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'Naadmiin Huushuur' Recipe Link:
https://www.pbs.org/food/recipes/naadmiin-huushuur

'Kreplach' Recipe Link: 
https://www.pbs.org/food/recipes/kreplach-ashkenazi-jewish-dumplings "]]></description>
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Beryl's 'Melanzane 'Mbuttunate' Recipe:
https://www.pbs.org/food/recipes/melanzane-mbuttunate

Tiffany's 'Cà Tím Hấp Mỡ Hành' (Steamed Eggplant with Scallion Oil) Recipe:
https://www.pbs.org/food/recipes/steamed-eggplant-with-scallion-oil ]]]></description>
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    <title>Pan Pals - YouTube</title>
    <dc:date>2023-08-09T20:49:10+00:00</dc:date>
    <link>https://www.youtube.com/playlist?list=PLQMKh4LBO6xP1567JcnbM5NfAHpeOg48O</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["“Pan Pals” is a new digital series from food influencer Beryl Shereshewsky and Austin PBS featuring diverse cooks, influencers, and participants from “The Great American Recipe.” In each episode, two people swap recipes within a given theme. Each dish is inspired by a unique culture and culinary lens, leaving each Pan Pal with an opportunity to expand their worldview and learn new tips and tricks along the way."

***

"Swapping Our Favorite Comfort Foods! 🍳"
https://www.youtube.com/watch?v=qcruNoRj12Y

"Comfort dishes are personal—they're just as much about the memories as the flavors themselves. In this episode of Pan Pals, we've brought in @CafeMaddy  and  @BerylShereshewsky  to try cooking one another's dishes. From Korean Sujebi to Jewish Matzo Ball Soup, our guests will learn about one another's cultures, their flavors, and most of all, what comfort tastes like to them. 

Maddy’s Comfort Food Recipe: Korean Sujebi 
https://www.pbs.org/food/recipes/sujebi/

Beryl’s Comfort Food Recipe: Jewish Matzo Ball Soup
https://www.pbs.org/food/recipes/matzo-ball-soup-3/ "

***

"Swapping Family Recipes! (feat. @MadeWithLau) 🍳"
https://www.youtube.com/watch?v=EbZVnj-oPIw

"How and why we gather to eat matters, but don't forget about the food! In this episode of Pan Pals, we've brought in Cara Nicoletti and Randy Lau, Featuring @MadeWithLau, to try cooking one another's family recipes. From a Chinese steamed egg with pork dish to an Italian orecchiette with broccolini & sausage, our guests will cook new recipes and then serve them to their families to get a real taste of one another’s culture. 

Cara's Dish: Italian Orecchiette with Sausage and Broccolini
https://www.pbs.org/food/recipes/italian-orecchiette-with-sausage-and-broccolini/

Randy's Dish: Chinese Steamed Eggs with Minced Pork
https://www.pbs.org/food/recipes/chinese-steamed-eggs-with-minced-pork/ "

***

"How Does Your Culture Cook Rice? 🍚"
https://www.youtube.com/watch?v=sBrgp2m5ddU

"Rice is life, as they say, but how it's made around the world differs greatly. In this episode, we've brought in Brad comes from a Libyan Jewish family, and Ted who is first generation Greek, to explore this beloved grain. By swapping a Libyan red rice with lamb and a Greek Spanakorizo, our guests try new techniques and new flavors as they learn about one another's cultures in the kitchen. 

Brad’s Rice: Libyan Red Rice with Lamb
https://www.pbs.org/food/recipes/libyan-red-rice-with-lamb/

Ted’s Rice: Greek Spanakorizo (Σπανακόρυζο)
https://www.pbs.org/food/recipes/greek-spanakorizo/ "

***

"How Different Cultures Make Noodles 🍜"
https://www.youtube.com/watch?v=MwW-WwvpOUk

"Whether you eat them in sauce, soup, stir-fried, or baked, noodles vary from country to country. In this episode, Lisa Nguyen, a Vietnamese food influencer, will try a quintessential Peruvian noodle dish. And then Rodrigo De Oyague, who was born and raised in Peru, will taste new ingredients for the first time as he tackles Lisa’s Vietnamese noodle dish. 

Lisa's Dish: Vietnamese Pho Xao Chay
https://www.pbs.org/food/recipes/pho-xao-chay/

Rodrigo's Dish: Peruvian Tallerines Verdes
https://www.pbs.org/food/recipes/tallarines-verdes/ "

***

"Are You Up For A Baking Challenge? 🧁"
https://www.youtube.com/watch?v=z9TJV7cv6FY

"Baking may not be everyone, but for those who love it, it's an invitation to try delicious things. In this episode, we've brought in Phaedra, who was born in Bermuda, and Amy who comes from a long line of Mennonites. As the two swap recipes for Bermudian Hot Cross Buns and a Mennonite Butterscotch Pie, they expand their recipe repertoires and cultural understanding, one cup of flour at a time. 

Amy’s Baking: Mennonite Butterscotch Pie
https://www.pbs.org/food/recipes/mennonite-butterscotch-pie/

Phaedra’s Baking: Bermudian Hot Cross Buns
https://www.pbs.org/food/recipes/bermudian-hot-cross-buns/ "

***

"Two One-Pot Meals To Rule Them All 🍳"
https://www.youtube.com/watch?v=2tzSI5kEa9E

"What happens when you throw all your ingredients into one pot? There’s only one way to find out. In today’s episode of Pan Pals, we’ve paired Hayat, an Ethiopian home cook, to swap recipes with Maral who was born in Turkmenistan. As they cook plov and fuul, they learn the power of the one-pot meal and gain a new perspective along the way.

Maral's 'Turkman Plov'
https://www.pbs.org/food/recipes/turkmen-plov/

Hayat's 'Ethiopian Fuul'
https://www.pbs.org/food/recipes/ethiopian-fuul/ "

***

"Chips & Pasta For Breakfast? 🍳"
https://www.youtube.com/watch?v=3d1XRVjFG8c

"Whether it's sweet or savory, breakfast is the most important meal of the day. In this episode of Pan Pals, Silvia Martinez and Pooja Lalan will trade their favorite breakfast dishes. From Mexican Red Chilaquiles to Indian Sevai Upma, these home chefs will try new recipes and learn about one another’s cultures along the way. Fried tortillas and savory noodles? You’re in for a breakfast treat!

Silvia's Mexican Red Chilaquiles
https://www.pbs.org/food/recipes/mexican-red-chilaquiles/

Pooja's Indian Sevai Upma
https://www.pbs.org/food/recipes/indian-sevai-upma/

***

"What's Your Favorite Fried Food? 🍳"
https://www.youtube.com/watch?v=2TBOTdShYtk

"Everyone likes fried food, right? But, fried food looks different around the world. On this episode of Pan Pals, Mike Thomas and Rima Hammo will swap their favorite fried foods. From Southern fried catfish to Jordanian Kubbeh, these home chefs heat up their oil and are ready to try something new.

Michael's Fried Food: Southern Fried Catfish
https://www.pbs.org/food/recipes/southern-catfish/

Rima’s Fried Food: Kubbeh 
https://www.pbs.org/food/recipes/kubbeh/ "]]></description>
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    <title>From Kindergarten Through High School, This Family Has Been Making a Magazine Together for Ten Years – Eye on Design</title>
    <dc:date>2022-06-04T18:10:04+00:00</dc:date>
    <link>https://eyeondesign.aiga.org/rubbish-famzine/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[“Some families play sports, some cook together. For us, it happens to be art-making.”
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<item rdf:about="https://futuress.org/magazine/my-grandma-is-not-a-cyborg/">
    <title>My Grandma is Not a Cyborg</title>
    <dc:date>2022-05-14T22:06:31+00:00</dc:date>
    <link>https://futuress.org/magazine/my-grandma-is-not-a-cyborg/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["On the oppression of everyday objects, and hacking the design gap."

...

"My grandma was a 150 cm human being.
An 80-year-old Muslim Turkish woman from Southeast Anatolia.
She spent her whole life in environments that oppressed her.
She spent her whole life in environments designed for human beings other than her.
She spent her whole life in environments designed with standardized measurements.
Standardized measurements for white, able-bodied Western men.
Standardized measurements that see living organisms as non-evolving, fixed entities."

...

"As a high-schooler who was a little taller than peers my age, I always had issues with desks and chairs. Boys of a similar height would just spread their legs all the way open to sit comfortably, but the compulsory school uniform skirts didn’t allow me to do so. Other tall girls could cross their legs and balance their body weight easily, but my legs were ticker than “average,” and when I put one on top of the other, they hit the bottom of the desk. So, I would turn 90 degrees and cross my legs outside the desk, which then caused me backaches, and forced me to change sides frequently.

This solution worked for me, but not for the teachers. I would often be warned to put my legs back under the desk and sit “properly.” The scene repeated itself in almost every lesson, making me the center of attention. Once, one teacher got so mad that he screamed: “If I take a photo of you right now and show it to 100 people, 99 of them would say it is not proper, especially as a young girl!” At the time, I couldn’t name what rattled me so much about his words, but I know today that this was a clear display of harassment. More than 10 years have passed, and I still do not forget how harshly I was treated because I couldn’t fit into a desk which wasn’t designed for me and that continuously oppressed my body for 35 hours a week for three full years.

The following year, I started studying architecture. During studio reviews, a professor asked me why my stair steps were 19 cm high, instead of the standard 17 cm. I replied, saying that I had tried climbing before drawing, and figured the best measurement for my body. Now, it was my turn to center my own experience into the design process and claim it as the default.

That day, I was encouraged to read Architects’ Data by Ernst Neufert, the man who in 1936 attempted to standardize and rationalize the entire environment for the Nazi government. Women rarely appear in his book, except in some domestic spaces like kitchens and laundry rooms. It is also not clear whose bodily data make up the few women figures that appear in his standards.

Almost nine decades after Neufert’s Architects’ Data, in an era when we are capable of storing more data than ever, environments and products are still designed for standardized, “universal bodies” that historically have always been male. Such universalist standardization operates through erasure and exclusion of whoever is deemed “different”—even if that “difference” is the majority of the world population."

...

"All of my childhood, my grandma complained about her back.

She cooks, her back hurts.
She sits, her back hurts.
She walks, her back hurts.

It took me so many years to figure out the source of her pain.

She spent her whole life cooking in a kitchen where the counter was the same height as her chest.
She spent her whole life sitting on sofas that didn’t allow her feet to touch the ground.
She spent her whole life walking on pavements that offered no support.


A world designed for the the white, able-bodied Western men. (Illustration by Sinem Görücü)
My grandma was a 150 cm human being.
An 80-year-old Muslim Turkish woman from Southeast Anatolia.
She spent her whole life in environments that oppressed her.
She spent her whole life in environments designed for human beings other than her.
She spent her whole life in environments designed with standardized measurements.
Standardized measurements for white, able-bodied Western men.
Standardized measurements that see living organisms as non-evolving, fixed entities.

But my grandma evolved.
Due to osteoporosis, over the last 15 years she became even smaller.
And she gets smaller each day.
But the environments remain the same.
Oppressing her ever more.

My grandma is not the only one

As a high-schooler who was a little taller than peers my age, I always had issues with desks and chairs. Boys of a similar height would just spread their legs all the way open to sit comfortably, but the compulsory school uniform skirts didn’t allow me to do so. Other tall girls could cross their legs and balance their body weight easily, but my legs were ticker than “average,” and when I put one on top of the other, they hit the bottom of the desk. So, I would turn 90 degrees and cross my legs outside the desk, which then caused me backaches, and forced me to change sides frequently.

“I still do not forget how harshly I was treated because I couldn’t fit into a desk which wasn’t designed for me and that continuously oppressed my body for 35 hours a week for three full years.”
This solution worked for me, but not for the teachers. I would often be warned to put my legs back under the desk and sit “properly.” The scene repeated itself in almost every lesson, making me the center of attention. Once, one teacher got so mad that he screamed: “If I take a photo of you right now and show it to 100 people, 99 of them would say it is not proper, especially as a young girl!” At the time, I couldn’t name what rattled me so much about his words, but I know today that this was a clear display of harassment. More than 10 years have passed, and I still do not forget how harshly I was treated because I couldn’t fit into a desk which wasn’t designed for me and that continuously oppressed my body for 35 hours a week for three full years.

The following year, I started studying architecture. During studio reviews, a professor asked me why my stair steps were 19 cm high, instead of the standard 17 cm. I replied, saying that I had tried climbing before drawing, and figured the best measurement for my body. Now, it was my turn to center my own experience into the design process and claim it as the default.

“In an era when we are capable of storing more data than ever, environments and products are still designed for standardized, ‘universal bodies’ that historically have always been male.”
That day, I was encouraged to read Architects’ Data by Ernst Neufert, the man who in 1936 attempted to standardize and rationalize the entire environment for the Nazi government. Women rarely appear in his book, except in some domestic spaces like kitchens and laundry rooms. It is also not clear whose bodily data make up the few women figures that appear in his standards.

Almost nine decades after Neufert’s Architects’ Data, in an era when we are capable of storing more data than ever, environments and products are still designed for standardized, “universal bodies” that historically have always been male. Such universalist standardization operates through erasure and exclusion of whoever is deemed “different”—even if that “difference” is the majority of the world population.

A broken phone, a banned cap, and a biased emoji

I started using smartphones in 2017, and since then I have problems with the sub-sector of objects they’ve created: phone accessories. Today, buying a phone means also buying a screen protector, a phone case, and also an additional grip, which became necessary after I dropped and broke my one-week-old phone while texting on the bus. The next day, I got one of those rings to stick to the back of the phone case and help me hold it in my hands. After a while, I noticed that most men were not using those rings, but most women were. It was an additional layer to the “pink tax”—the gender-based pricing premium that is often baked into women’s products. We buy these accessories not because we love rings, but because phones were designed—likely, by men—for big hands. In a controversial real-life example of this phenomenon, sociologist Zeynep Tufekci explained how she could not document the tear gas misuse during Gezi Park protests in 2013 because her phone was not designed to be used one-handed by her, but by average men. But design-led oppression is not only a matter of anthropometry or ergonomics. A few years ago, I was sitting in a room with a colleague discussing a project. I told him that I had a hard time imagining Muslim women comfortably using our architectural design. “They would struggle,” I said. “How many Muslim women are there, anyway?” he replied.” There I was, a Muslim women, sitting right in front of him, being asked: “How many Muslim women are there, anyway?”

One year before that conversation, I saw for the first time a hijab with ear-holes. At first I thought it was for earbuds, but it was for something much more important: stethoscopes. The innovative design made it easier for hijabi medical workers to perform their jobs. The product was innovated, designed, and was being sold by a hijabi MD. It sparked a light in my head. I had never thought of this before, although I was raised in a Muslim-majority country. If it wasn’t her, who else would notice and address such a design gap? Even if it was invented by a hijabi MD, wouldn’t the market say, as my colleague did, “How many hijabi medical workers are there anyway?”

Sometimes, even when the market sees the need and potential in a product for marginalized groups, those groups don’t always get to use it. During last year’s Olympics, the International Swimming Federation banned the use of swimming caps designed for the thick, curly, voluminous natural hair. Their claim was that “the athletes competing at the international events have never used, neither require […] caps of such size and configuration,” and that the caps did not fit in “the natural form of the head”—assuming, of course, that all the swimmers have default white features. Essentially, they might as well have said: “How many Black Olympic swimmers are there anyway?”

The story made me think of when, after long discussions on how racist and discriminatory emojis were, Unicode finally decided to acknowledge people of color, by changing the skin color of already existing emojis, and not making any further adjustments, including hair! Only in 2020 were Black emojis with natural Afro hairstyles introduced, thanks to the efforts of two Black women designers, just like how the hijabi MD filled the design gap herself."

...

"In 2021, I co-organized Feminist Futures Hackathon with product designer Andra Bria. We wanted to critique the male-dominated innovation spaces and ignite communal action against the oppressive practices of tech powerholders through design and intersectional feminism. The night before the event, I was searching Google to find a paper I’d read on feminist hackathons. Unexpectedly, I came across our very own hackathon being described as “an event for powerful women” by one of the very male-dominated innovation spaces we were trying to criticize. They removed it upon our request, but the incongruous experience still lingered with me.

Who are deemed “powerful women”?  When Kimberlee Crenshaw coined the term “intersectionality,” she aimed to examine “where power comes and collides, where it interlocks and intersects.” Similarly, Patricia Hill Collins theorized the “matrix of domination” to acknowledge the ways systems of power are being constructed and experienced through a non-static multi-axis identity domination and their complex interconnections. Following intersectional feminist theory, power is all about where one is located in the matrix of domination of the structural privilege and oppression. The axes of race, class, gender, or any other identity might differ from place to place, community to community, context to context and also throughout time.

So who were those “powerful women” that all the corporate bodies, tech and innovation spaces love talking about? This question made me think of my grandma again, the 80-year old Muslim Turkish women from southeast Anatolia in Turkey. She never attended school, and taught herself to read and write. She would try to read small sections of newspapers from time to time, but her eyesight often gave her unbearable headaches after a few lines. She spent her whole life at home, undertaking the never-ever-paid domestic work. She never worked for money or earned her own money, and all she owns came from either her parents or my grandpa.

Still, she is the best tailor I know. Whenever a professional tailor cannot figure out my design, or a ready-made cloth that I bought does not fit me, I bring it to her. She is hardly able to properly sew now, but she always has a solution to make things work. She knows how to use the sewing machine better than any other thing, almost like it is part of her arm. She knows how to solve problems with that machine, and she does. She is a problem-solver. A maker. A designer. Although, of course, she wouldn’t call herself any of those.

While trying to reach a spice jar on the counter, she sometimes says: “I wish the counter was lower.” She was not allowed to interfere with the carpenter who designed and built it. Architects’ Data is not part of her vocabulary; she has no idea who Neufert is. She notices that the new phones are too big, but she has no option but to buy the smallest design available: the older non-smart phones.

Like the hijabi MD, or the Asian women who needed to “fix” face masks, we all keep innovating and hacking through all our lives to be able to fit in the designed environment or make it fit us. Some of us need to innovate more, some of us less. But some of us are given the opportunity to innovate, while many of us aren’t. Depending on where we are on the matrix of domination, on how well we fit in the white-universalist-able-bodied-male standard, or on how promising we are in the scale-economy of mass profit, we get to be problem-solvers, makers, designers.

My grandma is a problem-solver. She sometimes designs and sometimes hacks. But she can only do certain things, and smartphones are clearly not one of those. But if she was allowed to, how would she hack the products that turned her life into a lifelong struggle? How would she design for her continuously changing body? What data would she use? What knowledge? What tools?

A cyborg and a hacker enter a Volkswagen

“I would rather be a cyborg than a goddess,” says Donna Haraway in her oft-cited 1985 Cyborg Manifesto. Her cyborg is a mythical hybrid being that exists beyond-genders, beyond-races, beyond-classes, who is free from androcentric, capitalistic and humanist domination. Haraway sees the cyborg as an escape from traditional identity politics. It sounds very convincing. When I first read it, I remember thinking: “Aren’t we all cyborgs today?” But no, we aren’t.

As pointed out by social justice researcher Julia DeCook in a 2020 paper, the cyborg was a clear reflection of Haraway’s white, Western environment and techno-utopian perspective. Haraway saw technology as a tool for emancipation rather than oppression, and used it to “fix” the long-rooted history of oppression. However, the dilemma is there; tech itself is white, Western, and male. It comes from the Ivy league and lives in Silicon Valley. It is everything that forms the matrix of domination, and keeps reifying the oppression it causes.

As Audre Lorde rightfully said: “The master’s tools will never dismantle the master’s house.” In other words, by adopting the oppressors’ tech that is built to serve the oppressors’ desires and profits, the oppressed won’t dismantle the oppressors’ house. According to artist Maari Sugawara, “Technology and the desire to create and control machines is a realm dominated by Man, and thus technology itself may inherently be patriarchal.” As a Middle Eastern woman, I can’t say I am the most privileged, but I am privileged compared to many others. However, my relationship with and ease of access to tech is still not enough to make me a cyborg in a world where the tech is not created with my data and needs. But can I create my own tech?

I actually love playing around with technology and scrap-making things. While I was living in Ankara, Turkey, I loved strolling through the hardware stores in the narrow downtown streets. Yet, I would wear my biggest, thickest, and worst-looking clothes to go there. Not because walking was a dirty task, but because I wanted to be taken seriously by the mostly male sellers, while being careful not to draw too much attention to myself and get cat-called, or seem too weak so as to get my wallet stolen. And in order to do that, you need to look as “less womanly” as possible.

When I talk about hacking, I do not necessarily mean computers. Hacking for me is finding a disadvantageous gap in a product, setting, event, or regulation and turning that into an advantage. Hacking is a form of resistance. When I talk of hacking, the first image that comes to my mind is women photoshopping men’s nipples to their nipples to not be censored by the Instagram algorithm. When I talk of hacking, I’m talking of a counterattack to the oppressive power systems. If you asked me in high school, I would say that I was a hacker. Having a piece of purple postiche was my form of hacking—when I noticed that the students’ dress code rules were only banning dyeing your own hair, but did not mention anything about dyeing someone else’s hair and wearing that piece yourself. I was counterattacking the misogyny by hacking dress code oppression.

My grandma is a hacker too. She is a designer, a problem-solver, reclaiming the man-made world. She got her 4th COVID vaccine last month. I booked her appointment online, because she couldn’t. We drove her to the hospital, because she couldn’t. While leaving the hospital, she fell down; tripping over a pavement level difference, while I wasn’t paying attention to her steps and was trying to see where we could cross the road without getting her to walk too much.

For days, I couldn’t stop myself swearing to whoever built that pavement that way. I sent complaint mails around and called places. But my grandmother didn’t say or complain much. She then decided to start using a baston. She decided to solve the problem herself, and reclaim the man-made pavement. My grandma is a 80-year old Muslim Turkish women from southeast Anatolia. And she is not a cyborg."]]></description>
<dc:subject>design technology 2022 hacking making donnaharaway cyborgs resistance sinemgörücü architecture furniture cyborgmanifesto systems oppression patriarchy intervention audrelorde juliadecook maarisugawara covid-19 coronavirus pandemic medicine clothing sewing glvo hardware software photoshop domination identitypolitics standardization audiencesofone humanism futuress hijab</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:77522c5de361/</dc:identifier>
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<item rdf:about="https://www.youtube.com/watch?v=geZrI1PKR4E">
    <title>The Reason Jeans Are Still Blue. - YouTube</title>
    <dc:date>2022-05-05T13:38:44+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=geZrI1PKR4E</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Oh Levi's jeans. How famous you've become my boy. Everybody loves you. But why oh why are you BLUE! Why do you go with so many outfits? Why do you get lighter? 

From Japanese Denim to American denim to selvedge to raw denim is love and denim is law. I never know what to write in descriptions."]]></description>
<dc:subject>michaelkristy denim indigo jeans clothing history dyes glvo theironsnail</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:7ecd4922a04d/</dc:identifier>
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</item>
<item rdf:about="https://www.lionnevandeursen.com/fabric">
    <title>BIOTIC | Lionne van Deursen</title>
    <dc:date>2021-04-13T17:08:21+00:00</dc:date>
    <link>https://www.lionnevandeursen.com/fabric</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[“BIOTIC is an ongoing research project to the possibilities of a biologically grown material. In this material research microbes are used to grow a biological material. This material is made of bacterial cellulose. Bacterial cellulose is made using yeast and bacteria in a fermentation process. Each bacterial cellulose sheet has a different translucency, which affects the applied colour. After the growing process Studio Lionne van Deursen experimented with different natural plant dyes and dyes made from fruitwaste. This material archive results in a collection of fabrics with different colours, translucency and textures.”

[See also:
https://www.instagram.com/lionnevandeursen/ ]

[via:
https://www.instagram.com/p/CEGnP_VDe93/
https://www.instagram.com/p/CEq2yzUD35p/

via:
https://www.are.na/block/8723406
https://www.are.na/block/8723399 ]]]></description>
<dc:subject>lionnevandeursen dyes glvo materials fruitwaste fabrics fabric textiles translucency biology biotic cellulose</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:885410df39dd/</dc:identifier>
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<item rdf:about="https://www.kickstarter.com/projects/shing/a-mending">
    <title>A Mending by Shing Yin Khor — Kickstarter</title>
    <dc:date>2021-03-19T09:32:23+00:00</dc:date>
    <link>https://www.kickstarter.com/projects/shing/a-mending</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[“A solo keepsake game about a journey to visit a dear and distant friend, using sewing, map-annotating, and story-building mechanics.

A Mending is a solo story-building and keepsake game about two friends who have been parted for some time, using sewing, embroidery, and map-marking mechanics. 

This game is a reflection of my desire to make games that create physical gameplay artifacts and beautiful keepsakes, my love of maps, a deep respect of handiwork often categorized as “women’s work,” and many years of missing dear - and distant - friends.

ABOUT THE GAME

You have been parted from a dear friend for a long time. Now, they have called for you. You are going to visit your friend, and the path is long and it will take many days. As you plan and trace your route on a cloth map(or paper), using needle and thread(or pen), you will use and answer story prompt cards to discover the stories and primary incidents behind your friendship, find strange and wonderful objects and people on your path, and build your own narrative of this particular journey and friendship.

A Mending is a keepsake game, a term that I use to describe the kind of game I make - games that produce beautiful, memorable physical artifacts through the gameplay process. These keepsakes are a collaboration between me, as a designer, and the players, who all create their own unique objects. This honors my lifetime love of tinkering and making, and reduces waste by producing something worth keeping. Jeeyon Shim and I began using this term while making our keepsake game, Field Guide to Memory, to describe the work we do. 

[image: “Progress on a map, mid-game.”]

Above is an example of part of a map in progress. The orange running stitch here is the path taken to visit a friend. The beads and other stitches denote the times where an object was discovered, or where a story element important to the relationship was revealed. The finished gameplay artifact can be used as a decorative or functional object; I personally wear and use my test maps as bandanas, altar cloths, patches, and handkerchiefs.

[image: “A finished cloth map, worn as a bandana or scarf.”]

For players who like to plan before sewing, two blank paper maps, printed on a beautiful textured felt weave paper stock, are provided - you can play the game while hand-drawing your route(and annotating the story you make), for later reference. Of course, this means that you can also play the game in its entirety using paper and pen.

The story-building elements of the game are in the long story-building tradition of indie RPG games, inspired by games such as For the Queen(Alex Roberts),  Dialect(Thorny Games), The Quiet Year(Avery Alder), and Field Guide to Memory(Jeeyon Shim and myself). The story itself is set up as a series of randomized prompt cards that take the player through a reflective and gentle journey of interesting characters, thoughtful questions about your friendship, and a few strange occurrences. 

GAMEPLAY AND MATERIALS

You will play the game by planning your route, marking the map, and building a story by answering prompt cards. The prompt cards will ask you to consider your relationship with your friend, mark your map with beads or written notes, introduce you to delightful characters(including at least one dog), and will sometimes affect the path you have chosen. The gameplay time can vary between one hour(solo, paper and pen only) to two hours or more(collaborative gameplay, with hand-sewing). The game is designed to be played solo, but the game booklet will also include suggestions on how to play this as a 2 person game(using a single game kit), or communally in a larger group. A Mending can be also played as a system-agnostic storytelling module for other roleplaying games.

[image: “Example of the prompt cards in A Mending.”]

The embroidery and sewing elements of this game are meant to be simple and intuitive. My own approach towards embroidery and sewing is haphazard, but I appreciate its versatility and style, and am interested in its use in creating narrative keepsake work. If you choose to play the sewing version of the game, it is designed at a “can you do a basic running stitch, and can you sew a button/bead on?” level, but if you are an experienced sewist or embroiderer, you can feel free to embellish the game to your heart’s content! There will be resources listed in the game booklet that teach introductory sewing skills and basic stitches, but the goal is to embrace experimentation and instinctive use of thread and needle. 

[image: “The 48 card story-building deck, paper maps, and game booklet are included in every physical reward. (Mockup; design not final)”]

All versions of the game include two identical paper maps(for simultaneous gameplay, or plotting your map before you embroider a cloth map), a 48-card deck of story-building prompts, and an instruction booklet. There is also a paper-only option for people who are quite sure they do not want to sew anything.

[image: “a preview of gameplay, using the paper map only”]
.
The centerpiece of the game is the cloth map, which also serves as the game board, and is screen-printed in two colors on natural 100% cotton fabric. The screenprinted art is 17”x17”, with the entire piece of cloth measuring 22”x22”, leaving a comfortable border for other things you may want to do with the finished map, such as framing or using it as a quilt piece. 

[image: “A close up of the map’s screenprinting, showing the main outlines in dark brown, and the gridlines in a beautiful metallic gold.”]

Most physical versions of the game(JOURNEYMAN and above) also include a zippered carrying case, because this is a game that can include many fiddly small elements like beads and needles, and because I love designing cute and beautiful elements that also keep all your things in one place.

For sewists and embroiderers(even just dabblers and dilettantes!) the JOURNEYMAN level includes only the custom made and custom printed elements necessary to play the game. This is a great choice if you want to pick your own thread colors and beads, which I think is part of the fun.

The cloth maps are printed on 100% natural cotton bandanas. They can be machine washed and dyed with fabric dyes.”]]></description>
<dc:subject>games shingyinkhor maps mapping annotation textiles 2021 glvo sewing jeeyonsim classideas storytelling keepsakes averyalder thonygames alexroberts cardgames boardgames</dc:subject>
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</item>
<item rdf:about="https://www.aljazeera.com/features/2020/12/13/indigo-and-the-story-of-indias-blue-gold">
    <title>Indigo: The story of India’s ‘blue gold’ | Business and Economy News | Al Jazeera</title>
    <dc:date>2020-12-19T09:39:23+00:00</dc:date>
    <link>https://www.aljazeera.com/features/2020/12/13/indigo-and-the-story-of-indias-blue-gold</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[“For generations, family-run farms in South India have grown and produced the natural dye that was once colonial capital.”]]></description>
<dc:subject>india 2020 indigo blue color process textiles dyes via:justinpickard cotton plants agriculture glvo</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
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<item rdf:about="https://www.youtube.com/channel/UCMvOnfFoueHkT9eEr80S21Q">
    <title>cat scout - YouTube</title>
    <dc:date>2020-01-16T07:01:56+00:00</dc:date>
    <link>https://www.youtube.com/channel/UCMvOnfFoueHkT9eEr80S21Q</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>cats glvo sestracat multispecies morethanhuman training howto humor</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
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<item rdf:about="https://www.theverge.com/2019/11/25/20976885/pirate-radio-podcast-illegal-special-series-verge-afghan-djs-hmong-diaspora">
    <title>Pirate Radio: a special series from The Verge - The Verge</title>
    <dc:date>2019-12-02T21:22:42+00:00</dc:date>
    <link>https://www.theverge.com/2019/11/25/20976885/pirate-radio-podcast-illegal-special-series-verge-afghan-djs-hmong-diaspora</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["WHERE DOES YOUR MIND GO WHEN YOU HEAR THE PHRASE “PIRATE RADIO”?

Maybe you think of revolutionaries, deploying broadcasts to subvert an oppressive regime. Or maybe you imagine a raucous boat of rock stars, buoyed by the consequence-free promise of international waters. Maybe it evokes something far away, distant, from the past.

But once you remove the idea of pirate radio from its mythology, you realize that it exists largely for people who live in the margins. The Haitian Americans of Brooklyn. The Hmong people of the Midwest. The Pashtuns across Afghanistan. The space between the frequencies, it turns out, is vast. The stories and people explored in these pages present a complicated narrative of what illegal transmissions can do and who they reach. Because that’s always been the power of radio — its reach."]]></description>
<dc:subject>radio pirateradio classideas glvo 2019 broadcasting fm</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:cbf271163a65/</dc:identifier>
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<item rdf:about="https://www.youtube.com/watch?v=p9IJzXq5YLg">
    <title>Darren O'Donnell Interview - YouTube</title>
    <dc:date>2019-11-30T09:40:03+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=p9IJzXq5YLg</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["This interview is a part of "Collaborating with Kids"

An online seminar with 5 artists/groups and their young collaborators. We have interviewed artists, children and young people about projects created in collaborations. What were the intentions? The expectations? What can children teach adults? Are adults and children different species? How? Or why not? What was good about the collaborations? 

Recorded in Berlin   23 April 2019"]]></description>
<dc:subject>children collaboration openstudioproject lcproject 2019 urban urbanism art glvo cities darreno’donnell maps mapping games play participatory participation</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
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<item rdf:about="https://www.instagram.com/p/B44zMVbl-4S/">
    <title>Taeyoon Choi 최태윤 on Instagram: “Strategies for embracing our contradictions. - a practical guide - 11/15/2019”</title>
    <dc:date>2019-11-15T23:08:12+00:00</dc:date>
    <link>https://www.instagram.com/p/B44zMVbl-4S/</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>taeyoonchoi contradictions self howto life living srg edg glvo</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:2c680362a1ef/</dc:identifier>
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</item>
<item rdf:about="https://www.bonappetit.com/recipes/article/pizza-party">
    <title>How to Make Homemade Pizza, Grandma Pie-Style | Bon Appétit</title>
    <dc:date>2019-07-07T01:07:25+00:00</dc:date>
    <link>https://www.bonappetit.com/recipes/article/pizza-party</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[“A chewy-crisp crust, endless topping ideas, and do-ahead ease. Pizza made in a sheet pan is the simplest, tastiest way to feed a crowd.”]]></description>
<dc:subject>recipes pizza 2019 glvo</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:2b67967fdba3/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:2019"/>
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</item>
<item rdf:about="https://www.perrerarte.cl/">
    <title>Perrera Arte</title>
    <dc:date>2019-06-21T06:46:35+00:00</dc:date>
    <link>https://www.perrerarte.cl/</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>chile art santiago glvo</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:7adb59fc4006/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:santiago"/>
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</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://hemisphericinstitute.org/en/">
    <title>Hemispheric Institute</title>
    <dc:date>2019-06-21T06:30:48+00:00</dc:date>
    <link>https://hemisphericinstitute.org/en/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The Hemispheric Institute connects artists, scholars, and activists from across the Americas and creates new avenues for collaboration and action. Focusing on social justice, we research politically engaged performance and amplify it through gatherings, courses, publications, archives, and events."]]></description>
<dc:subject>art socialjustice latinamerica activism glvo performance gatherings events</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:f26ce1bbd7cc/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:events"/>
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</item>
<item rdf:about="https://www.artspace.com/magazine/interviews_features/in_depth/is-a-laundromat-the-best-place-to-show-art-this-nyc-nonprofit-makes-a-strong-case-for-it-55594">
    <title>Is a Laundromat the Best Place to Show Art? This NYC Nonprofit Makes a Strong Case For It | Art for Sale | Artspace</title>
    <dc:date>2019-06-20T23:11:10+00:00</dc:date>
    <link>https://www.artspace.com/magazine/interviews_features/in_depth/is-a-laundromat-the-best-place-to-show-art-this-nyc-nonprofit-makes-a-strong-case-for-it-55594</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["In many modest income and minority neighborhoods throughout New York City's five boroughs, there has been an undeniable trend in real estate—attracted by the relatively low cost of living and opportunities for development, many communities previously ignored by the arts establishment for being too dangerous, too fringe, and/or commercially unviable have been recently flooded by gourmand coffee shops and gallery spaces with the ostensible intention of bringing art into these neighborhoods. While the ambition is well-meaning, what these spaces often represent is the erasure of a community's pre-existing culture and creativity and, more importantly, rapid increases in local rent prices which ultimately push many long-standing residents out. This trend is colloquially referred to as "artwashing."

Of course, there are art spaces and groups that are actively working to develop better practices and relationships, as discussed in last year's article on the subject by Jillian Billard. Among those leading the fight against gentrification is the nonprofit, The Laundromat Project. Founded by Risë Wilson in 2005, The Laundromat Project has supported over 160 artists since its inception through its fellowship programs and artist's residencies with the mission of facilitating and training artists on how to develop responsible community-based cultural programming. Initially inspired by the concept of utilizing and activating laundromats as inherently diverse and accessible community gathering spaces, the project now uses the laundromat metaphorically, having worked with libraries, community gardens, and all other manner of spaces throughout the city, which provokes the following associative experiment: what if, instead of artisanal coffee shops and white-cube gallery spaces, we imagined a laundromat as the symbol of the arts entering a community? 

In this interview with Artspace editor Shannon Lee, Laundromat Project's executive director Kemi Ilesanmi discusses the nonprofit's history, its unique programming, and how to highlight the culture that already exists within neighborhoods responsibly."]]></description>
<dc:subject>art artwashing nyc laundromats shannonlee risëwilson laundromatproject kemiilesanmi community jillianbillard residencies democracy glvo</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:ba2e75fcd9a8/</dc:identifier>
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</item>
<item rdf:about="https://languagelearningwithnetflix.com/">
    <title>LLN [Language Learning with Netflix]</title>
    <dc:date>2019-05-08T04:35:36+00:00</dc:date>
    <link>https://languagelearningwithnetflix.com/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["LLN is a Chrome extension that gives you superpowers over Netflix. It makes studying languages with films/series more effective and enjoyable."]]></description>
<dc:subject>languages learning netflix chrome extensions subtitles srg onlinetoolkit glvo</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:d559df7a9f0e/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:netflix"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:chrome"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:extensions"/>
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</item>
<item rdf:about="https://itunes.apple.com/us/app/chineasy-cards/id1318941705">
    <title>‎Chineasy Cards on the App Store</title>
    <dc:date>2019-05-05T22:17:05+00:00</dc:date>
    <link>https://itunes.apple.com/us/app/chineasy-cards/id1318941705</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[See also: 
https://www.youtube.com/watch?v=troxvPRmZm8
https://drmoku.com/chineasy-japanese/ ]]]></description>
<dc:subject>chinese language glvo</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:1723952ab69a/</dc:identifier>
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</item>
<item rdf:about="https://drmoku.com/chineasy-japanese/">
    <title>Chineasy Japanese version? Learn Japanese the easy way with our apps</title>
    <dc:date>2019-05-05T22:15:44+00:00</dc:date>
    <link>https://drmoku.com/chineasy-japanese/</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>chinese japanese 2013 language srg glvo</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:28aa860311ae/</dc:identifier>
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</item>
<item rdf:about="https://skritter.com/">
    <title>Skritter - Learn to Write Chinese and Japanese Characters</title>
    <dc:date>2019-05-05T21:11:32+00:00</dc:date>
    <link>https://skritter.com/</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>chinese language japanese srg glvo</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:a22db79a835d/</dc:identifier>
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</item>
<item rdf:about="https://medium.com/fathominfo/generative-knitting-93839d1fd5c9">
    <title>Generative Knitting – fathominfo – Medium</title>
    <dc:date>2019-04-26T19:06:58+00:00</dc:date>
    <link>https://medium.com/fathominfo/generative-knitting-93839d1fd5c9</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[loaded with images]

"I personally have long been fascinated by textile arts, and as a studio we are always looking for ways to explore data-driven designs beyond the computer screen. The 1:1 comparison of pixels to stitches has been widely explored, but it wasn’t until recently that our studio had the means to explore it ourselves.

Coding and textile arts share a close bond. Some of the earliest programmable machines were Jacquard looms — weavers used a series of punch cards to make more complex patterns and produce textiles more quickly.

Since a full Jacquard loom was a little out of scope for a side project, we started looking into other machines. An embroidery machine was promising, but was unsuited for a project of a larger scale.

Then I stumbled upon Claire Williams‘s data knits work. I was so intrigued by the complexity of patterns she was able to knit using a hacked 90‘s electronic knitting machine that I started looking into how it was done. Turns out, she has instructions on how to get started with connecting these kinds of machines to a computer. While Anisha looked into the parts we would need for the electronics, I began my search for a knitting machine. I ended up finding a woman in western Massachusetts who works with these machines and had a nicely refurbished one that we were able to purchase. She even came to the studio and gave us a full tutorial on how to the machine works.

While we waited for the electronic interface to get up and running, Martha and I tested different techniques and patterns with the machine.

During that time, we also went to the Bauhaus exhibit at the Harvard Art Museums, and I was completely blown away by Anni Albers’s and Gunta Stölzl’s work. That led me to pick up Albers’s book On Weaving.

In particular, Albers’s piece “Pasture” stuck with me, and I began thinking about using photographs of places and objects to generate palettes for textiles. That led to an exploration using various software sketches to generate palettes and patterns and build assistive knitting tools.

Generating palettes
First, I was interested in seeing what you could pull from just a photo. I began with photos that had a great balance of colors, hoping that reapplying those same ratios in different orientations could create new works with a similar mood.

In making mistakes, I also got some cool results.

Generating patterns

I then started to think more about the limitations of our machine (with an eye towards actually knitting something). In theory, our machine can use as many colors as you want, but only 2 can be loaded in at a time. Some accessories allow four colors at a time, so I set my sights on four-color patterns.

I didn’t have any knitting patterns handy, so I drew a few “pattern pieces” in Photoshop, and used those as the blueprints onto which I could map new colors. I wrote a few sketches in Processing to map the photo colors onto these pieces, and also generate different combinations of the pieces to create different patterns.

The program also worked by passing in a set palette, and having it randomly select four colors to apply to a pattern.

Moving into Knitting
With those patterns in place, it was time to see if I could actually produce them with the machine.

I printed out a small sample of all my generated palettes to bring to the store and see which colors were available.

From far away, this also started to look like its own giant pattern…

It only took five hours…but I did knit one pattern I had generated, and I am really excited by the results. My knitting and finishing techniques need some work, but the colors and texture that resulted are lovely.

I struggle to keep track of where I’m at in a pattern, so I threw together a little Processing sketch to help me. One thing I didn’t realize while making this tool is that the machine knits patterns upside down! Oh well: I’ve been told there are no mistakes in knitting.

With more of the automation in place (and more practice!), we‘ll be able to explore the more irregular, glitchy, and tapestry-like patterns.

There’s also so much more to experiment with on the physical side that moves beyond color and its arrangement — like the different textures and sheen of the yarn (maybe we could use four different black yarns with different textures!), or different types of stitches. I’m also looking forward to exploring more meaningful data relationships between the data generating the colors and the patterns themselves."]]></description>
<dc:subject>oliviaglennon knitting generative textiles looms jacquardlooms codign programming processing art glvo</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:098d59a1f3cb/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:generative"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:programming"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:processing"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:art"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:glvo"/>
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</item>
<item rdf:about="https://byborre.com/">
    <title>BYBORRE - Mastering Knit</title>
    <dc:date>2019-04-24T23:16:08+00:00</dc:date>
    <link>https://byborre.com/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Byborre is an Amsterdam based textile innovation studio working on the frontiers of material development, functionality and aesthetics through engineered knits.

Signature to Byborre are the innovative hand-rendered techniques that, through direct interaction with their circular knitting machines, give the studio full creative freedom to play with patterns, colours, and textures within their fabrics. Designing from the yarn up allows Byborre to discover new possibilities both within their own collections and for leading brands.

Over the past six years Byborre has worked with clients such as Nike, wings+horns, The North Face, and Daniel Arsham. Through consultation and collaboration with other brands, Byborre pushes knit innovation to find creative ways to achieve the project’s goal. The archetypical clothing pieces in the studio’s own label tell an important story about the relationship between material and machine, along with introducing a new approach to fashion where process and product are equally important.

Over the past six years Byborre has worked with clients such as Nike, wings+horns, The North Face, and Daniel Arsham. Through consultation and collaboration with other brands, Byborre pushes knit innovation to find creative ways to achieve the project’s goal. The archetypical clothing pieces in the studio’s own label tell an important story about the relationship between material and machine, along with introducing a new approach to fashion where process and product are equally important."]]></description>
<dc:subject>clothing uniform fashion glvo projectideas amsterdam materials knits knitting design clothes wearable wearables byborre textiles uniforms</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:3cc989eefc08/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:uniform"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:amsterdam"/>
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<item rdf:about="http://remezcla.com/features/film/miles-morales-spider-man-spider-verse-spanish-dialogue/">
    <title>Why the Spanish Dialogue in 'Spider-Verse' Doesn't Have Subtitles</title>
    <dc:date>2019-02-18T21:11:41+00:00</dc:date>
    <link>http://remezcla.com/features/film/miles-morales-spider-man-spider-verse-spanish-dialogue/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["While watching the new animated feature Spider-Man: Into the Spider-Verse – featuring Miles Morales’ big screen debut as the arachnid superhero – it’s reassuring to notice the subtle, yet transcendent details through which the creators ensured both parts of his cultural identity are present.

Miles (voiced by Shameik Moore), an Afro-Latino teen who lives in Brooklyn and first appeared in Marvel’s comics back in 2011, is the son of a Puerto Rican mother and an African-American father. The protagonist’s significance – when it comes to representation – cannot be overstated, making the fact that he and his mother (Rio Morales who’s voiced by Nuyorican actress Luna Lauren Velez) speak Spanish throughout the action-packed narrative truly momentous.

Although brief, the Spanish phrases and words we hear connote the genuine colloquialisms that arise in bilingual homes as opposed to the artificiality that sometimes peppers US-produced movies and feels like the result of lines being fed through Google Translate. It might come as a surprise for some that Phil Lord, known for writing and directing The Lego Movie and 21 Jump Street with his close collaborator Christopher Miller, was not only one of the main scribes and a producer on Spider-Verse, but also the person in charge of the Spanish-language dialogue.

“I grew up in a bilingual household in the bilingual city of Miami where you hear Spanish all over the place, and it’s not particularly remarkable,” he told Remezcla at the film’s premiere in Los Angeles. Lord’s mother is from Cuba and his father is from the States. As part of a Cuban-American family, the filmmaker empathized with Miles’ duality: “I certainly understand what it’s like to feel like you’re half one thing and half something else,” he noted.

[image]

Despite the massive success of Pixar’s Coco, including Spanish-language dialogue in a major studio’s animated release is still rare – doing so without adding subtitles, even for some of the longer lines, is outright daring. “It was important for us to hear Spanish and not necessarily have it subtitled,” said Lord. “It’s just part of the fabric of Miles’ community and family life.”

For Luna Lauren Velez, whose character speaks mostly in Spanish to Miles, Lord and the directors’ decision to not translate her text in any way helped validate the Latino experience on screen. “That was really bold, because if you use subtitles all of a sudden we are outside, and we are not part of this world anymore. It was brilliant that they just allowed for it to exist,” she told Remezcla. Her role as Rio Morales also benefited from the production’s adherence to specificity in the source material, she is not portrayed as just generically Latina but as a Puerto Rican woman from Brooklyn.

With the help of a dialect coach, Velez and Lord were also partially responsible for getting Shameik Moore (who has roots in Jamaica) to learn the handful of Spanish-language expressions Miles uses during the opening sequence were he walks around his neighborhood. “[Luna] has been getting on me! I need to go to Puerto Rico, and really learn Spanish for real,” Moore candidly told Remezcla on the red carpet.

Aside from Rio and Miles, the only other Spanish-speaking character is a villain named Scorpion. The insect-like bad guy who speaks only in Spanish is voiced by famed Mexican performer Joaquín Cosio. “He is an actor from Mexico City who was using slang that we had to look up because we didn’t understand it! I had never heard some of the words he used,” explained Lord.

[video: "Spider-Man: Into the Spider-Verse - "Gotta Go" Clip"
https://www.youtube.com/watch?v=9Q9foLtQidk ]

For Lord, having different Spanish accents represented is one of the parts of Into the Spider-Verse he’s the most proud of. He wanted to make sure Miles and Rio didn’t sound alike to indicate how language changes through different generations. Being himself the child of a Cuban immigrant, the parallels were very direct. “Miles is second-generation, so he speaks different than his mother.”

Velez, who like Miles is born in New York, identifies with what it’s like to communicate in both tongues. “Growing my parents spoke to us in Spanish and we responded in English. Now this happens with my nieces and nephews,” she said. “You want to make sure kids remember their culture and where they come from.” In playing Rio, she thought of her mother who instilled in her not only the language but appreciation for her Latinidad.

Clearly, casting Velez was essential to upholding the diversity and authenticity embedded into Miles Morales’ heroic adventure since not doing so would have been a disservice to an iteration of an iconic figure that is so meaningful for many. “If Spider-Man’s Puerto Rican mom had been played by somebody who isn’t Latino I’d have a problem with that,” Velez stated emphatically."]]></description>
<dc:subject>language translation spanish español bilingualism bilingual srg edg glvo carlosaguilar 2018 spider-verse spiderman miami losangeles nyc coco subtitles specificity puertorico cuba immigration via:tealtan accents change adaptation latinidad</dc:subject>
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<item rdf:about="https://www.youtube.com/watch?v=_wx__fEyDj0">
    <title>The Food Lab: How to Roast the Best Potatoes of Your Life - YouTube</title>
    <dc:date>2019-02-14T20:47:05+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=_wx__fEyDj0</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Read up on the full details here: https://www.seriouseats.com/recipes/2016/12/the-best-roast-potatoes-ever-recipe.html

This year, I decided to reexamine my potato-roasting method from the ground up with the idea of completely maximizing that crisp-to-creamy contrast in each chunk of potato, testing and retesting every variable, from cut size to potato type to boiling and roasting methods. The result is this recipe, which I firmly and un-humbly believe will deliver the greatest roast potatoes you've ever tasted: incredibly crisp and crunchy on the outside, with centers that are creamy and packed with potato flavor. I dare you to make them and not love them. I double-dare you.

WHY THIS RECIPE WORKS:
- Large chunks of potato maximize the contrast between exterior and interior.
- Parboiling the potatoes in alkaline water breaks down their surfaces, creating tons of starchy slurry for added surface area and crunch.
- Infusing the oil with garlic and herbs gives the potato crust extra flavor.

NOTES
Russet potatoes will produce crisper crusts and fluffier centers. Yukon Golds will be slightly less crisp and have creamier centers, with a darker color and deeper flavor. You can also use a mix of the two. The potatoes should be cut into very large chunks, at least 2 to 3 inches or so. For medium-sized Yukon Golds, this means cutting them in half crosswise, then splitting each half again to make quarters. For larger Yukon Golds or russets, you can cut the potatoes into chunky sixths or eighths.

INGREDIENTS
Kosher salt
1/2 teaspoon (4g) baking soda
4 pounds (about 2kg) russet or Yukon Gold potatoes, peeled and cut into quarters, sixths, or eighths, depending on size (see note above)
5 tablespoons (60ml) extra-virgin olive oil, duck fat, or beef fat
Small handful picked rosemary leaves, finely chopped
3 medium cloves garlic, minced
Freshly ground black pepper
Small handful fresh parsley leaves, minced

DIRECTIONS
1. Adjust oven rack to center position and preheat oven to 450°F/230°C (or 400°F/200°C if using convection). Heat 2 quarts (2L) water in a large pot over high heat until boiling. Add 2 tablespoons kosher salt (about 1 ounce; 25g), baking soda, and potatoes and stir. Return to a boil, reduce to a simmer, and cook until a knife meets little resistance when inserted into a potato chunk, about 10 minutes after returning to a boil.

2. Meanwhile, combine olive oil, duck fat, or beef fat with rosemary, garlic, and a few grinds of black pepper in a small saucepan and heat over medium heat. Cook, stirring and shaking pan constantly, until garlic just begins to turn golden, about 3 minutes. Immediately strain oil through a fine-mesh strainer set in a large bowl. Set garlic/rosemary mixture aside and reserve separately.

3. When potatoes are cooked, drain carefully and let them rest in the pot for about 30 seconds to allow excess moisture to evaporate. Transfer to bowl with infused oil, season to taste with a little more salt and pepper, and toss to coat, shaking bowl roughly until a thick layer of mashed potato–like paste has built up on the potato chunks.

4. Transfer potatoes to a large rimmed baking sheet and separate them, spreading them out evenly. Transfer to oven and roast, without moving, for 20 minutes. Using a thin, flexible metal spatula to release any stuck potatoes, shake pan and turn potatoes. Continue roasting until potatoes are deep brown and crisp all over, turning and shaking them a few times during cooking, 30 to 40 minutes longer.

5. Transfer potatoes to a large bowl and add garlic/rosemary mixture and minced parsley. Toss to coat and season with more salt and pepper to taste. Serve immediately."]]></description>
<dc:subject>2016 potatoes recipes glvo food jkenjilópez-alt</dc:subject>
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<item rdf:about="https://www.kenyonreview.org/kr-online-issue/2017-marapr/selections/miho-nokana-656342/">
    <title>An Essay by Miho Nonaka | Kenyon Review Online</title>
    <dc:date>2019-02-14T20:43:44+00:00</dc:date>
    <link>https://www.kenyonreview.org/kr-online-issue/2017-marapr/selections/miho-nokana-656342/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[So good. There's really no good way to quote this one, so here are just a few sections.]

"Heavenly Worm

Mrs. Itō, our fourth-grade teacher, drew a new kanji character on the board: 蚕. “Worm from heaven,” she announced, “as you can see.” Heaven splits open like a curtain (天) and inside it dwells the worm (虫). For each student, she took out five worms from her basket and put them in a small paper box to take home. Having just hatched from their eggs, these worms were still covered in little black hairs. That’s why at this stage they are called kego (hairy baby), Mrs. Itō told us. To feed these dark babies, julienne your mulberry leaves first."

…

"Platinum Boy, 2006

After decades of research, Japanese silkworm breeders discovered a reliable method of hatching exclusively male silkworms. Female silkworms eat more, sleep more, take up more space, and are measurably less efficient in transforming mulberry leaves into silk. The verdict was clear: female silkworms are inferior for silk production.

Silk spinners and kimono weavers are unanimous in their praise of male silk: their thread is consistently finer, sturdier, glossier, whiter, and their cocoons are easier to harvest when boiled.

The birth site of Platinum Boy is literally black and white. When you look at a piece of paper where silkworm eggs are laid, white eggs are the empty shells from which male larvae have already hatched. They will thrive on the diet of tender mulberry shoot which, combined with their spit, will eventually turn into raw silk, translucent like frosted glass. The dark eggs contain female larvae that will never hatch and only keep darkening."

…

"Ten Thousand Leaves I

Compiled in the mideighth century, Man’yōshū (Collection of Ten Thousand Leaves) is the oldest Japanese anthology: more than forty-five hundred poems in twenty books. In the sweltering heat of the attic, I wasn’t looking for any particular motif when I happened on poem No. 2495, composed by Kakinomoto no Hitomaro, a low rank courtier and one of the “Saints of Japanese Poetry”:

<blockquote>like my mother’s
silkworms confined
inside cocoons,
how can I see my love
who lives secluded at home?</blockquote>

Poem No. 2991 is almost the same poem by another poet, simply tagged “unknown”:

<blockquote>like my mother’s
silkworms confined
inside cocoons,
sadness clouds my heart
when I cannot see her</blockquote>

The motif of a silk cocoon as the inaccessible, lyrical interior goes back to the dawn of Japanese poetics. The cocoon encases the image of the beloved, the poet’s longing that keeps building inside, and in my poem it holds the mother as a mythical seamstress, stitching blue in each wrist of her unborn daughter."

…

"職人 I

I used to blame my grandmother on my father’s side, who was described to me as fierce, frantic, funny, a destructive visionary and unsuccessful business entrepreneur during the critical times of the Second World War. When I felt defeated by the radical pull of my own emotion, I would attach them to the face of the woman I had never met in person, only in a fading picture where she stands next to my young father without glasses, still a student with surprisingly gentle eyes.

My father recently told me during one of our late-night international calls from Tokyo: “Your grandfathers were both shokunin (craftsman), remember? It’s in your DNA, too.” His father had come from a large family of silk farmers. After he left home, adopting the newly introduced Singer sewing machines, he began manufacturing Japanese cloven-toed socks, the traditional kind that used to be hand-sewn, and during the war, he took the assignment to sew parachutes for the Imperial Japanese Army Air Force. While he worked under dimmed light, my young father put up his primitive drawing of warplanes on the wall, covered in fine grains of sand."

…

"Small Things

They say (I love the convenience, but who are “they”?) that attention to detail is a characteristic of the Japanese. I am drawn to small things: tadpoles, silica beads, star sands in a vial, a notebook the size of a thumbnail, fish scales, a nativity scene inside half a walnut shell. I am terribly myopic like my father, and I like things that are near. Large things loom over and terrify: airports, Costco, churches in Texas, the Tokyo Skytree, Mount Rushmore (those granite faces I once believed had surfaced in response to the historic atomic bombing), and that elusive word “global.”"

…

"Komako

It didn’t occur to me until I tried translating a few passages from Snow Country that the young geisha’s name Komako (駒子) means Pony Child. What inspired the author Kawabata to portray his heroine as a woman of equine grace? We don’t know her family name. On the other hand, we don’t know the first name of Shimamura, who is referred to only by his last name.

I imagine if your family name is a gate to the house, your first name must be its interior. In the days when the first book of Man’yōshū was composed, asking a maiden’s first name was synonymous with proposing to her. Knowing it meant possessing the person.

Komako’s body is translucent like a silkworm, and an unearthly room encloses her fruitless passion like a white cocoon. While writing Snow Country, Kawabata says he distanced himself from Shimamura, who serves merely as a foil to Komako. “As an author, I entered deep inside the character of Komako, but casually turned my back to Shimamura,” he writes in the afterward. “Especially in terms of emotion—Komako’s sadness is nothing other than my own sadness. . . .” And so it is; his heart has become subsumed into her heart."

…

"Body

I find it impossible to talk about the body (mine and everyone else’s) without sounding embarrassed or oddly distant. I don’t mean to self-deprecate, but it has been almost too fashionable, too charged a topic for me to feel safe around. (A cowardly thing to say—the truth is, no one is safe.)

I won’t pretend my body is a plain blockhouse, or a slab of flesh aching with desire or lack thereof. Who could have taught me to stay at home in my own body all the while I traveled from one country to another, turning from the spontaneous, if careless, music of my mother tongue to the cautious economy of English, reaching out, in the hope of actually reaching and being reached?

For the subjects most critical to me, I find no teachers. Perhaps there is not enough demand? I believe I am badly behind everyone and that I missed an opportunity to ask questions long ago. People my age in this country sound fluent in the body, discussing it with just the right amount of sarcasm and laughter without revealing much, like they have been on intimate terms with it since they learned to speak. I suppose I should have listened to the body harder, without ulterior motives."]]></description>
<dc:subject>mihononaka silk essays canon howwewrite 2017 silkworms multispecies japan japanese language gender via:ayjay poetry writing fabric textiles srg glvo insects history cocoons craft translation languages childhood change materials process form details weaving texture morethanhuman shinto bodies body small slow fabrics</dc:subject>
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<item rdf:about="https://www.theverge.com/2019/2/12/18220289/language-learning-netflix-chrome-extension-two-subtitles">
    <title>This Chrome extension lets you learn a new language by watching Netflix - The Verge</title>
    <dc:date>2019-02-13T04:44:47+00:00</dc:date>
    <link>https://www.theverge.com/2019/2/12/18220289/language-learning-netflix-chrome-extension-two-subtitles</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Watch your shows with two subtitles on at the same time"

[Direct links:
https://languagelearningwithnetflix.com/
https://chrome.google.com/webstore/detail/lln-language-learning-wit/hoombieeljmmljlkjmnheibnpciblicm ]]]></description>
<dc:subject>chrome extensions languages netflix onlinetoolkit 2019 srg glvo</dc:subject>
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<item rdf:about="https://www.youtube.com/watch?v=sv3TXMSv6Lw">
    <title>The Best Homemade Pizza You'll Ever Eat - YouTube</title>
    <dc:date>2019-02-08T22:21:49+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=sv3TXMSv6Lw</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>pizza howto tutorials glvo srg edg cooking food 2018</dc:subject>
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<item rdf:about="https://www.thestudio.com/custom-patches/">
    <title>Custom Patches - Make Your Own Custom Patches | thestudio.com</title>
    <dc:date>2019-01-24T21:07:41+00:00</dc:date>
    <link>https://www.thestudio.com/custom-patches/</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>labels patches projectideas glvo</dc:subject>
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<item rdf:about="https://www.patches4less.com/">
    <title>Custom Patches - Design a Patch | Patches4Less.com</title>
    <dc:date>2019-01-24T21:07:35+00:00</dc:date>
    <link>https://www.patches4less.com/</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>labels patches projectideas glvo</dc:subject>
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<item rdf:about="https://customwovenlabels.com/">
    <title>Custom Woven Labels</title>
    <dc:date>2019-01-24T21:05:33+00:00</dc:date>
    <link>https://customwovenlabels.com/</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>labels patches projectideas glvo</dc:subject>
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<item rdf:about="https://www.cruzlabel.com/">
    <title>Cruz Label: Clothing Labels | Woven Labels, Custom Printed Labels, Hang Tags, Clothing Tags</title>
    <dc:date>2019-01-24T21:05:20+00:00</dc:date>
    <link>https://www.cruzlabel.com/</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>labels patches projectideas glvo</dc:subject>
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<item rdf:about="https://wunderlabel.com/">
    <title>Wunderlabel</title>
    <dc:date>2019-01-24T21:04:06+00:00</dc:date>
    <link>https://wunderlabel.com/</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>labels patches projectideas glvo</dc:subject>
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<item rdf:about="https://qualitywovenlabels.com/">
    <title>Quality Woven Labels</title>
    <dc:date>2019-01-24T21:03:20+00:00</dc:date>
    <link>https://qualitywovenlabels.com/</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>labels patches projectideas glvo</dc:subject>
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<item rdf:about="https://thecreativeindependent.com/guides/how-to-make-a-website-for-your-creative-work/">
    <title>The Creative Independent: How to make a website for your creative work</title>
    <dc:date>2019-01-12T05:57:48+00:00</dc:date>
    <link>https://thecreativeindependent.com/guides/how-to-make-a-website-for-your-creative-work/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["A guide to getting your work on the internet so you can share it with others, written by Jason Huff and illustrated by Sean Suchara."

…

"If you’re a creative person living in the world today, people will expect to be able to find some examples of your work online. How you choose to put it there, though, is completely up to you.

I got started on the web in the early aughts when I created a gallery for my creative work. I call it a gallery because it was just that: a blank space with images in a row that linked to some projects I wanted to share with friends. Since then my site has evolved, disappeared, come back, and spawned other sites that express my ideas and identity online. Each evolution was a chance to share new work in a way that reflected how I wanted people to experience it.

I work on the web everyday. I help designers, artists, and galleries discover and create their online presence. And for seven years, I designed and led teams at Etsy, a platform that helps millions of creative humans around the world use the web to make an income from their craft. In all of my work, I’ve learned that every person brings their own body of knowledge and point of view when they create their own space online. The unique approaches that each individual brings to the experience are what make the internet an interesting place to explore.

Before digging into this guide, I recommend reading Laurel Schwulst’s essay, My website is a shifting house next to a river of knowledge. What could yours be? It’s a great sister piece to this more practical guide, and provides many poetic explorations of the website format. Like Laurel mentions in her essay, “Artists excel at creating worlds.” I hope this guide will help you start creating yours.

— Jason Huff"]]></description>
<dc:subject>webdesign webdev howto websites seansuchara jasonhuff art glvo projectideas laurelschwulst morehshinallahyari petracortright americanartist ingridburrington damonzucconi jennyodell seokhoonchoi tomjennings carlyayres</dc:subject>
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<item rdf:about="https://docs.google.com/presentation/d/16W-9D-x7WflRc2d__AX1qT3vep_UF84JCTjatnpH1D0/edit#slide=id.g8eb55f879_00">
    <title>How to Take Awesome Food Photos by Helen Rosner - Google Slides</title>
    <dc:date>2019-01-12T05:33:42+00:00</dc:date>
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    <dc:creator>robertogreco</dc:creator><dc:subject>food photography helenrosner srg edg glvo fun classideas howto tutorials</dc:subject>
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<item rdf:about="https://www.nytimes.com/2018/12/25/upshot/the-relentlessness-of-modern-parenting.html">
    <title>The Relentlessness of Modern Parenting - The New York Times</title>
    <dc:date>2018-12-27T03:06:54+00:00</dc:date>
    <link>https://www.nytimes.com/2018/12/25/upshot/the-relentlessness-of-modern-parenting.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Experts agree that investing in children is a positive thing — they benefit from time with their parents, stimulating activities and supportive parenting styles. As low-income parents have increased the time they spend teaching and reading to their children, the readiness gap between kindergarten students from rich and poor families has shrunk. As parental supervision has increased, most serious crimes against children have declined significantly.

But it’s also unclear how much of children’s success is actually determined by parenting.

“It’s still an open question whether it’s the parenting practices themselves that are making the difference, or is it simply growing up with college-educated parents in an environment that’s richer in many dimensions?” said Liana Sayer, a sociologist at the University of Maryland and director of the Time Use Laboratory there. “I don’t think any of these studies so far have been able to answer whether these kids would be doing well as adults regardless, simply because of resources.”

There has been a growing movement against the relentlessness of modern-day parenting. Utah passed a free-range parenting law, exempting parents from accusations of neglect if they let their children play or commute unattended.

Psychologists and others have raised alarms about children’s high levels of stress and dependence on their parents, and the need to develop independence, self-reliance and grit. Research has shown that children with hyper-involved parents have more anxiety and less satisfaction with life, and that when children play unsupervised, they build social skills, emotional maturity and executive function.

Parents, particularly mothers, feel stress, exhaustion and guilt at the demands of parenting this way, especially while holding a job. American time use diaries show that the time women spend parenting comes at the expense of sleep, time alone with their partners and friends, leisure time and housework. Some pause their careers or choose not to have children. Others, like Ms. Sentilles, live in a state of anxiety. She doesn’t want to hover, she said. But trying to oversee homework, limit screen time and attend to Isaac’s needs, she feels no choice.

“At any given moment, everything could just fall apart,” she said.

“On the one hand, I love my work,” she said. “But the way it’s structured in this country, where there’s not really child care and there’s this sense that something is wrong with you if you aren’t with your children every second when you’re not at work? It isn’t what I think feminists thought they were signing up for.”"]]></description>
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<item rdf:about="https://www.pinterest.com/lizettegreco/for-pets/">
    <title>Pinterest: For Pets collection by Lizette Greco</title>
    <dc:date>2018-12-24T23:38:31+00:00</dc:date>
    <link>https://www.pinterest.com/lizettegreco/for-pets/</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>pinterest glvo pets sestracat cats dogs lizettegreco human-animalrelations human-animalrelationships multispecies morethanhuman</dc:subject>
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<item rdf:about="http://nophoto.org/">
    <title>NOPHOTO. Colectivo de Fotografía Contemporánea</title>
    <dc:date>2018-11-05T02:35:17+00:00</dc:date>
    <link>http://nophoto.org/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["NOPHOTO es un colectivo de fotografía contemporánea nacido en 2005 con el objetivo de hacer viables proyectos individuales y colectivos NO convencionales. 

Se caracteriza por una actitud abierta en contenidos, una tendencia interdisciplinar en las formas, la utilización de múltiples soportes de difusión de los proyectos, como web y proyección digital y la implicación personal en el proceso de gestación y producción de los mismos. 

NOPHOTO hace de la negación su punto de partida. NOPHOTO no es una agencia de fotógrafos, sino una ACTITUD. Una manera de ver. Una revolución. Un NO (que nunca está de más). 

Esta actitud estética hace que NOPHOTO no renuncie a ninguna forma de creación o exhibición. Los trabajos del colectivo ofrecen una experimentada mirada sobre lo cotidiano que siempre conduce a lo extraordinario. Este proceso es resultado de la reflexión en grupo y de la interacción de procesos de creación alternativos.

“No es que nos guste ir a la contra, es que lo que nos divierte es caminar despacio, torpemente, observar las diferencias menudas entre las cosas, descubrir sus ritmos. Tratar de describir un objeto, dar una vuelta alrededor, acariciar su contorno y cubrir todo el perímetro. Preguntarse de qué está hecho y qué papel cumple en la historia. Obligarse a agotar el tema y no decir nada. Obligarse a mirar con sencillez y no resolver nada. No ilustrar, no definir, no fotografiar. Lo que nos gusta es desfotografiar las cosas y desnombrarlas.”

NOPHOTO ha sido galardonado con el Premio Revelación 2006 del Festival Internacional de Fotografía y Artes Visuales PHotoEspaña."]]></description>
<dc:subject>nophoto photography spain españa collectives lcproject openstudioproject interdisciplinary español slow differences difference betweenness between margins periphery unschooling deschooling opposition discovery howwelearn learning glvo liminality inbetweenness inbetween liminal</dc:subject>
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</item>
<item rdf:about="https://www.bythebay.cool/">
    <title>By The Bay</title>
    <dc:date>2018-11-03T20:38:29+00:00</dc:date>
    <link>https://www.bythebay.cool/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[See also: https://www.ballot.fyi/ ]

"Take a break from the national chaos, and dip into the fascinatingly bizarre world of local elections. We explain California, San Francisco, and San Jose propositions & races so you'll laugh, cry, and vote on Election Day, November 6th.

We also made this neat tool so you can save your votes and talk about local issues with your friends.

Okay, let's do this civic duty dance and show how Democracy is done, shall we?

…

ABOUT US (REALLY)

By The Bay is led by Jimmy Chion and Yvonne Leow, two San Franciscans, who love almost all things Californian.

Our mission is to transform residents into citizens. We think local issues like housing, homelessness, and public transit affect us everyday, but it's hard to know how to participate. By The Bay is our way of changing that, starting with elections.

WE'RE NONPARTISAN, BUT NOT BORING
We try to convey all relevant arguments as fairly and factually as possible. We are human though – so please email us at hi@bythebay.cool if you see anything that needs some TLC.

WE MADE A THING BEFORE
In 2016, we built ballot.fyi to explain all of the confusing CA propositions. To our surprise, it reached ~1M people in one month. This year, we're covering local elections again. Hopefully making you a little smarter and our community a little better.

WE'RE FUNDED BY THE KNIGHT FOUNDATION
In 2017, we received a $75K grant from the Knight Foundation to continue ballot.fyi. The Knight Foundation is a nonpartisan non-profit that supports local journalism initiatives across the country. BTB is a for-profit organization, but fiscally sponsored by the non-profit Asian American Journalists Association.

WHO WE ARE (AS PEOPLE)

JIMMY CHION was a designer and engineer at IDEO, an instructor at California College of Arts, and an Artist-in-Residence at Autodesk. He has two degrees from Stanford, neither of which have anything to do with politics. He created ballot.fyi, and now leads design and development at BTB. Send him a punny message at jimmy@bythebay.cool

Yvonne Leow
YVONNE LEOW is a digital journalist by trade. She has worked at Vox.com, Digital First Media, and the AP. She is currently the president of the AAJA and was a John S. Knight Journalism Fellow at Stanford. Yvonne leads editorial and partnerships at BTB. Send her a haiku at yvonne@bythebay.cool."]]></description>
<dc:subject>bayarea sanfrancisco sanjose elections votersguide voting politics srg edg glvo california propositions</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:f51841212341/</dc:identifier>
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</item>
<item rdf:about="https://www.ballot.fyi/">
    <title>California State Propositions – a nonpartisan guide [updates every election]</title>
    <dc:date>2018-11-03T20:36:03+00:00</dc:date>
    <link>https://www.ballot.fyi/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["nonpartisan
We're tired of fliers telling us how to vote. ballot.fyi doesn't tell you what to do, instead we give you the facts and arguments about each proposition so you can come to your own conclusion. We cite all of our sources (try clicking this little circle 
) and try to represent all relevant perspectives – that's what we mean by nonpartisan. But, we're human, and we don't know everything, so if you know something we didn't cover, email us at fax@ballot.fyi (with sources cited)

concise
We've read the full text of the propositions, the official arguments of both sides, and many, many opinion articles so we can give you concise but comprehensive digests of what's on the ballot. These are real issues that affect real animals, and we hope these summaries get you interested in what's happening in CA and make you feel ready to vote.

a tool
We want you to feel good – amazing even – on Election Day, and we also hope that you'll want your friends to feel fantastic, because this site's only purpose is to get more folks voting. So do us a solid and tell your friends they get to vote on Daylight Saving Time this November.

About Amir & Erica
Amir & Erica (you know, like "America") was created by Jimmy Chion (a designer and engineer) and Yvonne Leow (a journalist) with the help and balance of many friends, left and right. We first made ballot.fyi in 2016. It reached a million people in one month, and in 2017, we received a $75K grant from The John S. and James L. Knight Foundation to continue ballot.fyi into 2018. The Knight Foundation promotes informed and engaged communities through funding in journalism, arts, and technology.

If you live in San Francisco or San Jose, we created By The Bay to cover those local propositions. [https://www.bythebay.cool/ ]"]]></description>
<dc:subject>votersguide voting california propositions politics srg edg glvo sanfrancisco sanjose bayarea elections</dc:subject>
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</item>
<item rdf:about="http://celiapym.com/">
    <title>Celia Pym | Knitting, darning &amp; textiles by artist Celia Pym</title>
    <dc:date>2018-10-21T04:14:15+00:00</dc:date>
    <link>http://celiapym.com/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[via: http://celiapym.com/work/norwegian-sweater/ ]

[See also:
https://www.studiointernational.com/index.php/celia-pym-interview
https://www.rca.ac.uk/students/celia-pym/
https://visiblemending.com/products/artist-celia-pym-way-more-than-a-mend
https://deskgram.net/explore/tags/celiapym ]]]></description>
<dc:subject>celiapym knitting darning textiles glvo mending repair clothing beausage embroidery sewing</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:fce48ade07f9/</dc:identifier>
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</item>
<item rdf:about="https://www.juanagomez.com/">
    <title>Juana Gómez</title>
    <dc:date>2018-09-24T23:44:15+00:00</dc:date>
    <link>https://www.juanagomez.com/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[via: "Chilean artist Juana Gómez uses photography, weaving and embroidery to explore themes of genealogy, biology and interconnectivity in her own (and her daughter's) female lineage #womensart"
https://twitter.com/womensart1/status/1043741688320151553 ]

[See also: https://www.theguardian.com/artanddesign/gallery/2017/dec/05/juana-gomez-embroidered-family-photos-in-pictures-distaff-michael-hoppen-gallery ]]]></description>
<dc:subject>chile glvo embroidery art artists juanagómez geneology interconnected biology interconnectivity interconnectedness</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:68a56d7950a4/</dc:identifier>
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</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://en.wikipedia.org/wiki/Unravel_Two">
    <title>Unravel Two - Wikipedia</title>
    <dc:date>2018-08-20T03:07:03+00:00</dc:date>
    <link>https://en.wikipedia.org/wiki/Unravel_Two</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[via: "Lovely game by Coldwood, which encourages collaborative play—really works if kids are roughly the same level (roughly). Beautiful setting, too. (Discovered via good games exhibition at Tekniska Museet in Stockholm, feat many Swedish games.)"
https://www.instagram.com/p/BmnSFiBgevo/ ]

"Unravel Two is a puzzle platform video game developed by Swedish studio Coldwood Interactive and published by Electronic Arts under the EA Originals label. It was released on 9 June 2018 for Microsoft Windows, PlayStation 4, and Xbox One. The game centres on two Yarnys, small anthropomorphic creatures made of yarn.[2] It is the sequel to the 2016 game Unravel.

Unlike the first game, Unravel Two is both a single-player and a multiplayer game, though local co-op only. The game centres on two Yarnys, which can be controlled with either one player or two, which must work together in order to solve puzzles and manipulate the world. The game contains a main storyline, set on an island, as well as challenge levels, significantly more difficult levels.[3]"

[See also:
https://www.ea.com/es-es/games/unravel/unravel-two

Trailers:
https://www.youtube.com/watch?v=j2TmLrTl6gs
https://www.youtube.com/watch?v=7eRmkCVHEbQ ]]]></description>
<dc:subject>games videogames toplay collaborative srg edg glvo yarn puzzles classideas cooperativegames</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:34120c9f5be7/</dc:identifier>
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</item>
<item rdf:about="https://twitter.com/claytoncubitt/status/291928112411856896">
    <title>Clayton Cubitt on Twitter: &quot;Three step guide to photography: 01: be interesting. 02: find interesting people. 03: find interesting places. Nothing about cameras.&quot;</title>
    <dc:date>2018-08-17T23:54:47+00:00</dc:date>
    <link>https://twitter.com/claytoncubitt/status/291928112411856896</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Three step guide to photography: 01: be interesting. 02: find interesting people. 03: find interesting places. Nothing about cameras."]]></description>
<dc:subject>claytoncubitt photography edg srg glvo classideas howto cameras 2013</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:b71b02dbaab9/</dc:identifier>
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</item>
<item rdf:about="https://www.kickstarter.com/projects/1206849453/turtlestitch">
    <title>TurtleStitch by Andrea Mayr-Stalder — Kickstarter</title>
    <dc:date>2018-08-08T22:19:28+00:00</dc:date>
    <link>https://www.kickstarter.com/projects/1206849453/turtlestitch</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>scratch sewing textiles making 2018 embroidery glvo</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:cc9de724fe4e/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:textiles"/>
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</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://www.instagram.com/explore/tags/visiblemending/">
    <title>#visiblemending • Fotos y vídeos de Instagram</title>
    <dc:date>2018-07-18T20:01:48+00:00</dc:date>
    <link>https://www.instagram.com/explore/tags/visiblemending/</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>instagram mending repair glvo</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:53020838818b/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:instagram"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:mending"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:repair"/>
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</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://bampfa.org/program/cecilia-vicu%C3%B1a-about-happen">
    <title>Cecilia Vicuña: About to Happen | BAMPFA</title>
    <dc:date>2018-07-06T08:39:25+00:00</dc:date>
    <link>https://bampfa.org/program/cecilia-vicu%C3%B1a-about-happen</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["This first survey exhibition of the work of Chilean-born artist Cecilia Vicuña traces her career to stage a conversation about discarded and displaced people, places, and things in a time of global climate change. The exhibition includes key installations, sculptures, texts, and videos from a multidisciplinary practice that has encompassed performance, sculpture, drawing, video, poetry, and site-specific installations over the course of the past forty years.
 
Working within the overlapping discourses of Conceptual art, land art, poetry, and feminist art practices, Vicuña has long refused categorical distinctions, operating fluidly between concept and craft, text and textile. Her practice weaves together disparate artistic disciplines as well as cultural and social communities—with shared relationships to land and sea, and to the economic and environmental disparities of the twenty-first century.
 
The exhibition presents a large selection of Vicuña's precario (precarious) sculptures produced over the last four decades that feature found objects in lyrical juxtaposition, as well as a monumental hanging structure created out of materials scavenged from the ever-diminishing Louisiana coast. Reframing dematerialization as both a formal consequence of 1960s Conceptualism and radical climate change, Cecilia Vicuña: About to Happen examines a process that shapes public memory and responsibility."

[See also: https://bampfa.org/event/reading-cecilia-vicu%C3%B1a
https://bampfa.org/event/cecilia-vicu%C3%B1a-performance ]

[via: https://www.instagram.com/p/Bk37axFFoPk/ ]]]></description>
<dc:subject>ceciliavicuña togo tosee glvo chile art bampfa 2018 displacement multidisciplinary artists video poetry sculpture climatechange memory responsibility</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:310691ce2df5/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:chile"/>
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<item rdf:about="http://www.akaritachibana.com/">
    <title>Akari Tachibana</title>
    <dc:date>2018-07-06T07:47:10+00:00</dc:date>
    <link>http://www.akaritachibana.com/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["​​Born and raised in Japan and moved to San Francisco to learn Fashion Design in 2010. All the clothes are handmade by Akari Tachibana from design to finish in San Francisco. Striving to design and make durable garments that can be worn for 20-plus years and develop their own character with the wearer.​"

[See also: http://akaritachibana.tumblr.com/ ]]]></description>
<dc:subject>sanfrancisco glvo akaritachibana fashion clothing uniformproject</dc:subject>
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<item rdf:about="https://harpers.org/archive/2015/04/abolish-high-school/">
    <title>[Easy Chair] | Abolish High School, by Rebecca Solnit | Harper's Magazine</title>
    <dc:date>2018-06-10T19:18:41+00:00</dc:date>
    <link>https://harpers.org/archive/2015/04/abolish-high-school/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["I didn’t go to high school. This I think of as one of my proudest accomplishments and one of my greatest escapes, because everyone who grows up in the United States goes to high school. It’s such an inevitable experience that people often mishear me and think I dropped out.

I was a withdrawn, bookish kid all through elementary school, but the difficulty of being a misfit intensified when I started seventh grade. As I left campus at the end of my first day, people shouted insults that ensured I knew my clothes didn’t cut it. Then there was P.E., where I had to don a horrendous turquoise-striped polyester garment that looked like a baby’s onesie and follow orders to run or jump or play ball — which is hard to do when you’re deeply withdrawn — after which I had to get naked, in all my late-bloomer puniness, and take showers in front of strangers. In science class we were graded on crafting notebooks with many colors of pen; in home economics, which was only for girls — boys had shop — we learned to make a new kind of cake by combining pudding mix with cake mix; even in English class I can remember reading only one book: Dickens’s flattest novel, Hard Times. At least the old history teacher in the plaid mohair sweaters let me doze in the front row, so long as I knew the answers when asked.

In junior high, everything became a little more dangerous. Most of my peers seemed to be learning the elaborate dance between the sexes, sometimes literally, at school dances I never dreamed of attending, or in the form of the routines through which girls with pompoms ritually celebrated boys whose own role in that rite consisted of slamming into one another on the field.

I skipped my last year of traditional junior high school, detouring for ninth and tenth grade into a newly created alternative junior high. (The existing alternative high school only took eleventh and twelfth graders.) The district used this new school as a dumping ground for its most insubordinate kids, so I shared two adjoining classrooms with hard-partying teenage girls who dated adult drug dealers, boys who reeked of pot smoke, and other misfits like me. The wild kids impressed me because, unlike the timorous high achievers I’d often been grouped with at the mainstream school, they seemed fearless and free, skeptical about the systems around them.

There were only a few dozen students, and the adults treated us like colleagues. There was friendship and mild scorn but little cruelty, nothing that pitted us against one another or humiliated us, no violence, no clearly inculcated hierarchy. I didn’t gain much conventional knowledge, but I read voraciously and had good conversations. You can learn a lot that way. Besides, I hadn’t been gaining much in regular school either.

I was ravenous to learn. I’d waited for years for a proper chance at it, and the high school in my town didn’t seem like a place where I was going to get it. I passed the G.E.D. test at fifteen, started community college the following fall, and transferred after two semesters to a four-year college, where I began, at last, to get an education commensurate with my appetite.

What was it, I sometimes wonder, that I was supposed to have learned in the years of high school that I avoided? High school is often considered a definitive American experience, in two senses: an experience that nearly everyone shares, and one that can define who you are, for better or worse, for the rest of your life. I’m grateful I escaped the particular definition that high school would have imposed on me, and I wish everyone else who suffered could have escaped it, too.

For a long time I’ve thought that high school should be abolished. I don’t mean that people in their teens should not be educated at public expense. The question is what they are educated in. An abolitionist proposal should begin by acknowledging all the excellent schools and teachers and educations out there; the people who have a pleasant, useful time in high school; and the changes being wrought in the nature of secondary education today. It should also recognize the tremendous variety of schools, including charter and magnet schools in the public system and the private schools — religious, single-sex, military, and prep — that about 10 percent of American students attend, in which the values and pedagogical systems may be radically different. But despite the caveats and anomalies, the good schools and the students who thrive (or at least survive), high school is hell for too many Americans. If this is so, I wonder why people should be automatically consigned to it.

In 2010, Dan Savage began the It Gets Better Project, which has gathered and posted video testimonials from gay and lesbian adults and queer-positive supporters (tens of thousands of them, eventually, including professional sports stars and the president) to address the rash of suicides by young queer people. The testimonials reassure teenagers that there is life after high school, that before long they’ll be able to be who they are without persecution — able to find love, able to live with dignity, and able to get through each day without facing intense harassment. It’s a worthy project, but it implicitly accepts that non-straight kids must spend their formative years passing through a homophobic gauntlet before arriving at a less hostile adult world. Why should they have to wait?

Suicide is the third leading cause of death for teens, responsible for some 4,600 deaths per year. Federal studies report that for every suicide there are at least a hundred attempts — nearly half a million a year. Eight percent of high school students have attempted to kill themselves, and 16 percent have considered trying. That’s a lot of people crying out for something to change.

We tend to think that adolescence is inherently ridden with angst, but much of the misery comes from the cruelty of one’s peers. Twenty-eight percent of public school students and 21 percent of private school students report being bullied, and though inner-city kids are routinely portrayed in the press as menaces, the highest levels of bullying are reported among white kids and in nonurban areas. Victims of bullying are, according to a Yale study, somewhere between two and nine times more likely to attempt suicide. Why should children be confined to institutions in which these experiences are so common?

Antibullying programs have proliferated to such an extent that even the Southern Poverty Law Center has gotten involved, as though high school had joined its list of hate groups. An educational video produced by the S.P.L.C. focuses on the case of Jamie Nabozny, who successfully sued the administrators of his small-town Wisconsin school district for doing nothing to stop — and sometimes even blaming him for — the years of persecution he had suffered, including an attack that ruptured his spleen. As Catherine A. Lugg, an education scholar specializing in public school issues, later wrote, “The Nabozny case clearly illustrates the public school’s historic power as the enforcer of expected norms regarding gender, heteronormativity, and homophobia.”

I once heard Helena Norberg-Hodge, an economic analyst and linguist who studies the impact of globalization on nonindustrialized societies, say that generational segregation was one of the worst kinds of segregation in the United States. The remark made a lasting impression: that segregation was what I escaped all those years ago. My first friends were much older than I was, and then a little older; these days they are all ages. We think it’s natural to sort children into single-year age cohorts and then process them like Fords on an assembly line, but that may be a reflection of the industrialization that long ago sent parents to work away from their children for several hours every day.

Since the 1970s, Norberg-Hodge has been visiting the northern Indian region of Ladakh. When she first arrived such age segregation was unknown there. “Now children are split into different age groups at school,” Norberg-Hodge has written. “This sort of leveling has a very destructive effect. By artificially creating social units in which everyone is the same age, the ability of children to help and to learn from each other is greatly reduced.” Such units automatically create the conditions for competition, pressuring children to be as good as their peers. “In a group of ten children of quite different ages,” Norberg-Hodge argues, “there will naturally be much more cooperation than in a group of ten twelve-year-olds.”

When you are a teenager, your peers judge you by exacting and narrow criteria. But those going through the same life experiences at the same time often have little to teach one another about life. Most of us are safer in our youth in mixed-age groups, and the more time we spend outside our age cohort, the broader our sense of self. It’s not just that adults and children are good for adolescents. The reverse is also true. The freshness, inquisitiveness, and fierce idealism of a wide-awake teenager can be exhilarating, just as the stony apathy of a shut-down teenager can be dismal.

A teenager can act very differently outside his or her peer group than inside it. A large majority of hate crimes and gang rapes are committed by groups of boys and young men, and studies suggest that the perpetrators are more concerned with impressing one another and conforming to their group’s codes than with actual hatred toward outsiders. Attempts to address this issue usually focus on changing the social values to which such groups adhere, but dispersing or diluting these groups seems worth consideration, too.

High school in America is too often a place where one learns to conform or take punishment — and conformity is itself a kind of punishment, one that can flatten out your soul or estrange you from it.

High school, particularly the suburban and small-town varieties, can seem a parade of clichés, so much so that it’s easy to believe that jockocracies (a term used to describe Columbine High School at the time of the 1999 massacre), girls’ rivalries, punitive regimes of conformity and so forth, are anachronistic or unreal, the stuff of bad movies. Then another story reminds us that people are still imprisoned in these clichés. The day I write this, news comes that, yet again, high school football players have been charged with raping a fellow student. This time it’s five boys in Florida. In a 2012 sexual-assault case in Steubenville, Ohio, one of the football players accused of the crime texted a friend that he wasn’t worried about the consequences because his football coach “took care of it.” The victim received death threats for daring to speak up against popular boys, as did a fourteen-year-old in Missouri named Daisy Coleman, who, in the same year, reported being raped by a popular football player named Matt who was three years her senior.

Coleman, who has attempted suicide multiple times, wrote:

<blockquote>When I went to a dance competition I saw a girl there who was wearing a T-shirt she made. It read: matt 1, daisy 0. Matt’s family was very powerful in the state of Missouri and he was also a very popular football player in my town, but I still couldn’t believe it when I was told the charges were dropped. Everyone had told us how strong the case was — including a cell phone video of the rape which showed me incoherent. All records have been sealed in the case, and I was told the video wasn’t found. My brother told me it was passed around school.</blockquote>

I wonder what pieces we’d have to pull away to demolish the system that worked so hard to destroy Coleman.

But abolishing high school would not just benefit those who are at the bottom of its hierarchies. Part of the shared legacy of high school is bemused stories about people who were treated as demigods at seventeen and never recovered. A doctor I hang out with tells me that former classmates who were more socially successful in high school than he was seem baffled that he, a quiet youth who made little impression, could be more professionally successful, as though the qualities that made them popular should have effortlessly floated them through life. It’s easy to laugh, but there is a real human cost. What happens to people who are taught to believe in a teenage greatness that is based on achievements unlikely to matter in later life?

Abolishing high school could mean many things. It could mean compressing the time teenagers have to sort out their hierarchies and pillory outsiders, by turning schools into minimalist places in which people only study and learn. All the elaborate rites of dances and games could take place under other auspices. (Many Europeans and Asians I’ve spoken to went to classes each day and then left school to do other things with other people, forgoing the elaborate excess of extracurricular activities that is found at American schools.) It could mean schools in which age segregation is not so strict, where a twelve-year-old might mentor a seven-year-old and be mentored by a seventeen-year-old; schools in which internships, apprenticeships, and other programs would let older students transition into the adult world before senior year. (Again, there are plenty of precedents from around the world.)

Or it could mean something yet unimagined. I’ve learned from doctors that you don’t have to have a cure before you make a diagnosis. Talk of abolishing high school is just my way of wondering whether so many teenagers have to suffer so much. How much of that suffering is built into a system that is, however ubiquitous, not inevitable? “Every time I drive past a high school, I can feel the oppression. I can feel all those trapped souls who just want to be outside,” a woman recalling her own experience wrote to me recently. “I always say aloud, ‘You poor souls.’ ”"]]></description>
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<item rdf:about="https://www.juxtapoz.com/news/film/red-bull-arts-new-york-produces-rammellzee-it-s-not-who-but-what-examining-the-groundbreaking-artist/">
    <title>Juxtapoz Magazine - Red Bull Arts New York Produces “RAMMELLZEE: It’s Not Who But What,” Examining the Groundbreaking Artist</title>
    <dc:date>2018-06-03T03:41:07+00:00</dc:date>
    <link>https://www.juxtapoz.com/news/film/red-bull-arts-new-york-produces-rammellzee-it-s-not-who-but-what-examining-the-groundbreaking-artist/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Elaborating on the ornate and abstract visual language of wild style graffiti, Rammellzee decided to create his own Alphabet, arming the letter for assault against the tyranny of our information age. A visionary, polymath and autodidact, Rammellzee infused urban vernacular with a complex and hermeneutic meta-structure that was informed equally by the illuminated manuscripts of the Middle Ages, the history of military strategy and design, radical politics and semiotics.

A persistent and formidable figure in New York’s Downtown scene since he moved from his childhood home in the Rockaways and relocated to a studio in Tribeca in the late ’70s, Rammellzee garnered a legion of followers (notably including A-One, Toxic and Kool Koor) to his school of Gothic Futurism and stormed public consciousness with his performances in films like Charlie Ahearn’s Wild Style and Jim Jarmusch’s Stranger Than Paradise. His most famous collaboration, however, was with his one-time friend and life-long nemesis Jean-Michel Basquiat, who immortalized him in his masterwork Hollywood Africans and produced Rammellzee’s signature single “Beat Bop,” releasing it on his own label, Tar Town Records. To this day, it is considered one of the foundational records of hip hop. After enjoying much success in the art world in the ’80s, Rammellzee would turn his back on the gallery system and spend the rest of his life producing the Afrofuturist masterpiece The Battle Station, in his studio loft.

Guided by his treatise on “Ikonoklastik Panzerism,” the first manifesto he wrote while still a teen, Rammellzee was at once the high priest of hip hop and a profoundly Conceptual artist. In his expansive cosmology, born of b-boy dynamics, the wordplay of rap and the social trespass of graffiti, Rammellzee inhabited multiple personae in an ongoing performance art where identity and even gender became fluid and hybrid. Over the past two decades of his life, increasingly focused on his studio practice, he created a mind-blowing universe of Garbage Gods, Letter Racers, Monster Models and his surrogate form, the vengeful deity of Gasolier. Though his art, working with toxic materials, and lifestyle brought about an early death in 2010, his ideas and art remain a legacy we’ll be trying to figure out for generations to come. —Carlo McCormick"

[video on YouTube: https://www.youtube.com/watch?v=PjAfVHSeIvY ]

[See also:

"The Spectacular Personal Mythology of Rammellzee"
https://www.newyorker.com/magazine/2018/05/28/the-spectacular-personal-mythology-of-rammellzee

"The Rammellzee universe"
https://boingboing.net/2018/05/23/the-rammellzee-universe.html

"Art Excavated From Battle Station Earth" (2012)
https://www.nytimes.com/2012/02/26/arts/design/rammellzees-work-and-reputation-re-emerge.html

http://redbullartsnewyork.com/exhibition/rammellzee-racing-thunder/press/
https://en.wikipedia.org/wiki/Rammellzee ]]]></description>
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<item rdf:about="http://www.rechoomondi.com/">
    <title>OMONDI</title>
    <dc:date>2018-05-26T00:54:04+00:00</dc:date>
    <link>http://www.rechoomondi.com/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[See also:
https://www.instagram.com/omndi/
https://www.youtube.com/watch?v=UaE_B7DpLjk

OMONDI Presents: The Cutting Room Floor
http://www.podbay.fm/show/1388024759
https://soundcloud.com/user-997611333 ]]]></description>
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<dc:identifier>https://pinboard.in/u:robertogreco/b:e5082300dc32/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:omondi"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:webdesign"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:rechoomondi"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:embroidery"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:glvo"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:uniforms"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:uniform"/>
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</item>
<item rdf:about="https://www.digitaltrends.com/cool-tech/ikea-lamp-mixed-reality/">
    <title>How to Hack an Ikea Lamp and Transform it Into a Mixed-Reality Projector | Digital Trends</title>
    <dc:date>2018-05-20T19:26:46+00:00</dc:date>
    <link>https://www.digitaltrends.com/cool-tech/ikea-lamp-mixed-reality/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[full details here: https://www.hackster.io/nord-projects/lantern-9f0c28 ]]]></description>
<dc:subject>projectors classideas electronics 2018 lamps ikea raspberrypi hardware tomake todo glvo</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:e05c6fb91e59/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:classideas"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:electronics"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:2018"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:lamps"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:ikea"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:raspberrypi"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:hardware"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:tomake"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:todo"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:glvo"/>
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</item>
<item rdf:about="http://universityoftheunderground.org/">
    <title>University of the Underground</title>
    <dc:date>2018-04-24T00:35:21+00:00</dc:date>
    <link>http://universityoftheunderground.org/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The University of the Underground was founded in February 2017, as a charity with a ANBI status (RSIN 8575.82.781), with the purpose of creating a global engagement with society as a whole, bringing generations together, to democratise access to public institutions and trigger changes and critical reflections through the use of creative, experiential and design practices. With an explicit focus on social dreaming, critical design, social actions, politics, theatrical practices, film, music and experiential practices; it aims to provide toolkits for members of the public to actively participate in revealing power structures in institutions. The University of the Underground supports unconventional research and practices that apprehend and challenge the formulation of culture, the manufacture and commodities of knowledge. The University of the Underground believes in a transnational form of education, which goes across borders and beyond nation-states. We are based in Amsterdam but we are nurturing other tuition-free global initiatives.

We work on multiple outlets:

WE ARE AN EDUCATIVE STRUCTURE
What is the Master Design of Experiences?
What is the structure of the MA Design of Experiences?
Who is encouraged to apply?
Why is it a tuition free programme?
Why is it most urgent?
What is the output of the programme? What do students create?
What is the Design of Experiences' manifesto?
What are the criterias of the MA Design of Experiences?
Is the MA Design of Experiences an accredited MA curriculum?

WE ARE A CULTURAL INSTITUTION SUPPORTING UNCONVENTIONAL RESEARCH PRACTICES
We are a research office for unconventional creative practices
We are producing live events: The Dreamers of the Day talk series
We are a library
We are a radio station and sound studio"]]></description>
<dc:subject>lcproject openstudioproject education culture design research glvo learning altgdp democracy politics change amsterdam alternative</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:27b1e8944105/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:glvo"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:learning"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:altgdp"/>
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</item>
<item rdf:about="http://lascuolaopensource.xyz/en/">
    <title>La Scuola Open Source: Education and Research for cultural, social and technological Innovation</title>
    <dc:date>2018-04-24T00:31:35+00:00</dc:date>
    <link>http://lascuolaopensource.xyz/en/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["We’re a community of digital artisans, makers, artists, designers, programmers, pirates, dreamers and innovators. We act together, testing new research, teaching, mentoring, co-living practices and models. We are involved with: research for public and private interest; teaching for learners, freelancers and managers of all ages. We design social and technological innovation.

☛ Non-linear learning paths
☛ Learning by doing 
☛ New professions & skills
☛ A sharing space to grow up"

[from: http://lascuolaopensource.xyz/en/manifesto

"La Scuola Open Source is a space dedicated to social and technological innovation, where to perform educational activities, cultural performances and research projects:

☛ A hackerspace, where people with shared interest in the fields of craftsmanship, technology, science, visual arts, poetry, editing, robotics, domotics, biology, electronics and more can gather, socialize and/or cooperate;

☛ A re-use promotion center where obsolete technology is collected with the aim of promoting their smart upcycling;

☛ A FabLab: a small workshop offering customized digital fabrication services, equipped with a kit of fast prototyping tools (3d printing, laser cut, etc.)

♥ This opens up to new opportunities.

↓ We believe in 

☆ Non-linearity
Founding principle of Plato’s accademia: “a free individual should not be forced, as a slave, to learn any discipline”, diametrically opposed to the monastic principle (and that of today’s school system), well represented by Benedict’s rule: “Speaking and teaching is a teacher’s job, staying silent and listening is what a disciple should do”.

☆ Co-design
Design as a “catalyst to collectively redefine our relationship with reality”, envisioning things for how they could be, altogether.

☆ Open work
The School’s structure allows us to build - by co-designing it - its teachings offering in an open way, allowing us to evolve each of its aspects with time.

☆ Multiverse
In modern physics, multiverse is a hypothesis postulating many co-existing universe beyond our space-time dimensions.

☆ Antifragility
The world around us is mutating and ever-changing. Upon this constant transformation we are building a model capable to adapt to mutations and making good of any erraticity and change happening. (N.Taleb, Antifragile).

☆ Learning by doing
We believe that teaching should be always combined with a continuous activity of research and exploration. Doing things and learning while doing, situational learning, are absolutely central in our vision and in the project we intend to realize.☆ Do it yourselfWe promote an alternative and aware approach to designing and production processes, stimulating self-production as a form of self-employment.

☆ Opensource
Open source, in its incremental logic, represents the blueprint for a collaborative, adaptive and recursive cultural system. We believe that such approach needs to be used in all fields of knowledge, so to enable possibilities for everyone.

☆ Hacker ethics
Linux’s big innovation was not the Operating System, but the open social dynamic that was set up to make that project happen.

☆ Sharing
We welcome people, ideas and projects to share space, knowledge and values. Through a constant and mutual exchange, both a collective consciousness and a better informative quality can be quickly developed.

☆ Osmosis
La Scuola Open Source intends to facilitate and generate osmotic processes between experiences and skills, aiming to increase everyone’s intrinsic value for the community.

↓ Our value proposition 

☛ Access to future, a better one
We therefore need to train ourselves, learn by doing, fail, consult with others, cooperate, work on projects with a tangible impact on the real world.

☛ Customized and non-linear learning paths
We believe that people need to be pushed to ask questions, curiosity being the engine of progress. We therefore want to apply the open source approach to humanities as well, promoting a transversal and peer-to-peer approach to the learning topic.

☛ Spaces for social aggregation to learn in a cooperative context
It is necessary to restore sharing spaces and practices, re-discovering the ability to build relationships and team up to achieve common objectives, leveraging on education and learning as vehicles for a social and economical renewing process. Spaces where to discover and cultivate curiosity, turning it into the engine to each one’s learning path, a self-built path within a virtuous system, providing input and stimula on several channels and levels.

☛ New professional figures
Tomorrow new jobs will rise, while others could disappear. Things change, therefore we need to change things. We have to reform this educational sector in a generative way, keeping in mind the context’s evolution into account and making it mutate within time, continuously adapting."]]></description>
<dc:subject>lcproject openstudioproject altgdp learning communities community design pirates nonlinear learningbydoing unschooling deschooling sharing space italy glvo italia bari non-linear opensource linux osmosis hacker hackerethics antifragility multiverse co-design resuse hackerspaces art technology alinear linearity</dc:subject>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:multiverse"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:co-design"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:alinear"/>
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</item>
<item rdf:about="https://mymodernmet.com/shades-of-blue-color-history/">
    <title>The History of the Color Blue: From Ancient Egypt to New Discoveries</title>
    <dc:date>2018-02-13T06:47:43+00:00</dc:date>
    <link>https://mymodernmet.com/shades-of-blue-color-history/</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>color blue history art ikb 2018 science arthistory indigo glvo internationalkleinblue kleinblue</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:103ae89ccac8/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:color"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:blue"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:history"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:art"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:ikb"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:2018"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:science"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:arthistory"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:indigo"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:glvo"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:internationalkleinblue"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:kleinblue"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://www.seriouseats.com/the-food-lab">
    <title>The Food Lab | Serious Eats</title>
    <dc:date>2018-01-01T01:20:12+00:00</dc:date>
    <link>http://www.seriouseats.com/the-food-lab</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>food cooking glvo srg edg recipes jkenjilópez-alt</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:f0920ceddd96/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:food"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:cooking"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:glvo"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:srg"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:edg"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:recipes"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:jkenjilópez-alt"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://www.bonappetit.com/recipes/article/the-crunchy-rice-at-the-bottom-of-the-pot-how-different-cultures-cook-and-eat-it">
    <title>The Crunchy Rice at the Bottom of the Pot, How Different Cultures Cook and Eat It | Bon Appetit</title>
    <dc:date>2017-12-17T21:11:12+00:00</dc:date>
    <link>https://www.bonappetit.com/recipes/article/the-crunchy-rice-at-the-bottom-of-the-pot-how-different-cultures-cook-and-eat-it</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Don't waste the crunchy stuff at the bottom of the pot! It's a cherished treat from Spain to Senegal to Thailand. Here's how to make it even yummier"]]></description>
<dc:subject>rice food glvo srg 2013 cooking</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:b5fc524df303/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:glvo"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:2013"/>
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</item>
<item rdf:about="https://www.youtube.com/watch?v=WEn4Izv0DW8">
    <title>Software Are Thou: Knit One, Compute One with Kris Howard - YouTube</title>
    <dc:date>2017-11-13T02:54:12+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=WEn4Izv0DW8</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Knitting and computing may seem completely unconnected, but they're very similar. Every beginning knitter learns that there are only two stitches - knit and purl. So knitting is inherently binary, and that opens up a world of possibilities for a coder.

Knitted fabric can be used to encode data in a number of ways, from QR code mittens to a fluffy red virus scarf. Patterns themselves become algorithms, and new syntax proposals allow for automated testing, compilers, and even visualisers. Crafters and programmers are working together in the burgeoning Maker scene to hack hardware, create innovative e-textiles, and push the computational limits of sticks and string.

In this Software Art Thou talk, developer and knitting enthusiast Kris Howard shows how knitting can make you a better coder."]]></description>
<dc:subject>knitting coding krishoward 2017 glvo punchcards jacquardloom charts schematics notation patterns</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:7f87e66e61c5/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:krishoward"/>
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</item>
<item rdf:about="https://lesliewatts.blogspot.com/2017/08/drypoint-wtih-pasta-maker.html">
    <title>Leslie Watts Fine Art: Drypoint with a pasta maker</title>
    <dc:date>2017-08-05T19:31:35+00:00</dc:date>
    <link>https://lesliewatts.blogspot.com/2017/08/drypoint-wtih-pasta-maker.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[via: https://twitter.com/lesliewattsart/status/893142096139440128

"Did you know that you can use a pasta maker as a printing press? My first drypoint, scratched on the lid of a plastic salad container.

I used a scalpel.

The soft white lids from yogourt containers are interesting, but the lines are mushier. I like these transparent, more rigid plastic.

So [to prevent slippage] now I roll card+printing paper in 1" and then carefully place the plate between. Then roll slowly & pull it out the bottom."

"I first put a drawing under the plastic for guidelines. Then I rub graphite powder into the scratches so they show against white paper."

"Takua intaglio, Mars Black."

"You can find lots of videos on YouTube. Search for drypoint technique and pasta maker printmaking. Also intaglio techniques."]

[Some videos:

Rosie Scribblah: "In this short and informative film Rosie Scribblah shows you how to use use a recycled, domestic pasta machine for dry point etching. Yes it works. And the cat helped too."
https://www.youtube.com/watch?v=nEE1hzz_xdI

Paul O'Dowd: "Vlog 0037 - Pasta Machine Print Press"
https://www.youtube.com/watch?v=SrPIZkocAOA

Pasta press modified to be better for regular printmaking: "What stops a lot of people from printmaking at home is that they don't have a press. By adapting a pasta press there is a cheap easy to use press that can make small postcard size prints."
https://www.youtube.com/watch?v=2IywvwD8shg

World of Woodcraft: "Printing with a pasta press and learning an art cheat at the same time. In this video I share an inexpensive method of creating interesting prints."
https://www.youtube.com/watch?v=gtuEL2mSOtk ]]]></description>
<dc:subject>classideas printmaking printing art 2017 sfsh pastamakers lesliewatts glvo</dc:subject>
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<item rdf:about="http://projects.sfchronicle.com/2017/farmers-markets/recipes/">
    <title>Seasonal recipe guide: Preparing meals fresh from the market</title>
    <dc:date>2017-07-27T08:23:41+00:00</dc:date>
    <link>http://projects.sfchronicle.com/2017/farmers-markets/recipes/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["These recipes showcase the best of Bay Area seasonal produce. Many come from our region's top chefs, and all have been tested in the Chronicle Test Kitchen. Go to your local market and get cooking."]]></description>
<dc:subject>food recipes california sarahfritsche seasons produce sanfrancisco bayarea glvo</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
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<item rdf:about="https://www.instagram.com/p/BWtE2SzlMqa/">
    <title>Courtney Danforth en Instagram: “I have this @singersewingcompany #sewing machine whose interface runs on a @nintendo #GameBoy. I need a Greek (pref. ancient) or Hebrew…”</title>
    <dc:date>2017-07-18T22:35:00+00:00</dc:date>
    <link>https://www.instagram.com/p/BWtE2SzlMqa/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["I have this @singersewingcompany #sewing machine whose interface runs on a @nintendo #GameBoy. I need a Greek (pref. ancient) or Hebrew font. Can anyone help? #sabbatical #sabbaticalproblems"

[via: https://twitter.com/ekstasis/status/887438758139883522
https://twitter.com/csdanforth/status/887435629453352963 ]]]></description>
<dc:subject>courneydanforth sewing ewingmachines nintendo 2017 interface fonts glvo</dc:subject>
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<item rdf:about="https://kilometre.paris/">
    <title>Kilometre.Paris – Travel by Fashion</title>
    <dc:date>2017-07-02T22:18:35+00:00</dc:date>
    <link>https://kilometre.paris/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["“Kilometre is a luxury brand like no other.

We believe that the discovering the world is the ultimate luxury. Our clothes are destined for travellers and for those who love life. We combine flavours, destinations, literature, sound, and music to create a community of travellers for whom beauty has no limits or frontiers. Kilometre.Paris surfs the waves of fashion to travel in original and unexpected ways. The brand has launched a series of exclusive designs embroidered onto 19th century white dress shirts from the south of France. The exquisitely detailed embroidery is done by hand in Mexico and India, and each shirt is based on the idea of travel. Company founder Alexandra Senes (former editor of Jalouse magazine, judge on the French version of Project Runway, consultant for luxury brands such as Hermes and Harpers Bazaar), carefully selected over 20 up-and-coming destinations (the St. Tropezs of tomorrow) and teamed up with designers and artisans to transform the shirts into illustrations of our destinations. With each shirt comes a “second skin” and a passport containing a guide to the destination.”

[See also: https://www.instagram.com/kilometre.paris/ ]]]></description>
<dc:subject>glvo embroidery textiles clothing fashion travel geography</dc:subject>
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<item rdf:about="https://www.printedmatter.org/events/421">
    <title>A Book About Colab (and Related Activities) - A new publication and fundraising edition - Printed Matter</title>
    <dc:date>2017-06-20T02:13:58+00:00</dc:date>
    <link>https://www.printedmatter.org/events/421</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Printed Matter is pleased to announce the publication of A Book About Colab (and Related Activities). Edited by Max Schumann, Director of Printed Matter, and with a Foreword and Afterword by art writer and Colab member Walter Robinson, the book traces the output of Collaborative Projects Inc. (aka Colab), the highly energetic gathering of young New York downtown artists active from the late 1970’s through the mid 1980’s.

A Book About Colab serves as an exhaustive homage to the group’s work and a testimonial about their particular practice of collaboration, collectivity, and social engagement, while reflecting an iconic period of NYC cultural history. Advocating a form of cultural activism that was purely artist driven, the group created artworks, negotiated venues, curated shows, crafted their own PR, and engaged in discourse that responded to the political themes and predicaments of their time, among them the recessions of the 1970’s, the Reagan era of budget cuts and nuclear armament, the housing crisis and gentrification in New York City, and other pressing social issues.

In form, A Book About Colab captures the busy energy of the group as it focused on a battery of overlapping projects staged in artists’ lofts, vacant storefronts and abandoned buildings, as well as on the airwaves and in print. With extensive documentation of the printed material and media (posters, books, ephemera, films, broadcasts) steadily produced in the course of their collaborative undertakings, A Book About Colab offers a vivid account of the diverse aesthetics and concerns of the group as they embarked on X-Magazine, The Real Estate Show, The Times Square Show, the A. More Store, the cable access TV show Potato Wolf, and a myriad of other projects.

To illustrate the broader reach of the group, the book also explores a number of Colab-related efforts which took place in addition to their communal activity. Artists’ initiatives such as Fashion Moda, the New Cinema, Spanner Magazine, and ABC No Rio, while not purely Colab projects, derived their vitality from its members and reflected the spirit of that community.

In keeping with the democratic “by and for artists” ethos of Colab, the publication places this material alongside newly solicited texts from many of the group’s members – a mix of reflections and anecdotes, statements, manifestos, and excerpts from the ‘Colab Annual Report’, which provide a close perspective on the meaning of Colab for those who came into its orbit.

A Book About Colab (and Related Activities) is published by Printed Matter, printed full color, paperback, 256 pages, in an edition of 1000 copies. The book features a two-sided color wraparound cover, with the interior showing a selection of Fingerpaint Portraits of Colab group members by Cara Perlman.

The publication is a companion piece to the exhibition A Show About Colab (and Related Activities), organized by Schumann at Printed Matter, October 15-November 30, 2011.

Printed in Canada by The Prolific Group.
Edited by Max Schumann
Design Direction by Garrick Gott,
Design by Yoshié Hozumi"

[via: https://www.instagram.com/p/BUg334xgPhf/ via  ??]]]></description>
<dc:subject>books art collaboration collectivism collectivity glvo altgdp lcproject openstudioproject printedmatter walterrobinson colab collaborativeprojectsinc 1970s 1980s socialengagement posters ephemera film broadcasts community</dc:subject>
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<item rdf:about="https://en.wikipedia.org/wiki/Tyrian_purple">
    <title>Tyrian purple - Wikipedia</title>
    <dc:date>2017-05-29T06:21:44+00:00</dc:date>
    <link>https://en.wikipedia.org/wiki/Tyrian_purple</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Tyrian purple (Greek, πορφύρα, porphyra, Latin: purpura), also known as Tyrian red, royal purple, imperial purple or imperial dye, is a bromine-containing reddish-purple natural dye. It is a secretion produced by several species of predatory sea snails in the family Muricidae, rock snails originally known by the name Murex. In ancient times, extracting this dye involved tens of thousands of snails and substantial labor, and as a result, the dye was highly valued."

…

"The dye substance is a mucous secretion from the hypobranchial gland of one of several species of medium-sized predatory sea snails that are found in the eastern Mediterranean Sea. These are the marine gastropods Bolinus brandaris the spiny dyemurex, (originally known as Murex brandaris Linnaeus, 1758), the banded dye-murex Hexaplex trunculus, the rock-shell Stramonita haemastoma,[10][11] and less commonly a number of other species such as Bolinus cornutus. The dye is an organic compound of bromine (i.e., an organobromine compound), a class of compounds often found in algae and in some other sea life, but much more rarely found in the biology of land animals.

In nature the snails use the secretion as part of their predatory behaviour in order to sedate prey and as an antimicrobial lining on egg masses.[12][13] The snail also secretes this substance when it is attacked by predators, or physically antagonized by humans (e.g., poked). Therefore, the dye can be collected either by "milking" the snails, which is more labour-intensive but is a renewable resource, or by collecting and destructively crushing the snails. David Jacoby remarks that "twelve thousand snails of Murex brandaris yield no more than 1.4 g of pure dye, enough to colour only the trim of a single garment."[14]

Many other species worldwide within the family Muricidae, for example Plicopurpura pansa,[15] from the tropical eastern Pacific, and Plicopurpura patula[16] from the Caribbean zone of the western Atlantic, can also produce a similar substance (which turns into an enduring purple dye when exposed to sunlight) and this ability has sometimes also been historically exploited by local inhabitants in the areas where these snails occur. (Some other predatory gastropods, such as some wentletraps in the family Epitoniidae, seem to also produce a similar substance, although this has not been studied or exploited commercially.) The dog whelk Nucella lapillus, from the North Atlantic, can also be used to produce red-purple and violet dyes."]]></description>
<dc:subject>classideas sfsh dyes animals color history purple snails glvo</dc:subject>
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