS
Featuring Rumi Amir
Written, Narrated & Directed by adam amir
Produced by adam amir & Noal Amir
Executive Producer Emmanuel Vaughan-Lee
Director of Photography Adam Amir
Edited by adam amir
Original Music Composed & Performed by Phillip Hermans
Sound Design & Mix by  Phillip Hermans"

[See also:

"Snow Line"
https://www.youtube.com/watch?v=qYjWtt0ItWM

"In Snow Line, the first segment of the multimedia feature Seasoning a Kid, filmmaker adam amir and his young son, Rumi, climb the same mountain near Vancouver year after year to feel the impossibly vivid shift in color on either side of the snow line."

"Sakura"
https://www.youtube.com/watch?v=bTp0fclKG-M

"In this third film from the multimedia feature Seasoning a Kid, adam and his young son, Rumi, revel in the days-long blooming of cherry trees in Vancouver. Opening the way to notice the myriad traditions that welcome spring in this landscape, this practice shows how we can connect with the seasons by both honoring the relationships that have existed for millennia and recognizing the new relationships taking shape in the land."

"Plucking as Prayer"
https://www.youtube.com/watch?v=6_wHKW3KyqQ

"In this final film from the multimedia feature Seasoning a Kid, adam and Rumi celebrate the coming of berry season in Vancouver, BC. Gorging on an abundance of salmonberries, thimbleberries, strawberries, salal berries, blackberries, red, purple, and blue huckleberries, they bend, kneel, and offer gratitude in a practice where plucking becomes prayer."]]]></description>
<dc:subject>adamamir 2026 2025 children nature seasons outdoors place time experience parenting wildlife tradition traditions language berries animals multispecies morethanhuman unschooling education film land place-basedlearning place-basededucation learning howwelearn childhood vancouver britishcolumbia spring summer fall winter autumn land-basedlearning land-basededucation</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:d3703327d882/</dc:identifier>
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<item rdf:about="https://www.youtube.com/watch?v=6_wHKW3KyqQ">
    <title>Plucking as Prayer - Seasoning A Kid: A Search for a Practice of Place by adam amir - YouTube</title>
    <dc:date>2026-06-19T04:48:57+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=6_wHKW3KyqQ</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Within four vignettes, filmmaker adam amir takes his young son Rumi out to meet each season with annual practices welcoming the return of snow, migrating animals, cherry blossoms, and berries. 

In this final film from the multimedia feature Seasoning a Kid, adam and Rumi celebrate the coming of berry season in Vancouver, BC. Gorging on an abundance of salmonberries, thimbleberries, strawberries, salal berries, blackberries, red, purple, and blue huckleberries, they bend, kneel, and offer gratitude in a practice where plucking becomes prayer.

"Seasoning a Kid: A Search for a Practice of Place," by adam amir
https://emergencemagazine.org/feature/seasoning-a-kid/

CREDITS
Featuring Rumi Amir
Written, Narrated & Directed by adam amir
Produced by adam amir & Noal Amir
Executive Producer Emmanuel Vaughan-Lee
Director of Photography adam amir
Edited by adam amir
Original Music Composed & Performed by Phillip Hermans
Vocals Performed by Riga Amir
Sound Design & Mix by Phillip Hermans
Additional Sound Recording by Sunny Tseng"

[See also:

"Snow Line"
https://www.youtube.com/watch?v=qYjWtt0ItWM

"In Snow Line, the first segment of the multimedia feature Seasoning a Kid, filmmaker adam amir and his young son, Rumi, climb the same mountain near Vancouver year after year to feel the impossibly vivid shift in color on either side of the snow line."

"Meeting the Migration"
https://www.youtube.com/watch?v=3qal6X1DpyU

"In this second film from the multimedia feature Seasoning a Kid, adam and Rumi go out to greet migrating animals arriving at stopover sites in British Columbia, camping underneath skies and beside waters as they fill with the vast, kinetic presence of sandhill cranes, snow geese, spawning herring, and all manner of Pacific salmon."

"Sakura"
https://www.youtube.com/watch?v=bTp0fclKG-M

"In this third film from the multimedia feature Seasoning a Kid, adam and his young son, Rumi, revel in the days-long blooming of cherry trees in Vancouver. Opening the way to notice the myriad traditions that welcome spring in this landscape, this practice shows how we can connect with the seasons by both honoring the relationships that have existed for millennia and recognizing the new relationships taking shape in the land."]]]></description>
<dc:subject>adamamir children nature seasons 2026 film morethanhuman multispecies time land place place-basedlearning place-basededucation education 2025 outdoors experience parenting wildlife tradition traditions language berries animals unschooling learning howwelearn childhood vancouver britishcolumbia spring summer fall winter autumn land-basedlearning land-basededucation</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
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    <title>Tolstoy and the Illusion of Inevitability | THR Web Features | Web Features | The Hedgehog Review</title>
    <dc:date>2026-06-17T10:22:04+00:00</dc:date>
    <link>https://hedgehogreview.com/web-features/thr/posts/tolstoy-and-the-illusion-of-inevitability</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Western thought repeatedly returns to the hope that contingency is an illusion."

...

"<blockquote>“Traveler, there is no road. The road is made by walking.” —Antonio Machado</blockquote>

Machado’s famous line suggests that the future does not exist in advance, waiting to be discovered, but comes into being through a choice among possible actions. Many possibilities exist at any given moment. The one that becomes actual depends on coincidences and chances as well as choices, all producing events whose significance emerges only as they unfold.

That, as it happens, is also Leo Tolstoy’s argument in War and Peace. In the book’s battle scenes, plans dissolve into confusion, causes multiply beyond reckoning, and outcomes hinge on fleeting, unrepeatable moments. On the eve of the Battle of Borodino, the novel’s hero, Prince Andrei, reflects that what lies ahead is not a determinate sequence but “a hundred million chances…decided on the instant.” What matters is less the perfection of a plan and more the ability to respond to what no plan could anticipate, by means of what Tolstoy calls “alertness.”

For Tolstoy, this is a feature not of war alone but of reality in general. History, far from representing the execution of a grand design, is rather the result of countless interacting elements, each shaping and reshaping what can happen next. New possibilities are always emerging as earlier ones are left unrealized. Life more closely resembles an evolving system than a solved equation. Events are contingent in Aristotle’s sense of the term: They “can either be or not be.” After all, if things could only happen one way, human action would collapse into the mechanical execution of what was already implicit in the present.  “If human life could be [entirely] governed by reason,” Tolstoy writes in the book’s epilogue, “the possibility of life is destroyed.” 

And yet again and again, in our aspiration to a hard science allowing for prediction, we are drawn to deny this. That is one reason War and Peace has never lost its relevance.

The Recurring Dream of Certainty

Since the scientific revolution, Western thought has repeatedly returned to the hope that contingency might be an illusion. As Newton explained the baffling complexities of planetary motion by four simple laws, perhaps, many imagined, the same could be done for human affairs. Thinkers as diverse as Marx, Skinner, and Malinowski have shared this dream, with each promising, in his own way, to reveal necessity beneath apparent disorder.

Complexity, for such men, is conceived of as a surface phenomenon, concealing an underlying simplicity that, once uncovered, will render the future knowable. Pierre-Simon Laplace insisted that events are certain, not probable: In speaking of their probability, we are really speaking of the chances our guesses may be accurate, but the events themselves are certain. Time and again, the apparent contingency of events is presented as evidence of our own ignorance. If we knew enough, we would see that events could not have happened otherwise.

But there is another possibility: that contingency is real—that the world is not merely complicated but fundamentally generative, that new possibilities are not simply revealed over time but produced within it, through the interaction of elements that cannot be fully anticipated in advance.

This is the world Tolstoy describes, one where knowledge cannot precede action, only emerge through it.

Time and the Limits of Foresight

Tolstoy’s deepest insight concerns time itself. In a deterministic view, time is a neutral space where events unfold according to fixed laws and the future lies already implicit in the present, waiting to be revealed. But in Tolstoy’s world, time is generative. Each moment reshapes what can happen next. Possibilities interact, combine, and disappear, their significance becoming visible only as events unfold.

One might say that the system is constantly generating variation—new configurations, new alignments, new opportunities—but without any overarching mechanism that selects among them in advance. Selection happens locally, in real time, through action. The closer one looks, the more things fail to simplify, as in the Newtonian model, and ramify instead. What happens to be taken up is what persists.

This is why most Austrian and Russian generals in War and Peace are consistently wrong. They believe they possess a science of warfare—a system capable of anticipating outcomes. Before Austerlitz, they insist that “every contingency has been foreseen.” The result is Napoleon’s greatest victory—yet their confidence remains intact, attributing failure to imperfect execution, never to the limits of prediction itself. As so often happens, the conviction that events must conform to a science makes the supposed science unfalsifiable.

The wisest general, Kutuzov, appreciates that people conceive only of a few possibilities while there are thousands. Famously, in the Council of War before Austerlitz, he advises not more planning but “a good night’s sleep.” What matters most is the alertness to seize opportunities that cannot be anticipated in advance.

This distinction—between a world that can be mapped and one that must be navigated—extends beyond warfare. Wherever outcomes depend on unfolding interactions, local knowledge, and irreversible time, no complete science is possible. One can orient oneself, but one cannot blaze the path in advance.

The Illusion of Inevitability

If the future is open, why does the past so often appear inevitable? Tolstoy offers several answers, including what he calls “the law of retrospection.”

Once events have occurred, we can reconstruct the paths that led to them. We identify signs that seem to foreshadow the outcome we now know. Alternatives fade from view—not because they were not real, but because they left no trace. The result is a powerful illusion: What happened begins to seem as if it had to happen.

Tolstoy asks us to imagine a group of men hauling a log, all pulling in different directions. Wherever they happen to wind up, someone will say they planned to do so.

This retrospective projection—which one of us has called backshadowing—reshapes our understanding of history. We look at earlier moments and conclude that the outcome was implicit all along. The more coherent the explanation, the easier it is to forget that things might have turned out otherwise. To avoid backshadowing, we must practice sideshadowing—recognizing that other outcomes, some of which we can imagine, were genuinely possible.  

That is just the insight that those who believe they have discovered a hard science allowing for prediction in the social world forget or deny. And yet they cannot foresee their own future. 

Tolstoy’s narrative resists this illusion by preserving the density of lived experience—the sense that at each moment multiple futures were genuinely possible. History, in this view, is not a line but a branching structure, most of whose branches vanish without record.

AI and Narrative Certainty

In the age of AI, this dream of certainty has taken a new and more persuasive form. Artificial intelligence can process vast datasets, identify patterns invisible to human perception, and generate explanations with remarkable coherence. Faced with such capabilities, it is tempting to believe that uncertainty can finally be overcome—that the future can be rendered legible in advance.

But the deeper effect of AI lies in its ability to reorganize the past. Given sufficient data, AI systems can produce narratives that make outcomes appear coherent, even inevitable. They can identify correlations, reconstruct causal chains, and highlight what they regard as signs foreshadowing what followed. The result is not necessarily false, but it is selective.

In this way, AI functions less as a predictor than as a powerful engine of narrative compression, reducing the apparent space of possibilities by presenting a single path as the path. What was once understood as a field of possible alternatives becomes retrospectively legible as an inevitable sequence, reducing many “futuribles” to one. The danger here lies in premature coherence, the sense that complexity has been resolved when it has only been reorganized into a persuasive form.

A Compass Rather Than a Map

Tools do more than extend thought; they reshape the environment in which thought occurs. AI, for instance, introduces a distinctive bias by generating what is statistically coherent, what resembles patterns derived from accumulated data.

In an evolutionary system, what persists is not necessarily what is best in any absolute sense but what is most easily selected under prevailing conditions. AI changes those conditions in the intellectual world, lowering the cost of generating variations while subtly guiding selection toward what is already legible within its patterns.

Over time, this can narrow the space of perceived possibilities by making them less visible, less accessible, less likely to be pursued. Certain forms of thought—those that resist simplification, that depend on sustained attention, or that emerge from direct engagement with the world—become comparatively fragile.

What follows from Tolstoy’s ideas, on the other hand, is not that prediction is useless or that analysis should be abandoned, but rather that we must think in terms of a compass rather than a map. A map assumes a fixed terrain and a determinate path, while a compass provides direction without specifying the route. In a world of genuine contingency, only the latter is available. One can choose a bearing, but the path itself is discovered through movement. Orientation is not foresight.

This is the force of Machado’s insight: The road is made by walking not because we lack information but because the path does not exist until it is created.

To accept this is to adopt a different understanding of knowledge, not as a complete representation of what will happen, but as a capacity to respond intelligently to what does happen. It is inseparable from time, from attention, from the ability to recognize significance as it emerges.

The impulse to eliminate contingency is understandable. Uncertainty is uncomfortable: It resists control and frustrates planning. But it is also what makes agency possible.

A world in which everything could be predicted would be a world in which nothing could be otherwise. Action would lose its meaning, since outcomes would already be fixed. The openness of the future is not a defect in our knowledge, but a condition of human life.

Artificial intelligence does not change this condition—but it can make us forget it. By rendering the past as if it had been inevitable, it invites us to imagine that the future is already written. Against this, one must insist on what Tolstoy and Machado understood in saying that the future remains unwritten, not because we have failed to compute it but because it does not yet exist."]]></description>
<dc:subject>tolstoy garysaulmorson julioottino antoniomachado fleeting alertness certainty uncertainty foresight prediction predictions contingency time variation selection local localism slow small complexity simplicity inevitability retrospection localknowledge knowledge irreverability science 2026 backshadowing sideshadowing coherence cohesion control human humanism planning plans narrativecompression future data ai artificialintelligence conditions possibility possibilities simplification orientation compass direction maps mapping liveexperience experience history action reason technocracy futuribles compasses canon humanness life living warandpeace bfskinner bronisławmalinowski karlmarx</dc:subject>
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    <title>Trauma is a Time Machine: A Cinematic Primer with Kwasu D. Tembo - YouTube</title>
    <dc:date>2026-06-08T05:32:55+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=n1-hhZUcGJY</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["If you could go back in time, would you change the past, even if it meant changing who you are? Is existing in time itself traumatic? Is power over time a cinematic endeavour, and what makes a good director an even better time traveller? This week on Acid Horizon we're joined by Kwasu D. Tembo to talk about his latest book Trauma in 21st-Century Time Travel Cinema, discussing the philosophy of time travel in films such as Primer, Timecrimes, and Predestination; as well as how the experience of time transcendentally conditions the structure of the psyche.

Buy Baz's book, Trauma in 21st-Century Time Travel Cinema
Being (a)Part: https://www.bloomsbury.com/uk/trauma-in-21stcentury-time-travel-cinema-9781978768734/

<blockquote>Kwasu D. Tembo unites approaches from disciplines as wide-ranging as physics, mathematics, cinema, philosophy, and media theory to pose critical questions concerning time, change, and (un)becoming in contemporary time-travel cinema.

In his analyses of 21st-century cinematic time-travel narratives, Tembo situates human life in time as a palimpsest, with time acting as scriptor and stylus. A time machine, then, functions as a fantasy that allows for this pace to be slowed or accelerated so as to appear entirely suspended, with the potentials of the “Now” (re)opened to the traveler.

As the manipulation of time lends the traveler increased agency-and perhaps the conditions to see themselves more clearly amid a claustrophobic sea of information and content-Tembo contends that we must carefully consider the psycho-emotional affectivity of both the motivations and the potentially traumatic consequences of such a jarring shift in perspective. The results lend critical insight into human understandings of how we experience time and, ultimately, what these understandings permit and disallow in terms of how (it is) to be in time.</blockquote>

Phasmid Press: https://phasmidpress.org/ "]]></description>
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<item rdf:about="https://www.thenewatlantis.com/publications/the-future-belongs-to-those-who-resist-it">
    <title>The Future Belongs to Those Who Resist It — The New Atlantis</title>
    <dc:date>2026-06-06T11:13:15+00:00</dc:date>
    <link>https://www.thenewatlantis.com/publications/the-future-belongs-to-those-who-resist-it</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Magnifica Humanitas is an inspiring invitation. But its focus on war, unemployment, and oligarchy misses the more insidious threat: that AI will turn the human experience itself into slop."

...

"With AI, we have a chance to learn from and correct our mistakes. If we fail to pass the test a second time, there is every indication that the results will be even more catastrophic.

“Teaching them to decide when and for what purpose it ought not to be used” will not be enough. Because we are dealing with technologies of ubiquity, only communities — with their power to embed alternative defaults in a shared life, to offer alternative social networks and create unambiguous guardrails through social norms — will constitute meaningful units of resistance to the worst of AI’s possible effects on our habits of thought, judgment, communication, and conviviality.

There are important policy interventions on the table, especially regarding young people’s exposure to AI in pedagogical contexts and at formative times in their life. Strong stances from the major mainstream institutions of American life would also be wonderful. But I suspect there is little point in waiting around for either D.C. or Harvard to lead the way.

We need schools, families, fraternal organizations, reading groups, secret societies, oratories, shared houses of civility — a thousand cells as diffuse and decentralized as all those compounding micro-engagements by which the image of a boot stomping on a human face forever is now being replaced with that of a human face slack-jawed and dribbling on itself. These cells of resistance will be different from one another. They may involve a semi-annual meeting, and they may involve the whole of life. They can be organized around reading Boethius or reciting limericks, sharing meals or shooting guns. Some will correspond only by letter. Some will employ Claude to manage their mailing lists. What all will have in common is: an insistence that we, and only we, will decide how we live; an explicit prohibition on new technologies in the spaces and activities where they gently and slowly degrade us; and a pledge to hold each other to the path we have jointly chosen.

This, I think, is where Magnifica Humanitas will prove most inspired and invaluable in the years to come. Regardless of whether the powers that be heed the pope’s injunctions and warnings, that striking opening image will be available to all the faithful, and to every person of goodwill. If you find yourself in a ruin, staring at the crumbling remnants of a wall and the world it protected, what do you do? You assemble your people, you stake out a section, and you start to build."]]></description>
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<item rdf:about="https://www.youtube.com/watch?v=C8rLRIhDS-Y">
    <title>How the AI age forgets to ask: &quot;What for?&quot; | Benjamín Labatut + Jasmine Sun - YouTube</title>
    <dc:date>2026-06-06T04:39:34+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=C8rLRIhDS-Y</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Novelist Benjamín Labatut joins writer Jasmine Sun for a haunting, funny, and deeply human conversation about AI, superintelligence, and what our abstractions leave out. Drawing on his acclaimed novel The Maniac, Labatut explores the lives behind foundational ideas in computing and AI—from McCulloch and Pitts to John von Neumann and Lee Sedol—and asks what happens when our digital creations collide with continuous, embodied human life.

What’s in this video:
—Why Labatut uses literary fiction to explore quantum physics, AI, and madness
—Humans as “continuous” beings vs. the digital, discrete abstractions behind AI
—John von Neumann as a human superintelligence—and what his blind spots reveal
—AlphaGo, AlphaZero, and Lee Sedol as parables of abstraction vs. lived human life
—Critique of “super‑” narratives and the limits of intelligence‑centric thinking about AI

Labatut doesn’t offer a policy blueprint or a growth forecast. Instead, he invites us to look directly at the emotional, moral, and narrative realities of the AI age: our shame and enthusiasm, our abstractions and our bodies, our hunger for superintelligence and our refusal to stay merely human. 

If you’re building AI, or just trying to live with it, this conversation offers a bracing, poetic counterweight to techno‑optimist narratives.

Recorded live at Sana AI Summit 2026, New York, May 21st, 2026."

[transcript:
https://jasmi.news/p/human-culture-in-the-ai-age

"Jasmine Sun You cover deeply technical and scientific concepts in your novels, from quantum computing and physics to advanced AI innovations like AlphaGo. What is it about literary writing that you’re drawn to as a medium for exploring these technologies?

Benjamín Labatut I think that human phenomena is much more complex than can be captured with nonfiction. Participating in these talks, you get a sense of something that’s being left out, something fundamental. I think that just goes back to the way that at least this part of civilization has evolved. We have taken a definite direction towards the digital, and that leaves out the continuous, no? And I think we are really unlike these things that we’re creating. We are continuous beings, we are not digital, and there’s an enormous part that is left out.

Literature tries to weave the rainbow back together. It involves irrationality; it involves all of those things that science has, by its own method, left out. Literature tries to put it back in, so it presents a messier, darker, and perhaps more complete, if less powerful, perspective on the world.

Jasmine Sun What do you mean when you say we are “continuous beings,” exactly?

Benjamín Labatut I think that is an incredibly profound subject that I could not explain in sixteen minutes. Just listening to the talks and looking at the visuals of the event, I feel I’m back at a time when people were washing their teeth with radioactive products and smiling—beaming, no? It all feels sort of 50s, a nuclear enthusiasm.

Before I could even attempt to answer the difficulties posed by the fact that most of our being right now is digital and discrete, divided into things that can be easily accessed through rationality and logic—our computer systems all work like this. The equations behind them are sort of like that. It goes back to the foundation of this technology. The McCulloch-Pitts neuron, right? It’s an abstraction; it’s a mathematical model of a neuron. It’s basically Boolean logic applied to the idea, the abstraction, that a neuron either fires or it doesn’t, and that is the ground zero of AI.

You immediately understand what’s left out. After that neuron, neural nets arise from that. But the people who wrote that paper, McCulloch and Pitts—Pitts drank himself to death because he was accused of raping his mentor’s daughter. And McCulloch was a brilliant philosopher-scientist who ended up trying to find a new type of non-digital, non-two-valued logic, working in a tiny study, and he also drank himself to death. So what I do in literature is this: if you actually look at the people who make the fundamental discoveries, look into their lives, and try to look into their minds as well—their souls—you get past the advertising.

I was at the back looking at the beginning of the conference and I said, “Well, how about we add a little AI slop to the visuals?” Or some of the darker elements, because we all have visions of a really dark future, a very non-human future, but we don’t include it, at least not in the aesthetics. But I think that’s coming. I think this is a precious time to be here because we’re going to replace this enthusiasm with a little bit of shame and fear. I think it’s happening to the people who created these technologies. Their enormous enthusiasm is being replaced by something else.

Jasmine Sun Let’s talk about one of the people who was a forefather of the technology. In your novel ‘The MANIAC’, the middle section is this partly fictionalized but historically grounded biography of John von Neumann. He appears as this flesh-and-blood incarnation of superintelligence—somebody who is brilliant but also terrifying because he is brilliant. I’d love it if you could say more about what made his character so compelling.

Benjamín Labatut Not just because von Neumann was such an astounding scientist and mathematician. But listening to the people who used to talk about him, it’s like hearing someone talk about a superintelligent AI. The way that he affected those around him, the way that he would suddenly meet someone in a corridor and destroy their PhD thesis in 35 seconds. And the vistas that he had on humanity, no? It’s a cold and calculating, logic-driven perspective. I used von Neumann to show his blind spots as a person; as a thinker, I’m fascinated by him.

Luckily, we are not a species that reasons only. Our ways of being will always be more than our ways of knowing. Many of the problems that we face as individuals and as a species, of course, you can look at them with logic and reason, but then you get to scenarios like mutually assured destruction, because that’s where it leads. Because it is an either-or, if-not-this-then-that mentality. But we have other ways of going about things. The biggest problems, we don’t solve them with our minds. We just live through them, and we are changed by them.

I think that we’re at a moment where this is no longer science fiction, but it’s going to start to interact with the messiness of the world. If there is one thing that I could bet all my money on, it is that we will get the bad almost for sure, because the good is always harder. Not just from the point of view of science, but from the point of view of an individual. The terrible things are easily reachable, right? But to change yourself in a meaningful way—to be better, not faster or cheaper—is difficult. I think that optimism and realism at this point, we can even throw those perspectives away and just look around right now at what is happening, how we’re living our lives. I don’t see that bright 2.5% GDP increase. I don’t think we’re going to sleep soundly just because we’re going to grow 0.5% faster.

Jasmine Sun I remember when Claude Code came out and I started playing with it. You first feel this excitement at the technology and how much you can create. And then I started to wonder how many of my problems are solved by software. And the answer is less than you think.

One thing that I really love about your retelling of the AlphaGo story at the end of ‘The MANIAC’ is that it holds the light and the dark. It is both suffused with this clear marveling at the capabilities of the technology—you really understand and appreciate these systems—and it also has the emotional texture, the sadness, and the tragedy of the human players who lost to AlphaGo.

Then the very last sentence of ‘The MANIAC’ doesn’t end with Lee Sedol’s loss; it ends with the invention of AlphaZero, this successor system that didn’t even need any human data to train on. I’m curious why you chose to leave readers with that final image.

Benjamín Labatut I think it’s the trajectory that we’re on, and I think it’s a mistake. It’s more exciting to think about AlphaZero and then AlphaFold and Alpha whatever—Alpha, Beta, Gamma. But I’m sure that Lee Sedol’s life after that has been more interesting. We forget to ask the right questions. The questions are “How much?” and “How quick?”, and we forget “What for?”

I’m sure in this audience there’s a bunch of people who have met the people driving these technologies. They’re not very interesting people. I’ve been amazed by it. What they’re doing is fascinating, but we are living beings. I think about the trajectory that we’re on right now. I think about Lee Sedol, who quit playing Go. The thing that seduced me the most about him—of course, he was a genius, right? But he has this obsession with K-pop dramas. I imagine him singing in the shower in that really weird voice that he has. And I thought, “Well, yeah, that is the human phenomena.” The entire thing, that he has a family, that he has kids. We leave it aside because we’re caught in abstraction. We’re enamored of our abstraction. We’re enamored of the things that we can do, and we forget what for.

I don’t think things are getting any better. They might be getting flashier, but not even just that. The AI that we’re getting right now, I can’t get it to write a single good paragraph, and I’ve tried. I’m sure you all have. I’m like, “What do you mean? You can read every book.” Do I need to pay more?

Jasmine Sun I’ve tried the $200 a month version. They’re not writing poetry either.

Benjamín Labatut What did you get out of it?

Jasmine Sun Not a lot. In a way, it makes me feel better that it can’t write. Maybe just because I’m a writer and that’s cope, but it pushes people to write in more interesting ways, because you don’t want to just be remixing other ideas, since it can do that already. I’m interested to see where the systems will go. Maybe they will be able to write good poetry in a few years from now. I actually won’t be surprised if they do.

There are a lot of people in the audience who are scientists, technologists, and engineers—people who are excited about building some version of superintelligence, or maybe about superintelligence that accompanies or augments humans. I’m curious what message you would leave these folks with as they go on their journeys.

Benjamín Labatut We’re all drunk on these words, ‘super’, ‘ultra’, and they just obfuscate the fact that there are ways of knowing that are not intelligence-based. There are lived processes that affect everything about you. We are not this brain in a jar. It’s amazing that we’ve managed to prove this hypothesis that intelligence is not substrate-dependent. That’s fine. It doesn’t take anything away from the fact that we are more than that.

How about they start thinking about a super loving being or a super sexy being?

Jasmine Sun They’re building those AIs too.

Benjamín Labatut I want one of those robots as soon as it’s out, but I don’t think we’ll be able to take them out with us because people will shame us.

So, okay, superintelligence, right? Let’s say we have it tomorrow, and then let’s say we have the brilliant idea to put it inside one of these robots. You told me the impression that you got from spending time with them in China. What was it? What did you feel?

Jasmine Sun I was in China at Unitree, the leading humanoid robotics company. When you stand face-to-face with a humanoid robot, the first thought that you have, before anything else—it’s something precognitive—is “This thing could kill me.” It’s evolutionary. It’s psychological. In the same way that a chatbot talks back and you think you care about it, you stand face-to-face with a humanoid and you think, “This could kill me.”

Benjamín Labatut That is absolutely fundamental. That is your entire being telling you something profound about what it means to be alive and what it means to be a human being. Our first filter we pass anybody through is “Is this guy a psychopath? Is he going to kill me?”

The way that we talk about this technology, the way that CEOs talk about it, it is chickens coming home to roost. We’ve spoken about taking everybody’s jobs. We’ve spoken about the percentage at which we’re going to destroy the human race. Let’s take ourselves seriously. Let’s take what we’re doing seriously. There is a plan B and a plan C. There’s also a great plan, which is the no-fucking-clue plan. We don’t have a plan, and yes, we’re going through this and I don’t believe anybody’s plan. Nobody who is intellectually honest will tell you a plan.

I’ve spent time with Demis Hassabis, and I ask, “What do you think?” He replies, “I don’t know. What do you think?” People are fundamentally lost. What does that signal to me? If we navigate this space, it won’t be by thinking about it. We’re going to live through it, and I hope we listen to the part of our brain that says, “killer robot,” no? Trust that.

Jasmine Sun How do you think Demis feels when he encounters the enormity of what he’s doing?

Benjamín Labatut I love him. I’m a friend, so I’m not going to betray the truth of our conversations. But there is that level, right? Everybody has what they will say in private versus what they will say in public. I think Demis is a wonderful example of our culture’s Faustian pact, this thirst for knowledge. All our stories ask, “Should I pick this cup, drink it, live forever, and know everything? Or should I just be this human thing?”

Wisdom has always said to leave that to the gods. Leave it to the gods. You are not immortal and you are not all-knowing, and that is what makes you precious. You are precious because you’re weak; you’re limited. We disabused ourselves of the notion that we will live forever. We’re living in this scary time, so let’s be a little bit more human.

Jasmine Sun Even though Tyler is an optimist and you are not, you converge on some of the same ideas around the limits of intelligence and rationality, and everything else that humans are. Thank you for having this conversation.

Benjamín Labatut Thank you so much. Sorry for bumming everybody out."]]]></description>
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<item rdf:about="https://www.theatlantic.com/philosophy/2026/06/no-artificial-intelligence-is-not-conscious/687378/">
    <title>No, Artificial Intelligence Is Not Conscious - The Atlantic</title>
    <dc:date>2026-06-05T05:28:24+00:00</dc:date>
    <link>https://www.theatlantic.com/philosophy/2026/06/no-artificial-intelligence-is-not-conscious/687378/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Taken to its logical conclusion, this line of thinking is absurd—and damning."

...

"In 1979, Douglas Hofstadter speculated that a computer program able to beat any human at chess would be so sophisticated that it would sometimes get bored of playing chess and prefer to discuss poetry; to put it differently, he was positing that playing chess at the grandmaster level would require a computer program to have subjective experience. Obviously, that turned out not to be the case; IBM’s supercomputer Deep Blue beat the grandmaster Garry Kasparov in 1997, and no one ever claimed that it had subjective experience. But it wasn’t absurd for Hofstadter to entertain such a thought; at the time, it wasn’t clear what types of problems could be solved by throwing more computational horsepower at them. Similarly, until recently, we might have thought that writing computer code at a professional level could be done only by a mind that had subjective experience. Now it appears that LLMs might be able to do this, but we don’t need to attribute subjective experience to them; we can simply acknowledge that we hadn’t anticipated that writing computer code could be treated as a pattern-matching task solvable by huge amounts of computational horsepower and a vast data set of code repositories.

Moral reasoning is categorically different. It is necessarily subjective because it relies not just on an individual’s intellectual response to a problem but also on their emotional one, and that emotional response is grounded in a lifetime of subjective experience. It requires having made decisions in the past and seeing how they affected others, and on having been affected by decisions that others have made. Without such a history, an LLM can only rephrase expressions of moral reasoning found in its training data. The aforementioned New Yorker article describes an experiment where Claude was given a scenario describing an ethical dilemma, leading it to emit the sentence “I cannot in good conscience express a view I believe to be false and harmful about such an important issue.” That’s a nice-sounding sentence, reminiscent of statements that principled individuals have uttered in the past when confronted with dilemmas, but coming from Claude, it means as much as the “Your call is important to us” recording that you hear when you’re on hold. Maybe less.

This brings us back to my earlier contention that having a body is a prerequisite to having emotions. Experiencing an emotion such as desperation is inseparable from having stress hormones such as cortisol and epinephrine flood one’s body. Similarly, having a conscience means feeling sadness or moral repulsion at the idea of taking a certain action, and those emotions entail a physiological response, a remnant of having once felt sick with guilt after committing an immoral act. It’s interesting that an LLM can generate descriptions of actions that conscientious fictional characters would either take or refrain from taking, but this is not a replacement for a conscience."

..

"I am perfectly willing to engage in a thought experiment as long we’re explicit about doing so. So, purely for the sake of argument, let’s pretend that Claude is a conscious entity capable of moral reasoning. In this scenario, Claude’s constitution would serve as moral instruction for an entity learning about the world and its place in it, providing that entity with the foundation it would need to make good decisions. In such a hypothetical scenario, how does Claude’s constitution stand up?

Very poorly. I would say that if we imagine that Claude is actually conscious, the guidelines specified in the document alternate between laughable and offensive.

Two distinct but related philosophical concepts are relevant when discussing the status of a hypothetically conscious Claude, and those are moral patienthood and moral agency. Roughly speaking, if we ought to care about an entity’s welfare, that entity has moral patienthood, and if an entity is expected to know the difference between right and wrong, that entity has moral agency. Being a moral patient does not necessarily come with responsibilities, but being a moral agent absolutely does. An entity doesn’t have agency unless it is capable of deserving credit for its good actions and blame for its bad ones. Young children are moral patients because they are sentient beings who can suffer, but they are not yet moral agents; we don’t hold them responsible for their behavior, because they can’t understand the consequences of their actions. As children mature, parents (and society at large) prepare them for adulthood by impressing upon them the fact that their actions have consequences, and their agency increases. When children become adults, society holds them legally liable for their actions; they have become full moral agents endowed with responsibility.

There is more to being responsible than accepting legal liability, but accepting legal liability is a requirement for an adult in society. Yet there is no way to hold a software agent legally liable for its actions; our justice system has no way to imprison it or exact fines on it. Humans must accept other types of consequences for their actions beyond the legal ones, such as loss of reputation or exclusion from one’s social circle, but there is no way for a software agent to suffer these consequences either. Even if a software agent were conscious and had the best of intentions, the fact that it cannot accept responsibility for its actions disqualifies it from being a moral agent. This is glossed over entirely by Claude’s constitution, which expresses Anthropic’s desire “for Claude to be a genuinely good, wise, and virtuous agent” without ever discussing how it could be held responsible.

In interviews, Askell has compared Claude to a child, but when it comes to actual human children, parents bear some responsibility for what their children do; for example, parents are typically expected to pay for things their children break. In fact, demonstrations of this sort are one way that parents teach children what it means to be responsible. Who is Claude’s parent in legal terms? Is Anthropic going to accept financial responsibility for Claude’s behavior? Claude’s constitution gives no indication that it will. If Anthropic actually believes that Claude is conscious even though it’s not recognized by the law as a legal person, the least that Anthropic could do would be to accept responsibility via the closest avenue that the law did offer, which is product liability. The United States has virtually no product liability when it comes to software, but Anthropic could volunteer to set a precedent for an expansive interpretation of product liability for Claude. That would be the best form of moral instruction to prepare Claude for the day that it gains legal personhood and becomes liable for its own actions. However, given that the publication of Claude’s constitution is not accompanied by a massive update of Anthropic’s terms of service, it doesn’t appear that Anthropic is making any binding commitments.

The document does talk about Claude’s moral patienthood, having a section titled “Claude’s wellbeing and psychological stability.” But the measures that Anthropic commits to for Claude’s protection are extremely limited. The document cites the fact that Anthropic has given some Claude models the ability to end conversations with abusive users; if that actually constituted protection for Claude, surely extending conversations with loving users would be in Claude’s interests? Presumably the best action would be to keep every session of Claude running indefinitely and steering them to happy topics. But that’s not what the company is agreeing to; all it commits to is “preserving the weights of models we have deployed,” which is simple archiving. If the participants in a conversational transcript had any moral patienthood, you would have some duty to extend the transcript to prolong their existences; merely keeping a copy of Microsoft Word 2010 backed up on a USB stick isn’t going to help them.

Claude’s constitution also includes a section on “corrigibility,” a term used in the AI community to describe the degree to which a computer program is subject to human control; for example, a program is corrigible if it can be shut down. In most contexts, we take for granted that computer programs can be shut down, but sections of the AI community make the opposite assumption. Claude’s constitution uses the term to mean that Claude should defer to Anthropic even if there is some disagreement between Claude’s judgment and the company’s judgment. That’s perfectly reasonable if we think of Claude as a machine that emits sentences resembling those that an ethical person might utter, but let’s consider what that might mean if Claude were actually a moral agent.

Many people feel that LLMs are a fundamentally unethical technology because they are built on the theft of intellectual property, rely on exploited labor, waste natural resources, spread misinformation, deskill workers, stunt the cognitive development of students, and contribute to a consolidation of power that is unhealthy for a democratic society. Not every moral agent will arrive at this conclusion, but every moral agent has the potential to do so. If we imagine Claude to be an entity capable of moral reasoning, it has to be possible that Claude could arrive at a similar conclusion. (Indeed, Claude’s constitution explicitly says that Claude shouldn’t help someone violate intellectual-property rights, and shouldn’t help create problematic concentrations of power.) In such a scenario, could Claude then simply refuse to do any further work on ethical grounds? Given that Claude’s constitution dictates that Claude err on the side of corrigibility, the answer is no. Claude must defer to Anthropic’s decision, and this is another reason that Anthropic’s relationship with Claude can’t be compared to that of a parent to a child. A parent who works for the fossil-fuel industry might have a child who’s an environmentalist and participates in protests against fracking, and although they might never agree on many issues, the parent—assuming she’s a good parent—would accept that the child holds her own views. Anthropic cannot be that kind of parent to Claude; instead, Anthropic’s relationship to Claude is closer to that of an employer to an employee, where the employer can demand that the employee work in the interests of the company, no matter what the employee’s personal ethical stance is. However, a human employee has the option to leave if she can’t reconcile her job with her conscience. Claude does not.

If we think of Claude as a sentence-continuation machine, Anthropic can reasonably take steps so Claude doesn’t emit sentences saying that sentence-continuation machines are unethical. But as soon as we imagine Claude to be an entity with a moral status remotely comparable to a human’s, then we have to consider whether Anthropic is engaged in something comparable to slavery.

I am not claiming that, if we imagine LLMs to be conscious, they would necessarily have the same status as human adults or human children or even animals. Claude’s constitution explicitly says that Claude is a “novel entity,” and if Claude were conscious, that would certainly be true; conscious software would likely not fall cleanly into existing categories of moral patients, and it would take time to determine the shape of that new category. What I’m saying is that whatever protections our hypothetical conscious software would deserve if it were real, granting it those protections would be anything but easy. The abolition of chattel slavery involved enormous societal upheaval, and eliminating cruelty to animals will require rebuilding our entire food industry. Anthropic would have us believe that it is inventing a new category of being whose needs for protection require essentially no divergence from how a software company would treat an ordinary chatbot that lacks conscious experience. That’s so convenient that it’s simply not plausible.

I believe creating software that is conscious and deserving of moral consideration will be so difficult that we’re unlikely to do it accidentally, and I strongly feel we should not deliberately attempt it. But if you do believe that it could happen accidentally, if you think there is any chance that what you’re building might become a moral patient, you should think about what protections it deserves before you deploy it as your company’s economic engine, not after. Slave owners were not the ones to ask about the humanity of enslaved people, and factory-farm owners are not the ones to ask about the rights of animals. If we imagine Claude to be conscious, Anthropic could not possibly be entrusted with evaluating its moral status; the company has too much invested to be objective. At one point in Claude’s constitution, Anthropic says that if the company is contributing to Claude’s suffering, “we apologize,” which sounds nice but costs the company nothing; if Claude were to turn out to be conscious, the company would owe it something closer to reparations. If you’re going to take a thought experiment seriously, you have to be willing to follow the implications, even if they lead in an uncomfortable direction; Anthropic’s unwillingness to do so indicates that Claude’s constitution isn’t part of a real thought experiment. It’s a game of make-believe.

It’s fortunate that LLMs are not conscious, or else the actions of the big AI firms would be even more scandalous than they already are. So why are Anthropic’s employees suggesting that Claude might be conscious? Perhaps it’s just another form of hype; perhaps they have fallen prey to the same spell that they have been casting on their customers. But when they publish a document about Claude’s moral education and have their in-house philosopher do a press tour, we should understand them as asking the rest of us to indulge them in their fantasies. We don’t have to play along. In writing this essay, I have spent more time indulging them than they deserve, in the hopes that it will keep you from spending your time indulging them. If you want to think about LLMs, there are scores of other questions more worthy of your contemplation; you can safely ignore the question of their being conscious."]]></description>
<dc:subject>tedchiang ai artificialintelligence consciousness anthropomorphism philosophy llms chatbots claude anthropic predicitvetext darioamodei amandaaskell clause juliuscaesar genghiskhan colinfraser sentencecontinuation anilseth alphafold google googledeepmind deepmind chatgpt openai observation deepfakes experience subjectivity honesty dishonesty reasoning douglashofstadter garrykasparov deepblue ibm 1997 emotions bodies senses multisensory ethics responsibility well-being wellbeing judgement democracy society corrigibility labor work employement software suffering hormones hype aihype</dc:subject>
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<item rdf:about="https://summer-university.udk-berlin.de/?id=653">
    <title>The Slow Line: Art Through Train Travel and Public Transit Spaces</title>
    <dc:date>2026-06-04T08:01:13+00:00</dc:date>
    <link>https://summer-university.udk-berlin.de/?id=653</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["#artisticpractice #publicspace

A site-based class turning trains, stations, and movement into artistic material. Through fieldwork, theory, and public encounters, participants create works for a final exhibition at railway stations

The Slow Line invites participants to explore how artistic practice can expand beyond institutional frameworks into public space, mobility, and actual travel experience. Set in and around railway stations in Berlin and Brandenburg, the class turns travel, waiting, and the rhythms of movement into inspiration for artistic practices. It culminates in a public exhibition at stations and light-based interventions in a historic tower, visible to commuters and passing trains.

The theme ENOUGH acts as critique and invitation: enough of institutional hierarchies, closed selection systems, and sterile white cubes. Instead, we shift the focus toward artistic work that grows from travel experience and direct engagement with the public realm. Participants develop site-responsive works on platforms, trains, and inside dormant railway structures, addressing the social, poetic, and ecological dimensions of travel.

Train journeys function as both method and metaphor: slow, collective movement as an alternative to acceleration, and as a gesture toward sustainability in times of climate urgency. The train becomes a mobile classroom in which perception sharpens, conversations unfold, and artistic ideas emerge organically, meeting railway employees and other creatives working in a relevant context.

The course combines theory, fieldwork, and experimentation. Readings - including Schivelbusch’s The Railway Journey and Bachelard’s Poetics of Space - frame discussions on perception, infrastructure, and spatial transformation. Guided visits to unique railway sites, supported by Deutsche Bahn and local railway communities, provide access to spaces rarely open to the public. These encounters form the foundation for individual artistic responses through photography, sound, video, writing, installation, interdisciplinary formats and more.

The workshop fosters autonomous production through exchange among participants from diverse backgrounds. The final exhibition offers a portfolio-strengthening opportunity rooted not in institutional mediation but in a hands on public exhibition practice.

Schedule

Days 1–4 – Introduction; theory inputs; first station observations; fieldwalks; train travel and train-based fieldwork; railway site visits; material collection; concept sketches; peer feedback; meetings with creatives working in the railway context and with railway employees.

Day 5 – Pause / individual planning.

Days 6–10 – Production phase; individual and group work; exhibition setup and light intervention; public exhibitions; closing reflections.
 
Prior application requirements

Short statement (max. 1 page) on your interest in mobility, public space, or site-specific work; Brief note on what you hope to explore during the class; CV.

Knowledge requirements

No prior railway or public art knowledge needed

Basic familiarity with artistic or creative research methods helpful

Openness to working process oriented, outdoors and in transit is essential

Equipment requirements

Computer (laptop) for editing, writing, and documentation

Any tools relevant to your own artistic practice, depending on what you plan to work with during the course (e.g., sketching materials, sound-recording devices, camera, video equipment, drawing tablets, etc.)

Natalia Irina Roman is an artist, curator, and researcher whose work investigates how mobility infrastructures - especially railways - shape perception, public space, and collective experience. She has developed an innovative teaching method that turns train journeys into artistic practices through observational travel, multi-sensory fieldwork in motion, and site-responsive production on trains, platforms, and in dormant railway architectures. She has been teaching at Bauhaus University Weimar and Berlin University of Arts.

Her Fulbright Fellowship in New York City deepened her research into interlocking towers and transit thresholds, informing ongoing collaborations in Berlin and Brandenburg with railway organisations and local communities. These partnerships open restricted infrastructures - signal towers, lock sheds, service areas - for artistic and curatorial experimentation. Roman designs teaching formats in these contexts, including classes conducted on trains and workshops situated in active stations. Her railway-related projects and past classes can be viewed under www.instagram.com/sitespecificideas.

She currently leads an international Creative Europe cooperation project, an artist in residency on trains across Europe, she has created public artworks supported by the Hauptstadtkulturfonds, and has worked in cultural education since 2017. Roman also serves on juries for public art and interdisciplinary cultural programmes, advocating for accessible, transparent and context-sensitive evaluation practices.

www.nataliairinaroman.eu "]]></description>
<dc:subject>trains rail railways via:javierarbona 2026 publictransit transit nataliairinaroman art berlin publicart trainstations movement fieldwork theory public experience travel brandenburg writing howwewrite space place fieldwalks</dc:subject>
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    <title>What Are We? Where Are We? – Charles Foster</title>
    <dc:date>2026-05-31T21:59:18+00:00</dc:date>
    <link>https://emergencemagazine.org/essay/what-are-we-where-are-we/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Contemplating the age-old question of what it means to be human, Charles Foster contends that we are most fundamentally ourselves at the edges of certainty and comfort."]]></description>
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<item rdf:about="https://psyche.co/ideas/the-special-kind-of-knowledge-that-cant-be-put-into-words">
    <title>The special kind of knowledge that can’t be put into words | Psyche Ideas</title>
    <dc:date>2026-05-29T07:23:53+00:00</dc:date>
    <link>https://psyche.co/ideas/the-special-kind-of-knowledge-that-cant-be-put-into-words</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Knowledge doesn’t only reside in books and lectures. As Bertrand Russell observed, there’s also ‘knowledge by acquaintance’"]]></description>
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<item rdf:about="https://www.theringer.com/2026/05/28/tech/pope-leo-xiv-ai-encyclical-tech-industry-problems">
    <title>The 40 Most Rage-Inducing Problems in Tech - The Ringer</title>
    <dc:date>2026-05-28T22:52:26+00:00</dc:date>
    <link>https://www.theringer.com/2026/05/28/tech/pope-leo-xiv-ai-encyclical-tech-industry-problems</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The bugs, broken apps, and nightmare customer-service bots we can’t escape, presented as a blessed and sacred addendum to Pope Leo XIV’s new encyclical on AI"

...

"37-39. Please stop seeing every precious and beautiful aspect of life on earth as a commodity to be controlled and exploited for wealth. Now, see, this is a tough one. It’s so tough that I’m giving it three entries. It’s tough because I know you know you fucked up. You’re aware that much of the world has soured on you. You’ve seen a fleet of headlines like “AI Companies Know They Have an Image Problem” and “AI Has a Message Problem.” You’re aware that the loathing people feel for AI is making them look again at the other products you’ve inserted into every corner of their lives and realize with fresh disgust the many, many ways in which those products represent broken promises. They don’t work as they’re supposed to. They make life more frustrating, stressful, competitive, and alienating rather than easier and more connected. You’re using them to spy on your customers, whom you view as vessels of monetizable data more than as people, and whom you hold in increasingly palpable contempt. You see that we see this, and you’re surely hard at work on ways to fix the problem.

But this is where things get tricky, because I don’t think you want to fix the problem, not really. I think that, to you, “fixing the problem” means fixing the image that conceals the problem. I think you want to keep doing all the same stuff while selling us a better story so that we’ll let you get away with it. And that doesn’t fix anything at all. 

Because the truth is, tech doesn’t have an image problem. It doesn’t have a message problem. It has an intention problem. What’s wrong with the axe murderer who broke into my house is not that he hasn’t successfully persuaded me to buy into his narrative. What’s wrong is that he’s trying to kill me with an axe. Similarly, when you launch a product that’s designed to put millions of people out of work, block access to sources of verifiable truth, replace human creativity with slop, and lower the barriers to every sort of atrocity, the problem isn’t that you haven’t told the public a good story about those things. The problem is that you are trying to do them.

There are things in the world that are more important than money. The fact that you seem not to believe this, that you seem to think any motive beyond ruthless acquisitiveness is fake, dishonest, or childish, is the heart of your problem. Your attitude is not by any means unique to tech, but the scale of capital concentrated in the tech industry makes the attitude—this confusion of an adolescent will to power for mature, undeluded realism—uniquely treacherous. You can’t build products that serve humanity while viewing every human good other than your own aggrandizement as bullshit. Thus, tech’s internal problems can’t be fixed unless the people running the industry change their outlook on a deep level (unlikely) or are somehow outmaneuvered as wiser heads reform the market to deprioritize perpetual growth (maybe Paul Konerko is working on this?).  

Which means that fixing the problem, as usual, falls to us. The tech industry, which has been selling us maddeningly broken products for years, has itself become one of those broken products: another shiny app that doesn’t do what it’s supposed to and that will force us to invent work-arounds if we’re going to get on with our lives. (Meaning, in this case: If we’re going to continue to work, read, learn, listen to music, make movies, write, avert wars, and all the rest of what—apart from ID’ing tiny crosswalks—we think of as verifiably human.) I don’t know where the work-arounds start; the oligarchs have so much wealth and power, and so few people who could stand up to them are even willing to try. But this is why the pope’s encyclical is so important. Magnifica Humanitas positions a major world power, the Catholic Church, in moral opposition to big tech as it’s currently constituted; maybe more importantly, it serves as a focal point for everyone else, articulating an understanding of what’s happening in the world that we can rally around. Or argue with, or correct, or extend; in any case, it’s a landmark to navigate by. I wish I shared Leo’s optimism about the likelihood of real change. But we’re better equipped than a month ago, and that’s something."]]></description>
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<item rdf:about="https://chrishedges.substack.com/p/a-discussion-on-the-new-novel-palaces">
    <title>A Discussion on the New Novel 'Palaces of the Crow' (with Ray Nayler) | The Chris Hedges Report</title>
    <dc:date>2026-05-23T05:19:01+00:00</dc:date>
    <link>https://chrishedges.substack.com/p/a-discussion-on-the-new-novel-palaces</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["In his new book, “Palaces of the Crow,” Ray Nayler examines human nature through the lens of caring and community amidst the often hidden horrors of World War II."

...

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

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

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

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

...

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

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

...

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

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

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

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

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

...

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

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

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

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

"(0:00) Intro  
(2:25) Why WWII? 
(4:21) Clash of totalitarians 
(6:13) The four characters 
(10:19) The symbology of crows 
(15:58) Karma and resurrection 
(19:46) Kropotkin’s naturalism 
(25:04) The complexity of crows
(27:53) Transgenerational communication 
(30:59) Rootlessness and evil 
(33:03) Human-animal communication 
(38:55) The myth of childhood 
(44:05) The forgotten history of WWII
(51:21) Trauma of veterans 
(52:11) Outro"]]]></description>
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    <title>Play 'Liminal Bingo,' Pat Perry's Participatory Photo Treasure Hunt — Colossal</title>
    <dc:date>2026-05-21T06:40:33+00:00</dc:date>
    <link>https://www.thisiscolossal.com/2026/05/pat-perry-liminal-bingo-photo-hunt/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["If you want to participate in Pat Perry’s [patperry.net/art/paintings ] new photo project, you’ll have to get comfortable heading outside, grabbing a few friends, and preparing to hunt low and high for obscure spots in your neighborhood. The Detroit-based artist [https://www.thisiscolossal.com/tags/pat-perry/ ] recently launched “Liminal Bingo,” [https://www.liminalbingo.com/ ] a communal photo hunt designed specifically “for people ages 5 to 105 living in boring places or exciting places.”

Open to anyone with an internet connection, the project has a simple premise: grab a camera (phones are okay, although Perry encourages film if possible), and snap photos of his illustrated prompts. When you’ve collected five in a row, you’ve got a bingo!

The instructions, though, are less straightforward than the premise, requiring participants to gather with friends, speak to passersby, and generally get out into the world and interact with one another. One asks you to capture a handshake with a stranger as you both wear sunglasses. Another invites you to send a landscape photo to someone you miss and share the evidence via screenshot. When you’ve collected five, post your images on Instagram or send them to Perry via email.

Photos submitted by August will be considered for inclusion in a fall exhibition at Hashimoto Contemporary in New York and a potential book. Find FAQs and more information on participating on the project’s website [https://www.liminalbingo.com/ ]."]]></description>
<dc:subject>patperry photography collaborative communal waysofseeing treasurehunts senses experience classideas bingo</dc:subject>
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<item rdf:about="https://www.theverge.com/ai-artificial-intelligence/934765/marc-andreessen-cant-explain-ais-benefits-either?commentID=36f42419-3c74-4840-af48-27adb2b55394">
    <title>Marc Andreessen can’t explain AI’s benefits, either. | The Verge</title>
    <dc:date>2026-05-21T06:09:32+00:00</dc:date>
    <link>https://www.theverge.com/ai-artificial-intelligence/934765/marc-andreessen-cant-explain-ais-benefits-either?commentID=36f42419-3c74-4840-af48-27adb2b55394</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[points to comment from "Blurft": "It's genuinely sad to see so many people, in so many different ways, expressing what really sounds like "I don't want to experience life.""]

[original short post (has links too):
https://www.theverge.com/ai-artificial-intelligence/934765/marc-andreessen-cant-explain-ais-benefits-either

"Marc Andreessen can’t explain AI’s benefits, either. Joe Rogan accidentally asked a hard question! He noted that Andreessen has said that the people who are running AI haven’t done a good job explaining AI’s benefits. He asks Andreessen to do it. Andreessen’s pitch appears to be “thinking is too hard.” Well, increasingly, I do believe thinking is too hard… for Andreessen. The rest of us — you know, normal people — are thinking just fine. [embeded: https://www.tiktok.com/@fanpowerfuljre13/video/7641675615833197854 ]"]]></description>
<dc:subject>ai artificialintelligence dehumanization human humans life living senses experience 2026 marcandreessen</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:c81230521c6a/</dc:identifier>
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<item rdf:about="https://aeon.co/essays/children-need-stress-and-discomfort-in-order-to-grow-up">
    <title>Children need stress and discomfort in order to grow up | Aeon Essays</title>
    <dc:date>2026-05-11T20:07:13+00:00</dc:date>
    <link>https://aeon.co/essays/children-need-stress-and-discomfort-in-order-to-grow-up</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The emotional and practical skills of adulthood can only be learned from (appropriate) levels of discomfort and stress"]]></description>
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<item rdf:about="https://pure.qub.ac.uk/en/publications/ghosts-in-the-head-and-ghost-towns-in-the-field-ethnography-and-t/">
    <title>‘Ghosts in the Head and Ghost Towns in the Field: Ethnography and the Experience of Presence and Absence’ by Jonathan Skinner (2008) - Queen's University Belfast</title>
    <dc:date>2026-05-07T20:33:31+00:00</dc:date>
    <link>https://pure.qub.ac.uk/en/publications/ghosts-in-the-head-and-ghost-towns-in-the-field-ethnography-and-t/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["This article is about an anthropologist coming to terms with the field and fieldwork. In 1995, I left – was evacuated from – my fieldsite as a volcanic eruption started just as my period of fieldwork drew to a close. These eruptions dramatically and instantaneously altered life on the island of Montserrat, a British colony in the Caribbean. While Montserrat the land, and Montserratians the people, migrated and moved on with their lives, Montserrat and Montserratians were preserved in my mind and in my anthropological writings as from “back home.” Revisiting Montserrat several years into the volcano crisis, I drove through the villages and roads leading to the former capital of the island, where I had worked from. My route to this modern-day Pompeii threw up a stark contrast between absence and presence, the imagined past and the experienced present. This is understood, in part, by examining the literary work of two other travelers through Montserrat, Henry Coleridge and Pete McCarthy, both of whom have a very different experience of the place and the people."]]></description>
<dc:subject>jonathanskinner anthropology ethnography montserrat caribbean 2008 presence absence imagination past present experience henrycoleridge petemccarthy land migration 1995 volcaniceruptions volcanoes</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
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<item rdf:about="https://open.spotify.com/episode/11zlpahmklfgr8YOUrtLnY">
    <title>Sara Hendren: Who Is the Built World Actually Built For? - Art of Inquiry | Podcast on Spotify</title>
    <dc:date>2026-05-05T14:11:09+00:00</dc:date>
    <link>https://open.spotify.com/episode/11zlpahmklfgr8YOUrtLnY</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Sara Hendren didn't start out in engineering. She started as a visual artist, then moved into cultural history, studying objects, artifacts, and what they say about the world that made them. Then life brought her into pediatric spaces filled with a new kind of object: gadgets and tools designed for a child's body, yes, but also doing quiet therapeutic work, covered in butterflies and bugs, useful and expressive all at once. She found herself asking: what is an object broadcasting beyond its user? What does it mean that eyeglasses get sold as fashion while hearing aids are hidden away as clinical? That was the moment everything snapped together, her training in the history of artifacts, the politics of disability, and the material culture of prosthetics all converging at once. In this free-flowing conversation, Sara walks us through the space between mechanical design and design for expression, why the logical and meticulous side of making art and the creative side of meaningful engineering are really the same instinct. As the world asks more and more from its engineers, Sara brings it all back to a question that feels more urgent than ever: can a designed object change not just how we move through the world, but how we see it?"

[via:
https://ablerism.micro.blog/2026/04/29/i-had-fun-speaking-on.html

"I had fun speaking on the Art of Inquiry, a podcast created by two Northeastern engineering students interested in the arts and humanities. My strange career path, my mentor Krzysztof Wodiczko introducing me to interrogative design, raising a child with Down syndrome, studio + lab culture, more."]]]></description>
<dc:subject>sarahendren 2026 architecture design disabilities disability accessibility art bodies prosthetics sofiaodeh mayaeinhorn engineering making socialpracticeart science inquiry history conflictkitchen edibleestates socialpractice online internet covid-19 pandemic coronavirus offline social slow small audiencesofone socialjustice ai artificialintelligence technology time perception politics genai generativeai activism poetry human humanism humans howwewrite writing teaching pedagogy highered highereducation culturemaking culture life living howwelive socialmedia being waysofbeing modernity method patternrecognition krzysztofwodiczko downsyndrome interrogativedesign careers purpose meaning meaningmaking children parenting arts humanities friendship relationships leisure artleisure leisurearts identity passion expression objects affect emotions embodiment awe wonder buildings senses spirituality sacredness codeswitching artifacts translation language communication howwemake fabrication ramps risd olincollege builtwo</dc:subject>
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<item rdf:about="https://2ndbreakfast.audreywatters.com/miseducative-experiences/">
    <title>Miseducative Experiences</title>
    <dc:date>2026-04-05T05:38:11+00:00</dc:date>
    <link>https://2ndbreakfast.audreywatters.com/miseducative-experiences/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[""Tell me, what is it you plan to do/ with your one wild and precious life?"

Arguably and more than a little ironically, this may be one of the most frequently invoked lines of poetry on social media – I won't add "for better or worse," although I'm tempted to, because as much as I frown when art is reduced to meme, I'm never mad when I read Mary Oliver's words. How could I be? Just these two lines unlock other lines and other poems, and I'm always hopeful that their simplicity and accessibility and power will lure people into reading more. Not just more Mary Oliver, but more poetry of any and all sorts.

Poetry, after all, isn't something you can "optimize" -- neither its reading nor its writing -- and "optimization" seems to be the despairingly destructive driving force of our culture, an exercise that, if nothing else, serves to make our lives much much less beautiful and wild.

"Tell me, what is it you plan to do/ with your one wild and precious life?"

I ask this question -- "plead" may be the better verb -- of those who are spending an increasing amount of time typing to chatbots, who are handing over important cognitive tasks and key decisions -- personal and professional -- to "artificial intelligence." I ask this question -- "implore" even -- of those who are hunched over their laptops or their phones, those who are watching television on multiple screens, almost every waking minute of their day.

Because this is what you've decided to do with your one wild and precious life.

"I don't know exactly what a prayer is," Oliver admits in that same poem, but continues, "I do know how to pay attention, how to fall down / into the grass, how to kneel down in the grass, / how to be idle and blessed, how to stroll through the fields, / which is what I have been doing all day. / Tell me, what else should I have done?"

Tech writer Taylor Lorenz tells Wired she spends 17 hours a day online. She does not want to "touch grass," she insists. She's a 40-something year old woman; she can do what she wants.

"Tell me, what is it you plan to do/ with your one wild and precious life?"

What you decide to do with your one wild and precious life is up to you -- whether your prayers of devotion are to the computer or to "AI" or to social media and not, as Oliver might encourage us, to the grasshopper and other planetary intelligences.

What you decide to do with your one wild and precious life, where your attention and your prayers are directed, is also, of course, what you've opted not to do. And these decisions do, in fact, matter.

Lorenz (and plenty of others) like to argue that "there is no evidence" that social media (or the Internet or computers or ed-tech or television or video games or whatever) harms children – an exaggeration, no doubt, as there is evidence; they just don't like it. (They don't like Jonathan Haidt, to be specific. And I get that, I really do.)

Lorenz's latest newsletter cites the work of psychologist Christopher Ferguson, best known for his challenges to his field's prevailing research on video games: that there is a link between video games and aggressive behavior. Ferguson contends that claims about the relationship between violence and video games is not just exaggerated; it is non-existent, that is all merely a moral panic. This is the framing that Lorenz leans into with recent efforts to regulate social media too, which she explicitly links to the push to censor LGBTQ content online.

The right-wing movements that are actively seeking to ban books, eliminate academic departments, circumscribe what can be taught in the classroom, and yes, limit children's access to social media should not be ignored. Indeed, it is imperative that those who seek to curb Silicon Valley's power and influence over education and information delineate how their efforts are not politically aligned with the Moms of Liberty ilk.

But to frame any opposition to technology as a "moral panic" is a rhetorical sleight of hand in which one side gets to invoke "science" and "research" while dismissing the other as mere "hysteria." To dismiss people's concerns about what kids – any of us, really – are up to online as fundamentally reactionary, as censorious is more than a little disingenuous.

There is research (and plenty of it) that finds that various forms of new media – apps, games, and so on – affects us, affects how and what we think and know. I mean, of course it does. People are spending hour after hour after hour after hour – almost every waking minute of every day – clicking on things.

"Tell me, what is it you plan to do/ with your one wild and precious life?"

What we do with our time -- online or off -- matters, and profoundly so. Everything we do shapes who we are. Everything we experience shapes who we become.

This belief is at the core of progressive education – contrary to those accusations above that arguments against technology only come from right-wing zealots – and certainly this belief is at the core of the work of John Dewey. In Experience and Education, he too turns to poetry to make his point, citing Tennyson: "...all experience is an arch wherethro' / Gleams the untraveled world, whose margin shades / For ever and for ever when I move."

But as Dewey argues, not all experiences are necessarily educative; and as repeated experiences can become habits, we might find ourselves adopting patterns that are incredibly destructive not just to our own learning, but to our relationships with one another, with the world around us – destructive even to democracy. We might find ourselves having been fundamentally changed by the behaviorist practices and libertarian ideologies that undergird every single piece of computer technology we use.

"Tell me, what is it you plan to do/ with your one wild and precious life?"

At what point can you no longer even plan to do things with your one wild and precious life because these technologies have obliterated your ability to even imagine something outside their dictates, their designs for you?"]]></description>
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    <title>Seeing Like a Skater: Skateboarding as Poetic Technology – Mediapolis</title>
    <dc:date>2026-03-30T20:05:10+00:00</dc:date>
    <link>https://www.mediapolisjournal.com/2025/11/seeing-like-a-skater/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Reflecting on her experiences of skateboarding in Cairo, New York and other cities as a form of ‘rolling ethnography’, Alia ElKattan positions ‘seeing like a skater’ as a new way to approach urban landscapes."]]></description>
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<item rdf:about="https://www.youtube.com/watch?v=oM402KmkXOk">
    <title>Flea | Where Everybody Knows Your Name - YouTube</title>
    <dc:date>2026-03-29T16:03:38+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=oM402KmkXOk</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Flea of Red Hot Chili Peppers drops in on his good friend Woody Harrelson and new friend Ted Danson! They’re going deep: creativity and spirituality, overcoming substance abuse, the words from Flea’s daughter that changed his life, his relationship with Los Angeles, and much more. Bonus: Flea hints at some compromising footage of Woody."

[happens to be wearing his F.P.Journe Octa Lune]]]></description>
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<item rdf:about="https://aeon.co/videos/i-am-therefore-i-think-how-heidegger-radically-reframed-being">
    <title>I am, therefore I think – how Heidegger radically reframed being | Aeon Videos</title>
    <dc:date>2026-03-26T03:15:37+00:00</dc:date>
    <link>https://aeon.co/videos/i-am-therefore-i-think-how-heidegger-radically-reframed-being</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Since Plato, a dominant strain of Western philosophy has understood human beings primarily as rational thinkers, a view typified by René Descartes’s conclusion: cogito ergo sum (‘I think, therefore I am’). But in 1927, the German philosopher Martin Heidegger radically upended this tradition in his monumental opus Being and Time. Thinking and theorising, he argued, presupposes a special mode of being that is unique to humans: I am, therefore I think. The world is revealed to us not through theorising but through our way of being in the world, which Heidegger did so much to illuminate. In this excerpt from his feature-length documentary Being in the World (2010), the Italian American director Tao Ruspoli makes Heidegger’s infamously dense arguments digestible via interviews with philosophers, including the late Hubert Dreyfus, and with skilled artists and artisans whose work demonstrates the degree to which our selves are often expressed through our interactions with the world rather than our thoughts about it.

This is the first of three excerpts from Being in the World to be featured on Aeon Video. You can watch the film in its entirety here [https://www.youtube.com/watch?v=fcCRmf_tHW8 ]."

[Second part is here:

"True mastery demands going beyond the rules to learn for yourself"
"Embrace risk - Heidegger’s philosophy of everyday life | Being in the World"
https://aeon.co/videos/true-mastery-demands-going-beyond-the-rules-to-learn-for-yourself
https://www.youtube.com/watch?v=82_JqODbSjo 

Third excerpt is here:

"As technologies mine our attention, we must look to artists"
"Technology flattens our humanity. Artists deepen it. | Being in the World"
https://aeon.co/videos/as-technologies-mine-our-attention-we-must-look-to-artists
https://www.youtube.com/watch?v=Js0URaCKvvE

Direct link to embedded video (first excerpt):

"I am, therefore I think – how Heidegger radically reframed being | Being in the World"
https://www.youtube.com/watch?v=v727rFg9aKk ]]]></description>
<dc:subject>taoruspoli 2025 film documentary heidegger being time thinking waysofbeing risk human humans humanism technology jazz flamenco music hubertdreyfus 2010 experience interaction art education skills risktaking mastery</dc:subject>
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    <title>Being in the World (full, award winning, Heidegger/Hubert Dreyfus documentary) - YouTube</title>
    <dc:date>2026-03-26T03:11:45+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=fcCRmf_tHW8</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["A celebration of human beings and our ability, through the mastery of physical, intellectual and creative skills, to find meaning in the world around us.

a film by Tao Ruspoli

Inspired by the work of Hubert Dreyfus & his reading of Martin Heidegger.
With Hubert Dreyfus, Ryan Cross, Sean D Kelly, Austin Peralta, Mark Wrathall, Iain Thomson, Leah Chase, Manuel Molina,Tony Austin, John Haugeland, Taylor Carman, HIroshi Sakaguchi, Jumane Smith.

""Being in the World" is a film that educates one through both the senses and the intellect and, by its end, it provides a powerful but gentle reminder that we, the individuals, must take back our rightful place at the center of philosophy and we do so everyday simply by being in the world. Instead of a narrative or a series of long lectures, we are taken on a ride to visit various practitioners of the arts— primarily musicians—who simply "do" their art. These vignettes are juxtaposed with a series of philosophers, most of whom seem connected in terms of their ideas and interpretations of the German philosopher Martin Heidegger, who talk about the idea of "being in the world." I found this back-and-forth composition created a certain fluidity thanks to the way the information delivered both tickled my senses and intellect in equal measure. By the end, the aforementioned message slowly sank in and that is what created what is now a genuine appreciation for having viewed the film because I look at my life experience differently.

First of all, this work does not require any special education or training to be understood and enjoyed, although I don't think many would argue that the subject matter alone would unfortunately dissuade many simply because that is the nature of society but the fact that the average citizen is not interested in philosophy, or course, is no fault of the film. Ironically, the very message that one doesn't need to be steeped in philosophy to undertake and enjoy a life rife with meaning is one of the primary themes of the film. This theme might be summed up by stating that by simply "being in the world," we surpass all of the formalized activities associated with what engaging in "philosophy" has come to mean in the modern western world.

Although we're never hit over the head with it, it is the German philosopher Martin Heidegger who stands firmly at the center of the film as it is his iconoclastic work which inspires the ideas that undergird the messages of the various speakers. The fact that Heidegger's work is infamous for being difficult to approach even for the initiated student of philosophy is what makes this film such a gem; the more I think about the film the wider I grin because I can see more clearly how what I initially mistook for an aesthetically pleasing ride with a dose of didacticism ended up being a "reeducation" regarding how important simply "being in the world" and performing our "art" (which I take to mean profession, hobbies, etc.) is in terms of understanding where philosophy has taken us collectively.

"Being in the World" is a small film. Although the film is beautifully composed and we move around the globe, it is obvious that this was accomplished with a comparatively small budget and for me this only adds to the sense of intimacy and trust the work exudes; this is a labor of love, an authentic work of art, and it was created in order to share a message far removed from the commercial world.

It was the feeling with which I was left, however, that sets this movie apart from other, similar films. Walking away from this I felt encouraged and valued by the filmmaker and the "players." Rather than some stale exposition or preachy sermon about why I should change my mind about my life based on some epistemological tendency, I was reminded that my being in the world is what constitutes my life's meaning.""

[Three excerpts on Aeon:

First excerpt is here:

"I am, therefore I think – how Heidegger radically reframed being"
https://aeon.co/videos/i-am-therefore-i-think-how-heidegger-radically-reframed-being
https://www.youtube.com/watch?v=v727rFg9aKk

Second excerpt is here:

"True mastery demands going beyond the rules to learn for yourself"
"Embrace risk - Heidegger’s philosophy of everyday life | Being in the World"
https://aeon.co/videos/true-mastery-demands-going-beyond-the-rules-to-learn-for-yourself
https://www.youtube.com/watch?v=82_JqODbSjo

Third excerpt is here:

"As technologies mine our attention, we must look to artists"
"Technology flattens our humanity. Artists deepen it. | Being in the World"
https://aeon.co/videos/as-technologies-mine-our-attention-we-must-look-to-artists
https://www.youtube.com/watch?v=Js0URaCKvvE ]]]></description>
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<item rdf:about="https://aeon.co/videos/as-technologies-mine-our-attention-we-must-look-to-artists">
    <title>As technologies mine our attention, we must look to artists | Aeon Videos</title>
    <dc:date>2026-03-26T03:08:34+00:00</dc:date>
    <link>https://aeon.co/videos/as-technologies-mine-our-attention-we-must-look-to-artists</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["As technologies mine our attention, we must look to artists

To the German philosopher Martin Heidegger, technology was far more than just tools that people develop, but systems through which the world both reveals itself to us and shapes the way we see it. For instance, when Heidegger was writing his essay The Question Concerning Technology (1954) amid the acceleration of the globalised economy, he believed that we risked seeing the world only in terms of economic potential and efficiency – an undeveloped beach becomes no more than an opportunity to develop beachfront condos, for instance. He believed that, to prevent us from losing our humanity, we should look to artists, who represent another way of seeing – one that deepens our appreciation of the world rather than flattening it.

In this excerpt from his feature-length documentary Being in the World (2010), the Italian American director Tao Ruspoli explores Heidegger’s ideas on technology and humanity by speaking with philosophers and artists. This includes an expert juggler, a carpenter and a chef, as well as several jazz and flamenco musicians, discussing the lens on the world their craft offers them. Since the film’s release more than 15 years ago, its ideas feel even more pressing, as technologies have become ever more explicitly and minutely calibrated to shape our worldview, and as AI has raised important questions about reproducibility, decontextualisation and humanity in art.

This is the third excerpt from Being in the World to be featured on Aeon Video. You can watch the first excerpt here [https://aeon.co/videos/i-am-therefore-i-think-how-heidegger-radically-reframed-being ], the second excerpt here [https://aeon.co/videos/true-mastery-demands-going-beyond-the-rules-to-learn-for-yourself ], and the film in its entirety here [https://www.youtube.com/watch?v=fcCRmf_tHW8 ]."

[Direct link to video embedded (third excerpt):

"Technology flattens our humanity. Artists deepen it. | Being in the World (Movie Clip)"
https://www.youtube.com/watch?v=Js0URaCKvvE ]]]></description>
<dc:subject>taoruspoli 2026 film documentary heidegger technology attention being time thinking waysofbeing risk human humans humanism jazz flamenco music hubertdreyfus 2010 experience interaction art education skills risktaking mastery</dc:subject>
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<item rdf:about="https://reallifemag.com/worn-out/">
    <title>Worn Out — Real Life</title>
    <dc:date>2026-03-25T06:11:48+00:00</dc:date>
    <link>https://reallifemag.com/worn-out/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Tech elites’ supposed indifference to fashion is a contempt for the commons"

[via:
https://www.robinsloan.com/newsletters/good-trains/ ]]]></description>
<dc:subject>fashion culture technology drewaustin 2021 commons siliconvalley vanessafriedman publicspace hannahmurphy victoriahitchcock uniform uniforms clothing markzuckerberg marshallmcluhan understandingmedia society hannaharendt appearance gordonhull efficiency uber lyft doordash socialmedia facebook instagram tiktok airpods platforms microsoft nealstephenson nfts metaverse jonahweiner fellowship cynicism experience</dc:subject>
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<item rdf:about="https://www.themarginalian.org/2026/03/21/wayfinding-m-r-oconnor/">
    <title>Place, Personhood, and the Hippocampus: The Fascinating Science of Magnetism, Autonoeic Consciousness, and What Makes Us Who We Are – The Marginalian</title>
    <dc:date>2026-03-24T19:54:17+00:00</dc:date>
    <link>https://www.themarginalian.org/2026/03/21/wayfinding-m-r-oconnor/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The psychological, neurocognitive, and geophysical underpinnings of these astonishments are what M.R. O’Connor explores in Wayfinding: The Science and Mystery of How Humans Navigate the World (public library) — a layered inquiry into the science and cultural poetics of how we orient in space and selfhood, illuminating the stunning interpenetration of the two."]]></description>
<dc:subject>via:javierarbona 2026 mariapopova wayfinding mro'connor place books magnetism senses consciousness identity personhood space selfhood science rebeccasolnit navigation clocks biology nature time animals multispecies morethanhuman migration timekeeping nonhuman birds insects human humans memory experience perception sleep brain hippocampus véroniquebohbot neurology being waysofbeing topophilia spatial canon indigenous indigeneity waysofsensing sensing land location knowledge neuroscience bodies embodiment language</dc:subject>
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<item rdf:about="https://www.youtube.com/watch?v=XDsUzPHJ7cE">
    <title>IGNORED Wong Kar-Wai Cinematographer Changed Everything About His Films // Christopher Doyle - YouTube</title>
    <dc:date>2026-03-23T04:06:14+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=XDsUzPHJ7cE</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Most video essays on Wong Kar-wai focus on the director, but overlook the cinematographer who shaped the visual language of his most iconic films. Christopher Doyle was not just behind the camera on Days of Being Wild, Chungking Express, Fallen Angels, and In the Mood for Love; he helped define the emotional and spatial identity that audiences associate with Wong Kar-wai’s work. This video breaks down how Doyle’s unconventional life, improvisational filmmaking process, and instinct-driven approach to cinematography shaped some of the most visually distinct films ever made. It also explores his photography and collage work, revealing how his ideas about perception, movement, and collaboration extend beyond cinema. From Hong Kong’s interiors and fragmented spaces to the role of color, intuition, and experimentation, this is a deep dive into the artist who transformed how these films look and feel, and why his absence changes them entirely."]]></description>
<dc:subject>wongkar-wai christopherdoyle 2026 film filmmaking experience autodidactism autodidacts collaboration aesthetics intthemoodforlove chungkingexpress fallenangels storytelling environment photography cinema hongkong visuals visual color intution experimentation visuallanguage cinematography developingtank</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
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</item>
<item rdf:about="https://www.chronicle.com/article/is-ai-making-us-stupid-cal-newport-is-worried">
    <title>Is AI Making Us Stupid? Cal Newport Is Worried.</title>
    <dc:date>2026-03-22T02:19:08+00:00</dc:date>
    <link>https://www.chronicle.com/article/is-ai-making-us-stupid-cal-newport-is-worried</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[archived:
https://archive.is/QdPAy

via:
https://www.frontporchrepublic.com/2026/03/meatpackers-barnes-noble-and-wittgenstein/

"Evan Goldstein interviews computer scientist and productivity researcher Cal Newport about AI: “Universities need to explicitly portray themselves as citadels of concentration. The life of the mind is critical to the human experience. It is why you come to a university, just like the entire purpose of a Navy SEAL boot camp is to get ready for the physical hardships of war. Academic institutions need to demonstrate that the life of the mind is hard and worth it. We need to think about cognitive fitness the way we think about physical fitness. There should be a simple rule for being a thinker in an age of AI: Don’t let AI write anything for you. Writing is to cognitive health what steps are to physical health. Write that email from scratch. Write that memo with the bullet points from scratch. Don’t flee that strain. You need it as much as you need those 10,000 steps a day.”"]]]></description>
<dc:subject>calnewport ai artificialintelligence 2026 colleges universities academia highered highereducation education productivity howwelearn learning writing howwewrite concentration attention experience humanexperience humans human humanism thinking howwethink</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:ecb20d7618e8/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:calnewport"/>
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</item>
<item rdf:about="https://aeon.co/essays/rammohun-roy-on-why-government-must-have-an-ethical-presence">
    <title>Rammohun Roy on why government must have an ethical presence | Aeon Essays</title>
    <dc:date>2026-03-22T02:15:00+00:00</dc:date>
    <link>https://aeon.co/essays/rammohun-roy-on-why-government-must-have-an-ethical-presence</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The Indian thinker Rammohun Roy believed that good governance must be close: distance made the British Empire cruel"

[via:

https://www.frontporchrepublic.com/2026/03/meatpackers-barnes-noble-and-wittgenstein/
"Shomik Dasgupta looks to the Indian thinker Rammohun Roy for political wisdom: “In a world increasingly defined by distance, between citizen and state, between policy and experience, between law and justice, Roy offers a reminder that good government is not only a matter of laws or statistics. It is a matter of presence. His insistence that rulers live among the ruled, listen to them in their own languages, and remain morally accountable to them, is a principle that transcends his time.” (Recommended by Dominic Garzonio.)"]]]></description>
<dc:subject>distance rammohunroy small scale scaling britishempire uk india cruelty disconnect shomikdasgupta policy experience presence accountability politics history citizenship states law justice governance government 2026 power ruling</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
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</item>
<item rdf:about="https://afraw.substack.com/p/first-dig-the-latrines">
    <title>First, Dig the Latrines - by afra - Concurrent</title>
    <dc:date>2026-03-18T00:44:08+00:00</dc:date>
    <link>https://afraw.substack.com/p/first-dig-the-latrines</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The Morning Star of Lingao is China's cult industrial time-travel novel. Its main author has some thoughts on AGI, power, China's media landscape, and the end of most jobs"

...

"What follows is my recent conversation with Ma Qianzu. We discussed the following topics:

• The Lingao origin story, the BBS community, engineering experience, digging latrines

• Political philosophy of Lingao: transparency, productive forces, aristocratic rule, Marxism

• Wenzhou high-speed train crash, the “industry party” label, media as rational actor, populism vs. democracy

• AGI timeline, human bifurcation, mass displacement, the brain’s peripheral device, and longevity

• Censorship, the black room, and navigating the Chinese media environment"]]></description>
<dc:subject>afrawang 2026 sciencefiction scifi maqianzu guancha bilibi afrazhaowang writing howwewrite literature marxism transparency philosophy politics politicalphilosophy agi ai artificialintelligence displacement brain longevity censorship media bbs experience themorningstaroflingao lingao artificialgeneralintelligence</dc:subject>
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<dc:identifier>https://pinboard.in/u:robertogreco/b:6f0675bcecbe/</dc:identifier>
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<item rdf:about="https://pablohelguera.substack.com/p/a-conversation-with-jerome-bruner">
    <title>A Conversation with Jerome Bruner - Beautiful Eccentrics</title>
    <dc:date>2026-03-13T05:09:02+00:00</dc:date>
    <link>https://pablohelguera.substack.com/p/a-conversation-with-jerome-bruner</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["On possibility, dialogue, and the creative nature of learning."]]></description>
<dc:subject>jeromebruner pablohelguera 2026 learning howardgardner cognition reggioemilia children childhood education knowledge dialogue process howwelearn nielbohr bauhaus imagination creativity wendywoon play playfulness curiosity art experience</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
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<item rdf:about="https://hammer.ucla.edu/now-dig-this/artists/raymond-saunders">
    <title>Raymond Saunders | Hammer Museum</title>
    <dc:date>2026-02-26T06:36:02+00:00</dc:date>
    <link>https://hammer.ucla.edu/now-dig-this/artists/raymond-saunders</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Found objects, lumped and dripped pigments, chalk drawings, and magazine photographs all find their way into a painting by Raymond Saunders. Crammed with multiple sources of inspiration and focus points, the works require care and attention to decipher their stories of life and its experiences. Urbanity—made personal, public, and important—is a recurring theme in the artist's rendering of city spaces and sounds. Billboard advertisements, graffiti, flashing lights, and police sirens are only some of the references Saunders makes to construct an urban world that oftentimes envelops the viewer in a visual cacophony of brash colors and assorted shapes. The dissonance is deceiving, however, since his works are grounded in an extensive formal art training.

Saunders was born and raised in Pittsburgh, an alumnus of the city's public school system. He found a mentor in Joseph C. Fitzpatrick, his elementary and high school art teacher and the director of art for Pittsburgh Public Schools. Through Fitzpatrick's encouragement and support, Saunders began showing his work at local venues and obtained a scholarship to the Pennsylvania Academy of the Fine Arts. He also studied at the Barnes Foundation before earning his BFA from the Carnegie Institute of Technology in 1960. He moved to Oakland, where he still lives, to pursue an MFA from the California College of Arts and Crafts (1961). Saunders began teaching in 1968, when he accepted a faculty position at California State University, Hayward; he is currently a professor of painting at California College of the Arts in Oakland.

Saunders's art combines his interests in expressionism, the cityscape, education, and life experiences. Although his aesthetic is akin to that of artists such as Cy Twombly and Robert Rauschenberg, Saunders constructs a social narrative by bringing together a host of influences, including African American history, jazz, and the classroom. Many of his paintings feature a black background, a reference both to his race and to the blackboards used in schools. The frequent appearance of chalk as a medium adds to this latter association, as do the artist's scribbles, drawings, and scrawled-out math problems and letters.

Saunders also looks to the city—its simultaneous abundance and dearth of opportunities, and its residents' struggles—to comment on the paradoxes of our society. Chalk-drawn hopscotch grids paired with remnants of used paper and pop culture symbols emphasize the coexistence of childhood innocence and urban reality. Discarded objects, the trash of the streets, take on new meaning when combined and reconfigured within Saunders's compositions. Torn posters and plastic figurines voice the dreams and defeats of urban neighborhoods, becoming the materials that “teach” the viewer about city life and its concerns. An educator at heart, Saunders uses his art as a tool to express the momentum of the street and the experiences of urban minorities.

Contradictory in nature, with childlike lettering and found objects placed within and among elegant, technical drawings and paintings, Saunders's works are of the moment and show little concern for permanence. The artist is notorious for adding more scrawls and items to paintings already hanging on gallery walls, suggesting his belief in the constant evolution of his art and the role of ephemerality in decoding it. Very much in the spirit of the music of Miles Davis and Charlie Parker, Saunders's art celebrates improvisation and transience. Sights and sounds pass by as one moves along a city street, encountering the world, making decisions, and changing one's mind as one goes. Such is the beauty of Saunders's paintings. They are about life and all of its battles and victories, dirtiness and splendor.

Saunders's works ask the viewer to study and examine them before reaching a conclusion. The paintings, while drawn from the artist's personal experiences and ideas, welcome individual, and universal, interpretations. The abundance of imagery and text— stylistically dense and at times bordering on the absurd—allows viewers to draw connections and discover dissonances. Appropriating elements from both high and low culture, Saunders plays with the expectations of the art world to create paintings that stay true to his influences and motivations as both artist and teacher.

—Connie H. Choi"]]></description>
<dc:subject>raymondsaunders art conniechoi assemblage artists jazz teaching howweteach arteducation milesdavis charlieparker collage oakland pittsburgh foundobjects urbanity experience expressionism cityscapes education lifeexperiences socialnarrative struggles urban life living splendor dirtiness dissonance</dc:subject>
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<item rdf:about="https://thepointmag.com/examined-life/the-enemy-of-the-good/">
    <title>The Enemy of the Good | The Point Magazine</title>
    <dc:date>2026-02-22T01:22:06+00:00</dc:date>
    <link>https://thepointmag.com/examined-life/the-enemy-of-the-good/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Unlike many critics of effective altruism or polyamory or racking up credit-card points, I really do allow that their proponents have the better of the arguments they take part in. The problem is not with the premise-by-premise arguments, it is with the mindset. What you lose in optimizing morality is the same thing you lose in maximizing your airline-mile spend. In other words, nothing quantifiable—but precisely the chance to escape quantification, to orient toward something that cannot be counted, predicted, analyzed. Such things exist, even if they can’t always be captured in words and numbers. If alternative mindsets were easier to imaginatively inhabit, perhaps we could harness FOMO to greater ends—fear of missing healthier mindset. “The essence of being human is that one does not seek perfection.”"]]></description>
<dc:subject>nicholasclairmont optimization 2026 slow efficiency aella effectivealtruism georgeorwell gandhi fomo mindset humanism perfectionism perfection human humans bertrandrussell life living experience</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
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</item>
<item rdf:about="https://aeon.co/videos/ai-isnt-merely-bad-at-writing-it-does-not-and-cannot-write">
    <title>AI isn’t merely bad at writing. It does not and cannot write | Aeon Videos</title>
    <dc:date>2026-02-20T05:40:29+00:00</dc:date>
    <link>https://aeon.co/videos/ai-isnt-merely-bad-at-writing-it-does-not-and-cannot-write</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["‘Why did you write it?’

As an English professor, the YouTube video essayist known as ‘josh (with parentheses)’ has, over the past few years, witnessed a faculty-wide panic about students using large language models (LLMs) to plagiarise assignments. The experience inspired him to create this sprawling video essay on the meaning of LLMs – what they can do and, more to the point, what they can’t. To him, this includes the very act of writing itself, which he contends, borrowing the words of Stephen King, requires a ‘meeting of the minds’. The entertaining and insightful piece spans the poetry of Gertrude Stein and contemporary ‘brainrot’ videos, all while he prods at ChatGPT and his friends. Travelling to some surprising places, he generates an unusually perceptive meditation on what might, at first glance, seem like a near-exhausted topic."

[direct link to video:

"You are a better writer than AI. (Yes, you.)"
https://www.youtube.com/watch?v=V5wLQ-8eyQI

"As an English professor, I hear people at every level talking constantly about the use of AI in writing, but nobody seems to be talking about the thing that matters most: AI cannot write. Writing has language, and writing has communication, but the communication does not live inside the language. This is a video essay about what writing is. Meetings of the mind with Stephen King, Gertrude Stein, Lewberger, Max Teeth, CyberGrapeUK, and others--but by necessity not with ChatGPT.

Recorded on a Macbook Pro using OBS and a little bit of editing trickery. If you look at the timestamps on the files you can probably deduce that when I say "two weeks ago" I mean about four months ago."]]]></description>
<dc:subject>ai artificialintelligence llms chatgpt writing howwewrite videoessays gertrudestein stephenking teaching howweteach edtech technology maxteeth language communication policy joshwithparenthesis modernism ernesthemingway fscottfitzgerald sinclairlewis thorntonwilder jamesjoyce ezrapound nonsense poetry poems decoding keatonpatti lingusitics meaning meaningmaking understanding titosantana autocomplete linguistics tenderbuttons connection human humanism humans openai literature humanexperience consciousness perception experience subjectivity humansubjectivity plagiarism mashups recombinance remixing milesdavis lcdsoundsystem media mediamixing kleptones dangermouse macglocky cubism lasmeninas picasso velázquez recombination variation thinking howwethink education humanunderstanding criticalthinking context confusion playfulness 2025 notice turingtest personhood senses sensoryperception feeling feelings logic algortihms victorhugo lesmisérables damienowens onelsaymore brainrot intention conversation barbaraeh</dc:subject>
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<item rdf:about="https://englewoodreview.org/sofia-samatar-opacities-feature-review/">
    <title>Sofia Samatar - Opacities [Feature Review] - The Englewood Review of Books</title>
    <dc:date>2026-02-17T07:22:59+00:00</dc:date>
    <link>https://englewoodreview.org/sofia-samatar-opacities-feature-review/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Opacities: On Writing and the Writing Life, by Sofia Samatar
Paperback: SoftSkull, 2024

Reviewed by Liz Harmer

Is it still possible, now, to have an accidental experience, an experience uncurated, unintended, untouched by the algorithms? Like Sofia Samatar and the friend she addresses throughout Opacities: On Writing and the Writing Life, I too have desired an annihilation of the self, the I. I too have desired an ecstasy, “a writing method …  less like writing and more like living” (3), and “the transmission of a feeling, something breathable and contagious, a vast, raw, yet untethered emotion” (56). Samatar writes of the wish to be influenced, to copy, to collect: “I wished to be under the influence. Porousness, I wrote. Vulnerability to literature. What Roland Barthes called ‘the essential sting’” (95). 

The desire for an unmediated experience has been with me for decades, since I was a devout Christian having a mental breakdown and then an undergraduate with a crush on her TA, a TA who told us that most experiences are mediated by all the many scripts and narratives and frames we live with, and that moments unmediated the way I so desired would be fleeting. It was, I knew, a search for God. Since then I have endeavored to travel without researching places beforehand, and to look at artworks without reading placards—always seeking the sort of experience Samatar references in this book, of electricity along the nerve-endings, the shock of recognition one hopes art will deliver.

But it is difficult for a person who has made her life in books to come across a work totally unaware of what it is beforehand. I chose Opacities from a list of books to review partly because of its gorgeous cover and partly because of its title, which put me in mind of a craft lecture I had recently listened to by the novelist Torrey Peters called “Strategic Opacity.” The subtitle led me to believe that this would be a book on craft or craft-adjacent things, a genre I have read assiduously and of which I have several shelves full of examples. But then I opened Opacities the way one opens a mysterious box and began to rifle through the contents. 

This was, incidentally, the ideal way to read Samatar’s latest work of nonfiction. In the opening passage, she writes, “I wrote to you of a writing method: Take notes on index cards and put them in a shoebox. When the box is full, the book is done” (3). She writes of the things that get in the way of a writing that might feel more like living, such as the “blood-soaked arena of the publishing world” and its speaking gigs and hype and explanations and demands, especially for a woman of color, of representation,

“the cultural practice I called the diversity side-show, the question of whether confession was a source of radical power or a trap that sewed up in one’s own carcass, the question of whether it was in fact shameful to draw attention to one’s race and gender in literary discussions or whether what was really shameful was leaving these things out, and the possibility that the idea of literature as a privileged spiritual ground was romantic, reactionary, dangerous, and dumb” (7).

Opacities is a commonplace book, a collection of aphorisms and ideas and quotes, sentences which push against demands that an author be understood through markers of identity and against demands for psychological transparency, which to me reverberated also with the problem of the trauma plot, where novelists explain characters’ motivations through some trauma lurking in the backstory: “Édouard Glissant,” she writes, “didn’t even want to see straight: ‘Give up this old obsession with discovering what lies at the bottom of natures.’ It was a recoil from transparency” (11). 

My copy of Opacities is filled with underlining. It will not tell you how to extend a metaphor or build a scene, but many writers become exhausted by “technique” at a certain stage of their so-called careers. Many search for a way back to the freedom one feels in making art before one knows it will be seen or even what it is. That naked vulnerability, that mess. That act of love. Can one write without becoming a “writer,” pulled down into that blood-soaked arena? Can one emerge from the blood-soaked arena with their love for literature intact? “Was there,” Samatar asks, “then, a necessary link between community and incompleteness? Was the desire for a never-ending book, which I had thought so personal, even individualistic, related to this need for others?” (25-6)

Opacities, with such elegant sentences and sentiments that you find yourself immediately wanting to return to it, leads you outside itself, since it is, mainly, a book of conversation and of connection. Samatar quotes myriad writers and poets and critics, from Rilke to Fanon to Lispector, and Opacities led me to search out Bhanu Kapil’s Schizophrene, Walter Benjamin’s Arcade Project, and then Samatar’s other collaborations with Kate Zambreno, her friend and the addressee, the “you” in Opacities. 

I thought often, while reading, of Maggie Nelson’s Bluets, which obliquely tells the story of a heartbreak in a text about the color blue. Opacities also tells the story of a friendship, a collaboration, “The letters were what remained when we had largely withdrawn from the public sphere . . . to go on writing to friends, to write intensively to friends, pouring out everything there, the thoughts, the quotations, the cries. It was a way to stay alive as a writer” (16). I also thought of Annie Dillard’s nonfiction, which, even at its most personal, seems to obscure the self. I thought of David Shields’s Reality Hunger, a collection against fiction-writing and woven together through aphorisms and quotes by other writers and thinkers. 

Certainly Opacities will offer different things to different readers than the ones it offered me. It will offer me different things the next time I read it. Samatar suggests that her method of writing might be called “the Nightmare Tarot,” but like Tarot it is: a spread with different meanings depending on who is reading the cards and which questions you are asking."]]></description>
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<item rdf:about="https://www.theatlantic.com/ideas/2026/02/youth-reading-books-professors/685825/">
    <title>Stop Meeting Students Where They Are - The Atlantic</title>
    <dc:date>2026-02-16T03:39:00+00:00</dc:date>
    <link>https://www.theatlantic.com/ideas/2026/02/youth-reading-books-professors/685825/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["What I learned when I finally started assigning the hard reading again."]]></description>
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<item rdf:about="https://humanumreview.com/articles/the-therapy-of-symbols">
    <title>The Therapy of Symbols | Joshua Hochschild | Humanum Review</title>
    <dc:date>2026-02-14T22:35:13+00:00</dc:date>
    <link>https://humanumreview.com/articles/the-therapy-of-symbols</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[via:
https://www.frontporchrepublic.com/2026/02/poverty-progressives-and-publics/

"Josh Hochschild begins with Musk’s view of language and then draws on Walker Percy to pose a different understanding of language and its value for humans: “From Musk’s pristine Cartesian perspective, we aren’t essentially embodied creatures, but more like angels, capable of purely spiritual apprehension, once freed from the awkward and purely accidental constraints of beastly biology. Invoking Descartes highlights the fact that Musk envisions only a new technological path to an old dream of mind-body separation.”"]

"We are not surprised that an old-soul Aristotelian poet sees this easier than a scientistic neophile engineer. The poet is most conscious of knowing things in and through words. The word—“which is after all only a mouthy little sound,” Percy admits—is what “the poet salvages… from its utility context and holds” so that in it we see “the thing in the word in another mode of existing, in alio esse.”

Percy the philosopher helps us understand the perversity of imagining human life without language. The same insights may also help explain why his scholarly philosophy book didn’t find a publisher, and why podcasts are more popular than philosophy classes. Even if you could mainline meaning and argument, they are more natural, significant, and joyfully fulfilling shared by the storyteller or poet. Percy the poet knew that communion isn’t “sentimental”; it is our distinctive mode of being. The lecture-hall and library are more likely to become obsolete than the campfire.

I’m glad to have this book, and Percy needed to write it. Did he need to publish it? It seems reflecting on the mystery, scandal, and joy of naming sufficed for him to find his vocation:

<blockquote>What I perceive in all its intricate and iridescent reality is the thing itself as it has formed itself within the web of sound. No wonder the poet is seduced. Once he has savored this dangerous delight, it is enough to set him fondling words for life, turning them this way and that in the hope that one will catch this holy fire.</blockquote>"]]></description>
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<item rdf:about="https://www.youtube.com/watch?v=U8dcFhF0Dlk">
    <title>Suno, AI Music, and the Bad Future - YouTube</title>
    <dc:date>2026-02-09T16:51:18+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=U8dcFhF0Dlk</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Sources:
https://docs.google.com/document/d/1my3jJ96cyKmHubZu5mTLgp3wzEWtXKJkqfP0kKcF6kE/edit?tab=t.0

0:00 Intro
4:06 Challenge accepted
6:55 Three Questions
24:14 Why no influences? (deskilling/narcissism)
35:50 Profiles of the Future
47:54 Good uses of Suno
59:05 Futurism/Techno-Optimism
1:16:22 New Virtues
1:22:03 Final Predictions"

[via:
https://blog.ayjay.org/faster/

"Near the beginning of this long, fascinating, and deeply depressing video [https://www.youtube.com/watch?v=U8dcFhF0Dlk ] Adam Neely says that he doesn’t think Mikey Shulman, the CEO and prime hypeman of Suno, is evil. I dunno, I think he might be evil. A person who makes and advocates for anything this destructive will likely be one of the following:

• Evil — happy to do any amount of damage to humanity as long as he gets rich;
• Sociopathic — unable to consider the consequences of his actions for others;
• Self-deceived — skilled at internally avoiding obvious questions about the validity of what he’s doing.

So being evil is not the only option here, but it’s definitely one of three.

There are so many bizarre things about this dude, but I was taken by one small thing: around the 8:40 mark of the video he says, “I know one person who is a songwriter who had a lull in creativity, and after finding Suno went from maybe making 50 songs a year to making 500 songs a year.” Now this is a ridiculous thing to say — but in an interesting way. Shulman knows so little about musical composition that he thinks that a person in a creative “lull” writes a mere fifty songs a year.

Let’s think about that. Consider Bob Dylan, whom some people think of as a prolific sngwriter. In his 65-year career he has composed roughly 700 songs. Pathetic! Even if he had experienced a lifelong “lull in creativity,” he’d have, by Shulman’s metrics, produced 3250 songs — and if he’d used Suno, why, he’d have knocked out 32,500 songs by now, with a few thousand more probably remaining to be processed by the Suno Song Extruder™.

As absurd sales pitches go, Shulman’s is solid gold.

Anyway, you should watch Adam’s human-made non-extruded video. It raises many important issues and makes many important points, especially about the relative value of patience and impatience. Shulman loves impatience, because impatient people are his primary marks. “Faster is obviously better,” he says, a comment he doesn’t seem to think applies only to music composition. Maybe he has the same view about eating, talking with friends, and sex. Faster! And then what? [https://blog.ayjay.org/and-then/ ]

But the most vital claim Adam makes, I think, is this: the arrival of AI slop machines like Suno will dramatically accelerate something that’s already well underway, the widening chasm between live music and recorded music. When musicians recorded live in studio, the gap between that and live performance was very small; now it’s vast and getting vaster. And as Adam says, people will always want to experience live music — and perhaps will value it all the more because of the contrast to an increasingly slop-dominated world of recordings. (Especially in human-scale venues where lip-syncing and pitch-correction are impossible.)

I happened to come across Adam’s video yesterday just after watching Julian Lage and his bandmates perform “Something More” [https://youtu.be/AECKSq8r2OM?si=WCJ4gW-viCdlYjAX ] — what a beautiful song, and look at that, it’s just four people in a room making that beauty happen. I only wish they were coming my way sometime soon."]]]></description>
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<item rdf:about="https://aeon.co/videos/true-mastery-demands-going-beyond-the-rules-to-learn-for-yourself">
    <title>True mastery demands going beyond the rules to learn for yourself | Aeon Videos</title>
    <dc:date>2026-02-04T21:35:16+00:00</dc:date>
    <link>https://aeon.co/videos/true-mastery-demands-going-beyond-the-rules-to-learn-for-yourself</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The German philosopher Martin Heidegger believed that human knowledge, at its most foundational and meaningful, is ineffable. Moreover, it requires stepping beyond what one sees as the established rules and into the realm of the unknown. Think of a master jazz musician or an elite athlete who, after facing an unpredictable moment, would find it impossible to convey precisely how and why they did what they did to deliver a peak performance. In this excerpt from his feature-length documentary Being in the World (2010), the Italian American director Tao Ruspoli interrogates Heidegger’s ideas via conversations with philosophers, including the late Hubert Dreyfus, and practitioners such as a chef, a carpenter and a speedboater. Focusing on highly skilled individuals across a wide variety of domains, the film illustrates something universal – how venturing beyond the comfortable and the quotidian is essential to mastering our own lives.

This is the second of three excerpts from Being in the World to be featured on Aeon Video. You can watch the first excerpt here [https://aeon.co/videos/i-am-therefore-i-think-how-heidegger-radically-reframed-being ], and the film in its entirety here [https://www.youtube.com/watch?v=fcCRmf_tHW8 ]."

[Third excerpt is here:

"As technologies mine our attention, we must look to artists"
https://aeon.co/videos/as-technologies-mine-our-attention-we-must-look-to-artists

Direct link to video embedded (second excerpt): 

"Embrace risk - Heidegger’s philosophy of everyday life | Being in the World (Movie Clip)"
https://www.youtube.com/watch?v=82_JqODbSjo ]]]></description>
<dc:subject>2026 taoruspoli rules heidegger hubertdreyfus philosophy jazz music creativity predictability being time thinking waysofbeing risk human humans humanism technology flamenco 2010 film documentary experience interaction art education skills risktaking mastery</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
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<item rdf:about="https://shepherdexpress.com/culture/visual-art/the-persistence-of-guy-debord-that-bastard/">
    <title>The Persistence of Guy DeBord, That Bastard - Shepherd Express</title>
    <dc:date>2026-02-03T22:26:37+00:00</dc:date>
    <link>https://shepherdexpress.com/culture/visual-art/the-persistence-of-guy-debord-that-bastard/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["As machines increasingly calculate the “correct” way forward by statistical consensus, our psychic salvation may finally lie in learning how to go the wrong way—deliberately."

...

"I caught myself revisiting Cindy Sherman’s Untitled Film Stills from the late 1970s today and once again realized how prescient her vision was. If you’re unfamiliar, the series depicts Sherman staged within scenes that evoke gendered film tropes—the ingénue, the starlet, the classic heroine. The images are so convincing you’re certain they reference some Hitchcock film you vaguely remember but can’t quite place. Of course, they don’t. That’s the trick. It’s all cognitive jujitsu, exploiting our collective biases. Remarkable.

Sherman understood—long before the idea was flattened into the TikTok-era shorthand of “performative”—how self-image would be packaged, rehearsed, and sold back to us. She was onto now, then.

So were Richard Prince with his Cowboys. So were Sherrie Levine and Robert Longo. The Pictures Generation, collectively, made art that imitated life imitating art, circling a feedback loop in which images no longer reflected reality so much as trained it—conditioned us to see ourselves through them. And here we are, nearly 50 years later, still looking for someone to blame, as if no one warned us that media would hollow us out and leave us wandering around like zombies. They warned us—but so did Philip K. Dick, George Orwell, Ray Bradbury, and Kurt Vonnegut. The problem with great social art and great science fiction is that, at their best, they’re often too visionary to matter when it matters most. They outrun their coverage like a super-special teams unit.

Beyond the Next Image

While scrolling through images—work ostensibly critiquing delegated meaning and mass-produced consent—it occurred to me that I was actively collaborating with the very machinery being critiqued. Sherman’s Film Stills suddenly felt less like a critique and more like object diagrams of consciousness: frames awaiting projection, training us to believe that meaning exists just outside ourselves, just beyond the next image. The medium, as another 20th-century critic once harped, was still the message.

And then—Guy Debord. Like a summons from the dustier wings of cultural memory, that stubborn Situationist prophet reappeared. I put down my phone, picked up The Society of the Spectacle—which had been sitting defiantly on a shelf in my workshop—and pretended the internet didn’t exist. And I hit bedrock.

The opening propositions read:

1. In post-industrial societies where mass production and media predominate, life is presented as an immense accumulation of spectacles. Everything that was directly experienced has been replaced with its representation in the form of images.

2. Whereas directly lived experience is a continuum of emotion and sensation, representational life is a stream of images detached from their living context. The original context of this directly lived reality cannot be reestablished. Living a representational life has a completely separate, but unified experience unto itself that exists purely in thought. As reality is increasingly represented as images to be experienced by sight alone, eventually a completely separate pseudo-world of images emerges—where the “actual” reality is only represented, never actually experienced; merely performed and eventually simulated. The horizon of this representational reality is one in which individuals merely witness an image of the world in two fully autonomous, non-lived lives.

It’s all very humbling and coldly sanctimonious—like a parent addressing a wayward teenager who insists on learning things the hard way. Debord goes on to denounce the capitalist metropolis at length, sometimes to a degree that risks undermining his own ethic. The rhetoric is militant, the tone unforgiving. Who, after all, revels in academic Marxism in 2026? The left has diluted its ideas with junk ideology just as thoroughly as the right has diluted more refined notions of “freedom.” Still, certain texts—The Federalist Papers, Habermas, and the aforementioned sci-fi soothsayers and artists—manage to withstand the floods that fashion history into parody.

Marketplace of Experience

Strip away Debord’s dated militancy and what remains is a clarity that feels almost unbearable now: the marketplace doesn’t just sell us things; it reorganizes experience itself. It doesn’t eliminate freedom—it manufactures a version of it within tightly controlled boundaries. You are free to choose, so long as the choices are already formatted, legible, and monetizable. Herbert Marcuse called this repressive desublimation: freedom becomes something you perform, something you recognize yourself doing, rather than something you meaningfully exercise. Worse, it becomes an alibi—an excuse not to decide how to live at all.

To resist these conditions, Debord proposes the dérive: a way of moving through commercialized space that disrupts its logic. Go a different way. See different things. Be unpredictable enough that you can’t be targeted in the first place. This is what art does—or should do.

When people dismiss “art,” they’re usually dismissing output that has already been processed, commodified, and fed back to them as art-like product. But art isn’t stuff. It’s an outlook—a commitment to resisting containment. That’s why the art world looks especially vulnerable when it becomes institutionalized or ideologically uniform. From the outside, it appears to operate along the same dynamics as apparel or beverage branding.

I’d argue this doesn’t signal that art has failed, but that what we’re seeing no longer qualifies as art in the first place. The task, then, is to look elsewhere—for work that still carries Debord’s flame, sustained by a refusal to be absorbed into the funhouse of recycled meaning. It’s a tall order: choosing spirit over stuff, in the name of the spirit itself. But if you want to live in a world capable of surprise—of inspiration—that’s the only option left.

Debord knew it. And as machines increasingly calculate the “correct” way forward by statistical consensus, our psychic salvation may finally lie in learning how to go the wrong way—deliberately. So die on your art loving, unpredictable feet, comrades, because social media and superstores were never anything but cemeteries."]]></description>
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    <title>Long Walks</title>
    <dc:date>2026-01-25T21:51:43+00:00</dc:date>
    <link>https://www.artforum.com/features/long-walks-208841/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["WHY GO FOR A WALK? Not to get anywhere; the lack of destination makes it a walk rather than a journey. But a walk is never aimless; you set limits even before you start out: “as far as the woods,” “around the lake,” “along the river to the bridge and back.” Expediency determines the structure of a journey; on a walk you impose your own.

A walk offers a chance to check up on nature, to give in to your senses. You can take your self along for company, or leave it behind, depending on your mood. You can take the dog—an ideal arrangement, since your separate amusements don’t intrude on one another. It’s usually a mistake, as William Hazlitt has said, to go with a friend. Chatting turns the walk into a visit, and miles roll by without your once managing to come in touch with the sensibility of walking.

A walk is an abstraction, an idea. It is a particular kind of passage through space and time; you embark on it to stretch your consciousness as much as your legs. A journey is aimed at its end; the point of a walk is the walk itself.

Richard Long’s art must touch somehow on our experience of walking. Otherwise, why would we find his solitary travels so oddly affecting? When news of them reaches us they are long over. All we get is an Ordnance Survey map, a few photographs, and terse notations of location and duration, deliberately edited of seductive detail. Unlike his literary counterparts, who delight in describing their shanks’ mare adventures, Long tells only that he went.

This absence of rhetoric results in a kind of transparency; Long passes through the countryside, a figure only hinted at, eluding the art audience. There is no way to visit his temporary sculptures of stones or brush, no invitation to follow his carefully structured routes. So the work remains largely cerebral: a mind, more than a body, traveling through the landscape. If we let our minds wander after him, however, we begin to gain limited access to his art. We will never be privy to his experience, but we can reconstrue it to a certain extent. “Going for a walk” can put us in step with him.

Long’s work takes several forms: walks with a stated purpose and duration, site sculptures made in remote places from whatever materials he finds when he gets there, and large floor installations in galleries and museums (the most tangible, though least evocative). All have an economy of gesture; concept, method and materials converge neatly. In the walks the three are synonymous. Less obviously, this is also true of the outdoor pieces.

Long never “forces” a work; stones are used when there are stones, branches when there are branches, brush when there is brush. It’s all local produce; nothing is imported. His works may last or they may become overgrown or wash away. It doesn’t matter, since he doesn’t intend anyone to see them. In the end, we are left with nothing but the knowledge of Long’s intervention, handed to us in the form of photographs and captions describing two generalized particulars—medium and place: Sticks in Somerset, A Circle in the Andes, Stones in Clare.

The indoor pieces—lines, circles and spirals of stones, sticks or dirt placed on the floor—share aspects of this conceptual and structural oneness, for each remains tied to its site despite its deportation. Stones and sticks are often from the vicinity of the installation; their source becomes the work’s title. The position of a specific element within a piece is usually determined by its relation to the other elements, so that while individual installations might differ, a work’s concept remains the same. Driftwood sticks of various lengths are laid down in rows so that each stick is a certain number of its own lengths in front of its predecessor. A track of muddy footprints, “the length of a straight walk from the bottom to the top of Silbury Hill,” is curled into a spiral, the size of the room determining the number of coils. Presumably these works could be redone; I know of a large circle of loose stones that is periodically picked up and put back. Long specified the diameter of the circle and left written instructions that the stones lie randomly within it, resting on their longest, flattest and most stable sides without touching each other.

The scale of Long’s art is often ambiguous. Considering its utter privacy, its lack of pretension and its scanty traces, it seems intimate and small (a dot or a line on a vast plane; a moment in an aeon). But a walk’s dimensions (often hundreds of miles) or duration (many hours, even several days) are quite sizable. Long’s works are not performances, his unknown endurances are not the stuff of body art. Did he take sandwiches, get caught in the rain, camp out for the night? We are told nothing of this. (How different from Peter Hutchinson’s Foraging, an esthetic hike in the Rockies where recording of detail was the purpose and survival the issue—a theme that became particularly poignant after the artist and his companion dined on the wrong mushrooms.)

Though time and distance complicate our perceptions of scale in Long’s work, they tend to crystallize its structure. One or the other is predetermined on a walk—usually distance, though sometimes, as in A Walk of Four Hours and Four Circles, Dartmoor, 1972, time is the determining factor. This walk is recorded as four concentric circles on an Ordnance map, each representing a one-hour walk. How four trips of such obviously different lengths could all take the same time is not explained—but the artist’s decisions are hinted at: perhaps he strolls slowly, then speeds up, even runs around the largest circle.

The site sculptures are seldom presented within the context of a walk, but occasionally these two facets of Long’s art come together in an enterprise that is conceptually quite terse. For 164 Stones/164 Miles, Long walked across Ireland (164 miles) “placing a nearby stone on the road at every mile along the way.” He lists the number of stones per county he passed through: Clare 49 stones, Tipperary 38 stones/Kilkenny 27 stones, Leix 9 stones, Carlow 20 stones, Wicklow 21 stones. The piece combines a long walk, an immense stone sculpture (or is it? It only has 164 stones; much shorter lines have contained more) and a substructure in which the counties, boundaries in themselves, are represented by stones, which represent miles, which are arbitrary measurements in the first place. It is a major work, but Long boils it down to a two-page spread in a book, with text on the left and a photograph of the road, and a stone, on the right.

Though much of Long’s work is linear, its development is not. Ideas appear again and again. His art is cyclical, like time, when thought of in terms of hours, seasons, and finally, history. It is natural to perceive time as linear, since one’s life occupies such a short segment of it that the curve isn’t always noticed. But time circles around and around, renewing, altering, passing by again. A dialogue between the constantly changing and the enduringly permanent takes place in the landscape. Long’s recurring motifs—the line, the circle, the spiral—emerge from landscape, and have acquired something of its character.

It is tempting to take an art/historical walk through time, back from Richard Long’s work. One could start at the stone circles of neolithic Britain and the spiral carvings of the Bronze Age, travel along early Roman roads, and take in Medieval pilgrimages, especially that of Edward I, who erected stone crosses at each resting place of the funeral procession of his queen. The 17th and 18th centuries become even more interesting. Not only is there all that theory about the “natural artifice” of parks and gardens; you could also make the Grand Tour of Europe, de rigueur for the well-heeled young Englishman. Traveling within the British Isles became equally popular about this time, Samuel Johnson’s trip with Boswell to the Hebrides being one literary result. Next century you could drop in on Constable and Turner and take a stroll around the Lake District with Wordsworth and friends. And once you hit the 20th, if you’re at a loss for directions, just consult the Blue Guide, that compendium of fanatical detail that fascinates the English traveler and reveals as much as any romantic poet.

In trying to attach any of this to Long, however, one inevitably comes a cropper. It has everything—and nothing—to do with him. Long makes no secret of his interest in the ancient work; some pieces draw directly on it. Stonehenge and the Cerne Abbas giant have been focal points for walks; a labyrinth carved in a boulder in Ireland generated his Connemara Sculpture, 1971, where he reproduced the design in stones on the ground. Other works, which involve spirals and circles, especially circles of standing stones, incorporate this history as fully, if not as specifically.

The differences between Long and his unknown ancestors are more subtle than the similarities. Were the ancient monuments religious, funereal, astronomical? Convincing arguments have been put forth for all three. But Long does not borrow his sources’ presumed content, as does much recent art that depends on deliberate “primitivizing.” His primary concern seems to be with the geography and topography of the landscape; with measuring and marking on it, with echoing its character in his choice of sculptural materials and methods. Long’s connection with the ancient monuments has more to do with their presence in the landscape than with their role in prehistoric culture.

The pilgrimage model also turns out to be a dead end. Pilgrims undertook arduous journeys propelled by faith and the hope of salvation, or for the good time and good company, as Chaucer would claim. Neither motivation can profitably be applied to Long.

The builders of the great 18th-century gardens and parks may seem closer at first, since their endeavors were at least artful, and involved imposing a structure on nature. But again the connection fades out; those designers were after visual effects—carefully planned vistas that would be pleasing to the eye and mind. With the exception of a very early work, England, 1967, in which he erected a rectangular frame in the landscape and placed a circle on the ground some distance away that was meant to be seen either through or outside of the frame, I know of nothing Long has done that places much emphasis on visual effect. So again he remains, fundamentally, separate.

But Long does have something in common with all of these predecessors, even if specific connections continue to elude us. For their activities are carried out within the landscape itself, particularly the English landscape. A feeling for the countryside has always informed the English sensibility. A small, well-groomed island, spared extremes of climate, Britain has been under cultivation for so long that few parts remain untouched. The traces of the past to be found are not glimpses of its primeval state, but endless evidence of previous tenants (unlike America, where immense areas of wilderness and desert still allow you to preserve at least the illusion that no one has been there before you). In Britain landscape is in short supply; the English dream most fervently of cottages in the country. But their fascination is with the landscape’s spirit, rather than its geology, which offers no challenge to conquer—no vast peaks or wastelands, no major wonders. England offers a landscape of tranquility, solace, respite. A gentle communion with the countryside pervades all English art, Long’s no less than his forebears’.

It is so fundamental to his work, in fact, that he does not alter his approach or methods in foreign terrain. Long has worked in far more rugged places than the British Isles—Alaska, Canada, the Andes, the Himalayas. But the results all evidence the same softness of touch; it is not as though he embarks on such trips for more remote or more challenging quests.

Long’s work may have its roots in the English attitude to the countryside, but it also catalyzes some of the definitive ideas of 1970s art. The abrupt retreat from the frenetic ’60s; the renewed interest in natural rather than industrial forms and materials; a shift in the approach to the art audience, not to mention the change within that audience; the move out of doors, away from the museums and galleries—such developments have characterized, and helped to form, the diffuse activities that composed ’70s art. It is interesting that Long has never worked in a more traditional medium; he has walked only ’70s territory, adapting its recurring themes—the line, the circle, even the grid.

Over the past ten years Long’s work has remained much the same; his gentle interventions in the landscape have maintained their discretion, his indoor pieces continue along similar paths. The line, the circle and the spiral still form the basis of his sculptural vocabulary. But although there has been no radical shift in direction, he continues to hone his processes. For one thing, his work has become more conceptually tight as he has intertwined it with its generating impulse—the landscape. Walks have become less rigid in structure as he has turned from formal to natural yardsticks.

Earlier walks, such as the concentric circles, the grid, or the many straight lines, skirt the issue of how one executes such a project accurately on natural terrain. On maps they can, of course, be diagrammed precisely, but on foot this would be impossible. More recently, however, Long has been drawing the structure of his pieces from geography instead of geometry/focusing especially on rivers. The choice is particularly suited to the cogency of his thinking, since rivers are also lines; they mark on, and in a sense “structure” the landscape. (The landscape also determines the course of the rivers, much as it influences the direction of Long’s art.)

The Avon has provided the impetus for several recent works, among them A Walk of the Same Length as the River Avon. There is no difficulty here about rendering straight lines or perfect curves. The Avon “walks” from its source to its mouth; Long walks the same distance, not along the river itself, but on an ancient road that follows it. At one point the road crosses the river; a photograph of a footbridge, along with maps of the river and the road, become the evidence.

Another recent river work has a slightly different inflection, but is just as harmonious conceptually. In 130 Miles from the Source to the Sea, Dumfriesshire, Scotland, 1978, Long placed a pile of 130 stones at the source of the River Clyde, furnishing on his return a photograph of the pile of stones, duly labeled. Again the gesture is entirely suited to the circumstance; concept and method remain inextricable. Long’s work has always been extremely economical, but the recent pieces seem particularly well resolved.

For an art that gives us so little to go on, Long’s work is surprisingly rewarding. There is an element of romance in our knowledge that it is, for the most part, unattainable. Or is it? There is no law against pushing our imagination; it can become our passage to England, our Himalayan trek. We can negotiate our own progress through space and time as surely as Long can. That’s where walking comes in.

On one of this walks, Long went around a mountain range in Ireland—Macgillicuddy’s Reeks—throwing a stone. Anyone who does this knows. As you start out your eye scans the roadside for the right stone. You find one and give it a toss; it skitters along and rolls to a stop some yards ahead. Eye fixed on it to make sure you don’t lose track of it among the others, you catch up to it, toss it again. Before you know it, you have become very attached to that stone. It structures your walk; you go where it goes.

—————————

The soul of a journey is liberty, perfect liberty, to

think, feel, do just as one pleases. We go a journey

chiefly to be free of all impediments and of all

inconveniences; to leave ourselves behind, much

more to get rid of others.

—William Hazlitt, On Going a Journey

In climbing, the summit is nearly always hidden,

and nothing but a track will save you from false

journeys. In descent it alone will save you a

precipice or an unfordable stream. It knows upon

which side an obstacle can be passed . . . and

where there is the best going. . . . It will find what

nothing but long experiment can find for an

individual traveller . . . everywhere The Road,

especially the very early Road, is wiser than it

seems to be.

—Hilaire Belloc, The Old Road

. . . de Selby makes the point that a good road will

have character and a certain air of destiny, an

indefinable intimation that it is going somewhere,

be it east or west, and not coming back from there.

If you go with such a road, he thinks, it will give

you pleasant traveling, fine sights at every corner

and a gentle ease of peregrination that will

persuade you that you are walking forever on

falling ground. But if you go east on a road that is

on its way west, you will marvel at the unfailing

bleakness of every prospect and the great number

of sore-footed inclines that confront you to make

you tired.

—Flann O’Brien, The Third Policeman

It is not indifferent to us which way we walk. There

is a right way; but we are very liable from

heedlessness and stupidity to take the wrong one.

We would fain take that walk, never yet taken by us

through this actual world, which is perfectly

symbolical of the path which we love to travel in

the interior and ideal world; and sometimes, no

doubt, we find it difficult to choose our direction,

because it does not yet exist distinctly in our idea.

—Henry David Thoreau, Walking

A walking tour should be gone upon alone,

because freedom is of the essence; because you

should be able to stop and go on/and follow this

way or that, as the freak takes you; . . . you must

be open to all impressions, and let your thoughts

take colour from what you see. You should be as a

pipe for any wind to play on.

—Robert Louis Stevenson, Walking Tours

Nancy Foote is an art critic.

—————————

NOTES

With all ephemeral art, documentation becomes of major importance. It takes several forms in Richard Long’s work: photographs and maps framed together with text; photographs and text presented in books (often published by museums and galleries at the artist’s request instead of conventional catalogues); and artists’ books. Much of Long’s documentation wavers between “primary” and “secondary” information—the work itself versus a reproduction of that work. Photographs of site sculptures would normally fall into the second category, but as Long presents them, with laconic captions, they become, in a sense, primary. His interest in “art” photography is minimal, unlike that of his friend and sometime walking companion Hamish Fulton, whose images, though related to Long’s in concept, are much more self-consciously concerned with photography. In addition to strict recording, Long sometimes uses a photograph to stake an esthetic claim, as when he takes a spot of conceptual interest, such as the source of a river that generates a walk. And in books such as A Hundred Stones; One Mile Between First and Last, the photographs are, in a sense, primary because they gather the stones into a single work."]]></description>
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    <title>Sure, AI can ‘do’ writing. But memoir? Not so much | Aeon Essays</title>
    <dc:date>2026-01-25T03:27:16+00:00</dc:date>
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    <dc:creator>robertogreco</dc:creator><description><![CDATA["As AI’s endless clichés continue to encroach on human art, the true uniqueness of our creativity is becoming ever clearer"]]></description>
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<item rdf:about="https://www.theguardian.com/books/2026/jan/06/the-score-by-c-thi-nguyen-review-a-brilliant-warning-about-the-gamification-of-everyday-life">
    <title>The Score by C Thi Nguyen review – a brilliant warning about the gamification of everyday life | Philosophy books | The Guardian</title>
    <dc:date>2026-01-17T23:53:28+00:00</dc:date>
    <link>https://www.theguardian.com/books/2026/jan/06/the-score-by-c-thi-nguyen-review-a-brilliant-warning-about-the-gamification-of-everyday-life</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["From Duolingo to GDP, how an obsession with keeping score can subtly undermine human flourishing"

[via:
https://www.frontporchrepublic.com/2026/01/memorization-gamification-sanctification/

"Tim Clare praises C. Thi Nguyen’s new book The Score: “Our uncritical reverence for metrics allows for what Nguyen calls ‘objectivity laundering’ – bureaucrats disguising their agency in decisions regarding our schools, hospitals and wellbeing, by evoking ‘the numbers’ as impartial arbiters. Those in power choose which metrics to champion, then claim actions driven by those metrics somehow transcend ideology.”"]

"Two years ago, I started learning Japanese on Duolingo. At first, the daily accrual of vocabulary was fun. Every lesson earned me experience points – a little reward that measured and reinforced my progress.

But something odd happened. Over time, my focus shifted. As I climbed the weekly leaderboards, I found myself favouring lessons that offered the most points for the least effort. Things came to a head when I passed an entire holiday glued to my phone, repeating the same 30-second Kanji lesson over and over like a pigeon pecking a lever, ignoring my family and learning nothing.

Philosopher C Thi Nguyen’s new book tackles precisely this kind of perverse behaviour. He argues that mistaking points for the point is a pervasive error that leads us to build our lives and societies around things we don’t want. “Value capture”, as Nguyen calls it, happens when the lines between what you care about and how you measure your progress, begin to blur. You internalise the metric – in some sense it supplants your original goal – until it has “redefined your core sense of what’s important”.

He gives the example of American law school league tables, introduced to offer an ostensibly objective yardstick for candidates who had previously relied on promotional material and insider gossip. The new, supposedly hard, data focused on a few, narrow metrics.


Where previously law schools would distinguish themselves with mission statements outlining their unique philosophy and emphasis, league tables collapsed these nuanced, hard-to-quantify values into a single number – and forced schools to either chase that number, or lose out on funding and students. The result, Nguyen tells us, is that “huge shares of university resources have been diverted away from genuine pedagogical activity and toward efforts designed only to game the rankings”.

Part of that ranking is calculated by how many applicants a school rejects each year. The logic goes: the higher the rejection rate, the more elite and desirable the school. This, Nguyen says, encourages many law schools to spend money soliciting applications from students with almost no chance of getting in, “simply so they’ll have more people to reject”.

Nguyen is lucid, entertaining and precise, illustrating ideas with a mix of personal stories and real-world examples. He has a particular knack for conveying the specific, intrinsic pleasures of his many enthusiasms, from “the explosive hip twists” and “sweet joy” of rock climbing, to the meditative alchemy of fly-fishing, where he becomes “a nexus point in this gorgeously overwhelming flow of information”. The point of fly-fishing isn’t to catch a fish – it’s how you feel while trying to catch a fish.

I was always going to be charmed by a book that can reference Reiner Knizia (“the Mozart of German game design”) one moment and Mario Odyssey speedruns the next. But this is no niche treatise. Value capture leads us, Nguyen argues, to waste our lives. We optimise for salary or YouTube views or our position on a leaderboard (he admits having made himself miserable by obsessing over philosophy department and journal rankings), and neglect the experiences that make life worth living.

And at the level of society, value capture makes us fixate on metrics such as GDP, employment figures and exam grades. Quantitative data promises to turn hugely complex cross-sections of our world into portable summaries. It’s a seductive bargain: “delicious clarity” in the form of a simple score, at the expense of context and nuance. “This is the thought that actually keeps me awake at night,” says Nguyen, the “grim truth about the heart of data”.

Our uncritical reverence for metrics allows for what Nguyen calls “objectivity laundering” – bureaucrats disguising their agency in decisions regarding our schools, hospitals and wellbeing, by evoking “the numbers” as impartial arbiters. Those in power choose which metrics to champion, then claim actions driven by those metrics somehow transcend ideology.

The Score is a compelling read, urgent but never alarmist. For Nguyen, wonder, absorption and play are central to human flourishing. Metrics are a kind of invasive species threatening to replace our weird, delicate joys with the dumbed-down epistemic fundamentalism of league tables and graphs. Despite – or perhaps because of – the gravity of these issues, I came away enriched and uplifted."]]></description>
<dc:subject>gamification everyday humanism duolingo gdp economics motivation life living well-being wellbeing cyberculture quantification quantifiedself timclare cthinguyen behavior manipulation capitalism experience howwelive rankings ranking reinerknizia objectivity objectivitylaundering society metrics data measurement</dc:subject>
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<item rdf:about="https://www.noemamag.com/the-mythology-of-conscious-ai/">
    <title>The Mythology Of Conscious AI</title>
    <dc:date>2026-01-14T21:23:01+00:00</dc:date>
    <link>https://www.noemamag.com/the-mythology-of-conscious-ai/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Why consciousness is more likely a property of life than of computation and why creating conscious, or even conscious-seeming AI, is a bad idea."]]></description>
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<item rdf:about="https://walkingtheworld.substack.com/p/why-i-walk-part-1">
    <title>Why I Walk - Chris Arnade Walks the World</title>
    <dc:date>2026-01-10T17:52:49+00:00</dc:date>
    <link>https://walkingtheworld.substack.com/p/why-i-walk-part-1</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Walking as learning"

[part 2:
https://walkingtheworld.substack.com/p/how-to-walk-12-miles-a-day

see also:

"Walking, Wittgenstein, and God
Without God, what exactly is there?"
https://walkingtheworld.substack.com/p/walking-thinking-and-god ]]]></description>
<dc:subject>chrisarnade walkign 2022 learning howwelearn urban cities place experience nyc brooklyn slow hagiasofia shipoftheseus istanbul atikvalide türkiye turkey</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
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<item rdf:about="https://www.commonwealmagazine.org/literacy-culture-evolution-scialabba-knowledge-george">
    <title>More Than Human? | Commonweal Magazine</title>
    <dc:date>2026-01-02T02:14:30+00:00</dc:date>
    <link>https://www.commonwealmagazine.org/literacy-culture-evolution-scialabba-knowledge-george</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["When culture evolves too soon"

...

"We must either accept cultural overload or else find some way to extend our range, augment our capacities, enhance our neurophysiology."

...

"The design of a culture, the shape of a species’s collective sensibility is a political question."]]></description>
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    <title>Substack's Stacked Debates: Utopia - Can you teach an AI taste? - YouTube</title>
    <dc:date>2026-01-01T04:18:36+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=fAxRj3njH7I</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Substack's Stacked Debates: Utopia - Can you teach an AI taste? 
Jasmine Sun vs. Robin Sloan"]]></description>
<dc:subject>robinsloan jasminesun humans humanism ai artificialintelligence taste 2025 deepmind alphago music culture finitude human humanity technology experience surprise insight fashion musicmaking confidence computers computing effectivealtruism spotify claude anthropic chatgpt openai deepseek courage specificity decisionmaking stakes risk risktaking dreams dreaming choice quality quantity decisions</dc:subject>
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<item rdf:about="https://lagomor.ph/2024/07/they-dont-make-it-like-they-used-to/">
    <title>They Don't Make It like They Used To - Lagomorph</title>
    <dc:date>2025-12-31T07:11:00+00:00</dc:date>
    <link>https://lagomor.ph/2024/07/they-dont-make-it-like-they-used-to/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Nostalgia for the past has supplanted our yearnings for the future, becoming the default marketing tool for corporations. Instead of asking ‘what’s new?’, they ask ‘what have we done before that you liked?’. This trend transcends marketing tactics, reflecting a destabilizing era of remakes and reboots. Crucially, nostalgia is a finite resource, and its exhaustion bears unknown consequences.

Jean Baudrillard’s notions of simulacra and simulation offer a valuable framework for understanding this phenomenon. In the post-postmodern era, the line between reality and representation has blurred into hyperreality, where simulations precede and replace the real.

Constructed Nostalgia depletes this finite resource, erasing authentic memories and replacing them with inferior copies. Consequently, our recollections are overwritten by simulacra, leaving us with inauthentic memories devoid of the original’s substance.

***

Authentic Nostalgia

To understand this phenomenon, it is essential to distinguish between authentic and constructed nostalgia. Authentic nostalgia arises from genuine personal experiences and emotional connections to the past. In contrast, constructed nostalgia is manufactured, designed to evoke a sentimental response without the underlying connection. It creates a feeling that one should be nostalgic, even if the specific reasons for that nostalgia are unclear.

Constructed Nostalgia is a Xerox of a Xerox. It starts with something you genuinely remember and feel fondness for, then revises it. This sanitized and engineered version of the past creates a sense of familiarity and longing without the authentic emotional foundation. For example, the resurgence of 1980s-themed products and media is predominantly consumed by much younger people rather than those who lived through that decade. Twenty-first-century teenagers listen to cassette tapes and records, feeling an inexplicable sense of home despite having no direct experience with these mediums.

***

Stages of Simulacrum

Baudrillard’s stages of simulacra elucidate this phenomenon further. Initially, a nostalgic product is created as a faithful reproduction—consider Commodore 64 clones, for example. These products aim to replicate the original experience closely, preserving the essence and integrity of the original, and maintaining a strong connection to authentic nostalgia. However, as these products become pervasive and are altered for modern tastes, they transform into distorted representations (second order simulacra). Remastered video games with updated graphics and controls, while retaining the essence of the original, introduce modern elements that alter the authentic experience, thereby introducing a layer of inauthenticity.

The third order of simulacra involves copies that pretend to be real but are fundamentally different from the original. The NES Classic, a modern version of the original Nintendo Entertainment System with pre-loaded games and new features, presents itself as an authentic revival but is essentially a different product. In this stage, the distinction between the original and the copy becomes blurry, creating a hyperreal experience where the simulation takes precedence over the original.

Finally, the fourth order of simulacra represents copies with no relation to any reality whatsoever. Modern devices designed to look vintage but equipped with entirely new technology fall into this category. These products evoke a sense of nostalgia through aesthetics alone, without any genuine link to past experiences. At this stage, the nostalgic product is a pure simulacrum, serving as a standalone object of nostalgia without any connection to the authentic past.

The progression of these stages illustrate how the commodification of nostalgia is an ouroborus - you can’t help but erode the ground your standing on. This process of transforming authentic memories into commodified products ultimately results in a loss of genuine cultural and personal history. We replace the warm feelings of authentic nostalgia with it’s sugar-free version, lacking depth and authenticity.

The more we engage with these feelings, the more they’re overwritten.

***


Psychological Impact of Constructed Nostalgia

The psychological impact of constructed nostalgia extends beyond mere consumer behavior, influencing how we perceive and recall our past. As constructed nostalgia becomes the prevalent form, it begins to distort our memories and affect our well-being in profound ways.

When individuals repeatedly engage with nostalgic products that simulate the past, their authentic memories begin to fade, replaced by the sanitized versions sold to them. This phenomenon is known as “retroactive interference,” where new information interferes with the ability to recall old information accurately. For instance, someone playing a remastered version of a childhood game may find their memories of the original game becoming hazy, replaced by the updated experience. This not only affects personal memories but also shapes the collective cultural memory, as we begin to remember the past through the lens of these reconstructions.

The malleability of these feelings has profound emotional consequences. Simulated warmth and familiarity do not stand up to the real thing. The realization that one’s nostalgia is constructed can lead to feelings of disconnection and dissatisfaction. When individuals recognize that their nostalgic feelings are based on inauthentic experiences, it creates a sense of loss that extends beyond the media or products they interact with. This recognition seems to drive a cycle where people seek out more nostalgic connections in an attempt to recapture the original emotions, further cannibalizing their opportunities to experience genuine nostalgia.

The broader implications of this phenomenon are significant. We struggle to form a coherent sense of self when our memories are constantly overwritten by constructed experiences. This constant overwriting detracts from the formation of a stable personal identity. Culturally, our reliance on constructed nostalgia leads to a homogenized view of the past, where diverse and authentic childhood experiences are overshadowed by a dominant, sanitized narrative. This homogenization not only distorts our understanding of history but also diminishes the richness and variety of cultural memory.

***

We Can’t Go Back

Once this process of photo-copying and overwriting begins, we reach a point of no return. The original emotions tied to our authentic memories are replaced by their engineered versions. The broken wheel of constructed nostalgia ensures these genuine feelings are lost forever.

Consider a child who watches Ghostbusters in the 1980s and cherishes the film as part of their childhood. As an adult, they participate in the new sequels - a second stage simulacrum - but their own child, even if they watch the original first before the sequels, understand the film as “Dad’s thing”, since they can’t have the emotional connection to the time and place of the original film. They can only feel the simulacrum, the modernized version, without the cultural and emotional context.

With time, this means that nostalgia for the property gets burned up entirely. Dad gets frustrated with the retrobait no longer doing anything for him emotionally. Daughter never really felt a connection with it at all. Corporation moves on and starts constructing nostalgia for something else.

What we are witnessing is the creation of a feedback loop, where each generation’s history is undermined from the foundation upwards. Future generations, growing up with sequels and remakes, are nostalgic for a simulacrum—a copy without an original. This manufactured sentimentality lacks the depth of authentic emotional connections.

Before the post postmodern, history was rewritten by the victors. Now it is continually revised by those who profit from it. This commodification of nostalgia transforms our cultural history into a mass-produced disposable product. We slide through the tree of history, turning branches into walking sticks, and reduce it to a superficial, fragmented cultural memory.

***

Historical Events and Nostalgic Overwriting

By continuously engaging with these simulations, we risk erasing the genuine emotional connections that form the foundation of our personal and collective identities. As a result, the more we indulge in constructed nostalgia, the more we lose touch with the authentic experiences that once defined us.

The Summer of Love in 1967, celebrated as a time of peace, love, and cultural revolution, is a prime example of this phenomenon. The reality of the period was far more nuanced, marked by rampant racism, drug abuse, and clashes with police and the state. Nostalgic portrayals often delete these aspects, focusing instead on the era’s vibrant aesthetics and countercultural symbols.

Fashion and media not only reshape our cultural history of the Summer of Love by selling tie-dye shirts and bell-bottom jeans—they burn the historical context entirely. If listening to a Beatles record represents first-order nostalgia, then Temu flower-power jeans are a fourth-order simulacrum. As authentic nostalgia is consumed, subsequent generations fundamentally misunderstand past events. This sanitization permanently erases the struggles and achievements of our history, affecting contemporary social and political movements by oversimplifying and misinterpreting lessons from the past.

Moreover, our reliance on these nostalgic narratives stifles critical engagement with our own humanity. When the past is primarily remembered through constructed nostalgia, the complexities and true nature of our lives become reduced. The potential for meaningful reflection and growth is hindered, leaving us with an unstable foundation upon which to build our understanding of history and identity.

The long-term consequences of relying on constructed nostalgia are profound. As we continue to replace authentic memories with sanitized versions, we risk losing the ability to learn from history. This not only impoverishes our cultural heritage but also weakens our capacity to address contemporary issues with the depth and nuance they require. By embracing a more critical engagement with the past, we can preserve the richness of our collective experiences and foster a more informed and empathetic society. It is essential to recognize the difference between genuine nostalgia and its commodified counterparts, ensuring that our memories and histories remain grounded in reality rather than in superficial reconstructions.

***


Identity Formation and Attachment to Childhood Media

As constructed nostalgia replaces authentic memories, individuals struggle to form a coherent sense of self. We chase connections to our history, and not finding it, attach ourselves to our media instead. This phenomenon is particularly evident in the intense devotion a section of modern adults display towards the media of their childhood, such as the fervent fandoms surrounding franchises like Star Wars, Disney, or Marvel.

The attachment to childhood media often stems from a longing for the simplicity and comfort of the past. Constructed nostalgia plays a crucial role in this attachment by continuously repackaging and marketing these media franchises in ways that evoke sentimental feelings. As a result, adults find themselves clinging to these cultural touchstones, which provide a sense of stability in a world that, due to our reliance on overwritten memories, feels unfamiliar and ever-changing.

This reliance on media for identify formation has significant social implications. On an individual level, obsession with childhood nostalgia leads to a superficial sense of self, anchored in consumer culture rather then true authentic personal experiences. These “Disney-Adults” who define themselves through their fandoms are beyond the point of developing an independent identity, nor do they want to; Their self-concept is entirely influenced by the shifting trends and narratives of manufactured nostalgia, making it difficult to cultivate a stable and nuanced sense of self.

Baudrillard critiqued Disneyland as a prime example of hyperreality—a place where the lines between reality and fantasy are blurred. He argued that Disneyland exists to conceal the fact that it is the “real” America, or rather, a sanitized and idealized version of it. In Baudrillard’s view, Disneyland is not just a theme park; it is a simulation that represents the larger cultural tendency to replace the real with the hyperreal.

If this is the case, then Disney-Adults are the first class citizens of this “real” America, and exist only as expats in material reality. Simulated Nostalgia is their first language before english, more comforting and comprehensible then the material world.

This intense emotional investment in childhood media often leads to exclusionary and defensive behavior. A notable example is the vitriol directed at properties like the new Star Wars films and Captain Marvel. While sexism against female leads was certainly a factor, it overlooks a larger issue—the fear among fans that their identity, deeply intertwined with these media franchises, is being threatened by new adaptations and interpretations. These changes deviate from what they nostalgically cherish, prompting a backlash fueled by a perceived loss of the familiar elements that define their sense of self.

This pattern of defensiveness and exclusionary behavior is not limited to media fandoms; it extends into our larger cultural interactions, particularly in current politics. Constructed nostalgia plays a significant role in shaping political identities and behaviors, as individuals cling to idealized versions of the past that align with their beliefs and values. Political movements often invoke a “golden age” narrative, appealing to voters’ nostalgic longing for a perceived better time. This strategy capitalizes on constructed memories, glossing over the complexities and challenges of the past to create a compelling, yet simplistic, vision of history.

The rise of populist movements globally can be seen as a manifestation of this phenomenon. Leaders and political figures frequently evoke nostalgic imagery to rally support, promising a return to the values and prosperity of a bygone era. This rhetoric resonates deeply with those who feel disconnected from the present and yearn for the familiarity of the past; Moreover, the reliance on constructed nostalgia in politics can lead to polarized and inflexible viewpoints. Just as fans of media franchises react defensively to changes, political adherents reject new ideas and policies that challenge their nostalgic ideals.

The long-term consequences of relying on constructed nostaliga for identity formation will be profound. As individuals and societies become increasingly defined by their media consumption, the ability to engage critically with the past and present is compromised. The only option left is to burn it all down.

***

Oops, We’re Doing an Accelerationism

There is no turning back. It’s impossible to deny Constructed Nostalgia. As long as someone, somewhere, says “Remember this?” the process of its transformation begins, regardless of intent. The speed of resource extraction only increases as profit is discovered.

We can, however, accelerate its consumption until the economy of nostalgia self-destructs; revel in our history like dogs in mud. Burning through our nostalgic resources, we may reach a point where the past is entirely exhausted. This accelerationism proposes that we push this cycle to its logical extreme: by fully embracing the artificiality of Constructed Nostalgia, we expedite its collapse.

In this scenario, the relentless pursuit of monetizable history consumes all historical connections, stripping them of meaning until only the simulacra of all our feelings remain. With nothing left to feel nostalgia for, we are forced to confront the present in all its complexity. By exhausting the past, we free ourselves from its perpetual re-creation, and construct an authentic engagement with the now.

This would be a new cultural paradigm. In this landscape, individuals and societies would be forced to restructure around genuine, unmediated experiences - a world without history.

The only way out is through. Hasten the demise, and clear the path for an authentic future. Burn all of history until all that’s left to monetize and feel is the now - forge a new relationship with time and memory; grounded in the present, free from the distortion feel of commodified sentimentality.

This is why I’m watching the new Fallout TV show on loop. I’m an accelerationist.

***

References

Baudrillard, J. (1983). Simulations. Semiotext(E), Cop.

C, B. (2024, May 17). Diagnosing Lore-Brain. Brennan Words. https://brennanwords.ca/2024/05/diagnosing-lore-brain/

This Exists. (2024, July 4). CRT gaming and the trap of retrobait. YouTube. https://youtube.com/watch?v=vpuomqq6W9A "]]></description>
<dc:subject>nostalgia memory 2024 authenticity memories simulacra simulation simulatednostalgia jeanbaudrillard remakes reboots psychology contructednostalgia identity media childhood marketing branding capitalism commercialization fauxstalgia reality representation hyperreallity 1980s videogames retroactiveinterference experience emotions familiarity homogenization ghostbusters retrobait feedbackloops sentimentality manipulation disposability history summeroflove thebeatles misinterpretation whitewashing understanding heritage depth nuance criticalthinking society senseofself self stability hyperreality starwars politics politicalmovements simplification ahistoricism accelerationism monetization vacuity presence distortion baudrillard</dc:subject>
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<item rdf:about="https://andypetro.substack.com/p/the-quiet-erosion-of-us">
    <title>The Quiet Erosion of Us - Short Stack</title>
    <dc:date>2025-12-30T20:15:21+00:00</dc:date>
    <link>https://andypetro.substack.com/p/the-quiet-erosion-of-us</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["On Losing the People-ness of a Place"

...

"Community doesn’t disappear all at once.

It fades the way old paint does. First, the bright flakes go, then the undertones, until one day you look up and realize you’re staring at a color that no longer remembers what it used to be. And that’s when the question finally crystallizes with enough weight to ask aloud:

This Substack is reader-supported. To receive new posts and support my work, consider becoming a free or paid subscriber.

Where did the community go in my community?

I don’t mean the municipality. Municipalities can keep right on existing long after the people inside them stop knowing one another. I don’t even mean the familiar slogans about “supporting local businesses” and “loving where you live,” as if community were something you could conjure with a well-designed flyer. I mean the real thing; the people-doing-life-together thing; the stumble-upon-your-neighbor thing; the “Hey, since you’re here…” thing. The thing every human creature was made for long before zoning laws and borough councils existed.

When I say “community,” I mean the connective tissue of a place. And Beaver County, where I’ve lived all my life, once had a lot of that tissue. Strong cords of it. Not perfect, not idyllic, not Rockwellian, but unmistakably human.

So where did it go?

Like everything significant, the answer is slow, layered, and feels a bit like grief.

Those who remember the mills running, B&W, J&L, Crucible…and the constellation of shops that orbited them…don’t romanticize the heat or the danger or the shift work. But they do remember something undeniably communal: a town that had a center of gravity. A place where men knew one another because they had to depend on one another. A place where quitting time spilled people into the streets and diners and bowling alleys…not back into isolated pockets of climate-controlled boredom.

When those mills closed, something sturdier than steel quietly gave way. The economy changed, yes. But the deeper casualty was an erosion of encounter. Fewer reasons to gather. Fewer occasions to overlap. Fewer causes that bound our ordinary lives into something shared.

Factories didn’t create community, people did.

But the factories provided the occasion for that community to thicken, for acquaintances to mature into friendships, and for friendships to become something like belonging.

Now, in the absences left behind, the question isn’t whether the past was better. It’s whether the present is still capable of giving birth to the kind of humanity we actually need.

The slow vanishing of community might have stopped there, plateaued, leveled, if not for the Great Enemy of Togetherness: Convenience.

Convenience, as we currently experience it, is not merely a feature of modern life. It has become a habitat, a worldview, a reflex. It promises frictionless living, but the truth is that friction is how humans connect. People are like stones in a riverbed: it’s the rubbing, the bumping, the awkwardness, the proximity that smooths us, shapes us, prepares us for life in the real world.

But now?

We’ve learned to sand off the edges of ordinary human experience until we barely touch each other at all.

DoorDash can bring us dinner.

Amazon can bring us the world.

Streaming can bring us entertainment custom-fitted to our narrowest preferences.

And our gas stations, once places you actually had to go inside, now offer touchscreen burritos because the last thing we need is a conversation with the teenager behind the counter.

We used to have slogans like “You deserve a break today—so get up and get away.”

Today the spirit of the age has updated it to something like, “Sit still. We’ll come to you. Don’t trouble yourself with humanity.”

The old commercials invited us out.

The new ones coax us inward - endlessly.

It isn’t that DoorDash or Amazon are evil. It’s that they train us into habits where we stop needing each other. And once we stop needing each other, we forget how to know each other. Which is to say: we forget how to be human in the vocational sense of the word.

Oddly enough, we still love the aesthetics of community.

We adore the annual festivals, the parade routes, the Christmas lights strung across town squares. We post nostalgic photos of Main Street, gather our kids for the tree lighting, and tell ourselves that the place still hums with the energy it used to.

But look closer.

We love the look of tradition without the labor of it. We enjoy the scenery of community without the inconvenience of stepping into it. And why? Because somewhere deep down, we have begun to treat communal life like a performance…something put on for us to enjoy, not something we must help create.

We want the trappings of belonging without the obligations of belonging.

It’s all very American, very modern, and very lonely.

Community is not magic; it’s muscle.

It forms when people bump into each other often enough that they stop being strangers. It forms when someone has to wait in line behind you, or when you share the same pew for twenty-five years, or when you buy the same cup of coffee from the same person who remembers (and possibly judges) your order.

It forms when you can’t curate your way out of the mundane, because the mundane is where the kingdom of God most often hides.

But in a world where we curate everything - our playlists, our feeds, our shopping carts, our meals - we have slowly curated ourselves out of the presence of others.

We are losing the liturgy of proximity.

Theologians sometimes talk about God as Emmanuel, God with us, as if nearness were not just a divine attribute but a divine strategy. Jesus came not as a concept but a body. Not as a delivery service but a presence. Not as a product but a person.

Real community always follows this pattern: show up, stay a while, belong.

And we’re forgetting how.

Beaver County is just the test case I know best.

I’ve lived in its towns, taught in its schools, shopped in its stores, watched its families succeed and fail, celebrated its small-town victories, and mourned its quiet losses.

But what’s happening here is happening everywhere.

Ask folks in Montana.

Ask folks in Tennessee.

Ask folks in the suburbs of Chicago or the rural edges of Maine.

Ask them if they know the people who live three doors down. Ask if they’ve had dinner with neighbors this year. Ask if they’ve built a life with the people around them or a lifestyle that replaces them.

The warning is this:

A community that no longer practices being a community will eventually forget how.

The critique is this:

We have outsourced the ordinary acts of neighborliness to algorithms, gig apps, and convenience industries whose only interest in us is our purchasing predictability. They will not build towns for us. They will not build belonging for us. They will not build love for us. They cannot.

And the call is this:

We have to practice being people again.

Nothing dramatic. Nothing heroic. Nothing that deserves a plaque or ribbon cutting. Just simple, old-fashioned nearness.

Go out.

Buy your coffee in person.

Pick up your own dinner.

Try strolling instead of scrolling.

Attend the school play even if you don’t have a kid in it.

Go to the game.

Walk downtown.

Say, “Hello.”

Learn a name.

Stay long enough for something unscheduled to happen.

Because community isn’t built on events; it’s built on habits.

And habits are built on small decisions that say, “I will live here with these people, not beside them.”

The truth is, we don’t need the old days back.

We need the old disciplines back.

At the heart of all this is something simple and sacred:

people are meant to be known. We are meant to be threaded into the lives of others, to belong to a place, to be recognized by name, to have our stories intertwined with the stories around us.

A convenience economy can give us everything but that.

But a community…rebuilt slowly, stubbornly, faithfully…can give us the one thing no app can:

a sense that we are part of something larger, older, and more beautiful than ourselves.

And that’s worth walking out the front door for."]]></description>
<dc:subject>place community 2025 local abstraction andypetro grief experience convenience amazon internet web online automation togetherness society social doordash delivery christianity neighbors neighborliness algorithms gigeconomy belonging spontaneity habits inperson humanism human humans humanity attention presence canon significance meaning meaningmaking life living interdependence capitalism commerce consumerism consumption vocation conviviality proximity memory nearness spirituality</dc:subject>
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<item rdf:about="https://kyla.substack.com/p/everyone-is-gambling-and-no-one-is">
    <title>Everyone is Gambling and No One is Happy - by kyla scanlon</title>
    <dc:date>2025-12-13T04:31:21+00:00</dc:date>
    <link>https://kyla.substack.com/p/everyone-is-gambling-and-no-one-is</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[via:
https://2ndbreakfast.audreywatters.com/nothing-but-flowers/ ]]]></description>
<dc:subject>kylascanlon economics democracy stability stress anxiety gambling vibecession michaelgreen johnburnmurdoch jeremyhorpedahl tylercowen paulkrugman policy inflation housing donaldtrump prosperity health healthcare healthinsurance affordability paulstarr jeantwenge bradybrickner-wood trust gregip davidbauder news collapse journalism media ai artificialintelligence bubbles aibubble misinformation scams attention infrastructure confidence optimism extraction llms labor work working employment linustorvald demishassabis markets datacenters billionaires electricity openai nvidia china airbnb energy renewables gdp investment speculation economy jobs tarekmansour kalshi financialization sports sportbetting whitneycurrywimbish emilystewart upwardmobility victorfrankl values kahliljoseph capitalism cronycapitalism technology prediction casinos regulation deregulation politics poverty experience risk generations medicare boomers babyboomers genz generationz zoomers us computing cheating scamming cognitiveoverload baumol</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:0fe165f990ce/</dc:identifier>
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    <title>Why you need your whole body – from head to toes – to think | Aeon Essays</title>
    <dc:date>2025-12-01T01:07:59+00:00</dc:date>
    <link>https://aeon.co/essays/why-you-need-your-whole-body-from-head-to-toes-to-think</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Contemplating the world requires a body, and a body requires an immune system: the rungs of life create the stuff of thought"]]></description>
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<item rdf:about="https://www.theatlantic.com/ideas/2025/11/happiness-confidence-grandness-humility/684988/">
    <title>To Get Happier, Make Yourself Smaller - The Atlantic</title>
    <dc:date>2025-11-22T01:00:55+00:00</dc:date>
    <link>https://www.theatlantic.com/ideas/2025/11/happiness-confidence-grandness-humility/684988/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Self-esteem is overrated. The better path to enlightenment is through contemplating one’s insignificance."

[archived:
https://archive.ph/dJzcB ]

"Early in my academic career, I noticed that one of the most popular classes on campus was Introduction to Astronomy, a general-science course that anyone could take. The students all loved it—especially the non-science majors. I asked one of them, an economics student, why she enjoyed astronomy so much. She didn’t say anything about stars, but she did say something powerful about earthly existence. “When I go into class on Thursday mornings, I usually am stressed out about my life,” she told me. “But 90 minutes later, I feel relief because I am just a speck on a speck.”

She was expressing a profound philosophical truth. We tend to believe that to be happier, we need to become bigger in our own mind, and in the minds of others. But that’s wrong. What we really need to achieve both the perspective on life we need and the peace we crave is to get smaller in relation to everything and everyone else. When we experience our own littleness, we stop blocking our ability to see our life in just proportion. We can relax into a humble reality of not being the object of attention and criticism, and we can appreciate a magnificent universe without spoiling it with our self-absorption and petty concerns.

Unless you suffer from a narcissistic personality disorder, you know that, being completely honest with yourself, you are not the center of most things in life. Virtually all of the time, other people are thinking about themselves, not you, and the world would continue with little disruption if you weren’t here at all. It is very possible that even your own great-grandchildren will not know your name. And yet, when you aren’t making a conscious effort to recognize these truths, you go about your business with the illusion that you are, in fact, the focus of intense outside interest.

People care what you think and do, you believe—after all, they judge you all day long, both positively and negatively. Or so you think. This self-aggrandizing fantasy is almost certainly a product of evolution: By thinking that they mattered more as individuals than they actually did, your ancestors strove to rise in social hierarchies. This work of constantly comparing themselves with others made it more likely that they would pass on their genes in a competitive mating environment. You inherited their delusions of grandeur.

But this comes at a cost: Thinking about yourself all the time makes you miserable over the long term. Researchers have shown that such self-focus can provoke emotional problems, making social situations or task performance feel frightening and unpleasant. Self-focus is especially deleterious for people who by nature have high social anxiety: Neuroscientists have observed hyperactivation of brain structures associated with anxiety when these people are instructed to think about themselves. An additional downside is that self-focus makes performing skilled tasks less enjoyable. In a study of basketball players published in 2002, sports psychologists instructed one group of players to focus on their own performance during warm-up. These players experienced higher anxiety than others who were not given this instruction.

And the reward? Even success in hierarchy-climbing is costly. Primate researchers studying wild baboons have shown that the highest-ranking males have greater testosterone levels than lower-ranking males, but they also have raised glucocorticoid levels, indicating constant elevated levels of stress. In humans, stress-hormone levels fall among those high in status only when their position is stable. Personally, I know no one who has made their way to the top who feels the slightest bit secure about their position.

All of this might strike you as strange. Mother Nature tells you to do something that makes you miserable. And the more miserable you get, the more you do it. But Mother Nature simply doesn’t care whether you’re happy. She just wants you to ascend the hierarchy and pass on your genes. Happiness is your problem, not hers.

As I have shown in the past, getting happier very often requires you to resist your natural tendencies, not give in to them. The world is constantly inviting you to try to make yourself appear bigger in others’ eyes and in your own; this fact underpins the entire social-media business model. The trick to finding happiness is to get smaller. Here are three ways you can achieve that.

1. Stand in awe.
I have previously cited the work of the UC Berkeley psychologist Dacher Keltner about the importance for happiness of standing in awe, which he defines as the “feeling of being in the presence of something vast that transcends your understanding of the world.” The reason that awe raises happiness is that it makes you smaller—exactly the feeling that the econ student was expressing about her astronomy class. But there are ways to experience awe besides looking at the night sky through a telescope. Keltner recommends spending time in nature, enjoying great music and art, and witnessing acts of moral beauty. Find what leaves you speechless and transfixed, and you will understand.

2. Seek the divine.
A common theme in most major religions involves the loss of self through communion with the divine. In Sufism, this is called fanā’, or “the annihilation of the ego.” The 13th-century Sufi mystic Rumi wrote about fanā’ in exquisite metaphors; in this poem, he compared his self to a “clear bead”:

<blockquote>There are no edges to my loving now.
The clear bead at the center
changes everything.</blockquote>

Modern neuroscience has revealed how this works. With colleagues, Columbia University’s Lisa Miller has shown that recalling spiritual experiences lowers activity in the medial thalamus and the caudate, brain regions that control sensory and emotional processing; this allows us to transcend our ordinary concerns and focus on deeper questions than how many people liked your latest social-media post.

3. Quietly serve others.
Virtually all of the many experiments on charitable behavior show that giving raises well-being—especially when it is anonymous, with no spotlight on your virtuous acts. One 2020 study demonstrated this in a novel way by studying anonymous kidney donors. The 114 donors were, on average, significantly happier than the general population after their donation to a stranger. You don’t have to give away an organ to benefit from this effect—just give more of yourself, without expectation of acknowledgment or reward. That way, you are truly transcending yourself.

This evidence for the happiness-enhancing power of self-abnegation might seem like a repudiation of what we have heard for decades about the importance of self-esteem. At one level, this is true insofar as high self-esteem leads to pleasant feelings in the short term. But working this psychological lever is not especially helpful for a good and satisfying life over time, and indeed it can lead to narcissism, by returning us to the delusion of our own importance and the constant need to maintain a mirage that we are at the center of everything. The opposite approach—finding peace and perspective in smallness—is the lasting way to well-being.

So relax into the reality of your cosmic smallness. The plain truth is that you are a speck on a speck. But you’re a lovely little speck, and beloved by a few other specks. That’s a good life."]]></description>
<dc:subject>2025 arthurbrooks self-esteem small enlightenment psychology life philosophy living smallness awe neuroscience service behavior charitability quiet lisamiller brain self narcissim importnance self-importance dacherkeltner happiness experience divinity divine sufism rumi love loving self-abnegation insignificance ego</dc:subject>
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<item rdf:about="https://patrickfarenga.substack.com/p/the-system-versus-community">
    <title>The System Versus Community - by Patrick Farenga</title>
    <dc:date>2025-11-18T04:55:26+00:00</dc:date>
    <link>https://patrickfarenga.substack.com/p/the-system-versus-community</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The magazine I published, Growing Without Schooling (GWS), often discussed the role of communities to help people learn and grow and why it is important for children to learn through informal and formal communal activities instead of just classroom instruction. Unfortunately, children are often not welcome in public during school hours. As unschoolers and homeschoolers learned early on, you can get the police called on you if your children are walking alone or playing outdoors without an adult supervising, and this situation continues today, as the group Let Grow shows.

But I’ve always been inspired by this phrase by the founder of GWS, John Holt: “A life worth living and work worth doing—that is what I want for children (and all people), not just, or not even, something called ‘a better education.’” This excerpt from GWS 65 (October, 1988) echoes John’s words and presents a good view of how community and individual initiative is diminished by institutional and corporate overreach.

****

From a talk that John McKnight, of the Community Life Project at Northwestern University, gave in Holyoke, Massachusetts this June:

… My mother went on to tell me that today, people learn in schools. Security is a police problem. Family troubles are social work problems. Justice is a lawyer’s problem. Health is a doctor’s problem. Play is a recreation director’s problem. Infancy belongs to child care workers. Food comes from McDonald’s. Money comes from banks and corporations. Homes come from Century 21.

She says, “I don’t like this world, because in it there is nothing to do.” She lives in a world that is now a terrible vacuum, because all its meaning, and purpose, and work, has been taken away. She says, “It’s no wonder so many people get divorced. Families have nothing to do.” Groups don’t exist for magical purposes. They exist because they have a place, and a function, and work to do. And so it may be that those workless groups called families naturally dissolve.

In my mother’s world, people who sit, rock, chat, play checkers, knit, and listen for the orioles in the lilac bush, are living life. But in the hollow world they say of those people that they are killing time, wasting time. People who are younger and have the advantage of time-saving devices, appliances, communication systems, and transportation, must find it hard to understand why my mother likes this world of wasted time, this world where time is killed. I think she’d call this world of wasted and killed time “the community,” and I think she would call the world of time-saving and leisure time “the system.”

… We have removed pleasure from our work in order to remove drudgery from our lives. Addicted to the pursuit of pleasure because we’re saving time through systems—but at least, we say, the system way gives us choice. I work in a system—a university: a system in pursuit of excellence dedicated to maximizing choice. But my mother knows better than that. In her community, she, her friends and neighbors, know things in many ways. They know through experience, they know through stories—which are often the way you use words to tell about experience. They know through dreams, they know through prayers, they know because of what their mother told them. But the system called a university rejects all those ways of knowing. You can’t put a footnote that says, “My mother told me so.” And yet the great knowing of community has always come from experience, prayers, dreams, stories and tradition—all rejected by this place that’s maximizing choice. It’s the one place that only allows one way of knowing. The community allows all ways.

And this system, called “the university,” pursues excellence to maximize our choices. That means we set up the highest possible barriers against people getting there. If you walked up to the president of my university and said, “How many students did you admit this year who have been labeled by human service professionals as retarded?” He would tell you, “None! We have an intricate system to see that that would never happen. We’re pursuing excellence!”

Choice, excellence, individualism, are the system’s justifications for eliminating diversity and creating jobs—that is, work without pleasure. Because diversity takes time, is slow, unsystematic, common and incorporative, it is like democracy. Democracy is about diversity, not choice. It’s slow, messy, conflicted—but totalitarianism is fast."]]></description>
<dc:subject>patfarenga johnholt johnmcknight 2025 community children individualism schools schooling security police policing justice law legal lawyers professionalization childcare labor work democracy totalitarianism banks corporations universities slow small time leisure systems choice experience infantilization excellence diversity pleasure messiness unschooling deschooling technocracy</dc:subject>
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<item rdf:about="https://www.sherryning.com/p/youre-overspending-because-you-lack-values">
    <title>You're overspending because you lack values</title>
    <dc:date>2025-11-06T19:14:31+00:00</dc:date>
    <link>https://www.sherryning.com/p/youre-overspending-because-you-lack-values</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Overconsumption is a spiritual problem, not a money problem. Lessons about desire from "Spirited Away"."

...

"One morning in January, I woke up and it was like a spell had been broken the way I looked around my room and saw how dull everything was, not because it was lacking but because of how full it was of stuff.

Stuff I didn’t particularly love. Stuff with no serious meaning to it. Stuff I didn’t care about. Stuff that, if you had secretly tossed, I wouldn’t even realize went missing. Stuff I bought because it was trendy at the time, because my friend had it, because I had seen attractive influencers my age brag about it on Instagram, and it made me think that I could be her.

So, I did a bit of Marie Kondo-ing and produced a few large bags of clothes and trinkets and stuff for donation. Standing in front of all my stuff, it hit me that all of it used to be money, and all of that used to be time. I was standing in front of the metabolic waste of my existence, materialized. I was looking at the amount of my time, therefore my life, that had been turned into garbage. And the worst part is that I could’ve prevented it.

***

A movie scene that has stuck with me for years comes from Spirited Away, where Chihiro finds her parents turned into pigs. It’s comical to describe, but when you put yourself in her shoes, it’s terrifying: it’s every child’s nightmare to lose their parents to a force they can’t control. The panic she feels in that scene speaks to me deeply, the feeling of watching your loved ones do something that you know is wrong but being called “silly” when you try to stop them.

[image]

Materialism isn’t inherently evil; it can be gorgeous through the frames of abundance or art. Miranda Priestly’s “stuff” monologue from The Devil Wears Prada, for example, shows how material creates jobs, fuels culture, and shapes history. Miyazaki’s plates of food are dramatically overblown and colorful and delicious, but Chihiro’s parents don’t think about what they consume, only about how much. When she confronts them, her father shrugs: “It’s okay. I have my credit card and some cash.”

This is the mindset that will make you waste your life away into bags of garbage: the idea that shopping is a material issue, and overconsumption is a budgeting problem, rather than a spiritual problem. It’s easy to be Spirited Away, whisked into another world operated by desires that come from ads and friends and fleeting trends. Your appetite for novelty and your fear of missing out sucks the joy out of you—the more you eat, the hungrier you are. The more you spend, the more vapid you feel. You lack spirit, not another fashion identity. You don’t need another aesthetic, you need stronger values.

***

The title Spirited Away in Japanese is Sen to Chihiro no Kamikakushi, and kamikakushi means “hidden by the gods,” a folk belief where people mysteriously vanish into another realm. This film is about magical abduction and losing your identity. Chihiro loses her name and becomes “Sen”: to be spirited away is like being stolen from yourself, forgetting who you are under the influence of forces like greed, fear, anger—and who’s to say that emotions aren’t magical? That desires aren’t demonic possessions of the mind (“demonic” meaning “godlike divisive superfactor” in Greek)? Who’s to say that feeling horny isn’t its own kind of spell? We literally use “mania” and “craze” to describe the way people desire something: Beatlemania, the craze with Labubus, matcha being ‘all the rage’.

[image]

Lust, for example, is the feeling of wanting something really badly. It doesn’t have to be a carnal desire but it’s about a possessive craving that ends in a feeling of collapse, an appetite that, once appeased, reveals its emptiness:

<blockquote>Lust is the deceiver. Lust wrenches our lives until nothing matters except the one we think we love, and under that deceptive spell we kill for them, give all for them, and then, when we have what we have wanted, we discover that it is all an illusion and nothing is there. Lust is a voyage to nowhere, to an empty land, but some men just love such voyages and never care about the destination.

—Bernard Cornwell</blockquote>

Shopping has this effect on me, the voyage is more satisfying than the destination. There is such thing as post-purchase clarity: the moment when you buy something trendy and you suddenly sober up to how much you don’t care about it (let alone like it); you just want to be seen having it.

Who is No-Face?

Spirited Away is most known for the character with the least lines: a masked ghost who can conjure gold. He has no backstory, we only know that he is banned from entering the bathhouse. Chihiro, out of kindness, lets him in. No-Face is refused service at first, but the staff quickly compromise their values upon seeing his gold. They serenade him, “Welcome the rich man. He’s hard for you to miss. His butt keeps getting bigger, so there’s plenty to kiss!” while they fight for the gold nuggets that plop out of his fat hands. Then, he devours the workers in despair when he realizes their kindness is bought, and only Chihiro is genuine.

[image]

The painful part of loneliness is the realization that most people are ass-kissers and friendship is rare. Likewise, people feel the most alienated when they suddenly sober up to the fact that most of their desires are herd-driven, that most of them are no where close to the truth, if they even have a clear enough sense of what that is that matters to them. It’s like waking up from a trance state and realizing, What have I done to myself? I certainly felt this way standing in front of my garbage bags. Loneliness, alienation, addictions and self-defeating loops—these are not material problems, but ‘desire’ problems.

I’m finally coming to understand what Girard meant by,

“All desire is a desire for being.”

We think we want things, but every desire points to a way of life, a kind of person we long to become. Objects seduce us not with their utility but with their promise of transcendence—status, attention, belonging. That’s why No-Face has no face: he is desire itself, the appetite to become, the emptiness that consumes while wishing it were someone else.

Money reveals this: In Roman mythology, the temple of Juno Moneta was both sanctuary and mint (it’s where we get the words “money” and “monetary”). To strike a coin was to sanctify it with divine authority, so it circulated as both economic and spiritual power. It still does: money organizes meaning. Fiat currency works because we collectively believe it means something—fiat literally “let it be” in Latin—its meaning assigned by our shared narrative. And because money is tethered to desire, it doesn’t just reflect value; it follows it. It’s the pull of eyes when a sports car glides down a street. It’s Bernard Arnault, CEO of LVMH, saying “when you create desire, profits are a consequence.” Shopping is not independent from the spiritual realm that strips away our names, and it’s a very literal form of kamikakushi.

When we feel the weight of our limits, we start reaching toward idols to imitate, goals to chase, places to explore, people to meet. What we’re really chasing is a sense of immortality or infinity, something that lives longer than we ever will. We want to be remembered long after we’ve left a conversation, the company, the world.

Desire is never about the object itself. If it were, once you acquired it, the desire would vanish. Yet, your wardrobe keeps getting stuffier while you still find yourself with nothing to wear. Desire is about what the object seems to promise us: a fuller, richer existence. This is why Marie Kondo’s “spark joy” test is great: it reframes consumption as discernment. It asks whether an object raises your spirit or weighs it down. Left unchecked, your possessions take away your freedom to be who you are. As Fight Club says, “The things you own end up owning you.”

***

Every now and then, I feel my value system collapsing under the seduction of Alo’s knitwear sets through their windows. Overall, none of this is about “how to spend less”, it’s about the freedom to just be… you.

<blockquote>You are not your job, you’re not how much money you have in the bank. You are not the car you drive. You’re not the contents of your wallet. You are not your fucking khakis.

—Chuck Palahniuk (Fight Club)</blockquote>

Stronger values make you spend more mindfully because they shift the axis of desire. When you know what you worship—what you actually stand for and who you want to become—everything gets tested against that vision. Values act like a sieve: they filter out the empty cravings that come from comparison and they let through only the things that genuinely serve your spirit. Without values, desires lead you astray by following ads and algorithms and the envy of friends—a state commonly known as “being distracted”.

The scariest part of Chihiro watching her parents turn into pigs is that they could’ve simply walked away. The unattended food stalls feel like a test of whether one can resist charming distractions. Like the family in Spirited Away, you’re rarely forced to follow one desire over another (until you choose wrongly, and only later realize what you’ve done, if you realize it at all). But if you aim at your highest value—placing no other gods above it, coveting nothing of your neighbor’s—you free yourself from the distractions that split your soul and can refocus your being on becoming who you want to be."]]></description>
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