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    <title>Artist Jon Rafman sees AI as both tool and terror - YouTube</title>
    <dc:date>2025-11-04T18:45:02+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=vBWdYrO6y_E</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["“This messy keyboard is a metaphor for our existence.”

We interviewed Jon Rafman about his groundbreaking work, which takes a critical look at the internet and how it has evolved from a free space to one dominated by surveillance.

”I've always been in search of ways to communicate with as many people as possible using a language that feels fresh. And when the internet emerged, it came up with new languages, new ways of communicating. There was a sense of excitement, as well as a certain idealism. It felt like I was part of an active community that was in dialogue with each other.”
 
”You think you know the world, and then you find a world inside the world, and then a world within that, and it just goes on and is literally impossible to conceive. This was the sort of excitement – the possibility of these new worlds to explore, be it in Google Street View, but also in Second Life.”

Over the years, however, the internet has undergone a significant transformation, shifting from a multitude of niches to being dominated by a few large companies. It became more ”Kafkaesque than even Kafka”, says Rafman, especially with the recent developments in AI:

”AI is just as a tool, like the photograph and the film camera and the printing press, I think it's a really incredible tool for artists. I'm not praising it, I think there's a sense in which it's terrifying. The people constructing these algorithms don't know the long-term effects they will have on society and our children. And just like Google Streetview, it's owned by this one corporation, but like the internet as a whole, we all can surveil each other and police each other also.”

Jon Rafman (b. 1981 in Montreal) is a Canadian artist and filmmaker recognised for his innovative use of digital media to explore themes of memory, identity, and the complexities of contemporary culture in the age of technology. Rafman gained prominence through his work that frequently combines photography, video, and virtual reality, creating immersive experiences that challenge perceptions of reality and digital interaction. His artistic practice often explores the intersection between the virtual and the physical, examining how digital environments influence human experience.

Through his explorations of virtual worlds, Rafman raises critical questions about nostalgia, surveillance, and the impact of technology on society. His work often blends humour with melancholy, providing a nuanced perspective on the human condition in an increasingly digital landscape.

Rafman has exhibited internationally in prestigious institutions, including the Museum of Modern Art (MoMA) in New York, the Palais de Tokyo in Paris, the Barbican Centre in London, and the Louisiana Museum of Modern Art in Denmark. His contributions to contemporary art have solidified his position as a leading voice in the discourse surrounding digital media and its implications for modern society. By continuously pushing the boundaries of artistic expression through technology, Jon Rafman invites viewers to reconsider their relationship with the digital world.

Jon Rafman was interviewed by Marc-Christoph Wagner in October 2025. The conversation took place at the Louisiana Museum of Modern Art in Humlebæk, Denmark, on the occasion of Rafman’s exhibition, “Report a Concern.”"]]></description>
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    <title>The Art of Doing Nothing - YouTube</title>
    <dc:date>2025-09-19T17:17:07+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=ezMUkOoQbqU</link>
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    <title>The Situationist International (full documentary) - YouTube</title>
    <dc:date>2025-01-14T17:16:31+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=ncH0-q9OXco</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["On the Passage of a Few People Through a Rather Brief Moment in Time: The Situationist International 1956-1972

A video documentary combining exhibition footage of the Situationist International exhibitions with film footage of the 1968 Paris student uprising, and graffiti and slogans based on the ideas of Guy Debord. 

Directed and produced by Branka Bogdanov in 1989."]]></description>
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    <title>Writer Orhan Pamuk: The Texture of Istanbul | Louisiana Channel - YouTube</title>
    <dc:date>2024-11-01T02:45:42+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=CmBGE80iUrI</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[""This landscape made me." In this intimate interview, Nobel laureate Orhan Pamuk reflects on Istanbul, the city that has shaped his life and writing. From his office overlooking the Bosphorus, Pamuk describes Istanbul as an ever-present source of inspiration, memory, and introspection.

"I’ve been looking at it for the last 40, 50 years," Pamuk explains. The sense of belonging permeates his works, where the city’s complex character—the faded grandeur of Ottoman architecture, the bustling Bosphorus traffic, and the nostalgic feel of black-and-white winter landscapes—comes alive.

Pamuk’s Istanbul is one of the contradictions: a city simultaneously "poor at the edge of Europe" yet rich in history and cultural resilience. He speaks of Istanbul’s distinct “Hüzün,” or melancholy, as a defining characteristic, a blend of Sufi-inspired humility and historical resignation that he experienced deeply in his youth. "My beautiful Istanbul is black and white," he notes, underscoring his affection for the city’s unpolished, almost melancholic charm, which he captured in his early photography and paintings.

Orhan Pamuk also describes Istanbul’s unique soundscape, where the noises of bustling avenues, street vendors, and even the calls of seagulls over the Bosphorus reflect the essence of the city. "Every city has a different sound," he observes, emphasizing how these familiar sounds deepen his connection to Istanbul’s rhythm. Over the years, his perception of the city has grown into a personal mission: "A city turns out to be an index for your memories."

He contrasts Istanbul’s constant transformation with its timeless structures, which evoke an emotional and historical depth for him. Pamuk mourns the rapid changes that erase Istanbul’s “old, fragile” architecture and streets, elements he believes are vital to the city’s identity. "We are attached to this old Ottoman fountain…because it’s part of me after a while," he says, highlighting the personal significance that everyone can find in a city’s enduring spaces.

Orhan Pamuk (b. 1952, Istanbul) is one of Turkey’s most celebrated authors, known for his novels "Snow," "My Name Is Red," and "The Museum of Innocence." Awarded the Nobel Prize in Literature in 2006, he has become an international voice exploring themes of identity, memory, and the intersection of East and West.

The video shows photographs by Orhan Pamuk from the books Balcony (2018) and Orange (2020).

Orhan Pamuk was interviewed by Christian Lund in Istanbul in September 2024.

Camera: Rasmus Quistgaard
Edited by Roxanne Bagheshirin Lærkesen
Produced by Christian Lund

Copyright: Louisiana Channel, Louisiana Museum of Modern Art, 2024"]]></description>
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<item rdf:about="https://www.youtube.com/watch?v=9qFNJo1xgGI">
    <title>Are these words &quot;untranslatable&quot; into English? - YouTube</title>
    <dc:date>2024-10-22T14:37:31+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=9qFNJo1xgGI</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["English has already borrowed thousands of words from French. However, there are still many beautiful and useful French words for which English has no equivalent. In this video, I introduce you to 10 of them (and propose we steal them for ourselves".

==CHAPTERS==
0:00 Introduction
0:55 10 Rebonjour
2:16 9 Gourmandise
4:09 8 Goûter
5:22 7 Chez
7:21 Lingoda
8:43 6 Si
11:43 5 Tutoyer
14:26 4 Connaître
17:58 3 Flâner
19:18 2 Dépaysement
20:46 1 Bouquiner"]]></description>
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<item rdf:about="https://thomasjbevan.substack.com/p/walking-as-inactivity">
    <title>Walking as Inactivity - by Thomas J Bevan - The Commonplace</title>
    <dc:date>2024-10-18T22:44:12+00:00</dc:date>
    <link>https://thomasjbevan.substack.com/p/walking-as-inactivity</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Sunday. The day of rest. I’m down by the Quayside, walking. It’s near lunchtime and the walkways on either side of the water’s edge are teeming with couples and clusters of families, both on foot and on pushbikes. There are pedaloes cutting through the still water and waitresses running out trays of tall lattes to eager pensioners nestled under the parasols jutting out from the centre of round metal tables. Beyond them a seersuckered trad jazz band blow away to the mild delight of a smattering of swaying onlookers. The sun is out, the sky is clear and blue and the breeze is a gentle comfort against the heat. And yet something isn’t quite right. Despite the day, despite the time of year and the favourable, couldn’t-be-better weather there is a tension here, just below the surface.

I stroll the banks but I am the only one who is strolling. As I amble and look and linger at the sight of various waterbirds I am overtaken time and again. I watch the cable ferry for a minute, I contemplate the various centuries old brick buildings and imagine what this place would’ve been like when it was a place of sail ships and exchange and empire. And I am overtaken and overtaken as if there were a minimum speed limit that I was flagrantly disrespecting by moving so slowly. See, though this is a place of leisure and today is the designated day of rest people are marching purposefully as if they have somewhere else to be. Rigid gait, eyes on the path ahead, stimulant of choice at hand- either takeaway coffee or sickly sweet cake or both, while some of the university age walkers forgo these and instead blow vape-pen clouds into the cloudless sky. There is something going on here. Am I the only one who knows how to bimble, how to promenade, how to saunter? Is this now a lost art? And if so, what does this mean, what does this say about us and the way we are living?

The vital thing to understand- and the point that I want to stress the most- is that walking is not an activity. Or rather, it should not be conceptualised as and reduced to being a mere activity. It is much more than that because it is much less than that. Walking is one of the great forms of inactivity and in a world of striving and consumerism and grasping and impatience it is one of only very few potential forms of inactivity left. It is that makes it precious.

You see, when you walk slowly and with no real destination in mind you are not doing, you are just being. Such walking, such contemplation is the beginning of freedom, it is the necessary pre-condition for having your own thoughts and as such for truly living your own life.

Which is why it is such a shame when people pollute their potentially edifying walks by turning to their ever-present phones. When I walk the streets and alleys of my city I constantly see people either shouting inanities into their phones1 or else using them to wirelessly pump music or podcasts into their eager ears. Walking thus becomes reduced to a mere mode of transportation for the carless and these reluctant pedestrians become- like so many other one-person-per-vehicle drivers- detached and isolated units moving through space2. The audio and the journeying cancel each other out and it all bleeds into one, it becomes a blur that blots out the boredom of not being at your destination yet. Worse still is when this is combined with step counting apps or wristwatches which tragically instrumentalise the beautiful art of wandering around and turn walking into a metricated means of merely keeping the body alive and in some sort of working order. Such devices reduce us to machines, and one of the great tricks of Capitalism or The System or however you want to conceive it is that it not only turns us into machines for consumption and generating wealth for The Economy, but it also burdens us with the upkeep of the machinery that we have been reduced to becoming.

It reminds me of the great rant that the anarchist Bob Black got into about free time in his seminal essay The Abolition of Work3

“Free time is mostly devoted to getting ready for work, going to work, returning from work, and recovering from work. Free time is a euphemism for the peculiar way labor, as a factor of production, not only transports itself at its own expense to and from the workplace, but assumes primary responsibility for its own maintenance and repair. Coal and steel don’t do that. Lathes and typewriters don’t do that.”

When you start tracking your step count when you go for your daily constitutional you turn the walk into ‘free time’ in this sense. It becomes an Activity, something that is Good For You. And this only compounds if you listen to some manner of Educational Podcast as you do so. The thrillingly, daringly subversive non-activity of moseying around the neighbourhood for no reason other than the sheer pleasure of being alive, able to walk and out of doors degenerates into just another means of being visibly productive. Because eking out maximum amounts of productivity from every moment of our days has been working out so great for us thus far. All work and no play makes Jack a dull boy and we are all so play-deprived that many of us are becoming passive, disembodied viewers of our own on-screen lives.

It may seem that I am getting worked up about a series of trivialities here. To point out how people turn their recreational activities into photoshoots of themselves acting out their recreational activities may strikes some as petty. To highlight the ubiquitous phones and SUVs that people use to transport them the short distances to and from the walking spots may even seem a little mean spirited. Like I am nit-picking relatively unimportant and unremarkable things to try and find some significance in them. But I truly think that there is a lot more going on here. Everyday things are worthy of serious consideration because they are so common and unremarked upon.

So what does it say then when walking- something that is already complete and requires no thought or effort or expense- is polluted and diminished into just another opportunity to consume and document said consumption? What does it say when we so thoughtlessly desecrate our leisure like this? I would argue that to do these things is more than a little dehumanising.

Animals survive and act and react but only humans can opt out of this cycle and into the higher realm of inactivity. Just as silences make music more beautiful and pauses make conversations richer in meaning, it is inactivity- that is the moving beyond doing into being- that makes life human. Responding to stimuli alone, satisfying needs as they arise alone makes life nothing more than a cycle of biological survival.

The beauty is in the gaps. Art and culture arise from the blank spaces (which may be why these vital spheres in particular seem to be diminishing in this time of always on, always available activity). Uselessness and purposelessness4 are true luxury, true wealth. Look at any heart-stirring ceremony or custom or event- they are filled with detours and excesses, they are far from efficient. You could easily workshop a way of getting to the same basic endpoint much, much quicker and in doing so you would kill everything that made that ceremony unique and beautiful and, well, ceremonial.

The luxury of the aimless walk is one of the most accessible and readily available blank spaces we have. It is no coincidence that such a stroll will all of itself produce ideas and insights and new observations. In the absence of a task the mind will begin to play. It will be free. This is why walking and creativity go absolutely hand in hand. Insight comes to the contemplative and contemplation comes from inactivity, from not trying to generate insights, or indeed trying to do much of anything at all. In a try-hard world this is a difficult truth to convince people of. Because it asks for patience. It asks for more than mere effort. It asks for participation in the world as it is, which for the mind that has always trained itself to be busy is a big ask indeed. But it is the only way to be free."]]></description>
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<item rdf:about="https://www.researchgate.net/publication/332050371_Flaneur's_Phonograph_A_Flaneur_Shift_in_Urban_Exploration">
    <title>(PDF) Flâneur’s Phonograph: A Flâneur Shift in Urban Exploration</title>
    <dc:date>2024-08-15T06:08:08+00:00</dc:date>
    <link>https://www.researchgate.net/publication/332050371_Flaneur's_Phonograph_A_Flaneur_Shift_in_Urban_Exploration</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Abstract and Figures
Two of the often discussed perspectives of experiencing a place are the tourists’ lens and the residents’. Noticing the recent rise of atypical tourism, where tourists want to pursue the “live-there” experience, and the rising focus of shifting residents’ attention from mundane day-to-day life, we propose the concept of flâneur as an alternative state. With ‘research through design’ approach, we present our exploration, including (1) gamification for making the sense of place, (2) using situationist-inspired-cards for residents to explore familiar place, and (3) using street photographers’ quotations as inspiration for alternative experience of listening to a city. With these explorative findings, we design Flâneur’s Phonograph, a sound collecting and experiencing device for soundscape, which aims at invoking the flâneur experience during the exploration, and enabling engaging experience different from the perspective of a tourist or a local resident. It invites the users to open up their auditory senses to the places by providing 3 different monitoring modes and 3 types of microphones. We further analyse the qualitative results from investigating a resident and a tourist with our design, make critical reflection, and constructively understand what the flâneur could be in the new technological contexts."]]></description>
<dc:subject>flaneur situationist place sensemaking soundscape photography attention noticing 2019 po-haowang yu-tingcheng wenn-chiehtsai rung-hueiliang reflection urbanexploration exploration urban urbanism flâneurs flaneurs flâneur dérive derive observation makingsense</dc:subject>
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<item rdf:about="https://onethingnewsletter.substack.com/p/the-artists-philosopher-byung-chul">
    <title>⬜ The artists' philosopher, Byung-Chul Han - One Thing</title>
    <dc:date>2024-03-31T20:54:36+00:00</dc:date>
    <link>https://onethingnewsletter.substack.com/p/the-artists-philosopher-byung-chul</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Your new philosophy uncle.

Nate Gallant: Do you ever feel like everything you encounter in culture is the same, but no one is talking about precisely the same Things? That is, rather than there being a tenuous center of culture, and attendant struggles over its terms and authority, you, the consumer, are instead constantly drowning in the bland, siloed flattening of any and all forms of cultural production, affiliation, selfhood, and otherness? Do you feel it harder and harder to tarry with any authentic version of yourself outside of its most readily commodifiable form?

Then maybe you've already read Byung-Chul Han, or maybe you might like to. In group chats and email threads, One Thing has taken to calling him the philosopher of the 21st century, or at least the 2020s (sorry Foucault, it doesn't seem to be Deleuze, after all). Can we call him BCH, like a more deserving Bernard-Henri Lévy? A less vampiric Žižek? A more aphoristic, German supplement to Fred Moten? 

Whatever his future may be, at present, BCH is a Korean-German philosopher, currently teaching part-time in Freiburg. He usually produces about a monograph a year in German, most of which are now translated into English, French, and Spanish, among other languages. He generally eschews the eyes of the Anglocentric culture industry. He is as fashionable as he is prolific. He is a deeply engaged critic of contemporary culture, from our digital lives to the new frontiers of labor — bringing us, for instance, to the notion of burnout culture several years before the now-famous BuzzFeed piece. He is also notably the philosopher du jour of most of my friends who make art, an affinity perhaps also demonstrable by most of his English language interviews arriving in art journals rather than the traditional sources of theory. 

At the same time, BCH remains trenchantly committed to the bit of the philosopher and their duties to a public readership, of standing at the would-be metaphysical abyss, as he writes in his recently translated Philosophy of Zen Buddhism: “A philosopher must bear death in mind. Caring about philosophy means caring about death. The philosopher must die within life, must, while living, anticipate death by fleeing and despising the body as the place of evil and finitude.” I would take few other people who wrote this sort of thing very seriously. 

Though his thought can sprawl, one thread of BCH’s work is a kind of manifesto against inauthentic forms of selfhood. His main target in Psychopolitics and The Burnout Society, for instance, is an "excess of positivity" in culture — that is, a loss of the various dynamics of negation and conflict by which our selves can differentiate, grow and change over time, and come into conflict with authorities. Rather than a struggle with mommy or daddy, or your boss, or some previous version of yourself, our reference points for self-understanding have been replaced with a terrible improv class of selfhood – YES AND, always. More stimuli. More work. More versions of some commodified iteration of myself to encounter online, either through presenting and representing my personal social media presence, or in the echo-chamber of things that algorithmic culture thinks I might like. Every bland form of affirmation on the internet amounts to nothing new in your sense of personhood — just a sort of okay sure, you're still there, huh? Here's some more of that. 

If you are interested not just in BCH’s diagnoses, but his prescriptions, and feel that looking anew at the textual archives of the increasingly colonized others of Western culture might offer new resources for resisting the cataclysm of similitude, you can check out his new trio of books on spirituality and politics. The Philosophy of Zen Buddhism (German original 2004; English 2022), Absence: on the Culture and Philosophy of the Far East (G: 2007; E: 2023), and Vita Contemplativa (G: 2023; E: 2024). Here, he partly echoes the arguments of the Davids, Graeber and Wengrow, in The Dawn of Everything, noting that any nostalgia trip to recover pre-modern modes of selfhood will lead us nowhere. Han proposes to orient us towards an authenticity based not on any particular culture, historical moment, or conceptual heritage, but rather on a genuine re-engagement with the peripatetic, and thus multitudinous shape of our very existence — culturally, politically, spiritually. Seeking and refining identity is a necessity, but also the problem. Try, when you can, not just to rest, or recharge, or take care; but just, to float. 

If our present is "poor in rest," in "in-betweens," if we are being overrun by the exhaustion of always encountering sameness, then the power to say no, to stop the onslaught is essential, BCH writes: 

<blockquote>Negative potency [...] is the power not to do—to adopt Nietzsche’s phrasing, the power to say no…The negative of not-to also provides an essential trait of contemplation. In Zen meditation, for example, one attempts to achieve the pure negativity of not-to, that is, the void—by freeing oneself from rushing, intrusive Something. Such meditation is an extremely active process; that is, it represents anything but passivity. The exercise seeks to attain a point of sovereignty within oneself, to be the middle." (Philosophy of Zen Buddhism)</blockquote>

Personally, I am generally very engaged by the axiomatic grandeur of BCH’s writing. I don't agree with all of it, but I am glad to follow the critical energies that bind the yawning breadth of his studies. His examples from the Buddhist and Confucian archives are sometimes confusing, and potentially trite (Asian thought is too often presented as palliative for various symptoms of Western modernity). Other moments, however, such as his discussion of the "inherent friendliness of all things" or his critiques of modern subjectivity's emphasis on "appetition," are very intriguing and productive.

Could this be the end of French philosophy’s monopoly over the image of critic, flowing through the enduring trope of the long-dead flaneur? Maybe. Try embracing your eclectic philosophy aunt or uncle. Mine is BCH."]]></description>
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    <title>Walkers in the City—and Everywhere - JSTOR Daily</title>
    <dc:date>2023-10-31T09:22:21+00:00</dc:date>
    <link>https://daily.jstor.org/walkers-in-the-city-and-everywhere/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Imagine going for a stroll, unencumbered by a phone, preoccupied by the glories of the world around you: the perfume of blossoming flowers, the heat radiating from sidewalks, the sound of wind as it moves through and bounces off towering buildings. You might notice a historical landmark you usually miss in the hustle of getting from A to B. Or spot the construction of luxury apartments where working-class housing formerly stood. Perhaps you realize there are fewer bird calls than there used to be. Consciously or not, you are participating in the practice of psychogeography, a radical method of moving through the world more intentionally, in a way that benefits not only the individual but society as a whole.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

“To intervene through creative practice in public space today in New York and other cities is to enter into a crucial struggle over the meanings, values and potentialities of that space at a time when its democracy is highly contested,” Pinder says. “Encouragement of vitality and openness in that space is not an innocent demand.”"]]></description>
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    <dc:date>2023-04-28T16:52:10+00:00</dc:date>
    <link>https://psyche.co/guides/how-to-wander-in-a-world-that-values-purpose</link>
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    <dc:creator>robertogreco</dc:creator><description><![CDATA[“Walking is mapping with your feet. It helps you piece a city together, connecting up neighbourhoods that might otherwise have remained discrete entities, different planets bound to each other, sustained yet remote. I like seeing how in fact they blend into one another, I like noticing the boundaries between them. Walking helps me feel at home. There’s a small pleasure in seeing how well I’ve come to know the city through my wanderings on foot, crossing through different neighbourhoods of the city, some I used to know quite well, others I may not have seen in a while, like getting reacquainted with someone I once met at a party.”

[from https://www.brainpickings.org/2019/05/21/flaneuse-lauren-elkin/]]]></description>
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<item rdf:about="https://www.theparisreview.org/blog/2017/10/20/agnes-vardas-ecological-conscience/">
    <title>Agnès Varda's Ecological Conscience</title>
    <dc:date>2019-03-31T01:24:11+00:00</dc:date>
    <link>https://www.theparisreview.org/blog/2017/10/20/agnes-vardas-ecological-conscience/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["“Existence isn’t a solitary matter,” says the shepherd to the wanderer in Agnès Varda’s 1985 film, Vagabond. This vision of collectivity, the belief that we are all in it together, recurs throughout Varda’s films, from her early, proto–New Wave La Pointe Courte (1954) to her acclaimed Cléo from 5 to 7 (1961) to her most recent film, Faces Places (2017), made in collaboration with the young French street artist JR. (Filmmaking isn’t a solitary matter, either.) “This movie is about togetherness,” she told New York Magazine. Watching Faces Places, I couldn’t help thinking about Varda’s 2000 film, The Gleaners & I. Both are road-trip movies in which Varda interviews the kinds of people we don’t often see in movies—farmers, miners, dockworkers, and their wives. Both films proceed by chance, gleaning whatever they happen upon. But though The Gleaners is now seventeen years old, old enough to drive a car and almost old enough to vote, it’s feeling as fresh and relevant as if it had been made in parallel to Faces Places. It rewards rewatching.

The Gleaners & I is a documentary about the time-honored act of gathering what other people have abandoned or thrown away. Gleaning is most often associated with what’s been left behind after a harvest; think of that famous Millet painting, The Gleaners (1857), which you can find in the Musée d’Orsay. The women—gleaners used to be mainly women—bend over to collect the bits of wheat the harvesters have left on the ground; they gather what they find in their aprons. It looks like back-breaking work. “It’s always the same humble gesture,” Varda comments in voice-over: to stoop, to glean.

Today, they tell Varda, harvesting is more efficient because it’s done by machines, leaving less for gleaners to pick up. In her film, Varda interviews present-day glâneurs; some glean to survive, some out of principle (“Salvaging is a matter of ethics with me,” says a man who’s eaten mostly garbage for ten years), others just for fun. One woman Varda interviews demonstrates how they used to do it: with a sweeping extension of her torso she gathers ears of corn into her apron. It was a social occasion, when all the women in the neighborhood would get together and, afterward, go back to the house for a coffee and a laugh.

Varda enlarges the concept of the glâneur to include people like the artist Louis Pons, whose work is assembled from trash, from forgotten things, from pens, empty spools, wires, cans, cages, bits of boats, cars, musical instruments: “He composes,” Varda says, “with chance.” Or to Bodan Litnianski, the Ukrainian retired brickmason-turned-artist who built his house (which he calls “Le palais idéal”) from scraps he found in dumps—dolls, many dolls, and toy trucks and trains and hoses and baskets and plastic fronds—effectively brickmasoned into place. “C’est solide, eh.” Litnianski died in 2005, but there’s a corresponding figure in Faces Places who made me sit up in recognition.

All of the gleaners Varda speaks with are appalled at the amount of waste our culture produces—especially food waste. “People are so stupid!” says a gleaner who strides around his village in Wellies, going through the garbage for food, freegan-style. “They see an expiration date and think, Oh I mustn’t eat that, I’ll get sick! I’ve been eating garbage for ten years and I’ve never been sick.” Back in Paris, Varda interviews people who come around after the market’s been through, to save money. “You should see what they get rid of,” one says. “Fruit … vegetables … cheese, but that’s rare.” His entire diet, it seems, comes from eating the castoffs from the market and the boulangeries. Varda, intrigued by him, follows him back to the shelter where he lives and volunteers as a French teacher to immigrants.

The urban gleaner has often gone by another name: the chiffonnier, or rag picker. Until the 1960s, you could still hear his cry in the streets of Paris: “chiiiiiiiiiffonnier!” Baudelaire, in Les fleurs du mal, sees them “bent under piles of rubbish, jumbled scrap,” collecting “the dregs that monster Paris vomits up.” The rag picker moves through the city on foot, like the flaneur, collecting what it has cast off. Other cities have long had this tradition—the raddi-wallah in India, for instance (which can refer to both the scrap collector or the place where the scraps are brought). In Paris, the chiffonniers, like self-employed sanitation workers, went through the trash, separating out what was useful from what was not, collecting rags, rabbit skins, bits of metal, scraps of paper, bones, glass, yarn, fabric, old clothes, all manner of chemical compounds, anything that could be repurposed, reused, repackaged, or transformed into something else. “Very little went to waste, in Baudelaire’s Paris,” notes the scholar Antoine Compagnon in his recent book on the chiffonnier. Georges Lacombe’s 1928 short silent film, La zone, shows the process of rag picking and what happens to the detritus they collect. They would drag this in bags or in wheelbarrows to a collection point, of which there were many in the city; the rue Mouffetard, on the Left Bank, was the center of this reselling (side note: Varda made a short film about this street, 1958’s Opera Mouffe). The metal, of course, would be taken to factories where it was melted down and turned into other things made of metal. How many lives has metal had, how many shapes has it taken? How many more lives does any object have before it eventually finds its way to some landfill?

Today, this canny recycling spirit lives on in the brocantes, which you can find around town on any weekend afternoon. In among the real antique dealers, you can find people selling all the bits and bobs of things they don’t want or they found in their basements, laid out on tables or blankets. They are “objets that can be found nowhere else: old-fashioned, broken, useless, almost incomprehensible, almost perverse,” as André Breton writes in Nadja, visiting the flea market at Clignancourt. How many different people have made use of the same cast-off calculator, the little porcelain dish, the copy of a minor album by Renaud?

The threat to the environment posed by waste is incredibly pressing; the need to recycle is a question of ethics. If we must consume, let us consume each other’s castoffs. “All these old things,” Baudelaire noticed back in 1857, “have a moral value.” This is the ethos of The Gleaners. Yet it’s difficult to watch the film at times, to be reminded that others are living off what some of us throw away so carelessly, something Varda’s literary kindred spirit, Virginie Despentes, has also managed to do in her recent masterpiece, Vernon Subutex. But neither Varda nor Despentes sentimentalizes this cycle; the gleaners Varda interviews are gleeful. If there’s anyone to pity here, it’s us, paying retail, paying anything: we’re the suckers. Varda helps us see the hyperactive cycle of our materialism and, through the act of glanage, shows us a way to consume less and to engage with our environments more.

Before I watched the film, my suburban ways clung to me. Everything had to be new, of course. I’d never gotten out of the car to pick up some apples from the ground, or brought in a piece of furniture from the street. (I think of Patti Smith in Just Kids, scrubbing with baking soda the mattress she and Robert Mapplethorpe found in the street. She had that pluck and resourcefulness.) Even after it, I’m not sure I would go rummaging through the garbage after the market had finished. But Varda helped me see myself as not only a consumer but a participant in some greater cycle of custodianship. As Varda films people recuperating the copper coils from inside television sets that have been abandoned, or finding old refrigerators and repairing them, or turning them into very chic bookshelves, she seems to be asking us not to limit ourselves to accepting products as they’re offered to us commercially but that we take them apart, turn them into other things, that we imagine new uses for them, even, and especially, when they seem to be useless."]]></description>
<dc:subject>2017 agnèsvarda environment sustainability film laurenelkin gleaners waste documentary observation noticing women gender glâneurs scraps scavenging chiffonnier recycling reuse classideas flaneur flâneurs flaneurs flâneur</dc:subject>
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    <title>Teju Cole en Instagram: “⠀⠀⠀⠀⠀⠀⠀⠀⠀ The Starbucks thing hit me harder than I expected. I've been brooding for days. On the face of it, it's inconsequential. It is…”</title>
    <dc:date>2018-04-19T01:50:55+00:00</dc:date>
    <link>https://www.instagram.com/p/Bht03b5hVkd/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The Starbucks thing hit me harder than I expected. I've been brooding for days. On the face of it, it's inconsequential. It is certainly inconsequential in direct comparison to the "newsworthy" horrors we are used to. No one was shot. Nobody died.
⠀⠀⠀⠀⠀⠀⠀⠀⠀
It happened on an ordinary day in an ordinary place. But that's also the reason it stings: precisely because of that ordinariness. Show of hands: who's ever been to a Starbucks? It happened in Starbucks, with their overpriced faux-Italian drinks, to people like us, doing the things we do, waiting for a friend to arrive before ordering.
⠀⠀⠀⠀⠀⠀⠀⠀⠀
Keen-eared Professor Iyer notes that playing overhead during the arrest was Dizzy Gillespie's Salt Peanuts. A compact contemporary history of public space could be written with the title "Black Music, Yes! Black People, No!"
⠀⠀⠀⠀⠀⠀⠀⠀⠀
We are not safe even in the most banal place. We are not equal even in the most common circumstances. We are always five minutes away from having our lives upended. Racism is not about actively doing stuff to you all the time—it's also about passively keeping you on tenterhooks. We are always one sour white away from having the cops arrive. And the cops! The cops are like a machine that can’t stop once set in motion, what Fela called "zombie." When the cops arrive, the human aspect of the encounter is over.
⠀⠀⠀⠀⠀⠀⠀⠀⠀
This is why I always say you can't be a black flaneur. Flanerie is for whites. For blacks in white terrain, all spaces are charged. Cafes, restaurants, museums, shops. Your own front door. This is why we are compelled, instead, to practice psychogeography. We wander alert, and pay a heavy psychic toll for that vigilance. Can't relax, black."]]></description>
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<item rdf:about="http://www.vqronline.org/essays-articles/2014/09/due-north">
    <title>Due North | VQR Online</title>
    <dc:date>2016-07-11T00:26:10+00:00</dc:date>
    <link>http://www.vqronline.org/essays-articles/2014/09/due-north</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["I arrived in New York in October 2005 and immediately began walking all over the city, exploring for hours at a time. As I traversed its landscape, I discovered a topography of social conditions. Some days, I would linger on Thirty-Fourth Street among the glamorous workers of Midtown Manhattan rushing to and from their high-rise buildings—in swift pursuit of their ambitions, I’d assumed. I’d watch them zigzag around and dart past the enthusiastic tourists filing into the Empire State Building, that colossus rising majestically above as a beacon of hope and symbol of American derring-do.

Then I’d stride northward, eager to explore Whitman’s “Numberless crowded streets – high growths of iron, slender, strong, light, splendidly uprising toward clear skies.” A little over two hours later, I would end up in Harlem at the courtyard of a housing project on 125th Street, where residents lounged on benches and welcomed each other with cheerful banter. They also welcomed me, and I sat beside them, took one of the kiddie’s box drinks they offered, and enjoyed their jovial talk in that relaxed, open space in Harlem far removed from the hurried dynamism of Midtown.

But as I’ve circulated through New York’s streets, nothing reveals the city’s opposites in stark juxtaposition like the walk from the Upper East Side to the South Bronx, two neighborhoods separated by a brisk ninety-minute walk, or a quick twelve-minute subway ride. I’d call them neighbors were it not so clear that they occupy such distinctly different worlds. To walk the streets from one to the other, as I often do, is to bear witness to a landscape of asymmetry. The city that comes into view is one of uneven terrain, vistas of opportunity alongside pockets of deep poverty too often lost in the periphery.

In early 2006, almost six months after moving to the city, I was hobbled from roaming around because of a botched surgery on my right knee. A few months later, I switched hospitals to the Hospital for Special Surgery, located on the Upper East Side, where I eventually underwent two more surgeries to get back to walking the streets without chronic pain. As a result of the operations and follow-up physical therapy, the Upper East Side became a regular destination. I spent a lot of time watching people go about their lives, many of whom were middle- and working-class people employed in hospitals, museums, universities, hotels, and elsewhere on the Upper East Side. Plentiful as these workers were, they didn’t define the neighborhood—at least, not in a way that forcefully impresses itself upon the mind when you think of the Upper East Side. No, the population that embosses its mark on the neighborhood is the wealthy—the extraordinarily wealthy, to be precise.

The Upper East Side houses one of the richest zip codes in the US. This wealth touches almost everything in its vicinity. Many of the less-flush people I met going about their days worked at institutions that were among the world’s finest—the Metropolitan Museum of Art, Memorial Sloan Kettering Cancer Center, Hospital for Special Surgery—and that were easy access for their upper-class neighbors. In addition to stellar medical care and world-class museums, I’d walk past some of the city’s best private schools, public libraries abuzz with parents and nannies—many of whom were foreigners—playing with children, and music schools with eager and not-so-eager kids developing their skills. Here was a neighborhood stocked with the resources for worldly success.

Walking through that part of the Upper East Side was not unlike a jaunt in a museum. On Park or Fifth Avenue, for example, one could walk for hours and admire magnificent buildings fronted by well-manicured gardens and quiet, clean sidewalks. Serenity suffused the atmosphere. Nothing seemed out of place, and, to my untrained eye, it all looked unspoiled.

There are stunning apartment buildings that look like cathedrals in high heels. Überchic boutiques—throne rooms of specialization meant to cater to people with the most rarefied, and demanding, of tastes—abound. You can pick up scented shoelaces for your teen daughter from a store filled with accessories for tweens, buy a bra for a few hundred dollars from an Italian lingerie store, and then drop off your puppy for a spa day, all in under a half hour. And, shhh, the stores were very quiet, I’ll-glare-if-you-speak-loudly quiet. I was often hushed, too, since sticker shock often dumbfounds me. Though, I should confess, something perverse in me wanted me to scream upon entering those hush-up stores.

All around are luxe restaurants with patrons to match, and sophisticated bistros with fresh-looking, pleasant-smelling—oh, those lovely scents!—upscale clientele. And for outdoor relaxation and play, Central Park is a quick stroll away—across the road, even. It’s as if the neighborhood was curated to cater to the needs and pleasures of its wealthy residents. Dig through the historical record and you’ll find that, indeed, starting with Fifth Avenue in the late nineteenth century, later joined in the early twentieth century by Park (formerly Fourth) Avenue, elegance and convenience have characterized the Upper East Side’s moneyed class and its tony residences.

Yet, for all its beauty, the neighborhood today feels like a welcome mat with spikes, or, more aptly, like a museum after closing time. You could stand nearby and look in, but that’s as far as you could go: admiration from a distance. My feet met their limit.

So much of the lives of the very wealthy was a mystery to me, not least because I couldn’t hope to stand and chat with them. The city was this enticing language I was learning, but they were a cipher. They lived, as my friend and walking companion Suketu once put it to me, in vertical gated communities—fortresses within layers of insulation. I’d see them shuttle from cabs or chauffeur-driven cars into their elegant buildings fronted by attentive doormen. Or I’d see them interacting with each other as I strolled past a posh establishment. They were sharply dressed ghosts; I would see them for a brief moment, only for them to quickly disappear into vehicles or buildings as mysteriously as they came.

There was a come-hither-stay-away quality to it all. Apartment lobbies looked inviting, but dapper doormen in their white shirts and black ties stood between you and them. Brownstones were beguiling, but you dared not sit on their steps. And I couldn’t shake the feeling that someone my shade, the color of the neighborhood’s nannies and gardeners and janitors but not their neighbors (at least, none that I saw), was more unwelcome on a stranger’s stoop.

Nor would I ever see people hanging out on their own steps. The beauty of the Upper East Side, the visual allure, had a placidity I felt detached from. There was something disquieting about all that silence. Certainly, one of the joys of living in the city is the wonderful solitude it affords, the option to, as E. B. White memorably put it, opt out and announce, “I did not attend.” The city is a place of escape as much as it’s one of pilgrimage, and, to someone outside of their circle passing through, the affluent inhabitants of the Upper East Side resemble a group who entered a compact to “not attend.” The serenity felt fragile, and I feared that if I did anything that was perceived as a threat to it, no matter how simple—approaching that friendly face to have a chat, leaning over to inhale perfumy flowers—that I would be promptly reminded that I could inhabit those streets only so much.

When I leave the Upper East Side on foot, the streets declare it to me almost immediately. I cross Ninety-Sixth Street—on Park Avenue, say, and the picturesque quickly recedes. Islands of gardens are supplanted by train tracks that tear out of the ground and rise alongside and above houses, transporting streams of Metro-North trains and dispersing noise across the neighborhood. Pristine sidewalks are replaced by dusty ones, and time and again micro-dirt tornadoes, with candy wrappers within, whirl around. And luxury mansions are replaced by tenement-type buildings, row houses, and “superblocks” of housing projects.

And the population becomes increasingly darker. A lot more. And friendlier. A lot more. More Spanish is heard (significantly so), more bodegas are seen on corners, and the hum of the Upper East Side gives way to a skipping, sometimes clamoring, beat. (On weekends with good weather, there are block parties aplenty). You almost begin to wonder—at least, I often do—if East Harlem is the town crier announcing, “Yeah, you’ve left the Upper East Side. The South Bronx is three miles, and an hour’s walk, thataway.”"

…

"On the way back home, Suketu drove through the Upper East Side, past glittery boutiques and sexy bistros, enticing department stores and showy high-rise apartment buildings. At that moment, I recognized that, for me, there wasn’t much difference between cutting through the neighborhood on foot and in a car. There was, of course. But leaving from Hunts Point, where time in a car away from residents removes so much of the neighborhood’s pleasure, and arriving in the Upper East Side around fifteen minutes later, only to recognize that I felt at arm’s length from a lot of its residents even when I walked through, reminded me that inequality also deprives the very wealthy. In ensconcing themselves in their circles, the very wealthy had cut themselves off from a range of perspectives and temperaments and stories—stories that are a central part of their city’s vibrancy and appeal. In Hunts Point, I witnessed deprivation due to an absence of resources; in the Upper East Side, I witnessed deprivation of a different, but related sort: the absence of enriching interactions.

I became an obsessive walker as a matter of necessity. Too poor to take taxis when I was growing up in Jamaica, and living in a neighborhood where taxis (and, alas, friends) refused to go at night, I learned to walk wherever and whenever to get home. This meant walking through some very dangerous parts of Jamaica. Observation was more about survival—Will he rob me? Will he stab me? Will they shoot me?—rather than about exploration: What will she tell me about this city? What will I learn about my country? Myself? Eventually, by the time I was able to afford cabs, it had become natural for me to venture all over the island, because some frequencies I could only hear while on foot. My interactions with others would enlarge and fortify my identity. And there was something exhilarating about participating in the oldest of rituals: human dealings through the sharing of stories."

…

"The stories people tell each other and the stories they allow themselves to encounter are part of what gives New York City its energy. And the stories I heard ignited my imagination and reshaped my ideas about the city. One afternoon during my physical therapy session, I had one such chat with a patient who was part of the neighborhood’s elite. She was a college professor—of English literature, if my memory hasn’t deceived me—in her seventies, not much more than five feet tall, and overflowing with warmth and élan – more cute-aunt than authoritative dispenser of knowledge. Her friendliness, conveyed with a mellifluous voice, made me stop my rehabilitation exercises and listen away. She spoke about the world with unbridled enthusiasm and genuine wonder, and her drive to explore it made me want to cut her off and rush in search of her adventures. But what stayed with me weren’t the wonderful stories.

Serendipity reveals a world of people holding views and undergoing experiences unlike ours. But serendipity also exposes our commonalities, showing how much our joys and frustrations and anxieties are similar: We all want happy marriages and healthy children and kind in-laws; we all want what we think is best for our children; and we all feel helpless and crumble in the face of mortality. Inequality manifests itself both as the inequality of resources and, looking in the other direction, the inequality of interaction. But, really, everyone is diminished by the absence of interaction, the lack of shared experience. The very wealthy and very poor—inequality makes equals of them all."]]></description>
<dc:subject>walking serendipity 2014 garnettecadogan nyc inequality discovery wonder possibility ebwhite wealth waltwhitman rebeccasolnit micheldecerteau observation flaneur flâneurs flaneurs flâneur</dc:subject>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:ebwhite"/>
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<item rdf:about="http://www.christydena.com/2014/08/whyfinding-making-3d-videogames-more-immersive-and-inclusive-of-more-play-styles/">
    <title>Whyfinding: what pervasive gaming has taught me about 3D videogame design | Christy's Corner of the Universe</title>
    <dc:date>2014-08-04T22:34:01+00:00</dc:date>
    <link>http://www.christydena.com/2014/08/whyfinding-making-3d-videogames-more-immersive-and-inclusive-of-more-play-styles/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The thing I came back to was my experience with pervasive games. Those games set in the actual world — on websites, social media, newspaper, in your street. Is my frustration because I’m corrupted by my background designing and playing pervasive games? In pervasive games I could actually pick up a bow. I could actually be crawling through the cave. Is the problem that I want the seamlessness of mission play and can’t get it in some 3D games? So I played with that idea. What is the difference in how the missions would be designed and experienced in a pervasive game versus a 3D digital game?"

…

"Looking for Internally-Motivated Navigation

I looked at works that seem to be about this internally-driven navigation of space: Michel de Certeau’s ‘Walking in the City’ in The Practice of Everyday Life [PDF], Gaston Bachelard’s The Poetics of Space [PDF]; Walter Benjamin’s The Arcade Project [PDF], John Stilgoe’s Outside Lies Magic, and Rebecca Solnit’s Wanderlust: A History of Walking. I jumped from flâneurs to the larp movement to (with the help of Johanna MacDonald) Laban drives (link, link) — all in the hope of finding design techniques relating to internal motivation. I remembered my theatre experiences and thought maybe that relates to my type of play. 

These works are all about internally-driven movement, but specifically about a free-movement, where you walk (or run) where you please and with a particular way of seeing. This is related, but doesn’t explain exactly what I’m talking about. A common thread in these works, however, is that it is about being present in the moment…in the world…in the streets. I look around to the rise of digital exploration games, and see a similar trend. Indeed, I don’t think the growing attraction to open world games, experiential games, and thin play is  coincidental. These are parallel phenomena that speak of an urge for a different kind of experience: one of being present in the (digital) world. But these types of experiences are often couched in phrases such as agency or choice that an open world games affords, such as the “exploring freedom in World of Warcraft.

There are many reasons for the attraction to these types of experiences (both as designers and players), including having an alternative to the magical dad stories of first-person shooters, and the reflection a “walking simulator” affords. Indeed, there are more and more of these sorts of games, or “first person exploration games, ” “first person adventure,” “story exploration games,” “a game of audio-visual exploration,”  “non-combative exploration games,” or “not games,” or whatever. There are well known ones such as Gone Home, Dear Esther, Proteus, Bientôt l’Été, as well as ones more recent or in development such as Ether One, Dream, Sunset, Firewatch, Virginia, and HomeMake, and Hohokum.

I believe that one of the attracting factors of these games is the desire for intrinsically-motivated movement. (This trait, however, certainly isn’t shared by all of the community-created “walking simulator” tags on Steam.)

It isn’t as if exploration is ignored in conventional videogame and theme park design though. For instance, Scott Rogers talks about enabling exploration by creating subpaths or alternate paths that people discover that get them to the main attractions. But this way of navigating space is different. It isn’t just about exploring space either. Most of the internally-driven movement I found though, was about exploring or viewing space differently. There is something else. Then I found it.”]]></description>
<dc:subject>videogames situationist worldofwarcraft digital sandboxgames freedom exploration flaneur derive 2014 johnstilgoe larp larping gastonbachelard micheldecerteau walterbenjamin rebeccasolnit wandering whyfinding pervasivegames gaming games play maps mapping landscapes landscape gamedesign motivation visualattention attention christydena experience dérive flâneurs flaneurs flâneur</dc:subject>
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<item rdf:about="http://www.bbc.com/news/magazine-27186709">
    <title>BBC News - The slow death of purposeless walking</title>
    <dc:date>2014-05-07T23:41:54+00:00</dc:date>
    <link>http://www.bbc.com/news/magazine-27186709</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["A number of recent books have lauded the connection between walking - just for its own sake - and thinking. But are people losing their love of the purposeless walk?"]]></description>
<dc:subject>walking thinking 2014 flaneur wandering charlesdickens georgeorwell patrickleigh constantinbrancusi thoreau thomasdequincey nassimtaleb nietzsche brucechatwin wgebald johnfrancis fredericgros geoffnicholson merlincoverley observation attention mindfulness rebeccasolnit finlorohrer vladimirnabokov flâneurs flaneurs flâneur</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:480b38f3f9e5/</dc:identifier>
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</item>
<item rdf:about="http://doriantaylor.com/la-forme-de-flaner">
    <title>La Forme de Flâner — Dorian Taylor</title>
    <dc:date>2014-03-03T20:23:53+00:00</dc:date>
    <link>http://doriantaylor.com/la-forme-de-flaner</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[""Never run for the train," proclaimed Nassim Taleb in The Black Swan. It's something of a gnomic statement, coming from an independently wealthy, born-again slacker, albeit one who I believe is on to something. I think about this statement a lot, because it embodies something we don't have very good language for in the professional discourse around things made of pure thought-stuff.

Our dominant paradigm is couched in language of comparative efficiency. We focus on becoming lean from trimming off the fat of bureaucratic processes, and remaining agile to respond quickly to the bewilderingly capricious environment that snares lumbering megafauna. This is an enormous achievement. It is also enormously limiting.

My problem with this paradigm is that we can only get so lean before becoming anorexic, and only so agile before burning out. It's unsustainable and we have to stop eventually. Perhaps most significant, though, is that efficiency is antithetical to what we do.

Our raw material is information, which, despite tremendous advances in its storage, transport and manipulation, still exhibits peculiar properties. It must be recognized, gathered, concentrated, operated on, arranged, displayed, communicated and understood. Information is scattered around space and time, and often buried far from the surface. It is also rarely substitutable: if we need a particular piece of information, we must expend exactly the effort required to get it. It follows that in order to know how to optimize the work around information, we must already have done it.

<blockquote>If that statement was false, there would be no need for empiricism at all, because all knowledge could be reasoned, including knowledge about how long it takes to reason.</blockquote>

I worry that our fervour to get leaner and more agile will eventually starve us of our perceptual acuity, memory, and ultimately our wisdom. But I'm not precisely advocating slowing down, as much as I am suggesting aligning with the cosmos in a way that makes fast not necessary.

The ethos that embodies such an alignment, I believe, is that of the flâneur. To flâne is to amble about with no outwardly discernible mission, taking interest in whatever presents itself wherever and whenever you are. We don't have a word for this in English, at least not one that doesn't import some form of morally reprehensible, even parasitic quality.

The inscrutability of the state of flâner does not necessarily entail that it is unproductive. Certain results are indeed either better or only achieved en flânant, namely those that depend on a complex synthesis of diverse material from disparate and eclectic sources. Like the kind of precursor material you need to write a book. Or a song. Or an app.

Flânerie has found its way into design literature, albeit not always explicitly. Bill Buxton mentions phases of divergence interspersed with those of convergence, to arrive eventually at a successful outcome. Herbert Simon wrote that when designing a system, we should operate for a period with no objective in mind whatsoever. In a keynote, Alan Cooper argued the futility of racing to be second to market versus waiting for the precocious to make their mistakes—the iPod to the Archos Jukebox. This is the kind of sentiment I want to harness.

Why not run for the train? Because another train will be along shortly. Such is the nature of trains. Running will cause you to miss everything between you and your object, and more often than not leave you disappointed and out of breath.

To flâne is to be neither lean nor agile, but comfortably plump. Relaxed. Zaftig even. A flâneur never runs for the train because of his commitment to serendipity, and because he was clever enough to invest in a schedule."]]></description>
<dc:subject>design flaneur walking doriantaylor meandering noticing dérive derive efficiency information patternrecognition understanding slow haste relaxed agile nassimtaleb flâneurs flaneurs flâneur</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
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</item>
<item rdf:about="http://snarkmarket.com/2013/8174">
    <title>A book for winter / Snarkmarket</title>
    <dc:date>2013-11-19T05:35:12+00:00</dc:date>
    <link>http://snarkmarket.com/2013/8174</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["As I read, and after, I found Hild’s way of thinking seeping into my brain. She is a scientist before science, a flâneuse before Paris or anything remotely approaching it. She is a watcher, a pattern-finder, a naturalist growing into a politician. In an email, I told Nicola that after I read her book, I found myself

<blockquote>paying more attention the natural world, & not just in passing, but with patience. I thought specifically of Hild the other afternoon when I was in my backyard & saw a giant spider on its web. I bent down close, inspected it, watched it for a while. It really does require patience, and a conviction that, you know, this is a totally legitimate way to spend your time.</blockquote>"]]></description>
<dc:subject>robinsloan 2013 books nature noticing observation slow patternfinding flaneur flâneuse flâneurs flaneurs flâneur</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
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</item>
<item rdf:about="http://networkcultures.org/wpmu/geert/2013/09/21/aesthetics-of-dispersed-attention-interview-with-petra-loffler/">
    <title>Aesthetics of Dispersed Attention: Interview with German Media Theorist Petra Löffler :: net critique by Geert Lovink</title>
    <dc:date>2013-10-07T18:52:23+00:00</dc:date>
    <link>http://networkcultures.org/wpmu/geert/2013/09/21/aesthetics-of-dispersed-attention-interview-with-petra-loffler/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["GL: You got a fascinating chapter in your habilitation about early cinema and the scattering of attention it would be responsible for. The figure of the nosy parker that gawks interests you and you contrast it to the street roaming flaneur.

PL: Yes, the gawker is a fascinating figure, because according to my research results it is the corporation of the modern spectator who is also a member of a mass audience––the flaneur never was part of it. The gawker or gazer, like the flaneur, appeared at first in the modern metropolis with its multi-sensorial sensations and attractions. According to Walter Benjamin the flaneur disappeared at the moment, when the famous passages were broken down. They had to make room for greater boulevards that were able to steer the advanced traffic in the French metropolis. Always being part of the mass of passers-by the gawker looks at the same time for diversions, for accidents and incidents in the streets. This is to say his attention is always distracted between an awareness of what happens on the streets and navigating between people and vehicles. No wonder movie theatres were often opened at locations with a high level of traffic inviting passers-by to go inside and, for a certain period of time, becoming part of an audience. Furthermore many films of the period of Early Cinema were actualities showing the modern city-life. In these films the movie-camera was positioned at busy streets or corners in order to record movements of human and non-human agents. Gawkers often went into the view of the camera gesticulating or grimacing in front of it. That’s why the gawker has become a very popular figure mirroring the modern mass audience on the screen.

Today to view one’s own face on a screen is an everyday experience. Not only CCTV-cameras at public spaces record passers-by, often without their notice. Also popular TV-shows that require life-participation such as casting shows once more offer members of the audience the opportunity to see themselves on a screen. At the same time many people post their portraits on websites of social networks. They want to be seen by others because they want to be part of a greater audience––the network community. This is what Jean Baudrillard has called connectivity. The alliance between the drive to see and to being seen establishes a new order of seeing which differs significantly from Foucault’s panoptical vision: Today no more the few see the many (panopticon) or the many see the few (popular stars)––today, because of the multiplication and connectivity of screens in public and private spaces, the many see the many. Insofar, one can conclude, the gawker or gazer is an overall-phenomenon, a non-specific subjectivity of a distributed publicity."

…

"GL: I can imagine that debates during the rise of mass education, the invention of film are different from ours. But is that the case? It is all pedagogy, so it seems. We never seem to leave the classroom.

PL: The question is, leaving where? Entering the other side (likewise amusement sites or absorbing fantasies)? Why not? Changing perspectives? Yes, that’s what we have to do. But for that purpose we don’t have to leave the classroom necessarily. Rather, we should rebuilt it as a room of testing modes of thinking in very concrete ways. I’m thinking of Jacques Rancière’s suggestions, in his essay Le partage du sensible, about the power relation between teachers and pupils. Maybe today teachers can learn more (for instance soft skills) from their pupils than the other way around. We need other regimes of distribution of power, also in the classroom, a differentiation of tasks, of velocities and singularities—in short: we need micropolitics.

More seriously, your question indicates a strong relationship between pedagogy and media. There’s a reason why media theorists like Friedrich Kittler had pointed to media’s affinity to propaganda and institutions of power. I think of his important book Discourse Networks, where he has revealed the relevance of mediated writing techniques for the formation of educational institutions and for subjectivation. That’s why the question is, what are the tasks we have to learn in order to exist in the world of electronic mass media? What means ‘Bildung’ for us nowadays?

GL: There is an ‘attention war’ going on, with debates across traditional print and broadcast media about the rise in distraction, in schools, at home. On the street we see people hooked on their smart phones, multitasking, everywhere they go. What do you make of this? This is just a heightened sensibility, a fashion, or is there really something at stake? Would you classify it as petit-bourgeois anxieties? Loss of attention as a metaphor for threatening poverty and status loss of the traditional middle class in the West? How do you read the use of brain research by Nicholas Carr, Frank Schirrmacher and more recently also the German psychiatrist Manfred Spitzer who came up with a few bold statement concerning the devastating consequences of computer use for the (young) human brain. Having read your study one could say: don’t worry, nothing new under the sun. But is this the right answer?

PL: Your description addresses severe debates. Nothing less than the future of our Western culture seems to be at stake. Institutions like the educational systems are under permanent critique, concerning all levels from primary schools to universities. That’s why the Pisa studies have revealed a lot of deficits and have provoked debates on what kind of education is necessary for our children. On the one hand it’s a debate on cultural values, but on the other it’s a struggle on power relations. We are living in a society of control, and how to become a subject and how this subject is related to other subjects in mediated environments are important questions.

A great uncertainty is emerged. That’s why formulas that promise easy solutions are highly welcomed. Neurological concepts are often based on one-sided models concerning the relationship between body and mind, and they often leave out the role of social and environmental factors. From historians of science such as Canguilhem and Foucault one can learn that psychiatrist models of brain defects and mental anomalies not only mirror social anxieties, but also produce knowledge about what is defined as normal. And it is up to us as observers of such discourses to name those anxieties today. Nonetheless, I would not signify distraction as a metaphor. It is in fact a concrete phase of the body, a state of the mind. It’s real. You cannot deal with it when you call it a disability or a disease and just pop pills or switch off your electronic devices."]]></description>
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<item rdf:about="http://www.cityofsound.com/blog/2013/02/watch-dogs-world-creation.html">
    <title>cityofsound: Journal: Watch Dogs and world creation</title>
    <dc:date>2013-05-01T22:16:59+00:00</dc:date>
    <link>http://www.cityofsound.com/blog/2013/02/watch-dogs-world-creation.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Watch Dogs feels hugely appealing, as it was with a short clip of another game based in Paris 2084 posted to The Verge the other day, simply because it suggests the possibility of wandering around in a semi-fictional city as escapist pastime. No plot, no narrative, just exploring something which is a parallel urban universe (temporarily, dramatically, architecturally.)

Partly this is appealing as urban walking is an occupation of mine in real cities, from Geneva to Los Angeles to many more not written up. And partly as the other narrative forms I enjoy the most often create a world—and often an urban world—as a core character. For example, and purely at random. Bullitt and Collateral and Will Eisner and Bleak House and Chavez Ravine and  Warren Ellis's excellent recent novel Gun Machine, which Watch Dogs appears to share some similarities with, by the way. World building more broadly, outside of cities, also seems a characteristic of compelling narrative formats, from West Wing to Borgen via Lost and Eastenders to Swallows and Amazons."]]></description>
<dc:subject>architecture cities games gaming 2013 danhill videogames watchdogs exploration flaneur urban urbanism worldbuilding flâneurs flaneurs flâneur</dc:subject>
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<item rdf:about="http://www.cityofsound.com/blog/2004/04/video_game_flne.html">
    <title>cityofsound: Journal: Video game flâneur</title>
    <dc:date>2013-05-01T22:12:51+00:00</dc:date>
    <link>http://www.cityofsound.com/blog/2004/04/video_game_flne.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Rockstar and others have virtually (pun intended) built the digital infrastructure to generate generic large city forms. All they have to do is drape a particular cultural fabric over it, and the architecture, clothes, music, adverts etc. all just fall into place, as defined by a talented new form of 'curator' perhaps. (Hey Rockstar, if you're listening, I'll have that job!).

[Thought about this before, after reading about Gangs of New York and similar potential in films; read also about the way Rockstar design this stuff; about some future potential of Rockstar's city-based games; and Manhattan as muse for video games.]

If it is The Warriors, then just inhabiting a version of NYC in the early 80s would be a blast. One of my favourite near-mythical urban eras, as witnessed in the incredibly flawed but compelling film Downtown 81. I'd struggle to do address any of the usual Rockstar narrative ploys though, instead trying to track down John Zorn, Arto Lindsay & DNA, Grandmaster Flash and Melle Mel, The Kitchen, James White & The Blacks, Talking Heads, Thurston Moore, Basquiat etc. Materialising in the almost deserted early-80s Lower East Side, I'd probably get my head kicked in anyway (which is standard Rockstar plot device of course)."]]></description>
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<item rdf:about="http://www.domusweb.it/en/reviews/2012/06/29/urban-guides-for-em-cyberflaneurs-em-.html">
    <title>Urban guides for cyberflâneurs - Reading Room - Domus [Review of Kati Krause's, A Smart Guide to Utopia and P. D. Smith's City. A Guidebook for the Urban Age]</title>
    <dc:date>2012-07-03T06:53:29+00:00</dc:date>
    <link>http://www.domusweb.it/en/reviews/2012/06/29/urban-guides-for-em-cyberflaneurs-em-.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["With a renewed understanding of the concept of city as a living organism…and focused on the power of small actions beyond large-scale urban planning, the book offers a comprehensive tour through spatial practices, diy networks, guerrilla activism and urban farmers, among others. More than a guide to discovering a city, it is a guide about how to make cities more liveable through small, simple interventions. Some of these actions embrace a new technological approach, such as the use of smartphones to enhance the urban experience."

"The book also talks about urban life, religion, street art, waterfronts, traffic jams and many other things that shape our urban experiences, despite the fact that we may often think they are disconnected from each other. As Smith points out, this is the age of the Edge City, where the age-old distinctions between urban and suburban are disappearing, leaving us immersed in a landscape without boundaries where distance is only a subjective feeling."]]></description>
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<item rdf:about="http://www.brokencitylab.org/drift/">
    <title>Drift: an app for getting lost in familiar places | Broken City Lab</title>
    <dc:date>2012-05-28T05:53:42+00:00</dc:date>
    <link>http://www.brokencitylab.org/drift/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Finally launched and available in the iOS App Store! [http://itunes.apple.com/us/app/drift/id524083174 ]

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

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

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

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

This project was generously supported by the Ontario Arts Council Media Arts Grant for Emerging Artists."]]></description>
<dc:subject>2012 observation documentation photography justinlanglois psychogeography experience everydaylife everyday compass cities brokencitylab drift iphone ios applications noticing exploration walking situationist flaneur derive dérive flâneurs flaneurs flâneur compasses drifting</dc:subject>
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</item>
<item rdf:about="http://www.guardian.co.uk/books/2012/mar/30/will-self-walking-cities-foot">
    <title>Will Self: Walking is political | Books | The Guardian</title>
    <dc:date>2012-04-01T18:59:33+00:00</dc:date>
    <link>http://www.guardian.co.uk/books/2012/mar/30/will-self-walking-cities-foot</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["A century ago, 90% of Londoners' journeys under six miles were made on foot. Now we are alienated from the physical reality of our cities. Will Self on the importance of walking in the fight against corporate control"

"Borges's animals and beggars are those who still seek the disciplines of physical geography – we understand that to walk the city and its environs is, in a very powerful sense, to use it. The contemporary flâneur is by nature and inclination a democratising force who seeks equality of access, freedom of movement and the dissolution of corporate and state control."]]></description>
<dc:subject>humanconnection humanconnectivity connectivity human society indifference friedrichengels gps london thomasdequincey moritzretszch edgarallanpoe wandering wanderlust rebeccasolnit epicurus thecityishereforyoutouse geography democracy freedomofmovement freedom access movement flaneur borges cities place space limitedspace psychogeography urbanism urban transportation control corporatism willself 2012 walking flâneurs flaneurs flâneur</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:95e66524d1d1/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:wanderlust"/>
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</item>
<item rdf:about="http://iam.peteashton.com/flaneurism-shouldnt-be-easy/">
    <title>Flaneurism shouldn’t be easy | I Am Pete Ashton</title>
    <dc:date>2012-02-19T21:20:11+00:00</dc:date>
    <link>http://iam.peteashton.com/flaneurism-shouldnt-be-easy/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["When you think about it, relying on the likes of Google, YouTube, Facebook et al stand up for the niche and the curious is pretty naive. Where their interests coincide they will side with the mainstream, and those interests will coincide more and more. We can’t rely on large Internet companies to look after this stuff – Yahoo’s half-arsed custody of Flickr should have taught us that. If we’re going to have an infrastructure that enables the spirit of the cyberflaneur to thrive we’re going to have to build and maintain it ourselves, above and beyond the financial blinkers of the mainstream.

One of the most surprising things about the Internet is how people think there’s a single monolithic culture. There used to be, back when access was difficult and determined by circumstance. But it’s not like that now. The Internet is for everything and everyone, which means it’s like everything else, prone to mediocrity and abuses of power…"

]]></description>
<dc:subject>monoculture discovery diy serendipity stateoftheweb exploration psychogeography web flaneur cyberflaneurism 2012 evgenymorozov peteashton online flâneurs flaneurs flâneur</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:48ca315506af/</dc:identifier>
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</item>
<item rdf:about="http://www.stadtblind.org/2007/02/27/the-colors-of-berlin/">
    <title>Stadtblind » The Colors of Berlin</title>
    <dc:date>2011-11-25T23:35:53+00:00</dc:date>
    <link>http://www.stadtblind.org/2007/02/27/the-colors-of-berlin/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The Colors of Berlin is for tourists and Berliners. The book is a unique tool for urban exploration, serving both as inspiration for a personal vision and documentation of the city. It is a declaration of love to Berlin. It helps the flaneur and the city-lover see and experience the urban landscape in a new way. Stadtblind’s aim is to create a distance from that which is familiar, to re-frame the familiar in such a way that it becomes fresh, worthy of attention and affection. We present the everyday spaces, objects and surfaces of contemporary Berlin ina manner that provides a new means of perceiving cities. It is precisely the everyday aspects of our lives that are most often overlooked; and it is precisely the everyday that most constitutes our lived experience of cities."

[via: http://youarehere2011.wordpress.com/suggested-reading/ ]]]></description>
<dc:subject>berlin travel psychogeography derive 2005 cities cityguides exploration urban urbanism flaneur situationist dérive flâneurs flaneurs flâneur</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:433da460b66f/</dc:identifier>
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</item>
<item rdf:about="http://www.flaneursociety.org/">
    <title>Welcome to the Flaneur Society</title>
    <dc:date>2011-07-04T05:16:58+00:00</dc:date>
    <link>http://www.flaneursociety.org/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The Flaneur Society was created in response to Walter Benjamin's book Berlin Childhood Around 1900. In it he explores the concept of the Flaneur, one who wanders without destination.

Intrigued by this concept, the society was created to spread the concept of the Flaneur beyond academic studies and into the general consciousness of how we think of urban spaces.

The Guidebook to Getting Lost is a small pocket sized book which defines the concept of the Flaneur. Using the language of the Park Service and backcountry maps, the guide aims to introduce the participant to a city without the concern of street names and directions. Inside, there are three maps which can guide the participant to a state of Flaneuring. A PDF of the guidebook can be downloaded here." [PDF: http://www.flaneursociety.org/guide.pdf ]

[Tumblr: http://flaneursociety.tumblr.com/ ]]]></description>
<dc:subject>flaneur situationist walking wandering sanfrancisco walterbenjamin maps mapping derive via:maryannreilly ralphwaldoemerson iste-fringe2012 dérive flâneurs flaneurs flâneur</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:c79b1331aca3/</dc:identifier>
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</item>
<item rdf:about="http://maryannreilly.blogspot.com/2011/07/being-in-middle-learning-walks.html">
    <title>Between the By-Road and the Main Road: Being in the Middle: Learning Walks</title>
    <dc:date>2011-07-02T20:18:28+00:00</dc:date>
    <link>http://maryannreilly.blogspot.com/2011/07/being-in-middle-learning-walks.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["So imagine a commitment to learning that involved making regular learning walks with high school students as a normal part of the "school" day.  Now, these learning walks should not be confused with walking tours, which are designed based on planned outcomes.  One walks to point X in order to see object or artifact Y.  The points are predetermined, hierarchical in design.

Instead, learning walks are rhizomatic.  They are inherently about being in the middle of things and coming to learn what could not been predetermined. Learning walks are part of the "curriculum" for instructional seminar (which I described here)."

[My comments cross-posted here: http://robertogreco.tumblr.com/post/7182110515/walking-and-learning ]]]></description>
<dc:subject>maryannreilly comments walking walkshops adamgreenfield flaneur psychogeography derive dérive education learning schools teaching unschooling deschooling noticing observation seeing 2011 rhizomaticlearning johnseelybrown douglasthomas unguided self-directedlearning serendipity johnberger willself rebeccasolnit sistercorita maps mapping photography alanfletcher lawrenceweschler kerismith exploration exploring johnstilgoe noticings rjdj ios situationist situatedlearning situated hototoki serendipitor flow mihalycsikszentmihalyi experience control ego cv coritakent flâneurs flaneurs flâneur</dc:subject>
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</item>
<item rdf:about="http://robotflaneur.com/">
    <title>Robot Flâneur: Exploring Google Street View</title>
    <dc:date>2011-06-20T04:23:49+00:00</dc:date>
    <link>http://robotflaneur.com/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Robot Flâneur is an explorer for Google Street View. Select a city to start exploring.

Follow the instructions or just go full screen for an urban screensaver of your choice."]]></description>
<dc:subject>photography cities urban maps mapping jamesbridle robotflaneur london sanfrancisco manhattan nyc sãopaulo paris johannesburg tokyo mexicodf df berlin exploration screensavers mexicocity flaneur flâneurs flaneurs flâneur</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:58d3b86c5553/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:urban"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:maps"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:mapping"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:jamesbridle"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:robotflaneur"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:london"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:sanfrancisco"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:nyc"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:sãopaulo"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:johannesburg"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:tokyo"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:mexicodf"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:df"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:screensavers"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:flaneur"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:flaneurs"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:flâneur"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://www.situationistapp.com/">
    <title>Situationist App By Benrik</title>
    <dc:date>2011-03-08T07:42:49+00:00</dc:date>
    <link>http://www.situationistapp.com/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[Now banned by the iTunes Store]

"What is Situationist? Situationist is an iPhone app that makes your everyday life more thrilling and unpredictable. It alerts members to each other's proximity and gets them to interact in random "situations". These situations vary from the friendly "Hug me for 5 seconds exactly" or "Compliment me on my haircut", to the subversive eg "Help me rouse everyone around us into revolutionary fervour and storm the nearest TV station". Members simply upload their photo and pick the situations they want to happen to them from a shortlist, in the knowledge that they might then occur anywhere, and at any time.

Who is behind it? Benrik, artists and authors of the cult bestselling "Diary Will Change Your Life" series."

[via: http://thenextweb.com/apps/2011/03/07/dont-like-strangers-situationist-for-the-iphone-wants-to-change-that/ ]]]></description>
<dc:subject>iphone ios situationist behavior applications art derive flaneur dérive psychogeography flâneurs flaneurs flâneur</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:daacb4f5eb10/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:situationist"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:applications"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:art"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:derive"/>
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</item>
<item rdf:about="http://interconnected.org/home/2011/01/15/space_clearing">
    <title>space clearing (15 Jan., 2011, at Interconnected)</title>
    <dc:date>2011-01-16T18:58:56+00:00</dc:date>
    <link>http://interconnected.org/home/2011/01/15/space_clearing</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Constrained walks and the dérive both reveal the city's psychogeography, and force the city to give up more of itself. It's funny to find, right on my doorstep, the streets I didn't know that I didn't know, the ones I'd got the unknown habit of avoiding. The city grows.

Space clearing makes visible and disrupts the psychogeography of my home. By standing in far corners, I find new perspectives. I strengthen rarely visited spots in my own mental map. Later, I find myself noticing the corners more. My house looks larger. The changed shape of my rooms encourages me to walk differently about the space. I stand in slightly unfamiliar spots, look at my bookshelves with a new-found unfamiliarity, and this prompts new combinations of titles to come to my attention, and new ideas.

I wonder if I could make something to do this for me? Maybe a robot vacuum cleaner programmed to find rarely visited corners and play an attention-grabbing sample, hey, over here, over here."]]></description>
<dc:subject>space perspective mattwebb situationist dérive psychogeography robots constraints flaneur cities homes spaceclearing mentalmaps mapping maps attention 2011 derive flâneurs flaneurs flâneur</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:4d9eca59a6e9/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:mattwebb"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:psychogeography"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:constraints"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:spaceclearing"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:mentalmaps"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:mapping"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:maps"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:attention"/>
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</item>
<item rdf:about="http://www.amazon.com/Wanderlust-History-Walking-Rebecca-Solnit/dp/0140286012/">
    <title>Amazon.com: Wanderlust: A History of Walking (9780140286014): Rebecca Solnit: Books: Reviews, Prices &amp; more</title>
    <dc:date>2010-11-14T05:23:44+00:00</dc:date>
    <link>http://www.amazon.com/Wanderlust-History-Walking-Rebecca-Solnit/dp/0140286012/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Walking, as Thoreau said and Solnit elegantly demonstrates, inevitably leads to other subjects. This pleasing and enlightening history of pedestrianism unfolds like a walking conversation with a particularly well-informed companion with wide-ranging interests. Walking, says Solnit, is the state in which the mind, the body and the world are aligned; thus she begins with the long historical association between walking and philosophizing. She briefly looks at the fossil evidence of human evolution, pointing to the ability to move upright on two legs as the very characteristic that separated humans from the other beasts and has allowed us to dominate them. She looks at pilgrims, poets, streetwalkers and demonstrators, and ends up, surprisingly, in Las Vegas--or maybe not so surprisingly in that city of tourists, since "Tourism itself is one of the last major outposts of walking." …"]]></description>
<dc:subject>rebeccasolnit flaneur walking books toread history pedestrians philosophy evolution science anthropology culture thoreau waltwhitman flâneurs flaneurs flâneur</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:4467460bbbce/</dc:identifier>
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</item>
<item rdf:about="http://survival.sentientcity.net/serendipitor/">
    <title>Serendipitor</title>
    <dc:date>2010-09-27T04:00:23+00:00</dc:date>
    <link>http://survival.sentientcity.net/serendipitor/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Serendipitor is an alternative navigation app for the iPhone that helps you find something by looking for something else. The app combines directions generated by a routing service (in this case, the Google Maps API) with instructions for action and movement inspired by Fluxus, Vito Acconci, and Yoko Ono, among others. Enter an origin and a destination, and the app maps a route between the two. You can increase or decrease the complexity of this route, depending how much time you have to play with. As you navigate your route, suggestions for possible actions to take at a given location appear within step-by-step directions designed to introduce small slippages and minor displacements within an otherwise optimized and efficient route. You can take photos along the way and, upon reaching your destination, send an email sharing with friends your route and the steps you took."

[See also: http://vimeo.com/14205766 AND http://serialconsign.com/2010/09/out-wayfinding-serendipitor AND http://www.wired.com/gadgetlab/2010/09/serendipitor-gives-maps-and-navigation-a-gaming-layer/ ]]]></description>
<dc:subject>serendipity wayfinding maps iphone applications serendipitor mapping discovery exploration vitoacconci yokoono fluxus psychogeography situationist meandering flaneur derive dérive ios flâneurs flaneurs flâneur</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:c5f726ac6b7b/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:maps"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:iphone"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:vitoacconci"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:yokoono"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:fluxus"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:psychogeography"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:situationist"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:meandering"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:flaneur"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:dérive"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:ios"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:flaneurs"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:flâneur"/>
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</item>
<item rdf:about="http://itunes.apple.com/us/app/serendipitor/id382597390?mt=8">
    <title>Serendipitor for iPhone, iPod touch, and iPad on the iTunes App Store</title>
    <dc:date>2010-08-20T04:44:13+00:00</dc:date>
    <link>http://itunes.apple.com/us/app/serendipitor/id382597390?mt=8</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Serendipitor is an alternative navigation app that helps you find something by looking for something else. Enter an origin and a destination, and the app maps a route between the two. You can increase or decrease the complexity of this route, depending how much time you have to play with. As you navigate your route, suggestions for possible actions to take at a given location appear within step-by-step directions designed to increase the likelihood that, in the end, you will have encounters you could never have pre-planned. You can take photos along the way and, upon reaching your destination, send an email sharing with friends your route and the steps you took."

[via: http://twitter.com/agpublic/status/21619402371 ]]]></description>
<dc:subject>serendipity serendipitor applications iphone maps mapping location driftdeck flaneur wayfinding navigation gps urban urbanism urbancomputing urbanexploration ios flâneurs flaneurs flâneur</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:2adc042cffb2/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:serendipity"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:mapping"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:location"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:driftdeck"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:flaneur"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:wayfinding"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:gps"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:urban"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:urbanism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:urbancomputing"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:urbanexploration"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:ios"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:flaneurs"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:flâneur"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://jeweledplatypus.org/cgi-bin/blosxom.cgi/text/citynet.html">
    <title>jeweled platypus · text · Grids of tubes and wires (the city and the internet)</title>
    <dc:date>2010-08-16T08:40:30+00:00</dc:date>
    <link>http://jeweledplatypus.org/cgi-bin/blosxom.cgi/text/citynet.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["wrote an essay about how learning to use internet is like learning to live in city…for class where we read urban critics/philosophers/sociologists Walter Benjamin, Michel de Certeau, & Georg Simmel…lived in 19th & 20th centuries, talked about: what happens to people when they move to cities, how it feels to live in dense urban centers, & whether “the city” is imaginary place…Some of their concerns about experience of mass urbanization are similar to concerns…about experience of mass internet use: dealing w/ infooverload, wandering in non-linear fashion, learning unfamiliar interfaces, developing less sensitivity to shocking sights, finding connections w/in fragmented communities, encountering thousands of strangers every day, & acting badly when anonymous.

…resemblance btwn physical & virtual worlds is not surprising…“city is an archetype of human imagination”…social aspects of web modeled on places where many of its developers, entrepreneurs & designers live: SF, LA, NY…"

[via: http://twitter.com/tcarmody/status/21262061506 ]]]></description>
<dc:subject>walterbenjamin micheldecerteau georgsimmel cities 2009 psychology urbanism urban society culture city internet social flickr del.icio.us youtube flaneur brittagustafson online web urbanization non-linearity learning explodingschool colinward strangers lcproject unschooling deschooling fear tcsnmy anonymity flâneurs flaneurs flâneur</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:bd9285c7b37a/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:walterbenjamin"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:2009"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:social"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:del.icio.us"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:youtube"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:flaneur"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:brittagustafson"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:online"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:web"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:urbanization"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:learning"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:explodingschool"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:colinward"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:strangers"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:lcproject"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:unschooling"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:deschooling"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:fear"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:tcsnmy"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:anonymity"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:flâneurs"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:flaneurs"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:flâneur"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://www.transformationsjournal.org/journal/issue_15/article_10.shtml">
    <title>TRANSFORMATIONS — Walter Benjamin and the Virtual: Politics, Art, and Mediation in the Age of Global Culture: From Flâneur to Web Surfer: Videoblogging, Photo Sharing and Walter Benjamin @ the Web 2.0 By Simon Lindgren</title>
    <dc:date>2010-08-16T08:28:58+00:00</dc:date>
    <link>http://www.transformationsjournal.org/journal/issue_15/article_10.shtml</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["This paper explores and illustrates how Benjamin’s analysis of the nineteenth century culture of consumption might contribute to an understanding of the new communal formations and self-reflexive subjectivities of the internet in the twenty-first century. Theoretically, this will be done with a specific focus on the concept of the flâneur as discussed in The Arcades Project (416-455), and on some lines of reasoning that are central to his essay on “The Work of Art in the Age of Mechanical Reproduction”. The empirical emphasis will be on two examples of so called Web 2.0 technologies: the photo sharing service of flickr and the videoblogging functionality of YouTube."

[via: http://jeweledplatypus.org/cgi-bin/blosxom.cgi/text/citynet.html ]]]></description>
<dc:subject>urbanism walterbenjamin flaneur culture city blogging politics urban art internet web flickr youtube virtual situationist global flâneurs flaneurs flâneur</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:4667d8720553/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:urbanism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:walterbenjamin"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:flaneur"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:culture"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:city"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:blogging"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:politics"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:urban"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:art"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:internet"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:web"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:flickr"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:youtube"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:virtual"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:situationist"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:global"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:flâneurs"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:flaneurs"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:flâneur"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://veloflaneur.wordpress.com/">
    <title>vélo-flâneur</title>
    <dc:date>2009-10-25T19:30:09+00:00</dc:date>
    <link>http://veloflaneur.wordpress.com/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["“Adept of the joys of watching, connoisseur of empathy, the flâneur finds the world ‘picturesque.’ ” – Susan Sontag]]></description>
<dc:subject>bikes biking blogs flaneur culture economics craft flâneurs flaneurs flâneur</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:c1d75af24008/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:bikes"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:biking"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:blogs"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:flaneur"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:culture"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:economics"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:craft"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:flâneurs"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:flaneurs"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:flâneur"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://places.designobserver.com/entry.html?entry=10797">
    <title>The Infrastructural City: Places: Design Observer</title>
    <dc:date>2009-10-11T07:20:53+00:00</dc:date>
    <link>http://places.designobserver.com/entry.html?entry=10797</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["argues convincingly that the layering of transportation, communications, hydrologic & power systems atop one another & atop a semi-arid terrain is giving rise to new hybridized or mutated social-environmental-technological dynamics that are unique & robust & deserving of serious critical reflection. Underlying this position is an unstated realization — that LA, only now, is mature enough to have developed these emergent, intrinsic & complex metropolitan ecologies...Varnelis suggests that the book might function best as a field manual for the metropolitan hacker, whose gateway may be one of a million local points on a myriad of overlaid continental & global networks of exchange that intersect at this sunny piece of land on the edge of the Pacific Ocean. The collection’s various maps, diagrams & photographs underscore its potential for such covert operations, & perhaps for more mainstream & touristic agendas as well — itineraries for the 21st-century metropolitan flaneur."
]]></description>
<dc:subject>infrastructure networks kazysvarnelis books losangeles telecommunications flaneur flâneurs flaneurs flâneur</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:39403241eff4/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:infrastructure"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:networks"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:kazysvarnelis"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:books"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:losangeles"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:telecommunications"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:flaneur"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:flâneurs"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:flaneurs"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:flâneur"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://bldgblog.blogspot.com/2009/06/bloomsday.html">
    <title>BLDGBLOG: Bloomsday</title>
    <dc:date>2009-06-18T05:33:07+00:00</dc:date>
    <link>http://bldgblog.blogspot.com/2009/06/bloomsday.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["That is, should you want to describe a man's walk around the city in as detailed and realistic a way as possible, capturing every minor event and instant, then you would have to include the circumstances of that walk in their often bewildering totality: every fragmentary thought process, directionless flight of fancy, and irrelevant detail noticed along the way, via a million and one dead-ends. Things remembered and then forgotten. Deja vu.

That daydream you had early today? That was, Ulysses suggests, part of the infrastructure of the city you live in.

The city here becomes a kind of experiential labyrinth: it is something you walk through, certainly, but it is also something that rears up mythically to consume the thoughts of everyone residing within it."

AND

"Inspired by Bloomsday, then, it seems well-timed to ask not only how our cities can best be mapped – and if narrative is, in fact, the ideal cartographic strategy – but what other physical possibilities exist for narrative expression. Put another way: what if James Joyce had been raised in an era of cheap 3D printers?
After all, given the possibilities outlined above, we might even someday be justified in concluding that Dublin itself is a written text, and that Ulysses is simply its most famous translation."]]></description>
<dc:subject>bldgblog jamesjoyce ulysses flaneur urbanism psychogeography architecture design cities dublin literature information geography cartography maps mapping fabrication fabbing books experience narrative flâneurs flaneurs flâneur</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:85c46b115843/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:bldgblog"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:jamesjoyce"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:ulysses"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:flaneur"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:urbanism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:psychogeography"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:architecture"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:design"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:cities"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:dublin"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:literature"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:information"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:geography"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:cartography"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:maps"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:mapping"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:fabrication"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:fabbing"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:books"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:narrative"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:flâneurs"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:flaneurs"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:flâneur"/>
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</item>
<item rdf:about="http://www.bryanboyer.com/orphaned/2004-05-08.phtml">
    <title>Clip From An Ailing Thesis</title>
    <dc:date>2009-04-11T06:20:23+00:00</dc:date>
    <link>http://www.bryanboyer.com/orphaned/2004-05-08.phtml</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["best urban environments are walking cities...benefit greatly from diverse range of elements all occupying same space. NY, Rome, Barcelona: ...homes of the flaneur as we know him...must not forget that [he] is a farmer w/ different shoes. The wanderer, walker, one who experiences the environment around him with glee-- ...exists in the forest of skyscrapers & brownstones equally as well as the vistas & oaks of Small Towns...It is under this light that the link between urbanity & ruralism becomes clear. Structurally urbanism is more alienated from the suburban than from the rural environment. The rural & urban are modes of working with a limited given & applying ones means in an efficient manner. Typically this plays itself out in terms of limited urban space & unavailable rural funds. Can we develop a strategy for transitioning directly from the rural to urban? How do we ensure that our cities do not forget the frugality of their rural roots & develop accordingly as they expand?"
]]></description>
<dc:subject>cities walking flaneur via:preoccupations nyc rome barcelona urban urbanism rural storytelling scale human flâneurs flaneurs flâneur</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:64d6ac4ec279/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:cities"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:walking"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:flaneur"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:via:preoccupations"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:nyc"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:rome"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:barcelona"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:urban"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:urbanism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:rural"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:storytelling"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:scale"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:human"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:flâneurs"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:flaneurs"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:flâneur"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://en.wikipedia.org/wiki/Fl%C3%A2neur">
    <title>Flâneur - Wikipedia</title>
    <dc:date>2009-02-08T00:37:36+00:00</dc:date>
    <link>http://en.wikipedia.org/wiki/Fl%C3%A2neur</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["In the context of modern-day architecture and urban planning, designing for flâneurs is one way to approach issues of the psychological aspects of the built environment. Architect Jon Jerde, for instance, designed his Horton Plaza and Universal CityWalk projects around the idea of providing surprises, distractions, and sequences of events for pedestrians." ... "The most notable application of flâneur to street photography probably comes from Susan Sontag in her 1977 essay, On Photography. She describes how, since the development of hand-held cameras in the early 20th century, the camera has become the tool of the flâneur: "The photographer is an armed version of the solitary walker reconnoitering, stalking, cruising the urban inferno, the voyeuristic stroller who discovers the city as a landscape of voluptuous extremes. Adept of the joys of watching, connoisseur of empathy, the flâneur finds the world 'picturesque.' (pg. 55)""
]]></description>
<dc:subject>situationist photography urban urbanism travel philosophy walking art culture education architecture history theory baudelaire flaneur hortonplaza sandiego universalcitywalk jonjerde losangeles psychogeography observation technology susansontag glvo cv via:blackbeltjones derive dérive flâneurs flaneurs flâneur</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:7f6edfdf22aa/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:situationist"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:urban"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:urbanism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:travel"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:philosophy"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:walking"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:art"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:culture"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:education"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:architecture"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:history"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:theory"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:baudelaire"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:flaneur"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:hortonplaza"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:sandiego"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:universalcitywalk"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:jonjerde"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:losangeles"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:psychogeography"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:observation"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:technology"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:susansontag"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:glvo"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:cv"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:via:blackbeltjones"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:derive"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:dérive"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:flâneurs"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:flaneurs"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:flâneur"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://en.wikipedia.org/wiki/Psychogeography">
    <title>Psychogeography - Wikipedia</title>
    <dc:date>2009-02-08T00:11:48+00:00</dc:date>
    <link>http://en.wikipedia.org/wiki/Psychogeography</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Psychogeography was defined in 1955 by Guy Debord as the "the study of the precise laws and specific effects of the geographical environment, consciously organized or not, on the emotions and behavior of individuals."[1] Another definition is "a whole toy box full of playful, inventive strategies for exploring cities...just about anything that takes pedestrians off their predictable paths and jolts them into a new awareness of the urban landscape."[2] The most important of these strategies is the dérive."]]></description>
<dc:subject>psychogeography situationist cities urban urbanism psychology geography place maps mapping walking socialsoftware architecture art culture community collaboration philosophy guydebord derive flaneur dérive flâneurs flaneurs flâneur</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:04fd3e1282f6/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:psychogeography"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:situationist"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:cities"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:urban"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:psychology"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:place"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:walking"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:socialsoftware"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:architecture"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:art"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:culture"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:community"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:collaboration"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:philosophy"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:guydebord"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:derive"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:flaneur"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:dérive"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:flâneurs"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:flaneurs"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:flâneur"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://www.flaneur.com.ar/">
    <title>flaneur ::: diario visual de Buenos Aires. Photoblog, visual diary of Buenos Aires.</title>
    <dc:date>2008-03-30T02:18:42+00:00</dc:date>
    <link>http://www.flaneur.com.ar/</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>buenosaires argentina photography architecture flaneur albanogarcía flâneurs flaneurs flâneur</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:f9e1a6af86da/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:buenosaires"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:argentina"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:photography"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:architecture"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:flaneur"/>
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