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    <title>A New Cultural Anchor - CAT Center</title>
    <dc:date>2026-07-09T16:45:17+00:00</dc:date>
    <link>https://www.catranslation.org/sf-literary-hub/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["For 26 years, the Center for the Art of Translation has brought the world’s voices to readers like you. We’ve made the work of literary translators visible through our award-winning book publisher Two Lines Press, by bringing poetry translation into classrooms through our education program, and by hosting hundreds of events with international authors and translators—all without a permanent home of our own.

That’s about to change."

[See also (embedded video):

"Center for the Art of Translation: A Literary Community Hub in San Francisco"
https://www.youtube.com/watch?v=mig1lA8aaJQ

"The Center for the Art of Translation (CAT) is launching a capital campaign to transform a historic building in San Francisco into a permanent literary home—a cultural anchor for a city that desperately needs places where people can gather around ideas, not algorithms. Help us create a public space where cultures and languages meet."

via:
https://lithub.com/the-center-for-the-art-of-translation-is-getting-a-permanent-home-in-san-francisco/ ]]]></description>
<dc:subject>2026 centerfortheartoftranslation sanfrancisco writing howwewrite classideas education reading howweread 2027 citylights jazminabarrera oliviasears literature fiction translation paulyamazaki michaelholtman aaroncoleman</dc:subject>
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    <title>Literary Hub » On Joan Didion and the Art of Looking Back</title>
    <dc:date>2026-07-04T12:33:13+00:00</dc:date>
    <link>https://lithub.com/on-joan-didion-and-the-art-of-looking-back/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Maggie McKinley Rereads One of America’s Great Nostalgists"

...

"In Thomas Wolfe’s posthumously published novel You Can’t Go Home Again (1940), protagonist George Webber finds himself in Germany amid the rise of Nazism in the 1930s and “face to face with something old and genuinely evil in the spirit of man.” Upon his return to America, Webber acknowledges that the darkness he has witnessed is not confined to Germany but is everywhere around him, a realization that “shook his inner world to its foundations.” Disillusioned, Webber reflects on the inability to return to a previous worldview, a previous self, or a previous innocence, though his realization remains tinged with longing:

<blockquote>You can’t go back home to your family, back home to your childhood, back home to romantic love, back home to a young man’s dreams of glory and fame, back home to exile, to escape to Europe and some foreign land, back home to lyricism, to singing just for singing’s sake, back home to aestheticism, to one’s youthful idea of “the artist” and the all-sufficiency of “art” and “beauty” and “love” . . . away from all the strife and conflict of the world . . . back home to someone who can help you, save you, ease you, ease the burden for you, back home to the old forms and systems of things which once seemed everlasting but which are changing all the time—back home to the escapes of Time and Memory.</blockquote>

Webber’s unsettling revelations do not end in defeatism, however; rather, he is inspired toward “a definite sense of new direction.” While he possesses a keen awareness of the corruption that surrounds him, he also exhibits a distinct optimism for the future, particularly the future of America, which he believes still has the capacity to conquer evil, and in the end he insists that “this glorious assurance is not only our living hope, but our dream to be accomplished.” Webber’s conception of the future is thus one that simultaneously encompasses and rejects a nostalgic view of the past, as his forward-looking vision is shaped by a longing for the return of a past moment that collides with the realization of its impossibility.

Of course, Wolfe is not the only American writer to contend with a nostalgic impulse that is deeply connected to experiences of chaos and change. As social, industrial, and technological shifts continued to inform art, politics, and commerce over the course of the twentieth century, writers ranging from F. Scott Fitzgerald to Toni Morrison also examined the allure of looking back, of yearning for a purportedly more stable past. Yet I would argue that there are few contemporary American writers who examine the complexity of nostalgia with more depth, breadth, curiosity, and prescience than Joan Didion. Like Wolfe before her, Didion acknowledges the multitude of ways we might define “home,” and recognizes the inevitable pull of nostalgia for a particular time, place, aesthetic, hope, ideology, or feeling even as she, too, harbors an increasing mistrust of past narratives that “once seemed everlasting.”

Yet Didion takes these ideas much further than Wolfe—and further than most writers, for that matter. Her engagement with nostalgia is not confined to a single character, publication, or era, but defines her fiction and nonfiction across decades, informing her discussions of politics, gender, rhetoric, media, and much more. Her nostalgia also becomes increasingly future-oriented, in a way that is more cautious than that of a character like George Webber, but which nevertheless undermines assessments of her worldview as nihilistic or fatalistic, and complicates common understandings of nostalgia as a purely conservative impulse."

...

"Indeed, nostalgia is at the center of nearly everything she wrote, and I argue that by investigating the various ways she engages with and defines the concept in both fiction and nonfiction, we can better understand the contradictory terms that have come to define Didion’s writing and literary persona: fatalistic and hopeful, fragile and strong, detached and connected, feminist icon and antifeminist, humble and haughty, conservative and liberal. Reading Didion’s work through the lens of nostalgia theory allows us to better understand the source of these tensions, and to reevaluate her views on American history, regional identity, hubris and imperialism, gender, political theater, the counterculture, national rhetoric, grief and loss, and more."

...

"While Didion’s cultural observations are often filtered through a personal experience of nostalgia, more often the latter functions as a critical lens that she discerningly turns onto twentieth-century American culture. At the same time, nostalgia theory becomes a tool we might turn back onto Didion’s work, useful in probing not only her own enigmatic ideas but also the ways modern American history has been narrativized, and how that impacts our cultural and political discussions in the present moment.

An interrogation of nostalgia is also, I would argue, part of her own truth-seeking project as a New Journalist, and her exploration of the allure and menace of nostalgia takes on new dimensions as she directs her gaze outward. Indeed, the nature of New Journalism as a genre allows Didion to demonstrate an acute awareness of her own narrative construction; she draws attention to the fact that her cultural criticism might be tinged with nostalgia and then proceeds to critique this tendency in herself."

...

"In both fiction and nonfiction, she documents the ways that America has used nostalgia to “pernicious” effect on a political and imperial level, a factor that continues to shape our national mythos (Where I Was From). As a nearly ubiquitous presence, nostalgia becomes a recurring theme, a character trait, a narrative perspective, a subject of her criticism, and a critical device in her work. Didion’s work emphasizes that while nostalgia can be paralyzing and foster stagnation when wielded at the institutional level and as an unquestioned worldview, political tactic, or marketing technique, it is also a natural inclination, one that allows us to make sense of our place in the world at any given moment, and can be a tool for uncovering personal truths and identifying cultural and national myths."]]></description>
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<item rdf:about="https://theamericanscholar.org/on-the-trail-with-an-arkansas-traveler/">
    <title>On the Trail with an Arkansas Traveler - The American Scholar</title>
    <dc:date>2026-06-27T07:38:26+00:00</dc:date>
    <link>https://theamericanscholar.org/on-the-trail-with-an-arkansas-traveler/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Charles Portis looked past our national mythology to portray the real America"

...

"No other novelist captures the modern American attraction to unsupported fringe beliefs, crackpot schemes, and cults and renders it with such mordant glee as Portis."

...

"Every country has its own myths of origin and national character. We don’t expect our poets and fiction writers, our songwriters and moviemakers simply to tell stories, as vital as narratives are to us. We look to them to establish myths of national identity and create exemplars of these myths, as Whitman does when he sings of the open road in Song of Myself; to ratify and expand those myths, as Kerouac does in On the Road; to challenge and question myths like the idea of the self-made man, as Fitzgerald does in The Great Gatsby. You’d search far and wide before you found a better yarn than the adventures of Mattie Ross and Rooster Cogburn, in which, as Mattie puts it, “I avenged Frank Ross’s blood over in the Choctaw Nation when snow was on the ground.” But storytelling is far from all that Portis is up to. After fairly demolishing any notion of chivalry that readers of an earlier generation might have associated with the Confederacy and undercutting Rooster’s credentials as a Wild West hero, the overweight, hard-drinking, bounty-hunting marshal emerges as a kind of chivalric hero after all—not through any mythic identity, but simply because of who he shows himself to be when the chips are down: a man with true grit.

Portis is one of our great and quintessentially American writers because, like Hemingway, he never abandoned his journalistic sensibilities. His ability to see things as they are is bracing. There is something of the investigative reporter’s determination to discover the truth in the sure-handedness with which Portis gleefully ridicules the gimcrack “secret brotherhood” of Gnomonism in Masters of Atlantis, and how he takes down the grandiose delusions of characters like Symes in The Dog of the South. It’s as if Portis can never quite get over the capacity we have for self-delusion. Americans’ readiness to believe something like Q-Anon wouldn’t have surprised him in the slightest. It’s no accident that Jimmy Burns, the narrator and protagonist of Portis’s last novel, Gringos, is not some mythical road warrior like Kerouac’s Dean Moriarty but a shade-tree mechanic scraping out a living in Mexico. In Portis’s treatment of the West, there’s some truth in Roy Blount Jr.’s statement, quoted earlier, that the author “could be Cormac McCarthy if he wanted to, but he’d rather be funny.” I would amend that judgment slightly and say that he’d not only rather be funny, he’d also rather base his stories on actuality than follow the siren songs of myth. A humorist by temperament, he knew instinctively that, as Charlie Chaplin knew in making The Great Dictator and as Saturday Night Live knows in lampooning our current president, laughter is a powerful weapon in dealing with the folly of those who think they have all the answers."]]></description>
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<item rdf:about="https://www.jerrysmap.com/">
    <title>Jerry's Map</title>
    <dc:date>2026-06-24T07:41:46+00:00</dc:date>
    <link>https://www.jerrysmap.com/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[See also:

https://en.wikipedia.org/wiki/Jerry_Gretzinger
https://www.youtube.com/@jerrygretzinger9861/videos
https://vimeo.com/user2352465

https://www.itsnicethat.com/articles/jerrys-map
https://www.wired.com/2013/09/jerry-gretzinger-map-ukrania/
https://www.theatlantic.com/video/2011/09/the-mysterious-life-of-jerrys-map/469446/
https://art.org/exhibitions/jerrys-map

https://vimeo.com/6745866
https://vimeo.com/13596774

"#9 - Jerry Gretzinger" (The Story Podcast)
https://www.youtube.com/watch?v=5ZthLRfCsMA

"He Won’t Stop Building a Map to an Imaginary Place"
https://www.youtube.com/watch?v=Is8N7B9b0GQ

"The remarkable story of Jerry Gretzinger and the map he's dedicated his life to making.

00:00 - What is Jerry's Map?
01:19 - How the map gets made
13:34 - Day 1: The build begins
20:14 - The deck of cards
24:55 - Day 2: We resemble prawns
35:45 - Day 3: The final panels
41:24 - Watch our companion video!"

via:
https://www.openculture.com/2026/06/this-man-has-been-drawing-a-map-of-an-imaginary-land-since-1963.html

"At one time or another, we all feel twinges of anxiety about what will constitute the legacy we leave behind. Jerry Gretzinger may well be subject to just the same discomfort, but at least he can point to the Map: an enormous representation, made of thousands and thousands of individually created and continually modified panels, of an entirely fictional land called Ukrania. You can see Jerry’s Map painstakingly laid out in its most up-to-date state in the new People Make Games video above. As interesting as the product is so far, the work that goes into it is just as compelling, which Gretzinger performs every day according to a complex and strictly defined set of procedures dictated by a deck of heavily modified playing cards.

It would take an astute listener to grasp the rules of the project the first time through, but they’re also available for supplementary study at the official site of Gretzinger’s map. They may bring to mind Brian Eno’s Oblique Strategies, the deck of cards printed with suggestions meant to dislodge creative jams in the music studio or elsewhere.

The map itself may look more reminiscent of the work of Henry Darger, another “outsider artist” who produced riots of color and haphazard-looking materials with an obsessive underlying order of their own. But unlike Darger, who died in obscurity only for his askew epics to be discovered among his belongings, Gretzinger has become famous for his creation in his lifetime, so much so that there exists an active subreddit of amateurs following his example.

Still, the Map did first have to be rediscovered. What Gretzinger began as the expansion of idle doodles in urban form made during breaks at the ball bearing factory in 1963 had to be shelved in the eighties, when a clothing business he’d started with his wife took off. A couple of decades thereafter, his son’s discovery of the Map in the attic inspired Gretzinger to resume work on it, which has continued apace ever since. When interviewed, he sounds less like a creator than an observer, helplessly watching as the city of Ukrania becomes more abstract as it grows — and as great swathes are inexorably consumed by a white space, made of scraps of his own correspondence and other life artifacts, that he portentously calls “the Void.” Now that he’s in his mid-eighties, Gretzinger appears to find it all more freighted with meaning than ever. Sooner or later, alas the Void comes for us all; what’s left to us is how we prepare for it.]

"What is it?

In the summer of 1963 Jerry began drawing a map of an imaginary city. The work started as a doodle done in the spare time he had while working at a tedious job. He continued to add to that map through the years until, in 1983, he set it aside to put his free time to other use.

It was stored in the attic of his home in Cold Spring, New York. It gathered dust. Jerry’s son, Henry, found it one day while rummaging around. He brought it down and asked what it was. Seeing it then triggered Jerry to dust it off and continue the project.

Years later, the Map is now a two-dimensional “virtual world” art project which is now comprised of over 4000 individual eight by ten inch panels. When assembled, these panels form an approximate circle. The panel locations are defined by N, S, E, and W coordinates that originate at the center of the circle. The locations in the matrix do not change, but the panels themselves are continually revised based on instructions drawn from the artist’s custom deck of cards.

Its execution, in acrylic, marker, colored pencil, ink, collage, and inkjet print on heavy paper, is dictated by the interplay between an elaborate set of rules and randomly generated instructions.

Jerry maintained a blog about the project for many years. He no longer updates it, but the old posts are still available on Blogger. And also be sure to check out r/jerrymapping,  an interesting  subreddit devoted to map making in the style of Jerry's Map**.**

The Creative Process

The Card Deck

The entire process is driven by instructions on a card drawn from a special deck created by the artist. Each cycle begins only when the artist’s tasks from the previous card are complete. This could take anywhere from a few minutes to a few days.

The cards were first introduced as a simple random number generator. When Jerry was first creating the map it was simple enough to work sheet to sheet, but as the map grew to hundreds of individual panels it became very tedious to make his way through the set.

“I wanted to move through the stack faster, and the easiest random number system I could come up with was a deck of cards. I’d draw a card and move down that many panels in the stack.” 

As Jerry began working on ways of systematizing the process of working on the map he began to incorporate instructions on the cards. The contemporary deck of cards has been adapted from playing cards and the total number varies as cards have been added, revised, and removed. Currently there are approximately 100 cards.

“Sometimes I have feelings about the deck of cards. There’s a message in those cards. There’s no big man with a beard who has ordered the cards, but I’m very interested in seeing what comes out of it. There’s a reality in there waiting to get out. It’s the map’s future predictor and as it is always changing its alive…My hand puts the paint on the paper, I’ll step back and look at the sheets as though I wasn’t the perpetrator but merely the observer.”

The Principles

These are the instructions and rules which guide the Artist in the creation of the map:

• Each card has a large black or red number in an upper corner. A "task" is defined as the completion of the number of work units as specified by the number on the card that is drawn. A work unit is the number of one inch squares to be covered. The number drawn and the effort required can be highly variable, so a day's work could consist of one card’s work units, or just a portion of one. Work on an incomplete work unit continues at the next work session.
• When a card is drawn you must follow the specific instructions on the card, but those instructions may be changed for the next time that card is drawn.
• Work direction is determined by color of the drawn card - black is clockwise, red is counter-clockwise.
• Every page has a "center" point from which the work emanates. The "center" of the new page is the same as the parent’s.
• New panels are generated by drawing a "new panel" card, or a new panel is required to complete a section of art.
• When a new page is added, the new page will use the "color of the day".
• The location of the new page is determined by placing a compass point in the "center" of the parent page and determining the closest edge of the map (this keeps the map roughly circular and growing generally equally in all directions).
• Master map shows the locations of the panels as defined by coordinates.
• Colors are more abstract and do not necessarily represent the physical world. Colors may be applied with either paint or markers, or by using collage. The 42 colors are continually remixed to ensure a spectrum of paints.
• New artwork is never applied on top of existing original artwork, it is only added to a new version of the page.

The Layers

The Map is expressed, over time, in successive layers, each one replacing its predecessor. The process of developing and revising a panel results in several iterations of that panel.

The Base Layer is divided into four phases:

A. The blank page is an 8 by 10 inch patchwork of paperboard or is a sheet of heavy paper on which is a photo or a lumen print.

B. The blank is gradually covered in successive bands of painted color.

C. The paint is replaced by 1" squares of paper collage.

D. The collage is replaced by 1" city squares in:
1. Green with 400 new inhabitants
2. Red with 800 new inhabitants
3. Grey with 1200 new inhabitants
4. Black with 2400 new inhabitants

The next layer is The Void. Its initial phase is composed of irregular pieces of plain, white collage. That is followed by a layer of 2" squares of black-and-white collage. On that layer 1" squares of grey city form followed by 1" squares of black city.

The third layer is called The Red Dimension and is expressed by irregular flame-shaped solid red collage.

Black Ness, composed of 2" squares of black collage, supercedes The Red Dimension.

Then follows The Ziggurat Phase in which successively smaller squares of collage, starting with 2 by 2, are stacked on top of each other. That layer, and the ones that follow, have yet to manifest themselves on The Map.

The Flood, represented by irregular pieces of blue collage, and Re-Birth, composed of hand-torn pieces of kraft paper, are the final stages in the Map cycle.

Then the whole process starts over with new Paint Bands.

The Evolution of the Process

The map has been constantly evolving with Jerry over the years from the earliest iterations to its present state. This evolution has been driven by three primary factors. First, the media used in the production of the map panels has changed over time. Second, as the map grew larger mechanisms such as the use of the deck of instruction cards automated the map and changed Jerry's role as the author. Finally, the introduction of the system of layers."]]></description>
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    <title>He Won’t Stop Building a Map to an Imaginary Place - YouTube</title>
    <dc:date>2026-06-24T07:40:50+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=Is8N7B9b0GQ</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The remarkable story of Jerry Gretzinger and the map he's dedicated his life to making.

00:00 - What is Jerry's Map?
01:19 - How the map gets made
13:34 - Day 1: The build begins
20:14 - The deck of cards
24:55 - Day 2: We resemble prawns
35:45 - Day 3: The final panels
41:24 - Watch our companion video!"

[See also: 

https://www.jerrysmap.com/
https://en.wikipedia.org/wiki/Jerry_Gretzinger
https://www.youtube.com/@jerrygretzinger9861/videos
https://vimeo.com/user2352465

https://www.itsnicethat.com/articles/jerrys-map
https://www.wired.com/2013/09/jerry-gretzinger-map-ukrania/
https://www.theatlantic.com/video/2011/09/the-mysterious-life-of-jerrys-map/469446/
https://art.org/exhibitions/jerrys-map

https://vimeo.com/6745866
https://vimeo.com/13596774

"#9 - Jerry Gretzinger" (The Story Podcast)
https://www.youtube.com/watch?v=5ZthLRfCsMA

via:
https://www.openculture.com/2026/06/this-man-has-been-drawing-a-map-of-an-imaginary-land-since-1963.html

"At one time or another, we all feel twinges of anxiety about what will constitute the legacy we leave behind. Jerry Gretzinger may well be subject to just the same discomfort, but at least he can point to the Map: an enormous representation, made of thousands and thousands of individually created and continually modified panels, of an entirely fictional land called Ukrania. You can see Jerry’s Map painstakingly laid out in its most up-to-date state in the new People Make Games video above. As interesting as the product is so far, the work that goes into it is just as compelling, which Gretzinger performs every day according to a complex and strictly defined set of procedures dictated by a deck of heavily modified playing cards.

It would take an astute listener to grasp the rules of the project the first time through, but they’re also available for supplementary study at the official site of Gretzinger’s map. They may bring to mind Brian Eno’s Oblique Strategies, the deck of cards printed with suggestions meant to dislodge creative jams in the music studio or elsewhere.

The map itself may look more reminiscent of the work of Henry Darger, another “outsider artist” who produced riots of color and haphazard-looking materials with an obsessive underlying order of their own. But unlike Darger, who died in obscurity only for his askew epics to be discovered among his belongings, Gretzinger has become famous for his creation in his lifetime, so much so that there exists an active subreddit of amateurs following his example.

Still, the Map did first have to be rediscovered. What Gretzinger began as the expansion of idle doodles in urban form made during breaks at the ball bearing factory in 1963 had to be shelved in the eighties, when a clothing business he’d started with his wife took off. A couple of decades thereafter, his son’s discovery of the Map in the attic inspired Gretzinger to resume work on it, which has continued apace ever since. When interviewed, he sounds less like a creator than an observer, helplessly watching as the city of Ukrania becomes more abstract as it grows — and as great swathes are inexorably consumed by a white space, made of scraps of his own correspondence and other life artifacts, that he portentously calls “the Void.” Now that he’s in his mid-eighties, Gretzinger appears to find it all more freighted with meaning than ever. Sooner or later, alas the Void comes for us all; what’s left to us is how we prepare for it."]]]></description>
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<item rdf:about="https://cosmosmalick.net/2026/06/15/autocinema.html">
    <title>Autocinema | Cosmos Malick</title>
    <dc:date>2026-06-17T10:29:10+00:00</dc:date>
    <link>https://cosmosmalick.net/2026/06/15/autocinema.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The working method I described in my previous post is relevant to another question commonly asked about some of Malick’s films: To what extent are they autobiographical?

There’s no question that there are close correspondences between The Tree of Life and Malick’s childhood in Waco, between To the Wonder and his experience in marriage, between Knight of Cups and his time spent as a screenwriter and script doctor in Hollywood. But even if those films began with straightforwardly autobiographical scripts — which I doubt — they would have undergone massive change on set, as Malick discovered what resonated and what did not resonate, what particular actors brought to their scenes, etc. Christian Bale once commented that Malick’s mantra on set was “Let’s start before we’re ready,” because in that way the cast and crew and director might find something powerful that they weren’t planning and weren’t expecting.

Teresa Palmer, who in Knight of Cups plays a stripper named Karen, was originally asked to be on set for a single day. But, as she later reported, things changed:

<blockquote>Every night I kept getting another phone call thinking it was my last day on set and just being happy with that one day, and then getting a phone call that one night saying Terry wants you to come back in tomorrow. You okay with that? I was like, yes! Yes I’m okay, that is so exciting. And then the next night, the same thing, the same thing, and I think I ended up shooting about eleven days and they took me to Vegas. I remember Christian [Bale] laughing, he was like, you’ll probably end up being the main character in this movie.</blockquote>

And that’s just one example of how completely the filming can diverge from the script. Imagine then, the transformations that can take place in the process of editing. The Criterion edition of The New World contains an interview with the films’s editors, and they talk extensively about how Malick encouraged them to experiment, to get beyond their usual practices. One of them said that his typical experience in editing was to be constrained by the director, but when working with Malick he often wanted to say, Whoa, Terry, let’s pull it back a little.

With such an improvisatory, open-ended approach, even the most strictly autobiographical script might turn into something very different by the time the story is filmed and edited. It’s safe, I think, to say that the three films I have mentioned have deep roots in Malick’s own experience, but it would be unwise to see any of those films as documenting his life. "]]></description>
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<item rdf:about="https://www.youtube.com/watch?v=n1-hhZUcGJY">
    <title>Trauma is a Time Machine: A Cinematic Primer with Kwasu D. Tembo - YouTube</title>
    <dc:date>2026-06-08T05:32:55+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=n1-hhZUcGJY</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["If you could go back in time, would you change the past, even if it meant changing who you are? Is existing in time itself traumatic? Is power over time a cinematic endeavour, and what makes a good director an even better time traveller? This week on Acid Horizon we're joined by Kwasu D. Tembo to talk about his latest book Trauma in 21st-Century Time Travel Cinema, discussing the philosophy of time travel in films such as Primer, Timecrimes, and Predestination; as well as how the experience of time transcendentally conditions the structure of the psyche.

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

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

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

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

Phasmid Press: https://phasmidpress.org/ "]]></description>
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<item rdf:about="https://www.youtube.com/watch?v=C8rLRIhDS-Y">
    <title>How the AI age forgets to ask: &quot;What for?&quot; | Benjamín Labatut + Jasmine Sun - YouTube</title>
    <dc:date>2026-06-06T04:39:34+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=C8rLRIhDS-Y</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Novelist Benjamín Labatut joins writer Jasmine Sun for a haunting, funny, and deeply human conversation about AI, superintelligence, and what our abstractions leave out. Drawing on his acclaimed novel The Maniac, Labatut explores the lives behind foundational ideas in computing and AI—from McCulloch and Pitts to John von Neumann and Lee Sedol—and asks what happens when our digital creations collide with continuous, embodied human life.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Benjamín Labatut What did you get out of it?

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

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

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

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

Jasmine Sun They’re building those AIs too.

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

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

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

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

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

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

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

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

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

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

Benjamín Labatut Thank you so much. Sorry for bumming everybody out."]]]></description>
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<item rdf:about="https://www.ccrc.keio.ac.jp/firsthalf_report_4thmedicalseminar_en/">
    <title>【Event Report①】The 4th Medical and Health DX Seminar “AI-premised health and medicine” | 慶應義塾大学サイバー文明研究センター</title>
    <dc:date>2026-05-31T21:47:01+00:00</dc:date>
    <link>https://www.ccrc.keio.ac.jp/firsthalf_report_4thmedicalseminar_en/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["In this age of excess, truth and fiction are intermingled. Truth tends to be complex and challenging to grasp, while fiction is often simple and easy to understand. Moreover, truth can be painful, whereas fiction is comforting. Communicating truth requires significant effort and resources, while fiction can be created effortlessly inside a single person’s mind, at little to no cost. As a result, fiction spreads far more easily. And what drives this dissemination is no longer people, but AI-powered algorithms. These algorithms are developing at an extraordinary speed, making it increasingly difficult to predict their impact on humanity."

[via:
https://om.co/2026/05/31/truth-is-fiction-or-is-it/ ]]]></description>
<dc:subject>truth fiction complexity humanity 2026 masayuki amagai</dc:subject>
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<item rdf:about="https://daily.jstor.org/fritz-eichenbergs-art-of-human-connection/">
    <title>Fritz Eichenberg’s Art of Human Connection - JSTOR Daily</title>
    <dc:date>2026-05-27T21:52:40+00:00</dc:date>
    <link>https://daily.jstor.org/fritz-eichenbergs-art-of-human-connection/</link>
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<item rdf:about="https://chrishedges.substack.com/p/a-discussion-on-the-new-novel-palaces">
    <title>A Discussion on the New Novel 'Palaces of the Crow' (with Ray Nayler) | The Chris Hedges Report</title>
    <dc:date>2026-05-23T05:19:01+00:00</dc:date>
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    <dc:creator>robertogreco</dc:creator><description><![CDATA["In his new book, “Palaces of the Crow,” Ray Nayler examines human nature through the lens of caring and community amidst the often hidden horrors of World War II."

...

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

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

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

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

...

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

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

...

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

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

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

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

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

...

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

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

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

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

"(0:00) Intro  
(2:25) Why WWII? 
(4:21) Clash of totalitarians 
(6:13) The four characters 
(10:19) The symbology of crows 
(15:58) Karma and resurrection 
(19:46) Kropotkin’s naturalism 
(25:04) The complexity of crows
(27:53) Transgenerational communication 
(30:59) Rootlessness and evil 
(33:03) Human-animal communication 
(38:55) The myth of childhood 
(44:05) The forgotten history of WWII
(51:21) Trauma of veterans 
(52:11) Outro"]]]></description>
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<item rdf:about="https://www.theverge.com/tech/936073/ai-writing-granta-commonwealth-prize">
    <title>The Commonwealth Prize controversy shows the literary world isn’t prepared for AI | The Verge</title>
    <dc:date>2026-05-23T05:10:27+00:00</dc:date>
    <link>https://www.theverge.com/tech/936073/ai-writing-granta-commonwealth-prize</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Three recent scandals say more about the publishing industry than they do about the quality of LLM-generated writing."]]></description>
<dc:subject>publishing llms writing howwewrite ai artificialintelligence gabydelvalle granta jamirnazir nabeelqureshi razmifarook sigridrausing claude kevinjaredhosein hachette miaballard literature olgatokarczuk literaryfiction fiction jamesdaunt pangram kevinnguyen commonwealthprize</dc:subject>
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<item rdf:about="https://www.theatlantic.com/books/2026/05/granta-ai-fiction-book-scandal-changes-everything/687243/">
    <title>The ‘Granta’ AI Fiction Scandal Changes Everything - The Atlantic</title>
    <dc:date>2026-05-22T08:25:43+00:00</dc:date>
    <link>https://www.theatlantic.com/books/2026/05/granta-ai-fiction-book-scandal-changes-everything/687243/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["A magazine’s response to accusations of publishing AI-generated fiction points to a new phase in the struggle to keep literature human."

[archived: https://archive.is/zrj6X ]]]></description>
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<item rdf:about="https://om.co/2026/05/21/the-rocket-that-runs-on-broadband/">
    <title>The Rocket That Runs on Broadband – On my Om</title>
    <dc:date>2026-05-22T08:17:17+00:00</dc:date>
    <link>https://om.co/2026/05/21/the-rocket-that-runs-on-broadband/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["paceX is in the business of rockets — how often they fly and what they do. The rest is imagination. The SpaceX IPO is a masterpiece of financial engineering. The prospectus is a perfect blend of reality, sci-fi, and skullduggery. I dug into the freshly filed 300-page IPO prospectus of Space Exploration Technologies Corp. to find out how much imagination is required.

SpaceX is seeking a valuation of $1.75 trillion, the largest IPO in American history, larger than anything Wall Street has previously been asked to absorb. In inflation-adjusted terms, SpaceX alone would rank second in history, just behind Saudi Aramco. SpaceX, OpenAI, and Anthropic together would raise more money than the entire dot-com bubble from 1995 to 2000.

Financial analyst Paul Kedrosky has a warning about where the money comes from. Most of that money will come from existing holdings. Passive funds will be forced buyers the moment these names enter the indexes, which index rules now accelerate. That means mechanical selling pressure on the same large-cap technology stocks everyone else already owns. Our 401(k) plans are in for a rude awakening.

Despite all that, I found the filing fun to read. It was late at night, so there was no popcorn. And who doesn’t like a bit of fiction before falling asleep?

The filing ranges from reusable rocket economics to the philosophical implications of becoming a Kardashev Type II civilization. It lists Mars colonization as a business line. I chortled when I saw that their flagship data center is named COLOSSUS, as in the 1970 sci-fi film Colossus: The Forbin Project, about a supercomputer that achieves self-awareness and takes over the world. To troll Microsoft, they have “Macrohard,” a platform under development to emulate digital workflows and create a fully AI-operated software company. If you want to know what a terawatt is, it is in the glossary. This is glorious.

Strip the prospectus to its financial skeleton and what remains is a satellite internet company. That is the business generating the cash that keeps the fiction appearing realistic."

...

"At $1.75 trillion, SpaceX is asking investors to price in the orbital data centers, the Mars missions, the chip manufacturing, and the plan to build the infrastructure of a Type II civilization. The believers won’t know the difference. The faithful have been well rewarded before. They have also, occasionally, learned that their messiah is known to blow air hotter than the exhaust of those rockets."]]></description>
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</item>
<item rdf:about="https://aeon.co/essays/the-role-of-literature-as-the-key-to-personal-freedom">
    <title>The role of literature as the key to personal freedom | Aeon Essays</title>
    <dc:date>2026-04-26T06:57:44+00:00</dc:date>
    <link>https://aeon.co/essays/the-role-of-literature-as-the-key-to-personal-freedom</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Stripped of easy moralising, literature makes us relish the search for truth in an age when many believe truth to be dead"]]></description>
<dc:subject>reading howweread literature 2026 freedom florachampy empathy proust johnruskin johnmilton books writing howwewrite rolandbarthes stanleyfish jacquesderrida newhistoricism newcriticism jonathanrose allanbloom haroldbloom emilyfinley janeausten patriciamatthew madamebovary gustaveflaubert percivaleverett kameldaoud marktwain elenaferrante paulbénichou victorhugo annelouisegermainedestël fiction rousseau readership christopherkelly charlesdickens émiledurkheim neigesinno hernandiaz values stories education marcelrpoust dostoevsky flaubert freud</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:bf852a6b28fd/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:émiledurkheim"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:neigesinno"/>
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<item rdf:about="https://www.dukeupress.edu/content-machines">
    <title>Content Machines: Reading and Writing in the Platform Era, by Sarah Brouillette (2026)</title>
    <dc:date>2026-04-05T06:05:51+00:00</dc:date>
    <link>https://www.dukeupress.edu/content-machines</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["While much has been said about the democratization of publishing through the rise of platforms like Amazon’s Kindle Direct Publishing, little attention has been paid to the broader effect these technologies have had on writers, readers, and the publishing industry. In Content Machines, Sarah Brouillette considers how short-form, platform-based, and social media writing on digital mediums like Wattpad and TikTok has reshaped modern publishing, reading, and writing. Brouillette identifies three mutually reinforcing processes that platform capitalism entangles in the publishing industry: the marked feminization of book work; the rise of a bibliotherapeutic vocabulary that grounds reading and writing as self-care work; and the growth of platform-based processes that cheapen content and intensify the pressure to engage in self-promotion and entrepreneurial strategizing. She breaks down the business models that have been key to this transformation and traces the social conditions that make online self-published fiction, especially young adult, romance, and fantasy stories, into spaces for community while, conversely, signaling how these publishing practices depend upon undervalued and feminized labor from marginalized groups. Content Machines is a much-needed survey of the contours of the modern reading and writing landscape."]]></description>
<dc:subject>2026 publishing howwewrite writing howweread reading kindle amazon sarahbrouillette wattpad platforms ebooks labor fiction self-publishing via:javierarbona</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:bb9f49ea52bf/</dc:identifier>
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<item rdf:about="https://press.umich.edu/Books/A/Artificial-Humanities3">
    <title>Artificial Humanities: A Fictional Perspective on Language in AI, by Nina Beguš (2025) | University of Michigan Press</title>
    <dc:date>2026-04-02T05:40:11+00:00</dc:date>
    <link>https://press.umich.edu/Books/A/Artificial-Humanities3</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Artificial Humanities explores how literature, history, and art can deepen our understanding of artificial intelligence and its development. By examining fictional representations of AI in parallel with actual technological developments, Nina Beguš presents a novel interdisciplinary framework for understanding the cultural, philosophical, and ethical dimensions of AI. She traces connections from Eliza Doolittle to ELIZA the chatbot and current language models, incorporates Slavic fictional examples from the Pygmalion paradigm, and compares mid-century science fiction and recent Hollywood films with contemporary developments in social robotics and virtual beings.

Highlighting the impact of human-like AI design, from gendered virtual assistants to romanticized social robots, the book shows how these technologies intersect with longstanding humanistic questions about the concepts of creativity and language as well as the relations between humans and machines. Additionally, the book explores AI’s applications in medical fields, particularly psychiatry and neurotechnology, including how AI interacts with the human body and mind to address conditions like paralysis. By emphasizing the philosophical and cultural implications of these technologies, Beguš highlights the need for responsible innovation that prioritizes human well-being as well as machine potential outside of human imitation. Accessible and thought-provoking, Artificial Humanities offers tools for analyzing and assessing technologies while they are being developed and invites readers to see how the humanities can guide us toward a more thoughtful future for AI.

Nina Beguš is Researcher and Lecturer at the Center for Science, Technology, Medicine & Society at the University of California, Berkeley."

[See also:

"Making AI More Human
An interview with Berkeley researcher and author Nina Begus about her new book and proposal to fuse science and the humanities"
https://nautil.us/making-ai-more-human-1279425 ]]]></description>
<dc:subject>ninabeguš 2025 ai artificialintelligence humanities literature history art scifi fiction sciencefiction eliza science</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:69c2eb04010c/</dc:identifier>
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</item>
<item rdf:about="https://www.theatlantic.com/books/2026/03/alvaro-enrigues-wild-western/686241/">
    <title>Álvaro Enrigue’s Wild Western - The Atlantic</title>
    <dc:date>2026-03-30T06:54:19+00:00</dc:date>
    <link>https://www.theatlantic.com/books/2026/03/alvaro-enrigues-wild-western/686241/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Álvaro Enrigue’s Now I Surrender scraps the simplistic binary of cowboys and Indians in favor of a wild, multifaceted war story."]]></description>
<dc:subject>álvaroenrique carolinamiranda toread books literature fiction</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:35044d3547b6/</dc:identifier>
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</item>
<item rdf:about="https://freddiedeboer.substack.com/p/great-writers-tell-all-the-time">
    <title>Great Writers &quot;Tell&quot; All the Time - Freddie deBoer</title>
    <dc:date>2026-03-23T04:22:05+00:00</dc:date>
    <link>https://freddiedeboer.substack.com/p/great-writers-tell-all-the-time</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>freddiedeboer writing howwwewrite 2026 mfaification literature novels annakarenina georgeeliot middlemarch charlesdickens dostoevsky fiction humberthumbert vladimirnabokov tolstoy</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:9f64d415e34f/</dc:identifier>
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<item rdf:about="https://social.ayjay.org/2026/03/13/novelists-who-help-us-think.html">
    <title>Novelists who help us think … | Alan Jacobs</title>
    <dc:date>2026-03-13T23:30:31+00:00</dc:date>
    <link>https://social.ayjay.org/2026/03/13/novelists-who-help-us-think.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Novelists who help us think theologically about this country’s racial history:

• for 1850-1900: William Faulkner
• for 1900-1950: Ralph Ellison
• for 1950-2025: Albert Murray"]]></description>
<dc:subject>theology alanjacobs novelists history williamfaulkner ralphellison albertmurray fiction writing howwewrite race us 2026</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:d816f43294f8/</dc:identifier>
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</item>
<item rdf:about="https://social.ayjay.org/2026/03/13/all-of-americas-most-theologically.html">
    <title>All of America’s most theologically … | Alan Jacobs</title>
    <dc:date>2026-03-13T23:29:17+00:00</dc:date>
    <link>https://social.ayjay.org/2026/03/13/all-of-americas-most-theologically.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["All of America’s most theologically rich and provocative thinkers are novelists — and this is true even when they don’t know they’re being theological.

• Marilynne Robinson: theologian of America’s past
• Thomas Pynchon: theologian of America’s present [https://hedgehogreview.com/issues/theological-variations/articles/the-far-invisible ]
• Philip K. Dick: theologian of America’s future"]]></description>
<dc:subject>novelists fiction us theology alanjacobs marilynnerobinson thomaspynchon philipkdick 2026</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:b83ea4171b41/</dc:identifier>
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</item>
<item rdf:about="https://rosselliotbarkan.com/p/why-fiction">
    <title>Why Fiction? - Political Currents by Ross Barkan</title>
    <dc:date>2026-03-01T22:39:54+00:00</dc:date>
    <link>https://rosselliotbarkan.com/p/why-fiction</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["In the age we’ve entered—this machine age, AI age, whatever it might be—the purpose of fiction is no less essential than it was a century ago. In fact, in these post-analog times, it might be what is required most. Not for a moral purpose—not to be a way to make “better” or more “empathetic” people—but for the need to reclaim, fully, personhood. The coming struggle might not be left vs. right or some other searing binary but human vs. anti-human. The anti-humanists are, for now, ascendant. They are interested, theoretically, in human augmentation, a cybernetic transcendence, but the greater purpose seems to be human replacement, with only a select few—a certain billionaire elect—presiding over the mass of machines. “It also takes a lot of energy to train a human,” Sam Altman, the OpenAI founder, said recently. “It takes, like, 20 years of life and all of the food you eat during that time before you get smart. And not only that, it took, like, the very widespread evolution of the hundred billion people that have ever lived and learned not to get eaten by predators and learned how to, like, figure out science and whatever to produce you, and then you took whatever, you know, you took.”

“The fair comparison,” he continued, is “if you ask ChatGPT a question, how much energy does it take once its model is trained to answer that question, versus a human? And probably, AI has already caught up on an energy-efficiency basis, measured that way.” 

Capitalism will always prize efficiency; efficiency, in isolation, is far from evil. Neither is technology—we do not want to live bereft of electricity, penicillin, or even the computer. Digital entertainments have their purpose, too. What makes this decade different is the desire of this new billionaire class to deny human beings their intellectual and creative essence. It might not happen, but that is the dream. That is what they are yearning towards. Some are more earnest about it than others, or more honest. And the production of novels—the act itself of writing fiction—is alien to these pursuits. What separates a human being from a machine? Consciousness. And what is consciousness? What has the human being been able to do for thousands of years that other animals, largely, cannot? Imagine. The imagination is the greatest gift we have—what’s forged the cathedrals and pyramids, the paintings and poetry, and, yes, even the machines. The automobile and airplane were works of imagination. The novel, in particular, is an imagination art. It flummoxes the Roy Lees of the world, this new rising class, because it is both fundamentally human and asks so much of a human, a reader. The writer of fiction and the reader of fiction are entered, together, into a relationship of the imagination. This relationship can, quite literally, transcend space and time. The writer, long dead, can still commune with the reader through their words, and readers themselves can span the centuries. Both the printed page and the internet can offer their own forms of immortality.

The novel still comes without instructions. As a reader, you might be offered descriptions, but it’s up to you to interpret them—to properly world-build. Your Yoknapatawpha County appears differently in your mind than my Yoknapatawpha County. Cinema can impose far more on the audience. All visual media does this. All of it, to varying degrees, is more passive than fiction, which asks for the fully-fired imagination and the suspension of belief. Journalism is vital for a democracy but most of it is not art—not even close. New Journalism can reach those heights, if there is an inherent danger to that approach because journalism, at its core, demands facts, and facts can run into conflict with art. A fact does not have an aesthetic. The superior aesthetic might be, in fact, untrue. Journalism can be stenography or it can be more interpretive, analytic, and investigative. Still, in those formulations, it does not attempt the higher planes of fiction. Much of nonfiction doesn’t. Literature has the spark of the divine because it is so inherently unexplainable. One can read scores of writing on how to craft a novel or properly consume literature, but there are lacunae inherent to all these explanations; there is a mysticism to the art of fiction that can’t be explicated, what Martin Amis had called the “white magic.” The communing of mind, body, and currents, the flow of image to fingertips, the dream of these creatures in your skull becoming transmuted into a language, maybe English, maybe another, and then this language is the mechanism that produces fresh images for the reader, fresh dreams. And the language, of course, is an aesthetic. Language is never merely utilitarian; language is art, language paints and is the painting. All of it is a miracle.

Fiction, the great imagination art, cannot be defeated as long as humanity exists. Both literally, in the furtherance of modern civilization, and in the current long war against the anti-humanists. The anti-humanists, themselves, have imaginations—AI is its own dream, derived in part from science fiction—but they are repelled by both the indulgences of fiction and its relative unruliness, its inability to offer quantifiable dividends. Why dwell within an author’s world? Why dream if you aren’t making money? Why must a writer dedicate so many hours to a craft that may not be popular or remunerative? The literary novelist, like the ancient monk, toils alone—even in groups, in scenes, the act of writing is solitary—and the only promised reward is the fueling of a spirit, the feeling that, on the level of blood, an important task was performed. As a writer, I, of course, conceive of the reader—anticipate the reader, hope for the reader’s approval—and chase worldly rewards, whatever they may be, but that simply isn’t enough, especially now. You have to want to perform the imagination art. You have to believe in it. You have to love it, or at least like it enough. Even those who suffer through writing do it because of that belief. It must matter. The writer who allows AI to perform the writing for him has lost that belief. He is an apostate. He is claiming religion while having none at all. He is a liar, a liar of the mind and the soul.

The anti-humanists insist AI is conscious. It is conscious now or will be soon. This is like offering a child a toy dog and telling him, repeatedly, the dog is real. Doesn’t it look like a dog? Can’t it bark if you press the button? The simulacra, for the anti-humanists, is always enough because they have experienced a form of spirit-death. Or they are unconsciously hoping, in time, to arrive there, to that stage. It takes a special kind of human—an unusual segment of the species—to long for the obsolescence of their own, to be so against their own. To resent, fully, flesh and blood and brain matter, the stunning complexities of human consciousness and all, in the past millennia, that has been achieved. To make art, humans have never required more than the basics of the machine world: a paintbrush, a chisel, a word-processor. The hierarchy has always been well understood. The machine is the tool of the human being to enhance the experience of being human. Tools are subordinate. Now, AI asks the human to be subordinate to the machine. Or, more accurately, AI asks nothing because it cannot “ask” anything. It is not alive. The anti-humanists make the ask. They’ve grown rich this way, and they’re rotted from within, like Dorian Gray. Except, unlike Dorian, they aren’t even very beautiful on the outside. They cannot entrance or seduce. They are, as a class, froggish and malformed, their mannerisms glitchy. They can’t willingly march us anywhere. They’ll have to do it by force.

I don’t write fiction as an act of rebellion. I do it because I love it and it gives my life meaning, and I believe, through my novels, I can make art and achieve beauty. I can exist in my highest form, as a worshipper might when in prayer. But it is fine, too, to conceive of fiction as rebellion. The more surreal, or hyperreal, our world becomes, the more fiction will need to be the ballast. The more we will need to duck away from the slopstreams, the smartphones, the machines that, like soma pumped into our bloodstreams, steal our agency away. Can it be done? On this score, I tend towards optimism. It is not optimism grounded in the actions the anti-humanists might take. I do not believe in Sam Altman, Roy Lee, or anyone else like them. Their intentions are to make money, unthinkable amounts of it, and they have no second or third order concerns. Rather, my hope resides with everyone else. The human beings who have still, in this decade, not forfeited themselves, not offloaded the act of imagination. Not long ago, there was an AI-generated video of a battle between Tom Cruise and Brad Pitt that looked realistic enough and drove a few commentators to declare that moviemaking as we knew it was over. What more could there be, now that perfect images of celebrities could be created almost instantly, with passable audio? What was left for the human being? It was an infantile conception of art, mistaking, again, the simulacra for the greater purpose, why we strive to paint or sing or write or direct films in the first place. We do not care about a film because a computer has created a representation of Tom Cruise in front of us. We care about Joel in Risky Business, Maverick in Top Gun, and Ethan Hunt in the Mission Impossible series. Brad Pitt is not AI IP; he’s Tyler Durden, Aldo Raine, and Cliff Booth. Both men look like they look, but that’s beside the point. AI enthusiasts wouldn’t understand this—not really—because they don’t grasp the vitality of the human narrative. An actor tells a story on a screen. A machine can write a story and a machine can generate actors in the same way a machine can play chess. A chess fan isn’t less appreciative of Magnus Carlsen because a machine can perform his role. Chess retains its human dimension. Art will, too.

Humans are a story-telling species. Animals have consciousness, animals can feel pain, and the smart animals can communicate in the proximate way people can, but animals do not tell stories. Animal do not conceive art. It is art, and the quest for narrative, that separates the human from all else; for many thousands of years, this was a cause for celebration. Now the anti-humanists hope to stamp it out—slowly, then quickly. The machine will draw, the machine will act, the machine will write. The machine will perform an imitation of imagination, a weak echo, and its creators will hope the human audience will not care either way. That is the darkest outcome: not a world where, Matrix-like, artificial intelligence rises up, enslaves us, and saps our bioenergy to power their own dystopia. The actual outcome, if Altman and his ilk have their way, will be far more banal. Instead of cyborgs, we will have slopborgs, diminished, slothful human beings who have offered themselves up to AI so completely they let machines think and dream for them. Their critical and cultural sensibilities wither away. There is no audience, anymore, for any sort of art. Instead of the Matrix pods, humans will merely stay home, rotting in the digital abyss.

We aren’t there yet. People still do read, make music, watch films, and visit art museums. There is a culture, high and middle and low, even if it’s under attack. There’s an awareness, too, of the cultural and spiritual sickness of anti-humans. The AI revolution is not very popular. None of its progenitors are celebrated in a way Steve Jobs might have been, when Americans still had great faith in their tech innovators. Writers endure and readers endure. Print book sales are not in decline. Neither is live music. The imagination has an audience and a market. The question will be whether, in the next half century, it can keep both. We have to believe it will. That belief will come with friction; the stakes will grow ever higher. Much is on the line for the AI oligarchs. If enough of us do not take to their creations and make them economically viable, they will be out many billions, maybe begging for federal bailouts. They’ll battle to avoid that outcome as much as they possibly can. This next decade will be pivotal, for both the anti-humanists asserting their market position and the humanists trying to lay claim to what is sacred—and what has driven the progress of human civilization for thousands of years. We will have to preserve our right to imagine."

[via:
https://social.ayjay.org/2026/03/01/ross-barkan-people-still-do.html ]]]></description>
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    <dc:date>2026-02-27T23:45:03+00:00</dc:date>
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    <dc:creator>robertogreco</dc:creator><description><![CDATA["Eric Olson Profiles the Author of Brawler"]]></description>
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    <title>The man who mistook his imagination for the truth</title>
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    <link>https://mariakonnikova.substack.com/p/the-man-who-mistook-his-imagination</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The disappointing reality of one of my (ex-)heroes, Oliver Sacks"

[See also:

https://www.newyorker.com/magazine/2025/12/15/oliver-sacks-put-himself-into-his-case-studies-what-was-the-cost

via:

"The Lies and Falsifications of Oliver Sacks"
https://kottke.org/25/12/the-lies-and-falsifications-of-oliver-sacks ]]]></description>
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    <title>Oliver Sacks Put Himself Into His Case Studies. What Was the Cost? | The New Yorker</title>
    <dc:date>2025-12-18T04:56:43+00:00</dc:date>
    <link>https://www.newyorker.com/magazine/2025/12/15/oliver-sacks-put-himself-into-his-case-studies-what-was-the-cost</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The scientist was famous for linking healing with storytelling. Sometimes that meant reshaping patients’ reality."

[See also:

"The man who mistook his imagination for the truth
The disappointing reality of one of my (ex-)heroes, Oliver Sacks"
https://mariakonnikova.substack.com/p/the-man-who-mistook-his-imagination

via:

"The Lies and Falsifications of Oliver Sacks"
https://kottke.org/25/12/the-lies-and-falsifications-of-oliver-sacks ]]]></description>
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<item rdf:about="https://sarahendren.com/2025/11/17/convinced/">
    <title>convinced | sara hendren</title>
    <dc:date>2025-11-17T17:34:01+00:00</dc:date>
    <link>https://sarahendren.com/2025/11/17/convinced/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Last week I had students in one of my classes watch Sound of Metal, a scripted feature film about hearing loss, cochlear implants, sobriety, embodiment, grasping and limits, and so much else. It’s beautifully written and performed, and it followed readings that included Byung-Chul Han’s The Burnout Society.

The first student to speak up about the film was J, who said: I’m not sure if this is the right way to say it, but I was…convinced by the movie. J thought this response was likely inadequate, but I assured him that any writers of fiction would be very pleased by that choice of words. They’d be thrilled to know he was convinced that the world of the film or book existed, convinced that these characters moved through it, that they were recognizably human, convinced by the dream state of taking on those characters’ idiosyncracies and questions as though they were our own.

I spend a lot of time reading the arguments of my nonfiction writer friends and admirees — peers in policy, academia, journalism — and I am plenty often convinced by them in the usual way. I am convinced by their logic and by their evidentiary appeals. I desperately need that persuasion as nourishment, and I seek out minds much sharper and more skilled than my own. I need a steady diet of their ideas to think with. I’m acutely aware of my limitations.

But I don’t really long to join these writers in that kind of persuasion, to have that form of something to say. I said this a while ago — I want to make art, not arguments [https://sarahendren.com/2022/12/19/art-not-argument/ ] — and when J said this thing about being convinced, I recognized it again. I want to be convincing about what it feels like to be a human being."]]></description>
<dc:subject>film literature fiction convinceing soundofmetal sarahendren byung-chulhan empathy understanding communication persuasion 2025 art arrgument worldbuilding</dc:subject>
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<item rdf:about="https://www.youtube.com/watch?v=q8ZR9-y4ik8">
    <title>How AI Will Translate Human Creativity as Sci-Fi and Reality Converge | The Futurology Podcast - YouTube</title>
    <dc:date>2025-11-04T18:43:57+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=q8ZR9-y4ik8</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The first machines mimicked our muscles. Today, they’ve learned to mirror our minds. Now they’re beginning to imitate something even closer to the core of our humanity – imagination itself. Sci-fi author, translator, and technologist Ken Liu calls this new medium the Noematagraph: a tool for capturing creativity and collaborating with AI in the same way cinema tells stories with actors, sound and a splash of light on a screen.

In this episode of Futurology, Liu joins Berggruen Press’ Executive Editor Nils Gilman to explore how AI blurs the line between artist and audience, code and consciousness. They discuss why storytelling has always been humanity’s most powerful technology and how machines, by learning to tell their own stories, may change what it means to express emotion in the AI age."]]></description>
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<item rdf:about="https://www.vivianeschwarz.co.uk/the-best-place-in-the-world/">
    <title>The Best Place in the World – Viviane Schwarz</title>
    <dc:date>2025-11-02T19:27:25+00:00</dc:date>
    <link>https://www.vivianeschwarz.co.uk/the-best-place-in-the-world/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["A personal story about the importance of non-fiction books to a young child

School, my father told me, was the best place in the world. It was where you learned about everything. My mother was a teacher then, and I envied all those children she went to see every day.

I couldn’t wait.

But I had to.

Kindergarten was a tiny place just across from the hospital where my father worked. To me, it seemed vast. I couldn’t reach the doorbell, and I never dared to play on the looming slides and swings. I didn’t enjoy painting with water on blotting paper and watching it dry and disappear. I was frightened by the nonsensical clapping songs and I detested any sort of entertainment, especially the magician we went to see twice a year for a treat.

Magic was a lie. The world was full of true wonders. I wanted to know them all, and invent new ones.

I wanted to be in school.


One day I had a fight with another child who insisted that whales breathed water, not air. That was the last straw. I’d already listened to her insisting that clouds were blue on a white sky, as in her drawings, because clouds were full of rain and the sky was empty, and that when the sky looked blue it was just covered in clouds.

We were separated and I had to sit at a table across the room with a child who didn’t talk.

“Did you know that whales breathe air?” I asked her. “They do.” She shook her head quietly. “Do you want to know more about whales?” I asked. She nodded. “I will tell you tomorrow,” I said.

At home, I asked my mother about whales, and I concentrated hard to learn it all. My mother had a song she liked to sing about a whale called Jonathan who swims in the ice-cold Northern sea, and she told me that whales eat krill, which is all the tiniest things in the sea.

The next day I couldn’t wait to see my new friend.

“Welcome to school”, I said. “Whales are not really fish. They live in the ice-cold northern sea and they eat krill.”

The next day, my class had doubled. Two silent children stared at me with awe, and all I had prepared was the subject of carrots. All I had learned about carrots was that you can eat them in a way that leaves a weird spiny core, and I had no idea why that was the case.

“This was a short lesson, “ I said after my demonstration, “but tomorrow I will teach you about time.”

At home, I went straight to the bookshelf. There was a whole row of non-fiction books, heavily illustrated, including “The How and Why Wonder Book of Time”. Time seemed an easier subject than for example dinosaurs, because there were many dinosaurs but only one time.

I stared at the images of sundials and wondered if I could make one. I deciphered the words as well as I could.

I had already learned to read by badgering everyone constantly to tell me what every bit of writing anywhere said, and once I realised that the word on the sugar packet was SUGAR I was off, reading first all the labels, then all the signs and finally all the books in my world.

I wasn’t so good at talking yet. Sentences came out of my mouth in the wrong order, some sounds weren’t quite right and I wasn’t ever sure what other people actually knew about or what I had only dreamed.

But I tried my best.

“Welcome to school,” I said. “If you fall into a black hole in outer space, you keep falling forever. But you won’t, because you can’t fall upwards, that would be flying. Maybe we can make a clock, but I don’t know how. I’m sorry. I will find out more.”

A short time later, we were told that we’d go to see the magician again. I started screaming and didn’t stop until they’d taken me out of kindergarten forever.

From then on, I stayed home and read and drew and learned. I was happy that I didn’t need to waste any more time with clapping and water painting, and I was looking forward to starting school.

It turned out that school meant sitting still and learning one letter at a time.

The first day we all went “i”, which was the sound one might make sliding down a slide or stepping in a puddle, as the pictures illustrated. I leafed through the book and wondered what it was trying to teach me. It was all complete nonsense. There was no information at all, the pictures were lovely but was this really the only book we would be reading all year?

Every day I went and wondered what was happening to me. There was a classroom library, but I wasn’t allowed to touch the books unless it was reading time, and reading time only happened when it rained at recess. Asking questions was bad. I drew animals and rockets all around the edges of my exercise book, telling myself there would be an end to every lesson. The first weekend, I hid under a chair at home and told everyone I lived there now. Soon after, I started having stomach aches and nightmares.

I still dream about school and wake up sick.

I’d forgotten about all of this until last week when I went to visit a friend who has a two year old daughter. At bedtime, there was a huge stack of story books to choose from, several of them written by me.

She chose an illustrated French dictionary instead. “That’s her favourite”, my friend said.

I watched them read together.

My friend read out the words, asked questions and explained. Her daughter nodded to herself, whispering the names of animals, making claws and growls of lions not as make-believe but to remember: lion. It’s striking how grown-up tiny children look when they are learning something.

It’s just as striking as the child-like joy of an adult who just worked something out… because in this, the most profound and life-important enjoyment, we remain the same.

We all want to work things out.

That child I was fighting in Kindergarten was reasoning out the nature of clouds as much as I was, and she really cared about whales.

If the adults had taken notice and picked a few books off the shelf for us to look through together, our tiny self-teaching school would have grown and grown.

They let us paint with water to save on paper when they should have let us mix colours.

We could have made a sundial with the adults, right outside, right then, if they’d just asked us what we were doing instead of laughing at our seriousness.

We sang clapping songs every day to keep in line when we could have sung about whales in the ice-cold northern ocean.

And school…

My dad was right. School should be the best place in the world.

It wasn’t. There was no best place. But there were books.

I love my job of writing and illustrating stories for children, but my first, true and most profound love will always be non-fiction books. If you write them, thank you.

If you read them: welcome to school.

Tomorrow we will build whatever you want, I hope."

[See also:
https://www.are.na/block/40791625
https://bsky.app/profile/vivschwarz.bsky.social/post/3m43jied7cs24

""I used to read a book a day as a child. Spent as much time in the library after school as I could add a teenager. I read loads of stories, eventually. But the first books I really wanted to read were dictionaries, craft books and non fiction. https://www.vivianeschwarz.co.uk/the-best-place-in-the-world/

The first story books I was interested in reading were the ones that had recipes, instructions, maps worked in. Things I recognised as "information", things I felt I could "get out" of the book, apply to reality.
‪
Story books I loved as a child: A book about cowboy who made up a new bit of song about every adventure, musical notation at the back so one could sing it.

A book that featured a machine and there was a blueprint of it included.
An adventure book with instructions for getting out of a locked room
‪
Yes, I also appreciated good writing, but first of all I loved stories that gave me something I could think about applying to my own world quite literally. Some of those were from free little magazines you'd get at the shoe shop or pharmacy. That was my way in.
‪
And the most amazing books were illustrated non fiction on a theme. THE MICROSCOPE was probably my favourite, with hand rendered bacteria and cell structures that were as beautiful as the real thing, more beautiful than photographs. Instructions for slide-making that involved razor blades and ink
‪
And all those dinosaurs. Is there a more complete love than one may feel as a child reading an illustrated book about dinosaurs, loving every bone of them, cherishing every minute of their lives, accepting their fossilized giant bird shits and even their very departure with fierce love.
‪
And don't forget the instruction manuals for board games. The IKEA leaflets describing in detail the angular blossoming of furniture. Do not tell me those joys of reading are lesser than opening a classic children's book one is given without curiosity demanding it right then.
‪
There must be substrate for curiosity to grow from where it's at to where it may go.

Telling a child that what they're reading is worthless won't encourage them to pick up your favourite kind of thing instead.""]]></description>
<dc:subject>vivschwarz vivianeschwarz 2025 2016 reading howweread children school education howwelearn learning schools schooling childhood joy adventure curiosity nonfiction fiction pictures kindergarten wonder whales awe dinosaurs time sundials magic libraries dictionaries adults clouds emergentcurriculum</dc:subject>
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    <link>https://thebaffler.com/salvos/the-worlds-memory-of-the-world-winslow-yost</link>
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    <title>A Small, Good Thing--Raymond Carver</title>
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    <title>Ursula Le Guin's Anarchist Alternative - YouTube</title>
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    <link>https://www.youtube.com/watch?v=r73s-YMcNTI</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["In this Conversation on Anarres, we celebrate the 50th anniversary of the publication of Ursula K. Le Guin's classic novel, The Dispossessed. We talk with Dr. Alexis Shotwell who is working to spell out Le Guin's anarchist philosophy. Shotwell speculates as to the features of "Odoian anarchism"--what values it expresses and how it is related to other classical anarchist thinkers such as Emma Goldman and Peter Kropotkin-- and she envisions what lessons it might have for our political organizing today."]]></description>
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<item rdf:about="https://lareviewofbooks.org/article/taking-writing-seriously-marc-auges-no-fixed-abode/">
    <title>Taking Writing Seriously: Marc Augé’s “No Fixed Abode” | Los Angeles Review of Books</title>
    <dc:date>2025-07-29T00:14:02+00:00</dc:date>
    <link>https://lareviewofbooks.org/article/taking-writing-seriously-marc-auges-no-fixed-abode/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["In his new book No Fixed Abode: Ethnofiction, the French anthropologist Marc Augé sets out to explore the life of Paris’s working poor. The book is not a standard work of social science: it is, rather, a first-person narrative in the voice of a fictional character."]]></description>
<dc:subject>2013 leagreich marcaugé ethnofiction socialsciencenarrative ethnography fiction everday davidsnow leonanderson jaymacleod</dc:subject>
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<dc:identifier>https://pinboard.in/u:robertogreco/b:c433d464162d/</dc:identifier>
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</item>
<item rdf:about="https://daily.jstor.org/race-and-american-pop-culture-in-zainichi-stories/">
    <title>Race and American Pop Culture in Zainichi Stories - JSTOR Daily</title>
    <dc:date>2025-07-12T00:42:25+00:00</dc:date>
    <link>https://daily.jstor.org/race-and-american-pop-culture-in-zainichi-stories/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["A close reading of the 1996 novel GO suggests zainichi identity is in dialogue with multiple national cultures, including American."

...

"International audiences likely recognize the name of the zainichi community—ethnic Koreans living in Japan as a result of colonial-era migration—because of Min Jin Lee’s acclaimed 2018 novel Pachinko, a sweeping multi-generational saga about the difficulties and discrimination faced by a zainichi family, or its 2022 Apple TV+ adaptation.

Lee, a Korean American author, first heard about the zainichi when she was a student at Yale University in the 1980s. Before Pachinko, though, zainichi stories were already being published in Japan. And the interplay of Korean, Japanese, and American perspectives means that such narratives can be interpreted as “transpacific cultural mediation,” writes David S. Roh.

In this theoretical framework, “relationship to the homeland is largely imaginative and negotiated through tertiary national spaces,” Roh writes. In particular, he proposes that Japanese author Kaneshiro Kazuki’s 1996 novel GO is “culturally mediated not only through Japanese and Korean ethnonational politics but also through American racial discourse and popular culture.”

That’s as the novel’s protagonist, high school student Sugihara, “must detour through another cultural space—in this case, American cultural and racial discourse—to find the latitude to break free from reified cultural identities that have been thrusted upon him,” he suggests.

Tension in the novel stems from Sugihara’s romance with a Japanese girl, Sakurai. Notably, when he reveals his family background to her, she balks at sexually consummating their relationship. Despite Sugihara’s academic references to the shared ancestry of Japanese and Koreans, Sakurai confesses, “It’s scary…the thought of you inside me is scary,” and calls his blood kitanai or dirty.

Kaneshiro’s novel “dismantles nationality as laughably fluid, particularly in the case of zainichi,” since citizenship is inherited based on the affiliation of zainichi individuals’ parents or grandparents at the time of their liberation from Japanese colonialism at the end of World War II.

To be Korean in GO is a matter neither of lineage nor of citizenship, Roh argues. Rather, “[r]acial formation, which Sugihara belatedly stumbles upon, is the arena in which his subjectivity is both based and contested”—and that can be done only with American intervention. For instance, Sugihara’s self-discovery occurs after his family pays a bribe to switch their citizenship from North Koreans to South Koreans—just so that his parents can visit Hawai‘i.

“Hawai‘i is a fantasy vacation space, a construct of American empire,” Roh writes. And it’s this fantasy American space that marks the dawn of Sugihara’s racial consciousness.

Roh points out that GO is rife with allusions to American culture, ranging from Sugihara’s love for the Godfather film series to a scene where he imagines himself as noir detective Philip Marlowe.

Observers have long hailed Japan’s aptitude for cultural synthesis. Is this characterization warranted, or does it reflect a collective fantasy about exceptionalism?

“It is through popular culture—with the attendant political and racial underpinnings—that Sugihara negotiates a pathway for zainichi subjectivity,” Roh explains.

“[T]he intertextuality goes beyond a simple expression of zainichi anxiety,” he writes. “Sugihara actively adapts American cultural discourse for his own ends”—for example, by changing the lyrics of Bruce Springsteen’s song “Born in the USA” to instead express that “I was born in Japan.”

In his musings, Sugihara connects racial discrimination against Native and African Americans with the treatment of Koreans. At other points, he identifies with the mixed-race musician Jimi Hendrix, and frames his response to racism in the context of the philosophy of Black rights icon Malcolm X.

Roh links the status of American culture in GO to the history of Allied-occupied post-war Japan, when the United States was “considered an external tertiary force that may be used to the zainichi population’s advantage when dealing with a discriminatory Japanese government.”
Weekly Newsletter

“I would argue that there is a similar dynamic at play in GO—the use of US intervention in cultural form to liberate the zainichi from the shackles of ethnonational inferiority,” he adds. As such, the novel must be read in light of American racial discourse, even though it is a work of Asian literature.

“GO engages in an interminority and transnational cultural dialogue as a means of rehabilitating a fragmented history, generational alienation, and political absence,” Roh concludes."]]></description>
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<item rdf:about="https://surface.syr.edu/mend/">
    <title>Mend - Celebrating the Lives and Creative Works of Incarcerated People and those Impacted by the Criminal Justice System | Journals | Syracuse University</title>
    <dc:date>2025-07-12T00:20:58+00:00</dc:date>
    <link>https://surface.syr.edu/mend/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Mend celebrates the lives and creative work of incarcerated and formerly incarcerated people as well as individuals who have been impacted by the criminal justice system. This annual publication showcases writing of all types, including fiction, poetry, and nonfiction. While prospective authors may submit pieces that describe their experiences with incarceration, the publication welcomes contributions on any topic."]]></description>
<dc:subject>publications incarceration prisons imprisonment poems poetry fiction nonfiction creativity criminaljusticesystem</dc:subject>
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<item rdf:about="https://www.honest-broker.com/p/audiences-prove-that-the-experts">
    <title>Audiences Prove that Experts Are Dead Wrong - by Ted Gioia</title>
    <dc:date>2025-06-27T04:07:23+00:00</dc:date>
    <link>https://www.honest-broker.com/p/audiences-prove-that-the-experts</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["No TikTok will ever generate that kind of passionate long-lasting response. They come and go. But longform fandoms will last a hundred years or more, and get passed on from generation to generation.

That’s why longform is making a comeback—in total defiance to the wishes of Silicon Valley and their scroll-driven strategies. Maybe that should be a lesson to them. Perhaps they should reconsider some of their other social engineering initiatives before they also meet with a painful reversal."]]></description>
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<dc:source>https://pinboard.in/</dc:source>
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</item>
<item rdf:about="https://elviawilk.substack.com/p/criticism-in-crisis-part-1">
    <title>Criticism in Crisis!! Part 1 - by Elvia Wilk</title>
    <dc:date>2025-06-25T05:27:52+00:00</dc:date>
    <link>https://elviawilk.substack.com/p/criticism-in-crisis-part-1</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[part 2:
"Can You Be Both a Critic and a Novelist? On Writing, Identity, and Good Faith Criticism
Criticism in Crisis!! Part 2
It's not in crisis. Anyway this is about making art and writing criticism at the same time."
https://elviawilk.substack.com/p/criticism-in-crisis-part-2 ]]]></description>
<dc:subject>criticism literature writing 2025 howwewrite elviawilk literarycriticism elviawil reading howweread fiction reviews</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:9bd56426a507/</dc:identifier>
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</item>
<item rdf:about="https://elviawilk.substack.com/p/criticism-in-crisis-part-2">
    <title>Can You Be Both a Critic and a Novelist? On Writing, Identity, and Good Faith Criticism</title>
    <dc:date>2025-06-25T05:27:10+00:00</dc:date>
    <link>https://elviawilk.substack.com/p/criticism-in-crisis-part-2</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["It's not in crisis. Anyway this is about making art and writing criticism at the same time."

[part 1:
"Criticism in Crisis!! Part 1
A taxonomy of reviews: Good faith, Bad faith, Takedown"
https://elviawilk.substack.com/p/criticism-in-crisis-part-1 ]]]></description>
<dc:subject>elviawil criticism literarycriticism writing howwewrite reading howweread 2025 fiction reviews literature elviawilk</dc:subject>
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<dc:identifier>https://pinboard.in/u:robertogreco/b:846244835a8d/</dc:identifier>
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</item>
<item rdf:about="https://www.youtube.com/watch?v=Sf3wEg9tsCY">
    <title>Can You Believe Your Own Eyes? Not With A.I. | Op-Docs - YouTube</title>
    <dc:date>2025-06-25T02:14:57+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=Sf3wEg9tsCY</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Film and text by Maximilien Van Aertryck and Axel Danielson:
The camera is a tool — but to do what? Images shape our daily life, yet we rarely question how they’re made or why.

As filmmakers, we’re fascinated by how humans use cameras and by the immense influence images have. For 15 years, we’ve investigated the history of the camera, and we’ve turned the material we gathered into a feature documentary, chronicling how people behind the camera went from capturing the image of a backyard to today’s multibillion-dollar content industry.

The video above, “Death of a Fantastic Machine,” is a shorter version of that documentary, and here we focus on something that emerged as the key factor: how economic forces have shaped what we see, from the earliest photography to the algorithms and A.I. of today.

Some say there are an estimated 45 billion cameras on earth today, giving humankind access to perspectives far beyond our own reach. But the very tool that could help us understand the world is increasingly used to distort it. With A.I., this distortion has reached a new level. When any photo or video can be manufactured, what happens to the camera’s credibility? Can we still trust what we see?"

[via:
https://kottke.org/25/06/death-of-a-fantastic-machine

"Death of a Fantastic Machine (aka the camera) is a short documentary on “what happens when humanity’s infatuation with itself and an untethered free market meet 45 billion cameras”…and now AI. It’s about how — since nearly the invention of the camera — photos, films, and videos have been used to lie & mislead, a trend that AI is poised to turbo-charge. Not gonna sugar-coat it: this video made me want to throw my phone in the ocean, destroy my TV, and log off the internet never to return. Oof.

The short is adapted from a feature-length documentary directed by Maximilien Van Aertryck and Axel Danielson called And the King Said, What a Fantastic Machine [https://www.bullittfilm.dk/fantastic-machine ] (trailer [https://www.youtube.com/watch?v=z7TcmTeuCCo ]). Van Aertryck & Danielson made one of my all-time favorite short films ever, Ten Meter Tower [https://kottke.org/17/02/ten-meter-tower ] (seriously, you should watch this, it’s fantastic…then you can throw your phone in the ocean).

P.S. I hate the title the NY Times gave this video: “Can You Believe Your Own Eyes? Not With A.I.” That is not even what 99% of the video is about and captures none of what’s interesting or thought-provoking about it. However, it is a great illustration of one of the filmmakers’ main points: how the media uses simplifying fear (in this case, the AI bogeyman 🤖👻) to capture eyeballs instead of trying to engage with complexities. “Death of a Fantastic Machine” arouses curiosity just fine by itself."]]]></description>
<dc:subject>film photography perception media ai artificialintelligence maximilienvanaertryck axeldanielson documentary cameras filmmaking video fear tv television attention addiction psychology storytelling narrative tedturner capitalism lumièrebrothers georgesméliès radio fabrication staging framing power ads advertising reality escapism fiction propaganda entertainment news cnn sensationalism violence massmedia screens technology smartphones socialmedia manipulation internet online web youtube influencers influence fearmongering foxnews howwethink neuroscience reedhasting netflix algorithms channel5 andrewcallaghan division polarization business faceboook meta</dc:subject>
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<item rdf:about="https://www.bigecho.org/the-three-stigmata-of-peter-thiel">
    <title>The Three Stigmata of Peter Thiel — Big Echo</title>
    <dc:date>2025-06-22T16:33:46+00:00</dc:date>
    <link>https://www.bigecho.org/the-three-stigmata-of-peter-thiel</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>brendanbyrne peterthiel fiction donaldtrump 2025</dc:subject>
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<item rdf:about="https://lareviewofbooks.org/article/player-one-and-main-character/">
    <title>Player One and Main Character | Los Angeles Review of Books</title>
    <dc:date>2025-04-28T02:18:57+00:00</dc:date>
    <link>https://lareviewofbooks.org/article/player-one-and-main-character/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Gideon Jacobs considers what Donald Trump and Elon Musk, as odd couple in chief, have in common."]]></description>
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<item rdf:about="https://news.sfsu.edu/news/sfsu-art-students-create-extraordinary-exhibition-exploring-ordinary">
    <title>SFSU Art students create an extraordinary exhibition exploring the ordinary | SF State News</title>
    <dc:date>2025-02-25T05:15:57+00:00</dc:date>
    <link>https://news.sfsu.edu/news/sfsu-art-students-create-extraordinary-exhibition-exploring-ordinary</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["SFSU Fine Arts Gallery showcases findings from grant-funded Office for the Study of the Ordinary 

In these extraordinary times, we can learn something by stepping back and exploring the ordinary. At San Francisco State University, about 100 students led by an artist-in-residence have investigated the everyday, creating new works of art in a “fake” department called The Office for the Study of the Ordinary.  

A culminating exhibition in the SFSU Fine Arts Gallery showcases the processes, artifacts and printed material compiled over the past year by 150 overall participants. “Objects of Inquiry: The Office for the Study of the Ordinary” is on display Saturday, Feb. 22 – Saturday, April 5. Admission is free. 

“Bureaucracy and art seemingly wouldn’t mesh. Put them together and something weird comes out,” said Liz Hernández, the Harker Artist-in-Residence at SFSU, a position made possible by the Harker Fund at the San Francisco Foundation. “The ordinary can be extraordinary if you shift your focus.” 

Hernández worked alongside students in their classes for one to two weeks at a time to create collaborative art projects. Supplied with lab coats, magnifying glasses and measuring tape, students strolled the campus and took pictures of their observations. They created ID cards with fictional job titles for themselves: fantastical daydreamer, termite enthusiast, dust collector and so on.

About 12 students in an art studio work on a sculpture of an alligator surrounded by flowers and laying on a stretcher
Photo by Liz Hernández

Student Nanako Nirei has contributed an acrylic drawing for a large-scale comic about SFSU’s mascot, depicted as a fictional character named Al the Gator. Nirei is enrolled in the Art 619 “Exhibition Design” course that is responsible for installing and promoting “Objects of Inquiry.” 

“This is the first time I’ve been part of a big show,” she said. “I’m honored being in it and helping put everything up.” 

Upon entry to “Objects of Inquiry,” visitors are greeted at a reception desk assembled with old furniture from campus storage. They are then led on a self-guided tour highlighted by a false tale involving student protests against inhumane treatment of an alligator housed on the SFSU campus. (For the record, this never actually happened; fakeness and subversion are hallmarks of Hernández’s art). Hernández created a life-sized sculpture of an alligator with angel wings, laying on a stretcher.   

“I wanted to show the legacy of student-led protests at SF State. I was surprised that so many students didn’t know about it,” Hernández said. “I like to tell stories to the world through fiction in a way that doesn’t damage anyone, but gets you to think.” 

Collaborating with students has been the most rewarding part of Hernández’s residency, she says: “I’ve learned so much from the students. There are small moments of tenderness and vulnerability. I’d never expect students to open up that way.” 

An opening reception for “Objects of Inquiry” will be held Feb. 22, 1 – 3 p.m. Regular hours for the Fine Arts Gallery are Tuesdays – Fridays, noon – 4 p.m."]]></description>
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    <title>Before you define fiction, check your metaphysical assumptions | Aeon Essays</title>
    <dc:date>2025-01-22T00:02:41+00:00</dc:date>
    <link>https://aeon.co/essays/before-you-define-fiction-check-your-metaphysical-assumptions</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["What distinguishes fiction from nonfiction? The answer to this perennial question relies on how we understand reality itself"
]]></description>
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<item rdf:about="https://www.theintrinsicperspective.com/p/how-the-mfa-swallowed-literature">
    <title>How the MFA swallowed literature - by Erik Hoel</title>
    <dc:date>2025-01-14T18:41:06+00:00</dc:date>
    <link>https://www.theintrinsicperspective.com/p/how-the-mfa-swallowed-literature</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["On the total world-domination of workshopped fiction"

]]></description>
<dc:subject>erikhoel 2021 mfaification mfa writing howwewrite workshopping mfas williamgadis brandontaylor garthriskhallberg zadiesmith jonathanfranzen davidfosterwallace jeffreyeugenides donnatartt daveeggers michaelchabon conversazionigroup leconversazioni 20061955 anthonydoerr hilarymantel colsonwhitehead richardpowers elenaferrante domenicostarnone laurengroff hanyayanagihara sallyrooney rachelcusk ottessamoshfegh rachelkushner gwendolineriley moniqueroffey mariastepanova fiction literaryfiction novelists creativewriting twittersphere williamjames josephconrad virginiawoolf penelopefitzgerald joycecaroloates thomaspynchon saulbellow proust marcelproust martinamis rossdouthat iowawritersworkshop harvard amherst williamscollege williamfaulkner process elifbatuman nadinegordimer murielspark jmcoetzee warrenadler annetyler irismurdoch dondelillo emilygould margueriteduras</dc:subject>
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<item rdf:about="https://sarahendren.com/2025/01/06/object-lessons/">
    <title>object lessons | sara hendren</title>
    <dc:date>2025-01-07T00:05:21+00:00</dc:date>
    <link>https://sarahendren.com/2025/01/06/object-lessons/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["I share so many foundational commitments with this doctor [https://www.plough.com/en/topics/community/education/schooling-me-the-surgeon ], but when will well-meaning Christians learn to discipline their thinking about disabled people? The person-as-object-lesson is just too tidy to resist, it seems:

<blockquote>[T]hey live closer to the cross than the rest of us. They carry their disabilities all the time. They don’t get a day off. They don’t get a minute off… And so I find they bring me closer to the cross. They feel it; they sense it; they’re part of it more than I am. I sometimes have to think my way there, whereas they simply guide me – they take me by the hand and bring me there.</blockquote>

They show us, they teach us, they tell us — this language runs through the whole piece. Really? Who is this they? People with Down syndrome will always be trotted out in these narratives, I find. What about a man who’s had a sudden significant hearing loss in his 60s? A woman in her twenties who had rheumatoid arthritis that’s now in remission? An amputee? Someone living with a low-lying malaise of depression for decades on end? Are these people the same in any meaningful sense?

To be sure: the Christian framework does offer sacrifice as an inevitable part of any human life and an invitation. We hold our many sufferings and, by grace, let them be united with the sacrificial Love that precedes and subsumes them. And yes, disabling conditions may well show up in the Venn diagram of our suffering and our sacrifices; like all givenness in life, those conditions can also be gifts if seen in light of that same Love. All of that mix — our gifts and our suffering as sacrifice — conjoins us to one another as no more and no less than human. If some abstract they is used to teach an edifying lesson, you can be sure that we’re dealing with flat characters: cardboard cutouts and allegorical symbols, not human beings.

But of course we do teach other. A person might say: People with cognitive disabilities remind me that I am too impressed by the genetic lottery distribution of book-smart cleverness. But one might also say: People with very few material resources show me that I too often hoard ephemeral pleasures. People in recovery teach me that idolatry lurks everywhere. And we’d also have to say: People with twice as much courage as me — twice as much compassion, twice as much magnanimity — they teach me that virtue. The old idea from Iris Murdoch endures: the most important revelation that stories offer is that other people exist. Stories in fiction and stories unfolding right before our eyes. Other people exist! A miraculous banality, half comedy and half tragedy, and a truth that takes rituals and habits to take seriously. We calibrate our inflated sense of self by learning from others’ gifts and from their suffering, and perhaps we learn the most when those two are almost irreducibly mixed. We — we, all of us — teach each other, insofar as we have the capacity to really learn."]]></description>
<dc:subject>sarahendren disability disabilities christianity 2024 objectification josephdutkowsky irismurdoch existence stories storytelling literature genetics cleverness fiction learning howeelearn</dc:subject>
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<item rdf:about="https://lareviewofbooks.org/article/apocalyptic-aesthetic-on-agustin-fernandez-mallos-the-nocilla-trilogy/">
    <title>Apocalyptic Aesthetic: On Agustín Fernández Mallo’s “The Nocilla Trilogy” | Los Angeles Review of Books</title>
    <dc:date>2024-12-22T02:30:47+00:00</dc:date>
    <link>https://lareviewofbooks.org/article/apocalyptic-aesthetic-on-agustin-fernandez-mallos-the-nocilla-trilogy/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Science as a fiction-producing method shapes "The Nocilla Trilogy," paving the way to reimagining what true interdisciplinarity looks like."]]></description>
<dc:subject>agustínfernándezmallo 2019 katrynevinson fiction literature interdisciplinary indterdisciplinarity science</dc:subject>
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<item rdf:about="https://www.zendalibros.com/cuatro-cuentos-cuanticos-de-javier-arguello/">
    <title>Cuatro cuentos cuánticos, de Javier Argüello - Zenda</title>
    <dc:date>2024-11-24T07:35:40+00:00</dc:date>
    <link>https://www.zendalibros.com/cuatro-cuentos-cuanticos-de-javier-arguello/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Los cuatro relatos que componen este libro desafían literalmente la consistencia del mundo que habitamos. Un ejemplo: un periodista varado en Ucrania termina encontrándose en Londres con un escritor del siglo XIX. Y es que los saltos cuánticos que propone el título no son aquí cosa de broma.

En Zenda reproducimos el arranque del relato “Partir”, presente en el libro Cuatro cuentos cuánticos (Random House), de Javier Argüello.

***

PARTIR

Fue una noche en el bar de la universidad que conocí a Oscar Caridad. Oscar Caridad era un loco. Y sé que esto es algo que se dice de mucha gente, pero en este caso no se trata de una apreciación mía. Tal vez convenga aclarar que yo asistí a la Facultad de Ciencias Sociales de la Universidad de Buenos Aires, el lugar escogido por los integrantes del Frente de Artistas del hospital psiquiátrico José Borda para dar a conocer sus trabajos. Oscar Caridad formaba parte del taller de poesía, y la noche de la que hablo había venido junto con otros internos a enseñarnos sus escritos. Yo había terminado mi última clase y, antes de irme a casa, había decidido pasar por el bar a ver si me encontraba con alguna cara conocida. Fue así que, por pura casualidad, di con el singular grupo de poetas.

Antes de dar por comenzado el evento, el coordinador del taller nos explicó que lo que íbamos a escuchar eran justamente las reflexiones de los internos acerca de lo que representaba para ellos la palabra poesía. El texto presentado por Caridad se titulaba Partí, y constituía una hermosa y poética explicación acerca de la manera en que había comenzado a alejarse el mundo, hasta que llegó un punto en que se le hizo imposible compaginar ese alejamiento con la realidad cotidiana. Me impresionó de tal manera que, luego de que bajara del escenario, me acerqué a hacérselo saber y a pedirle que me dejara fotocopiarlo o transcribirlo. Accedió con aire ausente y, como la fotocopiadora ya estaba cerrada a esas horas, nos sentamos en una mesa, yo a copiar su escrito y él a esperar a que lo hiciera. Apenas había empezado cuando Caridad me preguntó si el edificio en el que estábamos era el de la Facultad de Filosofía y Letras. Le expliqué que no, que era el de Ciencias Sociales, y restándole importancia al asunto seguí trabajando. No pasó mucho tiempo, sin embargo, antes de que volviera a interrogarme acerca del mismo asunto. ¿Y en algún otro momento no fue la Facultad de Filosofía y Letras? preguntó. No lo creo, le dije. En los cinco años que llevaba estudiando allí nunca había escuchado a nadie que hiciera ninguna referencia al tema, así que asumí que mi interlocutor debía estar confundiéndose ¿Está seguro?, insistió él. Más por complacerlo que por otra cosa, interrogué a la gente del bar al respecto y para mi sorpresa descubrí que, efectivamente, hasta hacía doce años atrás, esa en la que nos encontrábamos había sido la sede de la Facultad de Filosofía y Letras de la Universidad de Buenos Aires. Sentí algo de vergüenza. En ningún caso había querido tratarlo como a un loco, pero las circunstancias hacían poco probable que él pensara algo diferente. Discreto, sin embargo, guardó silencio. Seguí trabajando, y ya casi había terminado, cuando Oscar Caridad intervino de nuevo. Yo antes estudiaba acá, me dijo obligándome a levantar la vista. Entonces me miró a los ojos, y con la misma inmutable inexpresividad agregó: yo antes era como vos.

Transcribo a continuación el poema que Oscar Caridad leyó esa noche:

<blockquote>-Partí-
En el muelle saludé vestido de rojo.
Sabía y estaba alerta del largo viaje de Ulises.
Soñé que mi pensamiento fuera como el mar.
Soñé con un violeta eterno.
La mecánica del ego nunca te deja ir del todo.
La inteligencia te juega trampas, como el recuerdo.

-Partí-
En la borda mirando el mar oscuro.
Tenso, vestía luto.
Despedí mis últimas palabras reconocidas.
Despedí la muerte del delirio de este mundo.
Una palabra volvió sobre sí: poesía.
El retorno de la fuga de todas las palabras.</blockquote>

El hecho ocurrió hace unos diez años, y no fue sino hasta esta noche que volví a tener noticias de Oscar Caridad. Fue en un bar cerca de mi casa. Un bar en el que, extrañamente, nunca antes había reparado. Me encontraba regresando de un día particularmente ajetreado cuando lo vi. Y no es que estuviera escondido, no. Tampoco era un sitio nuevo. Se notaba en la arquitectura y en el mobiliario, y sobre todo en la forma en que el hombre que lo atendía se relacionaba con sus clientes. Era un tipo mayor y llevaba a cabo su trabajo con la mecánica tranquilidad que sólo el tiempo otorga.

Entré como por obligación. Me parecía una especie de deslealtad hacia vaya a saber quién esto de no conocer un bar tan cercano a mi domicilio. Me senté en la barra y pedí cerveza, y mientras esperaba, comencé a recorrer el sitio con la vista. Entonces lo descubrí. A escasos dos metros de donde me hallaba, y también junto a la barra, me encontré con la melancólica silueta de Oscar Caridad."]]></description>
<dc:subject>javierargüello 2024 science physics quantumphysics quantummechanics reality philosophy literature fiction perception time space conscience consciousness intelligence uncertainty observation experience cern oscarcaridad poetry poems quantumtheory</dc:subject>
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<item rdf:about="https://www.lavanguardia.com/cultura/20240415/9595054/javier-arguello-cuatro-cuentos-cuanticos-sentido-realidad-limite-ficcion-tecnologia-inteligencia-artificial.html">
    <title>Javier Argüello: “Si no damos un sentido a la tecnología, se puede volver peligrosa”</title>
    <dc:date>2024-11-24T07:35:08+00:00</dc:date>
    <link>https://www.lavanguardia.com/cultura/20240415/9595054/javier-arguello-cuatro-cuentos-cuanticos-sentido-realidad-limite-ficcion-tecnologia-inteligencia-artificial.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["El escritor argentino publica 'Cuatro cuentos cuánticos', donde explora los límites entre la realidad y la ficción"

...

"“¿Y si todo lo que estamos viviendo no es verdad? ¿Y si realmente estamos inmersos en una especie de show de Truman, en el que otros, sin ser nosotros conscientes, nos observan?”. Estas son solo algunas de las muchas preguntas que Javier Argüello (Santiago de Chile, 1972) se pregunta mientras se refresca la garganta con un agua con gas. Hace días que el calor acecha en Barcelona, pero puede que no sean las elevadas temperaturas para esta época del año lo que le causa sofoco, sino su constante búsqueda de los límites entre realidad y ficción, muy presente en toda su obra y especialmente en su último libro, Cuatro cuentos cuánticos (Random House).

“Tenía muy claro el título sin haber escrito nada. Así, que, el hecho de que fueran solo cuatro cuentos los que conformaban un libro, me obligaban a que fueran largos. Y eso es algo que no había hecho nunca”, asegura el autor argentino nacido en Chile y radicado en Barcelona, que presenta a un hombre que se reúne con sus compañeros de clase treinta años después; a un periodista varado en Ucrania que se encuentra en Londres con un escritor del siglo XIX; a un conferenciante que descubre las calles de Pekín de la mano de una íntima desconocida; y a un escritor que roza la locura siguiendo la pista de un paciente de un manicomio”.
“Las vidas posibles, soñadas e imaginadas, pero que no siempre son, es algo que me seduce. Los escritores vamos descubriendo nuestras obsesiones a lo largo de nuestra trayectoria. Yo no fui consciente del todo de qué era lo que tanto me impresionaba hasta que escribí mi primer libro de cuentos. Pensaba que eran historias inconexas, hasta que las leí de una sentada y me percaté de lo mucho que me fascinaba el tratar de entender cómo las reglas narrativas se entremezclan con la naturaleza provisional y aleatoria de lo real. La respuesta es fácil, si tiene sentido es ficción, porque la realidad no lo tiene”.

Argüello forma parte de un selecto grupo de escritores, como Benjamin Labatut y su Maniac (Anagrama), que incorporan la ciencia en sus relatos, pues “es algo que sale de forma natural”. Son muchos los foros multidisciplinares, de ciencia y humanismo, en los que participa y ya van dos veces que ha visitado el acelerador de partículas de Ginebra. Un provechoso viaje del que extraerá dos ensayos que llegarán en los próximos meses. 

No es extraño que, con esa predilección, esté pendiente de los avances robóticos y la inteligencia artificial. “La tecnología no es peligrosa en sí misma, pero debemos darle un sentido para que no se vuelva peligrosa. Si no hay un centro a partir del cual dotamos algo de sentido, podemos perder el rumbo y la dirección”.

La ciencia no deja de ser un relato”
Fue en la universidad cuando su vena científica salió a relucir: “Estudié ciencias sociales, pero cursé un seminario de física en el que me explicaron la idea de la consciencia construyendo realidad, y me pareció revelador”. Un principio que ya estaba presente en la antigüedad clásica, “cuando nadie dudaba de que la palabra rea el mundo. Ahora parece que estamos volviendo a esa vieja posibilidad”, dice convencido.

El autor de Ser rojo (2020) se pregunta a menudo por qué el sistema educativo separa a los alumnos en ciencias y letras, cuando “la ciencia no deja de ser un relato. Einstein decía que nos hemos especializado tanto, que estamos sabiendo cada vez más acerca de cada vez menos, hasta que va a llegar un punto en el que vamos a saber casi todo acerca de casi nada”. Una frase con la que está “cien por cien de acuerdo. Resume casi todo”."
]]></description>
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<item rdf:about="https://elpais.com/babelia/2024-07-06/cuatro-cuentos-cuanticos-de-javier-arguello-un-salto-a-la-incertidumbre-de-la-mano-de-la-fisica-cuantica.html">
    <title>‘Cuatro cuentos cuánticos’, de Javier Argüello: un salto a la incertidumbre de la mano de la física cuántica | Babelia | EL PAÍS</title>
    <dc:date>2024-11-24T07:34:36+00:00</dc:date>
    <link>https://elpais.com/babelia/2024-07-06/cuatro-cuentos-cuanticos-de-javier-arguello-un-salto-a-la-incertidumbre-de-la-mano-de-la-fisica-cuantica.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Este libro es a veces una introducción disimulada de la famosa teoría de Albert Einstein y otras, en las más, relatos de amor"

...

"Parece mentira que una teoría científica como la cuántica deje tanto espacio para maniobrar con la imaginación. Pablo Picasso creó el cubismo desde la idea de asimetría que llevó a Einstein a formular su teoría de la relatividad. También con Albert Einstein contrajo deuda Lawrence Durrell, cuando escribió el célebre El cuarteto de Alejandría; así lo reconoció un tiempo después. La música, el arte más cartesiano de todos, sirvió al escritor inglés Aldous Huxley a concebir su obra mayor y una de las más importantes del siglo XX, Contrapunto. He citado estos casos de connivencia entre ciencia y ficción para introducir al lector en la obra del escritor argentino (aunque nacido en Santiago de Chile) Javier Argüello. Por supuesto que estas concomitancias no son mecánicas. Cada una de las citadas tiene su manera muy particular de trasladar algunas leyes científicas a su estructura. En Javier Argüello, que ya lo sugirió en obras anteriores, se explicita aquella connivencia con mayor transparencia y convicción narrativa en el libro nuevo que ahora publica; se trata de Cuatro cuentos cuánticos.

La literatura de Javier Argüello se desenvuelve entre lo lineal de toda historia escrita y el salto a la incertidumbre, a lo no comprobable aunque tal vez vivido o soñado. En este libro, Argüello nos introduce en ese espacio que va de la física clásica a la mecánica cuántica, de la conciencia como creadora de la realidad a la indeterminación de esa realidad. Este libro es a veces una introducción disimulada de la teoría cuántica y otras, en las más, relatos de amor. Un viaje por las rutas de la incertidumbre hasta llegar al instante de los milagros terrenales.

Quiero decir que cada uno de estos cuentos puede funcionar perfectamente como nouvelles. Son cuatro historias con un desarrollo narrativo que los acerca a la novela corta. No se espera al final de cada uno de ellos ningún desenlace que nos sorprenda, ni ningún inicio que necesitemos completar con un final imprevisto. De los cuatro me quedo con tres, si tuviera que recomendarlos efusivamente. El que no me gustó se titula ‘Un cuento inglés’. Es un homenaje a Borges y me perdí, tal vez por ser demasiado borgeano. No pasa lo mismo con los otros tres. Tres enormes relatos a caballo entre lo que vemos y tocamos y lo que vemos, tocamos y alcanzamos para siempre."
]]></description>
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<item rdf:about="https://www.latercera.com/culto/2024/09/17/javier-arguello-escritor-argentino-la-realidad-no-es-algo-dado-objetivo-e-inmutable-como-solemos-creer/">
    <title>Cómo son los Cuatro Cuentos Cuánticos de Javier Argüello - La Tercera</title>
    <dc:date>2024-11-24T07:33:30+00:00</dc:date>
    <link>https://www.latercera.com/culto/2024/09/17/javier-arguello-escritor-argentino-la-realidad-no-es-algo-dado-objetivo-e-inmutable-como-solemos-creer/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["El autor trasandino acaba de publicar Cuatro cuentos cuánticos, donde cruza la ciencia con la narrativa. En los cuatro relatos que forman la colección está la idea de que la conciencia -o el punto de vista particular- es de algún modo, generadora de la realidad. Su autor habló con Culto, abordó su vínculo con la física y cómo construyó este particular artefacto literario."

...

"Al escritor trasandino Javier Argüello (52 años, nacido en Santiago de Chile), le interesa tanto la narrativa como la física. Un cruce que a simple vista parece improbable, pero él le encontró una vuelta. Como toda historia sucede en un tiempo y espacio, estos son elementos que de alguna manera pueden ser puestos en entredicho. Dicho de otro modo, la realidad, todo lo que vemos es algo que se construye con la participación subjetiva de cada cual. Así lo reconoce a Culto.

“El cruce entre la narrativa y la física es un tema que empecé a trabajar hace varios años, cuando entendí que la teoría cuántica abría la puerta a la idea de que la conciencia participa en la construcción de la realidad. En ese momento estaba estudiando el modo en que los relatos que nos contamos construyen nuestra idea de mundo, y me pareció muy sugerente el hecho de que hubiera una teoría científica que planteara cuestiones como esta. Estos cuentos son el resultado de la última exploración que he llevado a cabo en ese territorio de frontera”.

Así nacieron los Cuatro Cuentos Cuánticos, que el escritor acaba de publicar vía Random House, donde en 4 relatos aborda historias de personajes que en el paso del tiempo se ven enfrentados a diferentes situaciones. Como un hombre que asiste -a regañadientes- a una reunión con sus antiguos compañeros de colegio tras 30 años; un periodista que de estar en Ucrania de repente se encuentra en Londres con un escritor del siglo XIX; o la locura que un escritor experimenta junto a un paciente de un manicomio.

En los cuentos, hay una idea de que la conciencia -o el punto de vista particular- es de algún modo, generadora de la realidad. ¿Lo pensaste así?

Es algo que en la narrativa resulta innegable. Un relato no cobra sentido por su correlación con ninguna realidad exterior, sino a partir de la cohesión y la coherencia del punto de vista escogido para narrarlo. Lo interesante es que, al parecer, en la teoría cuántica, la realidad no termina de construirse, no termina de fijarse, hasta el momento en el que interviene la mirada del observador. Para la mecánica cuántica, eso que llamamos realidad no es más que un campo de probabilidades que sólo colapsa en una posibilidad concreta frente a la mirada concreta que un observador pone en juego.

¿Cómo equilibraste la precisión científica con la necesidad de crear historias atractivas y emocionantes? ¿Cuál consideras que es el punto óptimo entre ambas?

La clave que conecta ambas cuestiones es el punto de vista como creador de la realidad. Y en narrativa esa operación resulta ineludible, con lo que te diría que está presente en cada relato que leemos. La particularidad de estos cuentos radica en que la realidad construida juega con los propios límites de la realidad y acentúa el papel de la conciencia en el modo en el que ésta es moldeada. Pero al tratarse de historias, de artefactos narrativos, creo que lo que debe mandar es siempre la tensión dramática. No creo que se deba “ilustrar” una teoría, sino que hay centrarse en la acción dramática y dejar que sea el diseño estructural el que refleje los posibles saltos cuánticos.

¿Qué dificultades encontraste al escribir estos cuentos? ¿Hubo algún concepto o idea que te costara especialmente transmitir?

Todas tienen su dificultad, pero no sé si mayor que la que nos encontramos siempre que nos enfrentamos a la construcción de un relato. Es verdad que algunas de las ideas que están detrás de estos cuentos son un poco más difíciles de digerir que las que juegan con reglas de nuestro mundo cotidiano. Pero, al menos en el modo en el que yo entiendo el funcionamiento de un relato, siempre se trata de construir un artefacto o un artificio que genere un efecto más profundo y duradero que el que podríamos alcanzar con una explicación. Ahí es donde radica el desafío.

En Un cuento inglés, hay un guiño a Borges. ¿Qué te impulsó a eso?

La verdad es que la historia de ese cuento involucra otro cuento con el que el protagonista se encuentra en Londres de una manera misteriosa, y que efectivamente está incluido en una antología de la literatura fantástica recopilada por Borges, Bioy Casares y Silvina Ocampo, con lo que se trató de una cuestión más bien fortuita. Lo que no es fortuito es que ellos se hayan interesado por la literatura fantástica, y en ese sentido evidentemente hay una confluencia de intereses con las exploraciones que yo llevo a cabo.

En el cuarto cuento se desdibuja el límite entre la ficción y la realidad, entrando en una ciencia ficción. ¿Te consideras escritor de ciencia ficción?

Yo no diría que el género del cuarto cuento es la ciencia ficción, en el sentido de que no es una ficción propiamente científica. Creo que se corresponde más bien con lo que se define como ficción fantástica tal y como acabamos de mencionar a raíz de la antología de Borges, Bioy Casares y Silvina Ocampo. Pero por supuesto que las clasificaciones nunca son una cosa cerrada.

¿Cómo ves la relación entre la ciencia y el arte? ¿Crees que son disciplinas complementarias o que tienen objetivos completamente diferentes?

Creo que cualquier aproximación a la realidad es una ficción, entendiendo por ficción el ordenamiento caprichoso que un determinado relato hace de una realidad a la que no nos es posible acceder de manera directa. En ese sentido el de la ciencia también es un relato. La diferencia es que la ficción científica se define como no ficticia, inaugurando así la noción de lo real. Y es justamente esa noción la que la teoría cuántica está poniendo en jaque hoy en día. Hace un tiempo atrás un físico muy reputado me decía que, a nivel subatómico, la idea de una realidad objetiva sencillamente no es defendible. Y en ese sentido creo que sí, que las miradas de la ciencia y de la literatura se complementan y se enriquecen de numerosas maneras. En última instancia, con diferentes metodologías y criterios de validación, ambas se proponen entender y explicar el mundo que nos rodea.

¿Qué esperas que los lectores se lleven de la lectura de tus cuentos? ¿Deseas que reflexionen sobre la naturaleza de la realidad, que se interesen más por la ciencia o simplemente que disfruten de una buena historia?

Me encantaría que pasaran las tres cosas. Me encantaría que, a través del disfrute de una buena historia, los lectores tengan la posibilidad de cuestionarse la naturaleza de la realidad para comprender que no es algo dado, objetivo e inmutable como solemos creer, sino que está en permanente construcción, y que en ese sentido todos tenemos una cuota de responsabilidad en el modo en que se manifiesta. A fin de cuentas, y como te decía, somos las historias que nos contamos.

¿En tu experiencia laboral has podido compartir con el trabajo de los físicos?

Sí. He tenido ocasión de visitar dos veces el acelerador de partículas del CERN, en Ginebra, y participo de algunos foros multidisciplinares con algunos físicos a partir de los cuales hemos desarrollado diferentes instancias de colaboración mutua. El espíritu que las gobierna es siempre el de enriquecer nuestra mirada sobre el mundo poniendo en común nuestras diferentes aproximaciones. De hecho, en octubre llega a Chile un breve ensayo titulado “Los límites de la ciencia” en el que cuento la primera de mis visitas al CERN y las reveladoras conversaciones mantenidas con los físicos que allí trabajan. En noviembre he sido invitado al festival Puerto de Ideas, en Valparaíso, para hablar de todos estos temas.

¿Consideras este libro una introducción a la mecánica cuántica?

No, no. Este libro es una exploración narrativa de algunas de las posibles implicaciones que la teoría cuántica despliega acerca del modo que tenemos de entender la realidad. Parafraseando a un físico chileno con el que tuve ocasión de conversar, se trata de un intento de que la gente pueda aproximarse a los misterios de esas implicaciones sin tener que entender de ecuaciones, así como puede disfrutar de la música sin tener que entender lo que es una corchea."]]></description>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:silvinaocampo"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:adolfobioycasares"/>
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<item rdf:about="https://www.youtube.com/watch?v=JMeuMznCMgo">
    <title>El futuro de las historias - Javier Argüello y Rafael Gumucio | Valparaíso 2024 - YouTube</title>
    <dc:date>2024-11-23T20:00:06+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=JMeuMznCMgo</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["En esta conversación, los escritores Javier Argüello y Rafael Gumucio abordarán el oficio de escribir y cómo las narrativas configuran nuestra visión del mundo. Se explorará el poder del relato científico como la narrativa dominante en la actualidad, así como el papel de la memoria en la reconstrucción de la realidad familiar y social. 

En un contexto marcado por la inteligencia artificial, las redes sociales y los modelos generativos, se reflexionará sobre el papel y el futuro de las historias en una era de transformación tecnológica, invitando al público a repensar la creación literaria en el mundo contemporáneo.

Presenta Colbún y Coopeuch. Proyecto financiado por PAOCC"]]></description>
<dc:subject>2024 javierargüello rafaelgumucio storytelling robertocareaga howwewrite howweread stories writing reading bourgeoisie josédonoso gabrielgarcíamárquez gabo mariovargasllosa 20thcentury carlosfuente prosperity comfort literature economics art markets society narrative 21stcentury elitism poetry prestige history income philosophy truth science fiction nonfiction worldbuilding determinism objectivity nicanorparra rigor specialization neuroscience method scientificmethod structure form imagination intuition sacredness good utility argument cycles time linearity linear particles horacioquiroga humor astrology love madness death life living humancondition dilemmas perspective psychology emotions chile argentina technology ai artificialintelligence inquisition spanishinquisition aristotle pointofview spirituality religion christianity future past machines present revolution revolutions automation formulas process hollywood creation creativity utopia robertobolaño companionship solidarity valparaíso</dc:subject>
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<item rdf:about="https://www.youtube.com/watch?v=b1UotYlcyz4">
    <title>La segunda muerte: María Luisa Bombal - YouTube</title>
    <dc:date>2024-11-21T00:12:54+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=b1UotYlcyz4</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Nos sumergiremos en la novela "La amortajada" (1938), destacada por su narrativa que mezcla ficción y realidad, considerada como uno de los antecedentes del realismo mágico. A través de un recorrido de anécdotas, historias —y lo que hubo antes y después de su publicación— este capítulo invita a preguntarnos: ¿Qué hace a este libro tan especial como para que haya sido uno de los más robados de las bibliotecas en Chile?"

[also here:
https://podcasts.apple.com/us/podcast/la-segunda-muerte-mar%C3%ADa-luisa-bombal/id1689425596?i=1000677629310
https://open.spotify.com/episode/1neFc1IBlgT2um6Sx2RVcO ]]]></description>
<dc:subject>chile literature howwewrite feminism 2024 libraries books pabloneruda borges victoriaocampo latinamerica magicrealism fiction nonfiction viñadelmar santiago buenosaires gabrielamistral federicogarcíalorca laamortajada novels femininity juanrulfo pedropáramo atemporality maríaluisabombal ojoentinta writing</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:c6403d04a10c/</dc:identifier>
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</item>
<item rdf:about="https://spikeartmagazine.com/articles/essay-against-autofiction-two-paths-for-the-internet-novel">
    <title>Against Autofiction: Two Paths for the Internet Novel | Spike Art Magazine</title>
    <dc:date>2024-11-16T07:08:50+00:00</dc:date>
    <link>https://spikeartmagazine.com/articles/essay-against-autofiction-two-paths-for-the-internet-novel</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The digital era is synonymous with flat, persona-driven fiction. How can literature transcend celebrified Tweets and respond innovatively to the web’s decentered form?"

[See also:

"Extremely Online and Incredibly Tedious | Rhian Sasseen"
https://thebaffler.com/latest/extremely-online-and-incredibly-tedious-sasseen ]]]></description>
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<item rdf:about="https://www.e-flux.com/architecture/loudreading/635532/editorial/">
    <title>Loudreading - Nathalie Frankowski, Cruz Garcia, and e-flux Architecture - Editorial</title>
    <dc:date>2024-10-21T17:38:44+00:00</dc:date>
    <link>https://www.e-flux.com/architecture/loudreading/635532/editorial/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Loudreading is a collaboration between e-flux Architecture, WAI Architecture Think Tank, and Loudreaders Trade School supported by the Mellon Foundation, re:arc institute, the Graham Foundation, Producer Hub, Iowa State University, GSA Johannesburg, Universidad de Puerto Rico–Rio Piedras, and the inaugural ACSA Fellowship to Advance Equity in Architecture. It features contributions by Dorraine Duncan and Jhordan Channer, Nadia Huggins, Jason Fitzroy Jeffers, Isabelle A. Jolicoeur and Sébastien Jean Simon, Marakianí Olivieri, Post-Novis, Luis Othoniel Rosa, Julio Ramos, and Roque Raquel Salas Rivera.

Under the colonial construction of time, the Caribbean is now 532 years into loudreading planetary futures. Here, radical struggles for emancipation, solidarity, and worldmaking subsist despite the planetary scale destruction and repression born out of its tropical plantations. From this mountain range/archipelago, the imperial blueprint of capitalist spoliation has spread across the rest of the planet in the form of military occupations, colonial debt, and planned precarity, and in the technologies of racialization, surveillance, incarceration, and policing.

To acknowledge the Caribbean is to face the unfolding histories of Haiti (Ayiti), of Vieques, of Barbados (Ichirouganaim), of St. Vincent (Youloumain), of Guatemala and Belize; of the expanse of the Black Atlantic; and of each continental land fed by the rivers/veins that connect the sea to deep inland Abya Yala. To understand the history of this region, these landscapes and peoples, is to consider its connections to Palestine, Congo, Sudan, South Africa, Kenya, Kanaky, Algeria, Brazil, Hawai’i, and other topographies of solidarity and resistance.

Born in the capitalist stronghold of tobacco factories, where formerly enslaved and low-wage workers destemmed tobacco leaves and rolled cigars, the practice of loudreading establishes a framework for sharing anti-capitalist and anti-colonial imaginaries. The traveling performers that read out loud literary works of utopian fiction and theories of workers’ emancipation laid the groundwork for the contemporary practice of loudreading Frantz Fanon, Aimé Césaire, Sylvia Wynter, Mahmoud Darwish, Martin Sostre, and Luisa Capetillo into a world torn between the fascist necropolitics of broadcasted genocides and the anti-racist, anti-colonialist movements that chant “no one is free until we are all free.”

In this global panorama, the shapeshifting Caribbean remains—at least in discussions of architecture and spatial practices, with its biennales, festivals, and events—an overlooked, fetishized, and misunderstood region of landscapes and peoples. The recipient of over 40% of the enslaved Africans kidnapped and shipped to Abya Yala, the area is home to the oldest colony (Puerto Rico, with over 531 years of occupation), the first British plantation (Barbados), and a blueprint for radical liberation by the formerly enslaved that was collectively punished with (post-)colonial debt (Haiti).

The Caribbean presents a case study of the cruelties and insidiousness of empire, as well as of the imagination and endurance of half a millennium of anticolonial struggle against the terraforming and earth-spoliating forces of colonialism. Ignoring the rights to reparations, the unscrupulous rule of colonizing powers—including by Spain, France, the United Kingdom, the Netherlands, Portugal, Denmark, Sweden, Germany, and, more recently, the USA—set in place layers of legalistic, linguistic, and mobility barriers that try to fragment the time and space of any form of collective sovereignty in the Caribbean. Against this imposed bureaucratic, political, and economic alienation, a counter-current of critical spatial practices is manifested in poetry, film, photography, agriculture, science fiction, design, and activism that defy discipline and place, exploring ongoing diasporic, Afro-Indigenous, transfeminist, and anti-capitalist histories: narratives of the now and tomorrow.

These radical forms of worldmaking are produced in the multiple creoles spoken, thought, and loudread; in the Afro-Indigenous practices that transmute and refuse to die; in the planetary influence of the Caribbean; and in the combination of ancestral knowledges with evolving technologies that are taken from the grip of the death-machine that is empire. Outside of the tobacco factory, the practice of loudreading becomes mysterious, submarine, untranslatable, confrontational, abolitionist, imaginative, solidary, and subversive. As in the beginning of the twentieth century, loudreading renders obsolete the colonial school as a source of centralized, hierarchical, Eurocentric knowledge. Here, the students are the teachers."]]></description>
<dc:subject>loudreading 2024 nathaliefrankowski cruzgarcia loudreaders architecture puertorico empire imperialism colonialism colonization caribbean haiti barbados belize guatemala stvincent palestine congo sudan southafrica kenya algeria kanaky brazil brasil hawaii solidarity resistance anticapitalism anticolonialism education reparations spain españa netherlands portugal denmark sweden germany uk us activism design diaspora transfeminism worldmaking language imagination abolition abolitionism subversion subversiveness translation hierarchy eurocentrism knowledge luisacapetillo genocide emancipation emancipatory lcproject openstudioproject capitalism incarceration policing surveillance racialization dorraineduncan jhordanchanner nadiahuggins jasonfitzroyjeffers isabellejolicoeur sébastienjeansimon marakianíolivieri post-novis luisothonielrosa julioramos roqueraquelsalariviera frantzfanon aimécésaire sylviawynter mahmouddarwish marinsostre utopia fiction literature freedom liberation anti-colonialism</dc:subject>
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<item rdf:about="https://theobjective.com/cultura/2024-03-29/javier-arguello-explora-los-limites-del-tiempo-y-de-la-realidad/">
    <title>Javier Argüello explora los límites del tiempo y de la realidad</title>
    <dc:date>2024-10-11T01:20:24+00:00</dc:date>
    <link>https://theobjective.com/cultura/2024-03-29/javier-arguello-explora-los-limites-del-tiempo-y-de-la-realidad/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["El escritor argentino publica ‘Cuatro cuentos cuánticos’ donde juega con la autoficción y los misterios de la conciencia"

[See also:

"Javier Argüello, escritor argentino: “La realidad no es algo dado, objetivo e inmutable como solemos creer” OVfotografía"
https://www.latercera.com/culto/2024/09/17/javier-arguello-escritor-argentino-la-realidad-no-es-algo-dado-objetivo-e-inmutable-como-solemos-creer/

"El autor trasandino acaba de publicar Cuatro cuentos cuánticos, donde cruza la ciencia con la narrativa. En los cuatro relatos que forman la colección está la idea de que la conciencia -o el punto de vista particular- es de algún modo, generadora de la realidad. Su autor habló con Culto, abordó su vínculo con la física y cómo construyó este particular artefacto literario."

"‘Cuatro cuentos cuánticos’, de Javier Argüello: un salto a la incertidumbre de la mano de la física cuántica
Este libro es a veces una introducción disimulada de la famosa teoría de Albert Einstein y otras, en las más, relatos de amor"
https://elpais.com/babelia/2024-07-06/cuatro-cuentos-cuanticos-de-javier-arguello-un-salto-a-la-incertidumbre-de-la-mano-de-la-fisica-cuantica.html

"Javier Argüello: “Si no damos un sentido a la tecnología, se puede volver peligrosa”
El escritor argentino publica 'Cuatro cuentos cuánticos', donde explora los límites entre la realidad y la ficción"
https://www.lavanguardia.com/cultura/20240415/9595054/javier-arguello-cuatro-cuentos-cuanticos-sentido-realidad-limite-ficcion-tecnologia-inteligencia-artificial.html

"Cuatro cuentos cuánticos, de Javier Argüello"
https://www.zendalibros.com/cuatro-cuentos-cuanticos-de-javier-arguello/


"Los límites de las ciencia"
https://www.lavanguardia.com/libros/libro/los-limites-de-la-ciencia-9788410214453 

"Un persuasivo ensayo que nos invita a imaginar nuevas maneras de mirar el mundo.

No hay prácticamente ningún tema de los importantes que no se trate en este libro: la vida y la conciencia, el espacio y el tiempo. Y el modo en que el momento que nos toca vivir nos obliga a repensar casi todo lo que creíamos saber acerca de nosotros mismos y del universo.

La colección Endebate es el hogar de aquellos textos breves que presentan una opinión, defienden una actitud o cuentan una historia, pero son más un aperitivo que un banquete, estimulan la conversación más que saciarla e inician un festín (que no clausuran). Como los mejores bocados, entran por los ojos y dejan un largo poso en el paladar."

via
https://festivales.puertodeideas.cl/es/programa/entre-particulas-y-palabras/
"Entre partículas y palabras. Física y literatura en la construcción de la realidad - Javier Argüello"
https://www.youtube.com/watch?v=R-5mecyWUgI

https://festivales.puertodeideas.cl/es/programa/el-futuro-de-las-historias/ 
"El futuro de las historias - Javier Argüello y Rafael Gumucio | Valparaíso 2024"
https://www.youtube.com/watch?v=JMeuMznCMgo ]]]></description>
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<item rdf:about="https://www.peterlang.com/document/1053999">
    <title>Diarios latinoamericanos del siglo XX - Peter Lang Verlag</title>
    <dc:date>2024-10-09T02:10:09+00:00</dc:date>
    <link>https://www.peterlang.com/document/1053999</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["La abundante teoría sobre diarios publicada estos últimos años, doblada por un interés por la génesis de los textos, ha producido un auténtico fervor por el género. En rigor, el diario es el espacio narrativo donde se forjan la ficción, el estilo y el «yo», el molde en que el escritor pone a prueba su propia escritura en tanto que la somete a incontables modificaciones y relecturas que arrojan luz no solo sobre la construcción de su poética, sino también sobre la de su figura de autor y sobre los modos de circulación y recepción del diario en la actualidad.

Asimismo se impone en los estudios hispanistas la idea de que la literatura latinoamericana no ha producido grandes diaristas. Este libro intenta demostrar lo contrario: la gran importancia de un género tan heterogéneo en todas las sensibilidades estéticas del continente durante todo el siglo XX, como prueban Macedonio Fernández, Horacio Quiroga, Gabriela Mistral, Alfonso Reyes, Carpentier, Lezama, Arguedas, Octavio Paz, Bioy Casares, Idea Vilariño, Pizarnik, Ribeyro, Levrero o el mismo Che Guevara, entre otros."]]></description>
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<item rdf:about="https://www.youtube.com/watch?v=vf2WGxTykmo">
    <title>&quot;Our Ghosts are Wandering Around&quot; | Writer Shehan Karunatilaka | Louisiana Channel - YouTube</title>
    <dc:date>2024-10-02T02:24:57+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=vf2WGxTykmo</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The award-winning Novelist Shehan Karunatilaka talks about growing up in a conflicted and violent Sri Lanka, about finding his literary voice and making sense of the past through fiction. 

Karunatilaka grew up in Sri Lanka, during the civil war that lasted from 1983 to 2009 and killed at least 100.000 people. Karunatilaka explains how he experienced the war  “Whatever is said about Sri Lanka, there is plenty of material for novelists who are writing dystopian novels … growing up in Colombo it was a city of checkpoints, assassinations, bomb blasts, curfews … going to school you would see bodies lying on the side of the street, bodies burning on tires these are my memories of your mom telling me “don’t look to that side!” and you’d ask curiously “who was that person why were they killed?” And there wasn’t always an answer, because it could have been anyone.”

He goes on to explain how he found his literary voice: “With Carl Muller, suddenly I thought, I may not be able to wright as elegantly as Ondaatje, but I can certainly write like a drunken uncle” 

And how fiction writers can narrate global conflicts and fill out the gaps that exist in our history: “We can go back to the past, and we don’t necessarily have to pick a side, but we can present the different narratives of the past.”

Shehan Karunatilaka (b. 1975) grew up in Colombo, studied in New Zealand, and later lived and worked in London. Now, he is back in Colombo, writing critically acclaimed novels and children’s books. His first novel Chinaman: The Legend of Pradeep Mathew, won the Commonwealth Book Prize in 2012, the Gratiaen Prize, as well as the DSC Prize for South Asian Literature. His second novel, The Seven Moons of Maali Almeida, followed the success of his first and won the 2022 Booker Prize. 

Shehan Karunatilaka was interviewed by Astrid Agnes Hald at the Louisiana Museum of Modern Art, Denmark, in September 2024. In the video Shehan Karunatilaka is reading an excerpt from his novel The Seven Moons of Maali Almeida."]]></description>
<dc:subject>srilanka 2024 shehankarunatilaka writing howwewrite carlmuller michaelondaatje language dystopia collapse colombo conflict fiction ghosts romeshgunesekera shyamselvadurai</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
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<item rdf:about="https://tinhouse.com/podcast/isabella-hammad-recognizing-the-stranger-on-palestine-and-narrative/">
    <title>Isabella Hammad : Recognizing the Stranger : On Palestine and Narrative - Tin House</title>
    <dc:date>2024-09-25T05:45:43+00:00</dc:date>
    <link>https://tinhouse.com/podcast/isabella-hammad-recognizing-the-stranger-on-palestine-and-narrative/</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>isabellahammad 2024 2023 fiction palestine</dc:subject>
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<item rdf:about="https://github.com/brsloan/warewoolf/wiki#warewoolf-introduction">
    <title>WareWoolf · brsloan/warewoolf Wiki · GitHub</title>
    <dc:date>2024-09-19T21:12:08+00:00</dc:date>
    <link>https://github.com/brsloan/warewoolf/wiki#warewoolf-introduction</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["WareWoolf is designed for one thing: writing fiction. It is intentionally simplified: you cannot change the font, line spacing, or color. But it has everything you need to organize, edit, and revise a novel--and you don't even need a mouse.

It is composed of three simple text-based panels with no icons: Chapters, Editor, and Notes.

That's it. There is no toolbar with twenty buttons cluttering the screen. There isn't even a file menu unless you summon it by pressing Alt. All formatting is done with shortcuts. (But don't worry, there aren't many to memorize, and you can always press CTRL + H to show them all in the Shortcut Helper. It's not like you do a lot of formatting when writing fiction anyway.)

What it does have is an array of tools for importing plaintext and docx files and converting them into proper manuscript format, as well as features such as self-emailing drafts at the press of a button, a built-in file manager, and a wi-fi manager for easy use in standalone writing devices ("writerDecks") without access to any other software."]]></description>
<dc:subject>writing fiction software howwewrite windows macos mac osx linux</dc:subject>
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<item rdf:about="https://sabrina.place/">
    <title>Sabrina x Nine</title>
    <dc:date>2024-08-17T23:42:05+00:00</dc:date>
    <link>https://sabrina.place/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[via:
https://www.are.na/block/27640093 ]]]></description>
<dc:subject>if interactivefiction fiction form tamarachu</dc:subject>
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<item rdf:about="https://nearfuturelaboratory.com/blog/2024/06/episode-089-near-future-laboratory-podcast/">
    <title>Silvio Lorusso Design &amp; Disillusion - Podcast Episode 089 - Near Future Laboratory Podcast</title>
    <dc:date>2024-06-26T16:58:48+00:00</dc:date>
    <link>https://nearfuturelaboratory.com/blog/2024/06/episode-089-near-future-laboratory-podcast/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["In Episode 089 I get into an in-depth conversation with guest Silvio Lorusso, a designer, artist, and writer based in Lisbon. Our discussion centers around the complex relationship between design, disillusionment, and the evolving role of design in society, as Silvio has articulated in his recent book What Design Can’t Do, a critique of the rhetorical expectations placed upon design. We consider the future and past inspirations relevant to the field of Design and cover various facets of design culture, including the loss of material practices, the socio-economic impacts of design evolution, and the melancholic nostalgia among designers today. We bet into the cultural significance of memes, the backlash against crypto art, and the generational gap in the perception of technological advancements. We also get to share personal anecdotes from our professional experiences, and come to share a kind of hopeful aspiration mixed with skepticism towards the promises of modern design and technology. A fun conversation!

I’ve added What Design Can’t Do to the gradually growing archive of the hundreds of books in and around the Near Future Laboratory Studio Library.

Highlights

00:00 Introduction to Design and Disillusion
01:11 Personal Journey and Design Evolution
02:33 The Detachment from Material Practice
04:21 Challenges in Modern Design
12:26 The Everyday Designer
15:23 Historical Perspective on Design Rhetoric
25:08 Generational Reflections on Design
32:04 The Shift in Dreams
32:31 Imagination and Dystopia
34:52 Radical Imagination and the Past
39:39 Crypto and Community Vibes
49:47 The Role of Memes in Culture
50:54 Conclusion and Reflections"

[Also here:
https://podcasts.apple.com/us/podcast/n-089-silvio-lorusso-design-disillusion/id1546452193?i=1000659924904
https://open.spotify.com/episode/5zHWqplDnCSXjSpXxDmC6y ]]]></description>
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