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  </channel><item rdf:about="https://timothyburke.substack.com/p/academia-the-answers-we-dont-offer">
    <title>Academia: The Answers We Don't Offer - by Timothy Burke</title>
    <dc:date>2026-07-04T12:22:27+00:00</dc:date>
    <link>https://timothyburke.substack.com/p/academia-the-answers-we-dont-offer</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["I’m interested in the emerging academic consensus that remote work, like the Covid-19 lockdowns that pushed it forward as an option, has some hidden social and psychological costs.

At least for me, this kind of finding is where a fair number of people who used lawn signs to declare that we should all “trust the science” quietly pack away those signs and forego that guidance. It seems evident now that we should all have been much more worried about the economic aftershocks of small business failures and the political consequences that might follow from that and that we should have worried a lot more about the psychological and social fallout of manorial isolation in residential spaces inhabited by families, close friends, or roommates only.

The failure to publicly map those considerations in to a balanced technical or scientific evaluation of policies has badly wounded public health institutions around the world, but particularly in the United States. RJK Jr. I think would have never even gotten within sniffing distance of any form of political power but for this kind of miscalculation.

A recent NYT op-ed by two economists, Emma Harrington and Natalia Emanuel, argues that they’ve gone from being strong advocates of remote work as an option for many white-collar workers to seeing a need to sharply restrict its prevalence. I think their reasoning is sound, shaped by data showing a sharp rise in psychological precarity and seeing a broader span of evidence that people are feeling socially isolated in ways that may be exacerbating forms of partisan alienation, general anomie, and collective despair.

The diagnosis seems right to me but I wonder about the therapy. Harrington and Emanuel’s previous enthusiasm for remote work was based on the fact that many people say they prefer it to being in the office. That at least requires a lot of attention before anybody embraces making everybody come back to the same workplace. What is it that people don’t like to the point that they might cling to remote work even if they might recognize some of its negative effects?

The easiest issue to grasp, particularly (I would hope) for economists, is that for many people remote work is in net terms more affordable. It not only eliminates the costs (and tensions) of a daily commute, it also frees people to live in a wider variety of places. Which touches on some of the points about affordability and housing that came up in my last newsletter—if you can live in a cheaper area that you also like which is hours or more from where your company or organization is headquartered, you’ve solved a major problem that mainstream policy and the existing economy are otherwise unresponsive towards. There are other affordances in many cases. Child care, at least for kids who are school age, often becomes both cheaper and easier if both parents are able to work remotely. Meals are often cheaper, especially for people who have substantial dietary restrictions.

I think another NYT op-ed, by Adam Grant and Marissa Shandell, got at far more profound issues with the centralized workplace as an alternative to remote work. There’s a recent problem that many organizations downsized or deferred maintenance during the pandemic so that returning workers find themselves crowded together in buildings that are physically more uncomfortable or unpleasant to be in, dealing with employers who refuse to recognize that they are dumping all those former costs back on their employees in an era of stagnant compensation. That’s a smaller subset of what Grant and Shandell focus on, which is that many middle managers and office bosses want everybody back because its their jobs on the line if it turns out that everybody can produce as much or more as before remotely without a boss constantly coming by their cubicle to hassle them. The need to boss people, as Grant and Shandell see it, is not just self-protective of the status and position of managers but is a psychological need for the kind of person who typically becomes a manager, that many people in these positions are motivated by narcissism and other “dark triad” drives, about the “ego, power and drives” of American bosses.

That’s certainly how many white-collar workers almost legendarily experience being supervised, remotely or otherwise, and that experience is a hundred times worse when it’s about someone physically proximate to you. What a lot of people discovered is that remote work made that experience more bearable. But I think you can extend beyond what Grant and Shandell see in the data.

What I think a lot of Americans have come to feel with new intensity is that hell is other people. Bosses are the worst part of that, but there’s also the co-workers who steal lunches, talk loudly all the time, tell creepy stories, ogle and harass, take credit for work they didn’t do, backstab peers in pursuit of advancement, stick their nose into business that isn’t theirs, or just generally rub the wrong way through no particular fault of their own. Work is the place where you’re with people you never chose to be with, pursuing ends that at least some folks might feel diffident towards, but also shot through with existential risks to your prosperity and well-being. In the United States, most people are a few months of paychecks away from losing their homes or apartments and have their healthcare directly tied to ongoing employment.

I think white-collar workers came alive during the pandemic to the fact that not only is the sociality of work not the sociality they crave, but that all other kinds of sociality that were once tied to a protected block of time we called “leisure” or “private life” have been badly eroded over the last three decades.

Harrington and Emanuel mention Robert Putnam’s famous work Bowling Alone as a path-breaking and early recognition of this loss of civic life. Given that, it’s kind of heart-breaking that we have come to a point where the path ahead gets articulated as “come back to a shared workplace in order to have some kind of shared social reality” or “stay remote and at least avoid the social and psychological harms that many associate with office labor”.

Casting back to my essay from last week on my frustrations with the epistemological shortcomings of conventional social science, this is another one of the shortcomings of the kind of social science that tries to inform institutional and governmental policy. This kind of work always confines itself to what is imagined as being possible within the contemporary moment, no matter how cramped the space of the possible might be as it is understood by the people making the policies and holding the purse-strings. Hardly anyone in this kind of intellectual space finishes their analysis by calling for a social movement, for political and social organizing, for change from the ground up.

Because if the diagnosis is “many of us are suffering psychologically in the isolation of remote work and many of us are losing basic emotional and relational skills to the general detriment of our society”, then surely there are other imaginable therapies besides “look to the workplace to provide what you’re losing, regardless of how precarious, unpleasant and costly life in the workplace might be.” Putnam’s therapeutic suggestions in Bowling Alone are the weakest part of the book, but even from the title alone, he showed that he understood that what we really need is time for ourselves together that is not about work—that is about play, that is about worship, that is about expression, that is about family, that is about joy, that is about ideas and dreams of what could be.

Workplaces have occasionally pretended that they could contain all of that social interaction—often when they self-congratulatorily anoint themselves as “communities”—but the last two decades have stripped most of that pretense away. The foosball tables and well-appointed cafeterias have disappeared even from Silicon Valley, the mock tolerance for open conversation and undirected exploration has been withdrawn.

There’s a problem that not even revived bowling leagues or quizzo teams could solve. Putnam and his enthusiasts at least help us think about something better than “get back to the office, everybody”, but at the core of Putnam’s thought is the idea that we make community best when we are forced to make connections with people we haven’t chosen and wouldn’t prefer to be around. Behind that thought lurks two decades of mainstream sociological narratives in books like Bill Bishop’s The Big Sort: that Americans are suffering from spending too much time with people who are too much like themselves. This is the sort of advice that conventionalized thinkers, usually self-satisfied centrists who write op-eds in major American newspapers, love to give and love to stage. “Talk to people with different views than your own! Reach across partisan divides! Learn to appreciate viewpoint diversity!”

It’s not that they are wrong, either morally or practically. We aren’t mixing enough socially, we are living in more and more bounded kinds of enclaves, our socioeconomic boundaries are hardening as our inequality deepens, we are becoming not only socially inept but also almost unintelligible across certain kinds of everyday epistemological orientations. The problem with Putnamesque ideas about maintaining a healthy sociality that is not confined to work is usually that the person calling for that mixing is themselves not particularly adept at doing so, and often has an incredibly banal understanding of the actually-existing pluralism of social difference in America. The Putnamesque centrist knows what we ought to do, has excessive confidence that they are doing it, but doesn’t really grasp what it would actually entail.

And that’s where I think conventional left appreciations of diversity also run into issues. We tend to think that a sociality that put us into contact with the widest variety of lived experiences, of national and religious and ethnic backgrounds, of temperaments and outlooks, would be the sociality beyond work and beyond the safe civics of Putnam that we all really need and want.

We don’t have a vocabulary for recognizing that the interpersonal, emotional and psychological friction many of us experience at work would exist even in a sociality that was ideally pluralistic. That what remote work and manorial isolation during the pandemic showed some of the people who experienced the strongest forms of that isolation is that it is a pleasure to not have to deal with many people whether that’s in public spaces, in civic life or at work.

Simply being with people who mirror your cultural preferences and even your emotional bent is not a relief. The narcissism of small differences is able to make those social worlds just as painful as many others. What I think no social scientist—or perhaps any other kind or flavor of thinker—is presently speaking to is how do we find people who are different to us whose difference we find enlightening, productive, pleasant, generative, enticing, or transformative?

I am sure that you are more likely to uncover how to do that in a bowling league than a cubicle farm. I am also sure that discovering that art has something to do with the variety of opportunities you are given to be in the presence of real people in materially real circumstances, that it is something you don’t learn via a prescribed path or single technique but in terms of putting enough small bets onto a lot of tables. That requires, at a minimum, time that is clawed back from work, but it also requires a vast regeneration of third spaces in a society almost completely enclosed by the private world of the family and the deformed anti-public created by neoliberalism. We need community centers and parks and libraries and block parties and new civic rituals, we need loitering and hanging out, we need time that has no purpose but to be where other people are and purposes that have no justification other than making social worlds. We need buildings with shared kitchens for all residents, we need free adult education in underused offices. You name it—but what we don’t need is the only thing that a certain kind of social analysis allows itself to envision in facing a looming problem, which is to settle work as the only thing which can define our social belonging."]]></description>
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<item rdf:about="https://www.commonwealmagazine.org/ward-graham-michel-de-certeau-wounded-walker">
    <title>The Wounded Walker | Commonweal Magazine</title>
    <dc:date>2026-06-25T21:14:53+00:00</dc:date>
    <link>https://www.commonwealmagazine.org/ward-graham-michel-de-certeau-wounded-walker</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Michel de Certeau’s search for the murmuring of the mystical in secular society"

...

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

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

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

Certeau invented interdisciplinary study before it was fashionable or even had a name. He recognized that the truly big questions—like what makes a belief believable or why one would believe anything—cannot be answered by any one intellectual discipline, including theology, with its siloed modes of inquiry and strictly policed faculty boundaries. And yet such questions tap into the very roots of any religious faith. Certeau was likely not surprised at theologians’ neglect of his work. He would have known from his reading of the mystics that the Church is always wary of lived experience and religious enthusiasm uncontainable by its boundaries."]]></description>
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<item rdf:about="https://pablohelguera.substack.com/p/building-strange-oases">
    <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>Have online worlds become the last free places for children? | Psyche Ideas</title>
    <dc:date>2026-05-05T14:22:52+00:00</dc:date>
    <link>https://psyche.co/ideas/have-online-worlds-become-the-last-free-places-for-children</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Children have lost the freedom to explore and play independently. They now seek out autonomy in digital landscapes"]]></description>
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    <title>Research in Drama Education: The Journal of Applied Theatre and Performance: Vol 30, No 4</title>
    <dc:date>2026-04-14T04:55:29+00:00</dc:date>
    <link>https://www.tandfonline.com/toc/crde20/30/4?nav=tocList</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["[Introduction] Walking as applied critical practices: methodologies, pedagogies, and performances
Deirdre Heddon, Stephanie Springgay & Harry Wilson

<blockquote>The dynamic relationships between walking, performance and performativity are long-standing, from psychogeographic drifts which trace capitalism's appropriations and productions of place, to protest marches which mobilize demands for justice; from ceremonial walks as memorialisations of place, to (mis)guided tours which rewrite partial histories; from attentive walking as ways of knowing and feeling differently, to technologically-enhanced walking performances that take the city as their stage. Across a number of years, Research in Drama Education has published a wide range of essays which focus on walking. Given the increasing visibility of walking as a field of practice and the vitality of interdisciplinary scholarship which centres walking, a dedicated edition on the subject felt overdue. As the pieces shared in this edition demonstrate, walking as a mobile, situated and relational method of applied critical practice harbours exploration, criticality, and activism.</blockquote>

Walking and writing as praxes of belonging: stories of gentrification and migration from Toronto’s urban quotidian
Christine Balt

Encountering Olympic landscapes: walking as a pedagogic tool in Stratford, London
Clare Qualmann & Blake Morris

[Multimedia Article] ‘A mind’s eye view’: remote, collaborative walking as a critical spatial practice
Deirdre Macleod

Walking-with a 6-year-old and a smartphone: locative AR, counter-mapping and the productive disruptions of intergenerational collaboration in Placing Spaces
Harry Robert Wilson

In someone else’s steps: walking, listening and the ethics of encounter
Olivia Lamont Bishop

Walk as performative cartography: mapping Delhi’s erased histories through Janam’s street performances
Priyanka Pathak

‘Space is weird…’: contemplative-drifting with student archives as place-based-pedagogy
Steve Donnelly

Walking through knowledge: contextual research strategies in Ga Mashie
Philip Kwame Boafo

Pedestrian theatre as critical urban historiography: the National Theatre of Greece’s Topography of Death or Lest We Forget
Daniel Dilliplane

Moving mourning: an analysis of the Grenfell Memorial Silent Walk and its re-enactment
Linda Taylor & Eve Wedderburn

Littoral futures: walking Freshwater Brook
Robert Bean & Barbara Lounder

*Is this the end of the world or am I just beginning?* Walking-scenographic methods for encountering bodies and landscapes in transition
Nic Farr

‘Peel Park Shimmering’: revealing the paleoecological past and multi-species present of a city park through sound walking practice
Joanne Scott

Wandering through sonic territories in Aotearoa
Becca Wood

Walking under dark-skies: sensing spaces of inclusion in national parks
Claire Hind & Jenny Hall

‘Every time we walk, it is a pride march!’ A conversation on the everyday politics of queer walking
Erdem Avşar & Özgül Akıncı

How do you participate in a garden when you are not the gardener? Enacting and facilitating walking and embodied, sensory practices within a hospice garden with patients receiving palliative care
Steven Anderson & Laura Bradshaw

Let’s walk! Worcestershire: how process drama and mobile technologies create pathways for learning disabled, autistic and neurodiverse walkers
Kris Darby & Paul Sutton

Walking after Kim Jones and Papo Colo
Didier Morelli

[Poetry] Walking/not-walking
Idit Nathan & Helen Stratford"]]></description>
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    <title>Wayfinding: How Humans Navigate the World - YouTube</title>
    <dc:date>2026-04-09T23:47:39+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=ysXAw6SVPJQ</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Science journalist M. R. O’Connor traveled to the Arctic, Australia, and the South Pacific to talk to master navigators who find their way using environmental cues and to learn how they are trying to preserve these unique practices in the age of GPS. Along the way, she explores fascinating aspects of our species’ navigation faculties and how they are connected to our profound capacities for exploration, memory, and storytelling, resulting in powerful connections to the world around us and topophilia (the love of place).

O’Connor’s stories have appeared in The New Yorker, Foreign Policy, Slate, The Atlantic, and Nautilus. Her reporting has received support from the Pulitzer Center on Crisis Reporting, The Nation Institute’s Investigative Fund, and the Alfred P. Sloan Foundation. In 2016, she was a Knight Science Journalism Fellow at MIT. A graduate of Columbia’s Graduate School of Journalism, she lives in Brooklyn, NY.

The Mariners' Evening Lecture Series is graciously funded in part by the York County Arts Commission"]]></description>
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    <title>M.R. O'Connor - Wayfinding: The Science and Mystery of How Humans Navigate the World - YouTube</title>
    <dc:date>2026-04-09T23:39:07+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=brrGT5kIhqY</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["M.R. O’Connor is a graduate of Columbia University’s Graduate School of Journalism who writes about the politics and ethics of science, technology and conservation. She is the author of two acclaimed books about the cutting edges of contemporary scientific research, with a third on the way. Her first book, Resurrection Science: Conservation, De-Extinction and the Precarious Future of Wild Things (St. Martin’s Press, 2015) and was one of Library Journal and Amazon’s Best Books of The Year. Her second book, Wayfinding: The Science and Mystery of How Humans Navigate the World (St. Martin’s Press, 2019) is an exploration of navigation traditions, neuroscience and the diversity of human relationships to space, time and memory. Its writing was supported by the Alfred P. Sloan’s Program for the Public Understanding of Science, Technology & Economics. About the book, Kirkus Reviews writes that “O'Connor talked to just the right people in just the right places, and her narrative is a marvel of storytelling”; Nature explains that “[O’Connor walks the labyrinth of the brain’s time-and-space-mapping hippocampus. And, on the road, she meets astrophysicists, anthropologists and traditional wayfinders — such as Bill Yidumduma Harney of Australia’s Wardaman culture, who steers by thousands of memorized stars”; and Science notes that “O’Connor’s coverage of the cognitive map theory… is deep and broad.” She is currently writing a book called Ignition (Bold Type Books) on fire ecology and prescribed burning, for which she became certified as a wildland firefighter.

Her work has appeared online in The Atavist, Slate, Foreign Policy, The New Yorker, Nautilus, UnDark and Harper’s. A pair of recent essays for The New Yorker include “A Day in the Life of a Tree” and “Dirt Road America,” a feature piece about Sam Correro, who has spent decades stitching together maps of continuous pathways of dirt roads across the United States. In 2008/2009, O’Connor served as a reporter for The Sunday Times, an English-language newspaper in Colombo, Sri Lanka. Her investigative reporting on topics like disappearances in Sri Lanka’s civil war, global agriculture trade in Haiti, and American development enterprises in Afghanistan have been funded by institutions such as the Pulitzer Center on Crisis Reporting, The Phillips Foundation and The Nation Institute’s Investigative Fund. For a long time, she made her bread and butter as a stringer covering crime, courts and breaking news in New York City for publications such as The Wall Street Journal and New York Post, and covered the criminal justice beat for the online investigative site The New York World. She is. She lives in Brooklyn, NY with her partner, the screenwriter Bryan Parker, and their two sons.

Sponsored by the College of Science, Technology, Engineering and Mathematics, the Department of Psychology, the School of Communication and the Honors Program."]]></description>
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    <title>Being in the World (full, award winning, Heidegger/Hubert Dreyfus documentary) - YouTube</title>
    <dc:date>2026-03-26T03:11:45+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=fcCRmf_tHW8</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["A celebration of human beings and our ability, through the mastery of physical, intellectual and creative skills, to find meaning in the world around us.

a film by Tao Ruspoli

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

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

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

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

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

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

[Three excerpts on Aeon:

First excerpt is here:

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

Second excerpt is here:

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

Third excerpt is here:

"As technologies mine our attention, we must look to artists"
"Technology flattens our humanity. Artists deepen it. | Being in the World"
https://aeon.co/videos/as-technologies-mine-our-attention-we-must-look-to-artists
https://www.youtube.com/watch?v=Js0URaCKvvE ]]]></description>
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<item rdf:about="https://news.vcu.edu/article/2026/01/stride-and-ride-walking-is-art-class-takes-the-pulse-of-richmond">
    <title>Stride and ride: Walking is Art class takes the Pulse of Richmond - VCU News - Virginia Commonwealth University</title>
    <dc:date>2026-01-18T00:33:53+00:00</dc:date>
    <link>https://news.vcu.edu/article/2026/01/stride-and-ride-walking-is-art-class-takes-the-pulse-of-richmond</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The VCUarts course uses the public bus line and the pandemic’s sensibility to get students moving, exploring and creating."

...

"By foot – and by free bus fare – a unique Virginia Commonwealth University course is blending art, exercise and community exploration, years after the pandemic brought it to life.

The brainchild of School of the Arts associate professor John Freyer, Walking is Art is a film and photography course offered in the spring semester. His classroom partner is Michael Lease, the director of facilities and experience design at the Institute for Contemporary Art at VCU.

“The class is built around the Pulse,” Freyer said of the local GRTC bus route. “We wanted to essentially walk the entire city of Richmond, using the Pulse as backbone for the class.”

Once a week, in a class that is almost entirely outdoors, the Walking is Art students gather and take the Pulse to one of its stops, then explore the surrounding areas by foot. Neighborhoods, shopping centers, surrounding nature – all things around the stops are discussed and examined for their significance. The class often takes students to places they have not previously seen, and it prompts them to think about the relationships between normal objects in everyday life.

“I thought this class was an incredible and unique way to experience learning outside of the traditional classroom setting,” said Ella Floyd, a 2024 VCUarts graduate who took the course in her final semester. “My experience was one of pushing myself outside of my comfort zone by meeting new people and learning more about the GRTC Pulse bus system, and how it historically ties into our Richmond social and political environment.”

Walking is Art has its roots in the COVID-19 pandemic. When social distancing and home isolation were the norm, Freyer envisioned a class that could bring people together while still abiding by the health guidelines.


[image: "A group photo of ten people standing in front of a puddle with the reflection of the puddle being the ten people standing.

Students from the Walking is Art class in spring 2024 take a photo in front of a group of murals. Students from left to right are: Ryan Ervin, Jay Stonefield, Evie Abeles, Laela Huddleston, Inara Junkala, Madeleine Poel, Calvin Ashley, Elianna Caro, Barrett Reynolds, Joel Freeman and Miño Smith. (Contributed photo)"]

“I wanted to come up with a way to be in person with people,” he said. “Essentially, I pitched this class that we never had to meet in a classroom.”

Freyer initially was the sole instructor, but Lease joined him soon after its introduction. An avid walker, Lease would regularly ask Freyer about how Walking is Art was progressing, and Freyer’s invitation to a class session turned into a lasting partnership.

“I was just so curious about it,” Lease said. “It just sounded like a perfect thing to do.”

Freyer and Lease ask the Walking is Art students to attempt 10,000 steps a day throughout the semester, which totals roughly 1 million steps. And on the creative side, students have a large final project that revolves around their experiences walking.

One set of students developed a custom Google map, and another created a podcast that is available on the class website. For the upcoming spring semester, one prospect is experimenting with zines. The small custom booklets or magazines would document the students’ progress throughout the semester and could be donated to the Cabell Library afterward to preserve their experience.

Walking is Art meets regardless of weather, and students have shown themselves to be durable.

[image: "A photo of a man kneeling next to a brick fence painted blue. On the fence is a white bubble with blue text that reads \"you are here.\" The main is pointing at the text with his right hand.

Instructor John Freyer poses for a picture while on a walk during a class session. (Contributed photo)"]

“It started hailing and thunderstorming out of nowhere, but [Freyer] was so quick on his feet and helped me lead the class to a nearby bakery to wait out the storm,” Floyd recalled of one session. “I would say that walk was the most turbulent, but everyone had such a great time, and the storm cleared up within 30 minutes!”

For the Walking is Art instructors, the true impact of the course is developing a like-minded community built on walking.

“What I hope is that students’ relationship with the city has been changed,” Lease said. “That they feel more comfortable in the city. They’re more knowledgeable about the city. They engage with people in the city in different ways. They walk more in their life just in general.”

Floyd said she developed such an appreciation in Walking is Art – and a great set of memories that she hopes others can forge for themselves.

“If you enjoy Richmond history, public transport, walking or even just sharing laughs that split your sides, this is the class for you,” she said. “I just wish I could take it again!”"]]></description>
<dc:subject>walking education howwelearn learning pandemic covid-19 coronavirus 2026 publictransit transit movement exploration exploring johnfreyer walkingisart art artleisure leisurearts outdoors everyday</dc:subject>
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<item rdf:about="https://nautil.us/more-than-a-feeling-1242661/">
    <title>More Than a Feeling - Nautilus</title>
    <dc:date>2025-10-18T03:58:41+00:00</dc:date>
    <link>https://nautil.us/more-than-a-feeling-1242661/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["How awe and wonder transform science and you"

...

"Awe and wonder are the prime emotions that spark and sustain scientific exploration, discovery, and creativity."]]></description>
<dc:subject>seancarroll awe wonder 2025 science curiosity howwelearn emotions exploration discovery</dc:subject>
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<item rdf:about="https://www.designscene.net/2024/08/dscene-interview-tavares-strachan.html">
    <title>DSCENE Interview: Tavares Strachan on Crafting the Future</title>
    <dc:date>2025-08-14T16:41:15+00:00</dc:date>
    <link>https://www.designscene.net/2024/08/dscene-interview-tavares-strachan.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Tavares talks about his B.A.S.E.C. project, the themes of exploring, space and more"]]></description>
<dc:subject>tavaresstrachan art exploration space 2024</dc:subject>
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    <title>Artist Tavares Strachan: Our Universal Currency is Storytelling - YouTube</title>
    <dc:date>2025-08-14T15:34:24+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=BTAl9cb8UKQ</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["I am afraid of being afraid.”

We met Tavares Strachan, one of the most interesting and exploratory artists of our time, in his New York studio for an in-depth conversation about his work and how he sees the world.

”I think there's a beautiful relationship, a poetic relationship, between fear and knowledge. And I think one’s relationship, one's proximity to fear has a lot to do with one’s proximity to knowledge.”

”There is so much work about how human beings are different. I'm interested in how we're the same, and one of the ways we're profoundly the same is the fact that our universal currency is storytelling. We tell each other stories to heal each other, soothe each other, get full, be empty, exercise, understand our mental and physical health, and understand our place in the universe. So, I think storytelling is essential to the human experience, and no matter where you're from, stories are going to ground you in some way. I think stories are the glue that holds this kind of human civilization together.”

Tavares Strachan’s artistic practice activates the intersections of art, science, and politics, offering uniquely synthesized points of view on the cultural dynamics of scientific knowledge. Aeronautics, astronomy, deep-sea exploration, and extreme climatology are but some of the thematic arenas out of which Strachan creates monumental allegories that tell of cultural displacement, human aspiration, and mortal limitation. Themes of invisibility, displacement, and loss are central to his work, which questions historically canonized narratives that marginalize or obscure others. His text-based neon sculptures are an anthem for our political and cultural moment, and his lexicon is an effort to mobilize community and societal change. Strachan’s ambitious, open-ended practice has included collaborations with numerous organizations and institutions across the disciplines.

”When you grow up in a place where everyone looks the way that you look and then you look in institutional books and you look at photographs of things that are perceived to be important, like the picture of the Last Supper in your grandmother's wall, one with the small amount of curiosity might want to ask the question, well why are these people in our house and why do they look so radically different from the way that we look, and why do they have this perceived idea of being elevated in some way beyond the way that we were understanding ourselves. If one allows oneself to ask the question, one starts to realize that the power is actually in the question. All of our magic is in our ability to be curious about the world around us.”

Strachan was born in 1979 in Nassau, Bahamas, and currently lives and works between New York City and Nassau. He received a BFA in Glass from the Rhode Island School of Design in 2003 and an MFA in Sculpture from Yale University in 2006. He draws on both the resources and community of his birthplace, dividing his time between his studio in New York and Nassau, where he has established an art studio and scientific research platform B.A.S.E.C. (Bahamas Aerospace and Sea Exploration Center) and OKU, a not-for-profit community project encompassing an artist residency and exhibition spaces, a scholarship scheme, and after-school creative programs.

Strachan’s work has been featured in numerous solo exhibitions, including You Belong Here, Prospect 3. Biennial, New Orleans; The Immeasurable Daydream, Biennale de Lyon, Lyon; Polar Eclipse, The Bahamas National Pavilion 55th Venice Biennale, Venice; Seen/Unseen, Undisclosed Exhibition, New York; Orthostatic Tolerance: It Might Not Be Such a Bad Idea if I Never Went Home Again, MIT List Visual Arts Center, Cambridge; among others. The Hayward Gallery in London recently featured Strachan in a solo exhibition, titled Tavares Strachan: There Is Light Somewhere, in summer 2024.

He has been the recipient of numerous awards including the John D. and Catherine T. MacArthur Foundation fellowship (2022), 2019-20 Artist in Residence at the Getty Research Institute, 2018 Frontier Art Prize, and the Allen Institute’s inaugural artist-in-residence in 2018, 2014 LACMA Art + Technology Lab Artist Grant, 2008 Tiffany Foundation Grant, 2007 Grand Arts Residency Fellowship, and 2006 Alice B. Kimball Fellowship.

Tavares Strachan was interviewed by Marc-Christoph Wagner in his studio in New York in March 2025.

Camera: Sean Hanley
Edited by: Jarl Kaldan Therkelsen
Produced by: Marc-Christoph Wagner
Copyright: Louisiana Channel, Louisiana Museum of Modern Art, 2025"]]></description>
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<item rdf:about="https://www.youtube.com/watch?v=euahMnkSDiw">
    <title>Overthinking Why Dive Watches Are All the Same - YouTube</title>
    <dc:date>2025-07-30T22:49:28+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=euahMnkSDiw</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["You’ve seen it before — the rotating bezel, the luminous dial, the rugged steel case. Whether it’s a Rolex Submariner, a Seiko SKX, or a $200 homage, the dive watch has become one of the most iconic and instantly recognizable objects in modern design.

But how did we get here? Why does every dive watch — from luxury icons to affordable beaters — follow the same visual formula? And what does that say about us, about design, and about the myths we choose to wear?

In this video, we explore:

The history of the dive watch, from military tool to cultural icon

The aesthetic convergence that shaped its design language

The brands that dared to challenge the mold — and why most didn’t stick

How semiotics, philosophy, and social media help explain the sameness

And what the future might hold for one of horology’s most enduring forms

This isn’t just about watches. It’s about tradition, identity, nostalgia — and the power of design to become myth.

👇 Chapters
00:00 - Intro
00:58 - Origins
03:20 - Formula
05:16 - Rulebreakers
07:37 - Form follows function
09:31 - Design conservatism 
11:29 - Social media
13:26 - Progress
15:12 - The future"]]></description>
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    <title>How evolution favoured costly and frivolous animal play | Aeon Essays</title>
    <dc:date>2025-04-08T02:56:55+00:00</dc:date>
    <link>https://aeon.co/essays/how-evolution-favoured-costly-and-frivolous-animal-play</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Here’s a puzzle: how could evolution favour such a costly, frivolous and fun activity as animal play?"]]></description>
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<item rdf:about="https://improvisedlife.com/2021/10/19/kurt-vonnegut-we-are-here-on-earth-to-fart-around/">
    <title>Kurt Vonnegut: 'We are Dancing Animals...' - Improvised Life</title>
    <dc:date>2024-11-27T01:56:29+00:00</dc:date>
    <link>https://improvisedlife.com/2021/10/19/kurt-vonnegut-we-are-here-on-earth-to-fart-around/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Longtime reader Ann R. threw a long Kurt Vonnegut quote over our transom, with the words “I don’t know if this is true but I thought it was the kind of thing you would like”. “Well”, we thought, “even if Vonnegut didn’t say it, it is full of wisdom and big reminders.” Even better, Vonnegut DID indeed say it when asked his thoughts on replacing human contact with electronic contact. We hunted it down in the September 1996 Technology issue of Inc. [https://www.inc.com/magazine/19951215/2653.html ]

<blockquote>I work at home, and if I wanted to, I could have a computer right by my bed, and I’d never have to leave it. But I use a typewriter, and afterwards I mark up the pages with a pencil. Then I call up this woman named Carol out in Woodstock and say, “Are you still doing typing?” Sure she is, and her husband is trying to track bluebirds out there and not having much luck, and so we chitchat back and forth, and I say, “OK, I’ll send you the pages.”     

Then I’m going down the steps, and my wife calls up, “Where are you going?” I say, “Well, I’m going to go buy an envelope.” And she says, “You’re not a poor man. Why don’t you buy a thousand envelopes? They’ll deliver them, and you can put them in a closet.” And I say, “Hush.” So I go down the steps here, and I go out to this newsstand across the street where they sell magazines and lottery tickets and stationery. I have to get in line because there are people buying candy and all that sort of thing, and I talk to them. The woman behind the counter has a jewel between her eyes, and when it’s my turn, I ask her if there have been any big winners lately. I get my envelope and seal it up and go to the postal convenience center down the block at the corner of 47th Street and 2nd Avenue, where I’m secretly in love with the woman behind the counter. I keep absolutely poker-faced; I never let her know how I feel about her. One time I had my pocket picked in there and got to meet a cop and tell him about it. Anyway, I address the envelope to Carol in Woodstock. I stamp the envelope and mail it in a mailbox in front of the post office, and I go home. And I’ve had a hell of a good time. And I tell you, we are here on Earth to fart around, and don’t let anybody tell you any different.         

Electronic communities build nothing. You wind up with nothing. We’re dancing animals. How beautiful it is to get up and go do something. [Gets up and dances a jig.]</blockquote>

We love the tiny riches Vonnegut encounters in the simple mission of buying an envelope, a BIG reminder of the wonders to be had from occasionally, regularly, forsaking digital for analog and slowing down to human speed. (And for doing things that are not obviously productive.) It occurs to us that these are the very things many of us have missed so much during the long Covid lockdown: small, meaningful exchanges with other human beings, in person. We didn’t realize how much they mattered until they disappeared.

Vonnegut spoke those words 25 years ago and only got one thing wrong: “Electronic communities build nothing.” In fact, they can build A LOT that is tangible, useful, heartening.

He imparts some serious wisdom: It is in “farting around” that we discover and fuel a wealth of good things, including our natural creative expression.

We’re dancing animals. How beautiful it is to get up and go do something."

[via:
https://www.robinsloan.com/newsletters/2024-gift-guide/ ]]]></description>
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<item rdf:about="https://emergencemagazine.org/film/the-last-ice-age/">
    <title>The Last Ice Age – Emergence Magazine</title>
    <dc:date>2024-08-31T02:18:41+00:00</dc:date>
    <link>https://emergencemagazine.org/film/the-last-ice-age/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["For storyteller Andri Snær Magnason, climate change is like a black hole: it’s larger than language. Retracing his grandparents’ annual journey to Iceland’s Vatnajökull glacier, he seeks stories that can help him understand our crisis.

As storyteller Andri Snær Magnason puts it, climate change is like a black hole: so big it’s larger than language. We understand it not by looking straight at its center, but by looking at its edges. On a journey retracing his grandparents’ annual spring pilgrimage to Iceland’s Vatnajökull glacier, Andri searches for the stories that lie at the edges of our climate crisis in both scientific data and his family’s memories. Witnessing the inevitable decline of Europe’s largest ice cap with his son Hlynur, Andri pulls on the ties of love that connect past and future generations to grasp what the immense changes he has seen in just one lifetime will mean for the future of the planet.

Director
Adam Loften is an Emmy- and Peabody Award–nominated filmmaker and producer of virtual reality experiences and podcasts. His films include Sanctuaries of Silence, The Atomic Tree, Counter Mapping and Welcome to Canada. His work has been featured on PBS, National Geographic, The Atlantic, and The New York Times.

Director
Emmanuel Vaughan-Lee is an Emmy- and Peabody Award–nominated filmmaker and a Sufi teacher. His films include Earthrise, Sanctuaries of Silence, The Atomic Tree, Counter Mapping, Marie’s Dictionary, and Elemental. His films have been screened at New York Film Festival, Tribeca Film Festival, SXSW, and Hot Docs, exhibited at the Smithsonian Museum, and featured on PBS POV, National Geographic, and New York Times Op-Docs. He is the founder and executive editor of Emergence Magazine."]]></description>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:earth"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:research"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:maps"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:mapping"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:iceaps"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:citizenscience"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:humanity"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:responsibility"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:continuity"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:beauty"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:poetry"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:love"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:scale"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:1950s"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:legacy"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:legends"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:discovery"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:reality"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:humanities"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:witness"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:witnessing"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:understanding"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:rationality"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:spirit"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:fun"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:permission"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:generations"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:religion"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:superstition"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:folklore"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:purpose"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:holiness"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:apocalypse"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:beholdeness"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:wonder"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:awe"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:morethanhuman"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:animism"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://edgeeffects.net/urban-adventure/">
    <title>Urban Adventures in the Atlas Game Invite Playfulness and Exploration</title>
    <dc:date>2024-08-15T06:14:46+00:00</dc:date>
    <link>https://edgeeffects.net/urban-adventure/</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>2017 situationist cardgames play playfulness urban exploration zacharyseward nyc manhattan bronx foursquare maps mapping psychogeography guydebord yelp jaredwood games</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:3a58cd091e3b/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:2017"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:situationist"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:cardgames"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:play"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:playfulness"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:urban"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:exploration"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:zacharyseward"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:nyc"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:manhattan"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:bronx"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:foursquare"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:maps"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:mapping"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:psychogeography"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:guydebord"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:yelp"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:jaredwood"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:games"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://www.researchgate.net/publication/332050371_Flaneur's_Phonograph_A_Flaneur_Shift_in_Urban_Exploration">
    <title>(PDF) Flâneur’s Phonograph: A Flâneur Shift in Urban Exploration</title>
    <dc:date>2024-08-15T06:08:08+00:00</dc:date>
    <link>https://www.researchgate.net/publication/332050371_Flaneur's_Phonograph_A_Flaneur_Shift_in_Urban_Exploration</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Abstract and Figures
Two of the often discussed perspectives of experiencing a place are the tourists’ lens and the residents’. Noticing the recent rise of atypical tourism, where tourists want to pursue the “live-there” experience, and the rising focus of shifting residents’ attention from mundane day-to-day life, we propose the concept of flâneur as an alternative state. With ‘research through design’ approach, we present our exploration, including (1) gamification for making the sense of place, (2) using situationist-inspired-cards for residents to explore familiar place, and (3) using street photographers’ quotations as inspiration for alternative experience of listening to a city. With these explorative findings, we design Flâneur’s Phonograph, a sound collecting and experiencing device for soundscape, which aims at invoking the flâneur experience during the exploration, and enabling engaging experience different from the perspective of a tourist or a local resident. It invites the users to open up their auditory senses to the places by providing 3 different monitoring modes and 3 types of microphones. We further analyse the qualitative results from investigating a resident and a tourist with our design, make critical reflection, and constructively understand what the flâneur could be in the new technological contexts."]]></description>
<dc:subject>flaneur situationist place sensemaking soundscape photography attention noticing 2019 po-haowang yu-tingcheng wenn-chiehtsai rung-hueiliang reflection urbanexploration exploration urban urbanism flâneurs flaneurs flâneur dérive derive observation makingsense</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:136b5459f37c/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:flaneur"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:situationist"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:place"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:sensemaking"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:soundscape"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:photography"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:attention"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:noticing"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:2019"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:po-haowang"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:yu-tingcheng"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:wenn-chiehtsai"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:rung-hueiliang"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:reflection"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:urbanexploration"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:exploration"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:urban"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:urbanism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:flâneurs"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:flaneurs"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:flâneur"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:dérive"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:derive"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:observation"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:makingsense"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://www.roamgetlost.com/">
    <title>ROAM: Getting Lost in Art and Art Education</title>
    <dc:date>2024-08-15T05:51:07+00:00</dc:date>
    <link>http://www.roamgetlost.com/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["ROAM: Getting Lost in Art and Art Education is a curricular structure developed out of an ongoing art project ROAM created by artist and art educator Julie Libersat. ROAM, which is a mobile game that gets players lost, is a creative proposal and ongoing project that has developed in parallel with her graduate research in art education at the University of North Texas. 

This website presents a unit of study for elementary art students to engage with ideas of place, mobility, and environment.. Throughout this unit, students will engage with their local environments, observing, responding and recording their interactions with place. Students use walking protocols to get lost and game theory to structure creative and critical engagements with place. Observing local environments, students learn about their place and communities through reflection on space and place. Using game structures to get lost, students are guided through processes of observation and creative engagement with local environment.
To play, visit:

GAME.ROAMGETLOST.COM

To learn more about ROAM, Libersat's mobile game and other creative projects, visit julielibersat.com."

[See also:

http://www.roamgetlost.com/roam.html

http://www.roamgetlost.com/getting-lost.html

http://www.roamgetlost.com/teen-artist-project-air.html

"Place informs our sense of self and community.
Mapping Place With Play"
http://www.roamgetlost.com/mapping-place-with-play.html

"We create meaning in places as we inhabit them.
Mapping As Institutional Critique"
http://www.roamgetlost.com/mapping-as-insitutional-critique.html

"We can learn about our environment by structuring playful engagements within it.
Gaming the Museum: Map to Get Lost"
http://www.roamgetlost.com/gaming-the-museum-map-to-get-lost.html 

"Place and Play"
http://www.roamgetlost.com/place-and-play.html

"Memory Mapping"
http://www.roamgetlost.com/memory-mapping.html

"A Map to Get Lost"
http://www.roamgetlost.com/map-to-get-lost.html

"Wander Walking"
http://www.roamgetlost.com/wander-walking.html

"Mapping Meaning 2016:
​Channel Islands National Park"
http://www.roamgetlost.com/mapping-meaning-2016.html

"PASEO TAOS 2016"
http://www.roamgetlost.com/paseo-taos-2016.html ]]]></description>
<dc:subject>exploration museums education place mobility place-basededucation environment maps mapping lost children play situationist channelislands meaning meaningmaking taos 2016 julieliberstat roaming wandering community experiential experientialeducation art museumstudies critique sensemaking place-based place-basedpedagogy place-basedlearning land-basedlearning land-basededucation makingsense</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:4808bc44b53a/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:exploration"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:museums"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:education"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:place"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:mobility"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:place-basededucation"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:environment"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:maps"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:mapping"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:lost"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:children"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:play"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:situationist"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:channelislands"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:meaning"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:meaningmaking"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:taos"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:2016"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:julieliberstat"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:roaming"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:wandering"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:community"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:experiential"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:experientialeducation"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:art"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:museumstudies"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:critique"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:sensemaking"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:place-based"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:place-basedpedagogy"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:place-basedlearning"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:land-basedlearning"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:land-basededucation"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:makingsense"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://andymatuschak.org/primer/">
    <title>Exorcising us of the Primer | Andy Matuschak</title>
    <dc:date>2024-07-11T05:12:01+00:00</dc:date>
    <link>https://andymatuschak.org/primer/</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>andymatuschak 2024 learning howwelearn nealstephenson thediamondage theprimer discovery gamification immersion ivanillich deschooling responsiveness technology sciencefiction scifi assurance emotions authoritarianism isolation games play exploration ycombinator motivation aesthetics design discoverylearning environment education psychology educationalpsychology memory intuition experience experientiallearning social pedagogy</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:780802664877/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:andymatuschak"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:2024"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:learning"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:howwelearn"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:nealstephenson"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:thediamondage"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:theprimer"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:discovery"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:gamification"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:immersion"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:ivanillich"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:deschooling"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:responsiveness"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:technology"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:sciencefiction"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:scifi"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:assurance"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:emotions"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:authoritarianism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:isolation"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:games"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:play"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:exploration"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:ycombinator"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:motivation"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:aesthetics"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:design"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:discoverylearning"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:environment"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:education"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:psychology"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:educationalpsychology"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:memory"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:intuition"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:experience"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:experientiallearning"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:social"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:pedagogy"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://hitsuono.itch.io/literally-me">
    <title>Literally me by Hitsuono</title>
    <dc:date>2024-05-17T02:02:32+00:00</dc:date>
    <link>https://hitsuono.itch.io/literally-me</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Literally me is a game of exploration and creation in a typographic world. Explore and summon objects in this poetic universe.

Visually, its main inspiration comes from "If We Were Allowed To Visit", made by  Ian MacLarty and Gemma Mahadeo-- don't forget to check it out as well.

--------------------------------------------------------------------------------------

World generation is procedural and may take some time.

WebGL version has difficulties rendering edge objects; for better peformance and visuals, use the downloadable version.

Addition to the explanations in game: Please read the “how to play” section in the game and try creating stuff and finding better how it works. To give a concrete example, writing “<b:(0,0,0)><c:(1,0,0)>test” will make a text object with red character color and black background. Writing “<b:(0,0,0)><c:(1,0,0)>test <b:(1,1,1)><c:(0,0,0)>word2” will make a text object with one word as described above and another one with white background and black character color. For lens objects, please use only (R,G,B,A) format and see the effects of the alpha channel."]]></description>
<dc:subject>games videogames hitsuono ianmaclarty gemmamahadeo exploration creation typography gaming webgl art</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:90faa5ee1ba5/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:games"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:videogames"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:hitsuono"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:ianmaclarty"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:gemmamahadeo"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:exploration"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:creation"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:typography"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:gaming"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:webgl"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:art"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://mcluhan.substack.com/p/the-rebirth-of-the-city-as-a-classroom">
    <title>The Rebirth of the City as a Classroom - by Andrew McLuhan</title>
    <dc:date>2024-05-02T17:42:43+00:00</dc:date>
    <link>https://mcluhan.substack.com/p/the-rebirth-of-the-city-as-a-classroom</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["With more information outside the classroom than inside, with the tools to program and access the total environment for discovery and learning, our cities and institutions can be reborn: or disappear."

...

"The following thoughts are all the more odd or revolutionary as they are coming from Marshall McLuhan, a teacher and lover of literature and education, who taught poetry and literature in universities for his entire career, with a side hustle study of culture and technology. And they are coming from over half a century ago."

...

"Marshall McLuhan realized very early on that the education model was broken. This is something many, if not most, accept today but it was in the 1940s and 50s that Marshall McLuhan understood what we’re just beginning to accept and contend with: today’s model of education, based on obsolete understandings and models, is more harmful than helpful in the 21st century.

A thousand years ago, when the university as an institution was developed, information was scattered and gate-kept and difficult to come by. The answer was to bring all the various disciplines, and their experts, together in one place. The university was born.

A major disruption of this model happened about 500 years later with the innovation of moveable type and the printing press which broke many barriers against access to information, changing us and our world forever. The university was no longer the only game in town. It now became much easier for someone to educate themselves.

In the mid-20th century Marshall McLuhan realized that, with vastly more information and learning available outside the classroom than in, school was now actively interfering with education. He decided to do something about it."

...

"‘Education in the Electronic Age’ was a speech Marshall McLuhan gave to a government body in Ontario, Canada, in 1967. This committee was looking at the changing education landscape, trying to come up with responses to the challenges they were facing, and decided to bring in McLuhan to give them some advice… which they proceeded to ignore. The advice, still be useful today, is likely as unwelcome. It would seem that institutions would rather publish and perish romantically in their obsolescence, like some captain going down with the ship, than try to salvage what’s useful from their beautiful structures and maybe live another few centuries.

McLuhan made several attempts to show and lead the way. The last major one was ‘City as Classroom: Understanding Language and Media,’ published in 1977 with his son Eric McLuhan and a high school teacher, Kathryn Hutcheon.

With information and answers more plentiful and accessible outside the school than within, the role of the teacher quite obviously shifts if they are to ‘save the student’s time,’ which my father insisted was their ultimate job – essentially, to help you learn what you need to know faster than you could on your own. Today, when most schooling is a frustrating time-suck keeping students from the learning they have to do outside of class hours if they want to be prepared for life, rather than saving it would seem they are wasting their students’ time – and charging them ridiculous sums of money for the privilege.

This would seem an absurd and simultaneous reversal of and return to the dark ages.

Knowing that if he wanted to have an impact he had to do things differently, McLuhan’s response was to leave the classroom behind: he became what we now think of as a ‘public intellectual’ (while remaining a university professor.)

Likewise, his books became perceptual training manuals, less to change your opinion than your mind, your senses.

The above quotes are this case in point: our technologies reshape us as a side effect of their use and the consumption of their content. The content is actually the delivery mechanism for fundamental individual and social change on a primal sensory level, as it keeps us engaged which the change happens beneath our awareness. We only realize something has happened when we no longer recognize who we are, then wonder how that happened. It is no wonder.

***

When so much happens beneath our notice, our awareness,

one solution is to become more aware.

***

Advertisers long ago learned that the environment can be programmed for education – advertising used to be called ‘commercial education.’

Today’s technologies, mobile computing and ‘augmented reality’, make it relatively simple to likewise program the environment for exploration and discovery and truly turn our cities into classrooms.

It may be worth asking what is stopping us from doing the obvious? It’s been a long time since most people valued the education establishment as more than organized socialization and a fancy ticket (diploma) to a career. That seems a steep price to pay today when even the diploma doesn’t carry more more value than as a line item on your resume that might get you an interview.

Employers are more interested in what you can do, and smart kids know that if you want to learn how, school is not where."
]]></description>
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<item rdf:about="https://wanderprompts.com/">
    <title>Wander Prompts</title>
    <dc:date>2024-04-16T18:28:05+00:00</dc:date>
    <link>https://wanderprompts.com/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Wander Prompts are a set of prompts for a slow, observational walk right where you are.

They can guide you to get to know your own city more intimately. Or, just give you an excuse to walk outside.

For example, Last week on Thursday, someone in Mexico City searched for gated buildings. Before that, on Thursday in Mexico City, someone walked into a public building. On Thursday in the morning, someone walked as if they were tough in Mexico City. Someone searched for a construction site in São Paulo on a Sunday in March. On February 1st in Boston, someone lingered on a corner. In Home, someone found a place to listen to people in the morning on a day in January. Before that, 5601 people took walks across 116 cities.
*
Wander Prompts were created by H.Jaramillo and C.Joerges. They were inspired by Derives and Yi-Fu Tuan. We recognize not everyone will always feel safe taking a purposeless walk, but hope this serves as a reminder that you absolutely have the right to do so."]]></description>
<dc:subject>wandering exploration walking creativity prompts situationist psychogeography yi-futuan slow observation derive dérive</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
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<item rdf:about="https://www.smallpresstraffic.org/the-back-room-article/a-body-thats-all-surface">
    <title>A Body That’s All Surface</title>
    <dc:date>2024-02-29T23:50:15+00:00</dc:date>
    <link>https://www.smallpresstraffic.org/the-back-room-article/a-body-thats-all-surface</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["I am going to describe something that I think is idealistic. Idealism can be practical because the world we want must be drawn upon the world we live in, and also because it necessitates a collaboration — I imagine something different and you imagine something back."

...

"Last year I became preoccupied with Pablo Picasso, an artist whose background-level omnipresence hadn’t previously seemed to call for additional scrutiny by me. While I was writing about Picasso I wanted to listen to Erik Satie, because they were collaborators and I suppose I was trying to collaborate with Picasso, too. Satie’s compositions are interpreted and recorded by other pianists, and since I don’t know their names I imagined a terrible, infinite array, although to be honest I didn’t imagine them being particularly distinct from each other. Still, not wanting to choose the garbage record for people with bad taste, I asked my friend Jay, who does know, and he pointed me to Tamar Halperin’s angular, player piano-sounding record, Satie. That helped. Many subjects feel infinite upon first approach. Artists and their artworks unfurl continually in relation to each other, and through our own radiating entanglements. We can all play a role in describing their boundaries.

I am texting with my friends Claudia and Anne about art. I mean obviously we are gossiping about art. We are all a little bit cynical about some aspects of being in the art world. If you have ever made a pom-pom you know it’s done by wrapping a lot of string around your fingers, then tying it across the middle — thus secured, the loops are cut at the ends and the pom-pom reveals itself. My feelings about art are idealistic and cynical all bound up together. I don’t know anyone who is an artist or a writer all the time. I am an artist and a deranged kind of housewife with a lot of projects that come and go, peculiar handfuls of expertise, and an ambivalence about what other people enjoy. Most of us have two or many jobs and obligations, materializing within and without our work and connecting us to our surroundings. Our lives complicate what is art and what is not. Our friends and families understand what we’re up to, to varying degrees. We pay attention differently, to different things. We are interesting subjects and capable observers. Maybe not all of this is quite true, but I feel like it could be true."

...


"It bothers me that there is so little usable infrastructure beneath artists and so much baroque architecture built on top of us. I’m sorry to bring him up incessantly but Pablo Picasso wasn’t fucking around with artist statements. He and his buddies were hanging out, inventing new ways to use the senses, collecting poets, starting magazines when they felt like it, painting whatever, showing on the boulevard sometimes, icing out losers, reading, honestly kind of torturing each other, and so on. We should not allow our own artistic practices to be replete with inanities! They want us to describe ourselves in GRANT-WRITING LANGUAGE like we are PROJECT MANAGERS rather than to describe our ideas with the MANY VARIED LANGUAGES OF ART! This is how they make us speak THEIR desires! Participating in their strange bureaucracies is a major concession of our time that we could use for our animal purposes, to observe and make sense of the world, and to describe OUR visions. I propose that we stop playing along. I am imagining a type of degrowth, a disassembly of dominant structures, a refusal."

...

"I went through a period when I wouldn’t say art was good or bad, only that it resonated or didn’t, but I’m back to saying art is good and bad. It is fantastically good and bad. Criticism is like putting an artwork into a frame — making it more finished, more real (in that it has been beheld), while also protecting it from the elements. When art is bad, criticism can compound the failure by dressing it up. When art is good, criticism can insert the work into the art-historical record by speaking it into the world a second time, in another medium, on behalf of the artist, the artwork, and its theoretical and practical forebearers. This is a type of repetition that formalizes the audience. That good art is often ignored and bad art sometimes enshrined indicates that further experimentation is possible.

We should think of criticism as another form that is bound up with normal life, connecting what you see to what you know. To engage in criticism is to think deeply about someone else’s work in relation to one’s own sensibilities, and then to contextualize it, historicize it, and sometimes to say it’s good or bad. Art and criticism are not in a linear relation. They are interconnected modes of craft, aesthetics, and thought that extend toward an audience. There is external pressure to stay within our perceived modes, but the roles of artist, critic, and audience are overlapping, interchangeable. I am not suggesting we lie about good and bad art. I am suggesting criticism can break out of its structures and draw us closer. That it can be a means of collective demystification, for mutual aid."]]></description>
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    <title>Growing Up in San Francisco - Lloyd's Blog</title>
    <dc:date>2024-02-13T17:01:59+00:00</dc:date>
    <link>https://www.lloydkahn.com/2022/08/growing-up-in-san-francsico/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[also here:
https://lloydkahn.substack.com/p/growing-up-in-san-francisco ]]]></description>
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<item rdf:about="https://indiantinker.bearblog.dev/how-to-visit-a-city-without-internet/">
    <title>How to see a city, without getting lost on internet. | indiantinker's blog</title>
    <dc:date>2024-01-23T05:22:23+00:00</dc:date>
    <link>https://indiantinker.bearblog.dev/how-to-visit-a-city-without-internet/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Imagine, you go to a city and have no internet to use. Your hostel/hotel has no internet too. or you might just want to 'disconnect' and do a little experiment like I did in Bratislava and Prague. Like me.

On one of the visits to a nearby city, I realized that my phone usage was quite a lot and I was mostly looking at my phone looking for directions or cool places to see. I was in a rush as if I could not come back here again or I had to do it all. This made me quite sad as I was not able to enjoy and know the history, and peculiarities. These things take time. So, I made a personal rule to never go to a new place for less than 3 nights. I understand that it is not possible for many.]]></description>
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<item rdf:about="https://www.nytimes.com/2024/01/09/opinion/ezra-klein-podcast-kyle-chayka.html">
    <title>Opinion | How to Discover Your Own Taste - The New York Times</title>
    <dc:date>2024-01-19T16:29:19+00:00</dc:date>
    <link>https://www.nytimes.com/2024/01/09/opinion/ezra-klein-podcast-kyle-chayka.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[Also here:
https://podcasts.apple.com/us/podcast/the-ezra-klein-show/id1548604447?i=1000641013414

transcript:
https://www.nytimes.com/2024/01/09/podcasts/transcript-ezra-klein-interviews-kyle-chayka.html ]

"Being on the internet just doesn’t feel as fun anymore. As more of our digital life is driven by algorithms, it’s become a lot easier to find movies or TV shows or music that fits our preferences pretty well. But it feels harder to find things that are strange and surprising — the kinds of culture that help you, as an individual, develop your own sense of taste.

This can be a fuzzy thing to talk about. But Kyle Chayka, a staff writer at The New Yorker, has written a whole book on it, the forthcoming “Filterworld: How Algorithms Flattened Culture.” We talk about how today’s internet encourages everything to look more the same and is even dulling our ability to know what we like. And we discuss what we can do to strengthen our sense of personal taste in order to live a richer, more beautiful life.

Mentioned:

“Quartets: Two: II. Warmth” by Peter Gregson

Ambient 1: Music for Airports by Brian Eno

Book Recommendations:

“In Praise of Shadows” by Junichiro Tanizaki (essay)

Seeing Is Forgetting the Name of the Thing One Sees by Lawrence Weschler

The Mushroom at the End of the World by Anna Lowenhaupt Tsing"]]></description>
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<item rdf:about="https://www.npr.org/2023/11/14/1212661071/andre-3000-album">
    <title>André 3000's first album in 17 years, 'New Blue Sun,' is out now : NPR</title>
    <dc:date>2023-11-17T16:31:56+00:00</dc:date>
    <link>https://www.npr.org/2023/11/14/1212661071/andre-3000-album</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[NB: The transcript on the page is not complete: parts of the audio are not transcribed.

Too much to quote, so just this piece as a taste.]

"You've talked in recent years about having social anxiety disorder and how the need for isolation compounded that even further. Which, first of all, I want to say is so refreshing to me that we, as Black men, especially, are starting to be just more transparent with each other about mental health. But the fact that this album wasn't made in isolation and was a very collaborative process, can you talk more about how that gave you that sense of freedom and helped you get unstuck a little bit?

Yeah, totally. The environment was really important. And we're listening to each other, we're responding to each other, we're supporting each other at certain times. And that's the sound, so it's kind of mirroring real life. That's why I say when I describe it, which is hard to really describe, it's a full living, breathing album because it's fully alive. We didn't sketch it out.

And as far as anxiety and that kind of thing, yes, I have been diagnosed with that. But I realized that, like, life is life, man. Our grandparents didn't have these terms to describe these things, you know? They didn't have these diagnoses to describe these things. They may have been going through similar things, but they just had to live through it. That's what it is. Life is life and life will come at you in different ways, and it's for you to pay attention to what's happening. I don't feel worse or better than anybody else. I feel like what comes to you is for you.

I just use it as an instrument, just like it uses me. I wouldn't be here if it wasn't for these, what they call "ailments" and all this kind of stuff. I don't want to lean on it. And a lot of times, because now we have a name for it, we're starting to lean on these names and kind of like really dig into these names and really just try to just figure yourself out. And I'm not sure if sometimes you may give yourself a disservice once you start calling the boogeyman, the boogeyman. Then you start looking for it. So it's like, just live and take it day by day, man. Everything won't be great. The only thing I can say: Learn how to ride the roller coaster. The best thing you can do is learn how to ride the roller coaster with your hands up."]]]></description>
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<item rdf:about="https://daily.jstor.org/walkers-in-the-city-and-everywhere/">
    <title>Walkers in the City—and Everywhere - JSTOR Daily</title>
    <dc:date>2023-10-31T09:22:21+00:00</dc:date>
    <link>https://daily.jstor.org/walkers-in-the-city-and-everywhere/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Imagine going for a stroll, unencumbered by a phone, preoccupied by the glories of the world around you: the perfume of blossoming flowers, the heat radiating from sidewalks, the sound of wind as it moves through and bounces off towering buildings. You might notice a historical landmark you usually miss in the hustle of getting from A to B. Or spot the construction of luxury apartments where working-class housing formerly stood. Perhaps you realize there are fewer bird calls than there used to be. Consciously or not, you are participating in the practice of psychogeography, a radical method of moving through the world more intentionally, in a way that benefits not only the individual but society as a whole.

Many of the issues we face from climate change to the crisis of loneliness to racial and class injustice are deeply connected to the physical world and our interactions with our immediate surroundings. This can be seen in the redlining of communities of color through decades of discrimination or the planning and placement of working-class communities in the direct path of industrial pollution. As we emerge into post-pandemic public spheres, we have the opportunity to imagine new versions of the public sphere, evident in concepts such as the 15-minute city, in which all needs can be met within a quarter-hour walk; the creation of third spaces to interact outside of home and work; and more broadly in the efforts to make both urban and rural areas greener and more flourishing.

Psychogeography, which combines psychology and geography, was developed during the mid-20th century by the Letterist International and its successor Situationist International, two Europe-based organizations that drew on anarchist and Marxist writings, among others. Guy Debord, a founding member of both bodies, defined psychogeography as an environment’s impact, whether mindful or not, on an individual’s behaviors or emotions. Psychogeography became tangible in the dérive (“drift”), defined by Phil Smith in Cultural Geographies as “an exploratory, destinationless wander through city streets, detecting and mapping ambiences.”

Debord was inspired by Charles Baudelaire’s flâneur, the 19th-century stroller who embodied the image of the leisurely—and inherently—upper-class male wanderer. Influential German-Jewish philosopher Walter Benjamin further fleshed out this concept, with the flâneur serving as “an interesting social type because it points to the centrality of locomotion in social life,” writes Mike Featherstone in Urban Studies. “The stroller is constantly invaded by new streams of experience and develops new perceptions as he moves through the urban landscape and crowds.”

Decades later, the Situationists found themselves grappling with a very different post-war Europe in mid-20th century. In the face of an increasingly capitalistic society, they developed their more political movement with the tenets of Dadaism and Surrealism as anchor. Another of their central concepts was the détournment (“turnabout”): “a deliberate reusing of different elements—like images or text—to form something new,” as A.E. Souzis writes in Cultural Geographies. (A prime example are subversive pranks like defacing an ad in an anti-consumerist stunt.)

The Situationists were already concerned, Souzis says, about “the rise of privatization, big business and shrinking pedestrian-friendly public space,” issues that have continued to shape the development of urban areas, prioritizing commerce over the needs of residents. Amy J. Elias writes in New Literary History that these radicals “sought a utopian, revitalized urban life that could both elude the aesthetic tyranny of spectacularized global capitalism and provide a vital, liberatory model of urban Being.”

While the Situationists might have fizzled following the brief moment of revolutionary fever that overtook France during the May 1968 protest movement, psychogeography has arguably become more relevant in the intervening decades. It has been linked to other movements such as Afro-futurism, eco-feminism, and Indigenous environmentalism, which address the injustices these marginalized communities face. Collective urban gardening, seed bombing to bring back native plants, and guerilla grafting fruit-bearing limbs onto trees all address issues around food insecurity, sustainability, and the restoration of nature in industrialized landscapes. Many psychogeographic endeavors also focus on feminist reclamation of male-controlled public spaces, as seen in Take Back the Night rallies or Lauren Elkin’s 2016 memoir Flâneuse: Women Walk the City in Paris, New York, Tokyo, Venice and London, which explores what it means to be a woman navigating the world.

In the realm of academia, psychogeography has become a ripe tool for analyzing environments, both real and imagined. This ranges from amusement parks (“an image of transition from the spectacle in reality to the spectacle of reality,” as Franco La Polla writes in Revue française d’études américaines) to Berlin’s pre-cellular data telécafes (places largely frequented by immigrant communities where “different politics of borders and border crossings can be investigated,” argues Maria Stehle in Women in German Yearbook) to imagining post-Katrina New Orleans (Aoife Naughton hoped to preserve “this kind of freedom and joy in the open street, even in a booming real estate market”).

Somewhat surprisingly, the online world has also become a space for psychogeographical exploration, particularly in the exciting days of Web 1.0. “Hacker and libertarian manifestoes have often couched utopian ideals within cyberspace rhetoric,” Elias writes. “The spatial field of the web surfer may be either delimited according to search parameters or openly processual according to linked pathways.” As Web 3.0 emerges in a landscape of flailing, and sometimes failing first-wave social media platforms, the opportunity is ripe to forge new ways of building digital spheres that serve and engage communities that might otherwise be unable to connect.

This malleability of psychogeography, from the literal concrete to the stretches of the virtual imagination, has inspired artists across mediums. Blur frontman Damon Albarn, who co-founded Gorillaz, has created both deeply personal music (“His debut solo album, Everyday Robots, is so rich in personal psychogeography that it must be the first record to extract poignancy from Thurrock Lakeside shopping centre,” observed Dorian Lynskey in The Guardian) and built alternative realities. As he told The Fader: “Gorillaz is all about geography, in a sense, because we have this metaverse for a long time. It’s accumulated lots of space, and the psychogeography is quite huge. You can travel around to different eras in different parts of the universe or the world or the island indeed.”

Comic book legend Alan Moore (Watchmen, V for Vendetta, and Batman) has also frequently discussed the role of psychogeography in his work, notably how it can help find purpose in a world that seems to lack meaning. “You can look at the ordinary world around you with the eye of a poet,” he told Wired in 2010. “Finding events which rhyme with other events, what little coincidences or connections can be drawn to these places and people. You can put them into an arrangement that says something new about them.”

More recently, Greek American painter Gerasimos Floratos created a series of collages, drawings, and oil paintings during the pandemic. Titled “Psychogeography,” this oeuvre captures the hectic life around New York City’s Time Square, drawing connections to the equally busy systems within the human body. “For me, psychogeography is about map-making,” Floratos said in the press release for the exhibit, “Mapping the inside of your mind simultaneously with your environment. Not the kind of linear maps we usually use, maps that simultaneously chart sensory data, emotions, memory, the physical body, culture, society etc.”

Andy Howlett, an artist and filmmaker based in Birmingham, United Kingdom, believes that psychogeography is an “inherently creative response to space,” one that’s “playful, subversive, mischievous and rarely takes itself too seriously.” Right before COVID-19 hit, he co-founded Walkspace: Walking in the West Midlands, a collective to promote psychogeography in the landlocked region. While some have framed psychogeography as a solo endeavor, Howlett was passionate about bringing people together and re-discovering a forgotten “richness” in his community. They even made a virtual map where people could add points of interest discovered through their own psychogeographic explorations.

Indeed, the United Kingdom has become a particular hotbed for psychogeography, largely promoted by writers such as Iain Sinclair (notably exploring the impact of the 2012 London Summer Olympics) and Peter Ackroyd (focusing particularly on what one can learn about a city’s history through psychogeography). While much of the attention has focused on London, like the London Circle Walk following the city’s periphery, other less popular places like Birmingham, Liverpool, and Manchester are also getting into the spotlight. Like many major urban areas, Birmingham was designed for car travel in the 20th century and, as Howlett concedes, doesn’t have a unique identity. The city’s motto is Forward and Howlett finds that its history, particularly as an industrial stronghold, is often forgotten in the name of building the biggest, newest thing.

“I think that sense of frustration, balanced with a sense of excitement, is a big part of the psychogeography of the city,” he said. “There’s a sense that you have to really go looking for all the history, for the heritage.”

As a collective, Walkspace has grown to nearly thirty members and organizes Walkspace Erratics, psychogeography-inspired walks. A recent early morning trek, led by a former paramedic, highlighted the unique and often trauma-informed way medical workers experience the city. Walkspace has also collaborated with a walking group in the Indonesian city of Yogyakarta on a Parallel Walking project, exploring the similarities and differences between the two urban areas. This past June, Walkspace held its first group exhibition, featuring paintings, collages, poetry, and a film night by members of the collective.

Howlett’s ideas of psychogeography have inspired projects including a collaborative video in which GoPro photos, snapped every five seconds, were put into a slideshow that visitors watched on a treadmill. The speed of the images would change depending on walking speed. Howlett explains, “I had all the material I could ever need just on my doorstep. I could just leave the house and interact with the city; I can uncover histories and stories and go on adventures.”

While Howlett is excited to see his group grow as well as similar initiatives pop up in other areas, he does not view his work as serving an agenda for political change, at least not for now. In many ways, it’s hard to imagine the impetus it would take for the observations made on a psychogeographical journey to have a tangible impact. How can living communities be completely reimagined as wildfires burn, coastal areas erode, and the pressures of housing insecurity threaten more and more people?

The imaginative potential of psychogeography can play an important role as a catalyst for this seemingly impossible undertaking. Systemic shock forces change; COVID-19 led people to reclaim outdoor spaces to eat together, bike in groups, and take part in other collective activities. This led to concrete measures that have permanently reshaped urban landscapes. Clearly, this desire to thrive rather than merely survive has been brought to the fore, accelerated by the constraints of the pandemic.

Back in 2005, David Pinder wrote about how artistic collectives were using psychogeography to reclaim the city of New York, given “a tightening of surveillance measures and a hardening of the city’s surface, both in terms of security procedures heightened in the wake of 11 September 2001 and in relation to a landscape pitted against the already marginalized and poor.” Pinder focused on a parade by the artistic collective Toyshop, which aimed to use “every means at our disposal to make a city that instigates our creative impulses and fosters the feral spirit.” This event featured bands meant to create a “sound riot” and drew crowds of people to the street, encouraging, as Toyshop put it, “a participatory model for citizens to take part in the physical and social structure of the environment we live in.”

While this event was more creative than political, it’s easy to see the roots of future reclamation movements coming for urban hubs of global capital where economic and social injustice often thrive. These sorts of actions, even on the smallest scale, carry significant meaning when practitioners assert how they wish to inhabit a space, and when they are able to convince others to likewise undertake this reflective process of questioning the status quo.

“To intervene through creative practice in public space today in New York and other cities is to enter into a crucial struggle over the meanings, values and potentialities of that space at a time when its democracy is highly contested,” Pinder says. “Encouragement of vitality and openness in that space is not an innocent demand.”"]]></description>
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    <dc:date>2023-09-17T01:41:27+00:00</dc:date>
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    <title>SFPL Explorer Map: A Mother-Daughter Journey - YouTube</title>
    <dc:date>2023-09-04T17:14:18+00:00</dc:date>
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    <dc:creator>robertogreco</dc:creator><description><![CDATA["How do you read 700 books over 1 year? Simonne and her mom, Brette, have the answer…completing the SFPL Explorer Map! They made a lifetime of memories exploring the Main Library, all 27 branches and the bookmobile on Treasure Island. Now is your time to take advantage of the warm SF weather and uncover the magic that awaits in the unique neighborhoods that make up our beautiful city. Visit any branch to pick up your very own Explorer Map and begin your journey today!"

[Nice to see a video about this. I visited all of the branch libraries in 2018 or so before the map was made and this summer (2023) I did it again with the Explorer Map. Great way to see the city and get to know all the branch libraries.]

[See also:
https://sfpl.org/sfpl-explorer-map
https://sfpl.org/sites/default/files/2021-11/3-2-explorer-maps111821_0.pdf
https://sfpl.org/sfpl-explorer-map/mapa-para-galugarin-ang-sfpl

https://www.reddit.com/r/sanfrancisco/comments/13epe2s/finally_finished_the_sfpl_explorer_map/
https://sfstandard.com/2022/04/10/san-francisco-public-library-masfpl-explorer-champion/
https://www.youtube.com/watch?v=r8cG0GfgRrc

https://www.flickr.com/photos/robertogreco/53127486942/
https://www.flickr.com/photos/robertogreco/53164592828/ ]]]></description>
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    <title>The SDE Weekend 2 - Flying Squads Panel - YouTube</title>
    <dc:date>2023-09-01T22:18:06+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=mOBqOP5XfR0</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Flying Squads provide young people the opportunity to make decisions in a nurturing community of human connections. This is a Q&A with members of the Flying Squad groups. They answered questions about what they do on a day to day basis and shared some fun stories."

[See also:

"The SDE Weekend 3: Flying Squad Panel Q&A"
https://www.youtube.com/watch?v=9egyxp5n4N4 ]]]></description>
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    <title>The SDE Weekend 3: Flying Squad Panel Q&amp;A - YouTube</title>
    <dc:date>2023-09-01T21:17:24+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=9egyxp5n4N4</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Flying Squads is a youth liberation and anti-oppression collective. We believe in the abolition of divided spaces between young people and the rest of their community. This means that Flying Squads step out of the classroom and off the playground and into public space as a form of youth activism."

[See also:

"The SDE Weekend 2 - Flying Squads Panel"
https://www.youtube.com/watch?v=mOBqOP5XfR0 ]]]></description>
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    <title>Personal Machines and Portable Worlds - Christopher Butler</title>
    <dc:date>2023-07-09T19:58:31+00:00</dc:date>
    <link>https://www.chrbutler.com/personal-machines-and-portable-worlds</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["A lifelong fascination with technology begins with a single object.

Think back to when you were a child, to when you first encountered something you could hold in your hand that held you in awe. Perhaps you thought to yourself, “Wow, this does that?!”"

...

"There’s something about the personal device that I have always found fascinating and now find to be almost mysterious. But to be personal it has to be a certain kind of device — the kind that balances access to another world with the kinds of limits and boundaries that make a thing private. That balance is something I’ve always been able to point to in particular objects — this has it, but that does not — but describing it on its own, as a set of rules or characteristics, has always eluded me. But, for me, a personal device is defined by this balance, not by virtue of being the thing in my pocket and not the one in yours.

I think this notion of a personal technology is deeply meaningful. So I’d like to find a way to explain it.

Nearly everyone I asked returned the question — That was the gadget for me… So, what was yours?

I can point to my own origin-objects — gadgets like the Fisher Price Movie Viewer, the Pocket Rocker, the Etch A Sketch Animator, or, from a bit later, the Arion Hot-Watt II — and describe why they had that thing. Besides being quirky, niche products, they all let me enter another world that, at times, seemed both bigger and smaller than this one. It was as if that world was outside of this one, made accessible by the push of a button and, at the same time, that it sprang into existence as a me-sized bubble universe, Population: 1. This is the paradox of the personal device.

The tension between knowing that the world a personal device creates has boundaries defined by its code and materials and not knowing exactly what they are is one that, when kept in balance, activates the imagination. It allows for exploration, both of the object and through the object.

People of a certain age who remember spending hours exploring Hyrule, the world of The Legend of Zelda, will immediately understand this feeling. You could explore the world, and you could play the game. I’m not sure I ever tired of exploring enough to actually play the game.

The most magical of personal devices are those which offer access to the experience of infinitude without measuring it for you. The unknown is the stuff of imagination.

That is the opposite of our most common device-based experiences today. Whether you use a phone, tablet, laptop, or any other computer, the digital “world” today is always defined by an acute awareness of measure. Of more. But more is the easiest way to obstruct the imagination. Persistent input keeps cognition at its lower levels — maintaining attention, storing memory, applying perception, and processing language — without allowing a transition to thought and learning.

The best personal device supports thought — with it, within it, and most importantly, within you. Carl Jung once wrote that “in each of us there is another whom we do not know.” The purpose of introspection, for Jung, was to become acquainted with that person — to deepen our understanding of ourselves so that we may be more fully ourselves.

What if technology had the same purpose?

What if personal technology saw imagination — open, unresolved, interior, and subjective as it is — not just as a byproduct of use but as a purpose for it; as equal to utility, communication, or entertainment?"

...

"Kyle Chayka is working on a book that sounds like it may make a good case for my invisible mechsuit world. In a post titled, “The dream of the personal machine,” [https://kylechayka.substack.com/p/the-dream-of-the-personal-machine ] Chayka writes:

<blockquote>“My book is so much about how technology dictates culture. The devices that we use aren’t just accessories to culture or windows that we consume things through; they are collaborators, gateways, and molds…the idea of a personal computer had to be invented, manufactured, and marketed. We had to imagine computers as personal machines.”</blockquote>

This is an important point. We could live in a world where computing is a public works — where terminals to central processing work like telephones used to. You can pick them up or put them down, but nothing inside of them is yours. But we don’t live in that world. As soon as the first computer booted up in the first home, the computer became a personal object. And when an object becomes personal, it is difficult to leave it behind. We want it with us.

Perhaps that one thing — a simple desire for a personal machine — set us on the course we have followed since. Not Moore’s Law, not Capitalism, but personhood.

Later, in the same post, Chayka writes of the Palm Pilot — an early attempt at portable computing — that, despite it not providing much in the way of “fun” features for a kid, there was still an “ineffable appeal to holding a gateway to a digital world in your hand.”

A world. There’s that word again.

Why a world? There is a sense of dimensional transcendence to computers. As C.S. Lewis wrote of the wardrobe, “It’s inside is bigger than its outside.” In the early days of mobile computing, it was hard to not compare the capaciousness of a computer you could carry with you to something like a book. Of both you could say their insides were bigger than their outsides, but when it came to information, you’d have to settle for figurative capaciousness in a book; their actual contents are literally cover to cover. A digital machine’s contents are an entirely different thing.

In the time of the Palm Pilot, a tiny door to a vast digital world was more powerful as an idea than a tool. The digital world just wasn’t as big back then as it is now. But to Chayka’s first point, we built the digital world using these little devices that didn’t do very much. We made it worth the journey. And meanwhile, the object was our companion, and inside was a tiny, personal digital world — our notes, our messages, our few digital texts. It was not much, but it was ours."

...

"Many of the examples I’ve looked at so far align with my ideas of what makes a machine personal because they were designed with limitations imposed upon them, and many of the examples I’ve discussed that no longer feel personal have been designed to surpass those limitations. If machines were designed to be more personal, we’d have very different machines.

Sometimes it feels like it is simply a matter of whether a machine is connected to the internet or not. But of course it’s more than that. It’s as much about what we do with our machines as it is about what they were designed to do.

I think we can still experience the personal machine by choosing to experience a machine that way.

In a way, the continued popularity of vinyl is a good example of this. For the same price as a single record, you can get several months of access to more music than you could ever hear in that time. Still, some people choose records over digital files. It’s too easy to dismiss this as an affectation. It’s a choice to experience music in a particular way. It’s also a choice of a personal machine — a record player rather than a phone.

One benefit of personal technology reaching the maturity it has is the abundance of choices. It may seem like you must use an iPhone — perhaps everyone you know and care about is group messaging with iMessage — but you can choose something else. Every choice has benefits and costs. Ten years ago, I chose to leave Facebook. The benefits were many; the costs were not having easy access to where people I cared about shared information I wanted to know. A few years ago, I stopped using an e-reader — I had used a Kindle, and then a Kobo, both great machines. The cost was no longer being able to send articles from the web to my machine and reading them, as well as books, in bed. The benefit was not having too many choices in front of me when I just want to read one thing. I went back to the printed book. You could say that’s as much of an affectation in 2023 as playing a vinyl record. Maybe. But it’s a choice.

I haven’t owned a laptop for many years. My primary machine is a Mac Mini set up in my home office. The cost is I can’t work from my couch or the local coffee shop. The benefit is I have some separation in my life between work and not work.

For me, these choices turn using the same machines everyone uses into a more personal experience."

...

"I also notice that when I look at these older machines and the old media they use, I often find myself feeling like I’m looking at a door to a world. I look at a book — there’s a world. Every playable disc in our house — each a world.

Once you become accustomed to worldspotting, you can see them in anything. Every object is a world.

In the World; of the Worlds

Perhaps the days of personal machines are over. Maybe the complexities that Mau and his cohort wrote about are not safely reducible. Maybe we can’t decomplexify the world of things. Maybe. And if we can, I wouldn’t dare imagine it could happen quickly.

But if we can, where do we start? What do we look at? What do we use again, despite there being sleeker, faster, frictionless options available? What limits do we embrace so that we can re-balance the human with the machine?

I have spent the last few years slowly disconnecting in various ways. I’ve chosen to use things that only do a part of what readily available alternatives do and more. I’ve chosen to stop using some things altogether. I have found that these choices have enhanced my experiences because they’ve supported true insight; they’ve helped me be more aware of what I’m doing, why I’m doing it, and who I am becoming. I have found that they change the world because they change my world.

Jung said that in each of us is another. I think that in each of us is another world. A good personal machine reveals that world and helps us shape it."]]></description>
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    <title>How to wander | Psyche Guides</title>
    <dc:date>2023-04-28T16:52:10+00:00</dc:date>
    <link>https://psyche.co/guides/how-to-wander-in-a-world-that-values-purpose</link>
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<item rdf:about="https://craigmod.com/ridgeline/157/">
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    <dc:date>2023-03-08T00:26:19+00:00</dc:date>
    <link>https://craigmod.com/ridgeline/157/</link>
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<item rdf:about="https://www.acollectedman.com/blogs/journal/disciplines-influenced-watchmaking">
    <title>Disciplines That Influenced Watchmaking – A COLLECTED MAN</title>
    <dc:date>2022-07-16T01:03:37+00:00</dc:date>
    <link>https://www.acollectedman.com/blogs/journal/disciplines-influenced-watchmaking</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Over the course of horological history, we have seen a multitude of innovations. These have ranged from the mighty to the miniscule, whether it be improving mechanical efficiency or an advancement in the materials that make the inner workings or the outer cases of a watch.

While we tend to mark this progress over the centuries in individual innovations within horology, it is obvious that this industry, like any other, has never existed in a vacuum. In fact, the form and function of our timekeepers have been shaped by the forces of our constant progress as a species. Every now and again, when the winds of change have blown stronger than usual, clock and watchmakers have been forced to reimagine the very meaning of their trade. Often when talking about horological innovations during what is a significant span of time, we tend to lose perspective of the wider world that made them possible.

We will consider some of the disciplines, from navigation to aviation and astronomy to metallurgy, that have time and again lent key technical innovations to horology. We will consider some of these key disciplines to the exclusion of one notable example: motoring. This is not because we are discounting the scale of the discipline’s influence on horology. On the contrary – we think that motoring has had such an influence that its connection to horology is now a foregone conclusion. This nexus has already been written and talked about at great length and detail. Instead, we will be offering overviews on the myriad of other influences that have left their mark on horology."]]></description>
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<item rdf:about="https://www.hodinkee.com/articles/a-love-letter-to-watches">
    <title>HODINKEE's Jack Forster on why he's a lifelong watch lover</title>
    <dc:date>2022-02-12T17:24:26+00:00</dc:date>
    <link>https://www.hodinkee.com/articles/a-love-letter-to-watches</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[""The heart has its reasons, whereof reason knows nothing." –Blaise Pascal

People sometimes ask me (less often than you'd think) when I first got interested in watches and the truth is, I don't remember. It's sort of like asking a restaurant critic when they first got interested in food, or an art critic when they first got interested in art. Maybe there's a Saul-on-the-road-to-Damascus moment when you sit back from your desk at your nine-to-five and exclaim, "Dear God! I must become an art critic, or die in the attempt to become one!" But in general, I think it's something you sort of grow into, and it's only in retrospect that you realize there were early warning signs.

Another question people ask me, and which I sometimes ask myself, is, "How on earth is it possible to spend your life, day in and out, writing about watches? Don't you find the subject too narrow, too irrelevant to the deeper problems of life and the fundamental nature of human character? Why don't you write about culture, or science, or history, or art? Or cars, which are so much, well, bigger? What kind of job is this for an alleged grown-up? What the hell's wrong with you?"

The short answer, I think, is that watches are interesting. The longer answer is that they are interesting in so many different ways, that you can, in fact, spend your entire professional life (and an embarrassing amount of your non-professional life, for that matter) writing about watches, and thinking about watches, and learning about watches.

First of all, watches (and clocks; let's assume from here on in that I mean both when I say "watches") are meant to tell the time, and to do it as precisely as possible. When I look at a watch, I see a lot of different things, but one of them is that a watch is a physical incarnation of an attempt to solve a problem in physics, with the practical art of mechanics. I also see the whole five hundred year history of attempts to improve on the work of those who came before. (All those names … Galileo, Huygens, Hooke, Breguet, Le Roy, Berthoud, Arnold, Harrison … my heroes.) A watch at its most basic is just a device for keeping an harmonic oscillator oscillating and counting the oscillations, but how you get from the idealized mathematical model of an harmonic oscillator to an actual working watch is what makes technical watchmaking endlessly fascinating.

There is, in fact, an almost tragic quality to the aspirations of a watch – it strives to approximate the ideal as much as possible, but all it can do is approach it, more or less asymptotically. You can get close, but by definition you can never get there. Things like magnetism and temperature are foes that can be battled, but strive though you might you will never defeat the laws of thermodynamics, and entropy will as surely defeat your most heroic attempts at precision as it will cause the heat death of the universe.

Secondly, watches are intimately intertwined with human history. Let's take, for instance, the evolution of great seafaring empires in Europe. Before the development of practical marine chronometers, international trade and exploration was often a matter of staying relatively close to shoreline landmarks, combined with dead reckoning and the use of a compass. This meant that crossing long distances over the open ocean could be very dangerous as these methods often yielded inaccurate results. With the invention of marine chronometers it suddenly became possible to know your position to within a few miles. If you didn't have marine chronometers, you didn't have a real blue water navy and you didn't have a blue water merchant marine, either. Even today, when the boxed, gimbaled ship's chronometer has given way to GPS, you still need accurate clocks – behind the GPS system are atomic clocks that keep the whole thing working

Thirdly, watches are deeply connected to culture through their evolution in design, as well as the decorative arts that have been lavished on them. The list of crafts which have been applied to watches is almost endless – engraving, relief engraving, marquetry, all the different forms of enameling, gold- and silversmithing, and even more modern techniques like laser engraving. And lest we forget, there is gem cutting and setting – horological gem setting is usually unappreciated by many self-described collectors and enthusiasts but it has its own unique set of techniques and challenges, well-worth understanding (to say nothing of the enormous amount to learn about precious and semiprecious gems and minerals).

And lastly, behind the watches are always people.

There are, as a general rule, easier ways to make a living than making watches. As in every other field of human endeavor, you can find cynicism, intellectual laziness, venality, and unimaginative risk-averse decision-making in watchmaking, but you can also find a disproportionate number of people who care, very deeply, about what they are doing. The wildly imaginative work of people like Max Büsser, the obsessive perfectionism of people like Philippe Dufour, the patient repetitive work a craftsman puts into making heat-blued steel hands at Grand Seiko, are just a few instances of just how much watchmaking is an activity that connects us, through timepieces, to people of enormous dedication and talent, even if we never know their names.

If you want to write about watches, you should have a solid grasp of classical mechanics and how the laws of physics have shaped the efforts of watchmakers over the years. You need to understand practical mechanics, and you need to have a general familiarity not just with the history of watchmaking in Switzerland, but also around the world, as well.

You need to understand the evolution of calendars and timekeeping, a grasp of basic naked eye astronomy doesn't hurt, and neither does knowing something about basic chemistry and nuclear physics so you can understand how things like quartz watches and atomic clocks work. It helps to have an eye and ear for both past and contemporary cultural trends and venues in which watches play an important role, and it's very helpful to know something about the history of art, as well – and, God knows, the history of luxury and what it means.

And on top of all that (and that list is hardly comprehensive), if you want to write about watches, you have to understand that writing about watches is, like any other kind of writing, a craft which takes, by and large, an enormous amount of practice and sometimes very unpleasant self-analysis if you want to get good at it. Oh, and by the way, being able to take a decent photograph doesn't hurt either (and neither does speaking a second language. Start with French).

So that's why I love watches and love writing about them. Writing about watches is writing about culture, and science, and history, and art … and human nature, too. You can do it for a lifetime and never get to the bottom of the subject, and the only limit to the richness of the experience of being a watch writer or enthusiast, is your curiosity."]]></description>
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<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://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>
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    <dc:creator>robertogreco</dc:creator><description><![CDATA[[audio-only version: https://hkw.de/en/app/mediathek/audio/78442
https://soundcloud.com/hkw/catherine-burke-colin-ward-ov ]]]></description>
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<item rdf:about="https://www.archdaily.com/946090/designers-and-planners-take-note-peoples-fondest-memories-rarely-involve-technology">
    <title>Designers and Planners Take Note: People’s Fondest Memories Rarely Involve Technology | ArchDaily</title>
    <dc:date>2020-09-06T15:20:57+00:00</dc:date>
    <link>https://www.archdaily.com/946090/designers-and-planners-take-note-peoples-fondest-memories-rarely-involve-technology</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[original post: https://commonedge.org/designers-and-planners-take-note-peoples-fondest-memories-rarely-involve-technology/ ]

“As planners who regularly engage everyday citizens in the planning process, we like to start by having people build their favorite childhood memories with found objects. Most often, these memories are joy-infused tales of the out-of-doors, nature, friends, family, exploration, freedom. Rarely do these memories have much to do with technology, shopping, driving, watching television, and so many of the other things that seem to clutter up our daily lives. But then again, these are folks who have known a world that has been—at least for part of their lives—screen- and smartphone-free. 

Occasionally, an older workshop participant will say, “I’m really worried about the younger generations—that their only childhood memories will be from their phones and iPads.” One woman went so far as to say we would have to change the workshop format for young people altogether, as their memories would eventually all be the same: screens, video games, social media.

But is this true? What do young people who’ve grown up in a screen-filled world build for their favorite childhood memories? 

Recently, before shelter-in-place, we went to Soka University of America (SUA), in Aliso Viejo, California, United States, to lead an interactive model-building workshop for an undergraduate urban planning class consisting of students aged 19 to 23. Course creator and professor Deike Peters explained that the class aims to not only “let students who are primed and prepped loose on prime planning content” but also introduce them to “the actual experience of the practice of urban planning.” Thus Peters had invited us in to not simply show students one way of conducting community outreach and visioning, but also to engage those students in that process itself. Through this process, we unexpectedly gained a window into how these young people see and understand their lives in an internet-soaked world.

After giving a bit of background about what urban planners and designers do, we set off an international group of students (hailing from Switzerland, Ethiopia, Nepal, Japan, and the U.S., to name a few) to mine their memories and make them come to life through the found objects they picked out of a massive pile of, well, junk, at the front of the room. 

One workshop participant was Rodas Bekele, originally from Addis Ababa, Ethiopia, and currently a junior at SUA, who is pursuing an environmental studies degree with a focus on urban planning. In sifting through the found objects on the front table in the classroom to figure out what to build for her memory, Bekele came upon fake yellow flowers—“very similar to the flowers we would pick out for New Year’s Eve and the season,” she said—and they become the grist for her model-building.

After taking about five minutes to build their models, Bekele and her classmates had a chance to share both their models and accompanying memories. As each student spoke, a picture began to emerge of shared and recurring themes that, more often than not, transcended national identity and biography. 

“There used to be open fields where I lived—now it’s basically suburbia,” Bekele said of her model. “And there used to be a bunch of flowers there. So my memory was of my family, my mom and my sister. We would go to the yellow flowers and pick them. We would bring a soccer ball and just play around in the mud, pick flowers, rest up a little bit. That’s the memory I was trying to recreate. The soccer ball on the side and the yellow flowers.” 

Another student, Eiji Toda, of Osaka, Japan, described how he became interested in urban planning after going from intensely urban but walkable and socially connected Osaka to Orange County and living at SUA, a beautiful campus but one that is completely inaccessible to public transit, a walk to a town center, or to a broader community.

For the model of his favorite childhood memory, Toda built something very much in contrast to his everyday reality at SUA: a local bus station in Osaka and the streets connecting to it. While the station was the focal point of the model, its presence he highlighted because it served as a springboard for experiencing a wider world. And for him, part of that wider world was the feeling of his senses opening up. 

“The station is surrounded by a lot of trees, and actually the boulevard right there has a lot of big oak trees,” he said of the trees depicted in his model. “In the summer, there are lots of cicadas in the trees, and they are really loud, and that kind of soundscape is involved in the place. I could really feel the cycle of the seasons there. I would go to school every day, regardless of the season—rain, winter—so I was able to see the changes in the trees, and the changes in temperature and humidity.”

 Discovery, freedom, nature, sights, sounds, family, friends, our senses awakened: all recurring themes within not just Toda’s and Bekele’s memories and models, but within all of the students’ memories and models. These are, in fact, essentially the same memories and models of older participants in our workshops as well. 

When we relay stories like Bekele’s and Toda’s to planners and inquiring minds, the reaction is most often along the lines of, “Well, that was then, this is now.” In other words, regardless of these memories, the cities these students want to live in now must certainly be awash in technology.

To follow the exercise on building their favorite childhood memory, we had the students do just that: work in small groups to build their ideal cities. We set no parameters for what they were to build other than that we wanted them to build the cities they would like to live in. The groups by and large contained cultural cross-sections of students, and each group was able to return to the table in the front to mine the pile of found objects for elements for their new cities. 

Subina Tapaliya, who grew up in Piple, Nepal, and her teammates Kazumi Takaishi and Yu Fujiwara, both from Japan, pulled from their experiences back home and in Aliso Viejo, to create a hybrid city that addressed needs lacking in each. “I built schools and hospitals in the model because back in my hometown, we did not have those facilities, and we suffered,” said Tapaliya of their model. “But we also built in public transportation, because here in Aliso Viejo there is none. You need a car.” 

To the mix of transportation and social infrastructure, the group also added in bike lanes and green spaces for gathering, elements Tapaliya wished existed in her actual physical environment. “I realized that if there were bike paths, or more accessible public transit in Aliso Viejo, maybe I would be out and about more.” 

Toda’s group—all from Japan—built a Japanese-style shopping street but made clear that an exact urban neighborhood equivalent did not exist in the U.S. “It’s a type of space that’s not really present here,” said Toda, “so I wanted to reconstruct that, and also deconstruct it—to figure out what made it work.”

To those ends, his group built a train station, a shopping street, and the neighborhood that extends out from that core. “Alongside the shopping street, there are parks and schools, and all the things that you need. We tried to put in leaves, so you could feel the transitions across the seasons,” said Toda. While the train and shopping infrastructure could constitute “technology,” no one in his team built in WiFi, or phone-charging stations, or any overt displays of technology that have become hallmarks of 21st century life. 

In fact, after we had the teams report back on what they had built for their ideal cities, we asked them to pull out not simply recurring themes from the models—walkability, nature, outdoor activities, proximity, no parking, weekends and relaxation—but also those elements everyone distinctly omitted from their models. To everyone’s surprise, what they subconsciously omitted were so many elements that seem to be so intertwined with their everyday lives today: cars, technology, homework, money, television, and freestanding buildings sitting within seas of parking lots. When we pointed out that no one had built WiFi or phone-charging stations, either, several students said, “Oh, my god, we didn’t.” 

Of course, it could be argued that things like WiFi and outlets for charging phones are so ubiquitous in these students’ lives that they just assumed it was a given these elements would be in their ideal cities. But is this so? When we asked Toda to reflect after the workshop on why his group hadn’t built technology into their city, he took a minute to ponder the question and replied, “We reconstructured our city based on our own memories, and less on something we have been exposed to now.” Yet in reflecting further, he realized his group had equally pulled from their experiences of modern-day Japan.

“The basis of the city should be the environment: the people, the environment, the sounds,” he said, “and the technology can enhance parts of it, but in Japan technology is not a central part of the city. For example, we have an app that helps us navigate the transportation system, but it’s not the main part of my transportation experience, but an aide that lets me explore that world.” 

Bekele had a similar response. “After the first exercise, I was in the mentality of ‘fun stuff, memories, family, togetherness,’” she said, “and I think that’s what we truly value, and we carried that over when we designed the group community, this feel-good place. So technology didn’t really come up because if we’re going to come together, we’re going to talk to people rather than thinking about charging our phones, and WiFi.”

When she reflected further—in particular on what her group did not build—she homed in on physical connectivity as a core element of their ideal city. “Our model city wasn’t very car-based, and I think that’s an important part. I’ve seen the highways in the U.S. and how huge they are, and how there is no one on the street walking,” she said. “So, looking at our model, things were close together, they were human-scaled. You could walk to certain places, or bike to certain places.”

And as for technology itself? Bekele saw a role for it, but, like Toda, saw it as a tool for enhancing one’s life but not life itself. “I feel like that other stuff, other than accessing your maps [app] and going places, that stuff comes second to being with other people,” said Bekele.

Since the SOKA workshop, we have led many more workshops, with a range of ages (including kindergarteners), and 99% of their memories have been in line with all the recurring themes of the SOKA students. Sure, one student recently built playing Minecraft at home, and another, a third-grader in Los Angeles, announced that he would be building a video game system for his favorite activity in the city. Yet when he built his activity, he ended up building a park. “I said I was going to build a video game system, but I built a park instead. I don’t know why!” he exclaimed, incredulous but also thrilled at the discovery.

It seems that when push comes to shove, what we value most—both way back when and now—are not the digital pursuits that occupy much of our time and attention, but rather the things that provide us a sense of comfort, belonging, joy. Things that offer up opportunity for discovery and exploration—of the physical and natural world. 

So where does that leave all of us, then, when our everyday infrastructure and frameworks for our lives neither reflect so many of our core values nor allow us to live out those values in meaningful ways? When it comes to young people, whose lives are increasingly dominated by programmed activities and little in the way of downtime and opportunities for boredom-induced discovery—the joys of a wandering mind—our observations reveal a true need for providing hands-on learning within and outside the classroom, and increased time for simply doing, well, whatever: ambling about, building a snow fort, gluing fake jewels onto wooden blocks, playing capture the flag down at the park, lying down and thinking while staring up through a tree.

Not only has no student ever built playing on a smartphone or tablet as their favorite childhood memory, no student has ever built going to soccer practice, an elaborately planned birthday, getting presents, or a debate tournament. What little simple, unprogrammed downtime they do have nowadays, that’s where their favorite memories are still created and found.”]]></description>
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<item rdf:about="https://twitter.com/kpanyc/status/1243968318832357376">
    <title>Prof. Kate Antonova on Twitter: &quot;As an academic mom on a 3-3 teaching load, CUNY salary in NYC, who spent the tenure track yrs supporting fam of 4 while husband was contingent, I've long since surrendered everything that can be surrendered: screen time, h</title>
    <dc:date>2020-03-29T22:56:04+00:00</dc:date>
    <link>https://twitter.com/kpanyc/status/1243968318832357376</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[“As an academic mom on a 3-3 teaching load, CUNY salary in NYC, who spent the tenure track yrs supporting fam of 4 while husband was contingent, I’ve long since surrendered everything that can be surrendered: screen time, hygiene standards, cleaning, cooking, laundry, etc. (Thread)

Like most Americans, eating out regularly is a foreign concept. Like most, we’ve barely been able to afford childcare, only the minimum to barely keep our jobs. Like most, we don’t have savings, we can barely make our mortgage & commute costs (still lower than rent in NYC).

This was the norm BEFORE we hit a global depression in the middle of a global pandemic w a narcissistic idiot in charge. We’re personally doing better rn thanks to husband finally getting a t-t job, but we’re still crippled by student loans & childcare costs, like most ppl.

Yet, if I’m reading my Twitter feed correctly, we’re all trying to continue mostly unnecessary work, wearing ourselves to a nub, unhealthily overcompensating for crushing anxiety, not to mention mostly assuming kids can absorb the damage we obviously can’t handle ourselves.

More screen time? Hey, I’m the most screentime lax mom in the world, I’ve had to be (see recent tweet re: preschool & GoT), but have you met a kid of any age after even a few hrs of screen time, let alone days or weeks or months? Whiny, crabby, physical aches & pains, sleepless.

Just like us, kids feel horrible w too much screen time, but unlike us they’re not developmentally capable of managing. They need responsible adult childcare. This is not a need that goes away in a crisis. Why are we testing that need? So parents can get more screen time?

Why are we filling our lives with bajillions of unnecessary emails & zoom meetings to pretend we’re “productive,” compounding the ill effects of crisis? (I’m not talking about actually necessary work here - healthcare work, medical research, delivery & grocery work, etc)

There are going to be a lot of reasons this virus spreads & people die unnecessarily in the coming weeks. Certainly Drump’s inaction, lies & stripping of federal govt are chiefly responsible. Goddamn spring breakers, too. Not to mention the effing eugenicist governors.

Lower on the list but definitely a factor is that in addition to staying home, washing hands & wearing masks we should all be RESTING if we can, to prevent spread, to improve chances of recovery & eventual herd immunity. It took us weeks to admit masks help; NO ONE mentions rest.

God forbid Americans acknowledge there are limits to the human body and to economic growth: we’d rather kill ourselves with the lie. We’ve always been a civilization defined by our devotion to living a fantasy.

I know what some of you are thinking: but this work or that work would do this or that. You’re still trapped in a nonsensical, lying mindset. Work is not holy. Work does not liberate. Work does not heal. Work does not bring you closer to God or to wealth or to happiness.

In the most pragmatic view, increased work does not incr productivity. You know what does increase productivity, solve problems, liberate people & bring wealth, health and happiness? Balance. Rest. Play. Art. Exploration. Reflection. Exercise. Nature. Connection.

I’m seeing teachers waste hours bc kids overslept & they were told to check on every kid who didn’t sign in by 9. I’m seeing a wonderful daycare face going under while kiddos miss their friends. I’m seeing students, friends, colleagues suddenly w/o income, still needing rent.

That’s nothing to the healthcare workers, delivery people & grocery clerks risking their & their family’s lives, most for a wage that was never enough to live on. Certainly my own little dilemmas of how the hell to record lectures or grade w kids climbing on me is minor.

So let’s imagine a totally different response to this virus from all of us who are paying attn, staying home, & trying to help (as opposed to the effing monster in the WH). Imagine if we called a mulligan on EVERYTHING - bc THAT’S ALREADY THE REALITY. 

NORMAL. ALREADY. GONE.

Imagine we all at once stop doing work emails or zoom meetings while our kids sit out a crisis with YouTube in place of parent & all of us alienated in front of screens. Imagine the teachers stop teaching, students stop trying to learn, offices stop officing, brands stop selling.

I know you have objections. They pop up in my head, too. They’re the nefarious brain worms created by our culture of productivity. Try imagining just saying STOP. Taking a few minutes to imagine this won’t cost you anything and you’re on Twitter anyway. What happens?

Use email & zoom only to connect w loved ones, to connect kids w lonely seniors so parents can get a rest, to connect donors w the needy. Execs & lawyers & teachers & owners use the time to rest, exercise, reflect, consider & come back later w balanced, deeper ideas.

Workers & students & kids use the time to recover, breathe, play, come back later ready to work & learn more deeply. 

Everybody relearn how to consider health first, how to think long-term, how to prioritize.

This only works, of course, if there’s emergency UBI, universal healthcare, freezes on rent, mortgage, utilities, all deadlines suspended, all policies adapted. We could use the time to think ab why we didn’t already have those things, how diff we could be if they were permanent.

Every objection you have could be figured out humanely, if we can let go of the pretense that any normality can or even should be held on to: the virus–a literally completely impersonal external force we cannot (yet) control–has ALREADY taken normal away.

Stop trying to pull normal back from the abyss - it’s gone. Instead we need to turn around and survey what we’ve got on our hands now and consider how best to adapt. As my #preschoolersays: ["Let it go, let it go!" Frozen GIF]“]]></description>
<dc:subject>kateantonova 2020 academia highered highereducation tenure economics precarity children parenting covid-19 coronavirus ubi universalbasicincome pandemics healthcare medicareforall rent costofliving childcare globaldepression studentloands studentdebt screentime email zoom labor work productivity slow small us culture society canon health happiness wealth inequality rest balance play art exploration reflection exercise nature relationships connection teaching howweteach sleep mentalhealth thenewnormal normal workaholism priorities pandemic</dc:subject>
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<item rdf:about="https://www.nytimes.com/2020/02/07/opinion/sunday/cressida-cowell-children-nature.html">
    <title>Opinion | I Had a Gloriously Wild Childhood. That’s Why I Wrote ‘How to Train Your Dragon.’ - The New York Times</title>
    <dc:date>2020-02-12T07:09:47+00:00</dc:date>
    <link>https://www.nytimes.com/2020/02/07/opinion/sunday/cressida-cowell-children-nature.html</link>
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    <title>Tokyo Totem | トーキョー・トーテム</title>
    <dc:date>2019-04-24T19:23:36+00:00</dc:date>
    <link>http://www.tokyototem.jp/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["This publication is the result of a collaboration between international and Japanese authors and makers from various disciplines, ranging from art to social science and from urban studies to design. What they have in common is their interest and fascination with cities, and in particular Tokyo’s urban culture.

This eclectic group grew from an international urban research and exploration workshop on Tokyo organised by Amsterdam-based studio Monnik and hosted by Tokyo’s SHIBAURA HOUSE exactly 3 years ago, on 30 October 2012. Everybody’s efforts resulted in the essay’s, maps, photo essay’s, collage’s, poem’s, manga’s, illustrations and observation’s that have been collected in this book that is hard to categorize. It is called a guide, not because it helps you to find places to see, or places to eat or drink, but because it helps you to read and see the city differently. Each contribution let’s you experience a different city. You may look at the city through the eyes of a bathhouse connoisseur, a host, an architect, a topographer, a flaneur, a konbini anthropologist, a foreigner, an artist or a child. In a way each author is a guide, and thus this guide book is reality 46 guidebooks. Amongst your ‘guides’ are social design researcher Atsushi Miura, Tokyo Urban Basin Society president Norihisa Minagawa, architect Julian Worrall, architect Julian Worrall, artist Arne Hendriks, editor Kohei Fukazawa, architect Yasutaka Yoshimura, visual artist Jan Rothuizen, urbanism professor Christian Dimmer, anthropologist Gavin H. Whitelaw, bathhouse connoisseur Greg Dvorak and many others.

Learn more about this book, and check out the general information, table of contents, introduction and some selected sample material from the book. And come to the book launch and the opening of the Tokyo Totem on October 30th."

[See also:

"Tokyo Totem, the ultimate guide for the befuddled Tokyoite, has finally come to the rescue"
https://www.timeout.com/tokyo/blog/tokyo-totem-the-ultimate-guide-for-the-befuddled-tokyoite-has-finally-come-to-the-rescue-040416

https://www.ideabooks.nl/9784904894286-tokyo-totem-a-guide-to-tokyo

"Among cities, Tokyo in particular seems to baffle foreigners. This subjective guidebook to the spectacular Japanese metropolis intends to help you navigate and read the city in a way that evokes both a sense of adventure and a feeling of belonging. A whole spectrum of seasoned urban explorers invites you to look, read, and experience Tokyo differently, offering insights and imaginative perspectives to understand the city, its facets, and wealth of features. From a tour of Roppongi’s uneven topography, konbini food offerings, and exploring bathhouses, to following the rhythm of temporal urban totems, this densely packed book guarantees an alternative take on Tokyo."

https://www.amazon.com/Tokyo-Totem-Guide-English-Japanese/dp/4904894286

"This publication is the result of a collaboration between international and Japanese authors and makers from various disciplines. What they have in common is their interest and fascination with cities, and in particular Tokyos urban culture. Everybodys efforts resulted in the essays, maps, photo essays, collages, poems, mangas, and observations that have been collected in this book that is hard to categorize. It is called a guide, not because it helps you to find places to see, eat or drink, but because it helps you to read and see the city differently. Each contribution lets you experience a different city. You may look at the city through the eyes of a bathhouse connoisseur, a host, an architect, a topographer, an artist, or a child."]]]></description>
<dc:subject>tokyo japan books exploration multimedia mixedmedia citie urban urbanism</dc:subject>
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    <title>Optimistic Nihilism - YouTube</title>
    <dc:date>2019-03-02T20:32:01+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=MBRqu0YOH14</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The philosophy of Kurzgesagt."

[See also: https://en.wikipedia.org/wiki/Kurzgesagt_%E2%80%93_In_a_Nutshell
https://standard.tv/collections/in-a-nutshell/ ]]]></description>
<dc:subject>via:lukeneff philosophy optimism nihilism science kurzgesagt 2017 size scale time life living purpose universe principles humanism humanity exploration feelings utopia knowledge biology consciousness</dc:subject>
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<item rdf:about="https://tinyletter.com/gnamma/letters/gnamma-7-the-teacher-s-imposition">
    <title>Gnamma #7 - The Teacher's Imposition</title>
    <dc:date>2019-02-20T22:24:56+00:00</dc:date>
    <link>https://tinyletter.com/gnamma/letters/gnamma-7-the-teacher-s-imposition</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The world is full of bad teaching. And somehow we all get on with it, of course.

Still, I have found it typical that people perk up when they think of their favorite, electrifying teachers. These are people we think about for the rest of our lives, largely because they inform our interests and ways of looking at the world (ontology, value systems, networked ideas, etc) at early ages. Let's talk about teachers, and I want to be clear: everyone directs teachable moments in life (especially guardians and managers). I'm referring to people in explicitly assigned roles to teach. (This thus puts these thoughts largely outside of the realm of unschooling [https://www.are.na/roberto-greco/unschooling ], I think, but I do not know enough to say—would love to understand more in this realm.)

"Why Education is so Difficult And Contentious" [https://www.sfu.ca/~egan/Difficult-article.html ]: TL;DR because when we say education we mean indoctrination, and everybody—teacher, parent, politician, etc—has different opinions on how people should be. It's touchy to talk about forced indoctrination because it both engenders fascism and is the founding idea behind of public education. There are obviously gradients of imposition on the student. Illich supports the need for the pedagogue to connect student to resources, but not much more—a fairly "hands-off" view of the teacher by today's standards. Still, the connective moments are going to reflect the ideology of the pedagogue. 

Are teachers necessary for learning? No. Learning is between the student and the world. A quippish phrase I heard a couple times working at RenArts [https://www.renarts.org/ ] was "you can lead a horse to water but you can't make it think." But education (structured learning with others) requires teachers, basically by definition. Teachers "lead to water" and apply social pressure to encourage partaking. 

What makes for a good teacher? Well, I maintain the chief goals of structured learning are to build agency and cultivate awareness in the student (and maybe share specific skillsets). So, what kind of teacher builds agency in the student and cultivates awareness to the extent possible? Some modes of teaching quickly follow: I believe the teacher needs to support open-ended, coherent, and honest activities. 

Without open-ended-ness, we lose exploratory and self-actualizing potential. Without coherence, students can get mired in lack of knowing where to start or end (but a little ambiguity isn't bad). Without honesty we lose touch with the world and how to work with our lived realities. By "honesty" here, I mean to be honest about application of material, about history of thought, and about context of the activity itself; as such, the best teaching acknowledges and works with its own context (/media) and the needs of the people in the room. 

I am trying to recall where I heard the phrase that "teaching is making space." The teachers frames the room, the activities, the needs, the expectations, the discussions. In doing so, they embed indoctrination into the teaching. In the effort of honesty in the classroom, these framing decisions needs to be made explicit for the students. The effective teacher must constantly wrestle with their internalized epistemologies and ego in seeking to constantly be aware of and share their own framings of the world. (When I ran a workshop for the Free School of Architecture in Summer 2018 on alternative learning communities, I mostly brought with me a long list of questions to answer [https://www.are.na/block/2440950 ] in seeking to understand how one is framing a learning space.)

This need for constant "pariefracture" (a breaking of the frame, expanding the conceptual realm, or meta-level "zooming out"—my friend D.V.'s term) in teaching gave me quite a bit of anxiety, as a teacher, until reading Parker J. Palmer's book "The Courage to Teach," in which he outlines six paradoxes of teaching. [https://www.are.na/block/1685043 and OCRed below ] I like these paradoxes in themselves, but the larger concept that resonated with me was the ability to treat a paradox not as a dead end (as one does in mathematics, generally) but rather as a challenge that can be pulled out and embraced as the dynamo of an ongoing practice. Teaching never resolves: you just wake up tomorrow and give it another shot. 

I think what I'm circling around, here, is how much of learning from a teacher involves inheriting their ways of looking, concurrent with the teacher's ways of looking being in constant, self-aware flux. We inherit snapshots of our teachers' worldviews, blend them together over our own substrate of grokking the world, and call it education."

[From Parker J Palmer’s “The Courage to Teach”:

“When I design a classroom session, I am aware of six paradoxical tensions that I want to build into the teaching and learning space. These six are neither prescriptive nor exhaustive. They are simply mine, offered to illustrate how the principle of paradox might contribute to pedagogical design: 

1. The space should be bounded and open. 
2. The space should be hospitable and "charged." 
3. The space should invite the voice of the individual and the voice of the group. 
4. The space should honor the "little" stories of the students and the "big" stories of the disciplines and tradition. 
5. The space should support solitude and surround it with the resources of community. 
6. The space should welcome both silence and speech. 

I want to say a few words about what each of these paradoxes means. Then, to rescue the paradoxes and the reader from death by abstraction, I want to explore some practical ways for classroom teachers to bring these idea to life.“]]></description>
<dc:subject>lukaswinklerprins teaching howweteach parkerpalmer education paradox 2019 indoctrination ivanillich exploration boundaries openness hospitality individualism collectivism community silence speech support solitude disciplines tradition personalization unschooling deschooling canon</dc:subject>
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<item rdf:about="https://www.donottouchblog.com/podcast/black-mountain-college">
    <title>26 | Black Mountain College — Do Not Touch</title>
    <dc:date>2018-10-23T21:15:19+00:00</dc:date>
    <link>https://www.donottouchblog.com/podcast/black-mountain-college</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["We're going back to school and learning about an arts college in the mountains of Asheville, North Carolina. For 24 years the college attracted famous teachers and produced students who would go on to achieve their own fame. I have two guests speaking to me about Black Mountain - Kate Averett from the Black Mountain College Museum + Arts Center and Professor Eva Diaz from Pratt Institute."]]></description>
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<item rdf:about="http://radioopensource.org/black-mountain-college/">
    <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="https://itunes.apple.com/us/app/derive-app-get-lost-in-your/id1159726913">
    <title>‎Dérive app on the App Store</title>
    <dc:date>2018-07-29T23:37:39+00:00</dc:date>
    <link>https://itunes.apple.com/us/app/derive-app-get-lost-in-your/id1159726913</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Dérive app is created as a simple but engaging platform that allows users to explore their urban spaces in a care-free and casual way. It takes the ideals of the Situationists and merges it with digital means in order to create a tool that allows for the exploration of urban space in a random unplanned way, as a game.

Too often in urban centers we are controlled by our day to day activities thus closing off urban experiences that exist around us. Dérive app was created to try to nudge those people who are in this repetitive cycle to allow the suggestions and subjectivities of others to enter into their urban existences."

[See also: http://deriveapp.com/s/v2/ ]]]></description>
<dc:subject>ios dérive applications situationist iphone walking exploration derive</dc:subject>
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</item>
<item rdf:about="http://www.jonbecker.net/are-we-overthinking-general-education/">
    <title>Are we overthinking general education? – Jonathan D. Becker, J.D., Ph.D.</title>
    <dc:date>2018-06-09T21:20:10+00:00</dc:date>
    <link>http://www.jonbecker.net/are-we-overthinking-general-education/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Many colleges and universities are trying to figure out new ways to tackle general education requirements. My own employer, VCU, has been undergoing an effort “to re-imagine our general education curriculum.”  The proposed framework that my VCU colleagues came up with isn’t bad, but it still feels like picking courses out of individual boxes and checking boxes to complete a checklist. It feels like what happens when universities try to be innovative and break out of boxes, but turf wars ensue and departments dig in their heels. The result is an overwrought compromise that doesn’t serve anyone particularly well.

Here is something I wrote on Twitter back in 2015.

[embedded tweet: https://twitter.com/jonbecker/status/670360697105174529

<blockquote>@gsiemens I seriously want to teach a course where all we do is read and discuss @brainpicker and @Longreads. </blockquote> ]

Imagine this learning experience: 1 faculty member with 20-25 students just reading and discussing the Longreads Weekly Top 5. They’d meet once a week, in a meeting room or a coffee shop or outside on a lawn or in the forest; it doesn’t matter. And they’d just talk about what they learned. And maybe they’d blog about it so they could expand their discussion beyond the designated class time and space and could get others outside the class to weigh in. That’s it; that’s the whole instructional design. No predetermined curriculum; very little by way of planning. Learning outcomes? How about curiosity, wonder, critical thinking? Those are your “learning outcomes.” I’d bet students would learn more by reading and deeply discussing those 5 articles each week than they would in most other tightly-designed, pre-packaged curriculum-driven course.

I would also love to involve students in a learning experience built around food shows like Alton Brown’s Good Eats. Seriously. Watch just the first few minutes of this episode. In just the first 3+ minutes, we get history (information about the Ottoman Empire), science (cooking and surface area), and math (computing surface area). In a show about kabobs.

[embedded video: "Good Eats S09E2 Dis-Kabob-Ulated"
https://www.dailymotion.com/video/x5skv9x ]

What if general education was more like this? What if students read Longreads and watched episodes of Good Eats as part of an effort around interdisciplinary studies?

And then there’s Anthony Bourdain. To me, Parts Unknown was, at its heart, educational media.

I’m not from West Virginia like Craig Calcaterra (see below) is. But, I spent a lot of time in that state doing field research at the end of the 20th century. When I watched the episode of Parts Unknown that Calcaterra shares, I felt like Bourdain had really captured what I had come to know about the state and then some. Watch the episode and tell me that you didn’t learn a ton. The way Bourdain juxtaposes New York City and his fellow New Yorkers with the “existential enemy” in West Virginia is classic Bourdain."

[embedded tweet: https://twitter.com/craigcalcaterra/status/1005077364131422208

<blockquote>Anthony Bourdain went to West Virginia last year. In one hour he did way better capturing my home state than 1,000 poverty porn tourist journalists with pre-written stories parachuting in from coastal publications have ever done. https://www.dailymotion.com/video/x6inwh4 </blockquote> ]

Parts Unknown is an interdisciplinary curriculum. It is about culture, food, history, politics, economics, etc. It’s about people.

[embedded tweet: https://twitter.com/ablington/status/1005056496609169409

<blockquote>Anthony Bourdain had one of the only shows on tv that tried with all its might to teach Americans not to be scared of other people.</blockquote> ]

And isn’t that what general education is?

Replace the word “travel” with the word “learning” in the following quote from Anthony Bourdain.

[embedded tweet: https://twitter.com/Tribeca/status/1005073364531269633

<blockquote>“Travel isn’t always pretty. It isn’t always comfortable. Sometimes it hurts, it even breaks your heart. But that’s okay. The journey changes you; it should change you... You take something with you. Hopefully, you leave something good behind.” — Anthony Bourdain #RIP</blockquote> ]

Maybe we’re overthinking general education in higher education. Probably, in fact.]]></description>
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<item rdf:about="http://mirukim.com/">
    <title>Miru Kim</title>
    <dc:date>2018-05-19T19:29:09+00:00</dc:date>
    <link>http://mirukim.com/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Miru Kim is a New York-based artist and explorer.  Her first series, “Naked City Spleen” is based on her exploration of urban ruins such as abandoned subway stations, tunnels, sewers, catacombs, factories, hospitals, and shipyards. Her next series, “The Pig That Therefore I am” juxtaposes her skin against the pig’s skin in industrial hog farms to explore the changing relationship between humans and animals.  Her latest series, “The Camel’s Way” has followed her journey to deserts around the world, including the Arabian Desert, the Sahara in Mali, Morocco, and Egypt, the Thar in India, and the Gobi Desert in Mongolia, where she lived with desert nomads, slept in caves, and photographed herself with camels.  

Miru's work has been highlighted by countless international publications and online media, and is now in public collections including National Museum of Modern and Contemporary Art Korea, Seoul Museum of Art, The Museum of Photography Seoul, Leeum Samsung Museum of Art, Borusan Contemporary Turkey, Addison Gallery of American Art, and The Francis J Greenburger Collection"

[Instagram: https://www.instagram.com/miru_kim/ ]

["For her dog from Arabian desert 🐪 follow @guernas"
https://www.instagram.com/guernas/ ]

[See all projects, performances, and writing (pig, camel, city).]]]></description>
<dc:subject>mirukim art artists animals human-animalrelations human-animalrelationships photography exploration cities urban urbanism morethanhuman pigs rats eels camels dogs nomads nomadism</dc:subject>
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<item rdf:about="https://www.youtube.com/watch?v=ScJVrV6bk1g">
    <title>Making art of New York's urban ruins | Miru Kim - YouTube</title>
    <dc:date>2018-05-19T19:18:23+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=ScJVrV6bk1g</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["At the 2008 EG Conference, artist Miru Kim talks about her work. Kim explores industrial ruins underneath New York and then photographs herself in them, nude -- to bring these massive, dangerous, hidden spaces into sharp focus."]]></description>
<dc:subject>mirukim nyc art body bodies rats animals subways photography mta cities urban urbanism morethanhuman multispecies infrastructure 2008 urbanexploration exploration speculativefiction decay</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:b680c2f86d3f/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:urbanism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:morethanhuman"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:multispecies"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:infrastructure"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:2008"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:urbanexploration"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:speculativefiction"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:decay"/>
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</item>
<item rdf:about="https://www.nytimes.com/2017/11/06/opinion/students-competition-unions-bargaining.html">
    <title>Competition Is Ruining Childhood. The Kids Should Fight Back. - The New York Times</title>
    <dc:date>2017-11-12T18:49:55+00:00</dc:date>
    <link>https://www.nytimes.com/2017/11/06/opinion/students-competition-unions-bargaining.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Like the crack of a starting pistol, November begins the official college application season. But for students, this race started long ago.

Many of today’s kids have lived their entire lives, from sunup until midnight, in a fierce tournament with their peers. (I was one of them. A decade after graduation, I still can’t think of a period when I’ve worked harder than in high school.) From kindergarten to 12th grade, schools brag about how “competitive” they are. That means it’s not enough for students to do their best. Whether in the classroom, on the athletic field or at home on the computer, they must always be better. Youth has become a debilitating endurance test.

The thing is, we don’t even really know what we are racing for, much less how to tone down the competition. And most people don’t seem to be benefiting from this frantic contest, either as students or as adult workers. Americans are improving themselves, but the rewards keep flowing uphill to the 1 percent.

Everyone tells students that the harder they work to develop their job skills — their “human capital” — the better off they will be. It’s not true. In fact, the result is the opposite: more and better educated workers, earning less.

An analysis in September of Census Bureau data by the Economic Policy Institute, a think tank, found that between 2000 and 2016 — years when many millennials first entered the job market — there was “little to no gain” in median annual earnings. This isn’t some limited fallout from the 2008 financial crisis; it’s a different type of phenomenon and part of a longer trend of wage stagnation that reaches back to the 1970s.

Educational achievement, on the other hand, follows a different trend. According to the National Center for Education Statistics, over the same period (2000 to 2016), the percentage of young people with a high school diploma or its equivalent passed 90 percent for the first time. In the same period, the portion of graduates seeking and obtaining both two- and four-year degrees increased consistently, and the percentage of people ages 25 to 29 with postgraduate degrees jumped to 9 percent from 5.

And this cohort of young Americans hasn’t only put in the classroom work — to say nothing of extracurricular activities and internships. This cohort of young Americans has also taken on incomprehensible amounts of debt in order to do it.

Despite what we’ve heard, money isn’t a reward America hands out for hard work. Not only is more education not leading to higher wages, there isn’t even a positive correlation between the two. If anything, the flood of human capital puts employers in a position to offer workers a shrinking slice of the pie and get more in return. Kids are getting conned. I got conned, too.

If enough students manage to master cutting-edge job skills, it will be great for the “economy,” but as workers they will find themselves rewarded with lower wages. The dynamic may seem counterintuitive but not totally unexpected. In the ’70s, the economist Gary Becker theorized that employers would shift the costs of developing human capital onto workers, from paid on-the-job training to unpaid schooling. He figured that, though they need skilled labor, corporations would be disinclined to pay for training since other companies could then lure away “their” human capital.

As training left the factory and the office for the classroom, it also meant that work could be shifted to children, who are mostly not eligible for wage labor but can, it turns out, do a whole lot of school. If firms want workers who can speak Mandarin or code Python, why should they pay trainees to learn when they can scare kids into training themselves? Within this system, all an individual kid can do is try to put a sufficient number of their peers between themselves and poverty.

There are some winners, but the real champions are the corporate owners: They get their pick from all the qualified applicants, and the oversupply of human capital keeps labor costs down. Competition between workers means lower wages for them and higher profits for their bosses: The more teenagers who learn to code, the cheaper one is.

The struggle for success has heavy financial and psychological costs for the participants. Constant competition has affected how young Americans see themselves in relation to the world. That’s why the United States has measured huge increases in youth anxiety and depression, as well as a sharp decline in social trust. If kids are told to find comfort in the idea that they are sacrificing their mental health now for security in adulthood, they are being tricked once more.

At the end of their journey into adulthood they aren’t reimbursed for their efforts. And in this winner-take-all economy, most of them just lose. They can’t increase the size of Harvard’s freshman class just by working harder; all they can do is drive one another to anxiety, depression, paranoia and exhaustion. That, and save money for their future bosses.

It doesn’t have to be this way. The kids don’t have to keep getting conned.

This system may work for a small number of bosses and shareholders, but it’s not in the interest of education in a broad, exploratory sense — and it’s clearly not in the interests of young people themselves. But even though older adults are ostensibly worried about the kids, policymakers will never scale back academic competition, and most educators and parents are understandably loath to tell children, “Don’t work so hard.”

If change is going to come, it should come from students, in the classroom.

As individuals, students have no choice but to compete. But together, there’s no telling what kind of power they could exercise. They face an age-old collective action problem, but they are smart. Schools can’t run without students, and the economy can’t run without schools; their work matters, and they can withdraw it.

Unions aren’t just good for wage workers. Students can use collective bargaining, too. The idea of organizing student labor when even auto factory workers are having trouble holding onto their unions may sound outlandish, but young people have been at the forefront of conflicts over police brutality, immigrant rights and sexual violence. In terms of politics, they are as tightly clustered as just about any demographic in America. They are an important social force in this country, one we need right now.

It’s in students’ shared interest to seek later start times for the school day to combat the epidemic of insufficient sleep among high schoolers. It’s in their shared interest to improve their mental health by reducing competition. They could start by demanding an end to class rank or a cap on the number of Advanced Placement courses each student can take per year. It’s in their shared interest to make life easier and lower the stakes of childhood in general. Only young people, united, can improve their working conditions and end the academic arms race."]]></description>
<dc:subject>mlcolmharris 2017 children competition schools schooling homework education unions organization childhood admissions humancapital achievement economics garybecker sfsh work labor wagelabor corporatism depression paranoia exhaustion exploration violence us policy capitalism</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:965cb21e3f64/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:violence"/>
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</item>
<item rdf:about="http://www.heterotopiaszine.com/">
    <title>Heterotopias |</title>
    <dc:date>2017-10-16T01:01:27+00:00</dc:date>
    <link>http://www.heterotopiaszine.com/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Heterotopias is a project focusing on the spaces and architecture of virtual worlds.

Heterotopias is both a digital zine and website, hosting studies and visual essays that dissect spaces of play, exploration, violence and ideology.

The zine can be bought from the pages listed on your left. Sales of the zine go directly to supporting the project.

For updates follow @heterotopiasZn or sign up to our newsletter.

Creator and Editor Gareth Damian Martin

Associate Editor Chris Priestman"]]></description>
<dc:subject>architecture design games geography gaming videogames chrispriestman garethdamianmartin vr virtualreality virtualworlds play exploration violence ideology</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:3af2aefe3603/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:architecture"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:games"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:geography"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:chrispriestman"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:garethdamianmartin"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:vr"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:virtualreality"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:virtualworlds"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:play"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:violence"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:ideology"/>
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</item>
<item rdf:about="http://news.yicca.org/index.php/hot-news-2/item/137-war-games-diego-perrone">
    <title>WAR GAMES - DIEGO PERRONE</title>
    <dc:date>2017-08-02T06:54:39+00:00</dc:date>
    <link>http://news.yicca.org/index.php/hot-news-2/item/137-war-games-diego-perrone</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Conceived, produced and directed by the Villa Croce Amixi – Contemporary Art Museum – Genoa, “Davanti al mare – ATTO I” is an experimental and open format project featuring a multiple nature. Thought as an expanded residency, as a research work on the Genoa environment – metaphorical and physical production space – “Davanti al mare” is presented now to the public as a zone where an artist and selected curator will work together to the construction of projects studied to inhabit the subtle boundary line between city and museum, artwork and storytelling, exploration and presentation. “Davanti al mare – ATTO I” aims to give back power to art as tool for investigation of the place and its landscape; it’s drawn on the desire of using the artwork as powerful revealing machine; it’s envisioned as light and flexible palimpsest – a sea stage – to produce – through art – reality."

[See also:
http://moussemagazine.it/diego-perrone-wargames-villa-croce-museo-darte-contemporanea-genoa-2017/
http://www.aptglobal.org/en/Exhibition/57572/DIEGO-PERRONE-WAR-GAMES ]]]></description>
<dc:subject>diegoperrone art landscape place revelation seeing noticing museums storytelling exploration presentation genoa italy italia</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:d44a9c3e9ab6/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:diegoperrone"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:art"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:landscape"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:place"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:revelation"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:italy"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:italia"/>
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</item>
<item rdf:about="http://www.papert.org/articles/GhostInTheMachine.html">
    <title>Ghost In the Machine</title>
    <dc:date>2017-07-29T20:33:52+00:00</dc:date>
    <link>http://www.papert.org/articles/GhostInTheMachine.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Children, of course, come into the world as very powerful, highly competent learners, and the learning they do in the first few years of life is actually awesome. A child exploring the immediate world does that pretty thoroughly in an experiential, self-directed way. But when you see something in your immediate world that really represents something very far away -- a picture of an elephant, for example -- you wonder how elephants eat. You can't answer that by direct exploration. So you have to gradually shift over from experiential learning to verbal learning -- from independent learning to dependence on other people, culminating in school, where you're totally dependent, and somebody is deciding what you learn.

So that shift is an unfortunate reflection of the technological level that society has been at up to now. And I see the major role of technology in the learning of young children as making that shift less abrupt, because it is a very traumatic shift. It's not a good way of preserving the kid's natural strengths as a learner.

With new technologies the kid is able to explore much more knowledge by direct exploration, whether it's information or exploration by getting into his sources, or finding other people to talk about it. I think we're just beginning to see, and we'll see a lot more non-textual information available through something like the Web or whatever it develops into. So there will be much more opportunity to learn before running into this barrier of the limitations of the immediate."

[via: https://larrycuban.wordpress.com/2017/07/25/seymour-papert-on-how-computers-fundamentally-change-the-way-kids-learn/ ]]]></description>
<dc:subject>seymourpapert sfsh technology mindstorms edtech learning howwelearn unschooling deschooling 1999 exploration computation education schools constructivism contsructionism experientiallearning self-directed self-directedlearning verballearning dependence independence interdependence society</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:d4dd97357356/</dc:identifier>
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</item>
<item rdf:about="http://warrenellis.tumblr.com/post/159072679740/once-youve-figured-out-that-youre-secretly">
    <title>WARREN ELLIS chronofile-minimal</title>
    <dc:date>2017-04-03T04:39:11+00:00</dc:date>
    <link>http://warrenellis.tumblr.com/post/159072679740/once-youve-figured-out-that-youre-secretly</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["You’re spending too much time thinking about what other people might think and too much time second-guessing yourself. Go where your energy is, and when you come to a point where you need to make a story choice, go with the less comfortable one.  It’s only time and paper. Ride the wrong way for a while and see what happens."]]></description>
<dc:subject>warrenellis writing life living 2017 exploration howwewrite</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:50c533517ad0/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:warrenellis"/>
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</item>
<item rdf:about="http://www.futureunfolding.com/">
    <title>Future Unfolding – An action adventure all about exploration</title>
    <dc:date>2017-03-25T19:06:36+00:00</dc:date>
    <link>http://www.futureunfolding.com/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Future Unfolding is an action adventure that is all about exploration. Your goal is to unfold the mysteries and solve the puzzles hidden in the beautiful landscapes around you. There are no tutorials, and no one is telling you what to do."

[Update: an essay regarding Future Unfolding
http://www.heterotopiaszine.com/2017/10/04/children-anthropocene-future-unfolding/ ]]]></description>
<dc:subject>games gaming videogames edg srg exploration landscape multispecies morethanhuman</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:aea5d9ab87a6/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:games"/>
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</item>
<item rdf:about="http://austinkleon.com/2017/02/16/get-out-now/">
    <title>Get out now</title>
    <dc:date>2017-02-19T00:32:55+00:00</dc:date>
    <link>http://austinkleon.com/2017/02/16/get-out-now/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[“GET OUT NOW. Not just outside, but beyond the trap of the programmed electronic age so gently closing around so many people…. Go outside, move deliberately, then relax, slow down, look around. Do not jog. Do not run…. Instead pay attention to everything that abuts the rural road, the city street, the suburban boulevard. Walk. Stroll. Saunter. Ride a bike, and coast along a lot. Explore…. Abandon, even momentarily, the sleek modern technology that consumes so much time and money now…. Go outside and walk a bit, long enough to forget programming, long enough to take in and record new surroundings…. Flex the mind, a little at first, then a lot. Savor something special. Enjoy the best-kept secret around—the ordinary, everyday landscape that rewards any explorer, that touches any explorer with magic…all of it is free for the taking, for the taking in. Take it. take it in, take in more every weekend, every day, and quickly it becomes the theater that intrigues, relaxes, fascinates, seduces, and above all expands any mind focused on it. Outside lies utterly ordinary space open to any casual explorer willing to find the extraordinary. Outside lies unprogrammed awareness that at times becomes directed serendipity. Outside lies magic.”

—John Stilgoe, Outside Lies Magic]]></description>
<dc:subject>johnstilgoe austinkleon walking noticing looking observing seeing exploration landscape attention serendipity outside outdoors</dc:subject>
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    <title>Who Gets to Be a CIVILIZATION? - Between the Lines - YouTube</title>
    <dc:date>2017-01-02T07:27:58+00:00</dc:date>
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    <dc:creator>robertogreco</dc:creator><description><![CDATA["In Sid Meier's Civilization, what's the real difference between the civilized and the barbarous?"]]></description>
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    <title>Eyeo 2016 – Sarah Hendren on Vimeo</title>
    <dc:date>2016-08-25T00:07:00+00:00</dc:date>
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    <dc:creator>robertogreco</dc:creator><description><![CDATA["Design for Know-Nothings, Dilettantes, and Melancholy Interlopers – Translators, impresarios, believers, and the heartbroken—this is a talk about design outside of authorship and ownership, IP or copyright, and even outside of research and collaboration. When and where do ideas come to life? What counts as design? Sara talks about some of her own "not a real designer" work, but mostly she talks about the creative work of others: in marine biology, architecture, politics, education. Lots of nerdy history, folks."]]></description>
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    <title>The Unsupervised Kids of 'Stranger Things' Would Be a Nightmare for Today's Parents - Curbed</title>
    <dc:date>2016-08-04T22:08:37+00:00</dc:date>
    <link>http://www.curbed.com/2016/7/27/12291358/stranger-things-children-bikes-suburbia</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["These days, only kids in movies are free to explore"

"If Stranger Things feels even more eerily familiar, that’s because the show’s aesthetic is meant to evoke great ‘80s thrillers like Stand by Me, The Goonies, and E.T., in some cases, providing shot-by-shot references. As in those classic films, the kids are left at home by themselves to get spooked, then make their (sometimes gruesome) discoveries deep in the nearby woods, without an adult in sight.

It’s the bike moments of Stranger Things that really resonate. The kids ride their banana-seat and BMX bikes to school, to each others houses—even at night!—and without a single helmet. Bikes also represent a type of freedom compared to car-bound adults that works to the kids’ advantage. One of the best scenes shows the kids evading the bad guys by navigating a network of cut-throughs that slice through the culs-de-sac.

Those who grew up in the suburban US probably have similar memories. But this was in fact the real-life experience for those who grew up in Hawkins, Indiana, in 1983—or rather, the Hebron Hills neighborhood of Atlanta, where the subdivision scenes in Stranger Things were filmed.

Even the cut-throughs the characters use are actually there, says Valerie Watson, an urban designer who works for LADOT’s Active Transportation Division, whose childhood home was featured in one of the chase scenes. She rode her bike everywhere, including the creepy forest nearby where old trucks and burnt-down cabins were draped in kudzu.

Watson absolutely believes that being allowed to navigate her neighborhood on her own led her to become an active adult bicyclist and also influenced her decision to choose a career in street design. But she’s worried this might not be the case for today’s kids.

"I think our generation might have been at the turning point where society shifted on this," she says. "I remember getting the talk about what to do if a stranger approached you—’don't talk to them and ride away!’— and to move over to the side when cars were coming. Parental direction was more about ‘be polite and smart’ back then instead of ‘be afraid of everything’ like today."

And yet, statistically, kids in the US have never been safer.

This is a uniquely American problem, of course. Children in other countries are still allowed to roam unsupervised, which has inspired what’s been called the "free-range kids" movement here in the US, championed by parents who believe kids should be allowed to ride transit and walk to local parks by themselves.

The free-range kids movement even believes parental-induced paranoia might be deterring kids from biking. A recent article theorized that forcing kids to wear helmets and ride on sidewalks is scaring kids away from bikes, when in fact, American kids are far more likely to suffer brain injuries in car crashes. (Interestingly, as prop manager Lynda Reiss told Wired, the ‘80s-era bikes in Stranger Things were the hardest thing to find, thanks to the idea that older bikes are unsafe—so they ended up building replicas.)

My own suburban upbringing mirrors the setting of Stranger Things almost exactly. I, too, was allowed to wander freely—hoisting flimsy rope swings high into trees, building structurally unsound bike ramps, and wading a little too deep in the pond—as long as I came home before dark. The woods that backed up to our house served as both the innocent landscape of adventure and the horror film backdrop of my nightmares. It was often dangerous and sometimes scary. But mostly, it was awesome.

Then I look at my own daughter, whose hand I grip with white knuckles as we make our way along the incredibly busy street on our corner. The speed at which cars travel through this intersection is somehow far more frightening than anything I encountered in those woods.

I wonder at what age I’ll let her cross the street alone. Or if I’ll ever let her ride her bike to a friend’s house. I worry that the idea of letting kids explore their cities on their own is something she’ll only be able to see on TV."]]></description>
<dc:subject>alissawalker parenting strangerthings 2016 supervision freedom children exploration film fear movies bikes biking goonies et standbyme autonomy mobility helmets</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
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<item rdf:about="http://www.nytimes.com/2016/07/17/travel/my-favorite-vacation-summer-camp.html">
    <title>My Favorite Vacation: Summer Camp - The New York Times</title>
    <dc:date>2016-07-18T17:07:54+00:00</dc:date>
    <link>http://www.nytimes.com/2016/07/17/travel/my-favorite-vacation-summer-camp.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Camp days unfurled through hours of things utterly foreign to me: tennis, and beadwork, and operetta (yes, we sang farces, in French, of course) and swimming, miles of swimming in water so cold we would feel as if our hearts and lungs would explode in those first few weeks of summer. Water so dark we couldn’t see our fingers as they pulled through a stroke.

My childhood had been one of public school days, then hours at the piano practicing for the competitions in which my mother would enroll me, then hours and hours of homework. I didn’t have “play dates” — what a waste of time, and besides, these American girls weren’t properly raised, and their mothers! They wasted time playing tennis, and gardening. I certainly wasn’t allowed to participate in anything that involved balls hurtling at me at high speeds. I might break a finger.

Suddenly, my life was one long, wonderful play date. I developed deep friendships, with people of my choosing, and we not only talked about everything, a first for me, but we did things together. Active, sporting things."

…

"I am a creature of habit. When I find somewhere I like, I settle. I don’t have a bucket list of places I want to see before I die. But I do have a bucket list of ways I want to live until I die. When I visit any new place, I’m filled with fantasies of how, exactly, I could live in a cottage on the coast of Wales, or a beach shack on the shores of Baja. Easily. What I learned at camp was that I love the absorption into a communal culture, with its structures and values, but that I also enjoy that as a springboard for testing my limits, and that engaging with the magic and beauty of our natural world is deeply meaningful, and comforting, to me. I never want to be far from water, and I need a fireplace.

Eventually, the camp closed down. On its site is a state park. But a few times in my life, I’ve fallen in love with houses in which I could recreate some sense of the freedom, discovery and splendor of those days. Houses that were rough and creaky and could be opened to the outdoors without worry of what damp air might do to them. Houses against which I could bank up kayaks and canoes. Houses where I could garden, because I can give myself permission to get my hands dirty.

Continue reading the main story
One of the first things I do, wherever I spend my summer vacations, is to find the spot for a campfire. Nothing gives me greater pleasure than to mix a Manhattan, head into the woods surrounding my house in Rhode Island, set up my campfire, and watch it burn.

I have a dear friend from camp days who lives nearby in summer. She and her spouse came over one evening with their young children. I had all the activities planned: the walk on the mossy path, the search for a salamander that had mysteriously appeared on my doorstep, and a campfire.

I had piled it high, carefully structured, just as I had been taught. I lit a match to it while the children sat on a couple of big rocks I had had dragged up to form a circle, and as the sky darkened, and the flames began flicking high up into the air, my dear old camp friend and I burst spontaneously into the song that always started campfires, a song neither of us had sung out loud in front of anyone in, who knows, probably 40 years. “Entendez-vous dans le feu”:

“Entendez-vous dans le feu, Tous ces bruits mystérieux?” (“Do you hear, in the fire, all those mysterious noises?”)

The children were saucer-eyed. So this is what grown-ups do at night. So this is the magic and mystery and pleasure of a fire to guard against the dark. And I was enthralled, too, watching those dear faces gathered around the fire. So this is love. And this is being a grown-up camper in the world, forever young enough to wonder at the mystery and magic and pleasure of it all."]]></description>
<dc:subject>summercamp dominique browning 2016 fire campfires camp homes exploration learning howwelean independence freedom</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
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<item rdf:about="http://makegames.tumblr.com/post/147367627844/this-is-an-excerpt-from-the-spelunky-book-which">
    <title>Make Games - This is an excerpt from the Spelunky book, which...</title>
    <dc:date>2016-07-17T19:59:50+00:00</dc:date>
    <link>http://makegames.tumblr.com/post/147367627844/this-is-an-excerpt-from-the-spelunky-book-which</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[via: "Thinking about this but for learning:"
https://twitter.com/tealtan/status/754162176345210880 
along with 
http://tevisthompson.com/saving-zelda/
https://medium.com/@helvetica/full-thoughts-on-pokemon-go-from-my-interview-on-the-verge-178b97b1112b ]

"Indifference

I played games everywhere as a kid—on my parents’ PC and their Atari 2600, at the arcades, in the car with my Game Boy, and at friends’ houses where I was introduced to Chinese pirate multicarts and exotic game systems like the Neo Geo and TurboGrafx-16. But for me, that era still belongs to Nintendo. My uncle was the first in my family to get a Nintendo Entertainment System (NES), and I spent entire visits playing Super Mario Bros. and Duck Hunt. When I wasn’t playing, I’d read my new issue of Nintendo Power compulsively until the next month’s issue. No one in the 80s built worlds as magical and well-crafted as Nintendo did. And although many talented men and women deserve credit for that, the one who stands out among them all is the developer who I was most excited to see in the crowd at IGF 2007: Shigeru Miyamoto.

Miyamoto once said that his childhood exploration of the Kyoto countryside was the inspiration for creating The Legend of Zelda, a top-down action-adventure game set in the fictional land of Hyrule. Recalling the time he discovered a lake while hiking, he explained, “It was quite a surprise for me to stumble upon it. When I traveled around the country without a map, trying to find my way, stumbling on amazing things as I went, I realized how it felt to go on an adventure like this.“ It’s the perfect way to describe my experience with The Legend of Zelda as a child, when my dad and I spent many hours meticulously exploring and mapping Hyrule. As I moved from screen to screen, slaying monsters and prodding the environment for hidden secrets, he would mark them down on our map with colored pencils.

It felt like we were Lewis and Clark trekking across the American West. I’ll never forget the first time I entered a dungeon and watched the bright greens, browns, and yellows of the overworld give way to ominous blues and reds—the sound of Link’s footsteps on stairs heralding the eerie dungeon music that still echoes in every Nintendo kid’s ears. It seems strange now, but in The Legend of Zelda no one tells you where the first dungeon is located. It’s possible to wander into the farthest reaches of Hyrule before locating it, and when you find the entrance—a gaping black “mouth” beckoning you into a giant tree—you may not necessarily know what you have found.


In a 2003 interview with SuperPlay magazine, Miyamoto recalled the day the game was released: “I remember that we were very nervous since The Legend of Zelda was our first game that forced the players to think what they should do next.” This bold and risky design, based on the joy of discovery, had a huge impact on me as a game designer. In Spelunky, as in all of my games, I wanted to capture the same emotions I had on that first adventure.

Unfortunately, that feeling about Hyrule waned with each successive game. Even as the worlds grew more beautiful and vibrant, a feeling of disappointment clouded my initial wondrous experience. Part of it is that I grew up. Zelda is 30 years old now, and in that time I’ve played 30 years’ worth of games and released some of my own. But while it’s harder to surprise me now, it also doesn’t appear that the series is as interested in trying. If the original Zelda game was made only for children, I might chalk it up to my age, but revisiting it as a “Classic Series” Game Boy Advance reissue, I was amazed at how strange and wild it still felt compared to the later games, and to modern games in general. It was like returning to the wilderness after a long hiatus, trying to get back in touch with senses that had been steadily dulled.

In Tevis Thompson’s brilliant 2012 essay “Saving Zelda,” Thompson likened modern installments of the game to theme parks, saying, “Skyward Sword, with its segregated, recycled areas and puzzly overworld dungeons, is not an outlier; it is the culmination of years of reducing the world to a series of bottlenecks, to a kiddie theme park (this is not an exaggeration: Lanayru Desert has a roller-coaster).” Gone is the wild frontier that I explored with my dad and the Kyoto countryside that inspired the series, replaced by something that feels too linear, too elegant, too smooth, too… designed? Quests have been turned into fun house games with obvious goals and rewards. “Secrets” are outlined with bright, flashing signposts. A theme park is exactly what it feels like.

Is a theme park necessarily a bad thing, though? I also have great memories of going to Disneyland, Magic Mountain, and other amusement parks. But leaving the park after a full day of riding rides and eating cotton candy, I’m not eager to go back the next day or even the next week or month. The thrills are garish and over-the-top, but also obvious and safe. Compare a theme park to that Kyoto countryside—Miyamoto purportedly came across a cave during his explorations and hesitated for days before eventually going inside. Why did that cave feel so dangerous to him, even though there was likely nothing inside? Why did my wife and I feel the same trepidation as adults in Hawaii, when we ducked into a little path carved into a bamboo field off the side of the road?

Thompson continues:

<blockquote>Hyrule must become more indifferent to the player. It must aspire to ignore Link. Zelda has so far resisted the urge to lavish choice on the player and respond to his every whim, but it follows a similar spirit of indulgence in its loving details, its carefully crafted adventure that reeks of quality and just-for-you-ness. But a world is not for you. A world needs a substance, an independence, a sense that it doesn’t just disappear when you turn around (even if it kinda does). It needs architecture, not level design with themed wallpaper, and environments with their own ecosystems (which were doing just fine before you showed up). Every location can’t be plagued with false crises only you can solve, grist for the storymill.
</blockquote>

It’s easy to mistake Thompson’s assertion that “Hyrule must become more indifferent to the player” for an assertion that game developers shouldn’t care about the player or shouldn’t guide the player toward their ultimate vision. What it means is that the guides must be a natural part of the world, and the world, like Miyamoto’s cave, must simply exist. If a world is independent and self-sufficient, so are its inhabitants. If every part of a world exists only for the player, both the world and the hero will feel artificial.

Nintendo wasn’t the only developer to lose sight of that cave in Kyoto. All game creators must control the player’s experience to a degree, and it’s easy to take it too far—this is particularly true of large studios with bigger budgets that they have to recoup from audiences that include many casual players. Designers often mistake intentionality for good game design: We think that a cave must have a treasure chest in it, and if there’s a treasure chest it must be guarded by a monster, and if there’s treasure in the cave, then the player must find it, and if the player must find it, then there has to be a map that leads the player to the cave. That feels like good design because we took the time to plan it out and in the end the player did what we expected. But it doesn’t guarantee that the player will feel like they’re on a true adventure, making genuine discoveries.

Creating Spelunky was the perfect project to help me think about what a true adventure meant to me. Working by myself on a small freeware game made it easier to focus on my personal vision instead of what other people wanted. Using Game Maker allowed me to focus on game design rather than technology. And then there was the randomization of the levels, which made it impossible to fully control the player’s experience. All I could do was create the building blocks of the world and set them in motion—what came out could be as surprising and indifferent to me as it was to the players."]]></description>
<dc:subject>derekyu games gaming videogames spelunky zelda learning howwelearn shigerumiyamoto exploration worlds kyoto caves hyrule zpd design gamedesign maps mapping techgnology autonomy experience amusementparks themeparks legendofzelda nintendo edg srg</dc:subject>
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<item rdf:about="https://medium.com/@helvetica/full-thoughts-on-pokemon-go-from-my-interview-on-the-verge-178b97b1112b">
    <title>Full Thoughts on Pokemon Go from my interview on The Verge — Medium</title>
    <dc:date>2016-07-17T19:55:36+00:00</dc:date>
    <link>https://medium.com/@helvetica/full-thoughts-on-pokemon-go-from-my-interview-on-the-verge-178b97b1112b</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[via: "And the ideas of "intentional obtuseness" in Pokemon Go (and Snapchat):"
https://twitter.com/tealtan/status/754162625802534912
along with these:
http://makegames.tumblr.com/post/147367627844/this-is-an-excerpt-from-the-spelunky-book-which
http://tevisthompson.com/saving-zelda/ ]

"Andrew Webster over at The Verge interviewed Rami Ismail, Asher Vollmer, and I about Pokemon Go. It's a great piece and the thoughts from Asher and Rami are very good. You should read the piece.

Pokemon Go has been as divisive as it has been phenomenal, so I wanted to post up the full-text from the interview now that parts are up online.

--- Do you think it's a good game / does it do what it sets out to do successfully?

I think Pokemon Go is a great game. 

To really understand why it's important to recognize that some games are made great by their mechanics, and some are made great by their communities. Since games really only exist when they are being played, it's very difficult (or maybe impossible) to meaningfully separate a community from a game itself. I think a lot about something my friend and fellow designer Doug Wilson (JS Joust, B.U.T.T.O.N.) told me once about how he designs games: Unlike most developers I know, Doug makes games not by designing intricate and mentally exciting systems, but by looking for interactions that are just physically or emotionally fun to do. I think recognizing this emotional/physical aspect to games is key to understanding much of what Pokemon Go has done brilliantly.

I've seen twitter folks and reviewers complaining about the experience being good but the game itself being bad, but i'm not sure it's entirely fair to pick it apart like that. "What the game is mechanically" or at least what it appears to be mechanically is a huge part of what's drawing so many people to play it, and the biggest, most magical part of playing Pokemon Go right now is that it's the first real-world sized, real world game. By which I mean, the game not only takes place in the real world, but it has enough players to fill it up.

--- Does it even matter if it's "good"?

I think what people are claiming as "bad" is actually a creeping component of modern viral game design — opaque UI. Theres no indication yet as to if the extremely awkward UI of Pokemon Go was intentional or not, but either way I think the aggressive obfuscation (and lacking tutorialization) of the deeper game mechanics is doing a lot to bring players in. Not only is it hiding the more complicated parts of the game from new players, but it enables a lot of discovery sharing amongst friends, kids and parents, websites and readers, etc. Beyond the confusing gym-battle UI you can see this practice stretches into many clearly intentional design decisions in the game: Battle-use items only show up around level 8, Great Balls at level 12, and the pokedex keeps expanding as you find higher and higher numbered Pokemon. These early-level omissions both simplify the game and add to the excitement of players discovering them. How many pokemon are even in this game? I have no idea, but I sure want to find out!

--- What do you think are the most important design aspects that led to it blowing up like this? (i.e. things other than it being Pokemon)

Obviously Pokemon being a gigantic brand is the single biggest thing contributing to the massive player explosion, but no brand is powerful enough to do something like this on it's own — it had to be paired with the perfect game. 

Pokemon Go does a lot of things very right, and some of the easiest to spot pop up pretty quickly when you compare it to older team-based AR games like ConQwest or Niantic's own Ingress. Unlike those prior AR games, Pokemon Go is not initially (or necessarily ever) a competitive game. Additionally, like many of the most successful mobile games, you can grasp the entire initial ruleset from watching someone else play the game. 

It seems obvious to say, but I believe one of the most substantial features of Pokemon Go is that just walking around catching Pokemon is fun, even if you do absolutely nothing else. And while it seems simple, there are a lot of clever mechanics supporting this small action. The hilariously jankey but stressful ball tossing minigame is just hard enough to make you feel proud when you catch a pokemon, but still incredibly accessible. The vaguely detective-like tracking interface gives you a good reason to rush outside if theres a new pokemon silhouette, while still making them just hard enough to find to encourage strangers on the street to offer unsolicited advice to other players. Even the AR component is used appropriately sparingly to drive home the collecting game. While the technology is still rough, it works just well enough to cement our belief that pokemon are actually in places, and drives the language that players use to communicate with each other ("Theres a squirtle on that corner!"). AR gives the more visible and obvious side-bennefit of social image sharing, but I think its most successful function in Pokemon Go is it's capacity to feed our imaginations. Despite being an AR game, Pokemon Go is still largely played in our imaginations, just like any other game, and being able to see a Pikachu on a street-corner just for a second fuels our fantasy worlds immensely.

--- As a designer what are the most interesting aspects of the game / phenomenon to you? LIke what are things you would like to pull from it for your own?

One of the most exciting things about the success of Pokemon Go is that it gives us a blueprint for what people want out of augmented reality. As far as I can tell, the biggest thing we want from it is social camaraderie — which, feels like it should be obvious, but clearly was not when you look at just how few prior AR games have been non-competitive. Less excitingly but just as obviously, AR game players want to see and interact with other players around them. While news outlets joke that Pokemon Go is a great excuse to go out into the real world and then ignore it, I'd argue that while Pokemon Go players are potentially less connected to the physical outdoors than non-players, they're more connected to the social fabric of society outside. I've interacted with more strangers in NYC in a few days of playing Pokemon than in the last decade I lived there. In aggressively fractured world of headphones and podcasts and socially-filtered news, it's really exciting to see a piece of tech that makes the social space feel vast and whole again.

Of course, there are developers and thinkers out there who are sad to see AR require such high-levels engagement to take off, lamenting that this kind of feat is only viable to global brands, and while that may be true, I think this kind of game coming out only makes it more accessible to indies. I'm certainly not saying that it is accessible to indies, but that this can only help. Not only does it introduce huge swaths of people to AR games, but it also shows us what we're up against if we want to make something like this, and the first thing that makes solving an impossible problem easier knowing exactly what the problem is."]]></description>
<dc:subject>vi:tealtan pokemongo 2016 games gaming play interface ux learning howelearn howweplay videogames andrewwebster ramiismail ashervollmer zachgage ar design ui snapchat srg edg gamedesign zpd howwelearn exploration pokémongo augmentedreality</dc:subject>
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<item rdf:about="https://www.mapbox.com/blog/field-mapping-with-osm/">
    <title>Explore your world through field mapping with OpenStreetMap | Mapbox</title>
    <dc:date>2016-02-22T05:39:18+00:00</dc:date>
    <link>https://www.mapbox.com/blog/field-mapping-with-osm/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Now that you have started mapping the world on OpenStreetMap from the comfort of your chair, let’s see how to add addresses, street names, and amenities using first-hand observations with field mapping. Field mapping is a survey technique to capture the details of one’s physical surroundings. Let’s use a simple paper map to survey the location of a waste basket in a neighborhood.

Mapping tools

To get started, gather the following items:

• A printed map from field papers, or a notepad
• Pencil or pen
• Camera (optional)
• Fellow explorers (optional)

Begin your journey

Make sure you are in an area that is safe for field mapping. A residential neighborhood, shopping street or a park are all great places to start. Doing this as a group activity with friends makes it even more interesting to compare notes after you are done.

The general idea with field mapping is to collect the details of what you observe around you while navigating a space. Details could include anything that catches your attention: shops and street signs, public amenities like benches and ATMs, street information like cycle lanes and pedestrian crossings or important facilities like hospitals and police stations.

Here are some tips:

• When mapping in groups, make sure to divide the area to cover maximum ground.
• It helps to think about what you are interested in mapping to allow you to be more focused on the field.
• If you are taking photos or recording an audio narration, make sure to note the locations on a paper map or using a GPS.
• Above all else, enjoy your walk!

Mapping on paper

Pen and paper are the most convenient way to capture observations from the field. It is simple, low cost and helps build a stronger sense of space and distance. The important aspect of paper mapping is to maintain a consistent scale. To help maintain scale, you can print an existing map and use it as a reference to add missing details on top. A tool called field papers allows you to conveniently make a printable atlas for this purpose.

While field mapping:

• Always begin by marking your starting point on paper. This could be anything from a house address, a known landmark or a shop.
• To orient yourself, make sure to keep an eye out for navigational aids like street signs, building names and addresses.
• Use symbols to represent common features like a medical store or a post box that do not have a name. Specifically, note features that you wish to map.
• If you are using field papers, you can upload your scan and use it as a background in iD or JOSM to map the missing details on OpenStreetMap.

Once you have become comfortable with basic field mapping using a pen and paper, you can explore other tools for collecting data and mapping on OpenStreetMap.

Other tools for field mapping

Collecting data for field mapping can also be done by taking photographs and recording GPS traces. For example, you could:

• Capture crowdsourced street view imagery with your phone using Mapillary.
• Accurately record GPS locations and trails using apps like OSMTracker for Android or Pushpin for iOS.

For more mapping techniques take a look at the OpenStreetMap Wiki."]]></description>
<dc:subject>aarthychandrasekhar mapbox osm openstreetmap fieldmapping maps mapping exploration 2016 fieldpapers howto tutorials</dc:subject>
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<item rdf:about="http://www.outsideonline.com/2048391/adhd-fuel-adventure">
    <title>ADHD Is Fuel for Adventure | Outside Online</title>
    <dc:date>2016-01-31T00:54:09+00:00</dc:date>
    <link>http://www.outsideonline.com/2048391/adhd-fuel-adventure</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Some of the best medicine for kids with attention-deficit disorders may be extreme sports and outdoor learning. That's good news, because not only do they need exploration, but exploration desperately needs them."]]></description>
<dc:subject>adhd parenting outdoors children sports 2016 exploration</dc:subject>
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    <dc:date>2015-12-23T00:21:54+00:00</dc:date>
    <link>http://thereadinessisall.com/2015/11/02/living-in-the-novelty-avoiding-cliche/</link>
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<item rdf:about="http://ww2.kqed.org/mindshift/2015/12/10/why-identity-and-emotion-are-central-to-motivating-the-teen-brain/">
    <title>Why Identity and Emotion are Central To Motivating the Teen Brain | MindShift | KQED News</title>
    <dc:date>2015-12-13T07:48:22+00:00</dc:date>
    <link>http://ww2.kqed.org/mindshift/2015/12/10/why-identity-and-emotion-are-central-to-motivating-the-teen-brain/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["For years, common experience and studies have prescribed that humans learn best in their earliest years of life – when the brain is developing at its fastest. Recently, though, research has suggested that the period of optimal learning extends well into adolescence.

The flurry of new findings may force a total rethinking of how educators and parents nurture this vulnerable age group, turning moments of frustration into previously unseen opportunities for learning and academic excitement.

New evidence shows that the window for formative brain development continues into the onset of puberty, between ages 9 and 13, and likely through the teenage years, according to Ronald Dahl, professor of community health and human development at the University of California, Berkeley. Dahl spoke at a recent Education Writers Association seminar on motivation and engagement.

Adolescence is a tornado of change: Not only is it the period of fastest physical change in life – aside from infancy – but also newfound drives, motivations, and feelings of sexuality are amplified. There are profound shifts to metabolisms and sleeping cycles, as well as social roles – especially in the context of schools. During these years, motivation is propelled not by a tangible goal to work toward, but by a feeling of wanting and thirst. Within the tumult of pre-teens or teens is an opportunity to enhance their desire and interest to learn.

In the past decade, neuroscientists have been able to identify what makes the adolescent brain so geared for the kind of inquiry that can pay dividends in the classroom. As children enter adolescence, some developing neural systems have already stabilized, Dahl said. But puberty creates a whole new set of elastic neural systems that, when interacting with the already stabilized systems, offers unique windows of opportunity for engagement and experiencing the world around them in multiple ways.

“Adolescence is a perfect storm of opportunities to align these changes in positive ways,” Dahl said. “Learning, exploration, acquiring skills and habits, intrinsic motivations, attitudes, setting goals and priorities: There’s compelling need for transdisciplinary research to understand unique opportunities for social and emotional learning. But few people do it in fear of these challenges.”

These new scientific insights have large implications for how schools teach adolescents, which have traditionally viewed this age group as troublesome.

The feelings of acceptance, rejection, admiration, among others, are all the story of adolescence. Children in this age group also seek physical sensations and thrills. There’s heightened awareness of social status, especially as they realize that acts of courage can earn them higher social status among peers. Their wildly swinging neurological systems also mean that adolescents can readjust quickly – making those years critical for educators to engage students in “the right ways,” when the brain is learning to calibrate complex social and emotional value systems that use feelings as fast signals, Dahl said.

Contrary to common belief, children in this age range don’t actually have “broken brains.” Rather, these children are undergoing a profound update to how they process the world around them. Adolescents are often considered bad decision-makers who are thrill-seekers. These myths, however, stem from young people’s desire to display courage, which is valued across cultures — and adolescents constantly seek the emotional satisfaction of being admired. In fact, Dahl said that adolescents take risks to overcome their fears, not seek them out.

“[Adolescents] are learning about the complex social world they must navigate, including the hierarchies, social rules for gaining acceptance and status, and the mystifying discovery of a sexual self,” Dahl said. “This is a flexible period for goal engagement, and the main part of what’s underneath what we think about setting goals in conscious ways – the bottom-up-based pull to feel motivated toward things.”

Adding to the confusion over how best to respond to adolescents is a wave of research showing children around the world are entering puberty at younger ages. One report found that in the 1860s, puberty for girls began at age 16. In the 1950s, it occurred at 13. Today it’s closer to eight years old. The transition for boys is similar, according to the report. The earlier onset of these pronounced biological changes puts pressure on educators and parents to update their expectations for what it means to be young, and how youth plays into adulthood.

“This is an interesting potential opportunity, with the longer time to learn activated motivational systems, longer time to increase skills and develop patterns of developing knowledge,” Dahl said. “If kids grow up in opportune settings, they can take advantage of the scaffolding and freedom to go on to take adult roles. But the risks are probably more amplified than opportunities for kids in disadvantaged settings.”

It’s still unclear how the earlier development happening in children might create other sets of challenges, Dahl noted, but it’s evident that it’s a key development window of motivational learning, a time when the brain more intensely senses motivational feelings, strengthening the patterns of connections to heartfelt goals, and creates potential for deep, sustained learning.

This period of learning is exemplified by even the forbidden love of Shakespeare’s Romeo and Juliet. The young couple is brought together by a single brief encounter, after which all mental processes of planning, goals, motivations, longing, and desire are transformed. They begin to obsess over reuniting, and would sacrifice anything – including comfort, safety, family, and friends – to be together again.

Without the context that adolescents’ motives can explode entirely by the spark of a single passion, Romeo and Juliet’s story would be one of utter insanity, Dahl said. But adolescents’ abilities to rapidly reshape motivations and goals both supports their emotional volatility as well as presents a key period to find love – not necessarily romantically for others, but for academic activities and goals.

“With the feelings that pull you to persevere, maybe [adolescence is] a particularly opportune time to fall in love with learning itself, to love that feeling of exploring,” Dahl said. “There’s a new window to create that ‘Yes!’ feeling.”"]]></description>
<dc:subject>emmelinezhao teens motivation identity emotions 2015 adolescence teaching education change brain acceptance rejection admiration ronalddahl parenting sleep inquiry exploration learning intrinsicmotivation goals priorities goalsetting socialemotional socialemotionallearning</dc:subject>
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<item rdf:about="http://www.mattiebrice.com/letters-with-john-sharp-inter-generational-conflict-in-games/">
    <title>Letters with John Sharp: Inter-generational conflict in games | Mattie Brice</title>
    <dc:date>2015-10-30T04:40:58+00:00</dc:date>
    <link>http://www.mattiebrice.com/letters-with-john-sharp-inter-generational-conflict-in-games/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["A while back, I went on an artist’s tour of the Pennsylvania Hotel as part of Elastic City’s annual festival. An artist had spent months visiting the hotel, walking its halls, learning the habits of the hotel’s staff and guests, and generally coming to really know the place. She then constructed a tour she took a group of a dozen of us on one evening. We explored empty ballrooms, corridors, listened to the silence of the halls, visited rooms, and generally came to have a really expressive understanding of a fairly mundane space. It was one of the more enriching art experiences I’ve had in some time.

As we walked through the hotel, I couldn’t help but think about videogames. What would it be like to make a game that provided a similar experience? I was struck by the emptiness of videogame spaces, and how that always just seems like how it should be. But when in similarly empty spaces in real life, they took on so much more meaning and important, and had so much more powerful impact on me than any 3D game ever has. One of the rooms we visited was an abandoned efficiency apartment that appeared to have been hastily abandoned, with most of the furniture removed. Random things remained, though—a small passport sized picture of a man, a calendar, newspapers, a lamp, paper clips. It immediately made me think of “object oriented storytelling,” and how hollow that feels when compared to a real space with real things, presumably left behind by someone.

All of which made me kind of sad about games, that they aren’t able to connect with me in the same way an artist’s tour of a hotel can."]]></description>
<dc:subject>games gaming videogames exploration johnsharp mattiebrice 2015 play gamedesign indygames objectorientedstorytelling worldbuilding space experience via:tealtan</dc:subject>
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