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    <title>Building Strange Oases - Beautiful Eccentrics</title>
    <dc:date>2026-06-05T05:34:51+00:00</dc:date>
    <link>https://pablohelguera.substack.com/p/building-strange-oases</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["What we often call creativity, innovation, research, or artistic practice may be understood as socially sanctioned forms of play. The adult does not stop playing; the adult learns to disguise play under other names.

This realization has important implications for participatory art. Too often, participatory projects assume that they must teach participants something entirely new. But perhaps the task is subtler. Perhaps the role of participatory art is not to introduce play into people’s lives but to reveal forms of play that are already present there.

In this sense, participatory art resembles the Platonic concept of anamnesis: the idea that learning is not the acquisition of new knowledge but the recollection of something we already possess. The teacher does not deposit knowledge into the student. Rather, the teacher creates the conditions through which the student recognizes something that was already latent within them.

The same may be true of participation. A successful participatory artwork does not force people into unfamiliar territory. It helps them become conscious of capacities they already exercise every day: imagining alternatives, inhabiting different perspectives, negotiating rules, collaborating with others, and navigating uncertainty. The artwork becomes a mirror in which participants encounter forms of knowledge they already possess but rarely have the opportunity to see.

I sometimes wonder whether the growing interest in participation, interactivity, social practice, and collaborative forms of art reflects a broader condition of contemporary life. We spend much of our time being evaluated, measured, categorized, and asked to justify our actions through tangible outcomes. Under such conditions, spaces in which exploration can occur without immediate consequence become increasingly rare.

What artists often create, consciously or unconsciously, are temporary refuges from these pressures. Not escapes from reality, but suspensions of some of reality’s demands. Spaces in which people can momentarily set aside the need to be correct, efficient, productive, or certain.

The most successful participatory works are rarely those that ask people to do something entirely unfamiliar. Rather, they offer recognizable frameworks—stores, libraries, classrooms, games, celebrations, performances, archives, playgrounds. We know how to inhabit these forms. The artist’s task is not to invent a world from nothing but to subtly reorganize a familiar one.

Play grants us permission. Permission to imagine alternatives. Permission to experiment without certainty. Permission to occupy different roles. Permission to ask “what if?” Permission, for a moment, to stop performing adulthood and to engage with the world through curiosity rather than obligation.

In this sense, the artistic oasis is not a place where we become children again. It is a place where we remember capacities that adulthood has taught us to conceal.

That, I believe, is the deepest promise of participatory art. Not that it teaches us something we did not know, but that it helps us recognize something we have known all along.

Perhaps that is why Pessoa’s garden continues to resonate. It was never simply a place from childhood. It was a reminder that somewhere within ordinary life there remains a territory governed by different rules. We enter it briefly, and then return. But for a moment, play is its master."]]></description>
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    <title>Disabling Modernism</title>
    <dc:date>2026-05-30T22:54:41+00:00</dc:date>
    <link>https://placesjournal.org/article/modernist-schools-for-disabled-children-new-deal-era/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["During the first decade of the New Deal, modernist architects designed schools for disabled children that proposed radical visions of civic care."]]></description>
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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>
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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>
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<item rdf:about="https://www.youtube.com/watch?v=Km2bn0HvUwg">
    <title>Everything Was Already AI - YouTube</title>
    <dc:date>2026-01-09T19:34:30+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=Km2bn0HvUwg</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Feedback welcome, hope you enjoy this video which was a lot of fun to make (albeit late)

References (in rough order of appearance)

How to Make Realistic Predictions About AI, Tantham
https://curveshift.net/p/how-to-make-realistic-predictions

Silicon Valley Insider EXPOSES Cult-Like AI Companies | Aaron Bastani Meets Karen Hao 
https://www.youtube.com/watch?v=8enXRDlWguU

‘Large AI models are cultural and social technologies’, Farrell et al.
https://www.science.org/doi/10.1126/science.adt9819

Artificial Intelligences, Herbert Simon

Debunking Economics, Keen 
https://en.wikipedia.org/wiki/Debunking_Economics

Scientists Just Discovered Why All Pop Music Sounds Exactly the Same
https://www.mic.com/articles/107896/scientists-finally-prove-why-pop-music-all-sounds-the-same

The Dorito Effect, Shatzker
https://www.simonandschuster.com/books/The-Dorito-Effect/Mark-Schatzker/9781476724232

How Corporations Hijacked Anti-AI Backlash 
https://www.youtube.com/watch?v=lRq0pESKJgg

The Stock Market is a Conventional Wisdom Processor: Why Trump’s Tariffs Crashed the Stock Market While the Trump Musk Payments Crisis Hasn’t (Yet), Tankus
https://www.crisesnotes.com/content/files/2025/04/The-Stock-Market-is-a-Conventional-Wisdom-Processor-Why-Trump-s-Tariffs-Crashed-the-Stock-Market-While-the-Trump-Musk-Payments-Crisis-Hasn-t--Yet-.pdf

Elon Musk’s Billionaire Games - Between the Scenes | The Daily Show 
https://www.youtube.com/watch?v=Gqlbn2nPO-A

The Job Market Is Hell: Young people are using ChatGPT to write their applications; HR is using AI to read them; no one is getting hired. By Annie Lowrey
https://www.theatlantic.com/ideas/archive/2025/09/job-market-hell/684133/

What's Wrong with Capitalism (Part 1) | ContraPoints 
https://www.youtube.com/watch?v=gJW4-cOZt8A

Disney is Perfectly Happy With Their Catastrophic Downfall
https://www.youtube.com/watch?v=GW2Zr8Q6Xqw  

Mr. Plinkett's What Happened To Star Wars?
https://www.youtube.com/watch?v=0xeMak4RqJA

AI Slop Is Destroying The Internet
https://www.youtube.com/watch?v=_zfN9wnPvU0

Artificial Intelligence and the Digital Economy - with Dr Stuart Mills
https://www.youtube.com/watch?v=9E6p3J9dko8

An Existing, Ecologically-Successful Genus Of Collectively Intelligent Artificial Creatures, Kuipers
https://arxiv.org/abs/1204.4116
https://web.eecs.umich.edu/~kuipers/papers/Kuipers-ci-12.pdf

AI Integration Is the New Moat, Tim O’Reilly
https://www.oreilly.com/radar/integration-is-the-new-moat/

Dirty Little Marketing Secrets That Always Work - Rory Sutherland (4K)
https://www.youtube.com/watch?v=qvpw4_O25eU

The Time for Cybernetics Has Come - with Daniel Davies
https://www.youtube.com/watch?v=y3HpdNGvJDc

notes on the industrialisation of decision making, Davies
https://backofmind.substack.com/p/notes-on-the-industrialisation-of

the only message the channel can carry is a scream, Davies
https://backofmind.substack.com/p/the-only-message-the-channel-can

The AI Circular Economy, Blakeley
https://graceblakeley.substack.com/p/the-ai-circular-economy

The Case Against Generative AI, Zitron
https://www.wheresyoured.at/the-case-against-generative-ai/

The Map is Eating the Territory: The Political Economy of AI, Farrell
https://www.programmablemutter.com/p/the-political-economy-of-ai

the ending of every 7 hour video essay
https://www.youtube.com/watch?v=d8reiauyQCM 

Further reading

AI: What Could Go Wrong? with Geoffrey Hinton - The Weekly Show with Jon Stewart | Podcast on Spotify
https://open.spotify.com/episode/4pWuwQq8M8Gzf9F9U0AYZW

Transformers, the tech behind LLMs | Deep Learning Chapter 5 
https://www.youtube.com/watch?v=wjZofJX0v4M

You're Being Lied To About Private Equity | Truth Complex 
https://www.youtube.com/watch?v=6pzLhWCxH_g 

AI As a Normal Technology, Arvind Narayanan & Sayash Kapoor
https://knightcolumbia.org/content/ai-as-normal-technology "]]></description>
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<dc:identifier>https://pinboard.in/u:robertogreco/b:f6f026e3046d/</dc:identifier>
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</item>
<item rdf:about="https://bigthink.com/high-culture/ken-liu-ai-art/">
    <title>The cinematograph, the &quot;noematograph,&quot; and the future of AI art - Big Think</title>
    <dc:date>2025-11-06T05:18:52+00:00</dc:date>
    <link>https://bigthink.com/high-culture/ken-liu-ai-art/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Hugo-winning author Ken Liu explores what early cinema and Chinese poetry can teach us about AI’s potential as a new artistic medium."

...

"Key Takeaways

• The birth of cinema shows how new technologies often begin with limited applications but hold unforeseen potential for creative expression. 

• AI may become an artistic medium for exploring and playing with subjectivities, such as offering new ways to interpret and interact with poems and translations. 

• The evolution of artistic mediums, from cinema to AI, underscores the importance of experimentation and play in uncovering their transformative possibilities."]]></description>
<dc:subject>kenliu cinematograph cinema experimentation ai artificialintelligence poems poetry translation 2025 creativity expression georgesméliès noematograph augustelumière louislumière lumièrebrothers movement history narrative film filmmaking timeberners-lee tiktok chatgpt youtube llms language chenzi'ang wuzetian interpretation howwewrite writing languages machinelearning emilywilson subjectivity aiart art arts</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:4789f48f5fb2/</dc:identifier>
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<item rdf:about="https://elhilo.audio/podcast/millonarios-isla-honduras/">
    <title>Vivir más y sin control: la fantasía de los tecnomillonarios en una isla de Honduras - El hilo</title>
    <dc:date>2025-05-11T04:37:35+00:00</dc:date>
    <link>https://elhilo.audio/podcast/millonarios-isla-honduras/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["En la isla de Roatán, en Honduras, una corporación estadounidense está desarrollando un proyecto que parece sacado de un cuento distópico: Próspera, una ciudad autónoma que funciona como una compañía privada, donde emprendedores libertarios y millonarios de la tecnología buscan llevar adelante ambiciones personales y comerciales al margen de las regulaciones del Estado. Como, por ejemplo, el negocio de crear y vender tratamientos médicos para alargar la vida que en otros lugares están prohibidos. Esta semana hablamos con la periodista hondureña Jennifer Ávila, directora del medio Contracorriente, para entender qué hay detrás de Próspera, por qué se trata de una apuesta ideológica además de económica, y cómo convive una ciudad privada con fines de lucro con el Estado de Honduras, uno de los países más desiguales y violentos del continente."]]></description>
<dc:subject>próspera honduras roatán 2025 zedes privatization freedomcities seasteading taxes taxation taxavoidance taxevasion e-residency libertarianism rightwing farright privategovernance longtermism cryptoutopia sovereignty immortality economics politics economy citizenship law legal bitcoin medical medicine experimentation regulation government governance jenniferávila deregulation samaltman peterthiel jdvance erickbrimen labor extractivism inequality crypto cryptocurrencies blockchain biotech biotechnology ideology longevity bryanjohnson donaldtrump marcandreessen imf sanctions crawfishrock greenland argentina javiermilei elsalvador nayibbukele paraguay zede</dc:subject>
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</item>
<item rdf:about="https://www.youtube.com/watch?v=X9xmdRgHEj4">
    <title>What Happens When American Billionaires Build A Private City In Your Country - YouTube</title>
    <dc:date>2025-04-28T20:11:52+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=X9xmdRgHEj4</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Why are tech billionaires with ties to U.S. President Donald Trump funding a private, for-profit city on a small Honduran island? 

Dena Takruri traveled to Próspera, the most controversial "startup city” in the world. Some say it’s a free market crypto-utopia that will lift Hondurans out of poverty. But others say it’s nothing more than an experiment in modern-day colonialism.

00:00 Introduction 
3:29 Dena visits Próspera 
7:26 Why Próspera is controversial 
8:37 A history of U.S. corporations exploiting Honduras 
9:28 What critics say about Próspera  
11:23 Who’s behind the global private city movement  
14:14 Dena visits the nearby Crawfish Rock community 
17:14 Conclusion"]]></description>
<dc:subject>denatakruri honduras próspera peterthiel elonmusk privatization freedomcities seasteading roatán oligarchy capitalism zionism treygoff networkstate bigtech billionaires samaltman coinbase libertarianism crypto cryptocurrencies settlercolonialism colonialism colonization xiomaracastro balajisrinivasan rogerstone stephenmoore monarchy deregulation imperialism neocolonialism 2023 2024 2025 jorgecolindres fda medicine experimentation regulation government governance dylanmccgrath patrifriedman niklasanzinger marcandreessen porfiriolobo juanorlandohernández rightwing farright privategovernance cryptoutopia technooptimism crawfishrock taxation taxavoidance taxevasion zedes e-residency residency citizenship law legal bitcoin medical nelsonmilla vitalia longevity bryanjohnson biohacking genetherapy longertemism immortality economics politics economy labor work police policing democracy exploitation bananarepublics development power samuelzemurray poverty fernandogarcía land jimenagarcíamerino titusgebe</dc:subject>
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    <title>David Hammons: Day's End - YouTube</title>
    <dc:date>2024-12-30T21:27:00+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=cjT53b6qXHw</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The Whitney, in collaboration with Hudson River Park, has developed a permanent public art project by David Hammons. Entitled Day's End (2014–21), this monumental installation is located in Hudson River Park along the southern edge of Gansevoort Peninsula, directly across from the Museum.

Proposed to the Whitney by Hammons, Day's End takes inspiration from an artwork of the same name by Gordon Matta-Clark. In 1975, Matta-Clark cut five openings into the Pier 52 shed that formerly occupied the site. Hammons's Day's End is an open structure that precisely follows the outlines, dimensions, and location of the original shed—and, like Matta-Clark's intervention, it will offer an extraordinary place to experience the waterfront.

Taking both Day's Ends, as envisaged by Hammons and Matta-Clark, as jumping-off points, the Whitney has also created the Museum's first podcast, Artists Among Us, narrated by artist Carrie Mae Weems. Listen at https://whitney.org/podcast/days-end . 

Learn more at https://whitney.org/exhibitions/david-hammons-days-end "

[See also:

"Queer Histories of the Piers | David Hammons: Day's End" (2021)
https://www.youtube.com/watch?v=tS990SCeQIE

"The Whitney, in collaboration with Hudson River Park, has developed a permanent public art project by David Hammons. Entitled Day's End (2014–21), this monumental installation is located in Hudson River Park along the southern edge of Gansevoort Peninsula, directly across from the Museum.

Hammons’s Day’s End takes inspiration from an artwork of the same name by Gordon Matta-Clark, who cut five openings into the Pier 52 shed in 1975. Pier 52 was one of several piers inhabited by a vibrant Queer community in Manhattan’s Meatpacking District. Featuring interviews with artist and filmmaker Elegance Bratton; activist and Director of Client Services at the Sylvia Rivera Law Project Stefanie Rivera; photographer and archivist Efrain John Gonzalez; activist and performer Egyptt Labeija; and artist and art historian Jonathan Weinberg, this video recalls a time when sex, art, and creativity converged on the waterfront."

"Gordon Matta-Clark's Day's End | David Hammons: Day's End" (2022)
https://www.youtube.com/watch?v=uecdwXKuUco

"The Whitney, in collaboration with Hudson River Park, has developed a permanent public art project by David Hammons. Entitled Day's End (2014–21), this monumental installation is located in Hudson River Park along the southern edge of Gansevoort Peninsula, directly across from the Museum.

Hammons’s Day’s End takes inspiration from an artwork of the same name by Gordon Matta-Clark, who cut five openings into the dilapidated Pier 52 shed in 1975, transforming it into a "cathedral of light.""

"Preview: Day's End by David Hammons" (2019)
https://www.youtube.com/watch?v=Vv3rVp3g9Ic

"The Whitney, in collaboration with the Hudson River Park Trust, has developed a permanent public art project by David Hammons. Entitled Day's End (2021), this monumental installation is located in Hudson River Park along the southern edge of Gansevoort Peninsula, directly across from the Museum.

Proposed to the Whitney by Hammons, Day's End takes inspiration from an artwork of the same name by Gordon Matta-Clark. In 1975, Matta-Clark cut five openings into the Pier 52 shed that formerly occupied the site. Hammons's Day's End is an open structure that precisely follows the outlines, dimensions, and location of the original shed—and, like Matta-Clark's intervention, it will offer an extraordinary place to experience the waterfront.

Featuring interviews with Darren Walker (President, Ford Foundation), Lorna Simpson (Artist), Alex Fialho (Programs Director, Visual AIDS), Scott Rothkopf (Deputy Director for Programs and Nancy and Steve Crown Family Chief Curator, Whitney Museum of American Art), Adam D. Weinberg (Alice Pratt Brown Director, Whitney Museum of American Art), and Guy Nordenson (Structural Engineer)"

"Adam D. Weinberg and David Hammons discuss Day's End" (2021)
https://www.youtube.com/watch?v=N4si3OLbVEI

"Adam D. Weinberg and artist David Hammons discuss the conception of Hammons's permanent public art project Day's End. This monumental installation is located in Hudson River Park along the southern edge of Gansevoort Peninsula, directly across from the Whitney.

Day's End takes inspiration from an artwork of the same name by Gordon Matta-Clark. In 1975, Matta-Clark cut five openings into the Pier 52 shed that formerly occupied the site. Hammons's Day's End is an open structure that precisely follows the outlines, dimensions, and location of the origina"]]]></description>
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<item rdf:about="https://www.youtube.com/watch?v=qQUs8cNmDOI">
    <title>Advice For Young Artists - YouTube</title>
    <dc:date>2024-12-29T03:21:34+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=qQUs8cNmDOI</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["An extensive reflection on the conception and construction of Alec Soth's most recent book, "Advice For Young Artists."

Come for the book analysis, stay for the balloon party!

ps. I finally figured out how to add subtitles."]]></description>
<dc:subject>alecsoth amateurism photography beginnersmind beginners youtube 2024 newness howwework projects doing making play writing howwewrite process outsiders belonging goth houseparties happenings events loners mfa mfas undergraduates nashville tennessee kentucky louisville ohio professionalization curiosity generalists specialists professionals art arteducation youth highschool creativity identity community arts connection innocence children education howwelearn howwemake learning teens winnebagoworkshop littlebrownmushroom experimentation audiencesofone mentors mentoring roadtrips parenting life living growth colleges universities iowa louisiana risd information books impulsivity self-portraits fun walkerevans age aging advice middleage midagecrisis sensemaking makingsense discomfort vulnerability humanity miniatures maquettes mock-ups dioramas amateurs</dc:subject>
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<item rdf:about="https://www.sfpublicpress.org/exposed/">
    <title>Exposed: The Human Radiation Experiments at Hunters Point</title>
    <dc:date>2024-11-29T23:45:17+00:00</dc:date>
    <link>https://www.sfpublicpress.org/exposed/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["About the series: The San Francisco Public Press sifted through thousands of pages of obscure records, interviewed experts and tracked down elderly veterans who were subjected to ethically questionable radiation exposure by the U.S. Navy in San Francisco during the Cold War. What we found reveals a troubling history with effects still felt today.

Reporting: Chris Roberts and Rebecca Bowe | Editing: Michael Stoll and Liz Enochs | Research Editing: Ambika Kandasamy | Web Design: John Angelico | Copy Editing: Kurt Aguilar, Michele Anderson and Richard Knee | Archival Research and Illustration: Stacey Carter | Audio Editing: Liana Wilcox, Mel Baker and Megan Maurer | Sound Gathering: Justin Benttinen | Photography: Sharon Wickham, Yesica Prado and Guillermo Hernandez | Graphic Design: Reid Brown | Fact Checking: Dani Solakian and Ali Hanks | Proofreading: Lila LaHood, Noah Arroyo, Zhe Wu and Sylvie Sturm | Special thanks to Alastair Gee and Danielle Renwick at The Guardian and Ben Trefny at KALW Public Radio, and to Amy Pyle"

...

"Part 1. OVERVIEW: How a San Francisco Navy Lab Became a Hub for Human Radiation Experiments + List of Studies
https://www.sfpublicpress.org/exposed-part-1-how-a-san-francisco-navy-lab-became-a-hub-for-human-radiation-experiments/
Rarely seen documents show a Cold War atomic research facility headquartered at Hunters Point conducted studies that exposed at least 1,073 people to potentially harmful radiation. The legacy of that era is a continuing risk to public health.

Part 2. THE DECISION MAKERS: After Atomic Test Blunder, Government Authorized Study of Radiation in Humans
https://www.sfpublicpress.org/exposed-part-2-after-atomic-test-blunder-government-authorized-study-of-radiation-in-humans/
In the late 1940s, the Navy towed ships wrecked by Pacific weapons detonations to San Francisco, where scientists monitored decontamination workers. Military and civilian leaders realized they could expand this effort into a wider program investigating radioactivity’s effects on people.

Part 3. THE STUDIES: Human Radiation Studies Included Combat Exercises, Skin Tests, Plan to Inject 49ers
https://www.sfpublicpress.org/exposed-part-3-human-radiation-studies-included-mock-combat-skin-tests-and-a-plan-to-inject-49ers/
Scattered government documents reveal 24 studies over 18 years in which Navy researchers experimented on at least 1,073 people. There is little evidence they gained lasting scientific insights.

Part 4. ETHICS: Cold War Scientists Pushed Ethical Boundaries With Radiation Experiments
https://www.sfpublicpress.org/exposed-part-4-cold-war-scientists-pushed-ethical-boundaries-with-radiation-experiments/
Memos reveal that a San Francisco Navy lab risked running afoul of human rights declarations in its quest for data to aid national defense.

Part 5. FADING HISTORIES: Destroyed Records, Dying Witnesses Consign San Francisco Radiation Lab to Obscurity
https://www.sfpublicpress.org/exposed-part-5-destroyed-records-dying-witnesses-consign-san-francisco-radiation-lab-to-obscurity/
How did a celebrated Navy atomic research center nearly vanish from public consciousness? Many records were classified and others shredded, including documentation of human experimentation.

Part 6. PERPETUAL EXPERIMENT: Shuttered Radiation Lab Poses Ongoing Health Risks for Growing Neighborhood
https://www.sfpublicpress.org/exposed-part-6-shuttered-radiation-lab-poses-ongoing-health-risks-for-growing-neighborhood/
Critics of the Navy say people living in the historically Black, working-class neighborhood near a toxic shipyard receive no better treatment than human radiation test subjects generations ago.

🎧 Podcast Episode 1: A Community of Color Contends With the Navy’s Toxic Legacy
https://www.sfpublicpress.org/exposed-podcast-episode-1-a-community-of-color-contends-with-the-navys-toxic-legacy/
Decades after the Navy shuttered a Cold War radiation research lab, the mess hasn’t been completely cleaned up. Listen to local voices demanding accountability amid charges of environmental racism.

🎧 Podcast Episode 2: Why the Navy Conducted Radiation Experiments on Humans
https://www.sfpublicpress.org/exposed-podcast-episode-2-why-the-navy-conducted-radiation-experiments-on-humans/
Hear how hundreds of servicemen and shipyard workers became unwitting ‘volunteers’ for Cold War scientists’ biology and safety research."]]></description>
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<item rdf:about="https://www.youtube.com/watch?v=R-5mecyWUgI">
    <title>Entre partículas y palabras. Física y literatura en la construcción de la realidad - Javier Argüello - YouTube</title>
    <dc:date>2024-11-23T20:01:14+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=R-5mecyWUgI</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["A partir de sus visitas al acelerador de partículas del CERN, el centro de investigación de física de partículas más grande del mundo, y de las conversaciones mantenidas con los renombrados físicos que allí trabajan, el escritor Javier Argüello abordó el fascinante momento que está viviendo la física y los límites con los que se está encontrando. También revisó qué tienen que decir al respecto las estructuras literarias como fórmulas capaces de incluir el papel de la conciencia en la construcción de la realidad.

Presenta Colbún y Coopeuch. Proyecto financiado por PAOCC"]]></description>
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<item rdf:about="https://www.youtube.com/watch?v=2-y7ToCAvYU">
    <title>'The Philosophy of Movement: An Introduction' with Thomas Nail - YouTube</title>
    <dc:date>2024-11-13T02:48:45+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=2-y7ToCAvYU</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Buy Thomas' book:
https://www.upress.umn.edu/9781517917456/the-philosophy-of-movement/

About 'The Philosophy of Movement: An Introduction': 

Why are city dwellers worldwide walking on average ten percent faster than they were a decade ago? Why are newcomer immigrant groups so often maligned when migration has always constituted civilization? To analyze and understand the depth of the reasons, Thomas Nail suggests that it serves us well to turn to a philosophy of movement. Synthesizing and extending many years of his influential work, The Philosophy of Movement is a comprehensive argument for how motion is the primary force in human and natural history.

Nail critiques the bias toward stasis at the core of Western thought, asking: what would a philosophy that began with the primacy of movement look like? Interrogating the consequences of movement throughout history and in daily life in the twenty-first century, he draws connections and traces patterns between scales of reality, periods of history, and fields of knowledge. In our age of rapid movements shaped by accelerating climate change and ensuing mass global migration, as well as ubiquitous digital media, Nail provides a contemporary philosophy that helps us understand how we got here and how to grapple with these interlocking challenges.

With a foreword by philosopher Daniel W. Smith, The Philosophy of Movement: An Introduction is a must-read for scholars and students not only of philosophy but also history, anthropology, science and technology studies, mobility studies, and other fields across the humanities and social sciences. "]]></description>
<dc:subject>acidhorizon thomasnail via:javierarbona philosophy movement humans 2024 history anthropology science technology mobility humanities socialsciences socialscience walking migration climatechange aristotle alberteinstein archimedes physics sciences change constancy unchanging lawsofnature materialism knowledge matter immigration civilization human naturalhistory capitalism westernism prejudice state capital reason subordination michelserres thomasaquinas slavery life living hierarchy hierarchies nature domination metaphysics eurowest cosmology universallaws ontology spacetime inferiority superiority impassivity passivity karenbarad quantumphysics god indeterminacy kant immanuelkant lucretius karlmarx relational process deleuze alfrednorthwhitehead herniberson gillesdeleuze stasis flow quantitative qualitative discontinuous discontinuity continuity cambridgechange bertrandrussell carlorovelli becoming identity self transcendentalism stability relation relativism relations transformation substance essence flows fi</dc:subject>
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    <title>256. Taylor Levy &amp; Che-Wei Wang | Scratching the Surface</title>
    <dc:date>2024-10-11T18:25:32+00:00</dc:date>
    <link>https://scratchingthesurface.fm/256-taylor-levy-che-wei-wang</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Taylor Levy and Che-Wei Wang are the founders of the art and design studio CW&T. Founded in 2009, CW&T has produced human-scaled objects like pens, clocks, and tape dispensers engineered to last multiple generations as well interactive software, art installations, and more. In 2022, they were the recipients of the 2022 National Design Award for product design from Cooper Hewitt. In this conversation, Jarrett talks with Taylor and Che-Wei about the role of experimentation in their design process, the overlap of physical and digital design, and the challenges with staying independent."]]></description>
<dc:subject>jarrettfuller scratchingthesurface cw&amp;t taylorlevy che-weiwang design clocks time experimentation independence 2024</dc:subject>
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<dc:identifier>https://pinboard.in/u:robertogreco/b:061c99eb857c/</dc:identifier>
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<item rdf:about="https://www.youtube.com/watch?v=3llNvNfGHAU">
    <title>Lenin and the Politics of Rehearsal - YouTube</title>
    <dc:date>2024-09-06T03:23:57+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=3llNvNfGHAU</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Practice makes different."

"100 years after Lenin’s death, his exhortations to learn and think in the concrete remain urgent for our movements. What does it mean to approach our political practice not as an abstract set of rules, but as a collective rehearsal of coming worlds? And how can we perceive, expand, and connect contemporary world-experiments rehearsing abolitionist, communist, and anti-imperialist movement around the planet?"]]></description>
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<item rdf:about="https://www.youtube.com/watch?v=HRuBzFmZ3VA">
    <title>Perspectives: Alec Dunn on LIBERATION Magazine - YouTube</title>
    <dc:date>2024-05-08T20:17:07+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=HRuBzFmZ3VA</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Black Mountain College Museum + Arts Center presents a conversation with Alec Dunn about LIBERATION Magazine and Vera B. Williams.

LIBERATION (1956 – 1977) was a radical leftist publication established by a group of civil rights organizers and pacifist conscientious objectors to WWII, who came together in the mid-1950s to found a unique magazine blending art, commentary, and political thought. Two major players in the magazine’s history include Bayard Rustin, who had visited Black Mountain College during the 1947 Journey of Reconciliation, and Paul Goodman, who had lectured at BMC.

BMC alumna Vera B. Williams became involved with LIBERATION while living at the Gate Hill Co-op in Rockland County, NY. She went on to be the magazine’s principal cover artist, illustrating 76 covers over the course of its publication. Alec Dunn’s research tells the story of Williams’ path to LIBERATION through BMC and the many graphic styles she explored through her work on the magazine.

About Alec Dunn:

Alec Dunn is a writer, artist, and printer based in Portland, OR.  He has designed book and record covers, political graphics, punk fliers and is a member of the Justseeds Artists Cooperative. Since 2010, he has been co-editor of Signal: A Journal of International Political Graphics & Culture.

___
Black Mountain College Museum + Arts Center is dedicated to preserving + extending the legacy of Black Mountain College (1933 - 1957). We were founded in 1993 to celebrate BMC as a forerunner in progressive interdisciplinary education and to explore its extraordinary impact on modern and contemporary art, dance, theater, music, and performance. Today, we achieve our mission through collection, conservation, and educational activities including exhibitions, publications, and public programs."

[See also:
"Vera B. Williams / STORIES
Eight Decades of Politics and Picture Making
Black Mountain College Museum + Arts Center
January 26 – May 11, 2024"
https://www.blackmountaincollege.org/vera-baker-williams/

Alec Dunn's article is within:
"Signal: A Journal of International Political Graphics and Culture: No. 8"
"Alec Dunn highlights Liberation magazine and the cover art of Vera Williams "
https://www.printedmatter.org/catalog/62731/ ]]]></description>
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<item rdf:about="https://resin.watch/">
    <title>resin watch lab</title>
    <dc:date>2024-01-20T20:36:28+00:00</dc:date>
    <link>https://resin.watch/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["your watch is always more interesting when no one knows wtf you're wearing"

...

"no brand - no heritage - just handmade watches and unconventional composites"

[See also:

https://resin.watch/pages/resins-story (story)

https://www.instagram.com/resinwatchlab/

https://www.ablogtowatch.com/hands-on-debut-resin-watch-lab-subq/
https://www.ablogtowatch.com/hands-on-resin-watch-lab-v05-0x-rimiss/ https://www.ablogtowatch.com/watch-brands/resin-watch-lab/ ]]]></description>
<dc:subject>resinwatchlab resin microbrands colorado watches 2024 experimental experimentation materials watchcanon unproduct nonproduct</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:0ec34a6c8360/</dc:identifier>
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<item rdf:about="https://compendium.copim.ac.uk/practices/53">
    <title>Experimental Publishing Compendium: Practice: Annotating</title>
    <dc:date>2024-01-01T03:35:43+00:00</dc:date>
    <link>https://compendium.copim.ac.uk/practices/53</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Description
Annotations, notes scribbled in the margins or digitally overlain, spin out from a source text, adding layers of meaning, interpretations, references, and associations. As an experimental practice, annotating has the potential to redefine the lines between writers and readers, sources and exegesis, and reviewers and reviewees.

Full description
Web-based annotations of digital books enrich and add meaning to a scholarly text through overlays and filters that sit on top of the text—often allowing direct referencing of granular elements (specific words, segments, paragraphs)—in order to show additional textual or multimodal commentary and feedback. Annotations—in short, a form of readerly or writerly interaction that consists of notes (in any medium) added to texts (of any medium)—already have a long history in a print and manuscript context (e.g. marginalia, errata, rubrics), but the immediacy of two-way discussion between users is a notable feature of digital open annotations. Annotation can serve many purposes, "it can provide information, share commentary, spark conversation, express power, and also aid learning" (Kalir and Garcia, 2021). Adding contextual references, such as metadata, can enrich the underlying text, for example by creating a semantic network that sets a given publication in relation to other publications (hyperlinking, linked open data). This can facilitate a more "seamless integration of research materials and scholarly analysis" (McPherson, 2010). Beyond human generated annotations, there are also opportunities to enhance content through auto-generated annotations, adding info about identifiers, controlled vocabulary, or recommendations. Annotations can also be enhanced themselves, by making them "searchable by tags that make it possible to identify the type of annotation or its content" (Bertino & Staines, 2019; Lange, 2020) and because of digital technologies readers are now able to export, share, and preserve their annotations for a range of audiences.

Experimental uses
While pre-digital annotation has mostly been a private practice (Humphreys et al., 2018), digital tools enable the ongoing and shared open annotation of texts, potentially blurring divisions between text and annotation, and author, editor, reviewer, and reader. This speaks of the participatory approach to annotating content and annotations potential to undermine traditional notions of proprietary authorship and authorial control over open content. Annotation also provides opportunity to "socialize the process of knowledge creation" by extending the "collaborative spirit" from authorship out to review and revision, and from there to create knowledge communities (Montgomery et al., 2018; Kalir & Garcia, 2021). Open annotation can thus simultaneously foreground social processes of authorship while also questioning the very nature of authorial authority. It has the ability to enrich a document through its ability to 'interweave' itself with the other voices in a project, thus presenting a textured, multi-perspective publication in one document while also posing questions about where the document actually begins and ends (Adema, 2018). Annotation therefore points to a level of liquidity and intertextuality within a publication that disrupts what it means to have a fixed and final publication.

Increasingly publishers are experimenting with annotation features either on top of their open book collections or on specific open titles, and annotations (either in the authoring or the reading environment) are also becoming a standard feature of long-form experimental publishing platforms, from CommentPress to Manifold, Scalar, and PubPub. MIT Press has accommodated annotation and conversation around some of the books in its MIT Press Open collection. This includes books in its Works in Progress programme released on the PubPub platform for pre- or post-publication feedback, designed for works in early stages of their development that could benefit from community feedback to further develop ideas. Titles include Open Knowledge Institutions, a book co-authored by 13 scholars as part of a 'Book Sprint', but the press has also released books for formal assessment via their Community Review programme, including the manuscripts for Data Feminisms and Annotation that were posted for public comment prior to entering the publication process.

Open Humanities Press have been exploring the affordances of annotation as part of their focus on the rewriting of books in their back catalogue. With their Combinatorial Books: Gathering Flowers book series, they are encouraging readers/writers to actively reuse existing open access books. They have developed a publishing workflow that enables the creation of new combinatorial books out of existing OHP books that are openly licensed for reuse. For the first book in this series the authors collaboratively annotated OHP’s The Chernobyl Herbarium online PDF with the aid of the hypothes.is plugin. Tagging and grouping their annotations the authors developed a tentative table of contents for their book-length rewriting, which they further worked out in pads and other collaborative writing environments. The published book will use the PubPub annotation function to link back again to the sections in The Chernobyl Herbarium it responds to. In this sense open annotation has the potential to enable more engagement with existing open books and to promote conversation across scholarly monographs (Bertino & Staines, 2019).

Considerations
One important consideration is the power relations that determine who can and does write annotations and who can’t and doesn't (who gets to annotate), "is bound by social norms, cultural practices, and enforced policies", which need to be heeded when we think about how we can cultivate participation and interaction around texts, especially within a scholarly communications context (Kalir and Garcia, 2021). This might explain why, notwithstanding several trials in the humanities, annotation as a form of public discourse has not been a resounding success. The culture of academia might be to blame here, with "fears about being ‘scooped’, about blowback, about domineering commenters, and lack of time coalesce to result in extremely poor participation in this emerging form of discourse" (Skains, 2020. Time, effort, and accessibility become barriers to participation in this form of academic engagement, especially as annotations usually cannot be cited, meaning that in the scholarly reward and reputation system "they offer no verifiable benefit to the contributor in either cultural capital or actual capital" (Skains, 2020; Perkel, 2015). At the same time, books themselves are perhaps not the best "platforms for interaction" because there is already ubiquitous social media on which publications are shared and discussions around them take place (next to already established print-based environments dedicated to discussing research, e.g., conferences and book reviews). Why would scholars duplicate that effort for specific platforms or on specific publications with more restricted audiences, with limited visibility, and with no benefit to their standing or career (Faulkes, 2014; Skains, 2020)?

Further reading
Kalir, R and Garcia, A. (2021). Annotation, The MIT Press Essential Knowledge Series (Cambridge, MA: The MIT Press) https://mitpressonpubpub.mitpress.mit.edu/annotation.

Bertino, A. C., and Staines, Heather (2019). ‘Enabling A Conversation Across Scholarly Monographs through Open Annotation’. Publications, 7(2), 41. https://doi.org/10.3390/publications7020041

Skains, R. L. (2020). ‘Discourse or gimmick? Digital marginalia in online scholarship,’ Convergence, 26(4), 942–955. https://doi.org/10.1177/1354856519831988"]]></description>
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<item rdf:about="https://www.youtube.com/watch?v=8fLsVPegwqM">
    <title>Perspectives: Susie Taylor - YouTube</title>
    <dc:date>2023-12-29T06:52:25+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=8fLsVPegwqM</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Black Mountain College Museum + Arts Center presents a conversation with Susie Taylor. Taylor is a contemporary textile artist featured in the exhibition Weaving at Black Mountain College: Anni Albers, Trude Guermonprez, and Their Students. In this conversation, Taylor discusses her practice, including her origami weavings, the relationship between her work and abstraction, and her philosophy of structural innovation.

About the artist:

Susie Taylor is a weaver and textile designer based in San Jose, California. A constant and prolific experimenter, Taylor takes an iterative approach to making her work, which she develops in series. By limiting her material palette, Taylor makes structure her primary tool for pictorial expression. Taylor’s process recalls the work of the Black Mountain College weavers in her rigorous approach to experimentation, play, and iterative development. Her work in low relief and three dimensions, inspired in part by origami, also relates to the extended BMC legacy of weaving as practiced by Kay Sekimachi and Trude Guermonprez.

Taylor received her B.F.A. from Kansas City Art Institute and M.F.A. from UCLA and then later earned a Certificate of Excellence (Level 1 Handweaving) from The Handweavers Guild of America. Recent exhibitions include Hardcore Threadlore: Dance Doyle, Terri Friedman and Susie Taylor at Johansson Projects in Oakland, Weaving at Black Mountain College: Anni Albers, Trude Guermonprez, and Their Students at Black Mountain College Museum, and Altered Perceptions: Sarah Hotchkiss, Lordy Rodriguez and Susie Taylor at Institute of Contemporary Art, San José. She has exhibited her work in the US and in international fiberart and contemporary textile biennials in China and Ukraine.

Her work has been seen on Colossal Art and in New American Paintings, The LA Times, American Craft, Fiberarts, Fiber Art Now, The Textile Eye, Complex Weavers Journal, Shuttle Spindle and Dyepot, Handwoven, Journal of Weavers Spinners and Dyers and The Bulletin (Guild of Canadian Weavers), and Weven magazines. She has taught at Penland School of Arts and Crafts, Arrowmont School of Arts and Crafts and Tyler School of Art."]]></description>
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<item rdf:about="https://podcasts.apple.com/us/podcast/helado-negro-ecos-of-healing/id1677011949?i=1000621120832">
    <title>El Sonido: Helado Negro: Ecos of Healing on Apple Podcasts</title>
    <dc:date>2023-07-14T07:15:12+00:00</dc:date>
    <link>https://podcasts.apple.com/us/podcast/helado-negro-ecos-of-healing/id1677011949?i=1000621120832</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[See also:
https://www.kexp.org/read/2023/7/14/helado-negro-ecos-of-healing/
https://www.youtube.com/watch?v=lDJZ8axiDzU ]

"[To follow along with English subtitles, visit our new YouTube channel, "KEXP Podcasts." Learn more about this episode at www.kexp.org/podcasts/el-sonido/.]

Nuestro viaje de ocho capítulos llega a su fin con el cancionero de uno de los compositores más destacados, Helado Negro. Roberto Carlos Lange, artista ecuatoriano-estadounidense, recorre su vida personal y artística con las canciones que lo hicieron el artista que es. Desde Eduardo Mateo y Mercedes Sosa a Juana Molina, Nick Hakim y Xenia Rabinos, Roberto construye su escena y la de sus pares con buenas canciones.

La música y el cantar en español se transformaron en su forma de recordar a su familia, a su cultura y a su historia, creando el soundhealing que lo caracterizaría al convertirse en artista. El autor de This is how your Smile, Far In y más, abre su bitácora sonora y sus memorias como identidad latinx crecida en Estados Unidos logrando romper las barreras monolíticas alrededor de lo latino.

El Sonido y su primera temporada, Cancioneros, intentó hacerse preguntas sobre la experiencia de ser de un lugar, el significado moderno de la música latina y el presente y el futuro de las escenas latinoamericanas, iberoamericanas y diaspóricas. En un presente donde la música latina está explotando los rankings, nuestra host Albina Cabrera navegó junto a ustedes su propio proceso como inmigrante rescatando las canciones de su vida y convocando a parte de los artistas del hoy y el mañana para que juntos construyan el soundtrack de toda una generación."]]></description>
<dc:subject>elsonido 2023 heladonegro music albinacabrera músicalatina latinamerica español spanish miami nyc robertocarloslange electronica lidopimienta luisalfredodelvalle kristisword juanamolina luizabrina kelmanduran nickhakim rosalía badbunny colombia perú brasil brazil puertorico us mercedessosa alfredozitarrosa atahualpa nicómedessantacruz latinx clubfonograma reggaeton reguetón reggaetón experimentation collaboration creativity soundhealling collectives language víctorjara cancioneros kexp</dc:subject>
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<item rdf:about="https://theconvivialsociety.substack.com/p/children-and-technology">
    <title>Children and Technology - by L. M. Sacasas</title>
    <dc:date>2023-06-15T21:57:22+00:00</dc:date>
    <link>https://theconvivialsociety.substack.com/p/children-and-technology</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["1. Resist technocratic models of what it means to raise a child

2. Resist a reactionary approach to technology

3. Resist technologies that erode the space for childhood

4. Resist technologically mediated liturgies of consumption

5. Be skeptical of running unprecedented social experiments on children

6. Embrace limits

7. Embrace convivial tools

8. Cultivate wonder

9. Tell stories, read poetry"]]></description>
<dc:subject>lmsacasas education children 2020 childhood technology wonder neilpostman consumption consumerism conviviality ivanillich albertborgmann storytelling stories poetry teaching howweteach parenting resistance mediation experimentation limits limitations constraints</dc:subject>
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<item rdf:about="https://www.youtube.com/watch?v=z3zfMUBTDl0">
    <title>Why Language is Always Changing with Valerie Fridland - Factually! - 214 - YouTube</title>
    <dc:date>2023-06-14T15:24:34+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=z3zfMUBTDl0</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Language changes, and that's not a bad thing! This week, Adam is joined by sociolinguist Valerie Fridland to uncover how language is much more malleable than we're led to believe, and how the resistance against new slang often disguises an attempt to limit the influence of marginalized communities."

[Book here:

Like, Literally, Dude: arguing for the Good in Bad English, by Valerie Fridland
https://www.penguinrandomhouse.com/books/671558/like-literally-dude-by-valerie-fridland/

"ABOUT LIKE, LITERALLY, DUDE
“With easygoing authority… [Fridland] offers context, and a welcoming spirit, to the many contentious realignments in our language.”—The Wall Street Journal

“Smart and funny—I loved it!” —Mignon Fogarty, author of New York Times bestseller Grammar Girl’s Quick and Dirty Tips for Better Writing

A lively linguistic exploration of the speech habits we love to hate—and why our “like”s  and “literally”s actually make us better communicators

Paranoid about the “ums” and “uhs” that pepper your presentations? Concerned that people notice your vocal fry? Bewildered by “hella” or the meteoric rise of “so”?  What if these features of our speech weren’t a sign of cultural and linguistic degeneration, but rather, some of the most dynamic and revolutionary tools at our disposal?

In Like, Literally, Dude, linguist Valerie Fridland shows how we can re-imagine these forms as exciting new linguistic frontiers rather than our culture’s impending demise. With delightful irreverence and expertise built over two decades of research, Fridland weaves together history, psychology, science, and laugh-out-loud anecdotes to explain why we speak the way we do today, and how that impacts what our kids may be saying tomorrow. She teaches us that language is both function and fashion, and that though we often blame the young, the female, and the uneducated for its downfall, we should actually thank them for their linguistic ingenuity.

By exploring the dark corners every English teacher has taught us to avoid, Like, Literally, Dude redeems our most pilloried linguistic quirks, arguing that they are fundamental to our social, professional, and romantic success—perhaps even more so than our clothing or our resumes. It explains how filled pauses benefit both speakers and listeners; how the use of “dude” can help people bond across social divides; why we’re always trying to make our intensifiers ever more intense; as well as many other language tics, habits, and developments.

Language change is natural, built into the language system itself, and we wouldn’t be who we are without it. Like, Literally, Dude celebrates the dynamic, ongoing, and empowering evolution of language, and it will speak to anyone who talks, or listens, inspiring them to communicate dynamically and effectively in their daily lives."]]]></description>
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<item rdf:about="https://www.growbyginkgo.com/2023/03/14/theres-nothing-unnatural-about-a-computer/">
    <title>There's Nothing Unnatural About a Computer</title>
    <dc:date>2023-05-03T16:57:32+00:00</dc:date>
    <link>https://www.growbyginkgo.com/2023/03/14/theres-nothing-unnatural-about-a-computer/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["James Bridle’s Ways of Being wants us to take a fresh look at nature’s intelligence"

...

"I don’t think there is such a thing as an artificial intelligence. There are multiple intelligences, many ways of doing intelligence. What I envisage to be more useful and interesting than artificial intelligence as we currently conceive of it—which is this incredibly reduced version of human intelligence— is something more distributed, more widely empowered, and more diverse than singular intelligence would allow for. It’s actually a conversation between multiple intelligences, focused on some narrow goals. I have a new, very long-term, very nascent project I’m calling Server Farm. And the vision of Server Farm is to create a setting in which multiple intelligences could work on a problem together. Those intelligences would be drawn from all different kinds of life. That could include computers, but it could also include fungi and plants and animals in some kind of information-sharing processing arrangement. The point is that it would involve more than one kind of thinking, happening in dialogue and relationship with each other."

...

"Well, the way that I think about it is that intelligence is relational. It’s not something that exists within bodies, but between them. Or between beings, or between awarenesses, or between beings and things, between beings and places. I wouldn’t even necessarily restrict it to bodies. But intelligence without relationships — I don’t think I could really understand what that is."

...

"I remember going to the British Library many years ago. I got an amazing behind-the-scenes tour, it’s completely incredible: the building goes down, probably more stories than they say, underground, and it has these vast robotic systems for moving artifacts around. It’s this incredible grounded spaceship for preserving stuff. But that preservation isn’t just putting stuff in cold rooms. It’s also an incredibly active process. You’ve got all of these studios where they’re doing preservation work. In one room, you will have someone prizing open 10th century books or X-raying ancient papyri to try and pull the information back up off the page, out of this rotting medium. And in the next room, you’ve got someone who’s working on piecing together shellac discs, the very first audio recording tools. And in the next one, you’ve got someone who’s trying to get something off a Mac that’s 10 years old. I remember walking around this place and having this real vision of all culture, all human knowledge, all human experience, piled on a huge conveyor belt moving inexorably towards the fire. And the whole work is just constantly shoving that stuff away from the fire in any way that we can. And that’s not just the work of librarians, or even artists and cultural workers. It’s really what we all do all the time in trying to preserve and transmit knowledge. 

But what’s also crucial about that is that every time you do it, you’re enacting it. It’s not just about portaging dead media, or frozen ideas from the past. It’s about finding what their place is in the present. How they are useful in the current moment. That enacting becomes possible when you’re doing the work of understanding and listening and transmitting. Because that’s where it always happens. The knowledge is in the telling of it. It’s true of everything. I don’t like falling back on Indigenous knowledge as an example — the “magic native” trope — but it’s much clearer in non-Western cultures, I think. In Australian Aboriginal storytelling these things have a direct relationship to the lived landscape. They’re survival tools of the present. I think all knowledge is that. We can and do use these things — processing knowledge over time. That’s how we get on. And we’ll continue to get on."

...

"Sustained observation is wonderful. But it’s also a survival tool, because it allows you to react specifically to new situations. And that’s really the key. We are facing situations that are novel to humanity. But all organisms, at some point, face situations that are novel, and the ones that survive are the ones that have the broadest range of experience to draw on to find new solutions, and the broadest diversity of experiences."

...

"But one key part of what I say about that particular vision of the internet of animals, allowing us to work towards a shared planet, is also that we get the hell out of quite large areas. That includes data and monitoring — when we know what we need to know, we stop. We erase the data and we erase our presence and we move ourselves away from the center in every way that we can. I think it’s a bit too easy to get caught up in the very, very real problems with doing some of this stuff, when we’re already doing it at such a hideously large industrial scale that not trying to do it better seems to be a slightly foolish barrier to going forward. We have this power and we’re already misusing it. I’m no fan of massive geoengineering schemes, but we are already doing massive geoengineering schemes. That’s what 300 years of burning fossil fuels is."]]></description>
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<item rdf:about="https://www.thedigradio.com/podcast/the-dawn-of-everything-w-david-wengrow/">
    <title>The Dawn of Everything w/ David Wengrow - The Dig</title>
    <dc:date>2021-11-15T20:36:11+00:00</dc:date>
    <link>https://www.thedigradio.com/podcast/the-dawn-of-everything-w-david-wengrow/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Astra Taylor interviews archaeologist David Wengrow on The Dawn of Everything: A New History of Humanity, his new book co-authored with the late David Graeber.'

[also here:
https://open.spotify.com/episode/6cKiDKyJ2Xm1SYlKwWbMkY ]]]></description>
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    <title>Childhoods in More Just Worlds: An International Handbook, Edited by Timothy Kinard and Gaile S. Cannella – Myers Education Press</title>
    <dc:date>2021-11-05T00:35:43+00:00</dc:date>
    <link>https://myersedpress.presswarehouse.com/browse/book/9781975504113/Childhoods-in-More-Just-Worlds</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[“Those who are younger continue to be objects of injustice and inequity; those who are younger, people of color, females, and human beings living in poverty have never been included in equitable performances of justice, care, respect, and fairness.

The authors in this international volume use existing social values and institutions–and the strengths of these varied perspectives–to address justice in ways that have not previously been considered. The aim is to create more just worlds for those who are young–as well as for the rest of us.

The first set of chapters, Bodies, Beings, and Relations in More Just Worlds, place at the forefront the lives of those who are younger who are commonly situated in positions of invisibility, disqualification, and even erasure. In the second section, Performances of Care and Education for More Just Worlds, the authors acknowledge that needed (re)conceptualizations of those who are younger, along with appreciation for human diversity and entanglements between the so-called human and nonhuman worlds, are the foundations for more just care and education environments. From the critique of neoliberal reform discourses to reconceptualizing human relations with nonhuman animal and material worlds, care and learning environments are rethought. The set of chapters in the final section, Stir of Echoes: 20th Century Childhoods in the 21st, take-up the 20th century critical concerns with constructions of “child” that have dominated and continue to govern perspectives imposed on those who are younger. Suggestions for becoming-with those who are younger through resources like reconceptualist scholarship, Black and Indigenous Studies, and various posthuman perspectives are provided throughout.

Whatever the emphasis or focus of a section or chapter, throughout the volume is the recognition that dominant discourses (e.g. neoliberal capitalism, conservativism, progressivism, human exceptionalism) and the policies they create (and that facilitate them), influence possibilities for, and limitations to, more just childhood worlds. Therefore, each section includes chapters that address these complex discourses and policy issues. The reader is invited to engage with these complexities, to become-with the various texts, and to generate unthought possibilities for childhoods in more just worlds.

Perfect for courses such as: Curriculum Theory │ Multicultural Education │ Cultural Knowledge of Teachers and Teaching │ Sociocultural Foundations │ Anthropology of Education │ Identity, Agency, and Education │ Race and Ethnic Relations in Schools │ Philosophical Foundations of Education │ Educational Epistemologies │ Theorizing and Researching Teaching and Learning │ Qualitative Research in Education: Paradigms, Theories, and Exemplars │ Epistemologies and Theories in Multicultural and Equity Studies │ Curricular Approaches to Multicultural and Equity Studies in Education │ Culturally Relevant Pedagogy (3) │ Multicultural and Global Perspectives in Teaching and Learning │ Teaching for Social Justice │ Diversity and Equity in Education │ 21st Century Childhood Curriculum │ Childhood and Globalization

Table of Contents:

Preface: Childhoods in More Just Worlds: An International Handbook
Gaile S. Cannella and Tim Kinard

Bodies, Beings, and Relations in More Just Worlds

1. The Reduction of Children to “Bare Life”: The Case of Child Migration
Michael O’Loughlin and Renata de Assis

2. “Forward to No Place at All”: Forceful Migration and Child Welfare
Mlado Ivanovic

3. A Romani Analysis of English Preschool Education
Mandy Pierlejewski and Gyula Vamosi

4. The Shadows and Silences of Colonialism: Resisting Eroding Realities for Māori Children Through Language Re-Vernacularisation in Antipodean New Zealand
Mere Skerrett

5. Staying with the Troubles of Colonised Emotional Well-Being of Young Children in Aotearoa (New Zealand)
Jenny Ritchie

6. Competing Discourses about Immigrant Children: Metaphors of the Right and Left
Theodora Lightfoot

Care and Education: Performing Just Childhood Worlds

7. Refusing Policymakers’ Manufactured Crisis: Countering Conceptions of School Readiness
Christopher P. Brown, David P. Barry, and Da Hei Ku

8. Politics of Childhoods: Paradoxical Moments of Be(com)ing
I-Fang Lee

9. Sitting With the Agency Paradox to Stand for Childhood Liberation: The Case of Critical Mathematics Education
José Martínez Hinestroza

10. “Your Children Are Having Too Much Fun”: Teaching Literacy With Radical Hope
Luz A. Murillo

11. Justice Mapping: Making Theoretical Kin With/in Childhood Studies
Tim Kinard

12. Becoming-with Water: Collaboration, Ethico-onto-epistemologies, Experimentations, and Creativity
Mindy Blaise and Claire O’Callaghan

13. Entanglements of Neoliberalism, Childhoods and Environmental Justice
Kylie Smith, Casey Myers, and Marek Tesar

Stir of Echoes: 20th-Century Childhoods in the 21st

14. Figurations of the Child in Swedish Early Childhood Education
Therese Lindgren

15. Innocence and Parenting in Difficult Times
Emily L. Murphy and Hannah Dyer

16. Playing With the Politics of Play
Sue Grieshaber and Sally Barnes

17. Becoming Convivial With Child: Dismantling the Race/Child/Learning/Human Assemblage
Maria Kromidas

About the Authors

Index”]]></description>
<dc:subject>children unschooling mariakromidas timothykinard gailecannella 2021 deschooling justicee socialjustice conviviality multispecies morethanhuman place education learning howwelearn teaching howweteach childhood experientiallearning relationships sallybarnes suegrieshaber emilymurphy hannahdyer parenting innocence politics play thereselindgren sweden us neoliberalism environment environmentaljustice kyliesmith caseymyers marektesar mindyblaise claireo’callaghan creativity experimentation pedagogy luzmurillo literacy josémartínezhinestroza agency liberation freedom i-fanglee becoming christopherbrown davidbarry daheiku refusal resistance schools schooling schoolreadiness theodoralightfoot jennyritchie decolonization colonialism colonization well-being newzealand maori aoterroa mereskerrett mandypierlejewski gyulavamosi romani uk preschool mladoivanovic migration immigration michaelo’loughlin renatadeassis bodeis globalization curriculum equity inequality multiculturalism anthropology indigenei</dc:subject>
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    <title>Interviews: Aneil Rallin and Kartika Budhwar - YouTube</title>
    <dc:date>2021-10-20T15:26:53+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=VHuolyg4WZE</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[""Along with scholars like Trinh T. Minh-ha and Susan Griffin, I want to reject the notion that academic scholarly writing has to be pedantic, or that it can't be playful or elliptical or weird or whimsical or mixed-genre or creative. There seems to be a distrust in academia, of playfulness and creativity, it's not seen as serious or critical or important. But, I like bringing together lots of different forms, critical writing and anecdotes and notes and analysis and snippets of conversations and fragments and juxtapositions." 

Literary theorist and author, Aneil Rallin, in conversation with SAAG Senior Editor Kartika Budhwar."]]></description>
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<item rdf:about="https://talk-out-of-school.simplecast.com/episodes/audrey-watters-on-the-history-of-teaching-machines-in-our-schools-and-the-misuse-of-ed-tech-today">
    <title>Audrey Watters on the history of teaching machines in our schools and the misuse of ed tech today | Talk Out of School</title>
    <dc:date>2021-09-27T21:01:46+00:00</dc:date>
    <link>https://talk-out-of-school.simplecast.com/episodes/audrey-watters-on-the-history-of-teaching-machines-in-our-schools-and-the-misuse-of-ed-tech-today</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[“EPISODE SUMMARY
Leonie spoke to Audrey Watters, author of the new book, Teaching Machines, about the history and politics of education technology, and how its increasing penetration into our schools should and must be resisted.

EPISODE NOTES
Resources: 
Audrey Watters new book, published by MIT Press, “Teaching Machines: The History of Personalized Learning”  

Latest NY Times article on the current state of the vaccine mandate for teachers and school staff

New New York State Senate bill requiring a remote learning option for NYC students and AM NY article about it

NYC Public School Parents on the new interim computerized assessments purchased by DOE for $36 million

Allen Golston of Gates Foundation quote on the purpose of education
https://www.ced.org/blog/entry/repost-americas-businesses-need-the-common-core

Video of Mario Savio 1964 speech
https://news.berkeley.edu/2014/09/30/words-of-freedom-video-made-from-mario-savios-1964-machine-speech/ “]]></description>
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</item>
<item rdf:about="https://www.nytimes.com/2021/04/16/podcasts/ezra-klein-podcast-alison-gopnik-transcript.html">
    <title>Transcript: Ezra Klein Interviews Alison Gopnik - The New York Times</title>
    <dc:date>2021-07-02T21:22:02+00:00</dc:date>
    <link>https://www.nytimes.com/2021/04/16/podcasts/ezra-klein-podcast-alison-gopnik-transcript.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[“The wrong message is, oh, OK, they’re [children] doing all this learning, so we better start teaching them really, really early. […] And that’s not the right thing. That’s actually working against the very function of this early period of exploration and learning.”

“But I do think something that’s important is that the very mundane investment that we make as caregivers, keeping the kids alive, figuring out what it is that they want or need at any moment, those things that are often very time consuming and require a lot of work, it’s that context of being secure and having resources and not having to worry about the immediate circumstances that you’re in. That context that caregivers provide, that’s absolutely crucial. It’s absolutely essential for that broad-based learning and understanding to happen. So just by doing — just by being a caregiver, just by caring, what you’re doing is providing the context in which this kind of exploration can take place.”

[From earlier in the interview:]

“a lot of the theories of consciousness start out from what I think of as professorial consciousness. So, surprise, surprise, when philosophers and psychologists are thinking about consciousness, they think about the kind of consciousness that philosophers and psychologists have a lot of the time. 

[…]

maybe not surprisingly, people have acted as if that kind of consciousness is what consciousness is really all about. That’s really what you want when you’re conscious. And what I would argue is there’s all these other kinds of states of experience — and not just me, other philosophers as well. There’s all these other kinds of ways of being sentient, ways of being aware, ways of being conscious, that are not like that at all.”]]></description>
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<item rdf:about="https://www.youtube.com/watch?v=Apbl6Iuqkvc">
    <title>Democracy in Action - YouTube</title>
    <dc:date>2020-11-10T02:27:37+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=Apbl6Iuqkvc</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[“What did democracy mean for Black Mountain College?

Explore the democratic ideals and practices of BMC with Jay Miller, co-curator of the exhibition “Politics at Black Mountain College”, Professor of Philosophy, and Director of the Warren Wilson College Honors Program.”

[See also:
https://www.jstor.org/stable/10.5406/jaesteduc.52.4.0049
https://www.are.na/block/9459000 ]]]></description>
<dc:subject>blackmountaincollege bmc democracy johndewey 2020 jaymiller education highered participatory experience experimentation experientiallearning learning howwelearn highereducation johnandrewrice liberalarts practice history consensus governance decisionmaking conflict inclusion inclusivity politics refuge immigration inclusiveness equality jasonmiller</dc:subject>
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<item rdf:about="https://www.blackmountaincollege.org/politicsdigitalportal/">
    <title>Politics at Black Mountain College - Digital Exhibition - Black Mountain College Museum + Arts Center</title>
    <dc:date>2020-10-16T02:47:42+00:00</dc:date>
    <link>https://www.blackmountaincollege.org/politicsdigitalportal/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[“Dive into the archives to gain new insights into Politics at Black Mountain College.

A supplement to the exhibition at Black Mountain College Museum + Arts Center, on show February 1 – May 18, 2019.

Navigate through the key themes of the exhibition by selecting a button below, or simply scroll through as if walking through the exhibition space. Watch videos, listen to oral histories, and view archival images, FBI Files and more.

With thanks to the Western Regional Archives for their partnership as stewards of BMC history.”]]></description>
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<item rdf:about="https://hkw.de/en/app/mediathek/video/78504">
    <title>Catherine Burke: Colin Ward and Anarchist Educational Concepts of the 1960s and ’70s: “We make the road by walking.” | Mediathek 78504</title>
    <dc:date>2020-09-29T18:19:28+00:00</dc:date>
    <link>https://hkw.de/en/app/mediathek/video/78504</link>
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https://soundcloud.com/hkw/catherine-burke-colin-ward-ov ]]]></description>
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<item rdf:about="https://watch.supernova.video/supernova-2020-official-program-previews/videos/hypnotic-devices-program-preview">
    <title>Hypnotic Devices Program Preview - Supernova Previews</title>
    <dc:date>2020-09-16T04:39:23+00:00</dc:date>
    <link>https://watch.supernova.video/supernova-2020-official-program-previews/videos/hypnotic-devices-program-preview</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[“Full program will launch September 15th on supernova.video

Absurd, Abstract, Profound - Over the past hundred years, animation has grown from early technical experiments to mainstream entertainment and back to experimental forms, based on technological advancements. Though video games are younger, by comparison, their growth and evolution mirror this same arc of development. This program brings together a selection of 21st-century games, exploring the intersection between games and experimental animation. With easy access to powerful game-building software, an endless library of online tutorials, and the ubiquity of powerful computing devices, video games are no longer the domain of a select few. With time and patience, anyone can create a game. As the access to games and game-design tools increases, the opportunity for experimentation and expression has given rise to new hybrid experiences, pushing the boundaries between what are traditionally known as video games or animation. The question is no longer, “can I make a game,” but “what else can I do with these tools?””

[See also: https://watch.supernova.video/hypnotic-devices

David O'Reilly and "Everything" (2017)
https://watch.supernova.video/hypnotic-devices/videos/everything
https://www.davidoreilly.com/
https://www.davidoreilly.com/everything/

Studio Oleomingus and "Under a Porcelain Sun" (2018) (and others)
https://watch.supernova.video/hypnotic-devices/videos/under-a-porcelain-sun
https://oleomingus.com/
https://store.steampowered.com/app/532230/Under_a_Porcelain_Sun/
https://studio-oleomingus.itch.io/the-indifferent-wonder-of-an-edible-place
https://studio-oleomingus.itch.io/in-the-pause-between-the-ringing

Tale of Tales and "The Endless Forest" (2006)
https://watch.supernova.video/hypnotic-devices/videos/endless-forest
http://tale-of-tales.com/
http://tale-of-tales.com/TheEndlessForest/index.html

Queen Bee Games and "Spinch" (2020)
https://watch.supernova.video/hypnotic-devices/videos/spinch-gameplay-video
https://www.queenbeegames.com/
https://www.spinchthegame.com/

Studio Zevere and "She Dreams Elsewhere" (2020)
https://watch.supernova.video/hypnotic-devices/videos/she-dreams-elsewhere
https://www.studiozevere.com/

TJ Hughes and "Nour" (2018)
https://watch.supernova.video/hypnotic-devices/videos/nour
https://terrifyingjellyfish.com/tagged/art
https://store.steampowered.com/app/1141050/Nour_Play_with_Your_Food/

Bearwarp and "Bluster Blunder" (2019)
https://watch.supernova.video/hypnotic-devices/videos/bluster-blunder
https://bearwarp.com/

Adam Robinson Yu (Adam Gryu) and "A Short Hike" (2019)
https://watch.supernova.video/hypnotic-devices/videos/a-short-hike
https://adamgryu.com/
https://ashorthike.com/

Lucas Pope and "Papers, Please" (2013)
https://watch.supernova.video/hypnotic-devices/videos/papers-please
https://dukope.com/
https://papersplea.se/

Paloma Dawkins and "Museum of Symmetry" (2018)
https://watch.supernova.video/hypnotic-devices/videos/museum-of-symmetry
https://palomadawkins.com/
https://palomadawkins.com/Museum-of-Symmetry

Keita Takahashi and "Noby Noby Boy" (2009)
https://watch.supernova.video/hypnotic-devices/videos/noby-noby-boy ]]]></description>
<dc:subject>hypnoticdevices games gaming videogames animation interactivefiction nobynobyboy keitatakahashi experimentation experimental form multiliteracies papersplease studiooleomingus davidoreilly shedreamselsewhere virtualreality vr supernova film adamrobinsonyu ashorthike bearwarp blusterblunder studiozevere queenbeegames spinch taleoftales theendlessforest underaporcelainsun tjhughes palomadawkins nour museumofsymmetry adamgryu lucaspope toplay</dc:subject>
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<item rdf:about="https://twitter.com/dantaeyoung/status/1272275976454537216">
    <title>Dan 태영 on Twitter: &quot;It is absolutely wild and unjust that in many/most schools, you can be *expelled* for having bad grades. Imagine that you were on a hike on a mountain with a group. The group says: if you fall behind, we will kick you out of our gr</title>
    <dc:date>2020-08-20T01:46:38+00:00</dc:date>
    <link>https://twitter.com/dantaeyoung/status/1272275976454537216</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[“It is absolutely wild and unjust that in many/most schools, you can be *expelled* for having bad grades.

Imagine that you were on a hike on a mountain with a group. The group says: if you fall behind, we will kick you out of our group and leave you behind. Is this a good group? https://twitter.com/av_rose_ev/status/1271978534001471490

<blockquote>social workers can move like cops. public health workers can move like cops. academics can move like cops. teachers and school administrators can move like cops. policing is built into the fabric of so many of our public institutions and infrastructure. we must undo that.</blockquote>

Is it really a place for learning, or a place for fear and competition? Institutions of supposed learning have been sites of policing where you have to be “good enough” to not be exiled. This is deeply violent and policing and harmful. Grading is part of this: a tool of policing

Learning has been systematically harmed by teaching: a culture of grades and exile as primary forms of punishment. As a teacher I can “feel” the expectations and uncertainties of school culture from my students. Institutions of teaching don’t easily support cultures of learning.

This makes me incredibly angry. Every class, it takes a while to get to a place where we can experiment and find things together: the norms of the school is so strong, in all of us. What do we expect, having spent time in schools that hold a carceral mindset? Or an elitist one?

There are alternatives: treat classes like reading groups, or a exploratory research group, where you discover things together. There is only an us. Knowledge isn’t transmitted from teacher to student, rather, learning is about playing together, finding more ways to play together

Learning isn’t lectures; it’s co-learning / cooperative / collective organizing. So many good thinkers and practioners and writings along this line Montessori, Vygotsky, Illich, Ranciere, La Paperson, Jo Freeman. (Do you know any - esp by bipoc?)

Where are the places where learning (not teaching) is really supported and celebrated? Where are the centers of learning that put learning first, that really let us remember what it’s like to discover and explore and be curious, that can actively undo trauma around schools?

Imagine teachers without the inner cop, prison. It’s one thing to do it in a classroom, but we NEED to feel this energy across an entire institution, a joyous co-conspiratory energy of researching and finding and sharing with each other. Full of support, care, mutual respect.

<blockquote>so grateful to @jeffreymoro for articulating so clearly the category of educational “cop shit” (“any pedagogical technique or technology that presumes an adversarial relationship between students and teachers”) & the need to get it out of the classroom https://twitter.com/jeffreymoro/status/1228345239984918528 </blockquote>

https://twitter.com/melanieh0ff/status/1272304035748610048

<blockquote><3 [bell hooks, teaching to transgress] [image with the following quote]

<blockquote>Traditional education deemphasizes the reality that professors are in the classroom to offer something of ourselves to the students. The erasure of the body encourages us to think that we are listening to neutral, objective facts, facts that are not particular to who is sharing the information. We are invited to teach information as though it does not emerge from bodies.
 
Significantly, those of us who a re trying to critique biases in the classroom have been compelled to return to the body to speak about ourselves as subjects in history. We are all subjects in history. We must return ourselves to a state of embodiment in order to deconstruct the way power has been traditionally orchestrated in the classroom , denying subjectivity to some groups and according it to others. By recognizing subjectivity and the limits of identity, we disrupt that objectification that is so necessary in a culture of domination. 

- bell hooks</blockquote>

</blockquote>

Some other actual steps to do: don’t have grades / have pass-fail grades / actively encourage risk-taking (and incorporate in grade metrics, if grades are required) so that students are encouraged to explore new territory and projects that may not work well

The teacher can be a facilitator, not a lecturer, and class time should be facilitated like a collective organizing meeting: cooperative, organized around group discussions, readings, projects, sharing. The teacher is like an field trip leader through a landscape of learning

A mistake (I’ve made before) is also for the teacher to “do nothing”, let students do “anything”, which is akin to a field trip that goes nowhere. A really good field trip does all the planning and logistics to mobilize planes, trains, so that a group can then explore further

Another mistake is to erase the teacher/student distinction altogether, which in my opinion is unethical and confusing because instead it conceals a power relationship that is present, rather than being open about it and altering it to be more about accountability

the joyous moments in teaching have been about exploration, opt-in curiosity, moments in the classroom open to the unknown, a shared discussion and rumination about finding and thinking about projects, of sharing resources together, of giving each other feedback

Teachers and students are roles upheld by an institution and a power relation. The learner is an identity that can’t be forced upon anyone, only chosen by each person. The best learning contexts are when everyone in the classroom, including the “teacher” is a learner.

What would an abolitionist, anti-policing approach to schools? What are the opposite of grades? What would this look like at a level larger than the classroom, but at the scale of the cohort, a community?

Schools are not just microcosms of society; they are future societies. They are self-fulfilling prophecies, in that they train us to recreate the societies we experience inside of them. An abolitionist caring society would have caring, supportive, anti-policing schools.

classes where you learn how to dance and move your body. classes where you learn how to facilitate a meeting, make working groups. spaces where you realize that nobody is in control / everyone has agency. classes where everyone is oriented in a circle, listening to each other.

oriented in the same direction, like a school of fish, trying to find something together. oriented outwards, as if we are exploring a city of thought and agree to meet back in a few hours, with photos and notes of things we’ve discovered.

classes where suggestions upon suggestions from everyone builds on each other, hilariously, and together we try something new out and see what happens. classes where rigor is generous, rigor is solid and firm and friendly. classes where nobody knows what will happen at the end!!

What did your schools teach you about its societies? about how to live, and what you wanted or didn’t want? About power, and policing, and safety? What was the most safe and exciting learning environment (school or not) you have been part of?

(Also! I’ve been collecting a very incomplete set of resources here around pedagogy: https://are.na/dan-taeyoung/active-pedagogy and cooperative practices https://are.na/dan-taeyoung/facilitation-conversation-strategies-not-concepts )

More thoughts:

<blockquote>Gifted programs are so deeply problematic. I wonder if it’s a white supremacy dynamic, the formation of an “elite” / for certain students “gifted” by an extrahuman force (suspiciously like manifest destiny). And more often than not, it harms even the kids who go through it twitter.com/davidhuber_/st </blockquote>”]]></description>
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<item rdf:about="http://hackeducation.com/2020/07/29/pigeon-pedagogy">
    <title>Pigeon Pedagogy</title>
    <dc:date>2020-08-01T22:33:05+00:00</dc:date>
    <link>http://hackeducation.com/2020/07/29/pigeon-pedagogy</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Skinner believed that materials should be broken down into small chunks and organized in a logical fashion for students to move through. The machine would show one chunk, one frame at a time, and if the student answered the question correctly, could move on to the next question. Skinner called this process "programmed instruction." We call it "personalized learning today." And yes, this involves a lot of clicking.

Skinner is often credited with inventing the teaching machine. He didn't. Sidney Pressey, another educational psychologist, had built one decades beforehand. (Skinner said that Pressey's was more testing than teaching machine.) Despite who was or wasn't "the first," Skinner has shaped education technology immensely. Even though his theories have largely fallen out of favor in most education psychology circles, education technology (and technology more broadly) seems to have embraced them — often, I think, without acknowledging where these ideas came from. Our computer technologies are shot through with behaviorism. Badges. Notifications. Haptic alerts. Real-time feedback. Gamification. Click click click.

According to Skinner, when we fail to properly correct behavior — facilitated by and through machines — we are at risk of "losing our pigeons." But I'd contend that with this unexamined behaviorist bent of (ed-)tech, we actually find ourselves at risk of losing our humanity. To use operant conditioning, Skinner wrote in his article on animal training "we must build up some degree of level and again reinforces only louder deprivation or at least permit a deprivation to prevail which it is within our power to reduce." That is, behaviorial training relies on deprivation. Behaviorist ed-tech relies on suffering — suffering that we could eliminate were we not interested in exploiting it to reinforce compliance. This pigeon pedagogy stands in opposition to the Luddite pedagogy I wrote in the text for this keynote.

So, here's to our all being "lost pigeons," and unlearning our training. But dammit, here's to Poppy learning to be a very good and obedient dog."]]></description>
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<item rdf:about="https://quillandquire.com/omni/qa-canisia-lubrin-speaks-to-dionne-brand-about-her-two-new-books-the-blue-clerk-and-theory/">
    <title>Q&amp;A: Canisia Lubrin speaks to Dionne Brand about her two new books, The Blue Clerk and Theory | Quill and Quire</title>
    <dc:date>2020-07-13T22:43:18+00:00</dc:date>
    <link>https://quillandquire.com/omni/qa-canisia-lubrin-speaks-to-dionne-brand-about-her-two-new-books-the-blue-clerk-and-theory/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Dionne Brand, winner of the Griffin Poetry Prize, the Governor General’s Literary Award, the Trillium Book Award, member of the Order of Canada, and one of the country’s most respected and beloved writers, returns this fall with two books: The Blue Clerk and Theory.

The former, the writer’s latest poetry collection, is composed of a sequence of versos, or left-hand pages, that cumulatively form an ars poetica in which Brand forwards a meta-theory about the act of writing poetry. Brand’s blue-ink-stained clerk lives on a lonely wharf where she presides over bales of paper that comprise the poet’s accumulated pages – things unwritten, withheld, or unexpressed. This book-length conversation between Brand and her clerk is a mix of memoir, poetry, criticism, theory, and philosophy.

Theory is a slim philosophical novel that focuses on a narrator who is attempting to complete a PhD thesis despite becoming disillusioned by the promise of the academy. The novel investigates contemporary realms of the intellect, the body, and the spirit by way of the narrator’s reminiscences regarding three ex-lovers who respectively symbolize these three ontological elements.

Canisia Lubrin: Regarding The Blue Clerk, I have no questions. What I have are 242 pages of comments. Why don’t we start with time and place.

Dionne Brand: The Blue Clerk is an attempt to observe time and not place. Therefore, the materials that the clerk excavates/collects are not hinged to place. The clerk lives in nowness. The clerk lives in the continuum of the present. The author is stuck in place.

CL: In Verso 2, you write that you have spent “years and years actually trying to write in the centre of your life.” How does this work in the context of a book that tries to interrogate the practice of poetry within the context of a poetic language?

DB: Writing this clerk called for a degree of ruthless honesty, which was sometimes difficult. The things one has left unwritten or unsaid [in earlier work] would lead to a set of confrontations that would expose all the compromises, self-corrections, self-censorships, and sometimes nefarious and cowardly reasons for leaving the things unwritten and unsaid. So that’s a difficult process: to revisit the decisions of language, to revisit and critique the choices made even if those choices seemed, at the time, perfectly legitimate.

CL: And can I posit that you created the clerk as a mechanism for self-criticism?

DB: Poetry is pressure on the page, on space, on time. This is a diacritical text – an accenting, overwriting, and underwriting of what the poet has produced so far. A process that changes the tone, quality, texture, lines, shape. The clerk has thrown out all of the methods that the author has used so far, but what is created is a strange synthesis, a scansion of all the poet has written, pointing to the unstressed.

CL: I wonder if we can talk about Guyanese writer Wilson Harris’s idea of the unfinished work of the imagination in The Blue Clerk.

DB: I return to Harris’s essay “The Unfinished Genesis of the Imagination,” because for me it opens up ways of knowing that haven’t been suppressed by colonial logics. Likewise, his phrase “the originality of the future” is so rich and for me it seems to get at a set of knowledges that have yet to declare themselves fully.

CL: You say also that the clerk isn’t burdened by the blank page. There’s a freedom there that insists toward possibility. That seems to be a dismissal of the idea of the Black diaspora as an absolutely tragic place.

DB: The clerk’s manifest speaks to the business of full possibility in spite of all the regimes that seek to strangle that fullness – the regimes of white supremacy, racism, capitalism, sexism. These are not terms the clerk would use since the clerk lives in time and not in narrow place. This place we live in is narrow, meagre, and reductive. The clerk has a kind of knowledge and, perhaps, cynicism of this world whose conditions are paltry. The clerk thinks the author is slightly cowardly. The clerk is stringent. She feels that the author with all her beautiful finishes never manages to de-centre what she strives to de-centre because she pays too much attention to and, therefore, inadvertently capitulates to those logics. The clerk reformulates what to consider, what to think of as knowledge.

CL: Some versos question how we use language to animate space and how we in turn are animated in space.

DB: I try to listen to the actual sound of a place, not the official sound or the official narrative. The space the poet occupies is against the official narrative. The poet collects the sounds, the meanings, and through accumulation something appears. The job of the poet is to notice.

CL:  To be alive, then, is to collect? We live and accumulate.

DB: This collecting is involuntary on the part of the clerk. And the clerk would rather not. The author has an archive; the clerk has a living library whose records are always undone, always changing. That living, breathing, elliptical, complicated, undone thing is [the subject of] the actual discussion that they’re having.

The clerk is not a tool of the author. One might think it is the other way around, yet I think that the relationship is far less knowable. In this sense, their argument is not a dialectic in the way of Socratic dialogues. Perhaps it approaches Kamau Brathwaite’s Tidalectics – cyclical rather than linear. The exchanges between the author and the clerk are wave-like and oceanic, petering out or explosive.

CL: In Theory, the desire of the protagonist is to create something – by way of a dissertation – so radical as to change the world in a concrete way. Does the narrator exemplify what the clerk might be on this side – our side – of the wharf?

DB: No. The clerk is a creature of the air of the wharf; she’s pure poetry, in a sense. Theory is a different matter altogether – an experiment in an experiment.

CL: The narrator’s life in Theory is refracted through the intellect. The novel exposes how living a critical life is often in conflict with a person’s way of being in the world.

DB: The narrator really doesn’t have a grasp of the social. When the novel opens, the character has already been through those social experiments with the lovers, who have inculcated a kind of mystery. The narrator is rigorous and very bright but also vain. For the narrator, the social and the intellectual are at odds with each other.

CL: It’s a portrait of someone who has turned life into an experiment.

DB: Yes, in a sense.

CL: Theory seems a way of trying to escape ideology, pushing back against hierarchy and its dangerous normativities and conformities.

DB: Theory is a novel of ideas. This isn’t a new thing. The form of the dissertation crosses into the form of the novel. Gradually, the thesis that the narrator tries to attend to walks into the novel; the thesis is performed in the novel.

CL: Would you say this is an approach to eliding narrative?

DB: Definitely. Yes. You can say that the novel comments on the regularity of a certain kind of narrative that has locked the reader into expectations about the creation of a physical world. Certainly, in North America, [this] is the logic of novels. Everywhere else, forms of narrative are expanding. In entering Theory, both the reader and author must be generous in understanding that the universe is 13.772 billion years old. 

CL: The book plays with this idea of what kind of academic the narrator is, what space the narrator occupies. The idea of honesty as it appears in the novel (“mistaking honesty for cruelty”) seems to set up a false dichotomy.

DB: Adjacency, I think, is what the narrator would call it. The narrator is aware of context and treats life as an academic question and enterprise. The character comes from a kind of middle class but practises a form of living that is not suitable enough. There are proscriptions that must be adhered to. The narrator is a rigorous academic, even in the personal.

CL: The narrator’s encounters with the past are humorous, calling up figures like Dickens, Shakespeare, Walcott, Naipaul. Hilarious and so true.

DB: Yes.

CL: The book is quite something.

DB: I had a lovely time writing it."]]></description>
<dc:subject>2018 dionnebrand howwewrite interviews canisialubrin present presence narrative theory ideology hierarchy norms conforming life living conflict experimentation poetry change kamaubrathwaite tidalectics collecting accumulation noticing place language knowledge imagination wilsonharris theblueclerk fiction writing time</dc:subject>
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<item rdf:about="https://www.youtube.com/watch?v=M8f4R9l1Pg8">
    <title>Manu Prakash // Finding Sublime in the Mundane - YouTube</title>
    <dc:date>2020-07-07T16:16:40+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=M8f4R9l1Pg8</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["https://wondercollaborative.org/our-films/

Manu Prakash always yearned to know the why and the how of things. As a boy in India, he spent endless hours playing outside with animals and making flammable artifacts in an abandoned lab in the basement of his home. Having the chance to explore his surroundings with open-ended curiosity, he learned to find the sublime in the mundane. Today, as a world-renowned researcher and inventor at Stanford University, he continues to be inspired by these childhood lessons, and is creating low-cost tools to empower people around the globe to go on their own journey of science and discovery."]]></description>
<dc:subject>manuprakash 2019 unschooling observing science children childhood microscopes india learning howwelearn highschool schooling education discovery experimentation experience academia academics observation understanding creativity curiosity citizenscience microscopy experientiallearning lcproject openstudioproject</dc:subject>
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</item>
<item rdf:about="http://extra-curricular.org/">
    <title>Extra-curricular</title>
    <dc:date>2020-06-15T20:31:16+00:00</dc:date>
    <link>http://extra-curricular.org/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Extra-curricular is a reader  of collected texts about self-organized learning , experiments , and alternatives in art and design education . Occurring both within  and separate  from existing institutions, these new forms  of learning and organization  question how learning takes place , for whom, and the ideologies  inherent in existing models, among many other things. An (admittedly) incomplete inventory , this book aims to serve as a starting point  for further discussion  and experimentation . By providing your  to us you can  to our mailing list . We'll be in touch soon!"]]></description>
<dc:subject>self-directed self-directedlearning self-organizedlearning learning art design arteducation education unschooling deschooling jacoblindgren experimentation lcproject openstudioproject tcsnmy</dc:subject>
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<item rdf:about="https://strelka.com/en/videos/event/2014/09/12/beatriz-colomina-towards-a-radical-pedagogy">
    <title>Strelka Institute - Beatriz Colomina: Towards a Radical Pedagogy</title>
    <dc:date>2020-04-13T07:31:54+00:00</dc:date>
    <link>https://strelka.com/en/videos/event/2014/09/12/beatriz-colomina-towards-a-radical-pedagogy</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[direct link to video: https://vimeo.com/109790299 ]

“Beatriz Colomina architectural historian tells about the influence of radical pedagogical experiments on post-war architecture 

Among the many factors that influence the architecture formed the second half of the twentieth century, we should not ignore the role of teaching. Pedagogical experiments were innovative for the time, violated the formalities, instead of amplifying and distributing them. That period is characterized by collective disobedience to the bureaucracy and capital, cold and Vietnam wars. American environment grew out of the consumption of plastic and mass-produced objects. Sci-fi novels are reflected in the achievements of the brave new world of computer technology, gadgets and spaceships. Architecture could not stay away from such changes. She tried to assert his claim to the new territory. Do something similar happen today?

Beatriz Colomina - architectural historian, the Founding Director of Media and Modernity Program at Princeton. Most of Beatriz works are dedicated to architecture and modern institutions of representation, in particular the print media, photography, advertising, cinema and television. Her best-known works are: Privacy and Publicity:Modern Architecture as Mass Media (International Award of the American Institute of Architects 1995), Sexuality and Space (International Book Award 1993). Beatriz has lectured around the world, including the Museum of Modern Art in New York, the Architectural Institute of Japan in Tokyo, Center for Contemporary Art and Architecture in Stockholm.

After the lecture there will be a discussion «New architectural education».

Participants:

Beatriz Colomina - architectural historian, the Founding Director of Media and Modernity Program at Princeton

Nikita Tokarev - architect, director at The Moscow School of Architecture (MARCH)

Brendan McGetrick -  writer, lecturer at Strelka Institute, co-curator Fair Enough in the Russian pavilion at the Venice Architecture Biennale

Moderator:

Anna Poznyak -  Strelka Institute alumni, analyst at the Program Committee of the Moscow Urban Forum”]]></description>
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<item rdf:about="https://sites.google.com/ucsd.edu/commplayground/">
    <title>CommPlayground</title>
    <dc:date>2019-11-18T19:42:41+00:00</dc:date>
    <link>https://sites.google.com/ucsd.edu/commplayground/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[“A machine for thinking and imagining otherwise

The CommPlayground is a space of intellectual exchange and conversation. The idea behind it is to move beyond conventional academic formats of knowledge production (e.g. the seminar, the reading group, the paper presentation) to create a space of intellectual and pedagogic experimentation where it is possible to think and imagine otherwise.

The COMM Playground is organized around 5 simple (& nonnegotiable) rules

THE COMM PLAYGROUND Rules of Engagement

1.- The playground is a space of **play** not of competition
Egos should be left at home or will be confiscated at the entrance

2.- The playground is **flat**
Nobody owns the playground; although it can be temporally appropriated by anyone proposing a game

3.- The playground is a space of **games**
The playground only comes alive through games Games should be fun to play

4.- The playground is a space of **honesty and sincerity**
Bullies are not allowed in the playground

5.- The playground is a **creative machine**
The aim of the playground is to generate ideas, controversies and discussion“]]></description>
<dc:subject>commplayground ucsd pedagogy seminars conversation exchange via:javierarbona academia knowledgeproduction readinggroups presentations experimentation altedu competition play flatness horizontality games honesty sincerity creativity ideas classideas lcproject openstudioproject rules egos playgrounds fun bullies bullying</dc:subject>
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</item>
<item rdf:about="https://www.dissentmagazine.org/online_articles/booked-mariana-mazzucato-the-value-of-everything-wealth-innovation-interview">
    <title>Valuing the World, with Mariana Mazzucato | Dissent Magazine</title>
    <dc:date>2019-10-12T22:17:04+00:00</dc:date>
    <link>https://www.dissentmagazine.org/online_articles/booked-mariana-mazzucato-the-value-of-everything-wealth-innovation-interview</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["In her new book, economist Mariana Mazzucato explodes the myth that wealth is created solely by a select few trailblazing entrepreneurs, and lays out how our collective innovation can be put into the service of a more equal economy."]]></description>
<dc:subject>marianamazzucato economics katearanoff 2019 books toread policy value valuecreation innovation invention wealth inequality history politics us uk karlmarx adamsmith davidricardo venturecapital technology siliconvalley physiocrats gdp rethinkingeconomics unschooling climatechange racism poverty globalwarming green regulation johnmaynardkeynes josephschumpeter multipliereffect corporations csr power governance government nationalization privatization arpa-e darpa nih experimentation stevejobs elonmusk investment research pharmaceuticals health healthcare medicine development solyndra tesla spacex energy solarcity peterthiel libertarianism alternative keynes unlearningeconomics unlearning deschooling vc cahalmoran</dc:subject>
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</item>
<item rdf:about="http://www.wordsinspace.net/designingmethods/spring2018/category/methods-toolkit/">
    <title>Methods Toolkit – Designing Methodologies</title>
    <dc:date>2019-09-25T21:21:05+00:00</dc:date>
    <link>http://www.wordsinspace.net/designingmethods/spring2018/category/methods-toolkit/</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>toolkits shannonmattern analysis design methods research syllabus ethnography oralhistory srg onlinetoolkit methodology epistemology critical criticalapproaches closereading howweread reading contentanalysis rhetoric discourse materials objects canon mediamaking histiry visual sound sonic designresearch actor-networktheory theory quantitative qualitative audience interviews irbs ethics focusgroups surveys howto tutorials sensoryethnography experimentation experiments autoethnography observation participation participatory participatoryaction sampling statistics digital digitalethnogreaphy writing howwewrite resources reference bibliographies</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:3a3426e846f5/</dc:identifier>
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<item rdf:about="https://www.jamesgmartin.center/2019/04/the-radical-experimental-college-in-the-blue-ridge-mountains/">
    <title>The Radical Experimental College in the Blue Ridge Mountains — The James G. Martin Center for Academic Renewal</title>
    <dc:date>2019-09-15T16:51:19+00:00</dc:date>
    <link>https://www.jamesgmartin.center/2019/04/the-radical-experimental-college-in-the-blue-ridge-mountains/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[“North Carolina is widely respected for institutions such as the University of North Carolina at Chapel Hill and Duke University, both research-intensive and high-prestige schools. But it’s less known for a radically experimental college that was tucked away in the Appalachian mountains more than half a century ago.

Just east of Asheville, Black Mountain College (BMC) was founded in 1933 and survived for 24 years until closing due to funding issues and a lack of students. But before it did, it had a strong core of teachers to attract students, attracting artists like Josef and Anni Albers from Germany after the Nazis rose to power and, in its later years, architect Buckminster Fuller and poet Charles Olson, among others. A liberal arts school, president John A. Rice emphasized the importance of the arts in every student’s education.

The education it offered was extremely atypical. Black Mountain didn’t have a standard grading system or set of classes; professors and students determined the curriculum together. It was unaccredited. It didn’t have a board of directors. During its existence, BMC only graduated about 60 students of the 1,200 who attended. Yet, despite this lack of standardization (or because of it), its students enrolled in graduate school at elite institutions and looked back fondly upon their time at Black Mountain.

“I think we’re wild about it because it had so many soap opera aspects to it,” said Joseph Bathanti, an expert on Black Mountain College and the McFarlane family distinguished professor in interdisciplinary education at Appalachian State University. “It’s become its kind of myth.”

That myth serves as something unimaginable in today’s higher education environment. Higher ed has many roadblocks that prevent any sort of Black Mountain 2.0: Many students think of college as the first credential necessary for a good job; most colleges are too bureaucratized and regulated to allow such campus experimentation; and campus officials are too resistant to  change for a decentralized education approach to take hold. Though various college programs and academics have been influenced by Black Mountain College, it’s questionable whether any college working within traditional higher ed today could recreate something like BMC.

While chaotic and sometimes questionable in its approach, the disappearance of experimental colleges like Black Mountain has left American higher education more uniform and rigid. Such oddball schools would be regulated out of existence today; the curriculum would be seen as too individualized or low-quality because it doesn’t meet the requirements of an accreditor. “We have basic education plans, we have five-year strategies, we have long-term planning, we have tenure, we have accreditation, we have so many checks and balances, we have all these things that are antithetical to Black Mountain College,” Bathanti said. A college today can’t operate without a master plan directing it.

Such a school would also have no chance of getting approved for federal aid. Accessing federal aid wasn’t a problem in the 1940s, though. During its existence, veteran students could pay for BMC with their GI Bill benefits. Rules about federal student aid were much less strict then.

Black Mountain had a niche; its chaotic style attracted a certain type of student. Bathanti described them as “the people who had had disastrous experiences with traditional education.” Charles Perrow, a sociologist at Yale University who attended BMC in the late 1940s, wrote of the student body that:

Almost everyone there at this period seemed a poster-child of some sort, representing a fragment of our culture—the closet gay, the civil rights activist, the communist, the avant- garde painter, the urgent truth-seeker, the parent-escaper. My poster was being about the only student from the West Coast (most were from the Northeast, particularly New York City); about being the only one without parents and siblings who had attended college (most students, but certainly not all, were from a well-educated upper middle class, or intellectual elite class).

Perhaps due to attracting nontraditional and well-off students, the college’s expectations for them were different. Black Mountain didn’t sell itself as the key to a good job or its professors as all-knowing sages who would shape and monitor students. “It was presupposed that those students had a work ethic, that they were there, that they wanted to work on their stuff and didn’t need a warden,” Bathanti said. “Students these days, I don’t know the proper adjective, but they’re shepherded so much.”

The independence and drive that BMC students had is rarely found today, partially because colleges do not encourage such self-driven learning. Students arrive on campus and the college tells them what classes to take, or what classes they can choose from to fulfill a major’s requirements. The students today who can avoid being shepherded have to jump through hoops to do so, or belong to an honors college or honors program that offers more flexibility. Academic independence is a privilege for a few, not an expectation for all.

The focus on the arts and expectation for self-disciplined students led to a certain amount of cultural influence: the American poet Burt Kimmelman wrote that “one direct outgrowth of the College was the jolt of energy and innovation that dramatically affected arts communities in a number of cities, San Francisco and New York especially.”

If Black Mountain didn’t give students a diploma, it made up for this oversight by giving them a community and a network that was important for their success. Those connections might explain why students were so loyal to the institution in a way that’s hard for most colleges to develop. Students will sacrifice for and invest in a community—but they won’t sacrifice for a bureaucracy or a job training program.

“Students these days, I don’t know the proper adjective, but they’re shepherded so much.”

The advantages Black Mountain College had doesn’t mean it didn’t have flaws, of course. With few grades and graduates, the college resisted measurement and a diploma was economically worthless. Without a laborious on-campus evaluation from accreditors, discerning whether the school wasn’t defrauding taxpayers for financial aid would be impossible by today’s standards. A decentralized order can be both a benefit and a cost, and BMC doesn’t nicely fit into today’s higher ed regulatory environment. Its utopian ideals, too, left something to be desired. As the journalist Daniel Scheffler wrote in a 2015 City A.M. article about an art show focused on BMC:

<blockquote>BMC embraced the utopian ideals of the progressive education movement, stating that the arts should be the centrepiece of the curriculum, whether it be weaving and knitting, painting and sculpting, or music and photography. The lofty—if rather fuzzy—ideal: to “better educate citizens for participation in a democratic society.”</blockquote>

If the campus climate on self-styled progressive institutions like Evergreen State College is any indication, an experimental progressive college today may become a threat to free expression and academic inquiry. Instead of an antidote to a corporatized and uniform college education, a similar approach might result in the suppression of individualized thought and art. A 1952 college bulletin that Scheffler noted, for instance, stated, “The way of handling facts—and himself amid the facts—is more important than the facts themselves.” A loyalty to a political conception of “progress” can undermine the value of an experimental approach today. Black Mountain College may have been lucky to exist in the 1950s that allowed it to avoid present concerns and preserve its mythical status.

Reflecting on Black Mountain, Jonathan Palmer of Mendocino College and Maria Trombetta of San Francisco State University asked, “Does the educational structure of the college system impede our learning?” College access has expanded greatly since Black Mountain College closed its doors. But so has the influence of state and federal governments. The direct and indirect government funds have also brought standards, regulations, and a bevy of strings attached to the money. Many students can now get a rigorous college education at an affordable price, and employers don’t question the quality of their diplomas. But Black Mountain College serves as a reminder that American higher ed has also lost a certain freewheeling, experimental approach that served students who didn’t find a place in the traditional system.”]]></description>
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    <title>The Pedagogy of Design in the Age of Computation: Mindy Seu - YouTube</title>
    <dc:date>2019-05-08T07:26:50+00:00</dc:date>
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<item rdf:about="https://www.are.na/blog/free-school-of-architecture">
    <title>Are.na Blog / Unlearning hierarchy at the Free School of Architecture</title>
    <dc:date>2019-04-26T19:15:22+00:00</dc:date>
    <link>https://www.are.na/blog/free-school-of-architecture</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The Free School of Architecture is an experimental, tuition-free program founded in 2016 that brings architectural thinkers to Los Angeles for several weeks of participatory learning. Four of the original participants – Elisha Cohen, Lili Carr, Karina Andreeva and Tessa Forde – took over the project in 2017 and organized the 2018 edition, which is extensively archived on Are.na. We caught up with them via email to hear their thoughts on alternative education in art and design."

…

"FSA takes a maximalist and inclusive approach; this has the advantage of allowing us to connect seemingly different people and projects who might never have met, and between whom unexpected collaborations start to happen. It attempts to bridge the gap between academia and practice and allow the space for conversations about architecture that are often overlooked. This maximalist approach means that there will be some unavoidable confusion as a result. We focused on growth and development of participants over clarity to outsiders. Still transparency was a constant topic of conversation and a goal for us as the organizers, and we realize that this is an area we drastically need to improve.

At the core are a few aspirational (and perhaps naive) values that we hope FSA can act as a testing ground for, no matter how the program evolves in the future:

- Non-hierarchy

- Interdisciplinarity and inclusivity

- Freeness (free from constraints of academy and practice, tuition-free, free to be silent or to question)

Leo: How did you structure things in 2018? Were there instructors and students, or did every participant take on a range of roles in relation to one another?

FSA: We sought to challenge the typical hierarchy of a school and emphasize the value of those attending by removing the impetus on the ‘teacher and student’ relationship. We purposefully avoided using those terms. Everyone involved became a ‘participant.’

This began with the application process. Anyone could apply to be a participant by writing a statement and demonstrating experience engaging with a form of practice relevant to architecture. Then, those who wanted to could also submit a teaching proposal. Not all participants had to host a session, but those who did were also there to listen to others.

This included the organizers—we also submitted our own application statements. This was important because the second stage of admissions was peer-evaluation. We sent each applicant three other essays to respond to in order to be accepted. Some responses were funny, some were graphic, while some wrote long, thoughtful reactions. Here is one example. Most importantly, it generated a dialogue before the school was in session and set the tone for what was to come.

Leo: What do you think you took away from the challenges and advantages of being a more "horizontal" organization?

FSA: The structure and organizational model was a huge learning experience for all of us. It had some incredibly powerful results, including a truly non-hierarchical working dynamic between the four of us that enabled unanimous decision-making and open discussion. We shared responsibility for almost every aspect of the organization. To do this productively took time, discussion, and trust. It is certainly not the most efficient, but we believe in its benefits over this downside.

Despite our intentions as organizers to make the program itself non-hierarchical, it became difficult for us to blend into the participant group and separate ourselves from those roles as we attempted to hand over the torch. The incredible complexity of running a school and the huge amount of admin work involved proved almost impossible to part with. This is an area that we plan to focus on in the future. In many ways we did too much, and further iterations of the school may reimagine it with more flexibility and with a more established system for handing off responsibility."

…

"Leo: Has working on Free School of Architecture offered ways to share knowledge with other groups thinking about alternative education?

FSA: We are only one example of many types of alternative educational initiatives arising, in the architecture education world but also in the art world, as education becomes increasingly more expensive and continues to perpetuate the agenda of those with cultural power and capital. We have been in touch with other schools with similar intentions, like Utopia School, Learning Gardens, and Aformal Academy, and there is an incredible opportunity to develop a kind of global network of knowledge and ideas exchange. Eventually, we would like to compile a “Free School Tool Kit” to allow others to run similar events and build on what we have learned so far. In fact, we used are.na throughout the summer as part of this same intention towards knowledge sharing. We wanted it to be both a resource for participants but also a growing archive to document the summer in the hopes that it might be interesting or useful to others. It still needs another layer of editing and uploading in order to work as a full archive or tool kit, but it did act as an ongoing platform for exchange at the time. Hopefully in the future we can continue to use it as a way for non-participants to engage as well.

Next up, we (the organizers) are traveling to the Bauhaus in Dessau, Germany to take part in their “Parliament of Schools,” along with others from around the world, including Public School for Architecture, Open Raumlabor University, and many more. It should be a fantastic occasion to engage with and learn about other organizations and explore the future of pedagogy within the architectural field. We’re very excited about how it might influence what we do next!"]]></description>
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<item rdf:about="https://blogs.swarthmore.edu/burke/blog/2019/01/24/college-of-theseus/">
    <title>College of Theseus | Easily Distracted</title>
    <dc:date>2019-01-28T06:29:07+00:00</dc:date>
    <link>https://blogs.swarthmore.edu/burke/blog/2019/01/24/college-of-theseus/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["A lot of those 1960s institutions have lived on the edge of failure for their entire existence. They were responding to a temporary surge in demand. They did not have the benefit of a century or more of alumni who would contribute donations, or an endowment built up over decades. They did not have names to conjure with. They were often founded (like many non-profits) by single strong personalities with a narrow vision or obsession that only held while the strong personality was holding on to the steering wheel. Newbury is a great example of this. It wasn’t founded until 1962, as a college of business, by a local Boston entrepreneur. It relocated multiple times, once into a vacated property identified formerly with a different university. It changed its name and focus multiple times. It acquired other educational institutions and merged them with its main operations, again creating some brand confusion. It started branch campuses. It’s only been something like a standardized liberal-arts institution since 1994. In 2015 it chased yet another trend via expensive construction projects, trying to promise students a new commitment to their economic success.

This is not a college going under suddenly and unexpectedly after a century of stately and “traditional” operations. This is not Coca-Cola suddenly going under because now everyone wants kombucha made by a Juicero. This is Cactus Cooler or Mr. Pibb being discontinued.

Let’s take Hampshire College. It’s a cool place. I’ve always admired it; I considered attending it when I was graduating high school. But it’s also not a venerable traditional liberal arts college. It’s an experiment that was started as a response to an exceptionally 60s-era deliberative process shared between Amherst, Smith, Mount Holyoke and UMass Amherst. It’s always had to work hard to find students who responded to its very distinctive curricular design and identity, especially once the era that led to its founding began to lose some of its moral and political influence. You can think about Hampshire’s struggle to survive in relationship to that very particular history. You should think about it that way in preference to just making it a single data point on a generalized grid.

Let’s take Green Mountain College. “The latest to close”, as Inside Higher Education says–again fitting into a trend as a single data point. At least this time it is actually old, right? Founded in 1834, part of that huge first wave of educational genesis. But hang on. It wasn’t Green Mountain College at the start. It was Troy Conference Academy. Originally coed, then it changed its name to Ripley Female Academy and went single-sex. Then it was back to Troy Conference. Then during the Great Depression it was Green Mountain Junior College, a 2-year preparatory school. Only in 1974 did it become Green Mountain College, with a 4-year liberal arts degree, and only in the 1990s did it decide to emphasize environmental studies.

Is that the same institution, with a single continuous history? Or is it a kind of constellation of semi-related institutions, all of which basically ‘closed’ and were replaced by something completely different?

If you set out to create a list of all the colleges and universities by name which have ever existed in the United States, all the alternate names and curricular structures and admissions approaches of institutions which sometimes have existed on the same site but often have moved, you couldn’t help but see that closures are an utterly normal part of the story of American higher education. Moreover, that they are often just a phase–a place closes, another institution moves in or buys the name or uses the facilities. Sure, sometimes a college or university or prep school or boarding school gets abandoned for good, becomes a ruin, is forgotten. That happens too. We are not in the middle of a singular rupture, a thing which has never happened before, an unbroken tradition at last subject to disruption and innovation.

This doesn’t mean that we should be happy when a college or university closes. That’s the livelihood of the people who work there, it’s the life of the students who are still there, it’s a broken tie for its alumni (however short or long its life has been), the loss of all the interesting things that were done there in its time. But when you look at the story of any particular closure, they all have some important particulars. The story being told that flatters the disruptors and innovators would have us thinking that there are these venerable, traditional, basically successful institutions going about their business and then suddenly, ZANG, the future lands on them and they can’t survive. At least some of the institutions closing have been hustling or struggling or rebranding for their entire existence."]]></description>
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<item rdf:about="https://twitter.com/nickkauf/status/1071196293001830400">
    <title>Nick Kaufmann on Twitter: &quot;Civic tech needs to study history and explore the &quot;usable past&quot;. Everyone in #civictech / @codeforamerica network should read Professor Light's upcoming book States of Childhood, ill attempt to summarize her talk below, although</title>
    <dc:date>2018-12-14T21:51:06+00:00</dc:date>
    <link>https://twitter.com/nickkauf/status/1071196293001830400</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[this is the event:
https://architecture.mit.edu/computation/lecture/playing-city-building ]

[thread contains many images]

"Civic tech needs to study history and explore the "usable past". Everyone in #civictech / @codeforamerica network should read Professor Light's upcoming book States of Childhood, ill attempt to summarize her talk below, although it's only what i could grasp in an hour or so.

https://twitter.com/nickkauf/status/1071162000145817601
At @mitsap tonight tweeting about Jennifer Light's lecture "playing at city building" #urbanism #education #civictech 

Light opened the talk with the observation that more disciplines are looking to study history to "look forward by looking backward" #civicfutures #usablepast

In #civictech we know this isnt the first government reform movement with a "techie spin" in the world or us. At the last turn of the century, anxieties about cities birthed the "good government movement" the "googoos" were reformers kinda like #civichackers of today

Like @codeforamerica and also #smartcities boosters, the goo-goos  believed scientific models and tech tools were a source of progress. They were worried about "boss rule" and wanted to "rationalize government" compare to cfa's mottos today

After discussing the good govt movement, Lights set the historical context of shifting expectations around young people's behavior. Child labor laws did not stop children from working however, it was just framed as "play" now

In this context early models of vocational education and educational simulations emerged, including William R. George's "model republic" movement. @Erie @pahlkadot model republics were all over the usa, not as franchised like #cfabrigade but more grassroots diffusion of the idea

There were miniature republics run by children in boston(Cottage Row), Cleveland (Progress  City) Philadelphia (Playground City), etc, where children worked as real pretend public servants

media coverage of the time hailed these civic simulations as educational opportunity/chance for a "second life" for youth. Some of the tenement kids that George put into his program ended up in ivy league schools, and as lawyers, Pub. Servants and admins of their own model cities

The educational theories at the time of the model republics were very similar to today's trends of "gamification" "experiential learning" etc. Light referenced Stanley Hall (imitation/impersonation) and 'identity play'

Long before Bateson and Goffman were muddling the boundary between seriousness/play, model republics were also using that ambiguity to educate and also cut costs of programs literally built and maintained by children. Imagine 1000 kids and 3 admins

John Dewey's philosophy of learning by doing was also heavily referenced in the talk, as George took great inspiration from him and Dewey was a supporter of the model republics.

Light stressed just how much model republic citizens did in their pretend-real jobs, building housing, policing, data collection, safety inspections, and they did it so well that they often circumvented the adult systems. Why send some1 to adult court when junior court works?

This dynamic reminded me so much of #civichackers today with our pretend jobs and weekly hack night play that quickly turns into real jobs for our cities

Another point Light made was that the model republics were very much about assimilation of immigrants into a certain set of white american middleclass values. But before rise of consumerism those values heavily emphasized DIY/activecitizenship/production.

One reason for the decline of the model republics might have been the rise of consumerism and passive consumption valued over production. But we still have things like model U.N. and vocational programs, vestiges of this time.

Again today we have a perceived need to train people for the "new economy", so what can #civictech #civicinnovation #smartcities learn from looking back to historical examples? For one thing, we learn that youth contribution to civic innovation is important and undervalued

When model republics were introduced into schools the educational outcomes were not the only advantage, they saved schools gobs of money through "user generated" labor. Again think about civictech volunteerism today...

At Emerson School, Light said, kids were even repairing the electrical system. And in some cities kids would  stand in for the mayor at real events.

Heres a page describing the establishment of a self-governing body of newsboys in Milwaukee https://www.marquette.edu/cgi-bin/cuap/db.cgi?uid=default&ID=4167&view=Search&mh=1 …

Light closed the talk by remarking on the "vast story of children's unacknowledged labor in the creation of urban America". slide shows how their labor was hidden behind play. Although they couldnt work in factories,can you call it "play" if it involved *building* the playground?

Although Light's upcoming book focuses on America, she said there were civic simulations like this in many countries including the Phillipines, China, England, France...

Model republics were not however a well connected, branded international civic movement like modern #civictech. Light said that while they were promoted at national educational conferences on education or public housing, George lamented not having control of the brand/vision

The result of George's lack of guidelines and a organizational network of model republic practiciorners was many different, idiosyncratic models run by different ppl in different places. @pahlkadot George really needed a  "National Advisory Council" it seems!

For example an Indiana model republic the kids put on their own circuses! George thought some model republics werent following his original values/vision but couldnt do much about it...another theme in #civictech now Fortunately @Open_Maine is allowed to be weirdos too @elburnett

Light emphasized that although the model republics were a tool to assimilate children into a set of values (presumably including colonial, racist, patriarchal, capitalist ones) they were also a site of agency where kids experimented and innovated.

For example, girls in coeducational model republics held public offices and launched voting rights campaigns before the women' suffrage movement gained the rights in the "real" world. Given the power of the republics to do real work this wasnt just a symbolic achievement.

George for his part believed that the kids should figure out model republics for themselves, even if it meant dystopian civics. One model republic kept prisoners in a literal iron cage before eventually abolishing the prison.

Light's talk held huge lessons for the #civictech movement, and the model republic movement is just one of many pieces of history that can be a "usable past" for us. every civic tech brigade should have a "historian" role!

At @Open_Maine weve always been looking back to look forward although I didnt have the "usable past" vocabulary until I saw professor Light's talk today. @ajawitz @elburnett and I have consciously explored history in promoting civic tech in Maine.Other brigades are doing this too

For example, early @Open_Maine (code for maine) posters consciously referenced civilian conservation corps aesthetic #usablepast

We also made a 100y link w/ charitable mechanics movement @MaineMechanics makerspace never happened but @semateos became president and aligned org. with modern #makermovement. we host civichackathons there. #mainekidscode class is in same room that held free drawingclass 100y ago

So you can see why Light's talk has my brain totally buzzing. After all, @Open_Maine  has been dreaming of #civicisland, an experiential #civictech summer camp! Were currently applying to @MozOpenLeaders to develop open source experiential civictech curricula we could use for it.

Next steps here: I want to write an article about the "usable past" concept for #civictech. So if your brigade is engaged with history I wanna talk to you. @JBStephens1 was it you talking about the rotary club model on slack? @CodeForPhilly didnt you make a history timeline?"]]></description>
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<item rdf:about="https://www.wired.com/story/mcsweeneys-excerpt-the-right-to-experiment/">
    <title>Surveillance Kills Freedom By Killing Experimentation | WIRED</title>
    <dc:date>2018-11-29T04:17:21+00:00</dc:date>
    <link>https://www.wired.com/story/mcsweeneys-excerpt-the-right-to-experiment/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["In my book Data and Goliath, I write about the value of privacy. I talk about how it is essential for political liberty and justice, and for commercial fairness and equality. I talk about how it increases personal freedom and individual autonomy, and how the lack of it makes us all less secure. But this is probably the most important argument as to why society as a whole must protect privacy: it allows society to progress.

We know that surveillance has a chilling effect on freedom. People change their behavior when they live their lives under surveillance. They are less likely to speak freely and act individually. They self-censor. They become conformist. This is obviously true for government surveillance, but is true for corporate surveillance as well. We simply aren’t as willing to be our individual selves when others are watching.

Let’s take an example: hearing that parents and children are being separated as they cross the U.S. border, you want to learn more. You visit the website of an international immigrants’ rights group, a fact that is available to the government through mass internet surveillance. You sign up for the group’s mailing list, another fact that is potentially available to the government. The group then calls or emails to invite you to a local meeting. Same. Your license plates can be collected as you drive to the meeting; your face can be scanned and identified as you walk into and out of the meeting. If instead of visiting the website you visit the group’s Facebook page, Facebook knows that you did and that feeds into its profile of you, available to advertisers and political activists alike. Ditto if you like their page, share a link with your friends, or just post about the issue.

Maybe you are an immigrant yourself, documented or not. Or maybe some of your family is. Or maybe you have friends or coworkers who are. How likely are you to get involved if you know that your interest and concern can be gathered and used by government and corporate actors? What if the issue you are interested in is pro- or anti-gun control, anti-police violence or in support of the police? Does that make a difference?

Maybe the issue doesn’t matter, and you would never be afraid to be identified and tracked based on your political or social interests. But even if you are so fearless, you probably know someone who has more to lose, and thus more to fear, from their personal, sexual, or political beliefs being exposed.

This isn’t just hypothetical. In the months and years after the 9/11 terrorist attacks, many of us censored what we spoke about on social media or what we searched on the internet. We know from a 2013 PEN study that writers in the United States self-censored their browsing habits out of fear the government was watching. And this isn’t exclusively an American event; internet self-censorship is prevalent across the globe, China being a prime example.

Ultimately, this fear stagnates society in two ways. The first is that the presence of surveillance means society cannot experiment with new things without fear of reprisal, and that means those experiments—if found to be inoffensive or even essential to society—cannot slowly become commonplace, moral, and then legal. If surveillance nips that process in the bud, change never happens. All social progress—from ending slavery to fighting for women’s rights—began as ideas that were, quite literally, dangerous to assert. Yet without the ability to safely develop, discuss, and eventually act on those assertions, our society would not have been able to further its democratic values in the way that it has.

Consider the decades-long fight for gay rights around the world. Within our lifetimes we have made enormous strides to combat homophobia and increase acceptance of queer folks’ right to marry. Queer relationships slowly progressed from being viewed as immoral and illegal, to being viewed as somewhat moral and tolerated, to finally being accepted as moral and legal.

In the end it was the public nature of those activities that eventually slayed the bigoted beast, but the ability to act in private was essential in the beginning for the early experimentation, community building, and organizing.

Marijuana legalization is going through the same process: it’s currently sitting between somewhat moral, and—depending on the state or country in question—tolerated and legal. But, again, for this to have happened, someone decades ago had to try pot and realize that it wasn’t really harmful, either to themselves or to those around them. Then it had to become a counterculture, and finally a social and political movement. If pervasive surveillance meant that those early pot smokers would have been arrested for doing something illegal, the movement would have been squashed before inception. Of course the story is more complicated than that, but the ability for members of society to privately smoke weed was essential for putting it on the path to legalization.

We don’t yet know which subversive ideas and illegal acts of today will become political causes and positive social change tomorrow, but they’re around. And they require privacy to germinate. Take away that privacy, and we’ll have a much harder time breaking down our inherited moral assumptions.

The second way surveillance hurts our democratic values is that it encourages society to make more things illegal. Consider the things you do—the different things each of us does—that portions of society find immoral. Not just recreational drugs and gay sex, but gambling, dancing, public displays of affection. All of us do things that are deemed immoral by some groups, but are not illegal because they don’t harm anyone. But it’s important that these things can be done out of the disapproving gaze of those who would otherwise rally against such practices.

If there is no privacy, there will be pressure to change. Some people will recognize that their morality isn’t necessarily the morality of everyone—and that that’s okay. But others will start demanding legislative change, or using less legal and more violent means, to force others to match their idea of morality.

It’s easy to imagine the more conservative (in the small-c sense, not in the sense of the named political party) among us getting enough power to make illegal what they would otherwise be forced to witness. In this way, privacy helps protect the rights of the minority from the tyranny of the majority.

This is how we got Prohibition in the 1920s, and if we had had today’s surveillance capabilities in the 1920s it would have been far more effectively enforced. Recipes for making your own spirits would have been much harder to distribute. Speakeasies would have been impossible to keep secret. The criminal trade in illegal alcohol would also have been more effectively suppressed. There would have been less discussion about the harms of Prohibition, less “what if we didn’t…” thinking. Political organizing might have been difficult. In that world, the law might have stuck to this day.

China serves as a cautionary tale. The country has long been a world leader in the ubiquitous surveillance of its citizens, with the goal not of crime prevention but of social control. They are about to further enhance their system, giving every citizen a “social credit” rating. The details are yet unclear, but the general concept is that people will be rated based on their activities, both online and off. Their political comments, their friends and associates, and everything else will be assessed and scored. Those who are conforming, obedient, and apolitical will be given high scores. People without those scores will be denied privileges like access to certain schools and foreign travel. If the program is half as far-reaching as early reports indicate, the subsequent pressure to conform will be enormous. This social surveillance system is precisely the sort of surveillance designed to maintain the status quo.

For social norms to change, people need to deviate from these inherited norms. People need the space to try alternate ways of living without risking arrest or social ostracization. People need to be able to read critiques of those norms without anyone’s knowledge, discuss them without their opinions being recorded, and write about their experiences without their names attached to their words. People need to be able to do things that others find distasteful, or even immoral. The minority needs protection from the tyranny of the majority.

Privacy makes all of this possible. Privacy encourages social progress by giving the few room to experiment free from the watchful eye of the many. Even if you are not personally chilled by ubiquitous surveillance, the society you live in is, and the personal costs are unequivocal."]]></description>
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<item rdf:about="https://www.e-flux.com/architecture/overgrowth/">
    <title>Overgrowth - e-flux</title>
    <dc:date>2018-11-25T23:04:31+00:00</dc:date>
    <link>https://www.e-flux.com/architecture/overgrowth/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Architects and urban practitioners, toiling daily at the coalface of economic expansion, are complicit in the perpetuation of growth. Yet they are also in a unique position to contribute towards a move away from it. As the drivers of growth begin to reveal their inadequacies for sustaining life, we must imagine alternative societal structures that do not incentivize unsustainable resource and energy use, and do not perpetuate inequality. Working on the frontline of capitalism, it is through architecture and urban practice that alternative values, systems, and logics can be manifest in built form and inherited by generations to come.

Editors
Nick Axel
Matthew Dalziel
Phineas Harper
Nikolaus Hirsch
Cecilie Sachs Olsen
Maria Smith

Overgrowth is a collaboration between e-flux Architecture and the Oslo Architecture Triennale within the context of its 2019 edition."

[See also: https://www.e-flux.com/architecture/overgrowth/221902/editorial/ ]

[including:

Ateya Khorakiwala: "Architecture's Scaffolds"
https://www.e-flux.com/architecture/overgrowth/221616/architecture-s-scaffolds/

<blockquote>The metaphor of grassroots is apt here. Bamboo is a grass, a rhizomatic plant system that easily tends towards becoming an invasive species in its capacity to spread without seed and fruit. Given the new incursions of the global sustainability regime into third world forests to procure a material aestheticized as eco-friendly, what would it take for the state to render this ubiquitous material into a value added and replicable commodity? On one hand, scaffolding offers the site of forming and performing the subjectivity of the unskilled laborer—if not in making the scaffolding, then certainly in using it. Bamboo poles for scaffolding remain raw commodities, without scope for much value addition; a saturated marketplace where it can only be replaced by steel as building projects increase in complexity. On the other hand, bamboo produces both the cottage industry out of a forest-dwelling subject, on the margins of the state, occupying space into which this market can expand.

Bamboo is a material in flux—what it signifies is not transferable from one scale to another, or from one time to another. In that sense, bamboo challenges how we see the history of materials. In addition to its foundational architectural function as scaffolding, it acts as a metaphorical scaffolding as well: it signifies whatever its wielders might want it to, be it tradition, poverty, sustainability, or a new form of eco-chic luxury. Bamboo acts more as a scaffolding for meaning than a material with physical properties of flexibility and strength. Scaffolding, both materially and metaphorically, is a site of politics; a space that opens up and disappears, one that requires much skill in making.</blockquote>

Edgar Pieterse: "Incorporation and Expulsion"
https://www.e-flux.com/architecture/overgrowth/221603/incorporation-and-expulsion/

<blockquote>However, what is even more important is that these radically localized processes will very quickly demand spatial, planning, and design literacy among urban households and their associations. The public pedagogic work involved in nurturing such literacies, always amidst action, requires a further institutional layer that connects intermediary organizations with grassroots formations. For example, NGOs and applied urban research centers with knowledge from different sites (within a city and across the global South) can provide support to foster these organizational literacies without diminishing the autonomy and leadership of grassroots movements. Intermediary organizations are also well placed to mediate between grassroots associations, public officers, private sector interests, and whoever else impinge on the functioning of a neighborhood. Thinking with the example of Lighthouse suggests that we can think of forms of collective economic practice that connect with the urban imperatives of securing household wellbeing whilst expanding various categories of opportunity. The transformative potential is staggering when one considers the speed with which digital money systems and productive efficiencies have taken off across East Africa during the past five years or so.

There is unprecedented opportunity today to delink the imperatives of just urban planning from conventional tropes about economic modernization that tend to produce acontextual technocracy. We should, therefore, focus our creative energies on defining new forms of collective life, economy, wellbeing, invention, and care. This may even prove a worthwhile approach to re-signify “growth.” Beyond narrow economism there is a vast canvas to populate with alternative meanings: signifiers linked to practices that bring us back to the beauty of discovery, learning, questioning, debate, dissensus, experimentation, strategic consensus, and most importantly, the courage to do and feel things differently.</blockquote>

Ingerid Helsing Almaas: "No app for that"
https://www.e-flux.com/architecture/overgrowth/221609/no-app-for-that/

<blockquote>Conventionally, urban growth is seen in terms of different geometries of expansion. Recent decades have also focused on making existing cities denser, but even this is thought of as a process of addition, inscribed in the conventional idea of growth as a linear process of investments and profits. But the slow process of becoming and disappearance is also a form of growth. Growth as slow and diverse accretion and shedding, layering, gradual loss or restoration; cyclical rather than linear or expansive. Processes driven by opportunity and vision, but also by irritation, by lack, by disappointment. In a city, you see these cyclical processes of accretion and disruption everywhere. We just haven’t worked out how to make them work for us. Instead, we go on expecting stability and predictability; a city with a final, finished form.</blockquote>

Peter Buchanan: "Reweaving Webs of Relationships"
https://www.e-flux.com/architecture/overgrowth/221630/reweaving-webs-of-relationships/

Helena Mattsson and Catharina Gabrielsson: "Pockets and Folds"
https://www.e-flux.com/architecture/overgrowth/221607/pockets-and-folds/

<blockquote>Moments of deregulations are moments when an ideology of incessant growth takes over all sectors of life and politics. Returning to those moments allows us to inquire into other ways of organizing life and architecture while remaining within the sphere of the possible. Through acts of remembrance, we have the opportunity to rewrite the present through the past whereby the pockets and folds of non-markets established in the earlier welfare state come into view as worlds of a new becoming. These pockets carry the potential for new political imaginaries where ideas of degrowth reorganize the very essence of the architectural assemblage and its social impacts. These landscapes of possibilities are constructed through desires of collective spending—dépense—rather than through the grotesque ideas of the wooden brain.</blockquote>

Angelos Varvarousis and Penny Koutrolikou: "Degrowth and the City"
https://www.e-flux.com/architecture/overgrowth/221623/degrowth-and-the-city/

<blockquote>The idea of city of degrowth does not attempt to homogenize, but rather focus on inclusiveness. Heterogeneity and plurality are not contrary to the values of equity, living together and effective sharing of the resources. Difference and plurality are inherent and essential for cities and therefore diverse spatial and social articulations are intrinsic in the production of a city of degrowth. They are also vital for the way such an idea of a city could be governed; possibly through local institutions and assemblies that try to combine forms of direct and delegative democracy.</blockquote> ]]]></description>
<dc:subject>growth degrowth architecture overgrowth 2018 nickaxel matthewdalziel phineasharper nikolaushirsch ceciliesachsolsen mariasmith ateyakhorakiwala edgarpieterse ingeridhelsingalmaas peterbuchanan helenamattsson catharinagabrielsson angelosvarvarousis pennykoutrolikou 2019 anthropocene population sustainability humans civilization economics policy capitalism karlmarx neoliberalism systemsthinking cities urban urbanism urbanplanning urbanization ecology consumption materialism consumerism oslo bymelding stability change predictability design africa southafrica postcolonialism ethiopia nigeria housing kenya collectivism dissensus experimentation future learning questioning debate discovery wellbeing intervention care technocracy modernization local grassroots materials multiliteracies ngos autonomy shigeruban mumbai bamboo burkinafaso patrickkeré vikramadityaprakash lecorbusier pierrejeanneret modernism shivdattsharma chandigarh india history charlescorrea scaffolding well-being</dc:subject>
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    <title>Black Mountain College: &quot;The Grass-Roots of Democracy&quot; - Open Source with Christopher Lydon</title>
    <dc:date>2018-10-23T21:15:04+00:00</dc:date>
    <link>http://radioopensource.org/black-mountain-college/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Our guest, the literary historian Louis Menand, explains that B.M.C. was a philosophical experiment intent on putting the progressive philosopher John Dewey‘s ideas to work in higher education. The college curriculum was unbelievably permissive — but it did ask that students undertake their own formation as citizens of the world by means of creative expression, and hard work, in a community of likeminded people.

The college may not have lived up to its utopian self-image — the scene was frequently riven by interpersonal conflict — but it did serve as a stage-set to some of modern culture’s most interesting personalities and partnerships."]]></description>
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<item rdf:about="http://www.krupskayabooks.com/bellamy.htm">
    <title>Dodie Bellany: Academonia</title>
    <dc:date>2018-10-21T23:41:31+00:00</dc:date>
    <link>http://www.krupskayabooks.com/bellamy.htm</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["In this lively, entertaining collection of essays, Dodie Bellamy has written not only a helpful pedagogical tool, but an epic narrative of survival against institutional deadening and the proscriptiveness that shoots the young writer like poison darts from all sides.  By the 90s funding for the arts had dwindled and graduate writing programs—“cash cows”—had risen to fill the slack.  Simultaneously, literary production moved from an unstable, at times frightening street culture where experiment was privileged beyond all else, to an institutionalized realm—Academonia!—that enforces, or tends to enforce, conservative aesthetic values.

Among the questions Bellamy raises: how does the writer figure out how to write?  How will she claim her content among censorious voices?  Can the avant-garde create forms that speak to political and spiritual crisis?  Can desire exist in a world of networking structures?  To the keepers of the status quo, what is so goddamned scary about experimental writing?  Bellamy’s textual body morphs through sex, ravenous hunger, aging, displacement, cuddling with animals.  Along the way she invokes Levi Strauss, Kurosawa, Marvin Gaye, Christiane (the faceless daughter in Georges Franju’s 1959 horror classic Eyes Without a Face), Alice Munro, Michael Moore, Quan Yin, Cinderella, and the beheaded heroine Lady Jane Grey.  On Foucault’s grid of invisible assumptions, Academonia casts a blacklight vision, making it glow in giddy FX splendor.

*****

There are the institutions that are created without our input and the institutions that we create with others. Both sorts of institutions define us without our consent. Dodie Bellamy’s Academonia explores the prickly intersection among these spaces as it moves through institutions such as the academy, the experimental writing communities of the Bay Area, feminist and sexual identities, and group therapy. Continuing the work that she began in The Letters of Mina Harker pushing memoir and confession out of its safety zones and into its difficulties, this book provokes as it critiques and yet at the same time manages to delight with its hope.

--Juliana Spahr

Way back in the seventies, and before Bellamy, pastiche and bricolage as applied to literature made me yawn. Smug attacks on linear narrative through the use of tired language games aroused my contempt. As far as I was concerned, theory had ruined fiction by making critic and artist too intimate. Then Bellamy’s pioneering graftings of storytelling, theory and fractured metaphor changed all that, giving birth to a new avant-garde. Her writing sweeps from one mode of thought to another in absolute freedom, eviscerating hackneyed constructs about desire and language and stuffing them with a fascinating hodgepodge of sparkling sensory fragments. The result is true postmodernism, not the shallow dilettantism of the “postmodern palette.” She sustains it on page after page, weaving together sex and philosophy, fusing trash with high culture, injecting theory with the pathos of biography and accomplishing nothing less than a fresh and sustained lyricism. What is more, her transfiguration of the trivial details of life by the mechanisms of irony, fantasy, disjunction, nostalgia and perverse point of view prove that it’s not the life you live that matters, but how you tell it.

--Bruce Benderson"]]></description>
<dc:subject>writing howwewrite books dodiebellany institutions proscriptiveness academonia academia highered highereducation akirakurosawa levistrauss marvingaye alicemonroe michaelmoore quanyin cinderella ladyjanegrey foucault institutionalization julianaspahr brucebenderson bricolage literature linearity form feedom structure language senses sensory postmodernism dilettantism culture bayarea experimental experimentation art arts funding streetculture 2006 michelfoucault</dc:subject>
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<item rdf:about="https://vimeo.com/126183982">
    <title>Carol Black: Alternatives to Schooling on Vimeo</title>
    <dc:date>2018-10-21T08:14:26+00:00</dc:date>
    <link>https://vimeo.com/126183982</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Carol Black is an education analyst, television producer, and director of the film Schooling the World. This is her plenary talk at the Economics of Happiness conference, held in Portland, Oregon, in February 2015. The conference was organized by Local Futures, a non-profit organization that has been promoting a shift from global to local for nearly 40 years."]]></description>
<dc:subject>carolblack unschooling deschooling education learning howelearn schools schooling happiness alternative work play experimentation development children age segregation experience experientialeducation readiness compulsion control authoritarianism authority power standardization centralization publicschools corporations corporatism compulsory agesegregaton sfsh tcsnmy lcproject openstudioproject conviviality ivanillich community howwelearn 2015 institutions institutionalizations diversity</dc:subject>
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<item rdf:about="https://buttondown.email/robinrendle/archive/fbd3ee30-eb41-42a0-a9e4-51c63f75e059">
    <title>🔠 Jack and the Magic Key | Buttondown</title>
    <dc:date>2018-07-08T02:06:02+00:00</dc:date>
    <link>https://buttondown.email/robinrendle/archive/fbd3ee30-eb41-42a0-a9e4-51c63f75e059</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["It’s 2007: I’m sat in the kitchen watching a family friend and her four year old son talk to my mom. Over the course of a few minutes I notice how this kid, Jack, is starting to get bored; his eyes roll into the back of his head and all of his limbs begin to fidget independently of the host as if he’s possessed by the spirit of boredom itself.

In a flash my mom notices this before her friend does. Her eyes dart around the room, looking for something, anything, to entertain Jack with. Coming up short, my mom grabs the closest thing that was on the table: a key. I think it unlocked one of the older cabinets we had lying around back then so it was very nondescript and boring; it didn’t have any patterns on it, or engravings, and it certainly wasn’t imbued with ancient magic of any kind.

But my mom gets down to Jack’s level and hijacks his attention with the key. She twirls it between her fingers and Jack’s eyes expand to the size of saucers.

My mom whispers in his ear.

“This key opens a door somewhere in our home,” her hand outstretched, sweeps across the air as if our house was a castle in the Scottish highlands, a scary and adventurous place that little Jack might get lost in. “And this very special key opens a very special door. So Jack…” My mom pauses for emphasis “…you’re the only one that can help me find it.”

At this point all of Jack’s boredom had been converted into pure, unbridled excitement and his smile almost hopped off his round face in the rush of this new adventure. He spent the rest of the afternoon darting around the house trying the key on everything; on books and chairs, walls and fireplaces, and even his mother’s knee.

*******

I didn’t realize this until I was an adult but when I was a young kid my family went bankrupt and my father’s successful business disappeared almost over night. Our small family, just my dad, my mom, my brother and me, lost everything. Our grandparents died and we’d been ostracized from cousins, sisters and distant brothers before I was born and so there was no-one to call for backup.

After my dad finally relented in telling us the details decades later I remembered that for years my brother and I had slept on the floor without a mattress. We didn’t have wallpaper. We had no toys or even a television until we were much older.

Whilst my dad was throwing himself into the maw of tax collectors and shady debt men, my mom was left dealing with two young children almost entirely alone. And so she learned quickly how to entertain us on a budget. Without any money to pay for toys my mom had to make the ordinary extraordinary. Our empty bedroom became a jungle, the couch a train, the stairway a place where Pokémon could be found and fought. And yes, even boring nondescript keys became potent with magic and prophesy.

That unbound excitement in boring things, that sort of curiosity in the world around us is what we so desperately need more of. We need excuses to play, to experiment, to dream during the daytime. And I think it was that key that my mother held in her hand that afternoon that made me want to be a writer and a designer. It’s what ultimately sparked my curiosity in typography, letters, and writing as well because I knew that I wanted to give others that feeling of infinite hope and that sense of wonder, too.

This is most certainly going to be a non-sequitur but for some reason all of this reminds me of Mary Reufle’s Madness, Rack and Honey where the poet describes what the perfect English Literature class in a highschool might look like. In the book, Mary writes:

<blockquote>My idea for a class is you just sit in the classroom and read aloud until everyone is smiling, and then you look around, and if someone is not smiling you ask them why, and then you keep reading—it may take many different books—until they start smiling, too.</blockquote>"]]></description>
<dc:subject>robinrendle education curiosity boredom 2018 parenting play maryreuffle learning howwelearn unschooling engagement resourcefulness cv experimentation creativity keys scrappiness lcproject openstudioproject nexttonothing</dc:subject>
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<item rdf:about="http://act.mit.edu/cavs/">
    <title>MIT Center for Advanced Visual Studies Special Collection</title>
    <dc:date>2018-02-25T21:55:18+00:00</dc:date>
    <link>http://act.mit.edu/cavs/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Welcome to the online repository of MIT's Center for Advanced Visual Studies (CAVS) Special Collection, part of the Program in Art, Culture and Technology (ACT) Archives and Special Collections.

The CAVS Special Collection documents a nearly 45 year history of collaborative and time-based productions generated by the tenure of over 200 internationally recognized artist-fellows. This digitized, “virtual museum” includes images, publications, posters, documents, portfolios, videos and other materials of historic importance documenting the process of creating art-science-technology projects at CAVS. This site presents experimental ways in which to explore collection materials.

The Works page connects users to CAVS art works and projects, which can be browsed chronologically, or by subject or format.

The People page provides several methods for browsing artists, scientists, and others affiliated with CAVS.

The About page includes more information about CAVS, ACT, and this project.

You may also browse a randomized 3-dimensional environment of collection materials below (double click an image to view the item record)."

[via https://twitter.com/paperarchitect/status/967563932620742656
".@ACTMIT launched the online repository of the CAVS (Center for Advanced Visual Studies) archive! Super excited for this weird and wonderful website, and the important works within: http://act.mit.edu/cavs/ "

via: https://twitter.com/shannonmattern/status/967656022058897409
"More Shannon Mattern Retweeted Ann Lui
So much amazing material here, documenting an important center for experimentation in art/science/tech -- and such a fitting interface. A great case study for ppl studying + developing digital collections." ]]]></description>
<dc:subject>archives art installation cvs mit science technology experimentation collections</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
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<item rdf:about="https://www.gse.harvard.edu/news/17/12/harvard-edcast-lifelong-kindergarten">
    <title>Harvard EdCast: Lifelong Kindergarten | Harvard Graduate School of Education</title>
    <dc:date>2017-12-19T19:51:27+00:00</dc:date>
    <link>https://www.gse.harvard.edu/news/17/12/harvard-edcast-lifelong-kindergarten</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The concept of kindergarten — as a place for young children to learn by interacting with materials and people around them — has existed for over 200 years, but never has the approach been so suited to the way the world works as it is today, says Mitchel Resnick, the LEGO Papert Professor of Learning Research at the MIT Media Lab.

“That approach to kindergarten is really aligned with the needs of today’s society," says Resnick, citing the need to adapt to the speed at which things change in the world. "As kids in the traditional kindergarten were playfully designing and creating things, they were developing as creative thinkers…. That’s exactly what we need.”

Being given the room to explore, experiment, and express oneself is vital to becoming a creative thinker — and to the learning process as a whole — says Resnick, author of Lifelong Kindergarten: Cultivating Creativity through Projects, Passion, Peers, and Play. If people aren't encouraged in their creativity at an early age, and if this isn't nutured throughout their schooling, then they aren't as prepared to deal with the unexpected when it arises.

“We’re trying to spread that approach to learners of all ages," says Resnick, who also leads the Lifelong Kindergarten research group at MIT. "We want to take what’s worked best in kindergarten and here at the Media Lab and provide opportunities for all kids of all ages to be able to explore and experiment and express themselves in that same spirit.”

In this edition of the Harvard EdCast, Resnick talks about the importance of nurturing creativity in learning and explains why kindergarten is the greatest invention of the last millennium."

[See also: 
"Mitchel Resnick - MIT Media Lab: Lifelong Kindergarten" (2014)
https://www.youtube.com/watch?v=uRxD-pe3PN0

"Helping Kids Develop as Creative Thinkers" (2017)
https://vimeo.com/244986026 ]]]></description>
<dc:subject>mitchresnick lifelongkindergarten mitmedialab 2017 interviews kindergarten play projects projectbasedlearning passion collaboration experimentation creativity medialab scratch making pbl teaching sfsh learning howweteach howwelearn risks risktaking education schools lcproject openstudioproject curiosity schooling unschooling deschooling mindstorms writing coding programming leaning creating lego reasoning</dc:subject>
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<item rdf:about="http://teachertomsblog.blogspot.com/2017/10/our-catastrophic-imaginations.html">
    <title>Teacher Tom: Our Catastrophic Imaginations</title>
    <dc:date>2017-11-18T19:10:10+00:00</dc:date>
    <link>http://teachertomsblog.blogspot.com/2017/10/our-catastrophic-imaginations.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Awhile back, I was watching a boy playing around under the swings as a classmate was swinging. It wasn't a particularly risky activity in my view. I mean, I was standing right there, taking pictures, discussing it with him, and it didn't set off any alarm bells for me in the moment, although after the fact, while going through the photos, it occurred to me that it was something that would be scuttled in other settings. My lack of concern probably stems from the fact that it's far from the first time this sort of thing has happened:

In fact, I think what caught my attention about it was that it was the first time I'd seen a kid do more than just lie there giggling. Of course, many schools have removed their swings altogether, so maybe the very existence of swings is shocking to some. 

I imagine that in some dystopian future we'll become notorious for being the only school left with a swing set, let alone for not having a set of rules about how the kids can use them. That's because, in our six years with swings, since our move to the Center of the Universe, we've not found a need for safety rules, because the kids, the ones that live in the world outside our catastrophic imaginations, haven't shown a particular propensity to hurt themselves or one another.

Oh sure they get hurt like all kids do, like all people, but most of the injuries don't come from what people call "risky play," but rather from day-to-day activities, things you would think children had mastered. For instance, the worst injury we've seen during my 16 year tenure at Woodland Park came when a boy fell on his chin while walking on a flat, dry, linoleum floor. He needed a couple stitches. Another boy wound up with stitches when he fell while walking in the sandpit.

Increasingly, I find myself bristling when I hear folks talk about "risky play," even when it's framed positively. From my experience, this sort of play is objectively not risky, in the sense that those activities like swinging or climbing or playing with long sticks, those things that tend to wear the label of "risky" are more properly viewed as "safety play," because that's exactly what the kids are doing: practicing keeping themselves and others safe. It's almost as if they are engaging in their own, self-correcting safety drills.

When a group of four and five year olds load up the pallet swing with junk, then work together to wind it up higher and higher, then, on the count of three, let it go, ducking away as they do it, creating distance between themselves and this rapidly spinning flat of wood that they've learned is libel to release it's contents in random directions, they are practicing keeping themselves and others safe. They don't need adults there telling them to "be careful" or to impose rules based on our fears because those things are so manifestly necessary to this sort of thing that they are an unspoken part of the play.

When children wrestle they are practicing caring for themselves and their friends.

When preschoolers are provided with carving tools and a pumpkin they automatically include their own safety and that of others into their play. Adult warnings to "be careful" are redundant at best and, at worst, become focal points for rebellion (which, in turn, can lead to truly risky behavior) or a sense that the world is full of unperceived dangers that only the all-knowing adults can see (which, in turn, can lead to the sort of unspecified anxiety we see so much of these days). Every time we say "be careful" we express, quite clearly, our lack of faith in our children's judgement, which too often becomes the foundation of self-doubt.

The truth is that they already are being careful. The instinct for self-preservation is quite strong in humans. It's a pity that we feel we must teach them to live within our catastrophic imaginations."]]></description>
<dc:subject>tomhobson children risk play risktaking safety sfsh experimentation 2017 schools swings playgrounds injury care caring wrestling carefulness</dc:subject>
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<item rdf:about="https://www.youtube.com/watch?v=o341S4xh1r0">
    <title>Impakt Festival 2017 - Performance: ANAB JAIN. HQ - YouTube</title>
    <dc:date>2017-11-14T06:32:57+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=o341S4xh1r0</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[Embedded here: http://impakt.nl/festival/reports/impakt-festival-2017/impakt-festival-2017-anab-jain/ ]

"'Everything is Beautiful and Nothing Hurts': @anab_jain's expansive keynote @impaktfestival weaves threads through death, transcience, uncertainty, growthism, technological determinism, precarity, imagination and truths. Thanks to @jonardern for masterful advise on 'modelling reality', and @tobias_revell and @ndkane for the invitation."
https://www.instagram.com/p/BbctTcRFlFI/ ]]]></description>
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<item rdf:about="http://cema.srishti.ac.in/birdseyeview/items/show/69">
    <title>srishti archive | Designing Spaces for Learning - Talk by Geetha Narayanan</title>
    <dc:date>2017-10-14T21:51:05+00:00</dc:date>
    <link>http://cema.srishti.ac.in/birdseyeview/items/show/69</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Experience or experimenting, expanding or developing, remembering or copying are all choices designers and educators make as they engage with notions of learning and of change. This paper presents a set of four case studies that articulate the pedagogical visions of a collective who have been investigating the connections between context, culture, consciousness and learning. Set within learning spaces for the urban poor and the elite this paper positions that fostering deep connections between place, space and the child is critical to the development of consciousness and competence. Designing spaces for learning needs, as this paper argues for an appreciation of forms of knowing that juxtaposes primary ways of knowing with the analytic and the designerly. Speaker : Geetha Narayanan (Principal Investigator, Project Vision Design and Research Collective, Centre for Education Research, Training and Development, Srishti School of Art Design & Technology) Seminar Date: March 23rd, 2010 Venue: National Institute of Advanced Studies (NIAS), Indian Institute of Science Campus Time: 3.00 p.m. Respondents: Prem Chandavarkar (Architect) & Ampat Varghese(Faculty at Srishti)"

[See also: https://vimeo.com/11049855 ]]]></description>
<dc:subject>geethanarayanan education learning design architecture experimentation pedagogy 2010 context culture consciousness schooldesign</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:a0c3688d59f5/</dc:identifier>
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<item rdf:about="https://tinyletter.com/jomc/letters/things-weren-t-better-then-they-just-spent-less-time-nostalgic-for-the-past">
    <title>things weren't better then, they just spent less time nostalgic for the past</title>
    <dc:date>2017-07-28T22:20:06+00:00</dc:date>
    <link>https://tinyletter.com/jomc/letters/things-weren-t-better-then-they-just-spent-less-time-nostalgic-for-the-past</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Have you seen Peter Gabriel’s Sledgehammer lately? It popped up when something else I was playing on Youtube ended and I can’t stop thinking about it. Now I want to send it to every VR guy who says something like, “well, actually it took fifty years of film before Citizen Kane..” Well, actually it took four years of MTV before they made this:

[image]

Why isn’t VR as good as music videos were in the 80s? This week people went wild over an AR recreation of A-ha's “Take on me.” It’s a technical achievement but not a creative one. A creative achievement would be to this moment what “Take on me” was in 1984. Something doesn’t need to be technically advanced to capture people’s imaginations as that video did, but I don’t see any entry points in the industry or attempts to nurture that kind of talent. 

VR/AR is ad-tech. Everything built in studios (except for experimental projects from independent artists) is advertising something. That empathy stuff? That's advertising for nonprofits. But mostly VR is advertising itself. While MTV was advertising musicians, the scale and creative freedom meant that it launched careers for people like Michel Gondry, Antoine Fuqua, David Fincher, Spike Jonze, Jonathan Dayton and Valerie Faris, etc. A band from a town like Louisville or Tampa could get in touch with a local filmmaker and collaborate on a project and hope that 120 Minutes picks it up. There were entry points like that. And the audience was eager to see something experimental. But a VR audience is primed to have something like a rollercoaster experience, rather than an encounter with the unexpected. The same slimy shapeshifter entrepreneurs that could just as well build martech or chatbots went and colonized the VR space because they have a built in excuse that it took film "fifty years before Orson Wells." Imagine that. A blank check and a deadline in fifty years.

No one wants to get inside some sweaty uncomfortable headset unless they are going to be rewarded with something at least as good as music videos were in 1984. But who is ushering in talent rather than hype? VR is starting as an institutional and commercial monster rather than scaling into institutional power. It’s like if the art market came before art."]]></description>
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<item rdf:about="http://taeyoonchoi.com/artofteaching/#/">
    <title>The Art of Teaching</title>
    <dc:date>2017-06-27T05:07:36+00:00</dc:date>
    <link>http://taeyoonchoi.com/artofteaching/#/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[via: "The slide deck for the workshop is superb. Such a great experience, so grateful to @tchoi8 & the other participants." https://twitter.com/dphiffer/status/879465006449909760

referencing also: "How I learn to build things. Something I created for @tchoi8’s Art of Learning workshop at @eyeofestival."
https://twitter.com/dphiffer/status/879366496354488322 ]

[video: "Absence is Presence with Distance"
https://vimeo.com/234330230

"As an artist, I work with technology and narrative – formal and relational projects. As an activist, I examine personal and political – practice and praxis. As an educator, I create feedback between plastic and elastic – learning and unlearning. My talk is set at the dawn. We are waiting for the sun to rise and we are full of questions. What’s the role of an artist as an activist now? How can we critique oppressive systems that create the sense of ‘others’ based on ability and legal status? What’s kind of pedagogy can we experiment through alternative schools? How can we create a community among those who have nothing in common? By creating art, we can give form to our intentions, contribute to making the world we want to live in.

( For a companion posting to this talk visit: 

https://medium.com/@tchoi8/absence-is-presence-with-distance-c0712aada56c )]]]></description>
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<item rdf:about="http://www.nytimes.com/2016/07/31/opinion/sunday/what-babies-know-about-physics-and-foreign-languages.html">
    <title>What Babies Know About Physics and Foreign Languages - The New York Times</title>
    <dc:date>2016-08-01T15:25:05+00:00</dc:date>
    <link>http://www.nytimes.com/2016/07/31/opinion/sunday/what-babies-know-about-physics-and-foreign-languages.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Parents and policy makers have become obsessed with getting young children to learn more, faster. But the picture of early learning that drives them is exactly the opposite of the one that emerges from developmental science.

In the last 30 years, the United States has completed its transformation to an information economy. Knowledge is as important in the 21st century as capital was in the 19th, or land in the 18th. In the same 30 years, scientists have discovered that even very young children learn more than we once thought possible. Put those together and our preoccupation with making children learn is no surprise.

The trouble is that most people think learning is the sort of thing we do in school, and that parents should act like teachers — they should direct special lessons at children to produce particular kinds of knowledge or skill, with the help of how-to books and “parenting” apps. Studies prove that high-quality preschool helps children thrive. But policy makers and educators are still under pressure to justify their investments in early childhood education. They’ve reacted by replacing pretend corners and playground time with “school readiness” tests.

But in fact, schools are a very recent invention. Young children were learning thousands of years before we had ever even thought of schools. Children in foraging cultures learned by watching what the people around them did every day, and by playing with the tools they used. New studies show that even the youngest children’s brains are designed to learn from this simple observation and play in a remarkably sensitive way.

Young children today continue to learn best by watching the everyday things that grown-ups do, from cleaning the house to fixing a car. My grandson Augie, like most 4-year-olds, loves to watch me cook, and tries manfully to copy what I do. But how does he decide whether to just push the egg whites around the bowl, or to try to reproduce exactly the peculiar wristy beating action I learned from my own mother? How does he know that he should transfer the egg yolks to the flour bowl without accidentally dropping them in the whites, as Grandmom often does? How did he decide that green peas would be a good addition to a strawberry soufflé? (He was right, by the way.)

Experimental studies show that even the youngest children are naturally driven to imitate. Back in 1988, Andrew Meltzoff of the University of Washington did a study in which 14-month-olds saw an experimenter do something weird — she tapped her forehead on top of a box to make it light up. A week later, the babies came back to the lab and saw the box. Most of them immediately tried to tap their own foreheads on the box to make the light go on.

In 2002 Gyorgy Gergely, Harold Bekkering and Ildiko Kiraly did a different version of this study. Sometimes the experimenters’ arms were wrapped in a blanket when she tapped her forehead on the box. The babies seemed to figure out that when the experimenter’s arms were wrapped up, she couldn’t use her hands, and that must have been why she had used her head instead. So when it was the babies’ turn they took the easy route and tapped the box with their hands.

In 2013 David Buttelmann and his colleagues did yet another version. First, the babies heard the experimenter speak the same language they did or a different one. Then the experimenter tapped her head on the box. When she had spoken the same language, the babies were more likely to tap the box with their foreheads; when she spoke a different language they were more likely to use their hands.

In other words, babies don’t copy mindlessly — they take note of who you are and why you act.

Children will also use what they see to figure out intelligent new actions, like putting peas in a soufflé. For example, in our lab, Daphna Buchsbaum, some colleagues and I showed 4-year-olds a toy with lots of different handles and tabs. A grown-up said, “Hmm I wonder how this toy works” and performed nine complicated series of actions, like pulling one of the handles, shaking a tab and turning the toy over. Sometimes the toy played music and sometimes it didn’t.

The actions followed a pattern: Some of them were necessary to make the machine go and some were superfluous. For example, the children might see that the toy lit up only when the experimenter shook the tab and turned over the toy, no matter what else she did.

Then she asked the child to make the music play. The children analyzed the pattern of events, figured out which actions actually made the toy go, and immediately produced just those actions. They would just pull the tab and turn over the toy. They used their observations to create an intelligent new solution to the problem.

We take it for granted that young children “get into everything.” But new studies of “active learning” show that when children play with toys they are acting a lot like scientists doing experiments. Preschoolers prefer to play with the toys that will teach them the most, and they play with those toys in just the way that will give them the most information about how the world works.

In one recent experiment, for example, Aimee E. Stahl and Lisa Feigenson of Johns Hopkins showed 11-month-old babies a sort of magic trick. Either a ball appeared to pass through a solid wall, or a toy car appeared to roll off the end of a shelf and remain suspended in thin air. The babies apparently knew enough about everyday physics to be surprised by these strange events and paid a lot of attention to them.

Then the researchers gave the babies toys to play with. The babies who had seen the ball vanish through the wall banged it; those who’d seen the car hovering in thin air kept dropping it. It was as if they were testing to see if the ball really was solid, or if the toy car really did defy gravity.

It’s not just that young children don’t need to be taught in order to learn. In fact, studies show that explicit instruction, the sort of teaching that goes with school and “parenting,” can be limiting. When children think they are being taught, they are much more likely to simply reproduce what the adult does, instead of creating something new.

My lab tried a different version of the experiment with the complicated toy. This time, though, the experimenter acted like a teacher. She said, “I’m going to show you how my toy works,” instead of “I wonder how this toy works.” The children imitated exactly what she did, and didn’t come up with their own solutions.

The children seem to work out, quite rationally, that if a teacher shows them one particular way to do something, that must be the right technique, and there’s no point in trying something new. But as a result, the kind of teaching that comes with schools and “parenting” pushes children toward imitation and away from innovation.

There is a deep irony here. Parents and policy makers care about teaching because they recognize that learning is increasingly important in an information age. But the new information economy, as opposed to the older industrial one, demands more innovation and less imitation, more creativity and less conformity.

In fact, children’s naturally evolved learning techniques are better suited to that sort of challenge than the teaching methods of the past two centuries.

New research tells us scientifically what most preschool teachers have always known intuitively. If we want to encourage learning, innovation and creativity we should love our young children, take care of them, talk to them, let them play and let them watch what we do as we go about our everyday lives.

We don’t have to make children learn, we just have to let them learn."]]></description>
<dc:subject>alisongopnik 2016 children learning unschooling deschooling howwelearn parenting education schools scientists science experimentation observation davidbuttelmann gyorgygergely haroldbekkering ildikokiraly andrewmeltzoff policy imitation howweteach teaching daphnabuchsbaum babies instruction creativity</dc:subject>
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<item rdf:about="https://medium.com/lifelearn/learning-despite-school-d0879be9464f#.6bwc28ncy">
    <title>Learning Despite School — LifeLearn — Medium</title>
    <dc:date>2016-07-27T23:22:33+00:00</dc:date>
    <link>https://medium.com/lifelearn/learning-despite-school-d0879be9464f#.6bwc28ncy</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["While organised education and deliberate, goal-oriented practice has its place, and is indeed critical, it needs to be balanced with the development of social competence and intrinsic motivation. The vast majority of learning happens in informal social situations within communities of like minded people, where individuals take initiative and learn to work with other people in meaningful settings. Schools may hinder this important avenue of growth and increase stress and anxiety.

“Nature does not hurry, yet everything is accomplished.” ~ Lao Tzu.

The role of informal learning

The importance of informal learning in all areas of life cannot be overstated. For anyone observing people going about their life, it is obvious that every waking moment (and indeed, also sleeping moments) presents experiences which shape our brains, and thus, learning happens. Historically, informal learning has been off the spotlights since it is more difficult to study than organised forms of education. However, during the 21st century, surveys have shown that the majority of learning happens in informal settings[1], and even governmental policies have changed to encourage informal learning[4].

Learning within workplaces can be divided into non-formal and informal learning. If these terms are unfamiliar, here are short definitions:

• Formal education is highly institutionalised, bureaucratic, curriculum driven, and formally recognised with grades, diplomas, or certificates.[1]

• Non-formal learning is organised learning outside of the formal education system.[1]

• Informal learning occurs in community, where individuals have opportunities to observe and participate in social activities.[2]

The clear majority of learning within workplaces is informal[3], even though companies spend huge resources on non-formal training of their employees.

Likewise it can be argued that a large portion of learning that happens in schools stems from informal activities, such as social interactions during recess. The magnitude of this informal learning clearly depends on how strictly pupils and their time use are controlled by the faculty. Most resources in educational systems are spent in the advancement of formal education.

How Finnish schools enable informal learning

Finnish primary schools consistently rank high in various international studies, and produce excellent educational outcomes. While there are several reasons behind the success of Finnish schools, one of their typical features is the large amount of free time pupils are given.

• For every 45 minutes of class time, 15 minutes of recess are provided. Recess is free undirected time, usually spent outdoors.

• 30–45 minutes are reserved each day for lunch, provided by the school.

• Children enter school the year they turn 7, giving them more years of free childhood than in most other educational systems.

• School days are short, starting with 4–5 hours in the lower grades, and growing to 6–8 in higher grades.

• The amount of homework is light, usually between 0–4 hours per week.

• Classroom time often includes group work, project work, and personalised learning activities.

All this generates lots of time in children’s lives where they can independently (or with partial guidance) decide what to do, explore their surroundings, and experience new things. All of this is informal learning and it can cultivate skills such as independence, critical thinking, accountability, social competence, self-efficacy, metacognition, time management, planning, and emotional intelligence.

Balancing academic, social and physical development

Finnish studies on pupils’ hobbies and free time use show that the constructive and positive spirit in classrooms increases as pupils spend more of their free time with each other; as their classmates become closer friends, motivation to attend classes increases; and continuing into higher education is more likely. Results also highlight the importance of non-programmed time, where teens are not supposed to do anything or achieve something. Exploration and experimentation are important. Creative crossing of boundaries of accepted behaviour is also important for the teens’ ethical development.[5] Social competence even as early as age 5 has been shown to be connected with adult life quality and productivity[8].

The effects of physical exercise to cognitive capacity and ability to focus are clear and are changing even workplace practices (e.g. walking meetings). Studies of Finnish students have shown that physical exercise has a positive effect on learning and cognitive functions, such as memory and executive functions, and can possibly affect academic achievement[6].

On the other hand, it is clear that to develop top talent in any field (including sports), young people need a balance of training, competition, and free play and exploration. Focusing too early on serious practice activities that are not enjoyable will damage intrinsic motivation[7].

In countries where schools control their pupils more strictly, opportunities for informal learning are diminished. Children then tend to focus their interests and motivation on their hobbies that happen after school. In some countries, children spend nearly all their waking hours on formal learning tasks, which may produce good academic outcomes, but limits severely the benefits that informal learning could provide. Finnish schools show that an approach that emphasises children’s natural tendencies for exploration and learning, can also provide excellent academic results.

Summary

A clear majority of learning for any individual happens in informal settings. While formal education and on-the-job training play a role, they will be more effective if they can acknowledge and accommodate informal learning that individuals will engage in regardless. In practice this means at least giving time for non-directed social activities, reflection, and physical activities. In addition, utilising learners’ own life interests in making formal training more engaging and relevant will increase learning outcomes significantly. Combining formal and informal is at the core of learner-centric approaches."]]></description>
<dc:subject>education unschooling deschooling learning informal informallearning schools social training finland play competition freeplay howwlearn howweteach teaching hobbies constructivism experimentation 2016 schedules time independence timemanagement planning criticalthinking accountability metacognition laotzu tarmotoikkanen competence motivation stress anxiety</dc:subject>
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<item rdf:about="http://www.niemanlab.org/2015/12/the-year-of-the-splinter-site/">
    <title>The year of the splinter site » Nieman Journalism Lab</title>
    <dc:date>2015-12-23T00:31:27+00:00</dc:date>
    <link>http://www.niemanlab.org/2015/12/the-year-of-the-splinter-site/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[“Journalism shouldn’t live or die by the number of eyeballs or the number of shares it attracts. Focusing myopically on scale and continuing to optimize for the largest possible audience compels us to the lowest common denominator of editorial quality.”

…

"2016 will be the year of the splinter site.

To continue pushing forward and shape their future, media companies need to be constantly looking for new opportunities, new approaches, and new platforms. It’s partly how we’ll crack new markets.

A splinter site is an editorially independent venture, a media product built to stand on its own and designed for a specific audience. They will start modest and many will fail. Some may take on a life of their own, becoming sustainable in their own right, while others may be folded back into its parent. The splinter site is a way of increasing journalistic surface area. And despite the name, the word “site” is being used rather loosely here — a splinter site doesn’t necessarily mean it has to live on a website or be an entirely sectioned-off space. Some of these “splinter sites” will be entirely distributed, exist only in apps or social products.

News organizations will shift their focus away from trying to adapt the same content for different platforms. Instead, they’ll put their minds to creating entirely new editorial experiences — content designed for specific audiences, delivered through specific channels.

We’ve already seen a handful of media companies pursue this strategy to varying extents. The New York Times revealed a glossy new Cooking site and app. BuzzFeed expanded from entertainment and lifestyle coverage into serious journalism, longform and investigative reporting, releasing their news app this past July. We saw Vice launch Broadly, their female-centric channel, covering the multiplicity of women’s experiences through original reporting and documentary film.

We also see this splinter site approach in the portfolio of sites owned by Vox Media — Eater for food and restaurants, Racked for shopping and retail, Curbed for real estate, Vox for general news, Polygon for gaming, SB Nation for sports (which is itself a collection of individual blogs), The Verge for tech, culture and science, and Recode for tech. The Awl network, too, is a collection of sister sites — eponymous The Awl, Splitsider, The Billfold, and The Hairpin — each with their own unique tone, audience and sensibility.

As readers and distribution mechanisms continue to get more and more fragmented, the less it makes sense to contort and reshape one editorial approach for different groups. We’ve seen the seeds of specificity in the launch of new verticals and channels spun off from existing media companies, but 2016 will be the year news organizations fully embrace this construct.
Splinter sites serve an underlying trend: Publishing is converging on specificity. So much of content online today has been roped into this rat race for growth, competition for mass media metrics like clicks, pageviews, and shares. This has led us to a sterile, centralized web. By focusing on a particular, specific lens for content, journalists can create and deliver more meaningful stories. Journalism shouldn’t live or die by the number of eyeballs or the number of shares it attracts. Focusing myopically on scale and continuing to optimize for the largest possible audience compels us to the lowest common denominator of editorial quality.

But a splinter site is an opportunity to start from scratch. It frees a news organization from the weight and legacy of an existing name, and gives you the opportunity to think outside your CMS.

When you’re working within an existing brand, there’s a set of associations and preconceived notions you sometimes have to work against when trying to develop new audiences. You can be set up to fail because you’re fighting a deep-rooted notion that your publication — say, my idea of what The Washington Post is as a thing — is not for me.

But what about about sites that are built from the ground up for a specific type of reader? This invites a different type of relationship, one that’s more emotionally resonant and compelling, laying the groundwork for developing depth and habit with an audience. Consider BuzzFeed’s Cocoa Butter, a distributed project that “focuses on making fun stuff for and about brown folks.” Cocoa Butter exists in Twitter, Facebook, and Instagram accounts, and is a station within Facebook Notify.

Splinter sites are a means of identifying new opportunities and adjacent problems with the potential to impact journalism in a big way. They can help inform future efforts and give better clarity about entering new markets.

In 2015, we saw a continuation of testing, experimentation and iteration in developing novel approaches to journalism. But next year, we’ll see more bold moves — new, edgy, experimental splinter sites from news organizations that that break the mold of our expectations and the status quo. They’ll help to chart territory that’s not just down the block from where we are as an industry today, but rather, will survey the broader landscape and see what’s up in an entirely new city."]]></description>
<dc:subject>katiezhu scale journalism 2015 news media spintersites fragmentation small socialmedia twitter facebook buzzfeed instagram experimentation skunkworks statusquo sbnation polygon theawl splitsider thebillfold thehairpin audience multiplicity nytimes pop-ups</dc:subject>
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<item rdf:about="https://medium.com/@EliHorowitz/the-pickle-a-conversation-about-making-digital-books-6540fdffb233#.r2iiiljk9">
    <title>The Pickle: A Conversation About Making Digital Books — Medium</title>
    <dc:date>2015-12-09T05:43:34+00:00</dc:date>
    <link>https://medium.com/@EliHorowitz/the-pickle-a-conversation-about-making-digital-books-6540fdffb233#.r2iiiljk9</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["But I also wonder if there’s a factor beyond straight economics — a way in which the currently ascendant Startup Narrative can get applied where it doesn’t quite belong. Robin, you brought up the question of platforms vs one-off, artisanal apps. I think the answer has got to be somewhere in between — an assortment of platforms, plus an accrual of code libraries and lessons learned. But I also think that question itself can be inhibiting to the creative process — this drive to anticipate the future, to guess correctly, to fit optimally within larger trends. To me, maybe that’s the true reality-distortion field — the blurring of “worthwhile” and “scalable,” the idea that valuation will tell us whether something’s a good idea. That standard might work well for, say, grocery-delivery startups, but is it how we want to think about our novels, our stories, our art-whatevers? Publishing has grappled with these tensions for centuries, but they might be less familiar in the tech world.

Sorry to sound like an elderly hippie! I guess what I’m trying to say is this: If every novel is an implicit declaration of a definitive Future of Publishing, we’ll miss out on a lot of great novels — and, what’s more, we might miss out on some great futures of publishing too. I don’t know if these answers can really be found without rolling up our sleeves and just Making Stuff — seeing what works, what doesn’t, what’s annoying, what’s fun, how many dumb pickle jokes are too many, etc. Having a strange idea and then bringing it into reality, regardless of efficiency or scalability.

This comes back to Russell’s description of the process — meandering, playful, with lots of back-and-forth between the two of us and between the various demands of the project. What he describes is typical of many creative endeavors, but it might be a bit unusual for a traditional programming job. Pickle could never have resulted from me handing Russell a finished text and a list of specs — I mean, we thought we had a decent idea about what we were making two years ago, but we were very wrong. The project had to find itself, and that required actual collaboration, not just outsourcing — fluidity and looseness, experimentation and fun.

As for whether “eight years of ebooks” is a blink or an eternity, I have no idea. But I do know that there’s no guarantee that we’ll end up in a place that serves us as individuals, as readers and writers. I mean, look at television — finally flowering after, what, sixty years? And not as a result of any fundamental change to the medium, but just a bunch of smaller evolutions that opened the door to new creators and new audiences. I’m hoping we won’t have to wait til 2068 for ebooks to do the same (though I’m sure Russell is itching to whip up a multiplatform rendering of 91-year-old Eli’s epic poem, Incontinence on Mars)."]]></description>
<dc:subject>elihorowitz 2015 books creativity publishing economics tv television playfulness play making experimentation future thepickleindex storytelling scalability scale platforms suddenoak russellquinn fluidity looseness glvo srg</dc:subject>
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<item rdf:about="http://bavatuesdays.com/digital-pedagogy-as-empowered-choice/">
    <title>Digital Pedagogy as Empowered Choice | bavatuesdays</title>
    <dc:date>2015-08-16T05:53:47+00:00</dc:date>
    <link>http://bavatuesdays.com/digital-pedagogy-as-empowered-choice/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The shift towards the vision of a personal cyberinfrastructure must be accompanied by a shift in pedagogy that is centered around this idea of creative experimentation. I think this might also open up all sorts of questions surrounding the the role of the domain as an individual versus communal space; the benefits of the traditional stream-driven web versus an alternative, federated vision preached by Mike Caulfield with Smallest Federated Wiki; whether the true revolution at the center of digital pedagogy is to surrender any sense of unilateral power in the classroom, etc.

What I like about this line of discussion is that it frames the questions of digital pedagogy around issues of agency that pertain to both ownership of data as well as ownership of one’s education. Digital pedagogy as a pathway to empowered choice. Both of these shifts require a relinquishing of centralized control, deep faith in collaboration, mutual respect, and a vision of education as empowerment. All things I dig, and a conversation that starts to move us away from discussions around open vs closed that seem increasingly overdetermined."]]></description>
<dc:subject>jimgroom digitl digitalpedagogy pedagogy 2015 adomainofone'sown cyberinfrastructure mikecaulfield andrewrikard audreywatters kinlane choice empowerment education technology ownership open lms decentralization power highered experimentation</dc:subject>
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<item rdf:about="http://morethanhumanlab.tumblr.com/post/121308092025/on-anthropology-not-ethnography-and-design">
    <title>more-than-human lab - On anthropology, not ethnography, and design</title>
    <dc:date>2015-06-12T07:04:14+00:00</dc:date>
    <link>http://morethanhumanlab.tumblr.com/post/121308092025/on-anthropology-not-ethnography-and-design</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["“Let me begin by restating what, I think, anthropology is. It is, for me, a generous, open-ended, comparative, and yet critical inquiry into the conditions and potentials of human life in the one world we all inhabit. It is generous because it is founded in a willingness to both listen and respond to what others have to tell us. It is open-ended because its aim is not to arrive at final solutions that would bring social life to a close but rather to reveal the paths along which it can keep on going. Thus the holism to which anthropology aspires is the very opposite of totalisation. Far from piecing all the parts together into a single whole, in which everything is ‘joined up’, it seeks to show how within every moment of social life is enfolded an entire history of relations of which it is the transitory outcome. Anthropology is comparative because it acknowledges that no way of being is the only possible one, and that for every way we find, or resolve to take, alternative ways could be taken that would lead in different directions. Thus even as we follow a particular way, the question of ‘why this way rather than that?’ is always at the forefront of our minds. And it is critical because we cannot be content with things as they are.

[…]

Like participant observation, design offers anthropology a way of working that avoids the schizochrony of ethnographic inquiry, and a viable alternative to traditional anthropology-by-means-of-ethnography. The observations, descriptions and propositions of design anthropology are not retrospective but prospective: their purpose is not to interpret but to transform. Design, in short, is not and cannot be a practice of ethnography; it is rather an alternative way to ethnography of doing anthropology – a way that releases the speculative and experimental possibilities of the discipline that the traditional appeal to ethnography has suppressed.”

—Tim Ingold: Design Anthropology Is Not, and Cannot Be, Ethnography (.doc) [https://kadk.dk/sites/default/files/08_ingold_design_anthropology_network.doc ]"]]></description>
<dc:subject>timingold design designanthropology ethnography anthropology listening criticalinquiry inquiry speculativedesign experimentation observation holism criticaldesign open-ended unfinished comparison via:anne openended</dc:subject>
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<item rdf:about="https://www.youtube.com/watch?v=_wGYzYyLZkk">
    <title>Eric Socolofsky - How We Used To, How We Will - YouTube</title>
    <dc:date>2015-05-08T06:49:07+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=_wGYzYyLZkk</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[See 36:06 for part on inductive innovation, which leads to emergent behavior]]]></description>
<dc:subject>flcikr ericsocolofsky 2015 experimentation innovation deductiveinnovation</dc:subject>
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<item rdf:about="http://experienceeconomies.tumblr.com/">
    <title>EXPERIENCE ECONOMIES</title>
    <dc:date>2015-04-20T02:22:43+00:00</dc:date>
    <link>http://experienceeconomies.tumblr.com/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Founded in 2010 by Gavin Kroeber and Rebecca Uchill, Experience Economies is a nomadic event-based platform for cultural inquiry. Experience Economies supports work by an array of artists and cultural producers, working across the visual and performing arts, the sciences, and the humanities. Our events are structured as experiments that encompass entire evenings, emphasizing experimentation, site specificity, discussion, and conviviality. Not a lecture and not a party, Experience Economies welcomes audiences that want their spectacles to mess with them and presenters who need a space to make that mess.

Contact Experience Economies at experience.economies@gmail.com "

[via: https://twitter.com/ablerism/status/589801232488914944 ]]]></description>
<dc:subject>experienceeconomies experience art science humanities lcproject openstudioproject projectideas rebeccauchill gavinkroeber performance culture culturalinquiry messiness experimentation conviviality</dc:subject>
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<item rdf:about="http://www.ribbonfarm.com/2014/08/26/the-creation-and-destruction-of-habits/">
    <title>The Creation and Destruction of Habits</title>
    <dc:date>2015-02-15T18:31:38+00:00</dc:date>
    <link>http://www.ribbonfarm.com/2014/08/26/the-creation-and-destruction-of-habits/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["1/ There are two kinds of stories: about forming habits, and about preserving them. Superhero movies and Christmas movies.

2/ While you have room to grow in your life, forming habits is much easier than breaking habits. Neither is easy, however.

3/ A habit, once formed, demands use. This is because it exists as a sunk cost. Disuse would imply depreciating value.

4/ A living habit generates returns and grows more complex over time. This is growth. Growing habits occupy more room over time.

5/ A dying habit generates losses and grows  simpler over time. This is decay. Dying habits decay to occupy less room over time.

6/ You are grown up when you run out of room to grow and are forced to break old habits in order to form new ones.

7/ The alternative to growing up is to preserve existing habits against decay through mummification. This is ritualization.

8/ To ritualize a habit is to decide to sustain steady losses for the indefinite future. This means feeding it with make-work.

9/ Living habits are ugly. Constant growth and increasing complexity means they always appear as an unrefined work-in-progress.

10/ The reward of a ritual is comforting, relived memories of once-profitable habits. These can be passed on for generations.

11/ Rituals are beautiful. Mummification is the process of aestheticizing a behavior to produce comfort instead of profit.

12/ Comforts must be paid for. But it is an easy decision to rob the ugly to pay the beautiful. Growth must pay for decay.

13/ Living habits can be valued in terms of expected future returns. Comforts cannot because they are being sustained despite losses.

14/ Living habits have a price. Rituals are price-less. They represent comforts worth preserving at indeterminate cost.

15/ Price-less comforts evolve from things-that-cannot-be-priced to things-that-must-not-be-priced. This is sacralization.

16/ The sacred price-less is the economic priceless. We drop the hyphen and add a notional price of infinity. This is a sacred value.

17/ The ritualized habit associated with a sacred value becomes a virtue: a behavior that serves as is its own justification.

18/ Virtues are behaviors that are recognized as their own justification by their unchanging beauty. The sacred is beautiful.

19/ Vice is that which cannot visibly co-exist with virtue: it is behavior that justifies its own suppression or marginalization.

20/ Profanity is an inchoate mixture of virtue and vice. Experimentation separates ugly profanity into future virtues and vices.

21/ When your living habits cannot pay for their own growth, and you sacrifice beauty for experimentation, you get innovation.

22/ When your living habits can pay for their own growth and your comforting rituals, you have a beautiful life. This is individualism.

23/ When living habits can pay for themselves but not for comforts, you have a problem. This is failed individualism: depression.

24/ If you try to strip away comforts and retain only growth, you have cognitive-behavioral cancer. This is being manic.

25/ You can pretend that comforts are profits. To do this you deny new data and restate old justifications. This is called derping.

26/ You can also strip away rituals, deliberately making your life uglier by unburdening living habits. This is called empiricism.

27/ You can strip away enough ritual to keep your life ugly at work and beautiful at home. This is called being a loser.

28/ You can confuse the beautiful with the living and the ugly with dying and strip away the wrong things. This is called cluelessness.

29/ You can consciously develop your ability to contemplate both ugliness and beauty with equanimity. This is called mindfulness.

30/ You can strip away rituals up to the limit of your mindfulness, staying on the edge of manic-depression. This is being a sociopath.

31/ The most common response to failed individualism, however, is to get others to pay for your comforts. This is called culture.

32/ A culture that cannot pay for its own comforts overall is a called a tradition. One that has no comforts to pay for is called a frontier.

33/ Tradition is beautiful, frontiers are ugly. To mistake one for the other is the defining characteristic of the clueless middle class.

33/ A culture that is more tradition than frontier is a loser culture. Sincere partisan conservatism and liberalism are both for losers.

34/ A culture that is more frontier than tradition is sociopath culture. It offers few comforts and fewer sacred ones.

35/ A compassionate culture is one that drives each member to the limit of their mindfulness. It is inclusive by definition.

36/ A beautiful culture is one that highlights comforting tradition and hides profit and profanity. It is extractive by definition.

37/ A culture cannot be both compassionate and beautiful at once without ceasing to grow. To be a sociopath is to recognize this.

38/ A culture that ceases to grow is a culture that increasingly trades compassion for beauty, paying more for its priceless elements.

39/ A culture that chooses to grow is one that systematically devalues beauty and resists the allure and comfort of pricelessness.

40/ Civilization is the mortal tension between the imperative to keep growing and the imperative to remain beautiful.

41/ Those who choose beauty tell one kind of story, about a relatively shrinking set of beautiful things that define the human.

42/ Those who choose growth tell another kind of story, about an expanding zone of mindfulness that defines the superhuman."]]></description>
<dc:subject>culture humans ideology venkateshrao 2014 habits growth frontiers balance tradition ritual sociopathy conservatism liberalism individualism mindfulness cluelessness comforts empiricism derping depression experimentation beauty marginalization pricelessness comfort complexity ritualization makework mummification sacralization sacredness virtue justification life living behavior manicdepression civilization rituals</dc:subject>
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<item rdf:about="http://www.hybridpedagogy.com/journal/listening-for-student-voices/">
    <title>Listening for Student Voices - Hybrid Pedagogy</title>
    <dc:date>2015-01-29T22:18:28+00:00</dc:date>
    <link>http://www.hybridpedagogy.com/journal/listening-for-student-voices/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["If we decide that our classrooms are places where trying happens, then we transform them into laboratories; and in a laboratory, with happy people of varying skill sets working side by side, anyone can make a discovery. As lab managers, then, we do not approach our work as “I’ve solved this problem, let’s see if you can too” but as, “here’s a problem with many possible solutions.” Everyone is invited to try, allowed to fail, encouraged to succeed. Our job becomes making sure that all the appropriate equipment is available for success to occur."

…

"Teachers should not be gatekeepers for student voices, and once we suppose we are, we miss half the conversation. When teachers serve as gatekeepers, when we tell students explicitly what they should learn for our courses, when we establish requirements or procedures for their learning, we aren’t functioning as teachers; we aren’t allowing students to engage in genuine, self-directed, natural learning. We are instead being scriptwriters. The more elaborate direction, specific instruction, and constraining requirements we provide, the less our students rely on themselves to think and learn. They work to adopt our mindset, to decipher and satisfy our expectations, and to gain our knowledge and experience, rather than using their own curiosity and their own experimentation to risk learning something new… and we stifle learning. Instead, we need to be in the business of manufacturing opportunities.

Classrooms murmur. They hum and buzz — with experimentation, with discoveries at all scales. Underneath the lectures, slideshows, and exams, voices rustle. These are the voices of students, learners of all shapes and variety, online and on-ground, higher ed and K-12, formal and lifelong. These voices don’t talk just of course materials and content. They talk about what is taught, and how, and about what and how they want to learn. They talk about the things that matter to them. Students have plenty to say about learning, about the failings of higher education, about their own futures and careers. If we think they’re only concerned with life outside of school, we’re mistaken; learners have a deeper investment in our teaching than we do."]]></description>
<dc:subject>education teaching lcproject tcsnmy openstudioproject learning howwelearn howweteach chrisfriend seanmichaelmorris 2013 pedagogy school studentvoice autonomy experimentation schools</dc:subject>
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