Pinboard (robertogreco)
https://pinboard.in/u:robertogreco/public/
recent bookmarks from robertogrecoCan’t stop worrying? Why video games help | University of California2024-03-21T17:28:51+00:00
https://www.universityofcalifornia.edu/news/cant-stop-worrying-why-video-games-help
robertogrecojessicawheelock flow videogames games gaming stress worry worrying mihalycsikszentmihalyi immersion katesweeny attention anxiety waiting goals tetris flowstate distraction covid-19 coronavirus pandemic psychologyhttps://pinboard.in/https://pinboard.in/u:robertogreco/b:beb1e84558fc/Designing Friction2024-02-14T19:58:47+00:00
https://designingfriction.com/
robertogrecolunamaurer roelwouters alexandrabarancová friction design internet web online resistance slow technology digital senses humanism humanness experience ui ux interaction convenience immediacy effort predictability autonomy ai artificialintelligence miriamrasch discomfort comfort instantgratification boredom flow pace bodies positivity negativity smoothness disagreement behavior via:daniellucashttps://pinboard.in/https://pinboard.in/u:robertogreco/b:7bd06f9ea637/“One No, Many Yeses” – Sam Ewell & Dougald Hine in Illich Conversation #3 - YouTube2023-11-24T16:41:15+00:00
https://www.youtube.com/watch?v=1Avh1AJ9sls
robertogreco2023 ivanillich samewell dougaldhine davidcayley gustavoesteva vernacular progress industrialization paulkingsnorth local small slow culture customs conviviality modernity resistance marcusrempel power agency despair theology omniscience omnipotence god jamescscott seeinglikeastate powerlessness possibility noticing relations relationships peace politics edges marginality decentralization practice praxis action alistairmcintosh negativity academia criticism truth maryharrington deconstruction wendellberry planing place jacquesmaritain pride scientism harrytruman languages language learning tohellwithgoodintentions wonder surprise lewishyde barbaraduden life living johnmcknight care caring community communities hosts hosting guests thresholds invitation encounters others neighbors neighborliness coercion socializing publicspace socialization suburbs porches porchculture airconditioning welcome flow liminality littoralzone multiplicty conversation sharing friendship kinship humility systems infrastructure crackhttps://pinboard.in/https://pinboard.in/u:robertogreco/b:9b4ebaffa7f3/El Sonido: Lido Pimienta: Crónicas de lo Sublime on Apple Podcasts2023-07-02T19:32:03+00:00
https://podcasts.apple.com/us/podcast/lido-pimienta-cr%C3%B3nicas-de-lo-sublime/id1677011949?i=1000618843864
robertogrecoelsonido lidopimienta albinacabrera 2023 music colombia barranquilla place migration caribbean immigration indigeneity indigenous wayuú joearroyo laguajira kexp culture latinamerica salsa cumbia porro laniñaemilia abba palomasanbasilio sextetotabalá totólamomposina petronamartínez etelvinamaldonado martinacamargo héctorlavoe loleymanuel panamá auritacastillo heladonegro carlosreyes lagata reggaeton jennifermota meridianbrothers velandia mabefratti nidia tonada veritoasprilla aya tirsa lamuchacha lasañez chanchabiacircuito raeggaeton reguetón reggaetón chambacú diegogómez tumaco chocó pacific buenaventura nellyfurtado nidiagóngora prínciperecords djfirmeza andreaecheverri appropriation diaspora identity race gender afrocolombia afrolatino racism socialmedia aesthetics vallenato dembow sublime globalization standardization globalism elbisálvarez flow marimba dancehall usaid discospacífico cerrero lamuchachaisabel latinidad context músicalatinahttps://pinboard.in/https://pinboard.in/u:robertogreco/b:e0005a813fae/Joar Nango & Ken Are Bongo: Post-Capitalist Architecture TV Part 1 - On materiality and resource economy on Vimeo2023-01-06T19:37:10+00:00
https://vimeo.com/430639511
robertogrecojoarnango kenarebongo architecture indigeneity indigenous design indigenuity candicehopkins elinhaugdal nomadism flow documenta14 dimitrisfalakoglou thorapetursdottir andesomby lanpaulsen decolonization chriscornelius sami knudleem sámi elinmárøyenvister place situated time bodies self-sufficiencyhttps://pinboard.in/https://pinboard.in/u:robertogreco/b:cdb93af24f4b/How Covid Compelled Us To Live Intentionally | Our New Normal - YouTube2022-01-30T06:27:48+00:00
https://www.youtube.com/watch?v=8XHQP2ExaO0
robertogrecocovid-19 coronavirus pandemic children parenting slow education learning fear intentional small unschooling deschooling life living greatresignation schools schooling newnormal jwil statusquo presence flow joy time pace blackdadhttps://pinboard.in/https://pinboard.in/u:robertogreco/b:a2fb65827423/The Photo Book as Art Form - YouTube2021-10-31T00:37:37+00:00
https://www.youtube.com/watch?v=ZqAnuv8AY2M
robertogrecophotography books 2021 photographybooks layout exhibits exhibitions johnfree tedforbes robertfrank theamericans art artbooks storytelling monographs bookmaking anseladams ralphgibson context ellioterwitt flow sequence weugenesmith henricartier-bressonhttps://pinboard.in/https://pinboard.in/u:robertogreco/b:2d9679481522/Attack and Dethrone Time · Jeffrey Moro2020-07-21T18:51:17+00:00
https://jeffreymoro.com/blog/2020-06-21-abolish-time/
robertogrecotime flow jeffreymoro 2020 coronavirus covid-19 slow small labor efficiency productivity computation computing temporality computers presence freedom morningpeople morality chronobiology chronology creativity thinking howwethink howwelive work rhythm shintaromiyazaki algorhthmics djspooky nourbesephiliphttps://pinboard.in/https://pinboard.in/u:robertogreco/b:d0921a60ecb9/Anne Galloway 'Speculative Design and Glass Slaughterhouses' - This is HCD2019-06-03T01:10:06+00:00
https://www.thisishcd.com/episodes/anne-galloway-speculative-design-and-glass-slaughterhouses/
robertogrecoannegalloway design 2019 speculativefiction designethnography morethanhuman ursulaleguin livestock agriculture farming sheep meat morethanhumanlab activism criticaldesign donnaharaway stayingwiththetrouble taoism flow change changemaking systemsthinking complicity catherinecaudwell injustice justice dunneandraby consciousness science technology society speculation speculativedesign questioning fiction future criticalthinking whatif anthropology humanities reflexiveanthropology newzealand socialsciences davidgrape powersoften animals cows genevievebell markpesce technologicaldeterminism dogs cats ethnography cooperation human-animalrelations human-animalrelationships slow slowness time perception psychology humility problemsolving contentment presence peacefulness workaholism northamerica europe studsterkel protestantworkethic labor capitalism passion pets domesticationhttps://pinboard.in/https://pinboard.in/u:robertogreco/b:35224909d3b1/Carol Black on Twitter: "I'm sorry, but this is delusional. If you don't read the book the first time for rhythm and flow, just *read* it, you haven't read the book. You have dissected it. This is like the vivisection of literature. There is no author ali2018-10-21T02:58:14+00:00
https://twitter.com/cblack__/status/1053692745800269824
robertogrecocarolblack irasocol howweread reading literature closereading 2018 school schooliness education absurdity literaryanalysis writers writing howwewrite filmmaking howwelearn academia academics schools unschooling deschooling analysis understanding repetition experience structure rhythm characterization language vocabulary dialogue noticing intuition instinct film flowhttps://pinboard.in/https://pinboard.in/u:robertogreco/b:2cca59e9b5af/Ideas in cars, honking2018-07-10T21:10:50+00:00
https://austinkleon.com/2018/07/10/ideas-in-cars-honking/
robertogrecoCHAPPELLE: Sometimes the offering drives. If I [have] an idea, it should drive. It’s like the idea says, “Get in the car.” And I’m like, “Where am I going?” And the idea says, “Don’t worry, I’m driving.” And then you just get there.
SEINFELD: The idea’s driving.
CHAPPELLE: Sometime’s I’m shotgun. Sometimes I’m in the f—ing trunk. The idea takes you where it wants to go.
SEINFELD: That’s great.
CHAPPELLE: And then other times, there’s me, and it’s my ego, like, “I should do something!”
SEINFELD: “I should be driving!”
CHAPPELLE: Yeah.
SEINFELD: That’s not good.
CHAPPELLE: No, ‘cause there’s no idea in the car. It’s just me. That formula doesn’t work.
SEINFELD: If the idea is in the car honking, going, “Let’s go…” It pulls up in front of your house.
CHAPPELLE: That’s exactly right.
SEINFELD: “You’re in your pajamas. Get dressed!”
CHAPPELLE: “I’m not ready!” “You can go like this.” “Where are we going? What are we doing?” “Don’t worry about it. You’ll see.”
Although, there’s another great story about cars and ideas, told by Elizabeth Gilbert:
Tom [Waits], for most of his life, he was pretty much the embodiment of the tormented contemporary modern artist, trying to control and manage and dominate these sort of uncontrollable creative impulses that were totally internalized.
But then he got older, he got calmer, and one day he was driving down the freeway in Los Angeles, and this is when it all changed for him. And he’s speeding along, and all of a sudden he hears this little fragment of melody, that comes into his head as inspiration often comes, elusive and tantalizing, and he wants it, it’s gorgeous, and he longs for it, but he has no way to get it. He doesn’t have a piece of paper, or a pencil, or a tape recorder.
So he starts to feel all of that old anxiety start to rise in him like, “I’m going to lose this thing, and I’ll be be haunted by this song forever. I’m not good enough, and I can’t do it.” And instead of panicking, he just stopped. He just stopped that whole mental process and he did something completely novel. He just looked up at the sky, and he said, “Excuse me, can you not see that I’m driving?”
“Do I look like I can write down a song right now? If you really want to exist, come back at a more opportune moment when I can take care of you. Otherwise, go bother somebody else today. Go bother Leonard Cohen.”
And his whole work process changed after that. Not the work, the work was still oftentimes as dark as ever. But the process, and the heavy anxiety around it was released when he took the genie, the genius out of him where it was causing nothing but trouble, and released it back where it came from, and realized that this didn’t have to be this internalized, tormented thing.
Gilbert interviewed Waits in 2002 and he elaborated on his attitude:
“Kids are always working on songs and throwing them away, like little origami things or paper airplanes. They don’t care if they lose it; they’ll just make another one.” This openness is what every artist needs. Be ready to receive the inspiration when it comes; be ready to let it go when it vanishes. He believes that if a song “really wants to be written down, it’ll stick in my head. If it wasn’t interesting enough for me to remember it, well, it can just move along and go get in someone else’s song.” “Some songs,” he has learned, “don’t want to be recorded.” You can’t wrestle with them or you’ll only scare them off more. Trying to capture them sometimes “is trying to trap birds.” Fortunately, he says, other songs come easy, like “digging potatoes out of the ground.” Others are sticky and weird, like “gum found under an old table.” Clumsy and uncooperative songs may only be useful “to cut up as bait and use ’em to catch other songs.” Of course, the best songs of all are those that enter you “like dreams taken through a straw.’ In those moments, all you can be, Waits says, is grateful.
Brian Eno puts it in terms of surrender and control:
On one side of Eno’s scale diagram, he writes “control”; on the other “surrender”. “We’ve tended to dignify the controlling end of the spectrum,” he says. “We have Nobel prizes for that end.” His idea is that control is what we generally believe the greats – Shakespeare, Picasso, Einstein, Wagner – were about. Such people, the argument goes, controlled their chosen fields, working in isolation, never needing any creative input from others. As for surrender, that idea has become debased: it’s come to mean what the rest of us do when confronted by a work of genius. “We’ve tended to think of the surrender end as a luxury, a nice thing you add to your life when you’ve done the serious work of getting a job, getting your pension sorted out. I’m saying that’s all wrong.”
He pauses, then asks: “I don’t know if you’ve ever read much about the history of shipbuilding?” Not a word. “Old wooden ships had to be constantly caulked up because they leaked. When technology improved, and they could make stiffer ships because of a different way of holding boards together, they broke up. So they went back to making ships that didn’t fit together properly, ships that had flexion. The best vessels surrendered: they allowed themselves to be moved by the circumstances.
“Control and surrender have to be kept in balance. That’s what surfers do – take control of the situation, then be carried, then take control. In the last few thousand years, we’ve become incredibly adept technically. We’ve treasured the controlling part of ourselves and neglected the surrendering part.” Eno considers all his recent art to be a rebuttal to this attitude. “I want to rethink surrender as an active verb,” he says. “It’s not just you being escapist; it’s an active choice. I’m not saying we’ve got to stop being such controlling beings. I’m not saying we’ve got to be back-to-the-earth hippies. I’m saying something more complex.”
]]>austinkleon davechappelle jerryseinfeld elizabethgilbert tomwaits brianeno control flow ideas howwethink creativity neoteny children surrender tension howwework howwelearn productivity earlsweatshirt 2018 rap hiphop thebenerudakgositsile musichttps://pinboard.in/https://pinboard.in/u:robertogreco/b:99b1ba5e1cbe/OCCULTURE: 66. Gordon White in “Breaking Kayfabe” // Ursula Le Guin, Dragons & the Story Shape of the 21st Century2018-02-25T22:54:48+00:00
https://45minuteradiohour.libsyn.com/66-gordon-white-in-breaking-kayfabe-ursula-le-guin-dragons-the-story-shape-of-the-21st-century
robertogrecogordonwhite fiction fantasy novels art makingart magic myth mythology belief creativity ryanpeverly nonfiction stories storytelling change homer bible truth ursulaleguin 2018 occulture westernthought carljung josephcampbell starwars culture biology nature reality heroesjourney potency archetypes dragons odyssey anthropology ernestodimartino religion christianity flow taoism artmagic artasmagic magicofart permaculture plants housemagic love death jung theodysseyhttps://pinboard.in/https://pinboard.in/u:robertogreco/b:7c50e51fa545/[untitled]2018-01-21T19:26:43+00:00
http://sambwmn.tumblr.com/post/169533954864/the-important-thing-is-to-understand-life-each
robertogrecogillesdeleuze spinoza life individuality velocities velocity vectors slowness form particles flow interconnectedness interconnected interdependence music complexity systems systemsthinking philosophy via:fantasylla deleuze interconnectivityhttps://pinboard.in/https://pinboard.in/u:robertogreco/b:e7a8f71fd608/Traffic flow measured on 30 different 4-way junctions - YouTube2018-01-08T04:21:38+00:00
https://www.youtube.com/watch?v=yITr127KZtQ
robertogrecoclassideas traffic roads cars flow simulationshttps://pinboard.in/https://pinboard.in/u:robertogreco/b:843a005624ec/Hapticality in the Undercommons, or From Operations Management to Black Ops | Stefano Harney - Academia.edu2017-12-26T08:30:22+00:00
https://www.academia.edu/6934195/Hapticality_in_the_Undercommons_or_From_Operations_Management_to_Black_Ops
robertogrecoWhen I search for Man in the technique and the style of Europe, I see only a succession of negations of man, and an avalanche of murders.
But what is this European model, what is at the heart of this model, why the negations, the unending blood-soaked dawns? Here is Fanon’s answer:
But let us be clear: what matters is to stop talking about output, and intensification, and the rhythm of work.
The coming post-colonial nations must break not only with the negations of history, culture, and personality wrought by colonialism but with the ‘rhythm of work’ imposed by the European model. And he clarifies:
No, there is no question of a return to Nature. It is simply a very concrete question of not dragging men towards mutilation, of not imposing upon the brain rhythms that very quickly obliterate it and wreck it. The pretext of catching up must not be used to push man around, to tear him away from himself or from his privacy, to break and kill him.
Here is that word ‘rhythm’ again. ‘Rhythms imposed on the brain’ this time, imposed by a drive to ‘catch up.’ Catching up was a phrase much circulated in the takeoff theories of capitalist development pushed by the United States in the Cold War. But, Fanon points out, this catching up institutes a rhythm that ‘breaks’ and ‘kills’ man. This is a rhythm that ‘tears man away from himself’, that ‘obliterates’ and ‘wrecks’ his brain. Fanon uses the metaphor of the ‘caravan’ for a system that tears man away from himself."
…
"Fanon feared post-colonial nations would keep the regime and merely erect the outside, with flags, anthems, and new ruling classes. Who can say he was wrong? But Fanon’s warning was more than a post-colonial critique of the idea of the outside. It was an analysis of the European model and its tendency towards producing this rhythm without an outside. Indeed Fanon saw the colony as the first social factory, where worker replaces subject in society as a whole. In the colony, in the first social factory any move to other social being was, as it is today, criminal, conspiratorial. The only sound in the social factory is the rhythm of work because that is what takes place in a factory."
…
"This is our work today. We take inventories of ourselves for components not the whole. We produce lean efforts to transconduct. We look to overcome constraints. We define values through metrics. These are all terms from operations management but they describe work far better than recourse to the discourse of subject formation. Creativity itself, supposedly at the heart of the battle for the subject today, is nothing but what operations management calls variance in the line, a variance that may lead to what is in turn called a kaizen event, an improvement, and is then assimilated back into an even more sophisticated line. Today ours is primarily the labour of adapting and translating, being commensurate and flexible, being a conduit and receptacle, a port for information but also a conductor of information, a wire, a travel plug. We channel affect toward new connections. We do not just keep the flow of meaning, information, attention, taste, desire, and fear moving, we improve this flow continuously. We must remain open and attuned to the rhythm of the line, to its merciless variances in rhythm. This is primarily a neurological labour, a synaptic labour of making contact to keep the line flowing, and creating innovations that help it flow in new directions and at new speeds. The worker operates like a synapse, sparking new lines of assembly in life. And she does so anywhere and everywhere because the rhythm of the line is anywhere and everywhere. The worker extends synaptic rhythms in every direction, every circumstance. With synaptic work, it is access not subjects that the line wants, an access, as Denise Ferreira da Silva reminds us, that was long at the heart of the abuse of the affected ones, the ones who granted access out of love, out of necessity, out of the consent not to be one, even before that granting was abused."]]>stefanoharney frantzfanon labor work leisure blackops fredmoten rhythm deniseferreiradasilva information haptics hapticality art academia flow athi-patraruga zarinabhimji creativity flexibility latecapitalism capitalism neoliberalism society colonialism colonization decolonization nature undercommonshttps://pinboard.in/https://pinboard.in/u:robertogreco/b:8da754586239/Aaron Stewart-Ahn on Twitter: "Our media literacy about movies tends to prioritize text over subtext, emotion, and sound vision & time, and it has sadly sunk into audience… https://t.co/pdGb93PJqL"2017-11-23T22:05:14+00:00
https://twitter.com/somebadideas/status/933804222608564225
robertogrecomedialiteracy aaronstewart-ahn 2017 guillermodeltoro michaelmann georgemiller multiliteracies text film filmmaking plit character necdote flow dance color light movement wardrobe audiovisual emotion madmax technique canon trinhtminh-hahttps://pinboard.in/https://pinboard.in/u:robertogreco/b:4eba7070cfa3/The Art of Teaching2017-06-27T05:07:36+00:00
http://taeyoonchoi.com/artofteaching/#/
robertogrecotaeyoonchoi education teaching purpose routine ritual silence flow conflict communication structure nurture authority kojinkaratani jean-lucnancy community howweteach pedagogy learning howwelearn eyeo2017 unlearning curriculum syllabus sfpc schoolforpoeticcomputation art craft beauty utility generosity sfsh tcsnmy lcproject openstudioproject classideas cv reciprocity gifts kant discretion instruction discipline johndewey bmc blackmountaincollege justice annialbers stndardization weaving textiles making projectbasedlearning materials progress progressive unschooling deschooling control experimentation knowledge fabrication buckminsterfuller constructivism constructionism georgehein habit freedom democracy paulofreire judithbutler sunaurataylor walking christinesunkim uncertainty representation intervention speculation simulation christopheralexander objectives outcomes learningoutcomes learningobjectives remembering creativity evaluation application analysis understanding emancipation allankaprow judychicago shttps://pinboard.in/https://pinboard.in/u:robertogreco/b:7bd2f4fe549b/10 ways to have a better conversation2017-06-01T02:48:18+00:00
http://kottke.org/17/05/10-ways-to-have-a-better-conversation
robertogrecoconversation classideas listening howto tutorials celesteheadlee multitasking pontification questionasking questioning flow notknowing uncertainty experience repetition brevityhttps://pinboard.in/https://pinboard.in/u:robertogreco/b:550b40820b7f/Pool of Thought - The New York Times2016-07-17T20:46:36+00:00
http://www.nytimes.com/2016/07/17/opinion/sunday/pool-neuroscience.html?_r=0
robertogrecoswimming richardfriedman 2016 immersion euphoria psychology nonlinear discontinuity beathing senses thinking flow howwethink non-linear alinear linearityhttps://pinboard.in/https://pinboard.in/u:robertogreco/b:af4b5fc7c5b9/Small, Moving, Intelligent Parts – Words in Space2016-06-29T16:50:10+00:00
http://www.wordsinspace.net/wordpress/2016/06/28/small-moving-intelligent-parts/
robertogrecoshannonmattern 2016 information history postits hypercard indexcards cards paperslips 1964 1939 data archives fiches microfiche datamanagement officesupplies ottoneurath patrickgeddes jamerhunt evenote writersduet scrivener notecards obliquestrategycards brianeno peterschmidt marshallmcluhan julesverne milydickinson walterbenjamin wittgenstein claudelévi-strauss rolandbarthes niklasluhmann georgesperec raymondcarver stanleybrouwn marklombardi corneliavismann eames fragments flow streams johnwilkins knoradgessner williamcroswellcharlescoffinjewett vannevarbush timberners-lee remingtonrand melvildewey deweydecimalsystem srg paulotlet henrilafontaine sperrycorporation burroughscorporation technology kardexsystems sperryrand hermanhollerith frederickwinslotaylor worldoftomorrow charleseames ibm orithlpern johnharwood thomasfarrell wallaceharrison gordonbunschaft edwarddurrellstone henrydreyfuss emilpraeger robertmoses janejacobs post-itshttps://pinboard.in/https://pinboard.in/u:robertogreco/b:964fb9e9d043/Drunk people respect authority | Caterina.net2016-06-14T02:29:58+00:00
https://caterina.net/2016/06/06/drunk-people-respect-authority/
robertogrecoAccording to a 2009 review, conservatives tend to support hierarchy and authority more than liberals do. Van Berkel, working with Chris Crandall and other colleagues, found that, in terms of how the hundred and seven subjects interviewed outside the bar thought about hierarchy, drunk people gave more conservative responses while sober people gave more liberal ones. Over the next few years, she and her team ran five more experiments, exploring the relationship between mental effort and support for hierarchy. In each case, they found that cognitive impairments, such as being stressed or distracted, made people more likely to favor hierarchy. Even encouraging “low-effort thought”—by forcing respondents to think quickly, say—made people more respectful of those in charge.
There may be some sub-category of people for whom being drunk arouses their own need to dominate. We’ve all seen belligerent, brawling drunks domineering drunks and aggressive drunks. And people who are stressed at work are also more likely to do what the boss says. Equality, the article notes, may be a state of mind."
[Referencing: "When Does Equality Flourish?"
http://www.newyorker.com/tech/elements/when-does-equality-flourish]]>hierarchy management flow stress caterinafake 2016 equality cognitition domination obedience control lauravanberkel chriscrandall drunkennesshttps://pinboard.in/https://pinboard.in/u:robertogreco/b:8fc37c092e0e/Earl Sweatshirt With Microphone Check: 'I'm Grown' - YouTube2016-03-18T03:16:00+00:00
https://www.youtube.com/watch?v=tV_UQIs3er8
robertogrecoearlsweatshirt 2015 interviews music microphonecheck npr thebenerudakgositsile oddfuture ofwgkta alishaheedmuhammad franniekelley wokeness clarity moments flow creativity growingup transcontextualism rap hiphop transcontextualizationhttps://pinboard.in/https://pinboard.in/u:robertogreco/b:30b20a46fed3/Letters with John Sharp: Discipline and Pastime | Mattie Brice2015-10-30T04:44:05+00:00
http://www.mattiebrice.com/letters-with-john-sharp-discipline-and-pastime/
robertogrecomattiebrice johnsharp 2015 via:tealtan messiness life games gaming videogames structure narrative storytelling flow leisyre work gamemechanics feelings unschooling deschooling relationships play notgames altgames indygames design objects objectorientednarrativehttps://pinboard.in/https://pinboard.in/u:robertogreco/b:599ec6de2a62/ANTIATLAS OF BORDERS2015-09-15T04:32:29+00:00
http://www.antiatlas.net/en/
robertogrecoart borders maps mapping atlases boundaries mobility flow geography via:javierarbonahttps://pinboard.in/https://pinboard.in/u:robertogreco/b:eac81312c048/Drink from the cup as if it's already broken - Everything2.com2015-03-28T10:59:46+00:00
http://everything2.com/title/Drink+from+the+cup+as+if+it%2527s+already+broken
robertogrecozen koans brokenness fear care burden pleasure will truewill flow orginalmind process peace things possessions materialism objects time satisfaction presence now hereandnow relationships edg srg glvo attention friendship listening lightness money wealth accumulation needs desirehttps://pinboard.in/https://pinboard.in/u:robertogreco/b:b26766b2aa33/A Meditation on the Art of Not Trying - NYTimes.com2014-12-31T00:08:53+00:00
http://www.nytimes.com/2014/12/16/science/a-meditation-on-the-art-of-not-trying.html
robertogrecowuwei meditation self 2014 relaxation authenticity paradox edwardslingerland spontaneity taiteching confucius confucianism materialsm virtue rules willpower tradition behavior flow effort effortlessness cooperation psychologyhttps://pinboard.in/https://pinboard.in/u:robertogreco/b:d80241604393/Want To Learn About Game Design? Go To Ikea - ReadWrite2014-12-03T09:04:03+00:00
http://readwrite.com/2014/11/28/video-game-design-ikea-killscreen
robertogrecoikea gamedesign 2014 games gaming jaminwarren jenovachen journey design videogames effortjustification dyslexia names naming flow objects economics effort language constructivism construction mastery difficulty ingvarkamprad culture acculturation robwalker joshuaglenn billmoggridge homoludens significantobjects ursulalindqvist adolphusgustavus universality global meaningmaking michaelnortonhttps://pinboard.in/https://pinboard.in/u:robertogreco/b:d65946b1c583/Ditching Twitter | Incisive.nu2014-09-15T21:00:28+00:00
http://incisive.nu/2014/ditching-twitter/
robertogrecoerinkissane 2014 twitter ditches flows flow celebrity microcelebrity infooverload online internet lists self-preservationhttps://pinboard.in/https://pinboard.in/u:robertogreco/b:246da8e19693/2013: The Year 'the Stream' Crested - Alexis C. Madrigal - The Atlantic2014-07-23T20:00:32+00:00
http://www.theatlantic.com/technology/archive/2013/12/2013-the-year-the-stream-crested/282202/
robertogreco2013 alexismadrigal stream stockandflow stock flow internet technology web internetasliterature internetasfavoritebook information flows reading howweread infooverloadhttps://pinboard.in/https://pinboard.in/u:robertogreco/b:450fcff740b5/The Deliberate Practice of Disruption2014-06-13T04:35:26+00:00
http://www.ribbonfarm.com/2014/06/11/the-deliberate-practice-of-disruption/
robertogrecovenkateshrao flow disruption 2014 metacognition conservatism establishment closedworlds disciplines practice taboos mindset change mutations openworlds gatekeepers cv aekwardness mavericks sociopathy rewards motivation social groupthink sacredness performancehttps://pinboard.in/https://pinboard.in/u:robertogreco/b:cefa15b9abb6/Paris Review - The Art of Fiction No. 69, Gabriel Garcia Marquez2014-04-18T21:14:48+00:00
http://www.theparisreview.org/interviews/3196/the-art-of-fiction-no-69-gabriel-garcia-marquez
robertogrecogabrielgarcíamárquez 1981 interviews colombia writing journalism truth reality fiction literature latinamerica drawing kafka jamesjoyce stories storytelling everyday williamfaulkner imagination biography autobiography politics childhood fantasy magicrealism credibility detail details belief believability responsibility history bricolage collage power solitude flow dreams dreaming inspiration intuition intellectualism translation mexico spanish español gregoryrabassa borders frontiers miguelángelasturias cuba fame friendship film filmmaking relationships consumption language languages reading howweread howwewrite routine familiarity habits gabohttps://pinboard.in/https://pinboard.in/u:robertogreco/b:b76719aad442/In Conversation with Raoul Vaneigem | e-flux2014-01-23T08:06:58+00:00
http://www.e-flux.com/journal/in-conversation-with-raoul-vaneigem/
robertogrecoraoulvaneigem art politics economics life living situationist humans consumerism learning education unschooling deschooling curiosity power anarchism anarchy totalitarianism creativity johncage détournement psychogeography models derive servitude love oarystis humanity everyday boredom productivity efficiency time temporality money desire chaos solidarity networks guydebord freedom freeness museums culture hansulrichobrist 2009 nomadiclearning lcproject openstudioproject work labor artleisure leisure leisurearts artwork profiteering explodingschool cityasclassroom flow universallearning cedricprice thinkbelts dérive shrequest1 detournementhttps://pinboard.in/https://pinboard.in/u:robertogreco/b:bab71262babe/Grande Sertão: Veredas by João Guimarães Rosa | W.Martinez | continent.2013-12-03T16:48:33+00:00
http://continentcontinent.cc/index.php/continent/article/view/135
robertogrecoEh, well, thereafter, the rest the Sir provide: comes the bread, comes the hand, comes the god, comes the dog.
What is striking is the interplay between “god” and “dog”. To most English speakers, this anagram is a familiar one. But in Portuguese the words god (“deus”) and dog (“cão”) are not so closely linked. In fact, there is no direct mention of “deus” in Rosa’s text:
Eh, pois, empós, o resto o senhor prove: vem o pão, vem a mão, vem o são, vem o cão.
Both are fascinating. In Rosa’s excerpt, the rhythm is unmistakable and precise, despite, of course, the indices of hesitation: the commas, the Eh, the uncomfortable way of searching through prolongation and wait. This is the sort of paradox Rosa can engage within a sentence. W.Martinez’s does this as well, at a scale that reverberates beyond the sentence, and with one noticeable addition: deus.
What may appear to be an overstep, to add such a weighted word that draws out wordplay but is, nevertheless, not in the source text, is exemplary of risk. The translation buzzes because of it. This is because throughout the text we encounter dogs frequently, as some primal beast on par with humans. The dog is one that masters and can be mastered. A creature that is at times its face, and at others a mask. It is a powerful presence. For the translator to be attuned to the reverent undercurrent attributed to this animal, and create within the translation such charged play in English from what was only an implication in Portuguese, is in tribute to the grand beauty within dissonance.
What aberrant modes of writing and translation can teach us most assuredly, is that things, words, are not in states of rightness or wrongness, but of oscillation. This isn’t so different from what Rosa says himself:
The Sir look…see: the most important and beautiful, of the world, is this: that the people are not always same, still were not completed — but that they go always shifting. They tune or detune.
We find this so readily in W.Martinez’s translation, this tuning and detuning."
[Long sample of the translation with original Portuguese]
"INTERVIEW: FELIPE W.MARTINEZ (Interviewed by Ben Segal)
1) How did you come to be interested in João Guimarães Rosa?
While I was studying Literature & Writing at UC San Diego, a friend produced and surprised me with a wonderful and mysterious xerox copy of The Devil to Pay in the Backlands, the so-called failed, 1963 English translation of Grande Sertão: Veredas. The book, as a book and not a translation, to me was outstanding, and struck me as magnificently as had other works I was encountering at the time, by writers like James Joyce, Juan Rulfo, Samuel Beckett, and William Faulkner, among others.
When I finished reading the Devil to Pay in the Backlands, I took to the business of seeking out more work from the author. It was then that I learned that Guimarães Rosa was not like the other authors I mentioned, insofar as no one I knew had read anything by him, and very few people (outside of
University departments of Spanish & Portuguese) were talking about him. This led to the realization that none of his books were for sale, and hadn't been in decades.
2) Can you talk about the history of the book's reception in 1963 and its bizarre history of failed English translations?
In 1963 the North American publisher, Alfred A. Knopf--after rejecting publishing deals with many other soon-to-be rising stars of the Latin American Boom (including Jorge Luis Borges and Julio Cortázar)--decided to undertake what is today considered by many to be the most complex, Post-World War II novel in all of Latin America: João Guimarães Rosa’s Grande Sertão: Veredas. The English translator, Harriet De Onís, was no match for Rosa’s linguistic ingenuity and vast erudition. Her experience was in translation from Spanish, and while her willingness to undertake the task was commendable, it was flawed from the outset. She opted to make the text approachable to English readers, whereas it was nowhere near approachable for Brazilians in the original Portuguese. Imagine: Finnegans Wake translated into plain English for the general reader. Well, no one would like it, and so was the case with The Devil to Pay in the Backlands. Brazilianist scholars called it a sham, a completely deficient simplification of a masterpiece. General readers were either unimpressed or not reached. Sales of the translation declined continuously after the initial launch, and after that, the text was never published again. Some amazingly qualified translators have tried to retranslate Grande Sertão: Veredas since 1963 to no avail. Subsequently, Knopf translated two more works by Guimarães Rosa, two collections of short stories. Neither was published beyond the initial run.
3) To a reader unfamiliar with GR's work, the original English translation appears much more fluid than your version. You've explained why that fluidity is in fact a problem in the HDO translation. Can you talk a little bit about how difficult this is even for readers of Portuguese and the ways in which this is a highly disrupted and jarring text.
The novel in the original Portuguese is so disjointed, fragmented and seemingly desultory, both on a narrative and linguistic level, that both practiced and unpracticed readers alike initially struggle to gain, and then are rarely able to maintain their footing on first read. In this sense the common analogy drawn between GS: V and Ulysses by James Joyce is justifiable: it's a masterpiece of its language, though relatively few native speakers are able to understand it. This is in large part due to the fact that Guimarães Rosa was not only extremely erudite, but he had travelled much, and, from as early as the age of six, studied languages. He spoke six and read in fourteen others. His work is artfully overrun by neologisms, portmanteaus, words colloquial and archaic, many altogether invented, rearranged syntaxes, digressions, meanderings, illusions, recollections, etc. Another novel one might think of is Gravity’s Rainbow by Thomas Pynchon. On several planes, Pynchon is the closest thing to a North American Guimarães Rosa.
3b) Can you talk about some of the strategies you've employed in order to create awkwardness and difficulty, and how that difficulty might be different in the English version from in the original Portuguese?
Guimarães Rosa said of his work that he didn’t wish to let the reader rely on clichés, that he wished to shock the reader at every moment, just like life. He considered this in every sense. No cliché words, phrases, grammars, or plots. This was not to be difficult, but to create at every word and turn of phrase, something the reader had not read or experienced before, yet could comprehend or intuit.
I tried to follow in this lead and before I began, I established these rules for myself:
● translate all neologisms into English (in the De Onís translation, neologisms were in many cases omitted; invented words replaced with standard words they signified)
● syntax remains faithful to the original (this in an attempt to see that the English language and its readers adapt to the Portuguese structures of signification rather than the other way around)
● punctuation remains unchanged
● when required, always make a decision. (For so long it has been the inability or unwillingness of translators to deal with Guimarães Rosa’s words, to make a decision--which, in addition to intuition, is an integral part of translation and art--even if that decision was to make no decision at all, and let chance work. In order to ensure that this process resulted in a product, I designed the method to guarantee its completion.
I did this in order to ensure (as much as possible) that 1) I not permit cliché, and 2) I not consider the reader (that is: aim for readability, which was a primary approach in 1963), but instead allow the original Portuguese to traverse the language-divide towards English freely, myself serving only as the medium (I studied Portuguese for a year before I began), ultimately hoping to produce a closer translation of the original language of Grande Sertão: Veredas. This new translation, I hope too, shakes the reader of a habitual reading practice. Like the original I think it should require the reader be aware of the mode of language by the word.
5) The book is full of neologisms, wordplay, and even linguistic constructions resembling concrete poetry. Can you give some favorite examples of those and of the translations choices that such wordplay implies?
We can start and stop at the first word, but I will give a few more examples after that. A single word is the first sentence in the original:
Nonada.
In translation: nothing; something of little or no value, a trifle; from the Latin res non nata (‘thing not born). But the story is being born at that precise point. Is Guimarães Rosa trying to deceive us? Are the next several hundred pages for naught? We may ask ourselves, but then, when we come to consider it a bit more closely: if the word were to break into parts, we see: no + nada --> “no-nothing”. if one says “nonothing", it's the same as something. We also see “nono-thing”, as in a thing that is a “nono”, something taboo. Superstition is a major element in the novel, as well as people’s wishes to disregard it--this connotation is also found in the first word of the novel, Nonada.
...in order to desendodorize, to disdodoate.
This is harder to explain, but I can certainly try: When I read the words for the first time in Portuguese (“...para se desendoidecer, desdoiar.”)(I translated as I read the book for the first time so that the result might be something closer and more reflective of language instinct, intuition, surprise, etc), I saw a cloud of language, words in both English and Portuguese: des-: in English, an old equivalent of the prefix -dis, to undo, reverse the root word. The root word in Portuguese, doido, or “madman”, “crazy”; in the novel, a devilish connotation, evil spirits, taboo (For this reason, too, Dodo is a euphemism for the devil at other times--something odd and other, mystical and unseen). The Portuguese endings: -ecer and -ar, signalling the infinitive verb. Translated plainly it might look like: “to rid oneself of the evil spirit of insanity”, or “to dedemonize oneself”, or better: “to deendemonize onself.” There is another word like this in the text: “Enevildemonment.” This isn’t a complete explanation, but I think it describes a bit of what I was thinking.
These are the names of the narrator’s fellow jagunços. Jagunços are hired thugs of the Brazilian backlands, they ran in bands, hired by big landowners and politicos for protection, land enforcements, and warring during the late eighteenth and early twentieth centuries. The names here are translated faithfully. Names to Guimarães Rosa are as important at as any other category of words. The name lives and transforms, and expresses the unique characteristics of its holder. So, like the neologisms, I committed to translating every name as far as I could. I think the tendency is to not translate names, thinking that leaving names in the original produces an effect of authenticity, and that’s true to a certain extent, but I had to recognize that these were not names like João, which could be translated into John, but in that case, it wouldn’t be necessary. But these names, the names of Guimarães Rosa’s stories, they’re names altogether something else. The English reader deserves to experience that, and so I worked to bring through as much as I could.
4) Because this is such a difficult text, can you set the scene a little? Just give a sense of where the reader is entering and what the setting/story is?
The reader has happened upon a conversation (we don’t know how or why), a dialogue between two men on a ranch. One, the owner of the ranch and narrator, is from the Sertão, the Northeastern backlands of Brazil; the other is a doctor from the city, passing through. Rather than being presented with the dialogue of these two men, the reader is only given what the narrator says; the interlocutor, the doctor, we presume he speaks, but textually he is silent. So the text takes the form of a sustained, 600-page monologue, no chapter breaks. The narrative concerns the Sertão and the sagas of the jagunços who war among its winding rivers and paths, across deserts, through jungles, who make pacts with the devil, and thus are concerned with laws. Like many modernist masterpieces of its time, its primary concerns are language and eternity.
7) Do you consider this to be a definitive translation? Can there be one?
This is a conceptual translation in that an idea and a process produced a material text to be considered where before there was none. It’s also a conceptual translation inasmuch as any translation (whether deemed “definitive” or “deficient”) is conceptual. In considering Guimarães Rosa in the English-speaking world, I’m not really considering the degree of success, or “definitiveness”, as much as the degree of its presence to be read and considered. Every translation is a step towards the next translation, and in that, a step towards the original text. This is what I want for Guiamrães Rosa’s work. This isn’t a definitive translation. Like any translation, it sets nothing in stone, it only hopes to put something in the air.
6) Where can interested parties go to read more GR in English and find out more about him?
The closest thing to a sure bet is a good university library. If you dig on the internet you can find some things. I’ve been researching, writing, and talking about Guimarães Rosa for three years now via my project A Missing Book, and it serves as a resource for English-speakers around the world wanting to know more about Guimarães Rosa. It’s another kind of translation."]]>translation joãoguimarãesrosa brasil brazil literature nancyfumero 2013 portuguese bensegal grandesertão guimarãesrosa felipemartinez flow fluidity grandesertãoveredashttps://pinboard.in/https://pinboard.in/u:robertogreco/b:ca0436246df0/The Machine Zone: This Is Where You Go When You Just Can't Stop Looking at Pictures on Facebook - Alexis C. Madrigal - The Atlantic2013-08-01T04:38:30+00:00
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http://maryannreilly.blogspot.com/2011/07/being-in-middle-learning-walks.html
robertogrecomaryannreilly 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 flâneurhttps://pinboard.in/u:robertogreco/b:5bce2fed3970/Week 315 – Blog – BERG2011-06-27T07:49:15+00:00
http://berglondon.com/blog/2011/06/21/week-315/
robertogrecodesign business management berg berglondon mattwebb attention flow groups groupculture sophisticatedworkgroups money risk riskmanagement riskassessment confidence happiness anxiety worry leadership tinkering designthinking thinking physical work instinct frustration lcproject studio decisionmaking systems systemsthinking manufacturing making doing newspaperclub svk distribution integratedsystems infrastructure supplychain deleuze guattari cyoa failure learning invention ineptitude ignorance deleuze&guattari gillesdeleuze interactive fiction if interactivefiction félixguattarihttps://pinboard.in/https://pinboard.in/u:robertogreco/b:81c05893b8f4/On firehoses and filters: Part 1 – confused of calcutta2011-05-30T22:46:58+00:00
http://confusedofcalcutta.com/2011/05/22/on-firehoses-and-filters-part-1/
robertogrecojprangaswami filtering internet clayshirky georgeorwell aldoushuxley bravenewworld 1984 jonathanzittrain elipariser input output flow socialsoftware curation curating sharing information 2011https://pinboard.in/u:robertogreco/b:bd48ca713be6/Caterina.net » Creativity, Collaboration and Hacking2011-05-20T03:41:16+00:00
http://caterina.net/wp-archives/77
robertogreco
Hacking and art-making are like this, especially when done together — an artist-hacker matched with a hacker-artist for the day — to jam, invent, make things, do stuff, and have ideas. Both technology and art are about making things new and seeing things new, and the way to arrive at the new is a collaborative, mysterious and Ouija-like process."]]>caterinafake hacking collaboration flow creativityhttps://pinboard.in/u:robertogreco/b:3ff5ad26db06/Hip Hop Genius: Remixing High School Education on Vimeo2011-05-18T05:57:18+00:00
http://vimeo.com/22591307
robertogrecoeducation learning politics economics creativity hiphop meaning meaningmaking dialogue pedagogy classideas conversation commonality engagement culture love identity meaningfulness ingenuity instinct confidence remixculture art music streetart graffiti resourcefulness genius sampling individualization projectbasedlearning collegeunbound change gamechanging flux flow freshness emergentcurriculum contentcreation schools unschooling deschooling mindset dialog pbl remixinghttps://pinboard.in/u:robertogreco/b:27da16db8f0b/The purpose of gamification - O'Reilly Radar [Quotes from a comment left by Kathy Sierra. The bookmark points to that comment.]2011-05-07T22:36:40+00:00
http://radar.oreilly.com/2011/04/gamification-purpose-marketing.html#comment-7250008
robertogrecogamification gaming kathysierra via:preoccupations gabezicherman motivation danielpink flow sustainability killmenow mihalycsikszentmihalyi intrinsicmotivation extrinsicmotivation falsepromises dangeroustrends 2011https://pinboard.in/u:robertogreco/b:034638d73ef2/Breaking Free From the Iron Cage: Business in the Connected Age : peterme.com2011-04-24T00:11:42+00:00
http://www.peterme.com/2011/04/08/breaking-free-from-the-iron-cage-business-in-the-connected-age/
robertogrecobusiness connectivism learning values organizations petermerholz tcsnmy lcproject bureaucracy hierarchy relationships flow isolation play work workplace deschooling unschooling autonomy control industrialage generative services social society change human humans management administration leadership experience 2011 shrequest1https://pinboard.in/u:robertogreco/b:2ed590b66625/Shadows Bright As Glass: When Brain Injuries Transform Into Art : NPR2011-04-19T06:23:57+00:00
http://www.npr.org/2011/04/18/135509114/jon-sarkin-when-brain-injuries-transform-into-art
robertogrecoart books medicine neurology npr freshair jonsarkin amyellisnutt stroke creativity linearity streamofconsciousness flow transformation relationships linearhttps://pinboard.in/u:robertogreco/b:1f0f54f7d7cc/The Sad, Beautiful Fact That We're All Going To Miss Almost Everything : Monkey See : NPR2011-04-19T05:23:31+00:00
http://www.npr.org/blogs/monkeysee/2011/04/18/135508305/the-sad-beautiful-fact-that-were-all-going-to-miss-almost-everything
robertogrecoculture books history future npr music films cantkeepup needfrequentremindersofthis content flow control culling curation curating lindaholmes rogerebert humans life lifetime reading listening watching hearing literature science fiction nonfiction beingwell-read takethatedhirsch culturalliteracy beauty insignificance love happiness wisdom thesumofhumanproduction numbers tv television art cvhttps://pinboard.in/u:robertogreco/b:f00dc3c70712/