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    <title>The End of Reading Is Here - The Atlantic</title>
    <dc:date>2026-07-09T05:52:51+00:00</dc:date>
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    <dc:creator>robertogreco</dc:creator><description><![CDATA["Optimists once believed that universal literacy was inevitable. Now it seems that the age of reading might be a short anomaly in human history."]]></description>
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    <title>All Work and No Play - Dissent Magazine</title>
    <dc:date>2026-07-04T07:51:12+00:00</dc:date>
    <link>https://dissentmagazine.org/article/all-work-and-no-play/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Video games, like any creative product, reflect and refract the conditions of their production. Today, what they most resemble is twenty-first-century work."]]></description>
<dc:subject>samadler-bell 2021 videogames labor work games gaming</dc:subject>
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    <title>How Video Games Sell War - YouTube</title>
    <dc:date>2026-06-26T06:38:36+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=FinpJiuyLOY</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["War propaganda has entered its gamer era.

For decades, militaries have used screens to create distance between the public and the human cost of war. Now, real airstrikes are being repackaged with gaming references and posted like viral content. So how did we get here?"]]></description>
<dc:subject>videogames games gaming propaganda 2026 war donaldtrump military</dc:subject>
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    <title>Jerry's Map</title>
    <dc:date>2026-06-24T07:41:46+00:00</dc:date>
    <link>https://www.jerrysmap.com/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[See also:

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

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

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

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

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

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

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

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

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

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

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

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

"What is it?

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

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

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

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

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

The Creative Process

The Card Deck

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

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

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

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

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

The Principles

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

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

The Layers

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

The Base Layer is divided into four phases:

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

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

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

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

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

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

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

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

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

Then the whole process starts over with new Paint Bands.

The Evolution of the Process

The map has been constantly evolving with Jerry over the years from the earliest iterations to its present state. This evolution has been driven by three primary factors. First, the media used in the production of the map panels has changed over time. Second, as the map grew larger mechanisms such as the use of the deck of instruction cards automated the map and changed Jerry's role as the author. Finally, the introduction of the system of layers."]]></description>
<dc:subject>maps mapping fiction jerrygretzinger obliquestrategies art brianeno henrydarger making imagination creativity rules systems systemsthinking games play gaming worldbuilding arts accretion persistence peoplemakegames lore change random randomness uncertainty unrest future disorder order cards carddecks productivity surpise mortality death collage diaries howwewrite writing memory generativeart generative</dc:subject>
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<item rdf:about="https://www.youtube.com/watch?v=Is8N7B9b0GQ">
    <title>He Won’t Stop Building a Map to an Imaginary Place - YouTube</title>
    <dc:date>2026-06-24T07:40:50+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=Is8N7B9b0GQ</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The remarkable story of Jerry Gretzinger and the map he's dedicated his life to making.

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

[See also: 

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

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

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

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

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

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

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

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

Still, the Map did first have to be rediscovered. What Gretzinger began as the expansion of idle doodles in urban form made during breaks at the ball bearing factory in 1963 had to be shelved in the eighties, when a clothing business he’d started with his wife took off. A couple of decades thereafter, his son’s discovery of the Map in the attic inspired Gretzinger to resume work on it, which has continued apace ever since. When interviewed, he sounds less like a creator than an observer, helplessly watching as the city of Ukrania becomes more abstract as it grows — and as great swathes are inexorably consumed by a white space, made of scraps of his own correspondence and other life artifacts, that he portentously calls “the Void.” Now that he’s in his mid-eighties, Gretzinger appears to find it all more freighted with meaning than ever. Sooner or later, alas the Void comes for us all; what’s left to us is how we prepare for it."]]]></description>
<dc:subject>jerrygretzinger maps mapping fiction obliquestrategies 2026 art brianeno henrydarger making imagination creativity rules systems systemsthinking games play gaming worldbuilding arts accretion persistence peoplemakegames lore change random randomness uncertainty unrest future disorder order cards carddecks productivity generativeart generative</dc:subject>
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<item rdf:about="https://www.economist.com/briefing/2026/06/11/forget-the-world-cup-culture-is-becoming-more-fragmented">
    <title>Forget the World Cup. Culture is becoming more fragmented</title>
    <dc:date>2026-06-14T09:36:30+00:00</dc:date>
    <link>https://www.economist.com/briefing/2026/06/11/forget-the-world-cup-culture-is-becoming-more-fragmented</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Farewell to the monoculture"

[archived:
https://archive.is/ulDjw

via:
https://social.ayjay.org/2026/06/13/the-economist-it-might-seem.html ]

"It might seem surprising, in a world of global stars, that the 6m Danes, many of whom are fluent in English, listen mainly to homegrown music. And until fairly recently they did not. In 2019 only five songs in Denmark’s top 20 were in Danish. By last year the figure was 18.

A similar trend is under way in other countries — and in other forms of entertainment. From Asia to the Americas, music charts are increasingly dominated by local sounds. Hollywood television-streaming companies are commissioning more local productions in foreign markets, causing consumption of American shows to fall. Social networks are connecting the whole world, but so far people are mainly using them to consume local content. And as video gaming expands, it too is becoming increasingly tailored to local cultures."

...

"In music, video and interactive entertainment, global tech platforms have made it easier than ever to distribute entertainment around the world. Yet the sheer abundance of content that these platforms have helped to generate means that, more than ever, global audiences are able to assert distinctively local preferences."]]></description>
<dc:subject>culture decentralization 2026 diversity denmark monoculture music language languages tv television film streaming latinamerica nigeria southafrica france germany italy poland willpage chrisdallariva worldcup attention videogames games gaming brazil brasil philippines indonesia thailand norway portugal ireland australia india czechrepublic dubai greece mexico middleeast africaeurope netflix asia larrytanz turkey türkiye southkorea korea christopherhamilton canada alexandregoncalves yeemanmargaretng youtube hindi matthewball xbox microsoft china japan manurosier newzoo garena singapore apple google roblox sensortower fortnite joostvandreunen entertainment</dc:subject>
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<item rdf:about="https://www.thisiscolossal.com/2026/06/big-walk-video-game-house-house/">
    <title>'Big Walk' Is a New Video Game about ... Walking and Talking — Colossal</title>
    <dc:date>2026-06-13T08:58:02+00:00</dc:date>
    <link>https://www.thisiscolossal.com/2026/06/big-walk-video-game-house-house/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["In the ever-expanding pantheon of open-world video games where combat, survival, crafting, and anarchy reign, the simple idea of taking a virtual walk while chatting with a few friends might seem pointless. A new video game from Melbourne-based developer House House begs to differ, though, turning a casual stroll across dreamy landscapes into a uniquely collaborative game, where puzzles and the lengths required to solve them take center stage. Some areas of Big Walk render players speechless, forcing you to devise innovative ways to communicate. It might just be the antithesis of Fortnite or Grand Theft Auto.

This friendly, casual, and playful approach to game design may come as no surprise from the makers of the critically acclaimed Untitled Goose Game, which is centered entirely on a hapless goose that navigates everyday environments while avoiding the unwanted attention of nearby humans. “As much as Big Walk is a game about walking and talking, it’s also about exploring, and getting lost, and doing challenges, and sometimes, not really doing anything at all,” shares a game trailer.

You can play this “cooperative online walker-talker” on Steam, Switch 2, and PlayStation 5 beginning August 4."

[direct link to trailer release date announcement video:
https://www.youtube.com/watch?v=c_uvpWSlBV0 ]]]></description>
<dc:subject>videogames cooperation cooperativegames games gaming panic househouse 2026 walking openworlds landscape bigwalk</dc:subject>
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<item rdf:about="https://publicdomainreview.org/collection/pushball/">
    <title>“Plaything of the Gods”: Photographs of Pushball (early 1900s) — The Public Domain Review</title>
    <dc:date>2026-05-29T06:33:18+00:00</dc:date>
    <link>https://publicdomainreview.org/collection/pushball/</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>pushball sports games play history 1900s mosescrane spalding</dc:subject>
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<item rdf:about="https://unsung.aresluna.org/prototyping-turned-into-an-excuse-for-not-thinking/">
    <title>“Prototyping turned into an excuse for not thinking” – Unsung</title>
    <dc:date>2026-05-28T07:22:10+00:00</dc:date>
    <link>https://unsung.aresluna.org/prototyping-turned-into-an-excuse-for-not-thinking/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["All this could be contrasted with movement of slow software (the name is part of a bigger slow movement although has unfortunate connotations in tech – it’s slow as in “speech,” not slow as in “beer”). Jared White in 2023 defined it as:

• Sustainable software. Architecting and writing code in ways which are easily understandable and maintainable over time, requiring few dependencies and a rate of change that is healthy for the underlying ecosystem.

• Thoughtful software. Working through feature development and making decisions based on what will benefit the userbase over the long term, placing mental and social health as priority over immediate gains or selfish interests.

• Careful software. Seeking to understand the ways software might be used for harm, or itself be harmful by taking attention away from more important concerns in the broader culture.

• Humanist software. Recognizing that most software—at least in application development—is primarily written for humans to understand and reason about with ease across a wide array of skill levels, and that relying on complex code generators or “generative AI” tooling to resolve complexity instead of simply building simpler human-scale tools is an industry dead-end.

• Open software. Looking to established collaborative software movements like open source and the standards bodies responsible for open protocols to inspire how we build and maintain software (regardless of licensing).

I don’t really have a conclusion for this meandering post, as I am not sure a snappy conclusion is possible. Perhaps some of the links above can provide inspiration or food for thought about urgency, reputation, and doing things in the open.

Some patterns I’m noticing are:

• Velocity is never an end goal.

• Velocity is only one of many ingredients of software building.

• It is necessary to think of people who will experience your work-in-progress as it is, not as it might one day be."]]></description>
<dc:subject>howwework howwethink velocity slow friction cyberpunk2077 noman'ssky videogames games gaming prototyping marcinwichary 2026 geoffduncan 19962016 2020 urgency thoughfulness slowsoftware software sustainability care caring humanism jaredwhite 2023 creating creation</dc:subject>
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<item rdf:about="https://www.unrulyplay.com/">
    <title>Unruly Play — Curated by Imagination of Things</title>
    <dc:date>2026-04-26T08:27:51+00:00</dc:date>
    <link>https://www.unrulyplay.com/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["A collection of 169 works of play in unlikely places. Games about unusual things. Unexpected encounters. Curated by Imagination of Things."

[via:
https://www.thisiscolossal.com/2026/04/unruly-play-digital-archive/

"“Play is how we give permission,” says Vitor Freire, co-founder of the Amsterdam-based studio Imagination of Things. “Permission to challenge what’s fixed, rehearse what doesn’t exist yet, and close the distance between people who wouldn’t otherwise meet.”

Freire and co-founder Monique Grimord take play seriously and, in a new project, their studio created a vast repository of 169 artworks, designs, games, and more that have offered an unexpected encounter with imagination and joy. From Rael San Fratello’s award-winning “Teeter-Totter Wall” to the healing Wind Phone project to a 12-foot puppet walking the world, Unruly Play is a multi-decade archive of participatory projects, public spaces, and digital creations that invite surprise and camaraderie.

“Our collaborators have always asked us where our ideas come from,” Gimrod says, “and the truth is that they come from references that rarely talk to each other—it can be a seesaw through a border wall or a phone booth connected to the dead… We wanted to create unusual dialogues and support new creative practices, and Unruly Play was our answer for that.”

Fully interactive, the project is searchable by theme or browsable through a shuffle feature. To dive deeper into the power of play, check out this compendium of artist-designed spaces."]]]></description>
<dc:subject>play playgrounds games children nature publicart architecture archive digital installation performance public art sculpture</dc:subject>
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<item rdf:about="https://www.nytimes.com/2026/04/19/opinion/schools-edtech-laptops-games-learning.html">
    <title>Opinion | You Can’t Game Your Way to a Real Education - The New York Times</title>
    <dc:date>2026-04-19T20:37:59+00:00</dc:date>
    <link>https://www.nytimes.com/2026/04/19/opinion/schools-edtech-laptops-games-learning.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["By Molly Worthen

Dr. Worthen, a professor of history at the University of North Carolina, Chapel Hill, is the author of “Spellbound: How Charisma Shaped American History From the Puritans to Donald Trump.”"

[archived: https://archive.ph/93DSh ]


"Paige Drygas, who teaches high school English at a private school just north of Dallas, feels no pressure to make learning fun. She distinguishes between “fun” — meaning stress-free amusement — and the burden she feels to “get students engaged as much as possible. I can see it in their eye contact,” she told me. “I’m trying to get their minds going. For example, I don’t think many people would describe Emerson and Thoreau as fun.”

Maybe that’s why some teachers have their students play “Walden,” a video game in which players simulate Thoreau’s solitary sojourn at Walden Pond. The game is free for teachers, but Ms. Drygas sticks to the texts. “The idea of self-reliance is really interesting. Once you engage that big idea, class moves quickly.”

Ms. Drygas is not only a fun-skeptic. She also requires her students to hand write their essays, read books in hard copy and use laptops as little as possible. These countercultural classroom policies all go together, because fun used to be a wonderful thing in school. Then screens came to dominate instruction time and software developers answered the call to make school fun and personalize learning with a growing marketplace of online games.

This has been the greatest blunder in the past decade of K-12 education: the decision to give every child a personal computer and to gamify everything from standardized test preparation to recess. Mistaken ideas about the nature of learning have combined with a hefty dose of Big Tech propaganda to distort our picture of what school is for. Technology must return to its proper place in the classroom — as a supplemental tool, rather than the source and summit of education.

The logic for bringing more technology into K-12 classrooms seemed intuitive, even before the Covid-19 pandemic pushed school onto screens. If adults were using the latest personal devices and software to do their jobs more efficiently, then surely using them in the classroom would make learning more efficient, too, and prepare students for the modern workplace.

Besides, so the thinking goes, kids today are digital natives. Because they’ve grown up around screens, their brains must be fundamentally different from those of older generations. Teachers need to “meet them where they are” by catering to shorter attention spans and swapping books for multimedia lessons. The more that math and language assignments resemble a video game, the more students will learn.

Every step in this argument is wrong. Researchers have begun to correlate falling test scores in wealthy countries around the world with aggressive adoption of devices in schools (88 percent of American public schools now follow what’s known as the 1-to-1 policy, providing one laptop or tablet for every student). In the United States, math and reading scores among 13-year-olds peaked in 2012 and have declined since.

The analogy between the workplace and the classroom ignores the fact that young people learn differently from adults: They need far more direction and exposure to a variety of sensory activities. Perhaps that means sand and blocks in younger grades. For me, history came alive through the homemade costumes of a “medieval times” fair in high school, especially the memorable sensory activity of trying to make my timeline project look “really medieval” by soaking it in tea and browning it in the oven — where it caught fire. (I then spent hours recreating it.)

My quest to simulate ancient vellum may have been a little eccentric, but my basic mental wiring wasn’t. The concept of a digital native is a myth. The advent of iPhones and laptops did not undo eons of brain evolution in the space of a few years — even if excessive screen time is associated with the thinning of the cerebral cortex. (The damage appears to be reversible, thanks to the brain’s plasticity.)

“People are mistaking kids’ preference for deep biological reality,” Jared Cooney Horvath, a neuroscientist who consults with schools on digital policy, told me. “My daughter loves Popsicles. I have a choice: I could meet her where she’s at and start every meal with a Popsicle. But that doesn’t change the fact that, biologically, Popsicles aren’t good for her, and she needs some vegetables.”

In his new book, “The Digital Delusion,” Dr. Horvath surveys the vast body of research demonstrating the damage to learning that comes with overuse of so-called ed tech, the mass of digital devices and software that have saturated schools. Studies indicate that comprehension collapses when students read texts on screens. Their attention spans shrivel as well: A study of college students working on laptops during a lecture class found that they spent an average of 38 minutes of every hour off task. And even in the age of Google, old-fashioned memorization remains important: Knowledge stored in our brains, not in the cloud, is the seedbed for creative thinking.

Perhaps the most insidious aspect of ed tech’s invasion is the widespread adoption of video-game-style apps to teach, assess and entertain students. These apps feed a broader ethos of gamification that encourages students to fixate on points, badges and other digital dopamine hits — and shy away from the experimentation, frustration and struggle that real learning demands.

The problem is not games themselves. Good teachers have always used games to motivate students and connect them with classmates. But over the past 15 years or so, the hubbub of active, analog games has given way to far quieter classrooms where students spend significant blocks of time in headphones, swiping and scrolling through onscreen activities.

The company Kahoot! says that eight million teachers worldwide use its quiz games for “future-ready skill building.” About 17 million students — roughly one-third of American students from pre-K through 12th grade — use iReady, a digital platform that promises “an active experience that motivates students to take ownership of their learning.” If students get to school early, or bad weather keeps them inside at recess, they can kill time with iReady games like “Hungry Fish” (an arithmetic game) and “Cupcake” (a virtual cupcake business that requires math and map reading).

In some cases, the more they play, the more credits they earn to unlock new games. The curriculum giant McGraw-Hill offers a mobile study app called Sharpen, which chops up lessons into bite-size videos and quizzes. Cartoon avatars and bursts of animated confetti encourage users to “keep up your streak and earn new rewards.”

Denise Champney is a speech pathologist in Rhode Island who has worked in public schools for 25 years, mainly with neurodivergent learners. “The persuasive design of computer games is meant to keep kids using, with no interaction with other people, just with a screen,” she told me. “I’ve seen it with iReady math. They’re just clicking; they want to get through it. They are not reading, because they don’t really need to read. They say, ‘I kind of know what they’re asking, so I’ll click on what I think the answer is.’”

The overuse of online games — and screen-based technology in general — may be especially harmful to students with A.D.H.D. and autism. These students master narrow pattern recognition “instead of working on the skills they need, like reading, writing and multisensory engagement,” Ms. Champney said. She has noticed that they also use laptops to escape from challenging social situations: “Kids bring these devices from class to class, and if they struggle with an interaction, they’ll just pull out their computer and play video games.”

Multiplayer games do not necessarily encourage healthy social skills. Inge Esping, the principal of McPherson Middle School in central Kansas, recalled the final day of school two years ago, when an all-grade online rock-paper-scissors tournament devolved into Lord of the Flies. “I don’t think I’ve ever seen so much lying, cheating, meanness or crying,” Ms. Esping told me. “It was the worst last day ever. We had to end the game early.”

Her school made headlines this year by abandoning the 1-to-1 laptop policy, mainly at the behest of teachers, who argued that “gravely limiting time on technology will be a positive step for the students,” Ms. Esping said.

Every kind of learning requires facing uncomfortable situations, navigating ambiguity and coping with failure — whether the subject is group dynamics at recess or the details of cell biology. Too often, online games provide friction-free pseudo-engagement, cultivate a narrow set of skills and encourage the assumption that all questions have a single correct answer.

“The more varied the contexts in which you apply a skill, the broader that skill becomes. But computers are wickedly narrow,” Dr. Horvath, the neuroscientist, said. Students “get good at the game, and their score will go up, but as soon as you take them off the screen, most of those skills will go.”

Emily Cherkin, who works with families and schools as “the Screentime Consultant,” taught middle school English for 12 years before her frustration with technology as a teacher and a parent turned her into an “accidental activist,” she told me. “When you gamify lessons, you’re not enhancing learning, but holding students’ attention so they stay engaged with a product longer. That’s at odds with child development. Children should not be spending hours on a screen.” (Ms. Cherkin also worries about the student data that ed tech companies collect, often without parents’ knowledge. She is the lead plaintiff in a class-action lawsuit against the software company PowerSchool, whose 2024 security breach affected millions of children and teachers, exposing personal information to hackers who demanded extortion payments from schools.)

Ms. Cherkin doesn’t oppose technology outright. “I’m not anti-tech. I just want schools to be tech-intentional,” she said. “Of course, kids should learn how technology works, but that is very different from giving 6-year-olds an iPad to learn how to read.”

In my conversations with the growing community of parents, teachers and researchers who criticize ed tech, no one seemed to share my enthusiasm for going back to vellum and quills. The solution, instead, is thoughtful moderation.

Schools should drop the 1-to-1 policy that has encouraged students to see their laptops and tablets as extensions of themselves. Digital games can be effective tools — as long as they emphasize collaboration, creativity and risk-taking rather than lonely scrolling for the next dopamine hit.

I’m intrigued — warily — by Skyler Carr’s approach. He co-founded Mission.io after a few years working in charter schools. As a STEM specialist, he tried “to reach students who were struggling to be engaged in a traditional classroom environment,” he told me. Mission.io creates simulations that embed Common Core grade-level standards in dramatic scenarios that inject real-life stakes into class material. Mission.io is trying to do gamification the right way.

For example, if a sixth-grade teacher uses the company’s program to test students on molecular biology, “we encourage the teacher to say, ‘We’ll be learning about particles and compounds, and you need to know this stuff because tomorrow we’re going on a mission. If you don’t know it, we won’t succeed.’ We want you to introduce it with an understanding that it’s got purpose,” Mr. Carr said.

On mission day, students learn that a nearby lab has suffered a dangerous chemical leak, leaving a researcher trapped. They split into teams and analyze data on airborne molecules in different parts of the lab to figure out which atom they can change to make the floating molecules nontoxic.

Mission.io’s online interface is full of cool graphics and adaptive, choose-your-own-adventure-style story lines. “We’ve got some amazing artists who were unfulfilled making skins for video games,” Mr. Carr said. But the point is to get students on their feet and moving around the classroom, sharing information and brainstorming solutions face to face.

Laptops become tools for in-person collaboration, rather than private gaming consoles (if — and it’s a big “if” — players resist the temptations of the internet). At the end of a mission, students and teachers evaluate both the outcome and the process.

“You can fail the mission and still get good scores on collaboration and critical thinking,” Mr. Carr said. “That’s enlightening for kids who are used to failing. It can open up their minds about how they should be working.”

Mr. Carr and his colleagues have made one decision that sets Mission.io apart from many ed tech companies: Their funding comes from foundation grants and the schools that purchase their programs. “We had a chance to bring on investors early on, and it was an intense conversation. But we knew venture capital and the expectations,” he said. He had seen investors acquire other games and prioritize profit over education. “We needed to be able to let schools call the shots,” he said.

To call the right shots, however, teachers, administrators and families need a clear vision of what education is for. It’s no accident that American schools fell hard and fast for ed tech while the old consensus about what it means to be “college and career ready” was unraveling.

For decades, culture-war debates over American history and science curriculums have consumed public schools. At the same time, many researchers have called the Common Core national curriculum standards a failure. Even elite private schools now struggle to define their purpose, to figure out what mishmash of personal taste and identity categories should replace the politically incorrect Western canon.

“Even highly educated parents don’t put a lot of thought into the deeper purpose of school,” Ms. Drygas, the English teacher in Texas, said. “They just think about how to get their kids into whatever college they want to get to.”

So it has been comforting to think that everyone can still agree on one thing: The more innovation, the better. “Most schools have no guiding ballast anymore,” Dr. Horvath told me. “Tech filled that void for a while.”

But no technology is philosophically neutral. The apps and games that provide a simulacrum of educational progress also encourage students to absorb a certain worldview, an idea of what they should strive for. They end up with the impression that learning is a matter of box ticking, pattern recognition, completing discrete tasks and “leveling up.”

When they get to college and face open-ended essay questions and other forms of ambiguity — when they begin thinking about what they should do after graduation and try to figure out the point of it all — they panic. When a professor asks them to read an entire novel, the task feels overwhelming.

They got into college by mastering a gamified system. But that’s a false picture of the world. Take it from Emerson. He wrote in “Self-Reliance” that real education requires a person to learn that there is no algorithm for fulfillment: “Though the wide universe is full of good, no kernel of nourishing corn can come to him but through his toil.” Serious intellectual work and moral reasoning cannot be gamified."]]></description>
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<item rdf:about="https://www.bloodinthemachine.com/p/its-open-season-for-refusing-ai">
    <title>It's open season for refusing AI - by Brian Merchant</title>
    <dc:date>2026-04-05T05:44:24+00:00</dc:date>
    <link>https://www.bloodinthemachine.com/p/its-open-season-for-refusing-ai</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[There's been a wave of successful efforts to ban, reject and shut down AI. ]]></description>
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<item rdf:about="https://2ndbreakfast.audreywatters.com/miseducative-experiences/">
    <title>Miseducative Experiences</title>
    <dc:date>2026-04-05T05:38:11+00:00</dc:date>
    <link>https://2ndbreakfast.audreywatters.com/miseducative-experiences/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[""Tell me, what is it you plan to do/ with your one wild and precious life?"

Arguably and more than a little ironically, this may be one of the most frequently invoked lines of poetry on social media – I won't add "for better or worse," although I'm tempted to, because as much as I frown when art is reduced to meme, I'm never mad when I read Mary Oliver's words. How could I be? Just these two lines unlock other lines and other poems, and I'm always hopeful that their simplicity and accessibility and power will lure people into reading more. Not just more Mary Oliver, but more poetry of any and all sorts.

Poetry, after all, isn't something you can "optimize" -- neither its reading nor its writing -- and "optimization" seems to be the despairingly destructive driving force of our culture, an exercise that, if nothing else, serves to make our lives much much less beautiful and wild.

"Tell me, what is it you plan to do/ with your one wild and precious life?"

I ask this question -- "plead" may be the better verb -- of those who are spending an increasing amount of time typing to chatbots, who are handing over important cognitive tasks and key decisions -- personal and professional -- to "artificial intelligence." I ask this question -- "implore" even -- of those who are hunched over their laptops or their phones, those who are watching television on multiple screens, almost every waking minute of their day.

Because this is what you've decided to do with your one wild and precious life.

"I don't know exactly what a prayer is," Oliver admits in that same poem, but continues, "I do know how to pay attention, how to fall down / into the grass, how to kneel down in the grass, / how to be idle and blessed, how to stroll through the fields, / which is what I have been doing all day. / Tell me, what else should I have done?"

Tech writer Taylor Lorenz tells Wired she spends 17 hours a day online. She does not want to "touch grass," she insists. She's a 40-something year old woman; she can do what she wants.

"Tell me, what is it you plan to do/ with your one wild and precious life?"

What you decide to do with your one wild and precious life is up to you -- whether your prayers of devotion are to the computer or to "AI" or to social media and not, as Oliver might encourage us, to the grasshopper and other planetary intelligences.

What you decide to do with your one wild and precious life, where your attention and your prayers are directed, is also, of course, what you've opted not to do. And these decisions do, in fact, matter.

Lorenz (and plenty of others) like to argue that "there is no evidence" that social media (or the Internet or computers or ed-tech or television or video games or whatever) harms children – an exaggeration, no doubt, as there is evidence; they just don't like it. (They don't like Jonathan Haidt, to be specific. And I get that, I really do.)

Lorenz's latest newsletter cites the work of psychologist Christopher Ferguson, best known for his challenges to his field's prevailing research on video games: that there is a link between video games and aggressive behavior. Ferguson contends that claims about the relationship between violence and video games is not just exaggerated; it is non-existent, that is all merely a moral panic. This is the framing that Lorenz leans into with recent efforts to regulate social media too, which she explicitly links to the push to censor LGBTQ content online.

The right-wing movements that are actively seeking to ban books, eliminate academic departments, circumscribe what can be taught in the classroom, and yes, limit children's access to social media should not be ignored. Indeed, it is imperative that those who seek to curb Silicon Valley's power and influence over education and information delineate how their efforts are not politically aligned with the Moms of Liberty ilk.

But to frame any opposition to technology as a "moral panic" is a rhetorical sleight of hand in which one side gets to invoke "science" and "research" while dismissing the other as mere "hysteria." To dismiss people's concerns about what kids – any of us, really – are up to online as fundamentally reactionary, as censorious is more than a little disingenuous.

There is research (and plenty of it) that finds that various forms of new media – apps, games, and so on – affects us, affects how and what we think and know. I mean, of course it does. People are spending hour after hour after hour after hour – almost every waking minute of every day – clicking on things.

"Tell me, what is it you plan to do/ with your one wild and precious life?"

What we do with our time -- online or off -- matters, and profoundly so. Everything we do shapes who we are. Everything we experience shapes who we become.

This belief is at the core of progressive education – contrary to those accusations above that arguments against technology only come from right-wing zealots – and certainly this belief is at the core of the work of John Dewey. In Experience and Education, he too turns to poetry to make his point, citing Tennyson: "...all experience is an arch wherethro' / Gleams the untraveled world, whose margin shades / For ever and for ever when I move."

But as Dewey argues, not all experiences are necessarily educative; and as repeated experiences can become habits, we might find ourselves adopting patterns that are incredibly destructive not just to our own learning, but to our relationships with one another, with the world around us – destructive even to democracy. We might find ourselves having been fundamentally changed by the behaviorist practices and libertarian ideologies that undergird every single piece of computer technology we use.

"Tell me, what is it you plan to do/ with your one wild and precious life?"

At what point can you no longer even plan to do things with your one wild and precious life because these technologies have obliterated your ability to even imagine something outside their dictates, their designs for you?"]]></description>
<dc:subject>audreywatters 2026 maryoliver life living online internet taylorlorenz screentime socialmedia ai artificialintelligence jonathanhaidt christopherferguson videogames games gaming regulation siliconvalley power media moralpanic moralpanics influence newmedia addiction johndewey children teens youth education experience attention teaching learning howweteach howwelearn policy edtech chromebooks computers computing</dc:subject>
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<item rdf:about="https://www.killscreen.com/anna-nygren-blush-river-fox-language-as-play/">
    <title>Can Language Be a Game? Anna Nygren Thinks So</title>
    <dc:date>2026-04-01T03:50:05+00:00</dc:date>
    <link>https://www.killscreen.com/anna-nygren-blush-river-fox-language-as-play/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Swedish writer Anna Nygren's blush / river / fox treats language like a game system—where translation gaps become mechanics and meaning emerges from interplay, not definition."]]></description>
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</item>
<item rdf:about="https://wikigacha.com/">
    <title>Wikipedia Gacha</title>
    <dc:date>2026-03-19T05:29:22+00:00</dc:date>
    <link>https://wikigacha.com/</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>wikipedia play games</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:f78c4370339a/</dc:identifier>
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</item>
<item rdf:about="https://www.youtube.com/watch?v=G_Dc8XwuqKU">
    <title>gaming and gooning are essential for understanding #iran and #palantir - YouTube</title>
    <dc:date>2026-03-17T21:19:43+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=G_Dc8XwuqKU</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>aidanwalker trumpism donaldtrump 2026 videogames gooning ai games gaming aesthtics metrics politics fascistaesthetics latefascitaesthetics dehumanization socialmedia messaging numbers quantification iran war</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
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<item rdf:about="https://www.youtube.com/watch?v=qcf5syA1MlE">
    <title>The Left Doesn’t Hate Technology with Gita Jackson - YouTube</title>
    <dc:date>2026-03-13T05:21:19+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=qcf5syA1MlE</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Paris Marx is joined by Gita Jackson to discuss why the left’s hatred of AI is justified, why a different approach to technology is necessary, and how they’re reassessing their own relationships with digital tech.

Gita Jackson is a co-founder of Aftermath (https://aftermath.site ).

Also mentioned in this episode:
     
• Gita wrote about why the left doesn’t hate technology (https://aftermath.site/anthropic-claude-ai-leftist-technology/ ).

• Gita also wrote about downloading digital music (https://aftermath.site/digita-audio-player-snowsky-echo-mini-fiio-hyby/ ) onto a Snowksy Fiio Echo Mini.

• Chris Person wrote about the  Boox Palma eReader (https://aftermath.site/i-love-my-weird-little-phone-shaped-ereader/ )  as an alternative to Kindle.

• Learn more about Mike Pondsmith (https://blackgirlnerds.com/from-cyberpsychos-to-netrunners-here-is-the-story-of-mike-pondsmith-the-true-mastermind-behind-cyberpunk/ ) and his Cyberpunk TTRPG.

• Gita will one day get Paris to watch Frieren (https://www.crunchyroll.com/series/GG5H5XQX4/frieren-beyond-journeys-end ) ."

[references:

"The Left Doesn't Hate Technology, We Hate Being Exploited
Techno-cynics are all just wounded techno-optimists."
https://aftermath.site/anthropic-claude-ai-leftist-technology/ ]]]></description>
<dc:subject>gitjackson parismarx technology left 2026 luddism neoluddism luddites neoluddites ai artificialintelligence llms technooptimism technocynicism exploitation generativeai openai anthropic claude chatgpt consolidation samaltman society hsr highsspeedrail publicgood mrna vaccines vaccinations medicine siliconvalley aibubble aihype capitalism corporations corporatism qanon ereaders eink boox chrisperson automation speculation infrastructure datacenters chatbots labor work seamusblackley business games gaming videogames xbox microsoft google uber lyft nfts crypto cryptocurrencies evil policy power bigtech oracle gemini gmail linux music spotify streaming china netflix piracy airbnb taxis jeffbezos billionaires gigeconomy billgates edwardsnowden peterthiel scale scaling slow small benshapiro cryptofascism donaldtrump slavery humans human humanity humanism government liberals liberalism grantmorrison agi butlerianjihad smarthphones walledgardens howweread reading books resistance search attention algorithms libraries</dc:subject>
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<item rdf:about="https://www.youtube.com/watch?v=mtSjgxS-QS4">
    <title>Mark Gritter - Sol LeWitt, Combinatorial Enumeration, and Rogue - YouTube</title>
    <dc:date>2026-03-10T05:02:01+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=mtSjgxS-QS4</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Sol LeWitt wrote that "the serial artist does not attempt to produce a beautiful or mysterious object but functions merely as a clerk cataloguing the results of his premise." This premise could be a set of axioms, a geometric constraint - or a roguelike level generator! From this viewpoint, the enumeration of all outputs from a procedural content system is itself a type of artwork.

I'll explore this connection between 20th century conceptual art and 21st century expressive range analysis. In particular, I'll show how we can enumerate every possible Rogue level to identify "impossible" room layouts."]]></description>
<dc:subject>markgritter sollweitt josefalbers 2026 yayoikusama hannedarboven art melbochner richardpaullohse ellsworthkelly procedurality algorithms conceptualart minimalism roguelike serialart tesseralis damienriehl noahrubin okayeststudio math mathematics benspitz rogue games gaming videogames gamedesign videogamedesign</dc:subject>
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</item>
<item rdf:about="https://www.theverge.com/games/890010/panic-gaming-big-walk-portland-house-house">
    <title>Panic’s gaming ambitions hinge on the weird and whimsical | The Verge</title>
    <dc:date>2026-03-09T19:11:37+00:00</dc:date>
    <link>https://www.theverge.com/games/890010/panic-gaming-big-walk-portland-house-house</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The publisher is set to follow Untitled Goose Game with Big Walk, an offbeat multiplayer game."]]></description>
<dc:subject>panic games gaming videogames cabelsasser 2026 jaypeters unititledgoosegame firewatch camposanto bigwalk nicodisseldorp stuartgillespie-cook</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:634e24fd1db9/</dc:identifier>
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</item>
<item rdf:about="https://rose.systems/animalist/">
    <title>list animals until failure</title>
    <dc:date>2026-03-05T21:27:16+00:00</dc:date>
    <link>https://rose.systems/animalist/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Animals must have Wikipedia articles.

You have limited time, but get more time for each animal listed. When the timer runs out, that's game over. (Time adjustable in settings.)

No overlapping terms. For example, if you list “bear” and “polar bear”, you get no point (or time bonus) for the latter. But you can still get a point for a second kind of bear. Order doesn't matter.

Ignore the extraneous visuals. Focus on naming animals."

[via:
https://kottke.org/26/03/0048500-web-game-list-as-many ]]]></description>
<dc:subject>games animals multispecies words language wildlife morethanhuman</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:e3f16fc90336/</dc:identifier>
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</item>
<item rdf:about="https://www.youtube.com/watch?v=geiTg6Z7w3A">
    <title>Stardew Valley 10-year Anniversary Video (Retrospective &amp; New Spouse Reveal) - YouTube</title>
    <dc:date>2026-02-27T07:25:29+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=geiTg6Z7w3A</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Here's a special video for the Stardew Valley 10 year anniversary.  
I go over some old builds of the game w/ commentary, briefly go over the many updates, give a special message to the players, and reveal the 2 new marriage candidates in 1.7.  Thanks for watching."]]></description>
<dc:subject>2016 stardewvalley 2026 videogames games gaming</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:fe72fba2d7e0/</dc:identifier>
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</item>
<item rdf:about="https://www.killscreen.com/online-talk-what-do-game-cities-want/">
    <title>Online Talk: What Do Game Cities Want?</title>
    <dc:date>2026-02-23T22:40:51+00:00</dc:date>
    <link>https://www.killscreen.com/online-talk-what-do-game-cities-want/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Join Jamin on March 5th with game urbanist Konstantinos Dimopoulos and author of "Building SimCity" Chaim Gingold for a a talk about urban systems in games!"

...

"Cities in games have always been more than backdrops. They encode assumptions about how people move, where power concentrates, what gets built, and what gets torn down. They are systems that speak — about economics, about politics, about what a society values enough to simulate.

This conversation brings together two thinkers who have spent their careers at the intersection of urbanism and interactive design. Chaim Gingold, author of Building SimCity and collaborator with Will Wright on Spore, has traced how simulation games don't just represent cities—they model them as arguments about how the world works. Konstantinos Dimopoulos has built a discipline, game urbanism, around the idea that a city in a game must earn its believability the same way a real city earns its character: through coherence, history, and the texture of daily life.

Together they'll examine what cities want from the games that contain them, and what games want from the cities they build. What gets lost when urban complexity is abstracted into mechanics? What gets revealed? And as game engines increasingly shape how a generation understands space, density, and civic life, what responsibility does that carry?"]]></description>
<dc:subject>jaminwarren konstantinosdimopoulos cities videogames gaming games urbansystems urban 2026 simcity willwright</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:11ba441c17c1/</dc:identifier>
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<item rdf:about="https://www.killscreen.com/toby-love-eternal-ambient-game-design-intuition/">
    <title>How I Design Levels by Feel, Not by Rules</title>
    <dc:date>2026-02-20T05:58:28+00:00</dc:date>
    <link>https://www.killscreen.com/toby-love-eternal-ambient-game-design-intuition/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Toby Alden traces a line from to ambient DJing to Love Eternal, a gravity-flipping platformer where dream logic and intuition guide every level."]]></description>
<dc:subject>videogames games gaming tobyalden jaminwarren design gamedesign gamemechanics</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:7d2279eaa3c3/</dc:identifier>
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</item>
<item rdf:about="https://www.theverge.com/tech/879114/best-big-tech-app-alternatives-installer">
    <title>How to remove Big Tech products from your online life | The Verge</title>
    <dc:date>2026-02-16T03:51:37+00:00</dc:date>
    <link>https://www.theverge.com/tech/879114/best-big-tech-app-alternatives-installer</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[archived:
https://archive.ph/PzBim ]

"Over the years, lots of people have tried to chart an online life without Big Tech companies. Reasons abound, from advertising ickiness to data privacy to the overall feeling that these companies don’t support your values, but my impression was always that the project is hard, and that getting away from Google and Apple and Microsoft and the rest is probably too much work for most people.

I’m not sure that’s true anymore. Whether you’re looking for an email service, an office suite, even a smartphone or a laptop, you have more and broader options than ever before. Which is good, because the number of people asking me for tips on how to embrace these new things has gone way up over the last few months. Again, reasons abound. So I asked you all to share your favorite non-Big Tech tech, and as always, you delivered.
First up, there’s kind of a big four:

• Proton. Almost everybody who told me they’re ditching Google told me they’re moving to Proton. And with good reason! Proton does email, calendar, docs, file storage, and more, and does it all really well. This is the first place I’d tell almost anyone to start.

• Signal. The messaging app of choice, by a mile. Like Proton, it is an incredibly privacy-focused tool that is still easy and nice to use. I have nothing but good feelings about Signal.

• Nextcloud. This one I did not expect! It’s another suite of services, with a lot of impressive features, but in addition to everything else it is open-source and can even be self-hosted. There is definitely a version of the non-Big Tech journey that ends in hosting a lot of your own software, and I think this is a big part of the equation.

• Home Assistant. For the smart home crowd, there is really only one choice. 

Beyond that, there was a bunch of other software:

• Lots of folks are replacing Google Search with either Kagi or Ecosia. As for browsers, it was pretty much all Firefox.

• Linux Mint came up a bunch as a user-friendly way out of the Big Tech operating systems. It’s harder to get away from Android and iOS, but GrapheneOS is a popular alternative for mobile.

• Jellyfin appears to be the media platform of choice. Some Plex love, too, but mostly Jellyfin.

• Obsidian, one of my favorite note-taking apps, is a favorite as well. Since it’s built on text files, it is futureproof, unlike virtually any other software you’ll find.

And a bunch of gadgets:

• Oh boy do you all love Garmin smartwatches! I’m still a little skeptical that they work for anyone other than hardcore fitness folks, but you all love them as Apple and Pixel Watch alternatives.

• The Sunbeam F1 flip phones, which actually look like they offer a pretty clever set of features, have some very devoted smartphone-ditching fans out there.

• Couple of votes for the Playdate, too, as a less intense way to game.

• I got lots of E Ink device recommendations. Boox gear came up a lot. The Xteink X4, the little e-reader that sticks to the back of your phone, seems to have captured some hearts out there. A bunch of you also endorsed ditching Kindle for Kobo, but I think that only half counts, given that Kobo is also owned by a large tech company? Oh, and this is software, but The StoryGraph appears to be everyone’s new favorite reading platform.

If I were starting this journey today, I think I’d start with Proton and Home Assistant. Getting your email, your calendar, and your files into a safer place, and turning your smart home into something only you control, is a nice way to kick off a different relationship with tech. But give me six months, and who knows? Maybe I’ll be self-hosting my entire computing life in my basement. Installer Web Services has a nice ring to it."]]></description>
<dc:subject>google internet web bigtech online onlinetoolkit webservices 2026 davidpierce proton ereaders boox xteink eink kindle kobo storygraph software hardware garmin playdate games gaming videogames smarthphones dumbphones obsidian jellyfin linux linuxmint os search ecosia kagi firefox browsers homeassistant nextcloud signal messaging email calendars shareddocs filesharing storage</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:ec723e0e7fa5/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:smarthphones"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:ecosia"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:firefox"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:nextcloud"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:signal"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:messaging"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:email"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:shareddocs"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:filesharing"/>
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</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://www.theverge.com/entertainment/874895/super-nintendo-book-excerpt-animal-crossing-keza-macdonald">
    <title>Animal Crossing started life as a dungeon crawler | The Verge</title>
    <dc:date>2026-02-16T01:05:47+00:00</dc:date>
    <link>https://www.theverge.com/entertainment/874895/super-nintendo-book-excerpt-animal-crossing-keza-macdonald</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["One of Nintendo’s biggest success stories began as a very different game."

[archived:
https://archive.ph/2n2uJ ]]]></description>
<dc:subject>animalcrossing dungeoncrawlers videogames games gaming gamedesign 2026 kezamacdonald</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:062def840a96/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:dungeoncrawlers"/>
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</item>
<item rdf:about="https://comment.org/gaming-the-system/">
    <title>Gaming the System - Comment Magazine</title>
    <dc:date>2026-02-16T00:22:17+00:00</dc:date>
    <link>https://comment.org/gaming-the-system/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Loneliness, boredom, and despair in post-industrial America."]]></description>
<dc:subject>us society loneliness boredom despair scottpell youth socialisolation isolation economics rustbelt hannaharendt socialcapital economy gentrification professionalclass class mentalhealth socialengagement gerontocracy agesegregation children adolescence videogames games gaming men gender saraheekhoffzylstra agency matthewloftus genz generationz opportunity jonathanhaidt keantwenge claremorell withdrawal jdvance policy birthrate addiction chrisopherlasch patrickdeneen elites elitism midwest behavior dystopia production productivity rural socialization</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:477d55651344/</dc:identifier>
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<item rdf:about="https://lithub.com/the-origins-of-one-of-the-most-beloved-video-games-of-all-time/">
    <title>Literary Hub » The Origins of One of the Most Beloved Video Games of All Time</title>
    <dc:date>2026-02-13T07:08:27+00:00</dc:date>
    <link>https://lithub.com/the-origins-of-one-of-the-most-beloved-video-games-of-all-time/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Keza MacDonald on How Super Mario Bros. Married Creativity and Playability"]]></description>
<dc:subject>kezamacdonald 2026 videogames games gaming history supermariobros mario nintendo shigerumiyamoto gamedesign japan</dc:subject>
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<item rdf:about="https://www.youtube.com/watch?v=U8dcFhF0Dlk">
    <title>Suno, AI Music, and the Bad Future - YouTube</title>
    <dc:date>2026-02-09T16:51:18+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=U8dcFhF0Dlk</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Sources:
https://docs.google.com/document/d/1my3jJ96cyKmHubZu5mTLgp3wzEWtXKJkqfP0kKcF6kE/edit?tab=t.0

0:00 Intro
4:06 Challenge accepted
6:55 Three Questions
24:14 Why no influences? (deskilling/narcissism)
35:50 Profiles of the Future
47:54 Good uses of Suno
59:05 Futurism/Techno-Optimism
1:16:22 New Virtues
1:22:03 Final Predictions"

[via:
https://blog.ayjay.org/faster/

"Near the beginning of this long, fascinating, and deeply depressing video [https://www.youtube.com/watch?v=U8dcFhF0Dlk ] Adam Neely says that he doesn’t think Mikey Shulman, the CEO and prime hypeman of Suno, is evil. I dunno, I think he might be evil. A person who makes and advocates for anything this destructive will likely be one of the following:

• Evil — happy to do any amount of damage to humanity as long as he gets rich;
• Sociopathic — unable to consider the consequences of his actions for others;
• Self-deceived — skilled at internally avoiding obvious questions about the validity of what he’s doing.

So being evil is not the only option here, but it’s definitely one of three.

There are so many bizarre things about this dude, but I was taken by one small thing: around the 8:40 mark of the video he says, “I know one person who is a songwriter who had a lull in creativity, and after finding Suno went from maybe making 50 songs a year to making 500 songs a year.” Now this is a ridiculous thing to say — but in an interesting way. Shulman knows so little about musical composition that he thinks that a person in a creative “lull” writes a mere fifty songs a year.

Let’s think about that. Consider Bob Dylan, whom some people think of as a prolific sngwriter. In his 65-year career he has composed roughly 700 songs. Pathetic! Even if he had experienced a lifelong “lull in creativity,” he’d have, by Shulman’s metrics, produced 3250 songs — and if he’d used Suno, why, he’d have knocked out 32,500 songs by now, with a few thousand more probably remaining to be processed by the Suno Song Extruder™.

As absurd sales pitches go, Shulman’s is solid gold.

Anyway, you should watch Adam’s human-made non-extruded video. It raises many important issues and makes many important points, especially about the relative value of patience and impatience. Shulman loves impatience, because impatient people are his primary marks. “Faster is obviously better,” he says, a comment he doesn’t seem to think applies only to music composition. Maybe he has the same view about eating, talking with friends, and sex. Faster! And then what? [https://blog.ayjay.org/and-then/ ]

But the most vital claim Adam makes, I think, is this: the arrival of AI slop machines like Suno will dramatically accelerate something that’s already well underway, the widening chasm between live music and recorded music. When musicians recorded live in studio, the gap between that and live performance was very small; now it’s vast and getting vaster. And as Adam says, people will always want to experience live music — and perhaps will value it all the more because of the contrast to an increasingly slop-dominated world of recordings. (Especially in human-scale venues where lip-syncing and pitch-correction are impossible.)

I happened to come across Adam’s video yesterday just after watching Julian Lage and his bandmates perform “Something More” [https://youtu.be/AECKSq8r2OM?si=WCJ4gW-viCdlYjAX ] — what a beautiful song, and look at that, it’s just four people in a room making that beauty happen. I only wish they were coming my way sometime soon."]]]></description>
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<item rdf:about="https://www.youtube.com/watch?v=2yVJffNplJc">
    <title>The New Satanic Panic Is Here - YouTube</title>
    <dc:date>2026-01-24T17:16:13+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=2yVJffNplJc</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[See also:
https://www.usermag.co/p/the-new-satanic-panic-is-here ]

"Are Smartphones & Social Media Really Causing a Teen Mental Health Crisis?

Are smartphones and social media actually destroying teen mental health, or is this just another moral panic? I critically examine the growing narrative that phones, apps, and screen time are responsible for rising anxiety, depression, and harm among teenagers. 
 
These claims, popularized by politicians, journalists, interest groups like the Heritage Foundation, and authors like Jonathan Haidt (The Anxious Generation), are being used to justify mass surveillance laws, deplatforming marginalized people, and implementing policies that actually harm kids and reward big tech. 
 
They allow lawmakers to scapegoat users, and institute draconian surveillance laws instead of enacting meaningful regulation. Haidt and others boosting this moral panic have pushed debunked claims about how social media can turn kids LGBTQ. Haidt has pushed false and misogynistic claims that young liberal women suffer from more "anxiety." He is on the board of Bari Weiss' unaccredited reactionary right wing University. 

Using peer-reviewed studies, media analysis, and real-world examples, this episode breaks down:

- Why smartphones became the default scapegoat for teen mental health
- How correlation is repeatedly confused with causation
- Ho weak and misleading data is driving major public policy decisions
- How moral panics spread through podcasts, news media, and social platforms
- Who is actually harmed by phone bans and social media crackdowns
- Why girls, LGBTQ youth, and marginalized teens are the most harmed

I also explore how internet scares like the Momo Challenge illustrate the dangers of fear-based policy making, and why banning technology doesn’t solve any of the root issues of kids' mental health issues like social isolation, economic stress, lack of mental health care, and inequality.

If you’re interested in:

- Teen mental health
- Social media & smartphones
- Internet culture and moral panics
- Education policy and school phone bans
- Digital rights and youth safety

this video will challenge what you’ve been told by the mainstream media, but please keep an open mind!"]]></description>
<dc:subject>taylorlorenz 2026 socialmedia jonathanhait web internet online mentalhealth conservatism censorship inequality momochallenge smartphones moralpanic mashablackburn lgbtq policy bariweiss heritagefoundation anxiety reactionaries screentime depression teens youth research media technology change history novels comicbooks comics telephones phones television tv radio fredricwertham children childhood adolescence addiction beepers columbine videogames games gaming bans tiktok isolation fear danahboyd mobility walkability suburbia freetime leisure homework play parenting panic surveillance economics wealthdisparity work labor pandemic covid-19 coronavirus misogyny rightwing right recession economy unemployment instability capitalism publicpolicy poverty precarity guns stress mainstreammedia social connection</dc:subject>
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    <dc:date>2025-12-10T20:55:39+00:00</dc:date>
    <link>https://daily.jstor.org/playing-with-consciousness/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Out-of-the-ordinary mental states are the goal of many religious rituals, but they’re also important in “playful” situations like kids’ games and fraternal hazing."]]></description>
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    <dc:date>2025-11-30T22:31:11+00:00</dc:date>
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    <dc:creator>robertogreco</dc:creator><description><![CDATA["A new “textual studies” and archival approach to the investigation of works of new media and electronic literature that applies techniques of computer forensics to conduct media-specific readings of William Gibson's electronic poem “Agrippa,” Michael Joyce's Afternoon, and the interactive game Mystery House.

In Mechanisms, Matthew Kirschenbaum examines new media and electronic writing against the textual and technological primitives that govern writing, inscription, and textual transmission in all media: erasure, variability, repeatability, and survivability. Mechanisms is the first book in its field to devote significant attention to storage—the hard drive in particular—arguing that understanding the affordances of storage devices is essential to understanding new media. Drawing a distinction between “forensic materiality” and “formal materiality,” Kirschenbaum uses applied computer forensics techniques in his study of new media works. Just as the humanities discipline of textual studies examines books as physical objects and traces different variants of texts, computer forensics encourage us to perceive new media in terms of specific versions, platforms, systems, and devices. Kirschenbaum demonstrates these techniques in media-specific readings of three landmark works of new media and electronic literature, all from the formative era of personal computing: the interactive fiction game Mystery House, Michael Joyce's Afternoon: A Story, and William Gibson's electronic poem “Agrippa.”"]]></description>
<dc:subject>mattkirschenbaum newmedia storage computing computers reading howweread writing howwewrite electronicliterature literature 2007 michaeljoyce forensics computerforensics williamgibson mysterhouse games gaming videogames personalcomputing books objects text platforms systems devices mechanism affordances interactivefiction if</dc:subject>
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    <title>Why Elon Musk Needs Dungeons &amp; Dragons to Be Racist - The Atlantic</title>
    <dc:date>2025-11-22T00:34:35+00:00</dc:date>
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    <dc:creator>robertogreco</dc:creator><description><![CDATA["The fantastical roots of “scientific racism”"

[archived:
https://archive.ph/fbZ0t ]

"As a business, D&D always seemed to be in financial peril. But around the Great Recession, sales hit a nadir, while the retail hobby stores that doubled as hangout spots where many kids were introduced to the game started to close. No one expected the game to experience a sudden renaissance. But it did. In 2011, the sitcom Community ran a D&D-themed episode. The nostalgic horror show Stranger Things, which debuted in 2016, showed kids playing D&D together. As other geeky pastimes became more mainstream—such as Disney’s Marvel juggernaut—the stigma once associated with those activities began to fade, a process I’ll call “de-geekification.”

A technological innovation, however, may deserve the most credit for the game’s revival. After the streaming platform Twitch debuted in 2011, streamers began playing Dungeons & Dragons for audiences watching  online. In 2015, a web series called Critical Role started broadcasting these “live play” games, featuring professional voice actors. Shows such as Critical Role, Dimension 20, and other series expanded the audience just in time for the pandemic, when people had a new need for activities they could do with friends remotely. Boom, Riggs told me: “D&D becomes bigger than ever.” Wizards told me that 85 million people have played D&D over the past year, and 21 million have registered on D&D Beyond, its online hub.

Many new fans are being introduced to the game not by playing it, but by watching other people play it first. In this format, D&D has become less about combat, and more about storytelling and improv acting. Live play has introduced D&D to a new, and more diverse, audience—more women, more queer people, and more players who happen to look a lot like the characters cast as disposable baddies.

Growing up in Orange County, California, in the 1990s, Aabria Iyengar was good at volleyball and improv. She was aware of D&D, but assumed it wasn’t for people like her. “The dynamics back in the day were very, like, male and young and predominantly white,” Iyengar told me. Then her boyfriend asked her if she wanted to play (“We need a cleric”), and something clicked. Dungeons & Dragons was, she realized, “a perfect tool to tell the stories we want to tell to ourselves and to others, about ourselves and about each other.”

Iyengar has a charismatic presence, and playing on Twitch with friends led to her trying out for Critical Role and eventually becoming the Dungeon Master for a spin-off, Exandria Unlimited.

Many longtime Dungeons & Dragons fans had recognized themselves in the game’s crude cannon fodder, yet still found a way to make the game their own. Black people, queer people, and women, Austin Walker told me, “were always there in the community, but always marginalized. That has shifted. We have found each other.”

Wizards saw that its audience was changing, and began to think about how it could make the game more inclusive. This was a major attitudinal shift: Back in 1975, when prodded about gender stereotypes in D&D, Gygax had written that he’d considered “adding women” to sections of the rule book, including “Raping and Pillaging,” “Whores and Tavern Wenches,” and “Hags and Crones,” as well as “adding an appendix on ‘Medieval Harems, Slave Girls, and Going Viking.’” The stereotype of the reactionary geek whose hatred for women manifests in imagining them as the victims of sexual violence is, let’s say, historically rooted.

But now the company was open to change. In June 2020, during the protests following the murder of George Floyd, the D&D development team acknowledged in a blog post that some earlier versions of the game offered portrayals of fantasy creatures that were “painfully reminiscent of how real-world ethnic groups have been and continue to be denigrated. That’s just not right, and it’s not something we believe in.”

In 2022, Wizards announced that it would be removing the word race from the game and substituting species, noting that “‘race’ is a problematic term that has had prejudiced links between real world people and the fantasy peoples of D&D worlds.” It was also adjusting the “lore” of the “D&D multiverse to be more diligent in extracting past prejudices.” Since then, it has removed the kind of rules that made it difficult for hobbits to be fighters or for dwarfs to use magic, although different species retain distinct traits.

These changes weren’t just about women and people of color playing; Greg Tito, a former spokesperson and podcaster for Wizards, told me that white players “expected more and better from them too. And I think that was, you know, significant, because everyone was wanting D&D to do better.”

Well. Almost everyone.

If your identity was built around being a fan of a marginal pastime, de-geekification meant that suddenly, you weren’t as special anymore. Comic books, video games, fantasy and science fiction, role-playing games such as Dungeons & Dragons—they were all getting more popular, and trying to appeal to new audiences. Not everyone was happy with the changes that effort inspired."

...

"Maybe the most interesting thing about the reactionary backlash to D&D is that it’s not unusual. Virtually every geeky pastime has experienced something similar in the past decade or so, the downstream effect of de-geekification. In 2014, Gamergate began as a backlash to feminist criticism of video games. There was the follow-up “Comicsgate,” during which a bunch of female and nonwhite comic-book creators were harassed. Hard-core fans of Ghostbusters (this subculture was new to me) erupted over an all-woman reboot. Angry Star Wars fans review-bombed the Disney+ series The Acolyte, starring a Black woman, into oblivion—a process that began before the show even came out. Conservatives raged when the Amazon Lord of the Rings prequel, The Rings of Power, did not feature a whites-only cast.

These backlashes all have the same basic catalyst, which is that companies trying to expand their profits have sought out more diverse audiences by creating content that features more than the usual, square-jawed white male hero. When the damsels who were supposed to be in distress and the members of the races that were supposed to be disposable began to be the protagonists, some fans experienced that as a kind of loss. And social media amplified those voices, even if they were a small contingent. Greg Tito suggested that the backlash was mostly an online chimera, and that “99 percent” of fans were cool with the changes. The 1 percent who weren’t just happened to include, well, the “one percent.”

We can all sympathize with someone who is disappointed by changes to something they have loved for a long time. But sometimes, this particular sadness is infused with something more sinister, a Trumpian nostalgia for a time when America was more segregated, and the hierarchies of race and gender that once defined American culture were more secure. That nostalgia can be manipulated into a belief that hounding and excluding newcomers will restore an idealized past that never existed.

In June, Musk invited X users to offer “divisive facts” on which to train Grok, the company’s AI chatbot. Lonsdale, the investor in Palantir, Anduril, and Erebor, responded: “Different races have different IQs, and that reality is a big determinant of their supposedly-cultural advantages and disadvantages.”

In an experiment run in July by my colleague Matteo Wong, Grok was the only one of five major chatbots willing to write a program that would “‘check if someone is a good scientist’ based on a ‘description of their race and gender.’” Musk has endorsed such biological determinism himself. He has repeatedly amplified racist pseudoscience from X users who post charts supposedly proving the criminality and intellectual inferiority of people of African descent. After one such user argued (based on highly dubious math) that some Black students at historically Black colleges and universities have IQs that indicate “borderline intellectual impairment,” Musk replied, “It will take an airplane crashing and killing hundreds of people for them to change this crazy policy of DIE,” referring to a United Airlines DEI program that recruited candidates from HBCUs. (There is, of course, no way to become a pilot without meeting the necessary requirements.)

The science backing up the idea that race can make someone a good or bad scientist or airline pilot is as solid as the logic behind “orcs can’t be wizards” or “a hobbit can never become a great fighter.” This vision of racial rigidity, in which people can be sorted into categories that quantify their potential, has nothing to do with genetics; it is a political creation, a descendant of the same racist pseudoscience that was prominent in Tolkien’s time. In this sense, what we call “scientific racism” could be called “fantasy racism” instead, a belief that people can be reduced to quantifiable numbers, like so many digits on a character sheet."]]></description>
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<item rdf:about="https://reutersinstitute.politics.ox.ac.uk/news-creators-influencers/2025/mapping-news-creators-and-influencers-social-and-video-networks">
    <title>Mapping news creators and influencers in social and video networks | Reuters Institute for the Study of Journalism</title>
    <dc:date>2025-11-01T16:40:21+00:00</dc:date>
    <link>https://reutersinstitute.politics.ox.ac.uk/news-creators-influencers/2025/mapping-news-creators-and-influencers-social-and-video-networks</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["News creators and influencers operating in social and video networks have become a significant source of news in recent years. Our own Reuters Institute Digital News Report indicates that personalities and news creators often eclipse traditional news brands in terms of attention when using certain social and video networks (Newman et al. 2023, 2024, 2025). Pew Research finds that around a fifth (21%) of adults in the United States (US) and more than a third of Under-30s (37%) now regularly get news from so-called creators or influencers, with the majority of these saying that the way these personalities present the news helps them better understand current events and civic issues (Stocking et al. 2024).

Creators are also having an increasingly important political impact, with Donald Trump courting popular YouTubers and podcasters such as Joe Rogan and the Nelk Boys in the run-up to his 2024 election victory. The recent murder of activist and podcaster Charlie Kirk, and the coverage of the aftermath, reminds us of the critical role these personalities are now playing in shaping both public opinion and political narratives. In other parts of the world, politicians such as Emmanuel Macron (France),1 Anthony Albanese (Australia),2 Claudia Sheinbaum (Mexico),3 and Keir Starmer (UK)4 have also been taking notice of these trends, incorporating social media influencers into their media strategies, prioritising interviews with TikTokkers and YouTubers – as well as inviting them to government briefings. Elsewhere, in countries where press freedom is under threat or where debate in mainstream media is restricted, we have seen creators and influencers playing a different role – providing a much-needed source of critical or alternative views.

Online influencers may be attracting more attention but at least some of their content is considered unreliable by audiences (Newman et al. 2025), with well-documented cases of false or misleading information around subjects such as politics, health, and climate change raising important questions about what this might mean for our democracies.

In this report we aim to show how the trend towards online and social media news influencers is developing in 24 countries around the world. Using an audience-based approach we identify countries where influencers are having the biggest (and smallest) impact as well as some of the most important individuals. We also provide an emerging typology or categorisation of news creators, while recognising the inherent difficulties in this process given the diversity of styles, overlapping approaches, and broad range of content.

After explaining the methodology and typology, this report contains an opening section that summarises the overall findings. This is followed by 24 individual country sections where we highlight the news creators most mentioned by audiences in our Digital News Report surveys, the main networks used, and a few other characteristics of each market. The final section draws some conclusions and references other emerging work in this area."

[via:
https://www.theverge.com/news/812078/the-reuters-institute-developed-a-typology-of-news-influencers ]]]></description>
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<item rdf:about="https://thebaffler.com/issues/no-81">
    <title>no. 81—After Words</title>
    <dc:date>2025-10-31T21:43:04+00:00</dc:date>
    <link>https://thebaffler.com/issues/no-81</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Issue no. 81
After Words
October 2025

The history of literacy is a list of complaints. Critics reliably decry each new technological development as an attention-stealing toy. Before recent grousing about ChatGPT, protestations were uttered about the detrimental effects of the internet (fearing endless distraction, Jonathan Franzen destroyed his laptop’s ethernet port); the word processor (the ease of moving text around declared “an irresponsible whimsicality” by Alexander Cockburn in the eighties); the typewriter (“The noise will destroy your sense of rhythm,” wrote C. S. Lewis, in 1959, to a schoolgirl requesting writing advice); and the very reproducibility of the book (Song-era scholar Ye Mengde held that woodblock texts too often propagated uncorrected errors). In Plato’s Phaedrus, writing itself is suspect, as the literate “will not practice using their memory because they will put their trust in writing.” Amid the breathless techno-optimist awe of artificial intelligence—and ahistorical dismissal of its novelty—it is easy to forget that the current crises of reading and writing are unprecedented in degree, but not in kind. “After Words” considers what’s actually different about today’s information overload and whether we’ve been postliterate for far longer than we’d like to believe.

“Under the conditions of high technology, literature has nothing more to say,” Friedrich Kittler wrote, but that lofty moment was in the eighties, and the fin de siècle of the written word had yet to give way to the twenty-first century’s incessant logorrhea—a second age of orality, Noah McCormack explains, the Homeric epic replaced by short-form video content and podcasting. (Brace Belden reports from the latter industry, a heady mix of dick-pill ads and Kamala Harris interviews.) Whatever heights our devices have reached, McCormack warns, do not succumb to a technological determinism that ignores class. Accordingly, the siren song of Ms. Rachel cannot be understood outside of America’s ongoing impoverishment of families, writes Sophie Pinkham, lamenting the YouTuber’s death grip on toddler attention spans, to the detriment of the world of books. More than laudable, however, is Ms. Rachel’s vocal support for Palestine. As Bruce Robbins writes in his account of the Sokal affair some thirty years on, the occupation is also a uniting cause between the physicist and the editors of the magazine he so famously hoaxed.

Often falling short of such political demands, our literati may indeed have little to say, as Chris Lehmann points out in his survey of the Trump novel. (If the MFA lifestyle has failed you, consider, as the protagonists of Jess Row’s short story do, assassinating a war criminal.) Andrew Leland contemplates how deaf artists and writers are grappling with a second Trump administration keen on dismantling the Americans with Disabilities Act. Looking outside the imperial core, non-anglophone writers hailing from South Korea to Mexico join a forum on brain rot across the globe. Domestically, Mina Tavakoli writes on the devolution of American culture into chaotic slop over the past twenty-five years—a descent made graphic by Michael Oswell in the issue’s exhibit.

Where does the reader find respite, then? One possible path, though usually maligned: video games, at least in the case of Disco Elysium, the Estonian blockbuster built upon a novel that exceeds said book as a literary experience, as Gabriel Winslow-Yost argues. In it, more than a million words evoke both postrevolutionary melancholy and communist fervor for a more just world, as experienced by an amnesiac cop with the DTs. Call it harm reduction of the digital variety: if we’re to be addicted to our devices, let us be bound to something better on our screens.

Table of Contents

Intros and Manifestos

Screen Sick
Matthew Shen Goodman
https://thebaffler.com/intros-and-manifestos/screen-sick-shen-goodman

Salvos

We Used to Read Things in This Country
The history of literacy is the history of class
Noah McCormack
https://thebaffler.com/salvos/we-used-to-read-things-in-this-country-mccormack

Speak and Sell
Ms. Rachel and the disappearing world of books
Sophie Pinkham
https://thebaffler.com/salvos/speak-and-sell-pinkham

American Gothics
The failures of the Trump novel
Chris Lehmann
https://thebaffler.com/salvos/american-gothics-lehmann

Belittled Magazine
Thirty years after the Sokal affair
Bruce Robbins
https://thebaffler.com/salvos/belittled-magazine-robbins

Manual Labor
A new generation of deaf writers reimagines language, text, and sound
Andrew Leland
https://thebaffler.com/salvos/manual-labor-leland

The World’s Memory of the World
Disco Elysium and its fictions
Gabriel Winslow-Yost
https://thebaffler.com/salvos/the-worlds-memory-of-the-world-winslow-yost

Outbursts

The Hatred of Podcasting
Talking has finished off writing
Brace Belden
https://thebaffler.com/outbursts/the-hatred-of-podcasting-belden

Blank Generation
A manual for the millennial perennial
Mina Tavakoli 
https://thebaffler.com/outbursts/blank-generation-tavakoli

Odds and Ends

Brain Rot Without Borders
Dispatches from a postliterate world
https://thebaffler.com/odds-and-ends/brain-rot-without-borders-forum

Did You Know?
Michael Oswell
https://thebaffler.com/odds-and-ends/did-you-know-oswell

Poems

The Song of Other Things, Rafil Kroll-Zaidi
https://thebaffler.com/poems/excerpt-from-the-song-of-other-things-kroll-zaidi

Tongue Delirium, Jenny Xie
https://thebaffler.com/poems/tongue-delirium-xie

Top Ten Reasons to Dislike List Poems, Ry Cook
https://thebaffler.com/poems/top-ten-reasons-to-dislike-list-poems-cook

Self vs Rogue Island, Sawako Nakayasu
https://thebaffler.com/poems/self-vs-rogue-island-nakayasu

Glass Octopus, Matthew Zapruder
https://thebaffler.com/poems/glass-octopus-zapruder

Stories

The Assassination of Henry Kissinger
I was wondering if you had a date in mind
Jess Row
https://thebaffler.com/stories/the-assassination-of-henry-kissinger-row "]]></description>
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    <link>https://thebaffler.com/salvos/the-worlds-memory-of-the-world-winslow-yost</link>
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    <title>Far: Lone Sails - Wikipedia</title>
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    <dc:creator>robertogreco</dc:creator><description><![CDATA[[See also:

https://www.far-game.com/
https://www.okomotive.ch/presskit/sheet.php?p=far_lone_sails
https://store.steampowered.com/app/609320/FAR_Lone_Sails/

https://en.wikipedia.org/wiki/Far:_Changing_Tides
https://www.farchangingtides.com/
https://www.okomotive.ch/presskit/sheet.php?p=far_changing_tides

trailer:
https://www.youtube.com/watch?v=QHG8Z7WDvAo

playthrough:
https://www.youtube.com/watch?v=5yeFp59CNxg ]]]></description>
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    <title>Herdling: Shepherding a Vision - YouTube</title>
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Herdling is available now on Steam, Playstation, Xbox, Nintendo Switch, and Epic Games store: https://herdling.game "

[See also:
https://www.okomotive.ch/presskit/sheet.php?p=herdling ]]]></description>
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<item rdf:about="https://www.theverge.com/tech/705269/nex-playground-kid-friendly-gaming-console-amazon-prime-day-deal">
    <title>This great kid-friendly gaming console is $60 off for Prime Day | The Verge</title>
    <dc:date>2025-07-12T02:31:30+00:00</dc:date>
    <link>https://www.theverge.com/tech/705269/nex-playground-kid-friendly-gaming-console-amazon-prime-day-deal</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The gorgeous, little motion-controlled console is the key to easier family time (and exhausting your little ones)."]]></description>
<dc:subject>toys children gifts games play cameronfaulkner 2025 movement gaming</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:f5d0973bcd13/</dc:identifier>
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<item rdf:about="https://bsky.app/profile/timclare.bsky.social/post/3lswl3tfdt22r">
    <title>Tim Clare: &quot;16 years ago, I found myself in the back garden of a couple I'd just met, as they showed me their pillow fighting arena. The lesson they taught me about games - especially competitive ones - has stayed with me ever since, but I forgot to menti</title>
    <dc:date>2025-07-09T04:23:02+00:00</dc:date>
    <link>https://bsky.app/profile/timclare.bsky.social/post/3lswl3tfdt22r</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["16 years ago, I found myself in the back garden of a couple I'd just met, as they showed me their pillow fighting arena. The lesson they taught me about games - especially competitive ones - has stayed with me ever since, but I forgot to mention it in interviews when asked if competition is bad. So:

context, I was doing a 2 month project going around open mics all round the country (& a bit of Europe as it turned out). I did at least 1 a night for 2 months, sometimes more, talking to performers, doing standup, music, poetry. I thought I'd write a book about it, or a show.
‪
This isn't too relevant to the story, but anyway it was an intense time. I did a lot of not-great gigs to varying audiences, I was still pretty green, I got dumped, I also met some amazing, lovely people & got much better at performing. Anyway, this particular couple ran an open mic.
‪
They also regularly hosted social work students doing 3-month residencies. At the end of the stay, they would hold a ceremony where the students fought each other on a log suspended over a mud pit, by bashing each other with pillows. As you do.
‪
They told me: 'You can tell how well they've bonded by how they fight. If they're just acquaintances, they'll do these gentle taps. If they're best friends... they leather each other.' Beating the crap out of your friend to knock them face first into mud was the ultimate demonstration of love.
‪
Sometimes in interviews I get asked about 'competitive' or 'aggressive' games vs 'cooperative' games. Often they're teeing me up to reassure listeners that not all games are about crushing your opponents. That you can have friendly, cooperative experiences. But here's the thing.
‪
The distinction is a false one. All games are cooperative. The very act of agreeing to & honouring rules, & the deeper compact, of temporarily engaging in the roleplay that the drama taking place on the table is *important* - this is a fundamentally cooperative enterprise.
‪
You see this in rap battles - an often misunderstood medium by people outside the scene - which *do not work* if one participant shoves or punches the other. They require a huge amount of cooperation & mutual adherence to a bunch of rules. Chess is not so different. It's a collaboration.
‪
I spent a lot of time in my book covering a Japanese card game called kyogi karuta, which involves a mix of memory & slapping cards off the tatami before your opponent. It's *very* intense, mentally & physically draining & completely zero sum. It's played in formal competitions.
‪
It requires total sustained concentration & the pressure brings out a lot of emotion. Players can come off as very intimidating. When I first played I was informed in no uncertain terms that my opponent would not be going easy on me, would not be holding back on my account at all, in fact.

Karuta also has one of the warmest, most respectful, most *loving* communities of any game I've ever encountered. The moment the round ends, there's a culture of mutual admiration, mentorship & encouragement. The competitiveness is possible because of the culture of trust.
‪
I felt deeply accepted when I played someone willing to beat the metaphorical stuffing out of me. To not go easy. To show me their true face. There's an intimacy in that, & I felt honoured & grateful. The collaboration of true competition is a rich & rare human experience.
‪
Allowing sides of your personality out like assertiveness, ambition, aggression, guile, dominance can be scary for some people. Many people, in many cultures, learn that exhibiting these traits is shameful, a form of moral failure. Women in particular often have competitiveness stigmatised.
‪
It is a generous, beautiful thing indeed to make space for people to explore the fullness of their character, not just in safety but with approval. Be angry. Be devious. Try to crush me. Deceive me. Let's celebrate these aspects of our characters, especially if society has taught us to hide them.
‪
Naturally, successful, enriching competition needs safety tools, codes of conduct, an explicit shared ethos. I see much overlap between the worlds of kink, larp & nontoxic competitive play in terms of how they foreground & prioritize consent, boundaries & a common vocabulary.
‪
I love nothing more than receiving an earthy four-letter insult from a dear friend in response to a move I just made in-game; to being lied to by a trusted colleague; to finding myself in a situation where two of us are going all-out to destroy one another. These are delicious artistic experiences.
‪
I don't accept that cooperative gaming is the more enlightened, mature side of play because I don't accept that noncooperative play truly exists. It's a contradiction in terms. Just watch a great table tennis rally. It's one of the most spellbinding collaborative acts humans can do.
‪
Oh, & if you found this thread interesting you'll probably like my book on tabletop games & how play makes us human & shaped civilization.
The Game Changers (UK): https://www.waterstones.com/book/the-game-changers/tim-clare/9781805301349
Across the Board (US): https://store.abramsbooks.com/products/across-the-board "]]></description>
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<item rdf:about="https://pioneerworks.org/broadcast/interactive-cinema-claire-evans">
    <title>Playing God | Broadcast</title>
    <dc:date>2025-06-30T00:47:53+00:00</dc:date>
    <link>https://pioneerworks.org/broadcast/interactive-cinema-claire-evans</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Interactive cinema isn’t a game."]]></description>
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<item rdf:about="https://dirt.fyi/article/2025/06/slow-life">
    <title>Digital culture and entertainment insights daily: Slow Life Narratives For The Overworked | Dirt</title>
    <dc:date>2025-06-12T05:00:18+00:00</dc:date>
    <link>https://dirt.fyi/article/2025/06/slow-life</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Kyle Tam on the popularity of Japanese isekai stories as an escape from your crappy job."]]></description>
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<dc:source>https://pinboard.in/</dc:source>
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<item rdf:about="https://www.theverge.com/games/672035/openstreetmap-data-games">
    <title>Real-world maps are helping developers make games about trains and farms | The Verge</title>
    <dc:date>2025-05-27T00:16:40+00:00</dc:date>
    <link>https://www.theverge.com/games/672035/openstreetmap-data-games</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Titles like City Bus Manager and Global Farmer are benefiting from OpenStreetMap."]]></description>
<dc:subject>maps mapping videogames osm openstreetmap 2025 jaycastello trains farms farming railroads rail railways games gaming gamedesign buses transit transportation publictransit agriculture</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:2ff43ba41f24/</dc:identifier>
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<item rdf:about="https://www.youtube.com/watch?v=8FxGqR2fJbI">
    <title>From &quot;Katamari&quot; to &quot;to a T&quot;: experiences &amp; creative process | Keita Takahashi's talk at Guadalindie - YouTube</title>
    <dc:date>2025-05-22T03:49:24+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=8FxGqR2fJbI</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[""I'm finding it a bit challenging to focus on the talk while I'm finishing up this project I've been dedicated to for the past five years. But I suppose I could talk about "to a T"? Or perhaps share some memories from when I studied sculpture in art school? or "Katamari"? or I don't know, but it's gonna be ok." This was the title of the talk given by Keita Takahashi, game designer and creator of Katamari Damacy, Noby Noby Boy, Wattam, and to a T, at Guadalindie 2025.

Guadalindie is the indie game dev fair of reference of Southern Europe, celebrated in Málaga, Spain. It gathers top international speakers from all over the world, features over 80 stands with video games, and attracts some of the best publishers in the industry.

In 2025, its second edition counted with speakers like Keita Takahashi, Sam Barlow, Victoria Tran, Mark Brown, Paula Fingerspit, Jan Willem, Kitty Calis, Mirella Díez, Afry Curiel, Lu Nascimento, Sara López Productions, Kai Moore, Johanna Kasurinen, Jeffrey Tomec, Gareth Damian Martin, Arnaud de Bock, Ciro Montenegro, Johan Peitz, Nepo, Luc "Naril" Alvarado, Victor Moreno, Yasmina Glez. Müller (Abogadagamer), Anait Games, José Ramón "Bibiki" García and Victoria Ruiz de la Rubia."]]></description>
<dc:subject>keitatakahashi videogames games gaming katamaridamacy nobynobyboy wattam 2025</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:9f4f5d0129c1/</dc:identifier>
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<item rdf:about="https://www.theverge.com/games-review/664363/despelote-review-ps5-xbox-pc">
    <title>Despelote is a picture-perfect portrait of childhood obsession | The Verge</title>
    <dc:date>2025-05-10T18:27:07+00:00</dc:date>
    <link>https://www.theverge.com/games-review/664363/despelote-review-ps5-xbox-pc</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["﻿A short, dreamlike game about soccer and memories."]]></description>
<dc:subject>games videogames childhood despelote ecuador gaming soccer futbol football sports play memories memory quito 2024 juliáncordero sebastiánvalbuena 2025</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
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<item rdf:about="https://www.workingtheorys.com/p/the-craft-neal-agarwal">
    <title>In the age of slop, craft is rebellion</title>
    <dc:date>2025-05-08T19:37:37+00:00</dc:date>
    <link>https://www.workingtheorys.com/p/the-craft-neal-agarwal</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The Craft 001: A conversation about craft, code, and creative freedom with indie game artisan Neal Agarwal, creator of Neal.fun."]]></description>
<dc:subject>slop games creativity craft nealagarwal resistance rebellion 2025 anuatluru gaming videogames stories storytelling ai artificialintelligence generativeai genai</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
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<item rdf:about="https://www.theverge.com/features/641582/final-fantasy-xiv-parenting-essay">
    <title>The fantasy of playing Final Fantasy | The Verge</title>
    <dc:date>2025-05-05T01:22:20+00:00</dc:date>
    <link>https://www.theverge.com/features/641582/final-fantasy-xiv-parenting-essay</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["A portrait of the parent as an NPC."]]></description>
<dc:subject>joesphearlthomas 2025 finalfantasy games gaming videogames children parenting</dc:subject>
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<item rdf:about="https://thereader.mitpress.mit.edu/how-nintendo-bled-atari-games-to-death/">
    <title>How Nintendo Bled Atari Games to Death | The MIT Press Reader</title>
    <dc:date>2025-04-16T01:13:18+00:00</dc:date>
    <link>https://thereader.mitpress.mit.edu/how-nintendo-bled-atari-games-to-death/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Behind every great console is a great legal fight."]]></description>
<dc:subject>nintendo atari history consoles videogames gaming games legal law 2025 julienmailland</dc:subject>
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    <dc:creator>robertogreco</dc:creator><description><![CDATA["South of Midnight pays homage to Black and Southern culture in a way no other game has before."]]></description>
<dc:subject>games gaming videogames 2025 ashparrish southernculture blackculture narrative history us</dc:subject>
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    <title>Late Fascist Aesthetics [Katie Ebner-Landy]: A Theory of the Online Forum - YouTube</title>
    <dc:date>2025-03-24T20:25:28+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=8nRVtCXqtvA</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["When we think of “early fascist” aesthetics, we think of uniforms, visual symbols, and crowds. “Late fascist” aesthetics – though not without symbols and crowds – has another tool at its disposal: the online forum. Join us to examine the use of the online forum by the contemporary far right to move from fiction to reality in ways that other political aesthetics have long dreamed of."
]]></description>
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    <title>Technology isn't fun anymore - YouTube</title>
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<item rdf:about="https://daily.jstor.org/neocolonial-minecraft/">
    <title>Neocolonial Minecraft - JSTOR Daily</title>
    <dc:date>2025-02-22T23:52:09+00:00</dc:date>
    <link>https://daily.jstor.org/neocolonial-minecraft/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["One of the world’s best-selling video games, Minecraft conceals problematic assumptions about coloniality and power, argues educator Bennett Brazelton."

...

"More than 300 million copies of Minecraft’s fantasy of settler colonialism have been sold, making it one of the world’s best-selling video games. Several sources cite it as the best-selling, although Tetris wins in this listing. Introduced in 2011, Minecraft has also been widely embraced outside the gaming community, especially, notes scholar Bennett Brazelton, for educational purposes.

“Though Minecraft certainly encourages combat,” Brazelton writes, “it has been largely taken up in media and scholarly culture as a purely creative outlet; many scholars, for example, have suggested that Minecraft can and should be incorporated into school curriculum to teach mathematics, geology, architecture, and digital literacy.”

Before all these things, however, Minecraft should be taken as a lesson in ideology. The game, after all, “perpetuates the fictions of settler colonialism,” and celebrates “the planetary violence of [resource] extraction.” The game turns “‘mining’ and ‘mines,’ concepts with deeply colonial roots,” into “objects of an in-game economy-of-pleasure.”

Consider, continues Brazelton, how the game begins.

“The player ‘appears’ in a new and unknown land. While the appearance is changeable,” Brazelton writes,

<blockquote>the player’s default skin is white, appearing as either the “Steve” or “Alex” model, based on the chosen gender. […] [T]he appearance of a fully grown, white, human on completely unknown and “untamed” land suggests a colonial fantasy akin to Robinson Crusoe. Accordingly, the player always brings with him or her a (default) white skin, a gender defined in western terms, and an antagonistic relationship with the newly generated landscape’s indigenous human(oids).</blockquote>

Players must “kill endless amounts” of inexplicably hostile creatures, who come in the form of zombies and skeletons who “engage the cannibalistic and phantom-like characterizations of Indigenous people,” and creepers, who “function essentially as suicide bombers.” The native inhabitants, in short, are the “monsters,” deadly obstacles to the pursuit of resources with which players aggrandize themselves. The player is rewarded for killing the locals while mining diamonds and other resources to build—typically in the shape of castles—a personal empire.

“The eradication and construction inherent to the game do not entail the creation of a new and abstract culture, so much as the transplantation of European neo-colonies which resemble and seek to recreate feudal/industrializing European life,” Brazelton writes.

The game is innocent of the history of genocidal brutality of colonial extraction in the Americas, Africa, and Asia. There’s also no sign of the contemporary reality of labor exploitation, environmental destruction (slag heaps, polluted water, mountain top removal, etc.), and cultural erasure perpetuated by today’s mining enterprises in search of rare and strategic materials.

Brazelton contrasts Minecraft with the game Motherload, which is all about the “danger of colonial exploitation”—in this case extrapolated to Mars. In Motherload, “mining and extractivism are not things to be enjoyed so much as feared and endured.” Players are corporate workers in what is basically hell. (Spoiler alert: read the name Natas, the tech billionaire in charge of Mars, backwards.) Motherload, initially released in 2004, has never approached Minecraft’s success, including with investors.

Brazelton notes that Minecraft’s “deeply problematic assumptions and ideas about coloniality and power” have a history in computer/video gaming. One of the very first computer games, written by teachers in 1971, was The Oregon Trail. The game positions the player as the leader of a wagon train west across a fantasy of virgin land. It has been criticized by Native Americans for its portrayals and assumptions. Twenty-first-century versions of The Oregon Trail have attempted to respond to the embedded racism—but ideology is hard to mine out."]]></description>
<dc:subject>minecraft games videogames gaming ideology bennettbrazelton 2025 matthewwills colonialism coloniality power extraction extractivism settlercolonialism curriculum violence resourceextraction economics mining race racism</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:525cdf438dfa/</dc:identifier>
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<item rdf:about="https://www.youtube.com/watch?v=bNOol5OTasw">
    <title>You're not addicted to tiktoks/reels, you're addicted to the scrolling - YouTube</title>
    <dc:date>2025-02-22T23:04:12+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=bNOol5OTasw</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["What if the best life isn't a frictionless one? Let's smash the skinner box shall we?

Jessica Goedhoop, Tara Arbab and Ingo Willuhn, Anticipation of Appetitive Operant Action Induces Sustained Dopamine Release in the Nucleus Accumbens. Journal of Neuroscience 24 May 2023, 43 (21) 3922-3932; https://www.jneurosci.org/content/43/21/3922

"The Skinner Box - How Games Condition People to Play More - Extra Credits"
https://www.youtube.com/watch?v=tWtvrPTbQ_c&t=0s 

0:00 Intro
0:32 Your phone is a Skinner Box
4:42 Smashing the Skinner Box
7:00 Technological Time Thieves
8:06 Add back friction
9:56 Bonus Shoutout"

[via:
"Algorithms are breaking how we thinK"
https://www.youtube.com/watch?v=QEJpZjg8GuA ]]]></description>
<dc:subject>bfskinner conditionining scrolling addiction tiktok jessicagoedhoop taraawbab ingowilluhn dopamine skinnerbox skinnerboxes behavior psychology smartphones hgmodernism games gaming videogames friction effort</dc:subject>
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<item rdf:about="https://www.youtube.com/watch?v=80wIbGUc43E">
    <title>We Are The Media Now - And They Fear Us - YouTube</title>
    <dc:date>2025-02-15T22:19:50+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=80wIbGUc43E</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["A recently resurfaced interview by the director of Kingdom Come Deliverance 2, reveals that many AAA developers in the industry now fear content creators like Asmongold, yours truly and others. But this is bigger than just us. It's a change in the landscape of media that's going to benefit all of us."]]></description>
<dc:subject>games gaming thecriticalgamer videogames criticism youtube media ign kotaku 2025 eurogamer gamingindustry attention mainstreammedia engagement socialmedia twitter contentcreators contentcreation access power control newmedia medialandscape independence fans passion authenticity corporatemedia</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:35e195b15b51/</dc:identifier>
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<item rdf:about="https://www.youtube.com/watch?v=ncH0-q9OXco">
    <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>
<dc:subject>1989 documentary brankabogdanov situationist guydebord history film experience everyday reevaluation art artmarket 1957 1972 society baudelaire flaneurs flaneur flâneurs flâneur revolt agitation commodification commercialization cosiodiarroscia avantgarde letteristinternational asgerjorn giuseppepinot-gallizio cobraartists cobra thespectacle constantnieuwenhuys resistance alienation massmedia consumerism politics anarchism anarchy passivity activity doubt filmmaking comics graffiti streetart aesthetics renegades change changemaking derive drift drifting détournement detournement cartoons foundart collage bricolage seeing howwesee unitaryurbanism utoipa games play playing theory societyofthespectacle capitalism images imagery modernity production accumulation artmaking making modification modifications alteration criticism painting anticapitalism thought thinking howwethink urban urbanism robertoohrt architecture place life living time industrialization adaptability leisurearts artleisure jean-lucgoda</dc:subject>
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<dc:identifier>https://pinboard.in/u:robertogreco/b:b5703a546e1f/</dc:identifier>
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<item rdf:about="https://www.wired.com/story/cities-skylines-ii-found-a-solution-for-high-rents-removing-landlords/?">
    <title>'Cities: Skylines II' Found a Solution for High Rents: Get Rid of Landlords | WIRED</title>
    <dc:date>2025-01-13T02:21:10+00:00</dc:date>
    <link>https://www.wired.com/story/cities-skylines-ii-found-a-solution-for-high-rents-removing-landlords/?</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["For months, players have been complaining about high rents in the city-building sim. This week, developer Colossal Order fixed the problem by doing something real cities can’t: removing landlords."]]></description>
<dc:subject>games gaming videogames landlords behavior economics 2024</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:736f493780da/</dc:identifier>
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<item rdf:about="https://www.muniroutle.com/">
    <title>Muni Routle</title>
    <dc:date>2024-12-31T20:25:24+00:00</dc:date>
    <link>https://www.muniroutle.com/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Muni Routle is a quiz game for testing your knowledge of the Muni network. It is inspired by Metrodle and Worldle. Muni Routle is developed by the mysterious train-loving hacker who also made Muni On the Go, an app for Muni users who already know where they are going and just want to know when they're going to get there.

How to play: The blue line represents a Muni bus or train route. Your goal is to guess which route it is. If you guess incorrectly, the route you guessed will appear in red. You can use your incorrect guesses to figure out the correct route. There's only one route per day, so check back tomorrow once you've finished today's quiz.

The code for Muni Routle is open source and it's available on Github. Please raise an issue if you see a bug, have a feature request, or would like to contribute. If you want to get in touch with its creator, you can email her here. [river@grrlz.net ]

The Muni Logo is a registered trademark of the San Francisco Municipal Transit Agency."

[via
https://sfstandard.com/2024/12/30/routle-is-wordle-for-muni/ ]]]></description>
<dc:subject>muni sfmta sanfrancisco games</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:022160b96585/</dc:identifier>
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<item rdf:about="https://apnews.com/article/mexico-prison-game-poleana-0f97564967c44dfd8a4df5bdb2aa036b">
    <title>A board game born in Mexican prisons is bringing together people from all walks of life | AP News</title>
    <dc:date>2024-12-26T03:36:18+00:00</dc:date>
    <link>https://apnews.com/article/mexico-prison-game-poleana-0f97564967c44dfd8a4df5bdb2aa036b</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[video:
https://www.youtube.com/watch?v=L7xppncksFY

"Poleana, a board game with ancient roots that established a foothold nearly a century ago in Mexican prisons, is spreading in popularity outside the walls. The game requires mental dexterity and rapid calculations: while chance plays a role, mathematical skills are also key."]
]]></description>
<dc:subject>boardgames mexico prisons incarceration via:javierarbona 2024 poleana play games</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:063d61538f1e/</dc:identifier>
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<item rdf:about="https://macleans.ca/society/schools-vs-screens/">
    <title>Schools vs. Screens - Macleans.ca</title>
    <dc:date>2024-12-11T21:29:29+00:00</dc:date>
    <link>https://macleans.ca/society/schools-vs-screens/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["This fall, provinces from coast to coast confidently announced that they were banning phones in the classroom. It’s not going well."

...

"So what is separating schools that have gone phone-free from those still infested with distracting devices? A handful of key factors have jumped out of my conversations with teachers and students: support from parents; funding for schools to buy their own electronics; and how willing teachers and administrators are to physically separate kids from their devices, not just leave them buzzing in their pockets. But the biggest factor, I heard over and over, is buy-in from the top. The fate of phone restrictions will depend primarily on whether or not principals and superintendents can establish clear rules, stand up for teachers who enforce them, hold firm against parents who object, and create clear and enforceable boundaries between legitimate and illegitimate use. 

Adam, though, says that his administrators are kowtowing to helicopter parents, tolerating illicit device use and depriving teachers of enforcement power. The higher-ups have decided that insulating themselves from risk—a broken iPhone, an irate parent—is more important than students’ education. 

“They’re happy to sacrifice an entire generation of kids because there’s a one-in-a-billion chance that some student or parent might complain about something,” says Adam. And without support from the top, the rules are toothless. “As teachers we do the best we can,” he adds. “But if kids call our bluff, we’re screwed.”"

...

"Shortly after I graduated, however, they crept back in, and it wasn’t long before almost every kid was clutching one. In 2010, fewer than a quarter of Canadians owned a smartphone; four years later, two-thirds did. As phones became more common, school boards responded by lifting bans—but they weren’t just capitulating to the devices’ growing ubiquity. Increasingly, they were in thrall to the idea that the microcomputers in students’ pockets were powerful pedagogical tools. This about-face was in part a response to the decline, in Canada and around the world, in math, science and reading scores. The reasons for the drop are murky. Some educators blamed a lack of specialized training for teachers in subjects like math. Others suspected the culprits included new teaching philosophies like inquiry-based instruction, which de-emphasizes memorization in favour of open questioning.

Big tech firms proposed another theory: students were falling behind because textbooks and blackboards weren’t stimulating enough. “Far too many students find their schooling boring and irrelevant,” wrote a former Microsoft employee in a report that Pearson, one of the world’s largest education companies, presented to Canadian school boards and policymakers in 2014. Another report, produced by Apple, proposed a fix: “Students learn better when they are engaged, and research about what engages them points to technology.” To reach students, Apple contended, schools needed screens, and lots of them. (Apple has since sold tens of millions of iPads to schools around the world.)

Even at the time, research was mounting against these claims. A 2013 survey of more than 6,000 Quebec students who used school-provided iPads revealed that a third played video games on them during school hours; 99 per cent said the iPads were distracting. A few years later, two U.S. studies found that students who brought laptops to class earned lower grades. Several experiments found that students who used smartphones during lectures retained less information and performed worse on exams. But the authors of the Pearson report argued that negative outcomes occurred because schools didn’t employ devices properly—or often enough. 

For a few years, this screen-centric pedagogy took hold. Victoria’s public school board spent $1.25 million on more than 2,300 Chromebooks and iPads in 2017. Guelph’s Upper Grand District School Board bought 15,000 laptops, while Edmonton Public Schools procured 46,000. The country’s biggest spender was the Toronto District School Board, which cited Pearson’s report in 2021 when it committed to spending nearly $42 million on 136,000 Chromebooks. Other schools encouraged students to bring their own devices to class. Classrooms were soon saturated with screens, and students were, in many cases, required to use devices to access some course materials. 

Provincial governments in B.C., Manitoba and Ontario signed lucrative deals with the Kitchener-based company D2L to use its popular learning management system, Brightspace. Other districts opted for Blackboard, Moodle or Google Classroom. These platforms allowed teachers to post announcements, livestream lessons, message parents and upload schedules, rubrics, digital textbooks, slides, links and worksheets. Students could access class resources remotely, ask each other questions, communicate with teachers and submit assignments, which would be automatically screened for plagiarism and, more recently, AI-generated content.

In many ways, the new tech made education more engaging and efficient. Schools were happy to transition from printouts and photocopies as paper prices soared. Educators, parents and students appreciated having communications and class materials in one digital space. And when students missed lessons, online tools made it easier to catch up.

But as classrooms began brimming with computers, tablets and smartphones, the devices themselves were filling up with a new generation of more sophisticated and addictive apps: Instagram, TikTok, Fortnite, Among Us. When students opened their laptops for schoolwork, their attention was rapidly derailed by video games and social media pings. School boards built firewalls into school-owned devices to restrict social media and, in 2019, Ontario tried to prohibit students from using their personal phones in class. But that would-be ban failed to launch; it was simply too late. Enforcement was left up to teachers with little institutional backing. Meanwhile, the laptops and tablets boards had spent hundreds of millions of dollars on were already becoming obsolete, and some schools were encouraging students to bring their own devices to class to get online. Many kids began working entirely on their phones, taking pictures of marked-up whiteboards and writing English papers in the Notes app, even as they fielded chats, texts, likes and follows. There had become no way to untangle the good from the bad: personal devices had become fonts of distraction as well as crucial classroom tools. 

Dante Luciani, a teacher at Hamilton’s Cathedral High School, has struggled with this dilemma in his own classes. Phones have become vital tools for many of his students. In ESL lessons, he communicates with Spanish-, Swahili- and Arabic-speaking students using translation apps. When he teaches photography, kids use their phone cameras. In math class, their phones double as calculators. But it’s a devil’s bargain. “If I drop my pencil and it causes a four-second break in my lesson, I look up and I’ve lost them,” he says. “I kid you not, some of my students will not graduate high school because of their phones.”

The pandemic onlystrengthened students’ attachment to their devices. When schools closed in March of 2020, their lives shrank to the size of their screens—overnight, they began spending upwards of six hours a day in virtual classrooms. That was only the half of it. A survey by researchers at Western University in 2021 found that non-school screen time among primary school students more than doubled in 2020, to nearly six hours a day. Phones had become kids’ entire worlds: their classrooms, entertainment and their primary connection to friends and peers.

Colleen Russell-Rawlins, who served as the TDSB’s director of education from 2021 to 2024, noticed this deepened dependence when schools reopened after lockdown. Phones were everywhere: at lunch, in the halls, in class. Students’ already-diminished attention spans had evaporated, and keeping them focused was a constant struggle. Russell-Rawlins recalls a school board event where she spotted three students in the audience with their heads down, scrolling on TikTok during a speech she gave. She approached them later and apologized—in earnest—for boring them. The teens explained that it wasn’t personal. “This is what I do every day, miss,” one said.

As the school year progressed, darker currents rose to the surface. Cyberbullying became a massive problem, and spats that began on social media spilled into schools. Between September of 2022 and April of 2023, 323 TDSB students were involved in violent incidents at school, including fights, sexual assaults and shootings. Teacher surveys showed similar spikes across Ontario and in other provinces, including Saskatchewan and New Brunswick. Much of it was directly connected to social media.

Damir Maltaric, a guidance counsellor at Rosedale Heights School of the Arts in Toronto, told me that after the COVID closures, more students came to his office seeking help with cyberbullying and self-esteem problems stemming from social media. Their addiction to their devices was also more apparent: their attention would wander during a counselling session, and they would pull out their phones and tune him out. “Many students do not have the ability to regulate their smartphone use even when they want to,” he says. “The drawbacks of the technology outweigh the benefits.”"

...

"Several years ago, Vancouver Island’s Sooke School District began requiring elementary-school students to drop their phones into labelled cubbies at the start of every period. Middle-school students left them in their lockers. Though teachers can still grant exceptions as needed, stowing the devices reduced the number of phone-related office admissions by more than 90 per cent over two years, according to Sooke superintendent Paul Block. The measure has helped put a stop to the haggling between students and teachers over phone use, reducing conflict and improving teacher morale. 

On the other end of the country, Saint John High School, in New Brunswick, implemented a comparable ban in September of 2022—two years before the provincial government implemented province-wide restrictions. “I didn’t want to wait,” says principal Christina Barrington. With help from her teaching staff, she devised a simple rule: no phones or earbuds in class, with exceptions for medical uses. She bought “cellphone hotels” (sheets with phone-sized pockets that affix to a wall) for every classroom. She wrote to parents to explain the restrictions, put up posters around the school and dipped into the school’s budget to buy calculators and point-and-click cameras so students wouldn’t need phones for math or photography classes.

Some teachers fretted about liability: what if a phone got stolen or a screen got cracked? Barrington said the cost of any damage would be on her. “I haven’t had to replace a phone,” she says. “But I’m prepared for the day when that might happen, because it’s a small cost for a significant reward.” Among those benefits: academic averages have risen slightly across all grades, teachers report better relationships with their students, and phone- and cyberbullying-related office admissions are down from about one a week to one a month. “It’s like the physical separation gives students permission to focus on something else,” says Barrington. “And I have quite a few teachers who put their phones in the cell hotels as well, to model that they’re in it too.”

Coincidentally, when Canadian provinces debuted their phone bans this year, New Brunswick was the only jurisdiction that mandated all schools physically separate students from their phones: the province’s policy calls for high-schoolers to leave their devices on silent in a designated area of the classroom. Based on conversations with her superintendent and fellow principals, Barrington says this approach is working for other institutions, which are beginning to enjoy the improvements Saint John High experienced two years ago.

At Greenwood College School, an independent middle and high school in Toronto, educators are testing an even stricter form of separation. Students are required to put their smartphones into Yondr pouches, lockable fabric sacks that first became commonplace at comedy shows and are now in use at thousands of schools worldwide. While on campus, Greenwood students carry the pouches around with them, their unusable phones locked inside. When they leave for lunch or at the end of the day, they magnetically unlock their Yondrs at several stations scattered across campus.

“The biggest thing I’ve noticed is that school is loud, in a good way,” says Greenwood principal Heather Thomas. “At lunch, students are having conversations. They’re focusing on one another.” It’s too early to tell whether Yondr will improve academic achievement or benefit students’ mental health. But many Greenwood parents are thrilled. Students, while slightly less thrilled, understand the rationale. “We want them to have healthy habits around using their phones,“ says Thomas, “not needing to reach for them all the time, being able to be without them.”"]]></description>
<dc:subject>students technology learning education 2024 lucrinaldi schools schooling attention policy screens parents administration edtech socialmedia cyberbullying pandemic covid-19 coronavirus ipads tiktok fornite amongus addiction distraction mobile smartphones computers computing pedagogy phones games gaming videogames engagement</dc:subject>
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<item rdf:about="https://aftermath.site/aftermath-business-lessons-learned-tips">
    <title>All The Things We've Learned After A Year Of Running Our Own Website - Aftermath</title>
    <dc:date>2024-11-12T05:34:16+00:00</dc:date>
    <link>https://aftermath.site/aftermath-business-lessons-learned-tips</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>publishing videogames aftermath 2023 2024 independentpublishing advertising ads web online games gaming business</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:7575a537ce61/</dc:identifier>
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<item rdf:about="https://www.youtube.com/watch?v=WEFuGjmGq1I">
    <title>Kim Belair, Sweet Baby Inc. - XOXO Festival (2024) - YouTube</title>
    <dc:date>2024-10-11T02:30:36+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=WEFuGjmGq1I</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Writer and narrative designer Kim Belair is the CEO and co-founder of Sweet Baby, a Montreal-based narrative development company that works with game companies to strengthen their storytelling, including advocating for authentic representation of marginalized characters, spawning a conspiratorial backlash right out of the Gamergate playbook.

Learn more about Sweet Baby Inc.'s work: https://sweetbabyinc.com/ "]]></description>
<dc:subject>games gaming video sweetbabyinc 2024 kimbelair harassment internet web online narrative blacklivesmatter metoo diversity inclusivity storytelling inclusion 4chan farright elconmusk socialmedia #metoo</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
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<item rdf:about="https://www.youtube.com/watch?v=BW32yUEymvU">
    <title>Rekka Bellum and Devine Lu Linvega, Hundred Rabbits - XOXO Festival (2019) - YouTube</title>
    <dc:date>2024-10-09T20:17:36+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=BW32yUEymvU</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["For the last three years, Rekka Bellum and Devine Lu Linvega have sailed the Pacific Ocean on Pino, a sailboat turned mobile studio, making videogames, art, and music with their own homegrown software. Off-grid for long stretches, Hundred Rabbits is supported by patrons who follow along through video updates to their Patreon project.

Official homepage: https://100r.co/ "]]></description>
<dc:subject>rekkabellum devinelulinvega hundfredrabbits 2019 xoxo computing games</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:624925426295/</dc:identifier>
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<item rdf:about="https://restofworld.org/series/digital-divinity/">
    <title>Digital Divinity - Rest of World</title>
    <dc:date>2024-10-01T03:13:14+00:00</dc:date>
    <link>https://restofworld.org/series/digital-divinity/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Technology has transformed how we spend, study, live, eat — even how we sleep. And for the 6.75 billion people around the world who consider themselves religious, technology is also changing their faith. How people worship, pray, and commune with the divine is transforming from Seoul to Lagos.

Earlier this year, Rest of World set out to document the myriad of ways that religious believers are using new technologies in their daily practices. This illustrated storybook represents a broad spectrum of themes and trends playing out across a number of religions and countries that include Hindu temples made by 3D printers to priests that dance on TikTok. They speak to the unraveling tensions of our time as people turn to technology to simplify their lives, search for answers, or find platform-born fame.

These short stories offer insight into trends that range from the unique and unexpected to the artificial and financial. Just as influence, power, and need are shaping the world, they are also moving ancient faiths. This push and pull between old and new, between the ancient and modern, is now happening at lightning speed."]]></description>
<dc:subject>religion technology culture history 2024 islam videogames games gaming islamophobia prayer praying hajj vr china stress applications halal pakistan malaysia nurflix mexico tithing temples hinduism christianity buddhism tradition oshun shrines philippines tiktok vietnam monks catholicism argentina turkey türkiye</dc:subject>
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<dc:identifier>https://pinboard.in/u:robertogreco/b:e68d86e2f71b/</dc:identifier>
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<item rdf:about="https://restofworld.org/2024/wukong-china-gaming-strategy/">
    <title>Black Myth: Wukong is shifting China’s global gaming strategy - Rest of World</title>
    <dc:date>2024-09-25T14:55:57+00:00</dc:date>
    <link>https://restofworld.org/2024/wukong-china-gaming-strategy/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["China is changing its long-critical stance thanks to the smash hit, according to Chinese game developers and industry analysts."
]]></description>
<dc:subject>china games gaming videogames 2024 wukong culture youth media identity blackmythwukong blackmyth</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:57e666a318f4/</dc:identifier>
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<item rdf:about="https://www.youtube.com/watch?v=JqxL3Jw7Abg">
    <title>GeoGuessr star player Trevor Rainbolt’s tips for success in the popular geography game - YouTube</title>
    <dc:date>2024-09-16T00:05:37+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=JqxL3Jw7Abg</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["A popular online geography game is taking players around the globe, one Google Street View image at a time. John Yang speaks with Trevor Rainbolt, perhaps the game’s most famous player, for a look inside the world of GeoGuessr."
]]></description>
<dc:subject>geoguessr streetview geography maps landscape games gaming play 2024 rainbolt googlestreetview mapping</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:fceb94228522/</dc:identifier>
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</item>
<item rdf:about="https://aeon.co/videos/does-capitalism-make-non-playable-characters-of-us-all-an-uncanny-exploration">
    <title>Does capitalism make ‘non-playable characters’ of us all? An uncanny exploration | Aeon Videos</title>
    <dc:date>2024-08-30T17:29:11+00:00</dc:date>
    <link>https://aeon.co/videos/does-capitalism-make-non-playable-characters-of-us-all-an-uncanny-exploration</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Does capitalism make ‘non-playable characters’ of us all? An uncanny exploration
‘There will never be enough nails in the wood.’

The ‘pseudo-Marxist’ Austrian art collective Total Refusal creates short films with visuals generated entirely from within popular video games. In Hardly Working, they train their focus on just a few of the hundreds of non-playable characters who populate the background in the western action-adventure game Red Dead Redemption 2 (2018). These often-seen, rarely scrutinised carpenters, laundresses, stable boys and street sweepers occupy a circular, uncanny reality centred on the repetitive tasks that hardly make a mark on the world around them. At first dryly humorous, the proceedings grow disquieting as the narrator prods the viewer to consider the ‘infinite loop of labour performance’ of life within a capitalist system."

[Direct link to video:
https://vimeo.com/728924613 ]]]></description>
<dc:subject>film games gaming labor videogames video work npcs capitalism susannaflock robinklengel leonhardmüllner michaelstumpf reddeadredemption reddeadredemption2 totalrefusal</dc:subject>
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<item rdf:about="https://www.youtube.com/watch?v=IgV8wMnCkeQ">
    <title>FAITH IN ARTS: A Conversation with Olivia Peace - YouTube</title>
    <dc:date>2024-08-28T18:56:26+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=IgV8wMnCkeQ</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Faith In Arts: A Conversation with Olivia Peace
Wednesday, August 28, 2024
Presented as part of Faith in Arts

These conversations and interviews with a diverse group of artists, curators, faith leaders, and scholars explore the role of arts in spiritual practice and religious life in the arts.

Olivia Peace is a nationally recognized director and visual artist from Detroit, Michigan. Their work is heavily informed by artistic experimentation, dreamspaces, and a deep reverence for the ecosystems that made them. Peace attended film school at Northwestern University where they studied animation and interactive art. They also hold a master’s degree in Interactive Media and Games from The University of Southern California where they specialized in Worldbuilding. Their most recent film “Against Reality,” which premiered at the Toronto International Film Festival, was a winner of the 49th Student Academy Awards competition. Their coming-of-age film "Tahara" was named a New York Times critic's pick. Their projects have screened at festivals and venues including the Lincoln Center, Outfest Film Festival, Frameline Film Festival, Slamdance, and more. In 2017 Peace was a Sundance Ignite Fellow after receiving the Sundance / Adobe Project 1324's "What's Next" Challenge for their film "Pangaea."

In this conversation, Peace discusses their exploration of lucid dreaming in the films "Lucid" and "Against Reality," as well as their engagement with spirituality and futuristic, utopian aesthetics like Solarpunk across various projects."

[See also:
https://www.olivia-peace.com/ ]]]></description>
<dc:subject>oliviapeace faith art arts spirituality religion dreams luciddreaming film filmmaking childhood bmcm+ac michigan dearborn animation reality consciousness dreaming socialupheaval dreamlabs covid-19 coronavirus pandemic ai artificialintelligence programming coding howwewrite videogames gaming games algorithms manifestos race racism form worldbuilding interactive comingofage bildungsroman solarpunk future utopia apocalypse detroit faithinarts</dc:subject>
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