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    <title>“Prototyping turned into an excuse for not thinking” – Unsung</title>
    <dc:date>2026-05-28T07:22:10+00:00</dc:date>
    <link>https://unsung.aresluna.org/prototyping-turned-into-an-excuse-for-not-thinking/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["All this could be contrasted with movement of slow software (the name is part of a bigger slow movement although has unfortunate connotations in tech – it’s slow as in “speech,” not slow as in “beer”). Jared White in 2023 defined it as:

• Sustainable software. Architecting and writing code in ways which are easily understandable and maintainable over time, requiring few dependencies and a rate of change that is healthy for the underlying ecosystem.

• Thoughtful software. Working through feature development and making decisions based on what will benefit the userbase over the long term, placing mental and social health as priority over immediate gains or selfish interests.

• Careful software. Seeking to understand the ways software might be used for harm, or itself be harmful by taking attention away from more important concerns in the broader culture.

• Humanist software. Recognizing that most software—at least in application development—is primarily written for humans to understand and reason about with ease across a wide array of skill levels, and that relying on complex code generators or “generative AI” tooling to resolve complexity instead of simply building simpler human-scale tools is an industry dead-end.

• Open software. Looking to established collaborative software movements like open source and the standards bodies responsible for open protocols to inspire how we build and maintain software (regardless of licensing).

I don’t really have a conclusion for this meandering post, as I am not sure a snappy conclusion is possible. Perhaps some of the links above can provide inspiration or food for thought about urgency, reputation, and doing things in the open.

Some patterns I’m noticing are:

• Velocity is never an end goal.

• Velocity is only one of many ingredients of software building.

• It is necessary to think of people who will experience your work-in-progress as it is, not as it might one day be."]]></description>
<dc:subject>howwework howwethink velocity slow friction cyberpunk2077 noman'ssky videogames games gaming prototyping marcinwichary 2026 geoffduncan 19962016 2020 urgency thoughfulness slowsoftware software sustainability care caring humanism jaredwhite 2023 creating creation</dc:subject>
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    <title>Is This Why Science Advances One Funeral at a Time?</title>
    <dc:date>2026-05-12T06:40:45+00:00</dc:date>
    <link>https://nautil.us/is-this-why-science-advances-one-funeral-at-a-time-1280650</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["As researchers age, they produce less disruptive work"

...

"For centuries, science has been a top-heavy enterprise. A vanishingly small number of field-leading experts has the propensity to shape knowledge. They who win the Nobels. They who secure the multi-year, millions-of-dollars grants. They who rewrite the textbooks. Other workers in science are merely passing through, riding the coattails of these giants.

But how does a researcher’s capacity for invention, innovation, and insight change over the course of a career in science?

Even the giants seem to have something of a use-by date. In one year of publishing—1905—Albert Einstein turned physics on its head and revolutionized humanity’s understanding of our universe with his concepts of special relativity, mass energy equivalence (E=mc2, anyone?), the photoelectric effect, and Brownian motion. He was 26 years old. The shockwaves of the ideas contained in four papers continue to ripple through the fabric of spacetime and shape the intellectual evolution of our species. But toward the tail end of Einstein’s life, he argued strenuously against the concepts undergirding the emerging field of quantum mechanics, the ideas that are shaking up physics yet again and may lay bare even more of our universe’s mysteries.

Read more: “A Letter to Einstein from the Future”

Historians of science have long debated both the typical shape of a scientist’s output curve and the reasons for its particular slopes, traced throughout the arc of a career in research. Creativity declines with age. Or not. Young scientists are more likely to crack open a field and explore uncharted territory. Older researchers acquire the necessary experience and knowledge necessary to shift paradigms and point inquiry in new directions. And so on.

Now, researchers from the universities of Pittsburgh and Chicago have proposed a new model. The key lies in splitting creativity into two separate expressions—novelty through recombining existing insights into new connective ideas and disruptive innovation, the Einsteinian flashes of brilliance that rewrite a field’s trajectory. By analyzing the output of more than 12 million scientists over the course of six decades, from 1960 to 2020, they find that researchers across the world tend to increase their capacity for connective novelty as they age and decrease in their ability to disrupt. They published their findings in Science last week.

The authors invoke Douglas Adam’s take on a life spent wandering through the intellectual wilds. “This life-cycle pattern accords with science-fiction author Douglas Adams’ observation about technological change,” they wrote. “What exists at one’s intellectual ‘birth’ feels normal, what appears during early career feels revolutionary, and what emerges after maturity feels suspect.”

They contend that, as scientists age and their experience deepens, they become attached to the ideas upon which they built their career. This makes replacing this foundation harder as time wears on. But it also makes it more likely that they notice some connection between two or more established, familiar ideas. “Even the greatest minds, such as Einstein, transitioned from disruptor to gatekeeper when quantum mechanics threatened his nostalgic view of the universe,” they wrote.

It was the Nobel laureate and quantum physicist Max Planck who wrote that “science advances one funeral at a time” (which is actually a somewhat artful translation of his original statement, in German) about revered gatekeepers and their nostalgia for insights past that keep leaps in scientific understanding from happening. Turns out, he may have been right."]]></description>
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    <title>Ten years of &quot;Alaska&quot;: Maggie Rogers on going viral and singing for 200,000 protestors - YouTube</title>
    <dc:date>2026-04-18T04:31:04+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=CK5y9N1kuNk</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Ten years ago, Maggie Rogers was a senior at NYU, scrambling to finish a song for a music production class she was close to failing. The guest critic that week happened to be Pharrell Williams. She played him "Alaska," a track she'd written in about fifteen minutes. It is a bit of folk songwriting crossed with the electronic music she'd fallen for studying abroad. Pharrell told her he'd never heard anything that sounded like it. Someone was filming. The clip went viral, and it launched Maggie into pop stardom. 

Maggie Rogers has released three studio albums, earned a Grammy nomination for Best New Artist, and gone back to school to pick up a master's from Harvard Divinity School, where she studied the spirituality of public gatherings. And in the last few months she's been as visible offstage as on — advocating for free speech in DC, performing for 200,000 people at a protest in Minneapolis alongside Joan Baez, and delivering a haunting performance during the final run of The Late Show with Stephen Colbert, which CBS is ending in May.

This week host Charlie Harding got to sit down with Maggie live at Chelsea Studios, in front of a room of current NYU students. It’s the same school, ten years later, now with Charlie in the professor's chair and Maggie as the visiting artist.

VIDEO: Caleb Hinojosa https://www.calebhinojosa.com/

CHAPTERS
00:00 Introduction
01:14 Alaska Origin Story
03:50 Lyrics Then And Now
05:50 Can Viral Happen Again
06:30 Choosing Slow Growth
10:08 Advice For Sudden Fame
11:29 Writing After Pharrell
13:20 Colbert Finale Performance
15:55 Free Speech And Protest Era
17:31 Activism as Art
18:11 Protesting a Broken System
19:25 Fear into Music
22:07 What Makes a Protest Song
24:28 Starting the Foundation
25:23 Rest and Record Making
28:11 Creative Rest Time
30:24 Writing vs Collaboration

SONGS DISCUSSED
Maggie Rogers "Alaska"
Maggie Rogers "Better"
Maggie Rogers "One for My Baby (and One More for the Road)" (cover of Fred Astaire original)
Maggie Rogers "Different Kind of World"
Marvin Gaye "What's Going On"
Bob Dylan "The Times They Are a-Changin'"
USA for Africa "We Are the World""]]></description>
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    <link>https://mjtsai.com/blog/2026/04/15/ipados-postmacbook-neo/</link>
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<item rdf:about="https://naoise.substack.com/p/ai-and-being-a-writer">
    <title>AI and 'being a writer' - by Naoise Dolan - Naois content</title>
    <dc:date>2026-04-14T04:52:30+00:00</dc:date>
    <link>https://naoise.substack.com/p/ai-and-being-a-writer</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["I have precisely one idea to contribute to the current discursive maelstrom on AI quote-unquote authors: this isn’t a brand new isolated thing. Rather it’s the latest expression of a phenomenon as old as the author-figure: people wanting to be a writer rather than wanting to write.

Here’s the context, if you’re lucky enough to have missed it. (My sincere apologies for terminating your good fortune.) A horror novel, Shy Girl by Mia Ballard, has just been pulled after the author was accused of using AI to write it. Many more people have now heard of the book than had on the merits of its content. It only sold 1,800 copies since its release last autumn, and it took a Reddit user pointing out telltale signs of an unholy robot hand in the matter for anyone to become suspicious. Aside from anything else, this tells us the publisher mustn’t have given the book much of a marketing push. If it were going to be what’s referred to as a ‘big book’, the author would have been eviscerated by a slew of advance readers waving their proof copies before the hardbacks even hit the shelves.

Some people will object to my calling this person an author without scare quotes. To be clear, I mean the cultural signifier of ‘author’, not the narrower and more literal meaning of someone who has created a manuscript and published it. The author-figure has never primarily been about actually writing books, so we shouldn’t be surprised when people seek shortcuts to brandishing the label. (Nor, naturally, should we regard their miserable gruel as art.)

*

The author-figure

Foucault had this to say on the author-figure at a 1970 conference in New York: ‘L’auteur est … la figure idéologique par laquelle on conjure la prolifération du sens’ (The author is … the ideological figure by which we ward off the proliferation of meaning). He historicises the individual author as a modern invention. The idea of one person as the creator of a literary work, and the consequent thought that they particularly should own the copyright, is by no means a universal given. Irish oral literary culture was deeply collectivist for centuries. It’s really when things start to be written down, and when money starts being made off them and when property rights start occasioning protection, that societies start invoking the author-figure.

With this mythology of the author comes a range of associations that have little to do with their actual experience of writing the work. Lord Byron’s swarthy brow and labyrinthine romantic entanglements — not to mention the fact that he was literally a lord — fuelled his image as a glamorous train wreck, leaving little room to imagine him punctiliously crossing out one iamb, finding another, deciding the first was better after all. Brendan Behan’s alcoholism gets lionised in a way that is already awful in itself, but it’s also an instance of something other than writing becoming metonymic of authorness. Behan played this up — ‘I’m a drinker with a writing problem’, he supposedly said — because that’s what you do when you’re Irish and in a terrible situation beyond your control: throw humour at it. Neither case is as simple as the life distracting from the work; rather, in the eyes of people doing the romanticising, the wild and sordid exploits of these men were somehow essential to their being a writer. Dark deeds get excused this way: Norman Mailer was, in this popular conception, being a writer when he stabbed his wife.

With James Baldwin and Toni Morrison, you see being a writer overcloud the work in the disconnect between people’s idea of their prose and the actual sentences they wrote. It’s especially bizarre with Morrison: everyone, including Obama, calls her ‘lyrical’. Like … sometimes? Morrison can do anything she wants stylistically; it varies by character and even within character. ‘Lyrical’ seems more concerned with how Black women should supposedly write than with Morrison’s actual words.

All that to say: we use the author-figure to stand for lots of things, and ‘someone who wrote a lot of sentences and then edited them until the result was publishable’ can often be far down the list.

*

Shortcut-seeking

Which brings me to why people want to be a writer without actually wanting to write.

If what they want is the social positioning attached to the author-figure, then it’s entirely rational that they would try to skip the writing bit.

I’m pretty much the opposite kind of person: I like to write, and I dislike being dealt with as a writer. Sometimes after meeting me, people well-meaningly go and buy my books. I appreciate the intention of the gesture, but I always feel a bit embarrassed by it. To me, the novels are a record of my technical restrictions when I wrote them: I can see on every page where I’d hit the limits of my abilities at the time. I only ever intended them as my early apprentice work, so it’s disconcerting to have them be treated as a permanent announcement of what I can do. Obviously it is not that deep for most people; they’re not reading the novels to assess my capacities as a prose stylist; they just want to take an interest in something I once did — but that’s kind of my point. For me, the books are not a fundamental expression of who I am; they’re stories I made up about fake people in order to get better at writing sentences. That’s not to say they were unimportant to me; getting better at writing sentences is a priority of mine, I’ll have you know. But I feel misunderstood in why the books mattered when it’s seen through the being a writer lens. I don’t think the novels contain my soul, if I have one (bold assumption).

I know a lot of writers with a similar relationship to their work: it’s the best they could do at the time, now they’re doing something else, and whatever they’re currently working on is what interests them most. Some of them teach on creative writing programmes, and complain about the inverse archetype: students who want to be perceived as a writer without being all that fascinated by the actual writing bit.

People wanting the vibe of something rather than engaging with its actual substance is as old as time itself. Sometimes the dynamic this produces has been exploitative — think The Mikado, think 19th-century slumming parties, think the British Museum holding Egyptian human remains hostage while prating about how really quite advanced those pyramid-builders were. (Indeed they were, compared to the country that invented concentration camps and still hoards the Egyptians’ teeth.)

But sometimes it’s neutral or only hurts the vibes-seeker themselves. No one else is harmed when people say they want to learn a musical instrument and never do, or when they keep untouched doorstoppers on their bookshelves for years, or even when they fail to imagine others complexly in situations where there’s no power imbalance. The assumption that being a writer is central to my identity is a largely unfounded projection, but it’s not one that hurts me; people can be wrong about me all they want as long as they do it far away from me.

Where the drive to be a writer stands to hurt the literary ecosystem, I think, is that it doesn’t reliably produce keen readers. To their credit, some creative writing programmes do foster this. I was pleased to hear that they do at Holy Cross, Massachusetts, where I went to give a craft talk and the annual Callahan reading. The lecturers I spoke to there said they integrate as much reading as they can into the creative writing syllabus. That’s how to do it, I think. Teaching someone to read like a writer gives them far more tools to keep improving on their own than immediate feedback on their work does. To this day, I protect daily reading above daily writing in my routine; I don’t think writing improves through sheer repetition, so it’s important to me to keep putting new things into my brain.

Reading is, however, less attractive to people who want to be a writer as opposed to being reciprocally part of a literary community. That’s probably why there’s such demand for MFA places without a corresponding rise in book sales.

I would analogise it to people who think they can somehow learn Irish without reading it, listening to it or attempting to communicate through it. When people ask me how to improve their Irish and I suggest doing these things, I often get essentially ‘Nah, I’ll stick with Duolingo’ back. (‘Whatever works for you’, I say, because you’ve got to say something, and it can’t be construable as elitist or it’ll be your fault if they never learn.)

There’s a strange asymmetry to both situations. People seek an individual plaudit from something that is fundamentally collective, in a way that is not just bad or neoliberal or whatever — I’m not particularly interested in moralising here — but that simply doesn’t get them the result they want. Purely selfishly, assuming skill acquisition is the only goal: no-one becomes a good Irish-speaker without consuming a lot of Irish, and no-one becomes a good novelist without consuming a lot of novels. Doing these things doesn’t necessarily make one a better person, but it does mean one has shown sustained attention to matters outside oneself that a purely atomised ‘I want to learn Irish’/‘I want to be a writer’ doesn’t prompt. You need at minimum to follow the thought to: ‘Therefore I will study the output of people who have already achieved this’. This is something I like about writing and about Irish. They both punish relentless self-obsession — again, leaving morality out of it entirely: the Irish will be bad, the novel will be bad — and that’s not a given in our sad modern fishbowl.

*

What does all this mean for AI ‘novels’?

I don’t feel artistically threatened by people who rely on creepy robot output. What I do worry about is that the ongoing loss of readers will make us collectively unable to distinguish the chaff from the good stuff. AI may well contribute to that: famously it’s easier to get through university without reading now.

I can offer no solution more modest or practical than to stop making everything in life about individual achievement, which probably requires the full dismantling of capitalism. Happy Wednesday."]]></description>
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    <title>Flea | Where Everybody Knows Your Name - YouTube</title>
    <dc:date>2026-03-29T16:03:38+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=oM402KmkXOk</link>
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[happens to be wearing his F.P.Journe Octa Lune]]]></description>
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<item rdf:about="https://samhenri.gold/blog/20260312-this-is-not-the-computer-for-you/">
    <title>“This Is Not The Computer For You” · Sam Henri Gold</title>
    <dc:date>2026-03-25T18:48:59+00:00</dc:date>
    <link>https://samhenri.gold/blog/20260312-this-is-not-the-computer-for-you/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["There is a certain kind of computer review that is really a permission slip. It tells you what you’re allowed to want. It locates you in a taxonomy — student, creative, professional, power user — and assigns you a product. It is helpful. It is responsible. It has very little interest in what you might become.

The MacBook Neo has attracted a lot of these reviews.

The consensus is reasonable: $599, A18 Pro, 8GB RAM, stripped-down I/O. A Chromebook killer, a first laptop, a sensible machine for sensible tasks. “If you are thinking about Xcode or Final Cut, this is not the computer for you.” The people saying this are not wrong. It is also not the point.

Nobody starts in the right place. You don’t begin with the correct tool and work sensibly within its constraints until you organically graduate to a more capable one. That is not how obsession works. Obsession works by taking whatever is available and pressing on it until it either breaks or reveals something. The machine’s limits become a map of the territory. You learn what computing actually costs by paying too much of it on hardware that can barely afford it.

I know this because I was running Final Cut Pro X on a 2006 Core 2 Duo iMac with 3GB RAM and 120GB of spinning rust. I was nine. I had no business doing this. I did it every day after school until my parents made me go to bed.

The machine came as a hand-me-down from my nana. She’d wiped it, set it up in her kitchen in Massachusetts. It was one software update away from getting the axe from Apple. I torrented Adobe CS5 the same week. Downloaded Xcode and dragged buttons and controls around in Interface Builder with no understanding of what I was looking at. I edited SystemVersion.plist to make the “About this Mac” window say it was running Mac OS 69, which is the s*x number, which is very funny. I faked being sick to watch WWDC 2011 — Steve Jobs’ last keynote — and clapped alone in my room when the audience clapped, and rebuilt his slides in Keynote afterward because I wanted to understand how he’d made them feel that way.

I knew the machine was wrong for what I wanted to do with it. I didn’t care. Every limitation was just the edge of something I hadn’t figured out yet. It was green fields and blue skies.

I thought about all of this when I opened the Neo for the first time.

What Apple put inside the Neo is the complete behavioral contract of the Mac. Not a Mac Lite. Not a browser in a laptop costume. The same macOS, the same APIs, the same Neural Engine, the same weird byzantine AppKit controls that haven’t meaningfully changed since the NeXT era. The ability to disable SIP and install some fuck-ass system modification you saw in a YouTube tutorial. All of it, at $599.

They cut the things that are, apparently, not the Mac. MagSafe. ProMotion. M-series silicon. Port bandwidth. Configurable memory. What remains is the Retina display, the aluminum, the keyboard, and the full software platform. I held it and thought, “yep, still a Mac.”

Yes, you will hit the limits of this machine. 8GB of RAM and a phone chip will see to that. But the limits you hit on the Neo are resource limits — memory is finite, silicon has a clock speed, processes cost something. You are learning physics. A Chromebook doesn’t teach you that. A Chromebook’s ceiling is made of web browser, and the things you run into are not the edges of computing but the edges of a product category designed to save you from yourself. The kid who tries to run Blender on a Chromebook doesn’t learn that his machine can’t handle it. He learns that Google decided he’s not allowed to. Those are completely different lessons.

Somewhere a kid is saving up for this. He has read every review. Watched the introduction video four or five times. Looked up every spec, every benchmark, every footnote. He has probably walked into an Apple Store and interrogated an employee about it ad nauseam. He knows the consensus. He knows it’s probably not the right tool for everything he wants to do.

He has decided he’ll be fine.

This computer is not for the people writing those reviews — people who already have the MacBook Pro, who have the professional context, who are optimizing at the margin. This computer is for the kid who doesn’t have a margin to optimize. Who can’t wait for the right tool to materialize. Who is going to take what’s available and push it until it breaks and learn something permanent from the breaking.

He is going to go through System Settings, panel by panel, and adjust everything he can adjust just to see how he likes it. He is going to make a folder called “Projects” with nothing in it. He is going to download Blender because someone on Reddit said it was free, and then stare at the interface for forty-five minutes. He is going to open GarageBand and make something that is not a song. He is going to take screenshots of fonts he likes and put them in a folder called “cool fonts” and not know why. Then he is going to have Blender and GarageBand and Safari and Xcode all open at once, not because he’s working in all of them but because he doesn’t know you’re not supposed to do that, and the machine is going to get hot and slow and he is going to learn what the spinning beachball cursor means. None of this will look, from the outside, like the beginning of anything. But one of those things is going to stick longer than the others. He won’t know which one until later. He’ll just know he keeps opening it.

That is not a bug in how he’s using the computer. That is the entire mechanism by which a kid becomes a developer. Or a designer. Or a filmmaker. Or whatever it is that comes after spending thousands of hours alone in a room with a machine that was never quite right for what you were asking of it.

I was that kid.

He knows it’s probably not the right tool. It doesn’t matter. It never did.

The reviews can tell you what a computer is for. They have very little interest in what you might become because of one."


[Feels like that fourth paragraph is a metaphor for a lot of things, like cities, like how children grow, like governments and civilizations, how change comes over time. We learn what is by bumping up against its edges and then we can be part of the conversation about what can or should come next and the process of making it. The Child Is the City × The City Is the Child]]]></description>
<dc:subject>macbookneo apple computers computing 2026 samhenrigold obsessions howwelearn tools machines learning limits limitations understanding boundaries howwework beginnersmind mac</dc:subject>
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<item rdf:about="https://golikehellmachine.com/work-is-four-letters/">
    <title>Work is Four Letters – GOLIKEHELLMACHINE</title>
    <dc:date>2026-03-12T04:54:47+00:00</dc:date>
    <link>https://golikehellmachine.com/work-is-four-letters/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["By some accounts, we spend more than 90,000 hours at work. Some of us less, many of us, unfortunately, more. I’m interested in what people do, how they got there, what they like about it, what they don’t like about it — all of it.

Most people think their jobs are boring or pointless or bullshit, but I don’t; if you look around you, everything you see was made by someone, somehow, and that’s really interesting to me. Work is Four Letters is an occasional series — edited for brevity and clarity — highlighting what people do for work and why they do it.

Interested in talking to me about your work? Click the button below."]]></description>
<dc:subject>howwework work</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
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<item rdf:about="https://www.youtube.com/watch?v=6QQUnMlvzTI">
    <title>Raymond Saunders - YouTube</title>
    <dc:date>2026-02-26T06:18:30+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=6QQUnMlvzTI</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Known for his abstract mixed-media paintings with socio-political undertones, artist Raymond Saunders guides us through the non-linear landscape of his identity, consciousness, and art-making process. In this restored archival interview from 1994, Saunders challenges you to think deeper about the artistic journey and unlearn what you think you know about beginnings and endings."]]></description>
<dc:subject>art 1994 artists sfmoma raymondsaunders collage assemblage oakland pittsburgh consciousness identity artmaking process painting unlearning howwewrite nonlinear unfinished howwework serendipity dedication focus isolation lustforlife brilliance</dc:subject>
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<item rdf:about="https://interconnected.org/home/2026/02/06/sanding">
    <title>90% of everything is sanding e.g. laundry (Interconnected)</title>
    <dc:date>2026-02-16T00:05:52+00:00</dc:date>
    <link>https://interconnected.org/home/2026/02/06/sanding</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["What mundane pleasures will I be robbed of by domestic robots?

Sometimes I feel like my job at home is putting things into machines and taking things out of machines.

I don’t mean to sound unappreciative about “modern conveniences” (modern being the 1950s) because I take care of laundry and emptying the dishwasher, and I love both. We have a two drawer dishwasher so that is a conveyer belt. And I particularly love laundry. We generate a lot of laundry it seems.

There was a tweet in 2025: "woodworking sounds really cool until you find out it’s 90% sanding"

And it became an idiom because 90% of everything is sanding. See this reddit thread… 90% of photography is file management; 90% of baking is measuring; etc.

So when I say that I love laundry I don’t mean that I love clean clothes (everyone loves clean clothes) but I love the sanding. I love the sorting into piles for different washes, I love reading the little labels, especially finding the hidden ones; I love the sequencing so we don’t run out of room on the racks, I love folding, I love the rare peak moments when everything comes together and there are no dirty clothes anywhere in the house nor clean clothes waiting to be returned. (I hate ironing. But fortunately I love my dry cleaner and I feel all neighbourhood-y when I visit and we talk about the cricket.)

Soon! Domestic robots will take it all away.

------

Whether in 6 months or 6 years.

I don’t know what my tipping point will be…

I imagine robots will be priced like a car and not like a dishwasher? It’ll be worth it, assuming reliability. RELATED: I was thinking about what my price cap would be for Claude Code. I pay $100/mo for Claude right now and I would pay $1,500/mo personally for the same functionality. Beyond that I’d complain and have to find new ways to earn, but I’m elastic till that point.

Because I don’t doubt that domestic robots will be reliable. Waymo has remote operators that drop in for ambiguous situations so that’s the reliability solve.

But in a home setting? The open mic, open camera, and a robot arms on wheels - required for tele-operators - gives me pause.

(Remember that smart home hack where you could stand outside and yell through the letterbox, hey Alexa unlock the front door? Pranks aplenty if your voice-operated assistant can also dismantle the kitchen table.)

So let’s say I’ve still got a few years before trust+reliability is at a point where the robot is unloading the dishwasher for me and stacking the dishes in the cupboard, and doing the laundry for me and also sorting and loading and folding and stacking and…

i.e. taking care of the sanding.

------

In Fraggle Rock the Fraggles live in their underground caves generally playing and singing and swimming (with occasional visits to an oracular sentient compost heap, look the 80s were a whole thing), and also they live alongside tiny Doozers who spend their days in hard hats industriously constructing sprawling yet intricate miniature cities.

Which the Fraggles eat. (The cities are delicious.)

Far from being distressed, the Doozers appreciate the destruction as it gives them more room to go on constructing.

Me and laundry. Same same.

------

Being good at something is all about loving the sanding.

Here’s a quote about Olympic swimmers:

<blockquote>The very features of the sport that the ‘C’ swimmer finds unpleasant, the top level swimmer enjoys. What others see as boring-swimming back and forth over a black line for two hours, say-they find peaceful, even meditative, often challenging, or therapeutic. … It is incorrect to believe that top athletes suffer great sacrifices to achieve their goals. Often, they don’t see what they do as sacrificial at all. They like it.</blockquote>

From The Mundanity of Excellence: An Ethnographic Report on Stratification and Olympic Swimmers (1989) by Daniel Chambliss (PDF).

------

But remember that 90% of everything is sanding.

With domestic appliances, sanding is preparing to put things into machines and handling things when you take them out of the machines.

This “drudgery” will be taken away.

So then there will be new sanding. Inevitably!

With domestic robots, what will the new continuous repetitive micro task be? Will I have to empty its lint trap? Will I have to polish its eyes every night? Will I have to go shopping for it, day after day, or just endlessly answer the door to Amazon deliveries of floor polish and laundry tabs? Maybe the future is me carrying my robot up the stairs and down the stairs and up the stairs and down the stairs, forever.

I worry that I won’t love future sanding as much as I love today sanding."]]></description>
<dc:subject>mattwebb productivity maintenance sanding effort friction swimming work labor howwework repetition drudgery laundry robots automation wordworking craft danielchambliss appliances care caring hardfun fragglerock dishwashing waymo claude ai artificialintelligence llms claudecode coding</dc:subject>
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<item rdf:about="https://www.compactmag.com/article/the-coming-ai-cataclysm/">
    <title>The Coming AI Cataclysm | Compact</title>
    <dc:date>2026-02-14T06:33:01+00:00</dc:date>
    <link>https://www.compactmag.com/article/the-coming-ai-cataclysm/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["As a friend who works in AI told me, AI heightens the contradictions. It is a boon to those with the motivation and background to cultivate knowledge but it spells total destruction for the system of universal education and credentialing. My worry is that we may run out of people with motivation and background to learn, know, and do. In the future, Gen X and millennial knowledge workers will be the human capital equivalent to pre-war steel. Just as particle detectors need steel forged before atmospheric nuclear testing gave all newly forged steel unacceptable background radiation, we will discover that even if your job mostly consists of interacting with LLMs, doing so well will require people who remember what it was like to read and interpret a document or contrast two ideas without asking an LLM to do it for you.

As AI might ask: Would you like me to expand on the theme of what happens to social stability when the relationship between social classes changes rapidly and the young find their labor superfluous to the needs of capital?"]]></description>
<dc:subject>gabrielrossman 2025 ai artificialintelligence class llms motivation learning howwelearn writing howwewrite working howwework criticalthinking labor effort education thinking howwethink turnitin plagiarism highered highereducation colleges universities academia</dc:subject>
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<item rdf:about="https://arstechnica.com/information-technology/2026/01/10-things-i-learned-from-burning-myself-out-with-ai-coding-agents/">
    <title>10 things I learned from burning myself out with AI coding agents - Ars Technica</title>
    <dc:date>2026-01-19T22:13:30+00:00</dc:date>
    <link>https://arstechnica.com/information-technology/2026/01/10-things-i-learned-from-burning-myself-out-with-ai-coding-agents/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Opinion: As software power tools, AI agents may make people busier than ever before."]]></description>
<dc:subject>aia artificialintelligence code coding programming development 2026 benjedwards codingagents claudecode claude openai gemini google simonwillison eniac trainingdata llms generativeai agi artificialgeneralintelligence productivity work howwework burnout efficiency optimization busyness v:justinpickard genai</dc:subject>
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<item rdf:about="https://exo.org.uk/blah/on-bicycles-and-ai">
    <title>exo : on bicycles and ai</title>
    <dc:date>2026-01-17T04:41:03+00:00</dc:date>
    <link>https://exo.org.uk/blah/on-bicycles-and-ai</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Yes, I know, it is 2026 and no one needs another AI take but this all popped into my head on a bike ride and I must expel it.

In short, generative AI is not for me. This is not based on extensive, or really any, use, it is more about how I want to do things.

I know you can do good things with it, I have seen good things done with it, things that otherwise would likely not have happened.

I just don’t want to.

For the most part I enjoy my job. It is interesting and challenging in the right ways. Yes, there can sometimes be tedious bits to it but even those are enjoyable in a meditative way and I don’t think ridding myself of them would make me a better developer. I expect for some measures AI might make me more productive but it’s hard to say without putting in the effort to get good with the tools. What I am fairly sure of is it would not make me a happier developer. In the past I’ve managed people and it did not agree with me. I do not think that managing a machine is likely to be an improvement. On top of all this I am very much a figure things out by writing code so having a machine do this for me seems more likely to result in oversight and error.

The same goes for any other aspect that I might employ generative AI for. For me the act of making a thing is partly about noticing. If you are taking a photo it is because something has caught your attention, and in order for that to happen you have to be paying attention. Writing is the same. You have to interrogate your thoughts and in the process understand the reasoning or feelings behind them. To do this requires, for me at least, spending time with things and that is one of the things generative AI is designed to reduce.

There’s some reference to the bicycle for the mind metaphor with regard to these tools and, to me, it fundamentally misunderstands the what a bike is. Yes, it is an efficient means of getting from a to b but it is under your own power; let us ignore e-bikes here. More than that though, it is a machine for moving through the world. You cannot ride a bike without being aware of and understanding your surroundings. There is no setting a direction of travel and leaving the rest to the machine, it is a stream of decisions, some of which may become unconscious with time, but no part of the ride can happen without input. For me it’s this that makes bicycles great. You see so much from a bicycle but at a pace you can appreciate it.

I learn so much about my area from riding. I see the shops that close, or open, when the fields are dry, where the flooding happens, which towns are busy, where the paths go and when they are good to ride. I don’t want to skim over all that to get to my destination because it’s in those details that the joy is found.

I want the journey and generative AI does not."]]></description>
<dc:subject>ai artificialintelligence generativeai howwethink howwework efficiency optimization development coding programming tools thinking attention time slow bikes biking decisionmaking pace appreciation 2026 struandonald writing howwewrite genai</dc:subject>
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<item rdf:about="https://www.robinsloan.com/moonbound/at-work-alone/">
    <title>The master at work, alone</title>
    <dc:date>2026-01-05T07:31:30+00:00</dc:date>
    <link>https://www.robinsloan.com/moonbound/at-work-alone/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Going solo

What do you say about Hayao Miyazaki, about whom so much has been written, upon whom so much praise has been heaped? There’s your clue, in my first sentence: I want to talk about Hayao Miyazaki, alone, not Studio Ghibli.

(If I was going to talk about Studio Ghibli, I’d talk about Kiki’s Delivery Service, my favorite: which proves, definitively, that you can tell a story that captivates with hardly any conflict at all.)

Before there was an animated movie titled Nausicaä of the Valley of the Wind, there was a manga, which Miyazaki began in 1982, writing and drawing it himself, serializing it in the magazine Animage. (Work produced in these years, 1979-1983 or so, always triggers deep nostalgia. I think of baby Robin burbling unaware in far-off Illinois as newsstands in Tokyo begin to circulate this work that will, decades later, mean so much to him … )

[image]

Miyazaki was apparently pleased with the story, because he adapted it almost immediately into an animated movie, which appeared in 1984. Its success led directly to the founding of Studio Ghibli. (Anime fans will enjoy this nugget: a very early-career Hideaki Anno was one of the movie’s animators.)

But Miyazaki didn’t stop drawing. All throughout the 1980s and early 1990s, as Ghibli released Castle in the Sky, My Neighbor Totoro, and more, he toiled on the manga—when? at what hour??—steadily expanding its world, pushing it far beyond the bounds of the movie. It is a sci-fi fantasy in the Dying Earth subgenre, with rich ecological themes, a bright thread of quasi-medieval adventurism, some excellent swords. Yes, Moonbound drank from this well.

The manga he rendered in pencil, without an inking pass, yet his line is so sharp and sure there’s hardly anything “rough” about it. I mean!

[image]

Like most manga, it was an improvisation, always finished at the last minute. Or, not always finished: Miyazaki’s apologies for missing installments are a mini-genre unto themselves.

Fans of the Ghibli movies tend to talk about their subtle moments—all the sensitive interstitial motion—and they are right to do so. The movies are captivating, totally convincing, all without much explicit worldbuilding. They do a lot with a little, and that little is nearly all image.

Nausicaä the manga, by contrast, is totally built out. Its world has a clear history; we meet competing cultures with different languages; there’s a map! The fusion of aesthetic elements, the images Miyazaki has chosen, the resonances he has dialed in … it’s all pitch-perfect, just incredibly cool, and there is a LOT of it.

If you’ve seen the movie but never read the manga, you are missing out on huge chunk of story: a crescendo and conclusion of a whole other magnitude.

In particular, I think often of Miyazaki’s portrayal, near the finale, of a faction of dead souls who seek to exert influence on Nausicaä’s present. It is, obliquely, one of the best depictions I’ve seen, in art, of capital:

[image]

I read Nausicaä the manga when I was in college, the year 2000. I remember plowing through the four dense paperback volumes, as glued to those pages as I’ve ever been to anything. My response combined enjoyment with astonishment: that someone—anyone—one person—could DO this. I’ve written about imagination as a muscle, and if Miyazaki, in Nausicaä, doesn’t venture quite as far in time and space as Iain M. Banks, he adds a profound visual dimension. From his confident pencil springs a whole future ecology.

I love fiction, and animation, and video games—I really am enchanted by all media; you know this by now—but/and I believe that comics are the best. Maybe you don’t think there can be a “best” medium. You are wrong.

My judgment has to do with the balance of uncompromising authorship with spectacular effects, of interiority with exteriority. Maybe it’s easiest to say: comics are the richest medium that one person can manage alone.

Most of Hayao Miyazaki’s work was accomplished in deep collaboration. If he is the acknowledged auteur of the Studio Ghibli movies, they depend on the craft and care of many other artists. Nausicaä the manga, he did alone … and as much as I love the Ghibli movies, I love Nausicaä more. I love its scope, its personalities, its politics.

I’m not much of an artistic collaborator; I always want to do everything myself. This impulse, consistent throughout my life, is probably stupid, definitely limiting, but/and, it does open up a few narrow, powerful opportunities: and Nausicaä of the Valley of the Wind shows just how far they can go."]]></description>
<dc:subject>hayaomiyazaki robinsloan 2025 howwework comics graphicnoveks nausicaä nausicaäofthevalleyofthewind woldbuilding studioghibli collaboration</dc:subject>
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<item rdf:about="https://www.openculture.com/2026/01/woody-guthrie-creates-a-doodle-filled-list-of-33-new-years-resolutions-1943.html">
    <title>Woody Guthrie Creates a Doodle-Filled List of 33 New Year’s Resolutions (1943): Beat Fascism, Write a Song a Day, and Keep the Hoping Machine Running | Open Culture</title>
    <dc:date>2026-01-02T01:50:24+00:00</dc:date>
    <link>https://www.openculture.com/2026/01/woody-guthrie-creates-a-doodle-filled-list-of-33-new-years-resolutions-1943.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["On January 1, 1943, the American folk music legend Woody Guthrie jotted in his journal a list of 33 “New Years Rulin’s.” Nowadays, we’d call them New Year’s Resolutions. Adorned by doodles, the list is down to earth by any measure. Family, song, taking a political stand, personal hygiene—they’re the values or aspirations that top his list. You can click the image above to view the list in a larger format. Below, we have provided a transcript of Guthrie’s Rulin’s.

1. Work more and better
2. Work by a schedule
3. Wash teeth if any
4. Shave
5. Take bath
6. Eat good — fruit — vegetables — milk
7. Drink very scant if any
8. Write a song a day
9. Wear clean clothes — look good
10. Shine shoes
11. Change socks
12. Change bed cloths often
13. Read lots good books
14. Listen to radio a lot
15. Learn people better
16. Keep rancho clean
17. Dont get lonesome
18. Stay glad
19. Keep hoping machine running
20. Dream good
21. Bank all extra money
22. Save dough
23. Have company but dont waste time
24. Send Mary and kids money
25. Play and sing good
26. Dance better
27. Help win war — beat fascism
28. Love mama
29. Love papa
30. Love Pete
31. Love everybody
32. Make up your mind
33. Wake up and fight"]]></description>
<dc:subject>woodyguthrie newyear self-improvement 1943 2018 2026 life living presence optimism health resistance hope reminders doodles howwewrite lists writing fruit work howwework time reading howweread books love relationships radio clothing drinking alcohol hygiene</dc:subject>
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<item rdf:about="https://www.youtube.com/watch?v=Nd0GlnPQZcI">
    <title>&quot;Go out. Start working. Make mistakes.&quot; - 10 world-class photographers give advice - YouTube</title>
    <dc:date>2026-01-01T22:56:06+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=Nd0GlnPQZcI</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["”Look at the photos and they will tell you what the next pictures have to be.” Let 10 of the world’s leading photographers inspire you. 

“Go out. Start working. Make mistakes. Your work will be crap at first,” Paul Graham acknowledges. According to his peer, Martin Parr, unless “you’re really obsessed” with photography, you’re “probably going to fail.”  

Ishiuchi Miyako emphasises the importance of curiosity: “You need to take an interest in other areas like literature, music, or film.” Nan Goldin is worried about the young generation: “Don’t think that it’s okay to live in your phone. You have a lot more to say than Instagram.”  

The late artist Ulay (1943-2020), known for his collaborations with Marina Abramović, has always been a photographer. His advice is simple: “Don’t go to the art academy,” he says, “If you want and need inspiration, go behind the central station.” 

The video also features Elina Brotherus, Stephen Shore, Barbara Kasten, Anton Corbijn and Collier Schorr."]]></description>
<dc:subject>nangoldin paulgraham ishiuchimiyako martinparr ulay elinabotherus stephenshore barbarakasten antoncorbijn collierschorr photography 2026 advice howwework</dc:subject>
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<item rdf:about="https://undark.org/2025/12/04/opinion-science-style/">
    <title>Science Needs to Embrace the Idea of Style</title>
    <dc:date>2025-12-05T07:24:37+00:00</dc:date>
    <link>https://undark.org/2025/12/04/opinion-science-style/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["How do individual scientists approach their work? These stylistic differences can influence the process of discovery."]]></description>
<dc:subject>cbrandonogbunu 2025 science style howwework writing howwewrite scientificstyle research scientists biases subjectivity homogenization</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:19f324b3ce0b/</dc:identifier>
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<item rdf:about="https://www.commonwealmagazine.org/dying-work">
    <title>Dying to Work | Commonweal Magazine</title>
    <dc:date>2025-11-28T23:23:44+00:00</dc:date>
    <link>https://www.commonwealmagazine.org/dying-work</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Byung-Chul Han and the legacy of the Catholic Worker"

...

"The issues that occupied the Catholic Worker movement beginning in the 1930s are, in some obvious ways, still with us: the injustice of laissez-faire capitalism, communism, factory industrialism, and mechanized society. Dorothy Day and Peter Maurin confronted these upheavals, taking Catholic social teaching as the basis of their philosophy and inflecting it with the insights of Marxists, critical theorists, anarchists like Pyotr Kropotkin and Nikolai Berdyaev, the English distributists, and French personalists such as Emmanuel Mounier. But the critiques developed out of these influences might seem hard to apply to a socioeconomic climate that has changed so quickly and so destructively over the past century. Does their work still speak to a world dominated by social media, finance capital, artificial intelligence, and virtual reality?

One contemporary philosopher stands out as a bridge connecting the Catholic Worker worldview to the contemporary world. Born in South Korea and educated in Germany, Byung-Chul Han has produced more than twenty short books during the past ten years. This considerable body of work has made him one of the leading European philosophers of his generation, but he is still not as well-known as he should be in the United States. His books bring continental philosophy to bear on late modern culture, especially in its economic and technological aspects. Han, himself a Catholic, brings out the fact that the Catholic Worker’s deepest critique of our present regime operates not on the level of economic theory at all but in its prodigal way of life.

*** 

Taking his cue from the Marxist tradition, Han sees contemporary society as dominated by the means of production. The order of the day is incessant work in service of maximal productivity, and this industrial ideal has slowly spread throughout the culture. Even as most workers, in developed countries like the United States at least, have left the physical confines of the factory behind, the factory-like spirit of totalized work has come to dominate us. Efficiency, Han argues, is our ideology, incarnate in the ubiquitous technology that just is the contemporary world, and in whose image we remake and enslave ourselves.

We know this in our bones, if not in our heads. We feel guilty for relaxing; we are constantly harried in the name of productivity; we calumniate those, like the homeless, we suspect of laziness; and we fill our lives and homes with as much “smart” technology as possible to maximize efficiency and convenience. A good “work ethic” and financial prudence are among the top values we want to instill in our children. The very fact that we talk about morality in terms of our “values” reflects the primacy of the economic. All this, for Han, indicates that the industrial ideal has taken up bodily residence in us. We live to work.

This is a familiar line of argument for Catholic Workers. It extends the personalist critiques of Mounier and Arthur Penty—two of Maurin’s biggest influences—who saw technocracy colonizing not only the external world but our affects, habits, and tastes as well. Han’s critique also echoes that great line of Rerum novarum: industrialism had produced conditions “little better than slavery itself.” 

Han consistently argues that the move to the digital world is not a move away from the factory drudgery with which Marx and Day contended, but rather its totalization. We no longer spend our time producing only things, but, internalizing the factory ethos, we unendingly produce ourselves. “Accordingly,” he writes in his book Psychopolitics, “industrial capitalism has now mutated into neoliberalism and financial capitalism, which are implementing a post-industrial, immaterial mode of production…. People are now master and slave in one.” Life online demands constant optimization of our image, portfolios, profiles, platforms, credit ratings, histories, etc., to the point that we become our own products. So “now the illusion prevails that every person—as a project free to fashion him- or herself at will—is capable of unlimited self-production.” We spend our lives selling ourselves, and unlike in the factory, we do this work under self-supervision and, if we’re not self-monetizing influencers, for free. Self-oppression, or self-slavery, becomes today’s dominant social form. We are approaching the prospect of the fully capitalized human being. 

Here, Han puts his finger on a theme that the social encyclicals, and especially distributists like G. K. Chesterton and Hilaire Belloc, have occasionally broached but never systematically developed. Work, Han points out, is at base concerned with the preservation of bodily life; it is necessary for our survival. In this way, it is intimately connected with the possibility and fear of death. When we are working to acquire the means to life, we are working to push death away, whether we think of it that way or not. The goal of work is the maintenance of what Han, following the Italian philosopher Giorgio Agamben, calls “bare life.”

Han contrasts bare life with other forms of life that have usually been recognized as essential for genuinely human life: art, beauty, literature, philosophy, liturgy, community, the spirit, relationships, and contemplation. These cultural expressions arise not out of a concern for the body or a fear of death but from leisure, celebration, festivity, play, enjoyment, fun, devotion, and love. “As forms of play, festivals…are characterized by an excess, an expression of overflowing life that does not aim at a goal,” Han writes in The Disappearance of Rituals. “This is what lies behind their intensity. They are an intense form of life. In the festival, life relates to itself instead of subordinating itself to exterior purposes.” These forms of life are what the encyclicals call “higher goods,” and Berdyaev and Mounier call “the life of the spirit.” They are not concerned with efficiency, and they are about much more than “mere” biological life and the means necessary to reproduce it. 

They are, you might say, prodigal in the face of death and the body’s requirements. For when we engage in these forms of life, we are often wasteful—and sometimes extravagantly so—of time and materials that could be used to prevent death. Think of the building of our churches or the expenditures of a symphony. In these activities, we are not just staying alive; we are living. But when work becomes totalized, the mundane, mere biological existence, bare life, becomes all-important. It colonizes our minds, becoming the unconscious goal of all we do until we can no longer live in the prodigal sense but only work. 

In these circumstances, work and the accumulation of capital come to seem like a defense, even an antidote, to death. We are under the illusion that if work holds off bodily death by what we get from it, then the more we do of it—the more we apply it to every facet of our lives—the more resources, and hence the more life, we have. “We produce against the feeling of lack,” Han writes in his book Vita Contemplativa. “Capital is a form of survival. Capitalism is nurtured by the illusion that more capital creates more life, increases the capacity to live. But this life is a bare life, a survival.” This logic of totalized work to fend off a totalized fear of death, Han argues, governs our cultural discourse, occupations, and institutions. They concern themselves with the mere maintenance of bodily life through production and consumption. Deriving their legitimacy from the fear of death, they instill that fear in us all the more deeply.

This account both underwrites key insights of the Catholic Worker philosophy of work and extends it, showing the tradition to be more applicable today than ever. Day and Maurin, in concert with the social encyclicals, always stressed that there was a kind of work that is a created good. They even developed a certain spirituality around it. The Catholic Worker promoted the revitalization of small-craft economies, manual labor, and a return to the land, in service of a “functional society” where economic activity is subordinated to those noneconomic “higher” goods of the local community enumerated above. Like Gandhi, Maurin thought that everyone should do at least some manual labor, and alluding to Marx, he wanted the “workers to be scholars and the scholars to be workers.” This kind of work was to be distinguished sharply from the degraded factory work available under industrialism. Day and Maurin positively encouraged people to get out of those jobs. 

Han shows how much more challenging working for higher goods has become today. The transmuted factory of “self-production” usurps ever more of our opportunities to work collectively at a small scale. Without small-scale contributions to a functional economy in service of festivity and worship, we fall short of genuinely human culture and submit ourselves to totalized capitalism.

***

Han also helps us see the way that Catholic Worker theory and practice are related. The most radical critiques of our social order, he shows, come from those who refuse to submit to the demand that we spend our lives trying to get out of life alive. In this way, Day’s and Maurin’s prodigal lives made them walking rejections of the order of totalized work. 

The early Catholic Workers took as their heroes the first Christian communities and set themselves to the literal practice of the Sermon on the Mount. They shared what little they had, embraced and preached voluntary poverty (including recommending it to families), and lived in community with the poor. They had no insurance, no budget, and Day’s financial plan was “another miracle please, St. Joseph.” She lived in close proximity to bodily harm, fights and weapons being commonplace at St. Joseph’s House. And yet, consistent with her pacifism, she placed a strict ban on calling the police. Such laid-back prodigality is a “festive” or “playful” way of life—in stark contrast to the anxious capital accumulation and obsession with health and safety so typical of our age. Han pinpoints exactly what made Day’s life so radical: she refused to try to work her way free of death. 

The totalized factory-society aims not only at limitless production but at total controlby technical, financial, and, as Han argues in Psychopolitics, psychological means. But Catholic Workers, by their precarious, “irresponsible” existence, lived against this totalized work ethic by living out of control. Here is not tightfisted accumulation, but “taking no thought for tomorrow.” Here are not health and security clung to desperately, but, as Day often said, abandonment to divine providence. 

By living outside the frenzy of production and self-production, Day represents a form of what Han calls “the politics of inactivity.” In Vita Contemplativa, he writes:

<blockquote>Capital is the pure form of activity. It is the transcendence that takes hold of the immanence of life and exploits it completely. From life, it separates bare life, life that works. The human being is degraded into an animal laborans. Freedom is exploited, too. According to Marx, free competition is nothing but “the relation of capital to itself as another capital”…. The politics of inactivity [by contrast] liberates the immanence of life from the transcendence that alienates life from itself. Only in inactivity do we become aware of the ground on which we rest.</blockquote>

Inactivity, in this sense, is what distinguishes those noneconomic practices that make life truly human. Catholic Workers’ lives are fundamentally playful and celebratory, heedless of the conventional (factory) wisdom of maximizing control, optimizing efficiency, and living by holding off death. 

Of course, Day’s life simply was her practice of Catholicism, living the age-old but radical precepts of the Gospel. It’s important not to construe her faith, as is sometimes done, as an instrument for reforming the social order or the economy. That would be to reinscribe it within totalized capitalism, to place it in the service of an order in constant retreat from death. Rather than flight from death, the Gospel represents an embrace of death.

Together, Day and Han help us remember that this embrace structures Christianity from top to bottom. In her journals and chronicles of her daily life and travels, Day regularly refers to the martyrs, to the need to put ourselves to death, and to the embrace of the cross itself. With Han’s help we can see that Day’s prodigal practices—voluntary poverty and the sharing of possessions—are intelligible only as part of a community constituted by its liberation from the hegemony of death. The radical precepts of the Sermon on the Mount are just the “economic” application of the way of the cross. The radical forms of economic life Day encouraged are the concrete and quotidian way Christians go about believing in the Resurrection. 

In other words, by being “irresponsible” with her money and her physical safety, Day was refusing the lie that we must try to ensure our lives turn out right by submitting to the current economic order. Her refusal to abide by the dictates of economic efficiency and to let her life be run by “risk” are training in martyrdom. She reminds us that the early Christians were not simply martyred for a “religious belief” detachable from their daily lives; they went to their deaths prepared by an alternative social life that spurned the fear of death. 

Han’s work thus not only demonstrates the continued—and even heightened—relevance of the Catholic Worker’s philosophy of labor for a digital age. He also unearths the intimate connection between radical Christian social practices and the very center of our faith—the Paschal Mystery. If those practices sometimes seem a little too radical for us ordinary Christians, it’s worth recalling that Day herself often pointed out that the way she lived was not for the religious elite, but for everybody. Her own inspiration came from the simple truths Christians share and with which we are marked in our baptism: we have already died, and so we have nothing to lose; we have already risen, and so we can live without fear.  "]]></description>
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<item rdf:about="https://www.youtube.com/watch?v=equtZuDlUis">
    <title>ZEITGEIST with Bernhard Zwinz of Winnerl - YouTube</title>
    <dc:date>2025-11-16T05:28:14+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=equtZuDlUis</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Bernhard Zwinz is reviving the name and work of a 19th century watchmaker - J.T. Winnerl. Fusing elements across time and space, Zwinz’ perfectionism is evident in each hand-hammered dimple on his dials, entirely absorbed by the desire to create work that fits seamlessly into history, and that will exist beyond time. 
 
Credits
Direction: Michal Sulima
Art Direction: Mark Greig 
Camera: Lukasz Cholewiak, FOI Films 
Editing & synthesis: Mihiro Shimada
Sound: Cassini"

[more info:
https://www.acollectedman.com/blogs/journal/zeitgeist-a-new-short-film

https://www.acollectedman.com/blogs/journal/discovering-bernhard-zwinz

"Bernhard Zwinz may be the best-kept secret in Swiss watchmaking today. However, the Austrian-born watchmaker is starting to make waves in the industry under the name of his countryman from the 19th century, J. T. Winnerl. Having run his own atelier for the best part of two decades, Zwinz has worked alongside some of the most well-known names in the independent space: Philippe Dufour, Greubel & Forsey, Roger Dubuis, Andreas Strehler, Max Busser and Gerd-Rüdiger Lang, just to name a few.

His pedigree cannot be disputed; he has designed, constructed, assembled and finished watches to the highest level that the industry has seen. Zwinz is starting to step out from behind the curtain that he has fastidiously been working behind as he lines up the relaunch of the historic J.T. Winnerl name with a handful of timepieces that pay true homage to the work and philosophies of the old master of marine chronometers.

Having grown up in Austria, outside of the bubble of Swiss watchmaking, Zwinz was not influenced by the influx of industrialisation that crept into the industry in the wake of the Quartz Crisis. Instead, he honed a far purer philosophy of horology based on the old techniques that he discovered restoring old pocket watches, which he perfected in his time as the first watchmaker hired by Philippe Dufour."

https://winnerl.ch/ ]]]></description>
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    <title>Werner Herzog - City Arts &amp; Lectures - Apple Podcasts</title>
    <dc:date>2025-11-14T06:18:47+00:00</dc:date>
    <link>https://podcasts.apple.com/us/podcast/werner-herzog/id1436346407?i=1000637357339</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["This week, legendary filmmaker Werner Herzog. He’s made over 70 movies – most of them documentaries like Fitzcarraldo, Aguirre, the Wrath of God, and Grizzly Man. Herzog’s style is so distinctive that his films are recognizable practically from the moment they start. His techniques can be controversial too, when it comes to his unusual casting, and his own presence in the stories he’s telling.  On Oct 21st, 2023, Herzog came to the Sydney Goldstein Theater in San Francisco to talk to Caterina Fake about filmmaking and writing, including his new memoir, Every Man for Himself and God Against All."

[See also:
https://caterina.net/2023/11/02/what-would-herzog-do/
https://caterina.substack.com/p/what-would-herzog-do

"When I was given the chance to host the live on stage conversation with Werner Herzog for City Arts and Lectures in San Francisco I was barely able to believe it. What a gift! What a chance!

In preparation I did all the reading–and watching. I watched Aguirre Wrath of God again, marveled at Grizzly Man and the tragedy–or maybe triumph?–of Timothy Treadwell. I watched Stroszek again, my favorite Herzog movie. I watched a lot of his documentaries. Herzog is preposterously prolific, having made over 70 films, so if you can spend weeks in the dark, watching. (soon you can, at the PFA Herzog retrospective in November). They are all great; as Roger Ebert said, not a single one is compromised, even the failures are magnificent. I watched the video of him getting shot while being interviewed for the BBC, possibly the most Herzog response ever: he looks mildly startled and looks up. “What was that?” he says, once again cheating death. He’s a pop icon and has played various villains in movies and TV, including in Jack Reacher. He’s been in The Mandalorian and The Simpsons, and my favorite of his roles: the downcast voice of a heartbroken plastic bag, who’d lost his “creator”, the woman who first brought him home from the grocery store. 

Herzog has also written books and poetry. He’s said that he thinks he will be remembered more for his writing than his films. Films are the voyage, he says. But writing is home. He’s just written a memoir, Every Man for Himself, and God Against All, which is what we would be talking about, in San Francisco, soon. His publicist said: don’t ask about his films. Talk about his memoir, his books and his writing. OK. 

The memoir was everything I’d hoped: ecstatic truth, the wisdom of the snake; the exhilaration of getting shot at and missed, episodes of arrest and detention, rule-bending and working around the obstacles endlessly presented by bureaucrats and uniformed underpersons. Mike Tyson appeared unexpectedly. A Caliban on the island. There was a paean to the Oxford English Dictionary, the actual, physical, 20 volume set, which he thinks of as one of the greatest cultural achievements of all time. I agree! There’s more charm and sweetness than you’d expect from this sometimes gruff Bavarian man of the mountains, the tundra, the jungle, the desert. 

After spending much of a day with him, I left feeling energized and ready to undertake ambitious projects! I thought–knew!--what I was capable of. This is what it can be like being around people like him. I hope some of you got to hear the conversation in person, because in person is different than watching it on a screen. Herzog was insightful, warm and funny; he told stories uplifting and harrowing and often completely unexpected and at the end he got a standing ovation, which went on and on. It made him happy. And made me happy.

Now, a week later, I am thinking about that experience, and how people like Herzog make good and hard work possible for others. If what’s impossible for others is possible for him, it’s possible for you too. You can ask yourself, when you find someone worth emulating, what would they do? You could make a bracelet, and whenever you were about to give up, when things got too hard you could snap it against your wrist and remember who you meant to become, get your gumption going again. What Would Herzog Do? 

We know more about how Herzog creates his movies because he talks about it a lot, first of all, because he is asked about it, because the way he works is fascinating and sometimes extreme. There’s a lot of second hand material, accounts of the making of his work too. Les Blank made The Burden of Dreams, a documentary of the making of Fitzcarraldo, a movie about the nearly impossible and completely irrational desire of a man to move a steamboat over a mountain, to build an opera house, so Caruso could sing there, in the middle of the jungle. The making of the Fitzcarraldo was itself even more difficult than moving the steamboat, more difficult than the story it was meant to depict. It was like a reflection, phylogeny recapitulates ontogeny, Triple E Extreme Exaggerated Ekphrasis, a Portrait in a Convex Mirror (Ashbery’s), a movie bursting from the borders of itself. 

What Would Herzog Do? Maybe walk over mountains, machete his way through a jungle, travel to remote, icy, volcanic, idyllic or dangerous regions, consort with grizzly bears, be a ski jumper. He would definitely advise you to love deeply. Definitely advise you to read. When Herzog advertised his Rogue Film School in 2014 (which was already full by the time I applied, to my great disappointment) he published a reading list, which included The Peregrine by J.A. Baker, which he frequently recommends (it’s great, read it) The Poetic Eddas and The Conquest of New Spain, neither of which I finished. 

What Else Would Herzog Do? For one thing, he probably wouldn’t bother reading anyone else’s reading list, but stick with what interests him. He’d stick to his own vision. He doesn’t see very many movies, maybe 3 or 4 a year. Unlike Scorcese, who sees movies constantly. Herzog has conviction in his own filmic vision and he’s not influenceable. At dinner before our talk someone asked if he’d seen the Barbie movie, maybe just to bait him? Unsurprisingly he hadn’t seen it, but he had seen the ads. He assumed a sour expression. “Hell,” he concluded. “The world of Barbie looks like how I imagine hell.” 

It’s a privilege to be around brilliant people doing brilliant things, and gives you the energy you need to work on your own great undertaking, your own impossible project. So make the effort to go out and see amazing people like Herzog at places like City Arts and Lectures, 92nd Street Y, or  other places near you.  Read. Don’t get distracted by meaningless tripe. Don’t fight for prizes not worth winning. Follow through, get it done, persist, learn to pick locks and walk long distances. Be strong, be smart, brush you teeth, be kind, work hard, be loving, be you, be beautiful. Brush your teeth? It’ll make sense when you listen to the conversation."]]]></description>
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<item rdf:about="https://www.theparisreview.org/blog/2025/10/29/truck-desk/">
    <title>My Truck Desk by Bud Smith</title>
    <dc:date>2025-11-03T21:51:08+00:00</dc:date>
    <link>https://www.theparisreview.org/blog/2025/10/29/truck-desk/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[via:
https://kottke.org/25/11/0047765-now-that-i-had-my ]

"[photo]

After eight glorious weeks of freedom, I got rehired.

First thing I did was walk over to the machine shop to look for my F-150. The oil stain was there but the truck wasn’t. It wasn’t in the rock lot where the bulldozers parked either.

Who would have stooped so low as to co-opt that piece of shit? It had no heat and no air-conditioning. The radio bubbled static. Door handles were missing. Floorboards, fenders, and frame all rusted and rotted. It certainly hadn’t been what could be called roadworthy. And, my God, the smell.

I went into the machine shop. One of the welders lifted his hood and told me the bad news—they’d had to move the truck for a rebar delivery and the engine on that old thing finally blew, so the truck got dragged to the scrapyard.

In a dusty corner, I saw a pile of salvaged tools from the truck. I took some wrenches and my tape measure but didn’t see what I was really looking for—my Truck Desk®. Oh well.

I caught a ride out to the unit with the foreman and the rest of the crew. Our goal for the day was to unbolt components from a heat exchanger and fly them off with a crane. Once the exchanger was apart and inspected, we’d begin our real repairs.

The morning went well. The mornings always go well. Everybody knows what they’re doing. We’re professionals, equals. Same pay. Same benefits. All working together toward retirement. We look out for each other. Whoever has the hardest task in this crew today could be the foreman tomorrow, and vice versa. Nobody wants to be the boss, so our bosses are the best kind.

At first break we packed into our truck and drove shoulder-to-shoulder back to the trailer compound for coffee. During the five-minute drive, I couldn’t help but think how good I’d had it when I had the luxury of using that piece of shit F-150.

See, the truck nobody else wanted had been my office. I’d built a portable desk inside it. My truck desk, I called it. A couple of planks screwed together, our union sticker slapped on, the whole deal sealed with shellac. I’d built the desk so it slid into the bottom of the steering wheel and sat across the armrests. I used to hang back at the job and sneak in some creative work while the rest of the crew went to break. My desk—which I’d taken far too long to build and perfect through many prototypes—had been stowed behind the driver’s seat when the truck was hauled off by the wrecker.

Back at the break trailer, I took my old seat and joined in on the jokes, insults, tall tales. That trailer was, to me, the best place for storytelling in the world—but, as always, it was too loud, too raucous, too fun to do any writing or reading, which is all I ever want to do on break. At lunch, I retreated into the relative quiet of the machine shop. I sat down by the drill press and took out my cell phone and started writing. Just like I used to do.

For nearly two decades I’ve worked off and on at this petrochemical plant as a mechanic and welder. The union dispatched me here: When it gets slow, I get laid off; when work picks up, I boomerang back. And the whole time, I’ve written stories and parts of my novels during breaks—fifteen minutes for coffee and then half an hour for lunch. I’ve also made use of the heaven-sent delays brought on by lightning, severe rainstorms, evacuations, permitting problems, equipment issues, and so on. I’m thankful for each and every delay that happens on this construction site, and, believe me, there are many.

Most artists I know are like this. Finding time to make art while working another job, or taking care of loved ones. They improvise. They get better. They get worse. They get better again.

Really it mostly comes down to that first thing: finding time. When I talk to people who want to find more time, I repeat something an old-timer said to me early on: “You’ve gotta make your own conditions.”

What does that mean? Well. Is it raining? You can either stand out in the rain and get wet, or you can find a coil of tie-wire and hang up tarps for a hooch.

There’s another expression I like, which goes: “Let your wallet be your guide.” I try to remember that every time I feel the urge to quit my job and never return.

So ever since cell phones got smart, I’ve sat somewhere quiet, semi-on-the-clock, texting myself poems, paragraphs that became stories and novels, and things about my life, or I should say just life, like this thing you’re reading right now.

Writing on my cell phone, pecking away, was good enough for many years, but then after a rightfully humbling decade of manual labor, I started having irrational fantasies about convenience and comfort.

Of course I have a desk in my apartment, but I couldn’t help myself. Somehow I’d gotten seduced by the prospect of attaining my very own cubicle amid this massive junkyard full of toxic waste.

One day I walked into the payroll trailer where the secretaries and site manager sat. There wasn’t an explicit sign that said NO CONTRACTORS ALLOWED, but it was an unspoken rule. The trailer had a few unused old cubicles tucked to the side. I sat down in one and happily pecked away with my thumbs. Every break for a week I went in and worked on my writing. After a few days I started to feel like I should hang pictures of my mom and dad and my wife inside it. But I didn’t dare.

Then things really heated up. I brought in a Bluetooth keyboard and wrote a whole story that day on my breaks. There was no going back. My heart soared. I thought I should adopt a brown dog with a bandanna around his neck just so I could thumbtack his picture to the cubicle wall. I hadn’t interacted with any of the office staff, but they’d seen me. They’d followed my oily bootprints down the hallway and begun to leer. Who is this diesel-stinking contractor? He’s probably the one who’s been eating Janelle’s Oreos. He raided the mango-kiwi yogurt from the fridge. He glommed all the sporks. I knew my cubicle dreams were over the morning I found the site manager waiting in “my” cubicle.

“What are you doing here?” he asked.

In all my years working at that place, I’d never seen the site manager out on the site. I’m not sure he knew what it was or where it was. You went to him to order tools; he was the one who said no. I’d only ever seen him at a urinal or buying bacon and eggs off the lunch truck. But if I had ever seen him out on the site, it would have never occurred to me to ask him what he was doing there. He was wearing a blue polo shirt and khakis, and I was in his world—and he was asking.

“Office work,” I said.

“What kind, exactly?”

How can you explain literary fiction to a site manager?

“Little bit of everything,” I said.

I started writing in the machine shop again. It wasn’t the same. Once I’d been infected by the cubicle virus, there was no going back. Out of scrap lumber I gathered from various dumpsters, I built a proper desk for myself in the northeast corner of the shop. That desk was a huge leap forward in possibility and productivity. In the evenings, if I wrote something by hand or on my typewriter at home, I could now use my time at work to retype it at my shop desk.

The shop desk was not ideal. Some days I arrived to find someone had disassembled a small motor on top of it, gaskets and hardware spread out on newspaper. Other times I found pneumatic guns taken apart, or electrical devices with wiring splayed in a colorful tangle, or—fair enough—important blueprints laid out the entire length of the desk.

Right around this time I first saw the F-150. One of the workers had abandoned it by the shop. I put a battery in. That lasted one shift. Then I took an alternator out of another junk truck and, lo and behold, I had my own four wheels. The fan belt screamed. The engine smoked. The brakes worked when they wanted to. It was mine that whole dangerous year.

Then, one day, my luck changed.

A crate full of chain falls got delivered. It was a glorious crate, made of sanded spruce. I unscrewed some of the planking and built my first Truck Desk prototype.

[photo]

It was made of three boards cut at twenty-four inches. Light and compact. Sealed with shellac. It slid into the bottom of the steering wheel, one side supported by a curved rebar I welded into a nut that fit exactly in a recess on the driver’s door. The center console supported the other side of the desk. I kept it stored behind the seat. Whenever break time came and the crew drove back to the trailer compound, I stayed parked on the unit and got at least ten extra minutes to write.

Now that I had my Truck Desk, that vehicle was my very own rolling cubicle.

Having that truck reminded me of when I lived on 173rd Street in New York City. Back then I used to drive around endlessly looking for street parking. I would see men and women sitting in their cars. They weren’t leaving, though; they were reading a book or a magazine, smoking cigarettes, playing Sudoku, scribbling love letters. They were the wisest men and women in the entire city, using their vehicles as a kind of office down on the street, a sanctuary where they could do their real work.

After the F-150 was scrapped, I never got a replacement truck. I never found that first Truck Desk either, even when I called the scrapyard.

What I did do, though, was go over to the carpenter’s side of the shop and cut a scaffold plank at twenty-nine inches. This simple plank fits across the armrests of whatever Chevy or Ford pickup the crew has that day. This dramatic redesign of Truck Desk into Truck Plank® took all of ten seconds. I didn’t bother with the sticker or shellac.

The years on the job have rolled on. Now editors send me Word documents with comments and questions and tracked changes. I bring my backpack to work with my laptop inside.

Every morning, when I find out what crew I’m in, I bring that plank with me. I stick it on the dashboard and climb into the driver’s seat. I drive us all out to the job and at break time I take them to the trailer. I clean my hands with pumice wipes and sit alone in whoever’s truck it is that day, pulling the plank off the dashboard and setting it across the armrests. Within a minute or so, I’ve got the laptop out and I’m working. If somebody from the crew is still in the back seat, bandanna over their eyes, snoozing, I do my best to keep extra quiet. And if they begin to snore, I don’t let that bother me at all."]]></description>
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<item rdf:about="https://aworkinglibrary.com/writing/an-imaginative-activity">
    <title>An imaginative activity | A Working Library</title>
    <dc:date>2025-10-26T04:58:15+00:00</dc:date>
    <link>https://aworkinglibrary.com/writing/an-imaginative-activity</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["I think here of Le Guin’s The Dispossessed, where in the language of the people of Anarres there is but one word for both work and play: in a society without capitalism, all work is the work of the imagination, soul-work, the work of art and creativity that is an effort as well as a kind of joy. This is work not labor, not something to be exploited or that can be expected to deliver; it is the work of living, of making change, of being present to the world.

Hillman is here arguing for a kind of work without working, a work without output or measure or profit, a work that is its own sake in the sense of something that exists both within and outside itself, as of the dreamer and the dream. And, I think, he is letting us know that this is a work that is already within us, that we already know how to do—if only we get out of our own way."]]></description>
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<item rdf:about="https://frankchimero.com/blog/2025/beyond-the-machine/">
    <title>Frank Chimero · Beyond the Machine</title>
    <dc:date>2025-10-21T04:13:50+00:00</dc:date>
    <link>https://frankchimero.com/blog/2025/beyond-the-machine/</link>
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    <title>Partita for Ghost Ladder and Insect Eyes</title>
    <dc:date>2025-10-18T05:48:48+00:00</dc:date>
    <link>https://pablohelguera.substack.com/p/partita-for-ghost-ladder-and-insect</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Using artistic means for non-artistic ends."

...

"A

In 2005, I was invited by the members of the Mexican collective Laboratorio 060 (then composed of Javier Toscano, Daniela Wolf, Lourdes Morales, and Gabriella Gómez-Mont) to participate in a site-specific project that brought together international artists and the community of Frontera Corozal, Chiapas — a small town on the border between Mexico and Guatemala, along the Usumacinta River, deep in the Lacandon jungle.

B

I often think of the late Marjorie Perloff, whose brilliance I had the privilege to witness firsthand and whose book Wittgenstein’s Ladder has long served as a quiet compass. In that remarkable study, she demonstrated how the philosophy of language could illuminate the strangeness and beauty of poetic form — how the scaffolding of thought might itself be art.

Lately I have been preoccupied with a reversal of Wittgenstein’s metaphor. In the realm of art, contrary to his suggestion, we cannot throw the ladder away. The ladder — the process, the experience, the unfolding of thought and action — is not a means to an end but the very substance of the work. Yet our museums and markets, fixated on the permanence of the object, continue to discard the ladder, mistaking its residue for the work itself.

A

The Frontera project, about which I have written elsewhere, was among the first socially engaged art initiatives in Mexico and profoundly shaped my thinking about audience engagement. Some of the artists included in the project were Aníbal López, Bubu Negrón, Miguel Ventura, and many others.

The project’s interventions ranged from public works to provocative performances that generated puzzlement in the community. At times I think they saw us as a group of crazy tourists that were doing eccentric rituals, but at the same time we connected with them in ways that transcended language and our respective universes. I spent time with Chol children in a grade school, Primaria Torres Bodet, where the students wrote their own short stories (in Chol).

The project was, in every sense, complex — impossible to summarize here — but one challenge stands out: how to convey the story of what had happened in Frontera to those who had not been there. After a number of years, the collective eventually produced a documentary, but even the documentary does not manage to fully convey the intricacies of the project.

Writing workshop with students at the Escuela Primaria Federal Bilingüe Jaime Torres Bodet, Frontera Corozal, Chiapas, 2006 (Javier Toscano on the right side of the photo).

B

Wittgenstein viewed language as a ladder to be discarded once understanding had been reached. The art world, perhaps unwittingly, absorbed this idea by fetishizing the finished object. Museums and markets celebrate completed things rather than fulfilled intentions — as if the endpoint of artistic labor were a permanent object rather than a temporary state of comprehension.

The most meaningful artistic processes I have witnessed do not culminate in the object but move through it: the object becomes a prop, a marker, a trace of an encounter. To throw away the ladder, in this sense, is to discard the very work we seek to understand.

This misunderstanding — the elevation of the remnant over the realization — has shadowed much of modern and contemporary art. The avant-garde already attempted to dissolve the boundary between means and ends: Kaprow’s happenings, Lygia Clark’s relational objects, and Tania Bruguera’s arte útil all sought to locate meaning in acts rather than artifacts. Yet the museum, compelled by its custodial logic, continues to frame these works through the detritus they left behind. It behaves like Wittgenstein’s reader who climbs the ladder and then displays it in a vitrine — forgetting that its purpose was to enable ascent, not to be preserved as an object of study.

This institutional tendency betrays a deeper epistemological discomfort: the anxiety that, without the object, we lose our coordinates of value, authorship, and permanence. Against that anxiety, the task of both pedagogy and art may be to learn how to dwell within process — to recognize that the fleeting, dialogical, or collective experience is not a prelude to the work but its fullest form of existence.

A

In 2008, when I had the chance to invite Laboratorio 060 to exhibit in New York, at the CUE Foundation, and they sought to present an anthology of their past projects, the question of how to present Frontera Corozal returned. Javier Toscano proposed something radical in its simplicity: to have a person stationed in the gallery at all times, a living storyteller who would narrate aspects of the project — to embody what could never be contained in images or video. Financial limitations made it impossible, but the idea stayed with me. It remains, to my mind, one of the most eloquent metaphors for what museums and educators must learn to do: to animate the absent process, to make visible the invisible scaffolding of art through presence and narration.

Often I think that this is precisely what educators already do, albeit without formal acknowledgment: we serve as living interpreters of what the artwork cannot say for itself.

B

Perhaps what requires closer attention is not our misunderstanding of the ladder but our fear of letting it go. The art object is not merely an aesthetic artifact; it is a kind of security blanket. It reassures collectors of possession, scholars of focus, museums of purpose. The object anchors the otherwise unstable realm of artistic process, providing a surface upon which value and authorship can be inscribed. Without it, the canon loses its stage set, the archive its evidence, and the institution its promise of permanence.

Artists are not innocent in this arrangement. During creation, our attention belongs to the immediacy of process — the question, the exchange, the experiment. Yet, with time, the temptation to translate the ephemeral into consecrated form becomes irresistible. Photographs, certificates, relics of social projects: these become the tokens that secure our place in the narrative we once sought to unsettle. Thus, we too sustain the system that mistakes the ladder for the ascent, allowing documentation to stand in for the experience itself.

The question, then, is twofold. First: how might artists resist the gravitational pull that turns inquiry into artifact, action into documentation, and experiment into inventory? Can an artwork exist as a process of knowing that refuses to collapse into ownership yet sustains itself socially and economically? Perhaps the task is not to destroy the object but to destabilize it — to transform it from relic to relay, from residue to condition.

Second: the greater challenge may fall upon the institutions built to enshrine artists. Museums, designed to protect objects, must now tell the stories of works that resist objecthood. They must narrate gestures meant to vanish and teach audiences to encounter art that exists more in time than in space. Doing so requires an epistemological shift: from the museum as a container of artifacts to the museum as a mediator of processes.

This might mean collecting protocols rather than things, treating exhibitions as rehearsals rather than finales, and valuing the interpretive labor of the public as part of the work’s afterlife. Preservation may sometimes take the form of facilitation rather than possession. The true continuity of art may lie not in its objects but in its capacity to generate renewed forms of experience across time.

Museum education, I believe, holds a unique key to this dilemma. If curatorial practice is bound to the object, education is bound to the encounter. Through interpretation, activation, and conversation, educators can reveal what I call the museum’s ghost ladders — the vanished structures of process and inquiry that once supported the finished work but now haunt its display.

A

I remember one night in the Lacandon jungle during the Frontera project, sitting on a porch after dinner as waves of sound—cicadas, crickets, and other unseen creatures—rose and fell around us. The air was thick with humidity and the layered chorus of the forest. At one point, I noticed a large tarantula near my feet and instinctively recoiled, startling myself. The locals burst into laughter at my reaction, assuring me that these spiders were entirely harmless. The conversation then turned to the presence of all living beings around us that we were not aware about. A local then suggested I place a flashlight beside my temple and point it toward the trees, an area that was absolutely pitch dark. When I did, thousands of tiny glimmers blinked back — the reflections of innumerable insects’ eyes hidden in the dark.

That image returns to me whenever I think about the unseen processes that underlie the artworks we display: the invisible ladders that structure the visible world.

Fugue

James Joyce once wrote in Ulysses: “What is a ghost? One who has faded into impalpability through death, through absence, through change of manners.”

The processes of art, too, sometimes fade into a kind of impalpability — through institutional habit, curatorial absence, and changing manners of art-making. Yet their eyes still shimmer in the dark.

To recognize them is to acknowledge that the work of art is never finished, that the ladder remains even when unseen. Our task, as artists and educators, is to sensitize others to their presence — to make them glimpse, if only for a moment, those innumerable ghost ladders watching us climb, gleaming like the eyes of the jungle, reminding us that art itself is the act of ascent."]]></description>
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<item rdf:about="https://www.learnui.design/blog/wheres-the-ai-design-renaissance.html">
    <title>Where’s the AI design renaissance?</title>
    <dc:date>2025-10-16T05:28:29+00:00</dc:date>
    <link>https://www.learnui.design/blog/wheres-the-ai-design-renaissance.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["My hunch: vibe coding is a lot like stock-picking – everyone’s always blabbing about their big wins. Ask what their annual rate of return is above the S&P, and it’s a quieter conversation 🤫"

...

"In short, LLMs are prediction machines. They are trained mostly on the internet, but post-trained on many other special data sets and tasks. Because the best prediction of a common question is the right answer, they frequently give correct answers. Because the best prediction of a sufficiently-rare/difficult question may be a quasi-realistic falsehood, they hallucinate. Where someone can create an easy-to-difficult step-ladder of 10,000 verifiable tasks or problems, the LLMs can post-train and become even smarter.

(That’s how they’re helping discover new quantum computing theorems while I’m dissing their ability to design a logo)

It’s not that algorithmic improvements won’t happen. They have, and they will. But if you want to know the surest bets of where to focus your design efforts, look to what LLM algorithms don’t do well.

In particular, the farther something is from the median training datum, the harder it is for AI to do. In my estimation, this could be along any axis – an uncommon visual effect, high-touch animations, a pixel-perfect UI, a new interaction paradigms, especially high data density, etc.

AI design will be safe. If you ask it to be bold, it will be bold in a safe, reasonable, well-trod way.

If your design has an opinion, something the median half-decent design would never touch, then the LLMs are already steering away from it. They may help you build it, but they won’t replace you in building it.

They’ll be busy building “slightly above 2025 average”. But in a world inundated with average, what’s great will shine all the more. “Proof of humanity” will increasingly feel like a breath of fresh air in an onslaught of slop."]]></description>
<dc:subject>erikkennedy ai artificialintelligence 2025 uptonsinclair design process howwework midjourney 2022 aihype productivity aibubble vibecoding coding mikejudge github interestrates covid-19 pandemic coronavirus overhiring chatbots humanism human humans ui blandness llms deeplearning generativeai slop aislop constraints genai</dc:subject>
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<item rdf:about="https://hojberg.xyz/the-programmer-identity-crisis/">
    <title>The Programmer Identity Crisis ❈ Simon Højberg ❈ Principal Frontend Engineer</title>
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    <dc:creator>robertogreco</dc:creator><description><![CDATA["On AI, Creativity, and Craft"

[via:
https://www.robinsloan.com/lab/distance-of-leverage/ ]]]></description>
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<item rdf:about="https://www.robinsloan.com/lab/distance-of-leverage/">
    <title>The distance of leverage</title>
    <dc:date>2025-10-09T15:20:39+00:00</dc:date>
    <link>https://www.robinsloan.com/lab/distance-of-leverage/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Simon Højberg [https://hojberg.xyz/the-programmer-identity-crisis/ ]:

<blockquote>But I profoundly do not want to be merely an oper­ator or code reviewer: taking a back­seat to the fun and inter­esting work. I want to drive, immerse myself in craft, play in the orchestra, and solve com­plex puzzles. I want to remain a programmer, a craftsperson.</blockquote>

Like Simon, I don’t under­stand the appeal of being an oper­ator rather than a programmer. There’s leverage, sure … but remember that leverage hap­pens through a lever: which nec­es­sarily dulls your senses, pushes you back from where the work is happening. I’d rather be up close, because (1) it’s more fun, and (2) I care about the details.

What’s the appeal of coding at a distance, for so many people? I’ve come to believe that a large part of it, prob­ably subconscious, is simply the expe­ri­ence of having someone — something — to boss around. Tiny CEOs of the com­mand line."]]></description>
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<item rdf:about="https://jasmi.news/p/china-2025">
    <title>America Against China Against America - by Jasmine Sun</title>
    <dc:date>2025-09-26T06:16:15+00:00</dc:date>
    <link>https://jasmi.news/p/china-2025</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["notes on shenzhen, shanghai, and more"

...

"No word appeared in conversation more often than neijuan1 (内卷), or “involution.” The term was popularized in 2020 among Chinese social media users, though it was supposedly first adapted by online intellectual Liu Zhongjing (who Afra described as “the Curtis Yarvin of China”) from anthropologist Clifford Geertz’s book on rice farming in Indonesia. Quoting Yi-Ling Liu’s New Yorker piece on the topic:

<blockquote>Geertz’s theory of involution holds that a greater input (an increase in labor) does not yield proportional output (more crops and innovation)... Involution is “the experience of being locked in competition that one ultimately knows is meaningless,” Biao told me. It is acceleration without a destination, progress without a purpose, Sisyphus spinning the wheels of a perpetual-motion Peloton.</blockquote>

Chinese solar companies battling to the death? Involution. High schoolers spending Saturdays out-prepping each other for the gaokao? Involution. Six hotpot restaurants side-by-side on a single mall floor? Involution. Boba delivery that somehow costs less than pickup? Dance, dance, involution.2"

...

"Overall, my trip was a blast. There are other places in Asia I’d like to visit—Japan, Indonesia, Vietnam, Thailand—but whenever the opportunity presents itself, I find myself returning to China again and again. Part of this is family ties, part is a preference for depth over breadth. But a substantial component is sheer fascination, and a solipsistic desire to understand China so that I might better understand America and myself.

There’s a saying that goes something like “After one week in China, you feel you could write a book. After one year, you think you could write an article. After ten years, you realize you know nothing.” I am currently in the second stage of hubris, so forgive me for the generalizations I will surely regret. This irreducibility is a function of both China’s size and speed: it’s a country still modernizing at a mind-bending pace, its future still radically undetermined. Shanghai recently surpassed Taipei in my personal city ranking simply because it feels so different on every trip. For the first time, I grokked why someone might cross the Pacific Ocean, then turn back again. Expats there are all addicted to the pace of change; everywhere else is slow in comparison. It’s the same reason I love San Francisco, for all its thorns—China is a place where things actually happen.

I often hear that things are worse now, compared to the golden years of the late 2000s. Politically, it’s true, but it’s hard to leave feeling too pessimistic. Choppy waters train the strongest swimmers. I prefer spending time in places like this: where God-like technologies meet our medieval institutions and Paleolithic emotions. These sites produce the most interesting questions: What does modernization feel like, in your bones? What is it like to live in a place that transforms—physically, culturally, spiritually—at this rate? Are you a surfer cresting a wave, or wiping out on the shore? The hurricanes of progress blow fast and hard. The factory girls had it right. Survival is a process of constant self-reinvention."]]></description>
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</item>
<item rdf:about="https://mjtsai.com/blog/2025/09/05/one-size-does-not-fit-all/">
    <title>Michael Tsai - Blog - One Size Does Not Fit All</title>
    <dc:date>2025-09-05T21:44:45+00:00</dc:date>
    <link>https://mjtsai.com/blog/2025/09/05/one-size-does-not-fit-all/</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>mac macos johngruber jasonsnell marcoarment brentsimmons norbertheger stevetroughton-smith michaelflarup pierreigot jeffjohnson liquidglass ui howwework interface ux michaeltsai craighockenberry</dc:subject>
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<item rdf:about="https://www.youtube.com/watch?v=FH5cyWHTiio">
    <title>Earl Sweatshirt on ‘Live Laugh Love,’ Fatherhood, Odd Future &amp; the Wiz Khalifa Tour - YouTube</title>
    <dc:date>2025-08-27T16:31:05+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=FH5cyWHTiio</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The cult rapper Earl Sweatshirt, who broke out at 16 as a member of Odd Future alongside Tyler, the Creator and Frank Ocean, discusses his new album, his relationship with his old collaborators and how he cut his own path around fame and into fatherhood. “Live Laugh Love”  is out August 22.

2:17 Announcing “Live Laugh Love” 
4:40 New kid, new album
13:35 Rapping as a craft
19:59 Choosing a different path than Tyler
22:05 Going on tour with Wiz Khalifa
29:00 Having creative control
33:50 Settling down and quitting drinking
38:00 Odd future nostalgia
44:00 Rap education
45:36 Trolling vs. earnestness
48:00 The Fielder Method
52:03 Popcast lightening round
54:20 Is Wiz Khalifa not a real stoner anymore?
56:15 Snack time"]]></description>
<dc:subject>earlsweatshirt oddfuture 2025 joncaramanica joecoscarelli music hiphop wizkhalifa fieldermethod trolling earnestness rap ofwgkta philosophy learning howwelearn parenthood fatherhood nostalgia memory sensememory life living fame attention sobreity adulthood maturity change adaptability children childhood self senseofself work howwework celebration morality ethics humor</dc:subject>
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    <title>The Dog Days And Your Creative Juices - YouTube</title>
    <dc:date>2025-08-22T20:43:03+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=80FiN2JAuP8</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["On today's show we talk about how hot it is. Can you believe it? It's so hot. I can't do anything. But I did go out one morning when it was foggy. There was one day that was fine. But will it ever be fine? Or is it just the Dog Days? 

I call my dad and ask him about burnout and feeling guilty about not doing work. He gives some pretty good advice."]]></description>
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<item rdf:about="https://2ndbreakfast.audreywatters.com/read-receipt/">
    <title>Read Receipt</title>
    <dc:date>2025-07-11T16:22:15+00:00</dc:date>
    <link>https://2ndbreakfast.audreywatters.com/read-receipt/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["One of the popular uses of "AI" that I truly do not understand involves "brainstorming" – and okay, I admit, I truly do not understanding using "AI" at all with what we know about its politically, psychologically, cognitively, and environmentally destructive effects. I've written before about how "brainstorming" is a Cold War invention, and how marketing has convinced us that we're lacking something that only its products or services can fulfill, that "creativity" is something special that few people innately possess and the rest of us need colored markers, whiteboards, sticky notes, self-help books, and now apparently chatbots to develop.

As a writer, I know that if I'm struggling with coming up with ideas, it's a clear sign I need to read more. But (humble brag) as an avid reader, that's rarely if ever an issue. Indeed, I have so many notes with so many possible topics to think and write about. My problem isn't coming up with ideas (true confession); it's following through and actually expanding those notes from a few words, phrases, sentences into an essay, a chapter, a keynote, a book.

But even so. Why would I ever use "AI" for that, since that is "the work". The work of thinking and writing does -- weird! I know! -- actually involve thinking and writing.

I'd argue the interest in using "AI" for brainstorming is surely connected to the decline in reading – reading long-form materials, that is, not text messages and status updates and 200 word blog posts, which, yes, people do a lot of but, no, is not the same as reading a book or even a magazine/journal article. As we spend less time undertaking the challenging cognitive labor of reading, we become less adept at both deciphering complex language and thought and constructing complex language and thought in turn. We have nothing that interesting to say (to write) because we have nothing interesting to think about because we have read nothing substantive.

But "AI" sure seems to be incredibly seductive to some people, promising them, assuring them they are now reading, writing, and thinking more efficiently, more powerfully than ever. Me, I am skeptical that the automation of these processes can grant any power at all to the user – politically or economically, let alone cognitively.

"AI" is an extraction, a reduction, a diminishment of knowledge at both the individual and certainly at the social level – a reallocation of control, centralizing everything in the databases and algorithms of a very small number of tech companies that are hell-bent on destroying our ability to exist beyond the scope of their engineering – and, of course, their subscription plans.

If I have to pay to come up with ideas, I'd rather spend my money on a book than on a chit-chat with a bullshit machine."]]></description>
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<item rdf:about="https://lithub.com/craig-mod-on-the-creative-power-of-walking/">
    <title>Craig Mod on the Creative Power of Walking ‹ Literary Hub</title>
    <dc:date>2025-05-14T15:43:10+00:00</dc:date>
    <link>https://lithub.com/craig-mod-on-the-creative-power-of-walking/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The fullest day I know of begins with taking a portrait of a stranger in the middle of nowhere by 10 a.m. I do this while walking the historic roads of my home country, Japan. At 8 a.m. I set off with the goal of clocking some 20-40 kilometers, and by 9:50, I usually still haven’t taken that portrait. So I manically duck into whatever shop might be along the road (a tatami mat weaver, a gardening tools shop, a convenience store), or I’ll yell out to a farmer working their field: Good morning! Uhh, can I take your photo?! More often than not, they’re bemused (me, my quite obviously non-Japanese face, the fact that I’m in the middle of nowhere) and are happy to chat, and soon thereafter they’re happy to be photographed.

That unlocks the first creative act of the day, and the rest flow as easily as the walk itself. I’ll talk with a dozen people, all the while dictating into a growing note on my phone. I talk with the owners of old-style mid-century Japanese cafes—kissaten—and barbers and vegetable shop proprietors and multi-generational family members of historic inns. I talk with little kids commuting to or from school, bopping alongside the road, often shy but mostly eager to engage, however slyly. I tell them their town is lovely (something more people should say to more kids; and I mean it). One responds, “And just what the hell are you?!,” with a squeaky voice hidden behind an umbrella.

I have been living in Japan for twenty-five years and this talk comes easily, even in the countryside where folks might carry a thick accent. *Howdy*. I plow through. Deploy historic facts. Try to show I’m not a complete unknown in these parts, and though I don’t look like a local, I know a bit of this or that, enough to be considered a subtle ally, however cautiously.

Old men clip their hedges and I ask them what their town used to be like twenty, thirty years ago. We talk about depopulation, aging population. A social issue where Japan just happens to be on the forefront, but one which most of the world is—or will soon be—contending with. Like lost birdsong, those I talk to speak of the joyful shrieks and laughter of children that used to be everywhere, now gone. Gone, probably, for a good long while as these towns and villages vanish from maps and municipal records.

When I’m not talking, just walking (which is most of the time), I try to cultivate the most bored state of mind imaginable. A total void of stimulation beyond the immediate environment. My rules: No news, no social media, no podcasts, no music. No “teleporting,” you could say. The phone, the great teleportation device, the great murderer of boredom. And yet, boredom: the great engine of creativity. I now believe with all my heart that it’s only in the crushing silences of boredom—without all that black-mirror dopamine — that you can access your deepest creative wells. And for so many people these days, they’ve never so much as attempted to dip in a ladle, let alone dive down into those uncomfortable waters made accessible through boredom.

For me, from this boredom—this blankness of mind as I walk past sometimes fields and sometimes giant gambling pachinko parlors—words flow. I can’t stop them. My mind begins writing about what we see and refuses to shut up. That gap created by a lack of artificial stimulation is filled—thanks to the magic plasticity of our brains—with words and more words. Without Candy Crush, an inverted event horizon spawns, and out shoots: thoughts. I dictate as I walk. From afar, it looks like I’m either on a board meeting call with a CEO or am insane. Amidst all of this, in the lulls of dictation, I photograph—people, objects, mountains, trees, stumps, deer, shrines, temples, dogs depressed and dogs joyful, homes well used and those abandoned.

Eventually, I arrive at an inn or hotel (my favorites are anonymous so-called “business hotels,” cheap things dotting the archipelago, uniform, dependable, with fast internet and washing machines and, most importantly, silence). My feet? Hot in spots, a bit wonky, eager to shed their shoes. Each night, I spend three, four, or five hours collating the photographs, compiling my notes, doing laundry, creating an archive. By the time I sit down at night, my body is tired but my mind—since I’ve been dictating throughout the day, collecting moments and snippets of dialogue—is electric, like a crazy horse kicking at a barn door. It kicks the door open and off we go—writing two, three, four thousand words. They get edited into something mildly coherent, paired with a dozen photographs, and sent out in what I call a “pop-up newsletter.”

That is: a newsletter bounded by time, starting on day x and finishing on day y, at which point I delete the thing (including the email addresses of all the subscribers). Why delete everyone? Because a pop-up newsletter is a fresh start, requiring enthusiastic consent. Readers have asked to be automatically signed up for all of my pop-ups but that goes against the philosophy of them — they’re meant to be a thing, an event, and hitting “subscribe” is part and parcel of the process. And, anyway, being unsubscribed is a kind of gentlemanly gesture—like something Dick Van Dyke might do if he wrote newsletters—we seem to have lost in most online experiences. Here is my promise: x-number of emails, nothing more, nothing less. The result? Crazy high open rates because people are excited to be there.

I walk for weeks at a time. The longest walk I’ve done was about forty days. Do this day after day—the intense mileage, the intense wordage, the looking, the talking, the boredom-bathing, the wringing texture and life from a day—and you are changed. It’s impossible not to be. The whole thing, an ascetic practice. I even shave my head like some performative mendicant, one who lives off stories as alms. I’ve been doing walks like this for six years now, and they’ve made me more patient, kinder, more optimistic about the world, people, more amazed than ever at how many goofy-ass animals (monkeys jumping off bridges, tiny bears running like little pigs, mountain crabs that have no right to exist up on a lookout) are out there in the woods.

But perhaps what I’ve gotten most out of these days is an understanding of “fullness.” That is, how much potential exists in the most banal-seeming of itineraries. How everyone has a story worth listening to, even if just for five minutes. How the details and patterns of life go unseen with a head stuck in a phone. And how—after having walked for eight straight hours, heavy pack on my back (multiple cameras, laptop, rain gear), and then having written for hours, edited, banged the text into a publishable state, added photographs, and hit send, finally at the end of the day)—when my head hits the pillow at night, I smile knowing there was no fuller day to be had, no better way to have played the cards dealt to me on that morning.

I realize now I didn’t know fullness before I started walking like this. The walk taught me fullness. It’s good like that, the walk. Walking. I’ve now got hundreds of “max full” days under my belt. You carry the feeling of those days back to your everyday life. You now have an archetype for a fully “used up” day. That’s a powerful thing, and one that can’t be learned through description alone. It must be felt in the bones after mile twenty, on the tenth day of doing twenty miles, on the tenth day of banging out a text, collimating the experience of connecting with strangers, feeling the sonder of those you pass, melding the day into words, pairing those words with images, creating a complete “object” or piece as it were. And then pushing it out into the world (the publishing at the end of the day creates a kind of stakes that I find is critical to eking out that last drop of fullness).

Anyway, I like these walks, these big dumb walks alone along old paths, paths once full of life, now a bit somber, but still beautiful in their own rusted ways. What happens to these pop-ups? Sometimes they become the grist for a book. I took a walk four years ago during the height of COVID. A thousand kilometers along the old paths of a countryside peninsula called Kii. The essays from that walk became the basis for Things Become Other Things, a story of a walk but also a story of a friend, someone I had never forgotten but wasn’t able to look back at until the walk helped me do so, the boredom gave me the courage and permission to peek.

The fullest kind of day I know begins setting off at 8 a.m. with some big mileage in mind. But sometimes the energy of the walk keeps going, well beyond the walk itself. Years later, slowly and then suddenly, it is a book, a thing in hand, something much bigger than a walk alone."]]></description>
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    <title>How Work Has Changed in the Wake of Covid | KQED Forum - YouTube</title>
    <dc:date>2025-05-13T19:14:39+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=3JTQy-kDohA</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["As part of our series looking back on how the pandemic changed us, 5 years on, we examine the way we work.  From working remotely to handling childcare needs to coping with being an essential worker, Covid forced innovations and exposed fault lines in the nation’s employment structure. We’ll talk about what we learned and we hear from you: How did the pandemic change how you do your job and think about work?

Guests:

Nicholas A Bloom, professor of economics, Stanford University — senior fellow, Stanford Institute for Economic Policy Research

Joan Williams, former professor of law, UC Law School San Francisco, and the founding director of the Center for WorkLife Law; UC Hastings College of the Law - author of White Working Class: Overcoming Class Cluelessness in America and the forthcoming title, "Outclassed: How the Left Lost the Working Class"

Aki Ito, chief correspondent, Business Insider; Ito covers workplace issues, including burnout, hustle culture, and the end of workplace loyalty."]]></description>
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</item>
<item rdf:about="https://adactio.com/journal/21905">
    <title>Adactio: Journal—A tiny taxonomy of meetings</title>
    <dc:date>2025-05-13T18:23:20+00:00</dc:date>
    <link>https://adactio.com/journal/21905</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Meetings can be frustrating. But they don’t have to be.

A lot of the frustration comes from unmet expectations. You go into the meeting expecting one outcome, and when it doesn’t materialise, you declare the meeting a waste of time. But had you gone into that same meeting with different expectations, perhaps you would emerge from it in a happier state.

We were talking about this at Clearleft recently and I suggested that a simple little taxonomy of meetings might be a good starting point for avoiding frustration.
Divergent meetings

In a divergent meeting the goal is to generate ideas. These meetings often happen early in a project.

Quantity matters more than quality. Plenty of “yes, and…” rather than “no, but…” to create lots of suggestions. This is not the meeting to point out potential problems with the suggestions.
Convergent meetings

In a convergent meeting the goal is to come to a decision.

The meeting might begin with lots of options on the table. They need to be winnowed down. Poke at them. Dissect them. Ideally dismiss lots of them.

This is not the time to introduce new ideas—save that for a divergent meeting.

Just having those two categories alone could save you a lot of grief. The last thing you want is someone participating in a convergent meeting who thinks it’s a divergent meeting (or the other way around).

Those two categories account for the majority of meetings, but there’s one more category to consider…
Chemistry meetings

In a chemistry meeting there is no tangible output. The goal is to get to know one another.

In a large organisation this might be when multiple departments are going to work together on a project. At an agency like Clearleft, a chemistry meeting between us and the client team is really useful at the beginning of our partnership.

Again, the key thing is expectations. If there are people in a chemistry meeting who are expecting to emerge with a framework or a list or any kind of output, they’re going to be frustrated. But if everyone knows it’s a chemistry meeting there’s no expectation that any decisions are going to be made.

There you have it. A tiny taxonomy of meetings:

1. divergent
2. convergent
3. chemistry

This tiny taxonomy won’t cover every possible kind of meeting, but it probably covers 90% of them.

Ideally every meeting should be categorised in advance so that everyone’s going in with the same expectations.

If you find yourself trying to categorise a meeting and you think “Well, it’s mostly convergent, but there’s also this divergent aspect…” then you should probably have two separate shorter meetings instead.

And if you’re trying to categorise a meeting and you find yourself thinking, “This meeting is mostly so I can deliver information” …that meeting should be an email."]]></description>
<dc:subject>jeremykeith 2025 meetings taxonomy taxonomies howwework</dc:subject>
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<item rdf:about="https://jacksondahl.com/dialectic/cwandt">
    <title>12. Che-Wei Wang &amp; Taylor Levy (CW&amp;T) - Iterating Together with Time - Jackson Dahl</title>
    <dc:date>2025-03-29T02:23:34+00:00</dc:date>
    <link>https://jacksondahl.com/dialectic/cwandt</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Che-Wei Wang and Taylor Levy are the founders of CW&T (Website, Instagram, X, TikTok), a Brooklyn-based studio creating products that exist somewhere between art, design, and engineering.

The husband-and-wife team met at NYU ITP and shares a background across industrial design, architecture, computer science, film, including time at Pratt Institute and MIT. They won the 2022 Cooper Hewitt National Design Award for Product Design. They design and manufacture everyday objects including clocks, pens, tools, and other strange objects that challenge our relationship with time, attention, and materiality. Their most recognizable products include the Pen Type-A,Pen Type-C (my favorite), Time Since Launch (a one-time-use, 100-year timekeeper), and Solid State Watch, a remix of the classic Casio F-91W.

Our conversation explores their fascination with time, their commitment to creating heirloom-quality objects in a disposable world, and how they've built a sustainable creative practice on their own terms. We discuss their prototyping-centered approach, the tension between digital and physical creation, and how they navigate collaboration as partners in life and work.

Throughout, Che-Wei and Taylor reveal a philosophy that treats making as its own reward—they create what fascinates them first, trusting that others will connect with their vision. In a world increasingly dominated by disposable products and digital experiences, CW&T offers a refreshing counterpoint: a workshop where physical objects are thoughtfully conceived, meticulously crafted, and built to accompany us through life's journeys. Their work invites us to reconsider our relationship with the objects we use daily and the passage of time itself, offering a refreshing counterpoint to our increasingly digital, ephemeral world.

Full transcript with all links and references.

Timestamps

(00:00): Time: a pattern across CW&T’s careers
(11:21): Time Since Launch: the idea of counting up instead of down, and creating personal epochs
(14:11): "Good design is long-lasting,” Durability of Electric Objects
(19:31): Balancing art, product, and design: CW&T's approach to creating strange (but useful) things
(23:51): First Word vs. Last Word Art: Michael Naimark's essay on innovation
(28:01): Death by consensus: Why Che-Wei left architecture, and the joy of creative collaboration
(32:52): Inspiration, Theory, and Self-Evidence
(38:40): Tools: iPhone world, what makes a great tool, and design that optimizes for joy
(44:21): The Hi-Tec-C pen cartridge and remixing what has come before
(48:01): Making physical objects: a case for prototyping and against rendering
(55:41): CW&T’s beloved products
(53:27): ITP, Electrified Objects, Software in Objects
(56:49): Dream Stem: Generative design, openness to new tools, AI's impact on the creative process, and intuition
(01:07:11): The value of friction, and what's lost and gained in the pursuit of efficiency
(01:09:46): CW&T the brand, contemplating CW&T's legacy and purpose
(01:15:24): Kickstarter, owning your audience, and what it would look like to start today
(01:19:35): Partners in life and work, the tension between merging identities and maintaining individuality
(01:25:02): Growth, explore vs. exploit, and learning, dream collaborators, and more resources
(1:33:56): Lighting round: great teachers, New York City focus & serendipity, creative inspirations, CW&T book, nature and green things, morphology and architecture, “form and force,” a gift for children or grandchildren, what to hang onto,
(01:52:07): Timelessness"

[also here:
https://www.youtube.com/watch?v=zEtWP1X-HNc
https://podcasts.apple.com/us/podcast/12-che-wei-wang-taylor-levy-cw-t-iterating-together-with-time/id1780282402?i=1000700540379
https://open.spotify.com/episode/4matdJ4VqtVACD4XhV8IzL ]]]></description>
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<item rdf:about="https://hammer.ucla.edu/collections/grunwald-center-collection/corita-kent/process">
    <title>Process | Corita Kent in the Grunwald Center Collection Digital Archive | Hammer Museum</title>
    <dc:date>2025-03-26T16:33:10+00:00</dc:date>
    <link>https://hammer.ucla.edu/collections/grunwald-center-collection/corita-kent/process</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>coritakent sistercorita process art printmaking typography arteducation howwework screenprinting design</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:6a929141ec54/</dc:identifier>
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<item rdf:about="https://cultureandcommunication.org/galloway/derridas-macintosh">
    <title>Derrida’s Macintosh | Alexander R. Galloway</title>
    <dc:date>2025-03-14T07:43:21+00:00</dc:date>
    <link>https://cultureandcommunication.org/galloway/derridas-macintosh</link>
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<dc:source>https://pinboard.in/</dc:source>
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<item rdf:about="https://podcasts.apple.com/us/podcast/audrey-watters-on-the-dangers-of-using-ai-in-the-classroom/id1490313171?i=1000693084199">
    <title>Audrey Watters on the dangers - Talk Out of School - Apple Podcasts</title>
    <dc:date>2025-02-17T20:40:42+00:00</dc:date>
    <link>https://podcasts.apple.com/us/podcast/audrey-watters-on-the-dangers-of-using-ai-in-the-classroom/id1490313171?i=1000693084199</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Chancellor Melissa Aviles-Ramos, Feb. 12, 2025, A Message for Families Regarding Non-Local Law Enforcement, https://www.schools.nyc.gov/about-us/messages-for-families

AP, Feb. 11, 2025, DOGE cuts $900 million from agency that tracks American students’ academic progress
https://apnews.com/article/ies-musk-doge-education-cuts-4461d7bdbe9d55c5a411d8465999b011

Stars and Stripes, Feb. 7, 2025, DODEA adds lessons to ‘do not use’ list sent to schools worldwide
https://www.stripes.com/theaters/europe/2025-02-07/dodea-removes-book-pending-review-16753412.html

Scripps News, Feb. 14, 2025, Public schools face deadline to remove DEI policies or lose federal funding
https://www.scrippsnews.com/us-news/education/public-schools-face-deadline-to-remove-dei-policies-or-lose-federal-funding

WaPost, Feb. 14, 2025, Park Service deletes trans references on Stonewall Inn monument pagehttps://www.washingtonpost.com/travel/2025/02/13/stonewall-transgender-lgb-national-park-service/

Stonewall National Monument website, https://www.nps.gov/ston/index.htm

Wash Post, Feb. 4, 2025 Here are the words putting science in the crosshairs of Trump’s ordershttps://www.washingtonpost.com/science/2025/02/04/national-science-foundation-trump-executive-orders-words/

On the Media, Feb.17, 2025. Donald Trump is Rewriting the Past.
https://www.wnycstudios.org/podcasts/otm/articles/donald-trump-is-rewriting-the-past-plus-the-christian-groups-vying-for-political-power

MSNBC, Feb. 14,, 2025 At confirmation hearing, Linda McMahon refuses to say Black history courses will be allowed
https://www.msnbc.com/the-reidout/reidout-blog/linda-mcmahon-black-history-dei-trump-rcna192301

The 74, Feb. 13 Stunned Education Researchers Say Cuts Go Beyond DEI, Hitting Math, Literacyhttps://www.the74million.org/article/stunned-education-researchers-say-cuts-go-beyond-dei-hitting-math-literacy/

Audrey Watters blog https://audreywatters.com/blog/ and https://2ndbreakfast.audreywatters.com/
Audrey Watters on AI Foreclosure https://2ndbreakfast.audreywatters.com/ai-foreclosure/

CNN, Oct. 13, 2024 With AI warning, Nobel winner joins ranks of laureates who’ve cautioned about the risks of their own work
https://www.cnn.com/2024/10/13/health/nobel-laureate-warnings-ai/
Statement on AI Risk, https://www.safe.ai/work/statement-on-ai-risk

Michael Gerlach, AI Tools in Society: Impacts on Cognitive Offloading and the Future of Critical Thinking
https://www.mdpi.com/2075-4698/15/1/6 "]]></description>
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<item rdf:about="https://blog.ayjay.org/things-made-and-in-the-making/">
    <title>things made and in-the-making – The Homebound Symphony</title>
    <dc:date>2025-01-20T20:25:44+00:00</dc:date>
    <link>https://blog.ayjay.org/things-made-and-in-the-making/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["A while back I commented on a post by Robin Sloan [https://www.robinsloan.com/newsletters/finisher/ ] in which he says this:

<blockquote>Sometimes I think that, even amidst all these ruptures and renovations, the biggest divide in media exists simply between those who finish things, and those who don’t. The divide exists also, therefore, between the platforms and institutions that support the finishing of things, and those that don’t.

Finishing only means: the work remains after you relent, as you must, somehow, eventually. When you step off the treadmill. When you rest.

Finishing only means: the work is whole, comprehensible, enjoyable. Its invitation is persistent; permanent.</blockquote>

I like this, but I want to make a distinction between resting from your labors on a particular project and resting from your labors altogether, through retirement or death.

My attitude toward the works I have completed — at at this point that’s fifteen books and a couple of hundred essays and reviews — is that I have never finished anything to my own satisfaction, I have only been forced to abandon it. That’s why I am psychologically incapable of re-reading anything I’ve written. I may retrieve small chunks of it for one purpose or another, but I’ve never re-read anything of mine longer than a blog post. I learned early in my career that revisiting what I’ve published brings only regrets. So, you know, as the man said: “Fare forward, voyagers.”

Maybe for this reason I am drawn toward the work that is never finished in the sense that it’s never handed over to someone else, never designated as complete. Take Montaigne’s Essays for instance, a page of which, in a modern edition or translation, looks like this: 

[image]

Montaigne published the first edition of the Essays in 1580 – that’s the main text here. Then in 1588 he published a second edition with new essays and revisions to the earlier ones: those are marked [b]. He continued up to the end of his life to add new essays and revise the old ones: those most recent changes are marked [c]. Montaigne died at age 59, but if he had lived twenty years longer we might have had further editions of the Essays and, consequently, texts with markings of [d], [e], and [f].

I love this. “Essay” means “trial” or “attempt,” of course, and thus Montaigne’s book by its very nature invites second and third thoughts, second and third trials: iteration that ends only when you die, or when you grow tired of it all and retreat into a life of pure contemplation.

I’m a big fan of contemplation, but I tend to contemplate most effectively when I have a pen in my hand. And a notebook provides endless opportunities to revisit, rethink, fail again, fail better. Though I never re-read my published works, I re-read my notebooks regularly: I consider such revisitations essential to thought, to growth, to intellectual and moral and spiritual maturation.

For me — for my personal wants and needs and satisfactions — my notebooks are the most important writing I do. Then come my essays, and then my books. I think I have written some good books, and they’re made a place for themselves in the world — I’ve sold about 300,000 copies all told, most of those The Narnian and How to Think, which is nothing compared to having a YouTube channel, but not altogether contemptible for a writer of books — but if I had not been in a profession that places a premium on the publication of books, I don’t know that I ever would’ve written a single one. (Maybe a collection or two of essays, though, if I had found any publisher charitable enough to put them out.) It has been good for me to be pushed towards book-writing, but it’s not my natural métier — the essay is. And maybe the notebook is, even more. 

But what about blog posts, like this one? This blog stands at the juncture of the essay and the notebook. Some of these posts are essays, though usually briefer than the ones that get published by other people; others are basically notebook entries shared with the public. What makes a post an essay is completeness: a story told to the end, a train of thought traced to a destination, a pattern of ideas or responses fully woven. Conversely, you can tell that a post is essentially a notebook entry when I say something like “I’ll revisit this idea later” or “Perhaps a topic for a future post.”

In my recent series of posts on the family [https://blog.ayjay.org/tag/family/ ] I was writing on a topic so complex, so nuanced, so difficult that it would have been an impertinence, I think, to issue a finished word. I would dishonor the multiplicity of people’s experiences, the complexity of my own experience, by offering anything like a complete statement. So I put some thoughts out there, related them to one another as best I could, and now I am pausing to reflect. Probably there will be more later. On a blog there can always be more later, and one of the best uses of hyperlinks is to link to your earlier self, even (or especially) when you think your earlier self was wrong about something or left something out.

It’s great to finish (or in my case abandon) something: to tell this story, to make this argument as well as you possibly can, crafting it with all your skill, and sending it out into the world to make its way as best it can. But there’s a place also — and I feel this increasingly strongly as I get older — for the tentative and incomplete, for “I’ll revisit this later,” for “Oh, I forgot this when I wrote that” — for, maybe above all, being corrected by charitable but honest readers and then being able to try again on the basis of what the lawyers call “information and belief.” I am always, and hope I always will be, gathering more information and developing my beliefs. As the man also said, “Old men ought to be explorers.”"]]></description>
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<item rdf:about="https://humancarbohydrate.substack.com/p/94-practical-and-emotional-human">
    <title>94 practical and emotional human experience optimising recommendations for 2025</title>
    <dc:date>2025-01-01T23:37:28+00:00</dc:date>
    <link>https://humancarbohydrate.substack.com/p/94-practical-and-emotional-human</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["I know you all want to be told what to do

The transition from age 20 to age 30 is brutal, both mentally and physically. Many people leave their prime behind while others only now enter it. The former become older and heavier not in body but in spirit. I am going through a second puberty and am skinnier than I was in uni, so you should obviously listen to me.

I have padded out my hysterical advice with milquetoast (but effective) tips so that only those of you with enough dopamine to read the whole thing get them. I don’t every zombie normie freaking out in the comments section.

1. People either pursue an interesting or a happy life (that does not mean you are either boring or miserable; it means these values guide your decision-making). Penelope Trunk has a test I came across years ago. People who fall in the ‘interesting’ camp move away from family for career reasons, are maximisers of looks, status and experiences, have strong opinions and diverse friendship groups, are interested in experimenting and are predisposed to melancholy. Happy people want to be content. Interesting people suffer from existential angst. People who are great at something are obsessives to the detriment of ‘happiness’.

2. The pursuit of happiness alone will make you miserable. Happiness is the by-product of pursuing loftier goals.

3. Find the perfect word; don’t be lazy in speech or writing. People long to be described accurately.

4. You earn the right to be yourself by consistently withstanding people’s reactions to you.

5. Use everything. Don’t save outfits, stories, or bottles of wine. Don’t worry about using garments that stain easily if you love them. White looks lovely on tanned skin.

6. I guarantee you will fall in love with anyone you give your undivided attention to. If you struggle to enjoy human interactions, pay closer attention. Nobody is boring.

7. All villains are redeemable. Even you.

8. Take as much career risk as your health allows, not as much risk as your anxiety dictates is safe. If your genes survived past the 21st century, it is highly unlikely you are wired to enjoy a mundane life. I know many rich, depressed lawyers.

9. If your parents can afford to pay your rent you have 0 excuse for not living a creative life.

10. If not, know that art craves boundaries. Art loves nothing more than a deadline and no desk to write on. Adversity gives you stories. Every great artist had a struggle. Nobody cries looking at nepo babies taping rotting fruit on a canvas.

11. Arguing with someone can be a sign of respect. Someone respects you enough to think they can reason with you and are confident enough in their relationship with you to know it can withstand disagreement. Confrontation is a net positive.

12. All people have something interesting to tell you if only you know to ask the right questions. My favourites are:

a. What were you like in high school?

b. What’s your favourite dish/movie and why?

c. What’s your zodiac sign (confirm whether the characteristics of their sign are true for them)?

d. What’s your relationship with your family like?

13. Many people want to be writers, but not many people want to spend hours and days typing alone. The same goes for all professions, arts, hobbies.

14. Find the exquisite pleasure in a broken heart. Like a baby tooth hanging by its last ligament, the heart yearns to be pulled apart. Some people are melancholic by nature. Those who fight this nature tend to become depressed easily. Those of us who embrace it write really good love letters.

15. There is only one way to be loved for who you are: to be hated for who you are not. It is better to have 10 people who hate you and 10 who love you than 20 who don’t feel anything when they see a photo of your 4-year-old self in striped pyjamas bouncing on Santa’s knee.

16. Looking sexy is incompatible with looking uncomfortable. This goes for both men and women. However, sometimes you need to be a little cold. Never wear tights with over the knee boots. The girls from The North have a point.

17. Walk everywhere and eat a lot of protein, that’s the secret to a ‘high metabolism’.

18. Nuts and legumes and don’t have enough protein: eat skyr, greek yoghurt, white fish, chicken, venison and other wild meats (lower in fat and higher in protein), tuna and shrimp. If you need a snack and you are on the go, buy a tab of cottage cheese and eat it with a spoon like a yoghurt. If you want it to be sweet, buy the pineapple-flavoured one.

19. The sooner you learn not to care about people staring at you, the more productive, joyful and easy your life will become. Whether you are eating a tub of cottage cheese on the bus or wearing your Pikatsu onesie to the corner shop, there is great pleasure in the confidence to ignore society’s unwritten rules.

“People are always angry at anyone who chooses very individual standards for his life; because of the extraordinary treatment which that man grants to himself, they feel degraded, like ordinary beings.” — Friedrich Nietzsche

20. As soon as possible in your life, learn why some people love vegetables. Befriend those of us who grew up eating them out of love, not punishment. The secret is usually good olive oil, a LOT of lemon, and salt. Blanch or steam, don’t boil. Don’t overcook.

21. Buy people coffee and drinks whenever you can; they may not always reciprocate, but you are not doing it because you need a free coffee in the future. People will forget what you tell them but will never forget how you made them feel. Our parents bought us things for free, without expectation, for the first and the longest time. People will never forget you made them feel taken care of and thought of.

22. Order chips at the pub and share them with everyone. Crunchy communal carbs are social lubrication far superior to shots.

23. When you feel grateful about something someone has done for you, text them immediately. A simple text. A check-in or a ‘I thought of you’. Don’t leave it for later because postponing things only leads to deathbed regrets. Don’t let the perfect text be the enemy of a good enough text.

24. Equally, always pay deserved compliments. If your eyes light up when you see a woman in a beautiful dress, tell her. Compliment the men, too; they look nice sometimes.

25. Never network. Make new friends.

26. A loyal and admiring junior is worth ten times the senior who doesn’t know your name.

27. Drugs fry some of the greatest minds of every generation because greatness comes from obsessiveness. Obsessive people have addictive personalities, and drugs that stimulate their brains make people who already feel like Jesus feel like Father God himself. Slowly, their speech patterns change, and they don’t really respond to what you are saying, and they don’t realise it, and then ten years later, they have a psychotic break out.

28. Also, a lot of alcoholics. My cardinal addictions were men and food, and I have channelled them into my career and fitness.

29. Don’t worry whether people invite you to their parties or over their homes for dinner. If you enjoy hosting and feeding others, you don’t need them to return the treat to feel the benefits.

30. Closeted Gays are a million times more fun after they come out of the closet. If you have friends from the past who you sense might be gay and who you distanced yourself from over the years because you did not feel connected enough, give them another shot once they are out to themselves and the world because normally, they transform into full humans after that and a lot of their shortcomings make more sense in the context.

31. Bonus point: If you fancy or fancied me at any point, there is a 70% chance you are bi/gay. Data don’t lie, look into it.

[image: "me and one my many gay ex-boyfriends outside our high school"]

32. If you can’t organise your kitchen in a way that doesn’t make cooking an infuriating task, you have too much stuff. You don’t need two cheese graters. You should not need a hazmat suit to open your cupboard.

33. To boost your self-confidence, buy personal training sessions rather than new clothes and expensive make-up. Fit people look good in anything. It’s hard not to love your body when you spend time working with it.

34. Generally, spending money on things is the least effective way to use your money to improve your appearance and attractiveness. The most effective ways (descending order) are diet, exercise, cleanliness, a good haircut, learning what suits your skin tone and body shape, wearing the correct size, taking a few deep breaths, relaxing your eyebrows and lips, pushing your shoulders down and straightening your back, not fidgeting or playing with your hair, letting your locks frame your face as they please, loosening up your belt, shoe strings, top button, steaming/ironing your clothes.

35. Most people need to size up in clothing and won’t do it either because they are attached to the size they were wearing in college or because they don’t realise that ‘I can pull the zipper up’ is not the definite cue that something is the best size for you. I wear a UK size 12 (US size 8), and curiously, 90% of my friends wear smaller sizes than me. Reader, I am not the biggest in my social circle but I am the most effective looks maximiser. Some men need to size down, but it’s rare.

36. If you want to smile for a photo or to conceal your inner existential dread, touch your tongue behind the top row of your teeth. It makes your smile look genuine, and your eyes light up. I read it in Cosmopolitan when I was 13 and never stopped doing it. It is a handy trick if you are mercurial and don’t want to spend a whole night telling people everything is fine because the gothic novel princess in your brain would rather have stayed under the duvet.

[image]

37. Your habits become your character and as you can change your habits, you can also change your character. You can reinvent yourself whenever you want. Do the things the person you want to be would do.

38. Don’t ask people whether they think you can do something, ask them how to do it instead.

39. If someone gives you negative feedback, react calmly and gratefully, even if you disagree. You want them to feel comfortable to do it again. Reward those who engage in social behaviours that risk their social standing but ultimately benefit your personal development. Don’t shoot the messenger. Get a link for anonymous feedback.

40. If there is no food left over, someone is still hungry.

41. Always be ready to be seen naked, it doesn’t matter if you never have casual encounters. You deserve presentable underwear every day and sexual vigor is a sign of a thriving organism.

42. Don’t listen to people triggered by phone-yielding youths; take hundreds of photos of your friends and times together. It will boost dopamine every time you flicker through your album.

43. Take candid photos of people and send them to them. Even strangers! When you go on holiday abroad, photograph a couple kissing and ask them to airdrop their photo. They will be so grateful.

44. Infatuations are to be enjoyed twice. The first time is when they are felt. The second is when they are confessed. Tell them and remember point number 10 above.

45. Don’t worry about boosting other people’s egos because they think you fancy them more than you do. Romance is not a blinking match. Infatuations are selfish acts. We tell people we want them because we will burst if we don’t, what they do with it is none of our business.

46. If you want to know how someone judges you, notice what they criticise about others when they gossip with you. Remember that this is also how they judge themselves.

47. Everyone is looking for free therapy, whether they know it or not. Time your pauses generously after each question.

48. Envy is my favourite feeling. I am awash with excitement when I feel it. It’s my subconscious’s way of showing me what I want. Now I can go out and get it.

49. My second favourite feeling is desperation in myself and in others. Don’t be repelled by it; receive it and channel it. People live lives of meekness out of fear of exposing their wants. Underpinning this is the lack of belief they can get what they want once they’ve said they want it. To want and to not get is a universal human condition, and it is that universality that makes it romantic and timeless, not sad and pathetic as its bearers fear. We are all in the gutter, but some of us are looking at the stars.

50. Don’t distance yourself from people because they are better looking or more privileged in material ways unless they are obnoxious about it. Having hot, rich friends is a superpower.

51. If you don’t want to live life anxious, people will abandon you when you are poor, sick or sad; don’t abandon people when they are poor, sick or sad. Superpower.

52. Generally, the more you are afraid people will judge you about something, the more likely it is you judge others by that value. If you don’t value, say, unearned wealth, then you should be pretty chill about people finding out you never went abroad until you went to uni.

53. 70% of looking presentable is being very very clean.

54. Most people go to grad school because they don’t know what to do with their lives. Your parent's money is better spent investing in your new business. If you don’t know what business that could be…

55. ….get a job, any job you can and pay close attention to which parts of it you enjoy and hate, what comes easier to you than your colleagues and what comes harder. Then, find another job based on those.

56. Life is too short to fight your sensitivities and proclivities. Don’t be embarrassed by what moves you, and ignore the repressed people who are jealous you are living an honest life.

57. Usually, when people are repeatedly triggered by a specific attribute in people (e.g. insecurity, snobbism, vanity, selfishness), it is because they are aware they have it too.

58. Men are good at arguing, and women are good at manipulating. Women need to learn to fight back and not flee a fight, and men need to learn to be subtle and play the long game.

59. One time in your life, read a bunch of self-help books. Do it once: finance, fitness, career etc. Do everything they say: set up your savings account/pension/investment scheme, start weightlifting, clear out your closet, fold everything Mary Kondo style etc. Then, never read another self-help book in your life.

60. There may be people you were very fond of in your life but who find it hard to be around once your lives take different turns. You might be a painful reminder of the person they could have been but aren’t. Leave the door open if you want but let them go in peace.

61. If your friend or partner is upset, ask them if they want solutions or a listening ear before you autistically ruin the vibe.

62. When I ask friends for feedback on my writing, and they comment on the story or commiserate me on something that sounds sad- I don’t care. I am more interested in knowing if they found the writing entertaining, nourishing or moving. If someone asks you to critique their art, gauge what they want. Many people crave encouragement. A few crave the candid and withering feedback.

63. Good career advice for many women is never to learn to do the things you don’t want to continue doing. I am useless with working diaries and Excel sheets, but you can always count on me to give a speech or chair a panel.

64. Also, always learn to do the technical things only a handful of men in the team know how to do. In one of my initial campaigns, I lasted longer than most other staffers because I insisted that the only man in our group who could program the backend of our new app and handle the data inputs and outputs to teach me how to do it too. I ignored his protests that it would be quicker for him to handle it than teach me. When the time came for our next assignment, only two out of tens of staff members were diploid to the next state: me and the dipshit. The girls who were very good at separating the recycling got sent home.

65. There is no escape from suffering. You can either suffer because you love someone or something or because you don’t love anyone and anything. Decisions, decisions, decisions.

66. Splurge on what you use daily; save on what you use once a year. Buy the best-fitting fucking jeans. Don’t worry about buying heels; remember, you can’t dance in them.

67. Don’t say you hate your job if you actually love it. Don’t say you love it if you actually hate it. Resist the temptation to lie when people ask you how you are doing, but if the answer is genuinely that you are tired, stressed or bored all the time, then ask yourself what would need to change for you to feel energised, motivated, and engaged. Whenever someone asks me if I like my career, it is an opportunity to remind myself how grateful I am.

68. Misery loves company; don’t take advice from people whose lives you don’t want to emulate. One of the most miserable married women I know (my mom) is sending me Pew Research Marriage Makes People Happier studies.

69. The cure to hate is curiosity.

70. Something is only a problem if it makes you feel bad. Eating healthy is very different from ‘dieting’.

71. Become people’s safe space by controlling your reaction when you witness them being humiliated or confessing something embarrassing. Many people’s nervous systems are fried from being raised by reactive parents. The reason people keep their struggles or shameful moments secret, with compounding detrimental long-term effects, is because they still have the emotional composition of a toddler eager to please their elders. If you want to enshrine emotional resilience in someone, model stoic acceptance of life’s rollercoaster. Whatever it is, we will work through it.

72. If you get a baby pet, say a puppy or kitten, take a million photos and videos of them while they are still small. Presumably, the same goes for baby humans, but what do I know.

73. Embrace responsibility, act like you, and you alone must save the world. If the world’s lost, it’ll be on you.1

74. If you don’t know what to write about, stop stopping yourself from writing what you are thinking. There is a reason I mostly write about men, careers, and mom. Most people hate writing because when they try to do it, they force themselves to write what they think will make them look good: a topic that makes them sound serious, an argument that makes them sound deep. Who are they kidding? Most of people’s minds are in the GUTTER. WRITE ABOUT THAT.

75. Be the first on the table to put down your knife and fork and use your fingers when the dish craves it. Others will silently thank you.

76. Do you fancy them, or do you want to be them? If it’s the latter, don’t fret; copy them.

77. Don’t use rich men for money; use them for access.

78. Never order takeaway alone. Buy a steak and a bag of salad. Come to think of it, never order take away, ever, unless you feel nostalgic. Buy two steaks and a bag of salad.

79. Enjoy the power and beauty of your youth. [https://www.goodreads.com/quotes/40501-enjoy-the-power-and-beauty-of-your-youth-oh-nevermind ] Oh, never mind. You will not understand the power and beauty of your youth until they've faded.

80. If a social situation needs to claim an ego, offer up your own. People feel subconscious loyalty to those who let them save face.

81. Don’t worry about powerful men chasing you and then hanging you out to dry. Let them think they humiliated you. Men who are not psychopaths but have leadership qualities feel terrible when they know they hurt women. Don’t try to take revenge; let the situation cool off and use them for favours for the rest of your life.

82. Proactively give positive feedback to people excelling at something for a long time. People stop acknowledging excellence when you break into the top, but even Obama craves to know that his speech went well.

83. When someone posts online about a relative or friend dying or some other personal misfortune, message them immediately with a simple offer of sympathy. Don’t worry if you don’t know them well enough. The result of people looking for the perfect reaction to people’s grief is that we leave the grieving to struggle alone.

84. Sometimes, people need you to mirror their feelings to feel heard; other times, they need you to calm them. Know which friend will give you which, too, if you want to let your feelings flow with a friend. If I am distressed, I don’t want to be with people who will mirror my emotional state because that makes me feel worse. Equally, if I am very excited about something, I don’t want to confess it to the friend who asks rational, practical questions about every update.

85. Whether you think you can or can’t do something: you are right. A lot of success is about ambition more than it is about skill or even hard work. Most people don’t even apply.

86. Men and children love red dresses, lips and nails. Find the crimson shades that suit your undertones and overtones and wear them liberally.

87. Wear at least 2 different primers under your foundation.

88. Buy professional shampoo and conditioner.

89. Start a blog. [https://blog.penelopetrunk.com/penelopes-guide-to-blogging/ ] A private journal is not good enough because you won’t do it. It doesn’t matter if nobody reads it at first or ever. You are not writing to make money but to force yourself to structure your thoughts. Self-discovery will make you richer in the long run. People assume those who express more know more. Studies show individuals who speak more during group interactions are likelier to be viewed as leaders, independent of what they say.

90. The most comforting relief of grief destined never to resolve itself is to think of everyone else suffering the same pain. If you don’t think suffering brings you closer to God, know it brings you closer to mankind.

91. Dressing down when you are a regular glamazon is a power move. Every now and then, show up to a party in jeans and a crop top to keep them guessing.

92. The sexiest recipe in the universe: chicken thighs in cream and tarragon (Jay Rayner has the best recipe).

[image]

93. Hang around people significantly younger and older than you. Pick a few and develop close friendships with them. Feed off the energy of the young and soak the wisdom of the old.

94. Finally, someone in my feedback link said I am obsessed with status (brother, you are telling me?), but I have found status to be a poor motivator for any habit that sticks. If the 12 years of adulthood have taught me anything about self-improvement and discipline is that the only effective motivation to do anything is to take care of others. Get fit, make money, and amass clout and social influence, all in the hope that if you find yourself driving down the highway, you won’t speed past the wounded dog. Everything else falls off the wagon."]]></description>
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    <title>David Hammons: Day's End - YouTube</title>
    <dc:date>2024-12-30T21:27:00+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=cjT53b6qXHw</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The Whitney, in collaboration with Hudson River Park, has developed a permanent public art project by David Hammons. Entitled Day's End (2014–21), this monumental installation is located in Hudson River Park along the southern edge of Gansevoort Peninsula, directly across from the Museum.

Proposed to the Whitney by Hammons, Day's End takes inspiration from an artwork of the same name by Gordon Matta-Clark. In 1975, Matta-Clark cut five openings into the Pier 52 shed that formerly occupied the site. Hammons's Day's End is an open structure that precisely follows the outlines, dimensions, and location of the original shed—and, like Matta-Clark's intervention, it will offer an extraordinary place to experience the waterfront.

Taking both Day's Ends, as envisaged by Hammons and Matta-Clark, as jumping-off points, the Whitney has also created the Museum's first podcast, Artists Among Us, narrated by artist Carrie Mae Weems. Listen at https://whitney.org/podcast/days-end . 

Learn more at https://whitney.org/exhibitions/david-hammons-days-end "

[See also:

"Queer Histories of the Piers | David Hammons: Day's End" (2021)
https://www.youtube.com/watch?v=tS990SCeQIE

"The Whitney, in collaboration with Hudson River Park, has developed a permanent public art project by David Hammons. Entitled Day's End (2014–21), this monumental installation is located in Hudson River Park along the southern edge of Gansevoort Peninsula, directly across from the Museum.

Hammons’s Day’s End takes inspiration from an artwork of the same name by Gordon Matta-Clark, who cut five openings into the Pier 52 shed in 1975. Pier 52 was one of several piers inhabited by a vibrant Queer community in Manhattan’s Meatpacking District. Featuring interviews with artist and filmmaker Elegance Bratton; activist and Director of Client Services at the Sylvia Rivera Law Project Stefanie Rivera; photographer and archivist Efrain John Gonzalez; activist and performer Egyptt Labeija; and artist and art historian Jonathan Weinberg, this video recalls a time when sex, art, and creativity converged on the waterfront."

"Gordon Matta-Clark's Day's End | David Hammons: Day's End" (2022)
https://www.youtube.com/watch?v=uecdwXKuUco

"The Whitney, in collaboration with Hudson River Park, has developed a permanent public art project by David Hammons. Entitled Day's End (2014–21), this monumental installation is located in Hudson River Park along the southern edge of Gansevoort Peninsula, directly across from the Museum.

Hammons’s Day’s End takes inspiration from an artwork of the same name by Gordon Matta-Clark, who cut five openings into the dilapidated Pier 52 shed in 1975, transforming it into a "cathedral of light.""

"Preview: Day's End by David Hammons" (2019)
https://www.youtube.com/watch?v=Vv3rVp3g9Ic

"The Whitney, in collaboration with the Hudson River Park Trust, has developed a permanent public art project by David Hammons. Entitled Day's End (2021), this monumental installation is located in Hudson River Park along the southern edge of Gansevoort Peninsula, directly across from the Museum.

Proposed to the Whitney by Hammons, Day's End takes inspiration from an artwork of the same name by Gordon Matta-Clark. In 1975, Matta-Clark cut five openings into the Pier 52 shed that formerly occupied the site. Hammons's Day's End is an open structure that precisely follows the outlines, dimensions, and location of the original shed—and, like Matta-Clark's intervention, it will offer an extraordinary place to experience the waterfront.

Featuring interviews with Darren Walker (President, Ford Foundation), Lorna Simpson (Artist), Alex Fialho (Programs Director, Visual AIDS), Scott Rothkopf (Deputy Director for Programs and Nancy and Steve Crown Family Chief Curator, Whitney Museum of American Art), Adam D. Weinberg (Alice Pratt Brown Director, Whitney Museum of American Art), and Guy Nordenson (Structural Engineer)"

"Adam D. Weinberg and David Hammons discuss Day's End" (2021)
https://www.youtube.com/watch?v=N4si3OLbVEI

"Adam D. Weinberg and artist David Hammons discuss the conception of Hammons's permanent public art project Day's End. This monumental installation is located in Hudson River Park along the southern edge of Gansevoort Peninsula, directly across from the Whitney.

Day's End takes inspiration from an artwork of the same name by Gordon Matta-Clark. In 1975, Matta-Clark cut five openings into the Pier 52 shed that formerly occupied the site. Hammons's Day's End is an open structure that precisely follows the outlines, dimensions, and location of the origina"]]]></description>
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    <title>Advice For Young Artists - YouTube</title>
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Come for the book analysis, stay for the balloon party!

ps. I finally figured out how to add subtitles."]]></description>
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    <title>An Interview with Yatú Espinosa | Are.na Editorial</title>
    <dc:date>2024-11-22T07:41:00+00:00</dc:date>
    <link>https://www.are.na/editorial/an-interview-with-yatu-espinosa</link>
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<dc:source>https://pinboard.in/</dc:source>
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    <title>Why Amazon, Disney, and others are pushing employees back to the office - The Verge</title>
    <dc:date>2024-11-08T00:19:13+00:00</dc:date>
    <link>https://www.theverge.com/24290345/return-to-office-mandates-amazon-productivity-remote-work-hybrid-decoder-podcast</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Companies want workers back at their desks. Is it about productivity, ‘backdoor layoffs,’ or something else?"]]></description>
<dc:subject>leadership management remote remotework workfromhome amazon 2024 productivity hybridwork work andyjassy google nilaypatel bobiger disney workplace offices howwework pandemic covid-19 coronavirus 2019 luisvonahn zoom sundarpichai salesforce apple stephanmeier jessicakriegel</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
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<item rdf:about="https://www.youtube.com/watch?v=Df_K7pIsfvg">
    <title>Cabel Sasser, Panic - XOXO Festival (2024) - YouTube</title>
    <dc:date>2024-10-21T19:38:50+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=Df_K7pIsfvg</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["“Don’t waste this. Keep everyone guessing. Make me proud.” When Panic co-founder Cabel Sasser spoke at our second festival in 2013, the Mac software company had just started venturing into games by funding the studio behind Firewatch, an indie blockbuster that launched Panic’s games publishing business and, eventually, the Playdate handheld console.

See the artwork in this talk, and more, at Cabel’s new Wes Cook Archive:
https://wescook.art/

Cabel's XOXO 2013 talk: https://xoxofest.com/2013/videos/cabel-sasser/ [and https://www.youtube.com/watch?v=8ZXWdR7RzV8 ]
His excellent blog: https://cabel.com/
Panic: https://panic.com/
Playdate: https://play.date/
Follow Cabel on Mastodon: https://social.panic.com/@cabel"

[UPDATE 12 FEB 2026

See also:
https://cabel.com/wes-cook-and-the-mcdonalds-mural/

and 
https://wescook.art/
https://en.wikipedia.org/wiki/Wes_Cook ]]]></description>
<dc:subject>cabelsasser art creativity panic xoxo 2024 2013 videogames software mcdonalds centralia wescook sets themeparks waltdisneyimagineering 2004 disney storage archives landmarkentertainmentgroup murals care caring work howwework making beingseen visibility appreciation noticing looking seeing presence rabbitholes death dying longevity immortality washingtonstate</dc:subject>
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<item rdf:about="https://itscalledtastepod.substack.com/p/what-makes-a-tasteful-business-with">
    <title>What makes a “tasteful” business? with Charles Broskoski</title>
    <dc:date>2024-09-19T19:41:03+00:00</dc:date>
    <link>https://itscalledtastepod.substack.com/p/what-makes-a-tasteful-business-with</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[also here:
https://www.youtube.com/watch?v=Asm9RBH2QWo ]]]></description>
<dc:subject>are.na 2024 asiagrant charlesbroskoski grit integrity stardewvalley strangeness values openmindedness obsession brashness business videogames howwework storytelling sims</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:1a54d7fa8fd9/</dc:identifier>
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<item rdf:about="https://austinkleon.substack.com/p/an-interview-with-mary-ruefle">
    <title>An interview with Mary Ruefle - Austin Kleon</title>
    <dc:date>2024-08-30T17:52:26+00:00</dc:date>
    <link>https://austinkleon.substack.com/p/an-interview-with-mary-ruefle</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Conducted via typewriter and the postal service"
]]></description>
<dc:subject>2024 austinkleon maryruefle writing reading howwewrite howweread howwework pandemic coronavirus lowtech luddites luddism typing typewriters drawing poetry letters correspondence hobbies music handwriting museums caspardavidfriedrich erasures erasure thrifting lyndabarry covid-19</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:7c2db24a5fbe/</dc:identifier>
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</item>
<item rdf:about="https://usesthis.com/interviews/james.turk/">
    <title>Uses This / James Turk</title>
    <dc:date>2024-08-15T20:39:12+00:00</dc:date>
    <link>https://usesthis.com/interviews/james.turk/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Who are you, and what do you do?

James Turk. I am an Assistant Clinical Professor at the University of Chicago. I teach in the Masters of Science in Computer Science & Masters of Science in Computational Analysis & Public Policy programs.

Teaching is new to me. I spent the prior 15 years as as software developer and manager in civic tech. For over a decade I was the lead of the Open States project, an open source effort to make all state legislative information available via a common interface. It is used by major media organizations, advocacy groups, and researchers across the country. I also helped found the Open Civic Data project, which is a standard used by election officials, as well as tech companies like Google and Microsoft to enable interoperability between election data systems.

Now my focus is on teaching and helping train more civic technologists. I am also very interested in various ways that we can push back against the corporate internet and all the negatives that come with it.

I like making things, which usually means I am working on something artistic and a technical side project for fun. Lately I've been spending more time hiking and camping, weather permitting.

What hardware do you use?

I used to be a pretty puritanical Linux/Android user, but after a series of bad hardware issues with both I switched to Apple gear.

These days, I mostly use a 14" M1 Macbook Pro. I use that for daily work, development, presentations, etc. Despite my reluctance, this is the happiest I've been with a laptop since my ThinkPad T420 ten years ago.

I have a pair of USB-C monitors at home, and usually use a Keychron V1.

I mostly think of phones as a necessary evil, and replace my phone with the phone that has the most reliable hardware, best battery life, and least spyware every 3-4 years. That's currently an iPhone.

After using a pretty cheap pair of Bluetooth headphones until they broke, I decided to upgrade to a pair of Sony WH-1000XM5 and I'm incredibly impressed with them.

I also wear a modded Casio F-91W watch with a Sensor Watch board. It was a fun project and I have a watch with a thermometer, moon phase calculation, and a few other fun features with a battery that lasts a year.

I also use a dotted A5 notebook for meeting notes and TODO lists.

Finally, my house is held together by a handful of Raspberry Pis: Home Assistant, a home audio server, and an e-ink picture frame that mostly shows me the latest absurd Heathcliff.

And what software?
I try to avoid OS-specific software, spending most of my time in the browser and terminal. Wherever possible I use an open source & cross platform app. avoiding lock-in is important to me.

I use fish as my shell, always running inside a tmux session so I can split windows/restore layouts, and neovim as my editor for quick scripts, config files, and notes if I'm already in the terminal.

When I started teaching, I decided to start using VSCode for my main development environment, since 90% of my students will be and it feels right to be familiar with the same tools they are using. I'm pretty comfortable in it, and find it nice for larger projects with a passable vim-mode.

I still write a lot of Python: I'm partial to using pyenv, poetry, and pipx to manage my Python environment and packages. ruff has become an incredibly useful tool as well.

I also use ag and chezmoi for searching code/notes and managing my dotfiles, respectively.

I use Firefox as my browser, in equal parts to support an open web, and because it allows a level of customization that works well for my idiosyncratic browsing needs.

One thing I really miss on macOS is the ability to use a true tiling window manager. I get by with Magnet for now, but this is likely what will push me off macOS for my next machine.

I take a lot of notes and have probably tried twenty note-taking apps over the last ten years. I've mostly settled on Obsidian for now, largely for its high-quality sync which allows me to edit a note in neovim, VSCode, or Obsidian, and reference it from my phone, or take a quick note from my phone and expand upon it later when I have a full keyboard. Programs that use real files will always win for me, since they afford this kind of flexibility.

...


What would be your dream setup?

I wish I could plug my phone into a keyboard, mouse, and monitor and have a full desktop environment with me everywhere I go. I would prefer this to the everything-in-the-cloud model, since I could use this in the woods, and my data would be local to me by default. (Of course, if that were the case, I'd need a real OS on my phone too.)

This has been my dream since I got my first ADP1 and since then I have backed more than one unsuccessful attempt at this.

Setting the bar a bit lower, a Framework laptop with the component quality of a 2024 MBP. I'm really impressed with what they're doing already, and imagine my next machine could be one of theirs in a couple of years.

My office would be a small room with a window overlooking some nature, with a few plants and a comfortable chair. I'm actually not that far off on that last part, which is pretty lucky."]]></description>
<dc:subject>2024 usesthis jamesturk linux android mac macos apple f-91w making portability smarthphones framework howwework teaching howweteach civictech technology tools interface interoperability opencivicdata thesetup casio watches</dc:subject>
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<item rdf:about="https://theconvivialsociety.substack.com/p/the-work-of-art">
    <title>The Work of Art - by L. M. Sacasas - The Convivial Society</title>
    <dc:date>2024-06-11T05:08:55+00:00</dc:date>
    <link>https://theconvivialsociety.substack.com/p/the-work-of-art</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Sometime last week, I began to see an image floating around social media featuring the following quotation from sci-fi/fantasy author, Joanna Maciejewska:

<blockquote>“I want AI to do my laundry and dishes so that I can do art and writing, not for AI to do my art and writing so that I can do my laundry and dishes.”1</blockquote>

It’s a perfectly understandable reaction, particularly from an artist, to much of what’s been sold and marketed as AI over the past year and a half. As I wrote last month, Apple’s ill-conceived ad, “Crush,” had the (unintended) consequence of reinforcing the well-grounded fear that the big tech companies have little to no regard for artists and their work.

But I found myself somewhat uncomfortable with the underlying logic of the expressed desire. It is the same logic that has underwritten the marketing of new technologies for more than a century, and, in my view, it is tragically flawed. I’ve written before about the problems with the logic of “time-saving” or “labor-saving” technologies, so I will simply point you to one of those posts, which includes the following observation:

Implicit in the promise of outsourcing and automation and time-saving devices is a freedom to be something other than what we ought to be. The liberation we are offered is a liberation from the very care-driven involvement in the world and in our communities that would render our lives meaningful and satisfying. In other words, the promise of liberation traps us within the tyranny of tiny tasks by convincing us to see the stuff of everyday life and ordinary relationships as obstacles in search of an elusive higher purpose—Creativity, Diversion, Wellness, Self-actualization, whatever. But in this way it turns out that we are only ever serving the demands of the system that wants nothing more than our ceaseless consumption and production.

“If the point is to care and to love and to keep faith,” I concluded, “then what is to be gained by outsourcing or eliminating the very ways we may be called upon to do so?”

In that essay, I was not thinking primarily about the artistic endeavor but rather about the moral dimensions of ordinary experience and about the character of a life well lived. Given Maciejewska’s expressed desire in those viral lines, however, I find myself wanting to make a similar more specific argument with regard to the artistic process.

I, however, would not consider myself an artist, so I want to tread with a due measure of humility. I suppose my modest question is whether there is not a more intimate link between the tasks Maciejewska would rather have a machine perform for her and the nature of her work as an artist.

I wonder, in other words, whether the work of doing the laundry or washing the dishes—these are almost always the examples, but they stand in for a host of similar activities—might not provide a certain indispensable grounding to the artistic endeavor, tethering it to the world in a vital rather than stupefying manner. Or, to take another angle, whether a fidelity to such tasks might not yield certain virtues that might also sustain the artist in their labors: attentiveness, patience, perseverance, or humility, for example.2

I think, too, of these lines from the 19th century artist and critic, John Ruskin: “Now it is only by labour that thought can be made healthy, and only by thought that labour can be made happy, and the two cannot be separated with impunity.”3

This is not exactly what Ruskin is saying, but it seems to me that something like this can be said about creativity as well as it can about thought (perhaps because thought and creativity are linked quite intimately together).

Perhaps the best expression I know of the sentiment I’m trying to convey is from a poem by Marylin Chandler McEntyre, “Artists at Work,” from her collection inspired by Vermeer’s women:

<blockquote>The craftsman who made the rose window at Chartres
rose one morning in the dead of winter,
shivered into what layers of wool he owned,
and went to his bench to boil molten lead.
This was not the day to cut the glass or dye it,
lift it to the sun to see the colors dance
along the walls, or catch one's breath
at peacock shades of blue: only, today,
to lay hot lead in careful lines, circles,
wiping and trimming, making
a perfect space for light.

When Wren designed St. Paul’s, he had to turn away
each day from the vision in his mind's wide eye
to scraps of paper where columns of figures measured
tension and stress, heft and curve, angle and bearing point.
Whole days he spent considering the density
of granite, the weathering of hardwoods,
the thickness of perfect mortar; all
to the greater glory of God.

And Vermeer with his houseful of children
didn't paint some days, didn't even mix
powders or stretch canvasses, or clean palettes,
but hauled in firewood, cleaned out
a flue, repaired a broken cradle, remembering,
as he bent to his task, how light shone gold
on a woman’s flesh, and gathered
in drops on her pearls.</blockquote>

This poem, to my mind, makes the implicit argument that certain forms of labor, tedious and mundane though they may appear, are nonetheless essential to the work of being an artist. But as I mentioned earlier, I am not an artist, so I cannot support this claim with my own experience. Although, I would say that my writing, while at times certainly impeded by other labors, is, on the whole, improved by those same labors, chiefly because they tether my thought to the world and shape me in a manner that is conducive to clarity of thought and purpose.

Whatever you make about my claims regarding mundane labors and the work of the artist—and artists among you please do tell me how you think about this—I am quite confident that we must resist the temptation to imagine that the path to a meaningful or satisfying life is secured by the unquestioning acceptance of the promise of time-and labor-saving technologies. More often than we might realize, those labors themselves work on us, making us the kind of people who can make good art and fashion a good life."]]></description>
<dc:subject>2024 lmsacasas care caring slow marylinchandlermcentyre joannamaciejewska johnruskin albertborgmann technology ai artificialintelligence labor efficiency convenience productivity liberation creativity wellness diversion self-actualization consumption production consumerism process art happiness craftsmanship poems poetry tedium mundane clarity howwethink friction life living howwework howwelive thegoodlife</dc:subject>
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</item>
<item rdf:about="https://interconnected.org/home/2024/05/10/rain">
    <title>Laptops should work in the rain (Interconnected)</title>
    <dc:date>2024-05-12T23:45:15+00:00</dc:date>
    <link>https://interconnected.org/home/2024/05/10/rain</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["A friend shared a speculation this week that, as you get older, your openness to new ideas goes to the extreme – either you ossify or you maintain (and build!) your capacity to take in new concepts that may turn everything upside-down.

But ALSO, a level below that, you become ever more confident in your unprovable hunches.

For example: manifesting.

I’m pretty sure about manifesting. I don’t know what the mechanism is. I don’t need to know. Opportunity comes your way if you believe and visualise with enough clarity.

Perhaps, if you twist yourself into specific-opportunity-receptor, you advertise that readiness through the social fabric, forming an amplification circuit that brings you and the opportunity together? Dunno. Deep fate amirite.

I speak with students and early career folks a lot in my unoffice hours calls. There are two meta lessons after twenty years that keep coming up. Word of mouth is unreasonably effective. You get what you do.

Which is manifesting in another frame.

Anyway I always forget about manifesting, and then something reminds me, and I realise once again that I’ve forgotten to do it. (I’m not doing it right now and I should be.)

***

I also forget about embodiment.

I was walking back from school drop-off just now with an ache in my legs because I went out for a couple runs this week – I got benched by a running injury earlier this year, again, and it’s taken a while to get back into it.

And that muscle ache is just so good.

I realised, walking up the hill, that the ache is also functional: it shifts 1% of my attention to my flesh-self, full time, and that means that my diet is better, and my posture is better, and I remember to do my stretches and to stay hydrated etc etc. Which raises the happiness floor.

The thing is, the rest of my life steers me away from keeping in touch with my body.

I sit in a chair cocooned in a temperature-controlled room with my locus of self on the opposite side of a screen for 12+ hours a day.

Without that dull ache in my quads, no wonder I forget what I am.

***

The correct response to this realisation is to find a non-running practice to maintain connection with embodiment, such as a weekly pilates class.

BUT NO.

***

Let’s instead imagine changing my day-to-day working conditions such that I am no longer steered away from being mindful of my embodiment.

Like, how could my laptop change? That’s the object I spend most time with.

I am taken with the upcoming Daylight Tablet – here’s a preview with photos [https://arun.is/blog/daylight-tablet/ ]. It’s a high refresh rate e-paper tablet, like a modern Kindle, so it’s easily visible in sunlight. But the backlight is a warm yellow, like old-school sodium street lamps, and that lack of blue light looks so perfect.

Another datapoint: sci-fi author Kim Stanley Robinson writes outside in the rain [https://www.sactownmag.com/qa-kim-stanley-robinson/ ]:

<blockquote>My office is my front courtyard on the north side of the house. I’ve got a tarp slung up so that I can be in the shade all the time and see my laptop screen. I also work outside in the rain. I’ve got a waterproof power cord and it powers the laptop and sometimes a little heating pad like you use for your lower back that I throw over my feet. I work all the days of the year out here. In the cold, I wear my winter backpacking gear, including a down hood and fingerless wool gloves.</blockquote>

I was looking at Apple’s new iPad which is ever thinner and honestly… who cares?

AND SO…

What if there was a MacBook Outdoor Edition that

- had a monochrome version of MacOS
- and an e-paper screen, visible in outdoor light
- that was totally waterproof
- and it ran all the regular applications.

So I could sit outside in the rain with Xcode or VS Code open and hack on apps, or do my writing.

Wouldn’t that be better? Wouldn’t that simply enlarge the context of computing, in an unpredictable fashion?"]]></description>
<dc:subject>2024 mattwebb computers computing rain outdoors writing howwewrite howwework daylighttablet weather laptops kimstanleyrobinson bodies embodiment daylightcomputer tablets eink hardware calmtechnology anjankatta ereaders calmcomputing macbooks epaper</dc:subject>
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<item rdf:about="https://www.youtube.com/watch?v=WgZhCkZID8Y">
    <title>CW&amp;T: House of Make - YouTube</title>
    <dc:date>2024-04-12T20:13:36+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=WgZhCkZID8Y</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["CW&T is the recipient of the 2022 National Design Award for Product Design from Cooper Hewitt, Smithsonian Design Museum. CW&T started as and remains the two-person design practice of Che-Wei Wang and Taylor Levy. With backgrounds in Architecture, Film and Computer Science, the duo met at NYU ITP where they began their scale- and medium-agnostic approach to design.

Since 2009, CW&T’s work has spanned from interactive software to human-scaled tools that enhance their relationships to work, life, and time. Their practice centers around an iterative process of sketching, prototyping, testing, writing code, machining parts, and building each edition themselves to assess their intuitions around improving their everyday experiences. Their projects have included devices that alter our perception of time, an electronics curriculum for artists, an astrological compass for space travelers, and objects engineered to last multiple generations. 

Sharing their process with their community is essential to their practice. CW&T cultivates an ethos of openness through teaching and open source software and hardware. Their pedagogy extends into the home/​studio where they host office hours to lend a hand, or offer insight to anyone interested in figuring out how to make something themselves. 

Wang and Levy speak extensively on design and technology as a creative medium. They have taught courses on time, electronics, hardware, programming, inflatables, and morphology at Pratt Institute, New York University, and the School for Poetic Computation. CW&T live and work in their Brooklyn-based studio and prototyping shop.

Presented in partnership with Design Core Detroit."

[See also:
https://stamps.umich.edu/events/cw-t ]]]></description>
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</item>
<item rdf:about="https://conditionaldesign.org/manifesto/">
    <title>Conditional Design - Conditional Design</title>
    <dc:date>2024-02-14T20:02:57+00:00</dc:date>
    <link>https://conditionaldesign.org/manifesto/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Conditional Design
A manifesto for artists and designers.

Through the influence of the media and technology on our world, our lives are increasingly characterized by speed and constant change. We live in a dynamic, data-driven society that is continually sparking new forms of human interaction and social contexts. Instead of romanticizing the past, we want to adapt our way of working to coincide with these developments, and we want our work to reflect the here and now. We want to embrace the complexity of this landscape, deliver insight into it and show both its beauty and its shortcomings.

Our work focuses on processes rather than products: things that adapt to their environment, emphasize change and show difference.

Instead of operating under the terms of Graphic Design, Interaction Design, Media Art or Sound Design, we want to introduce Conditional Design as a term that refers to our approach rather than our chosen media. We conduct our activities using the methods of philosophers, engineers, inventors and mystics.


Process

The process is the product.

The most important aspects of a process are time, relationship and change.

The process produces formations rather than forms.

We search for unexpected but correlative, emergent patterns.

Even though a process has the appearance of objectivity, we realize the fact that it stems from subjective intentions.


Logic

Logic is our tool.

Logic is our method for accentuating the ungraspable.
A clear and logical setting emphasizes that which does not seem to fit within it.

We use logic to design the conditions through which the process can take place.

Design conditions using intelligible rules.

Avoid arbitrary randomness.
Difference should have a reason.

Use rules as constraints.
Constraints sharpen the perspective on the process and stimulate play within the limitations.


Input

The input is our material.

Input engages logic and activates and influences the process.

Input should come from our external and complex environment: nature, society and its human interactions.


==============================================
Luna Maurer, Edo Paulus, Jonathan Puckey, Roel Wouters
=============================================="]]></description>
<dc:subject>lunamaurer edopaulus jonathanpuckey roelwouters manifestos design process art collaboration rules constraints difference randomness howwework form formations nature society via:daniellucas relationships change time patterns objectivity logic</dc:subject>
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<item rdf:about="https://www.theverge.com/24048479/apple-mac-40-anniversary">
    <title>The Mac turns 40 — and keeps on moving - The Verge</title>
    <dc:date>2024-01-25T23:23:41+00:00</dc:date>
    <link>https://www.theverge.com/24048479/apple-mac-40-anniversary</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Twenty years ago, on the Mac’s 20th anniversary, I asked Steve Jobs if the Mac would still be relevant to Apple in the age of the iPod. He scoffed at the prospect of the Mac not being important: “of course” it would be.

Yet, 10 years later, Apple’s revenue was increasingly dominated by the iPhone, and the recent success of the new iPad had provided another banner product for the company. When I interviewed Apple exec Phil Schiller for the Mac’s 30th anniversary, I found myself asking him about the Mac’s relevance, too. He also scoffed: “Our view is, the Mac keeps going forever,” he said.

Today marks 40 years since Jobs unveiled the original Macintosh at an event in Cupertino, and it once again feels right to ask what’s next for the Mac.

Next week, Apple will release financial results that will reinforce that Mac sales are among the best they’ve been in the product’s history. Then, a day later, Apple will release a new device, the Vision Pro, that will join the iPhone, iPad, and Apple Watch in an ever-expanding lineup of which the Mac is only one small part.

As the Mac turns 40, it’s never been more successful — or more irrelevant to Apple’s bottom line. It’s undergone massive changes in the past few years that ensure its survival but also lash it to a hardware design process dominated by the iPhone. Being middle-aged can be complicated.

https://www.youtube.com/watch?v=8bepzUM1x3w

Mac against the wall

Mac users — and I’ve been one of them for 34 of those 40 years — have been on the defensive for most of the platform’s existence. The original Mac cost $2,495 (equivalent to more than $7,300 today), and it had to compete with Apple’s own Apple II series, which was more affordable and wildly successful. The Mac was far from a sure thing, even at Apple: in the years after the Mac was first introduced, Apple released multiple new Apple II models. (One even had a mouse and ran a version of the Mac’s Finder file manager.) It took a long time for the Mac to emerge from the Apple II’s shadow.

And as revolutionary as the Mac’s interface was — it was the first popular personal computer to have a mouse-driven, menu-oriented user interface rather than a simple command line — it also had to overcome an enormous amount of resistance for being such an outlier. Once Microsoft truly embraced the Mac’s interface style with Windows, it took over the world, leaving the Mac with measly market share and diminishing prospects."

[image]

Apple itself was on the brink of bankruptcy when Jobs returned, shipped the original iMac, and gave the company breathing room to develop Mac OS X and the iPod. And yet, the success of some of the products that followed led to more consternation.

In the mid-2010s, a lot of Mac users felt some of those same bad vibes that we hadn’t felt since the depths of the late ’90s. Apple was promoting the iPad as the future of computing, most notably in a 2017 ad that questioned the entire concept of a computer.

Mac hardware was stagnant. Apple released an unpopular and unreliable laptop keyboard design that led to years of bad reviews, complaints, repair programs, and class action lawsuits. After the debacle of the trash can-shaped 2013 Mac Pro, Apple prepared to stop making the high-end Mac at all, replacing it with a boosted-spec iMac Pro instead. Shiny new iOS features would appear limited or broken on the Mac — when they appeared at all.

[image]

It felt very much like the Mac had lost its way and that Apple was putting it on life support. All signs pointed to Apple having declared the Mac a legacy platform, while future investment and growth would happen on the iPad.

And then something changed. Only people inside Apple know for sure, and they’re not telling, but Apple suddenly seemed to start caring about the Mac again. It convened a journalist roundtable to proclaim its love of the Mac and professional users, promising that a new Mac Pro would appear years before it would actually be put on sale.

Over the next few years, that Mac Pro shipped, the laptop keyboard was replaced with a new model, and most notably, Apple committed to converting the entire product line from running on stock Intel processors to running on Apple-designed processors like the ones in iPhones and iPads.

Without saying a word publicly, Apple seemed to be acting like it knew exactly what a computer was — and that it looked like a Mac, not an iPad.

Meet the new Mac

This week, I asked Greg Joswiak, Apple’s senior vice president of worldwide marketing, the same question I asked Jobs for the Mac’s 20th anniversary and Schiller for the Mac’s 30th: as Apple adds yet more platforms and priorities, what does the Mac’s future look like?

No surprise, Joswiak gave me pretty much the same answer: “The Mac is the foundation of Apple... and today 40 years later it remains a critical part of our business,” he said. “The Mac will always be part of Apple. It’s a product that runs deep within the company, and defines who we are.”

But Joswiak also pointed out how much the Mac has changed over that time to stay relevant, particularly on the hardware front. And indeed, the last few years have brought arguably the most drastic changes to the Mac’s hardware in its entire existence. By adopting Apple’s own processors, the Mac has inherited the priorities Apple used in designing those chips for iPhones and iPads.

[image]

That has resulted in some huge advantages — the first M1 Macs were so much faster than their predecessors and offered vastly improved power consumption that extended laptop battery life. But it’s also led to some peculiar distortions, such as the release of a Mac Pro that can’t use graphics cards. Modern Macs have high-speed integrated GPUs and RAM that can be very fast, indeed, but at the cost of an inability to use industry-leading external GPUs (or, for that matter, RAM upgrades).

Apple Silicon also has implications for the future of macOS as a software platform. Modern Macs can run unmodified iPad apps, and iOS app developers can use the Mac Catalyst feature to add some more native Mac functionality to their existing codebase without needing to know how to write a traditional Mac app. Apple’s 2014 introduction of Swift and 2019 introduction of SwiftUI have encouraged developers to write software for all of Apple’s platforms using one codebase.

That’s great news for the Mac in the sense that developers will be able to write apps for iPhone and iPad and get Mac in the bargain. But it highlights the truth of today’s Apple platforms: the iPhone is such a huge part of Apple’s business that it gets the lion’s share of attention. The future of Mac apps (beyond the maintenance of existing longstanding codebases like Microsoft Office, the Adobe Creative Suite, and stalwarts like Bare Bones’ BBEdit) increasingly looks like iPhone apps extended to the iPad and Mac to reach users in more places.

And that’s if the future of traditional PC environments even involves traditional apps at all. More of the software desktop and laptop users rely on, like Slack and Discord, is built with web technologies and placed in a web wrapper. Even more apps are able to reside entirely in a browser. And of course, AI applications threaten to upend everything we know about how we use software.

Still, considering just how much technology history the Mac has survived, it’s hard to bet against it. Even Apple seems to have come around from seeing it as a product fading away into retirement to seeing it as the most powerful and complete device it makes, capable of doing everything the iPad and iPhone can do, plus all the stuff traditional computers can do. After all, as Joswiak told me, “We run Apple, one of the largest companies in the world, on Mac.” Fair point.

And consider the Vision Pro, Apple’s newest computing platform. Out of the box, it’ll run iPad apps as well as native apps. But Apple’s also pushing another visionOS feature, one that necessitated a complete rewrite of the Mac’s screen-sharing infrastructure: you can use the Vision Pro as a big Mac monitor.

It remains to be seen how well it’ll all work, but the fact remains that Apple’s shiniest new toy is... a Mac accessory. Not bad for a 40-year-old computing platform."

[See also:

"Looking back on 40 years of Macintosh
Apple’s bread and butter may not be the Mac anymore, but the computer is stronger than ever." (Wes Davis)
https://www.theverge.com/24047857/macintosh-40th-anniversary-apple-imac-powerbook-macbook-studio-pro-air ]]]></description>
<dc:subject>jasonsnell apple mac computers computing 2024 history 1984 macos osx gregjoswiak iphone ios ipad ipados creativity interface howwework stevejobs business relevance philschiller visionpro software hardware bbedit visionos wesdavis</dc:subject>
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<item rdf:about="https://remakepod.org/episode/070-che-wei-wang-and-taylor-levy-the-design-practice">
    <title>070. Che-Wei Wang and Taylor Levy: The Design Practice | Remake Podcast | Design, Systems, and Society</title>
    <dc:date>2024-01-20T21:39:12+00:00</dc:date>
    <link>https://remakepod.org/episode/070-che-wei-wang-and-taylor-levy-the-design-practice</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Today, we talk about the practice of design, and how designers who learn to work with and understand technology can bring a humanistic, creative perspective to technology that can truly transform our understanding of what it can do. I've long believed that advanced technology can be beautiful, poetic, and philosophical in nature. In fact, that's what's called for in an age where tech shapes our lives, takes an increasingly greater part in creative work, and even makes decisions for us.

That's why it was so rewarding to sit down with Che-Wei Wang and Taylor Levy, the married couple behind CW&T. They've managed to carve out the space for their own creative, almost contemplative practice.

Their studio, CW&T, is an award-winning design practice creating mind-bending products. Over the last 13 years, their work has spanned from interactive software to human scale tools that enhance our relationships to work, life, and time. They center around an iterative process of sketching, prototyping, testing, writing code, machining parts, and building each addition themselves to assess their intuitions around improving everyday experiences. Their projects range from devices that alter the perception of time, an electronics curriculum for artists, an astrological compass for space travelers, to objects engineered to last multiple generations.

Wang and Levy lecture extensively, and they teach courses on time, electronics, hardware, programming, inflatables, and morphology at Pratt Institute, New York University, and the School for Poetic Computation. In 2022, they won the National Design Award for Product Design from Cooper Hewitt.

We spoke in mid-November 2022, and I was excited to talk to them after I saw some of their more thought-provoking pieces engaging with time. I was a little concerned with my ability to interview two people at the same time. Usually, I tend to go deep with one person and I wasn't sure how the format would work, but as usually happens with creative people, the conversation took a life of its own and was a delight.

EPISODE SUMMARY

In this conversation we talk about:

- Being a couple who works together.
- Balancing parenthood with business and creative design work.
- The gratitude they feel for being able to have an ongoing creative practice.
- Their creative principles.
- Why they insist on building what they want to see.
- What does the phrase "buy lots of lottery tickets" mean to them?
- Their origin story.
- What did Che-Wei learn while fixing his dad's typewriter as a kid?
- What did Taylor realize about The Beatles?
- How did they meet and become a couple?
- Their creative projects, including Time Since Launch and Solid State Watch.
- The School for Poetic Computation.
- Generative design, and how it can change designers' work.
- The importance of learning to understand time.
- And how to make room for your creative practice.

TIMESTAMP CHAPTERS

[8:09] Life in the Present
[12:17] Early Childhood Lessons
[16:00] A Journey to Design
[23:09] Love at First Sight
[27:42] CW&T
[31:22] Time Since Launch
[38:13] Solid State Watch
[42:21] Project Principles
[47:46] The School for Poetic Computation
[51:49] Generative Design
[56:18] A Short Sermon"

[also here:
https://podcasts.apple.com/il/podcast/che-wei-wang-and-taylor-levy-the-design-practice/id1526176825?i=1000595404862

https://open.spotify.com/episode/3F4N8H4powItjfcJa2bPa4

https://www.youtube.com/watch?v=C4_68cJqk94 ]]]></description>
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<item rdf:about="https://forged.resin.watch/">
    <title>v02.0x - forged [resin watch lab]</title>
    <dc:date>2024-01-20T21:11:43+00:00</dc:date>
    <link>https://forged.resin.watch/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["[background] carbon forged 
carbon forging involves heating and compressing carbon fibers to create an incredibly strong and durable material. this material is then used to create watch cases, dials, and other components. in this case it is used to make the watch case for v02.0x. the resulting carbon forged watch is not only incredibly resilient, but also boasts a distinctive and eye-catching appearance that catches the light differently as you move. 

[topic] v02.02-forged
v02.0x is a carbon forged chronograph made by resin watch lab. it uses a st1901-2 movement which is based on the Venus 175 chronograph movement. this watch uses stainless steel hardware, luminous hands, and 2 sapphire crystals. it is the first resin watch lab made chronograph and is the first mechanical movement used by this lab.

[objective] understand forged carbon manufacturing
these white-papers are intended to give readers a basis of knowledge to understand the process of hand-making high performance materials. specifically forged carbon in molded form - for watch making.

[ideal reader] the curious - the contributor
the ideal reader is seeking a better understanding of the manufacturing process and is hopefully considering the feasibility of doing it themselves. resin watch lab believes in a technologists approach, meaning that the knowledge should be open source but the execution of it is what should define the maker. if you can make one better we want you to do it - that’s how we raise the bar for watch making as a whole.

[methodology] making v02.0x
a master part is clayed and draft angled in line with the watch case body. it’s then sealed to release easily from the mold material that will be poured to the part. after a few sealing layers are applied the female mold is poured to the part. once cured its removed from the mold housing and the clay is removed. the part stays in the female mold however. another layer of seal is applied to the underside of the master part and the male mold half is poured. once cured the molds are separated, the master part is removed and the molds are inspected and refinished to ensure there are no overhangs or defects in the molds. the molds are then taken and specially heat treated to ensure durability for carbon forging.

1” chopped carbon tow is hand laminated and packed in roughly ~30+ layers into a female mold that has had drafted side walls. each layer (packed by hand) is weighed before packing to ensure consistency (pioneering watch manufacturers had noted difficulties in packing consistencies).

carbon forging is recommended to follow a 60% carbon to 40% resin ratio - in this case this ratio is being applied to a part that is less than 10 grams when the process is done. therefore the application process is slightly more complicated considering the very small amounts of materials being used. thus more resin is used than kept. 2 reasons for this, 1 the mold will help to extrude excess resin and 2 adequately laminating all the fibers with only 4 grams of resin would require switching this to a machine process. 

patience and a very very slow curing resin are crucial. this is likely a multi-hour process.

carbon forging demands ppe (gloves, goggles, respirators, skin coverage, etc). a carbon fiber splinter sucks - can’t imagine it in lungs.

assuming the mold is packed consistently - the male mold is lightly pressed into the female mold and slotted into a portable press. this press will be slowly tightened- roughly every 15-20 minutes. while this occurs the mold and press will be heated in a designated oven (assuming the resin is not heat curing. this is not a process to accidentally expedite). over tightening is entirely possible, there is an ideal pressure. the mold’s seams is the best gauge of the ideal pressure as seams will touch an separate depending on under/over-tightening.

once the curing of the part is complete the mold is split using specially made relief cuts. the part is removed thanks to specifically made draft angles. essentially there aren’t perfectly flat faces, they angle out slightly so that the piece can separate from mold easily without causing damage.

the carbon forged body is then placed into a silicone mold of the master part. a laminating layer of resin will be injected into the silicone mold and perfuse the part to fill in any voids that may have persisted the carbon forging process. this will ensure a consistent and fully formed part in an otherwise very error prone process. this step solves a lot of typically difficult problems associated with carbon forging.

now that the case body is fully formed, excess materials and sanded and polished before the body is covered in a protective removable tape, preventing damage during machining. light adhesive is crucial.

the case body is placed in a rotational vice in a hand mill machine and the case back lug holes are machined using a template case back to ensure consistent fitment.

the rotational vice is placed horizontal and the case body tube hole is machined, which is where the winding/setting stem will go.

the vice is rotated +27.5 degrees from case tube center and -27.5 degrees from case tube center and a pusher hole is machined each time. these holes will be threaded and the pushers screwed in. an a additional partial hole will be machined to allow the pusher to sit tangent to the movement as the case body does have drafted angle faces and would cause the pushers to be off angle from the pusher tabs in the st1901-2.

for the final step of machining the integrated draft lugs will be machined out in .5 mm layers. this is just the generally recommended thickness for a 1.5mm tungsten carbide milling bit. a broken bit can mean a broken case and a lot of wasted time.

once machining is complete, measurements are taken to triple check depths, diameters, locations, etc.

the protective taping is removing, pushers are carefully screwed in, sapphire crystal is pressed into place, and the movement is placed in the watch. the friction fit case tube is pressed into the machined hole and the winding stem is cut and fitted with the crown. 

then the case-back bezel (also carbon forged-identical process to make as case body) has a sapphire crystal pressed in and a silcon greased Hytrel "I" watch gasket is places between the case-back bezel and the case body. the case-back bezel is rotated to alignment with the machines case-back screw holes and it it pressed into place. screws and carefully set and the watch is completed.

now imagine failing a few times each step before you finish the first prototype watch.


[key findings #1]
post-forging lamination is crucial to high quality case bodies that are forged to shape. it’s certainly possible to mill the case body out of forged carbon billets but that is an entirely different process.

[key findings #2]
higher precision milling machines are a necessity for this process. case bodies are made or destroyed by a tenth of a millimeter.

[key findings #3]
hand making anything difficult requires 2 things. confidence that problems will arise - and the arrogance that a solution can be found. having accurate and higher precision tooling can make a lot of that arrogance a reality. the rest is not taking it too seriously - there are no rules.

[key findings #4]
some people prefer the first prototype’s blockier case design, others prefer a more integrated lug angle into the strap.

[key findings #5]
there are requests for different dial designs - these may need to occur during a maintenance in the future as dial making is not the expertise in house and no dial manufacturer connections make the desire quality in the desired low volume.

[key findings #6]
in house made gaskets will likely become part of the next iteration of screw down display case backs

[conclusion] testing its grit
the carbon forged components never cease to be surprising how little give even the smallest features have. 

the bottom of the pass through lugs feel as rigid as the thicker case body walls and the internal lamination when milling is wildly consistent.

pushers are rigid and consistent - no movement lateral or vertical since wear.

watch has resisted steam tests, worn under ski gear, but needs to take water resistance test.

expectation is rm 55 level of water resistance (~6 bar). but wouldn’t generally encourage prolonged submerged water wear - unsure how salt water interacts with glossy laminate.

wacks - door dings- car maintenance and daily wear have shown no signs on case body.

overall, this watch is not only proving to have been a mechanical and material science moonshot for resin watch lab, but a respectable, robust chronograph. competitive forged carbon watches certainly exist in the space and this watch shouldn’t claim to outcompete in every category - however as far as handmade, limited run, forged carbon chronographs go. .. this piece should mark a new level of watch making here at resin watch lab.

[observation] “watching” a wearer
integrated pass through lugs and the draft angled faces give v02.0x a completely distinct look that would be hard to confuse with any other case.

watching others with v02.0x - it looks like a tool. it looks like it has a purpose that’s both unknown to the onlooker but has an exciting reason for being there. 

the black of the carbon fiber and stainless steel don’t demand attention but when as you get to about 5 feet away you start to notice the differing patterns fo fiber catching the light."]]></description>
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<item rdf:about="https://www.itsnicethat.com/articles/damon-zucconi-digital-art-020621">
    <title>Damon Zucconi on the many ways “the conditions of production are going to make themselves visible” in art</title>
    <dc:date>2024-01-14T17:27:13+00:00</dc:date>
    <link>https://www.itsnicethat.com/articles/damon-zucconi-digital-art-020621</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Multi-disciplinary artist Damon Zucconi talks us through working with software and text programming, as well as collaborating with long-time friend Arca."

...

"“The obligation to work within a specific tradition is a strange one,” Philadelphia-based artist Damon Zucconi tells Its Nice That. The multidisciplinary artist has a long and expansive portfolio across a myriad of mediums – he’s essentially quite hard to pin down. Yet, whilst Damon’s works sprawl across many subjects, there is a quotidian and deeply intelligent life breathing through each piece. “Some people choose to ignore what's in front of their own eyes,” Damon says on his multidisciplinary approach. “And that isn’t to assert the primacy of deskilling or something,” he clarifies.

For Damon, it is simply that “the notion of dividing any kind of labor into specialties that exist independently of one another is a fiction”. It’s this commitment to keeping his frontier as expansive as possible which has also kept the creative from dwelling too much on a visual signature language. “I've seen that the more I work with programming, the more text plays a role in things.” Damon’s frequent use of programming, software, and text has cropped up in a number of his works, and he believes the increasing infiltration of text in his works is only a natural extension of his proclivity to programming. “The conditions of production are going to make themselves visible,” he explains. But, it seems that what’s most surprising and exciting to Damon is how “these textual modes of working will translate into other realms...how processes developed for one use will map onto something new”.

Generating a specific “approach” to any which work remains squarely “external” for Damon, something he believes should be “separate from the self [and] regarded with a healthy amount of skepticism”. This skepticism comes in handy when the creative approaches the more utilitary mediums at his disposal. “I try to avoid technology for its own sake,” he says of his reluctance towards art relying on the novelty of technological experience. “There's a race to rotate through the same bag of stock art historical gestures with the new toy that I would like to avoid.” It was, however, the dawning of the age of the internet which sparked and facilitated his keen talent in programming and software. “I started making websites in the 90s when I was very young, taken with the idea that I could construct a public space from my home,” he recalls. This notion of public space is another clear point of departure for a lot of Damon’s work. Often, his online pieces operate as if the idea of a public exists as a cultural form, somewhat of a practical fiction present in the modern world in a way that is distinct from earlier society. Damon notes, however, that “websites [quickly] became a form of their own rather than a container for something else” and remains steadfast in his commitment “to think and work in public.”

Recently, the artist also worked with a process of UV curing ink on alu-dibond, producing beautiful disorientating pieces that evoked the feeling of a Monet as done by the Matrix. He tells us the works are composed using “different populations of images,” that came together from a software he wrote. “The software operates by taking sets of images, enlarges them to cover a given dimension uniformly, cuts them into grids, then walks over that grid, taking a piece from each image in turn.” If that may sound as complicated as does engrossing – that’s because it is. But the final result, he tells us, “is a composite of everything in simultaneity without any changes in opacity”. And, for his most recent show at JTT, Damon used this method “on-model photography from a luxury fashion e-commerce website,” gathering cropped anonymous images of torsos that demonstrate “the ephemerality of clothing,” and their distinct temporality.

It should come as no surprise, then, that Damon is a frequent collaborator and long-time close friend with the dynamic eningeer-focused musician Arca. “We’ve been close friends for a very long time,” he says, recalling how they met in New York many years ago. “She’s been like family ever since.” There’s a noticeable love shared between the two, as Arca has called on him a number of times to collaborate on both her visual and musical endeavours. “We will frequently bounce ideas back and forth,” he says. “There's no rush, but sometimes things stick”.

Most notably, Damon constructed an evermorph text for the video to her single Nonbinary. The text displayed the lyrics on-screen in a way only Damon could conceptualise, and together with Arca they even generated an online platform where fans could make their own versions of the evermorph text online. As for what inspired that work on Nonbinary, Damon points to this idea in word recognition that, “once you become familiar with a word, you begin to recognise it based on its overall shape rather than reading the letters individually.” Taking this concept, Damon found that “using an alternating case is one way to disrupt the natural process of reading: recasting words into dynamically shifting shapes, which allows us to read them as if they were new”. It’s a beautiful and unique way of applying word recognition to the iridescent gleam of coming in to one’s own new identity, and the subsequent re-examining of the human condition that comes with. And that, essentially, is what keeps Damon’s work so distinct."]]></description>
<dc:subject>damonzucconi 2021 art design transdisciplinary specialization generalists creativegeneralists socialconstructs programming coding code skepticism creativity form web online internet websites thinkinginpublic workinginpublic howwethink howwework photography wordrecognition</dc:subject>
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<item rdf:about="https://www.youtube.com/watch?v=qSfaSgan0iI">
    <title>Is it Weird to Fall in Love with a Machine? - YouTube</title>
    <dc:date>2024-01-04T19:27:17+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=qSfaSgan0iI</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["00:00:00 why I'm not talking in this video
00:02:00 my daughter Mila helping me make my new bench top
00:03:00 removing the pallet fork from a Felsa F760 wristwatch movement
00:06:50 comparing the working pallet fork with the spares that I have
00:11:00 using a Petermann Freres & Co Escapement Meter (Echapp'Metre) to aid in the comparison
00:22:00 using a Seitz pivot gauge to compare pallet fork pivot diameters
00:25:42 comparing the spare part in the movement
00:29:50 realizing that the pallet fork staff in the spare is too short
00:31:36 accurate measuring of pallet fork staffs with a vintage Bergeon watchmaker's micrometer
00:36:52 It's probably a good thing that I'm not a brain surgeon
00:38:33 "The Joy of Watchmaking" (my favorite Mark Lovick quote)
00:40:00 A true story about my Mother and me
00:49:35 searching for the spare part on the interwebs
00:56:49 finishing up and cleaning my workspace to clear my mind ;)
01:00:02 using my new-old Horotec screwdriver hollow-ground sharpener (also bought from Pascal in La Chaux-de-Fonds) to sharpen my 1.2mm screwdriver
01:03:35 Thanks for watching!"]]></description>
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<item rdf:about="https://www.youtube.com/watch?v=siZgRBQtCRo">
    <title>Boots Riley on Labor, Palestine &amp; I'm A Virgo - YouTube</title>
    <dc:date>2023-12-06T05:32:12+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=siZgRBQtCRo</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["In this livestream we'll talk to Boots Riley about the recent strike wave, solidarity with Palestine, his recent series I'm A Virgo and getting anti-capitalist film/tv made in Hollywood.

Activist, filmmaker, and musician, Boots Riley studied film at San Francisco State University before rising to prominence as the frontman of hip-hop groups The Coup and Street Sweeper Social Club. His debut feature film Sorry to Bother You premiered at the 2018 Sundance Film Festival, was acquired by Annapurna Pictures, and was released to resounding box office success and widespread critical acclaim.

Fervently dedicated to social change, Boots was deeply involved with the Occupy Oakland movement and was one of the leaders of the activist group The Young Comrades. His book of lyrics and anecdotes, Tell Homeland Security-We Are The Bomb, is out on Haymarket Press. 

He is the recipient of the Independent Spirit Awards for Best Feature Film, and SFFILM's Kanbar Award. His most recent work, I'm a Virgo, is available on Amazon and was recently nominated for a Gotham Award."

[See also:
https://www.youtube.com/watch?v=5--hMr318t0

"This is the slightly edited version of our December 5th livestream with film director, producer, screenwriter, rapper, and communist Boots Riley. He is the lead vocalist of the musical groups The Coup and Street Sweeper Social Club. He wrote and directed the film Sorry to Bother You and is the creator and director of the television series I’m A Virgo. 

 We talked to Boots Riley about the recent labor upsurge, including the wave of strikes and increasing militancy among workers in the US. We briefly discuss United Auto Workers’ call for a ceasefire in the war on Gaza and establishment of a Divestment and Just Transition working group. 

 We also discuss navigating the capitalist film and television industry as a communist and possibilities for organizing among creatives. Boots also answers some questions about making anticapitalist art including some behind the scenes insights from I’m A Virgo.

 We want to shout-out Boots Riley for joining us for this discussion and definitely recommend I’m A Virgo if people haven’t watched it yet. I also want to say there’s some really special content we released in the month of December on our YouTube channel. Including our conversation with Steven Salaita and our conversation on Kuwasi Balagoon with several comrades of his and movement elders including Ashanti Alston, David Gilbert, dequi kioni-sadiki, Matt Meyer, Meg Starr, &amp; Bilal Sunni-Ali so if you haven’t checked that out yet, make sure you do at youtube.com/@makcapitalism.

 This will be our final episode released in 2023. We have a ton of stuff already being edited for release for 2024. This year we released 67 audio episodes, 26 livestreams and our content was listened to or watched over 640,000 times. We’re proud of that, and we’re also proud that our programs are still entirely dependent upon regular folks like yourself who listen and watch the work we put out. Today is your last day of 2023 to support us and that would be much appreciated, but also we hope many of you who have not become patrons of the show yet will do so in 2024. And we want to profusely thank everyone who supported us in 2023 for making the show possible for another year. You can support us at patreon.com/millennialsarekillingcapitalism

 This episode was co-edited and co-produced by Aidan Elias and Jared Ware"]]]></description>
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<item rdf:about="https://www.youtube.com/watch?v=_e2eOMSzHMk">
    <title>Metaheaven, designers (The Netherlands) - YouTube</title>
    <dc:date>2023-12-03T07:06:34+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=_e2eOMSzHMk</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Metaheaven (The Netherlands)
Online lecture
22 November 2023

The work of Metahaven encompasses filmmaking, writing, and design. Their films include Capture (2022), Chaos Theory (2021), Hometown (2018) and Information Skies (2016), nominated for the European Film Awards 2017.
Recent publications include Digital Tarkovsky (2018), a book-length essay about cinema. In 2010, they published Uncorporate Identity, co-edited with Marina Vishmidt.

Their forthcoming book on art and cognition is scheduled to appear in Spring 2025 with Verso. They write the “Cognitions” blog with Zora Zine, and are regular contributors to e-flux Journal and Harvard Design Magazine.

Metahaven have presented solo exhibitions at MoMA PS1, New York, Yerba Buena Center for the Arts, San Francisco, Izolyatsia, Kyiv, ICA London, e-flux, New York, State of Concept Athens, and Stedelijk Museum Amsterdam, among others, as well as participated in group exhibitions at Artists Space, New York, the Museum of Modern Art Warsaw, M HKA, Antwerp, the Gwangju Biennale, and the Sharjah Biennial, Ghost:2561, Bangkok, and many others. Their work is featured in collections of the Sharjah Art Foundation, the National Gallery of Victoria, M HKA, the Victoria & Albert Museum, and the Stedelijk Museum Amsterdam, among others.

Metahaven are heads of department at the Geo-Design MA at the Design Academy Eindhoven since September 2023, a programme in which they previously taught since its start in 2020. They are artistic advisors at Rijksakademie, Amsterdam, and affiliate researchers at Antikythera, Los Angeles.

Metahaven‘s lecture is part of Fabrica’s “Co-ecologies” residency program curated by Carlos Casas."]]></description>
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<item rdf:about="https://www.youtube.com/watch?v=kM80XaAWC5I">
    <title>A Conversation on Creating Art in Diaspora [Rupy C. Tut and Maya Salameh] - YouTube</title>
    <dc:date>2023-10-25T01:25:43+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=kM80XaAWC5I</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Living in diaspora is an infinitely complex, deeply personal experience that occurs in vastly different ways. This program will allow two accomplished artists who are creating art in diaspora to reflect upon their overlapping motivations and experiences, the way their work stands in cultural limbo, and how creating their art has affected their senses of self and identity."

[See also:

https://www.famsf.org/events/rupy-tut-maya-salameh-talk

"Maya Salameh is a Syrian American poet and the author of How to Make an Algorithm in the Microwave (University of Arkansas Press, 2022) and rooh (Paper Nautilus Press, 2020). She is the recipient of the Etel Adnan Poetry Prize and the Markowitz Award, and her work has appeared in POETRY, The Rumpus, and the LA Times. She can be found at @mayaslmh or mayasalameh.com. 

Rupy C. Tut creates paintings on paper and linen using handmade pigments. Her work is rooted in personal history; Tut is a grandchild of refugees, an immigrant, a mother, and a preservationist of traditional Indian painting techniques in use since 18th century AD. Her work is in the permanent collection of the Crocker Art Museum, Sacramento; the de Young, San Francisco; and the Asian Art Museum, San Francisco."

Rupy C. Tut
https://www.rupyctut.com/

Maya Salameh
https://www.mayasalameh.com/ ]]]></description>
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<item rdf:about="https://www.youtube.com/watch?v=LxWZnVgfpcs">
    <title>No Data Plan: A Conversation with Miko Revereza - YouTube</title>
    <dc:date>2023-09-18T04:00:40+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=LxWZnVgfpcs</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Join Miko Revereza to discuss his film No Data Plan. Since moving to Los Angeles from Manila with his family, Revereza has lived in the United States illegally for over twenty-five years. Filmed on a cross-country train ride from Los Angeles to New York, No Data Plan is an experimental, diary-like documentary that was named among the best films of 2019 by Hyperallergic and BFI Sight and Sound. Revereza narrates the history of his family and reflects on his own anxiety during the current administration’s immigration crackdown as he films the claustrophobic interior of the train, the wide-open American landscape flowing by, and the people he meets along the way."

[high school in Fremont:
https://en.wikipedia.org/wiki/American_High_School_(California) ]]]></description>
<dc:subject>mikorevereza trains film filmmaking 2020 us migration immigration borders unschooling howwelearn amtrak daca learning art education autodidacts iphone frugality nobudget howwework documentary observation storytelling dreamact bampfa resourcefulness perception presence photography process chantalakerman naomikawase diaristicfilmmaking jonasmekas lcd autodidactism</dc:subject>
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</item>
<item rdf:about="https://www.youtube.com/watch?v=fS5pDb_wmsg">
    <title>Cities After… The WORK FROM HOME Reset: Office Work and the Looming Real Estate Crisis - YouTube</title>
    <dc:date>2023-07-05T21:07:58+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=fS5pDb_wmsg</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["[S3.5E01] The WORK FROM HOME Reset: Office Work and the Looming Real Estate Crisis

Cities After… with Prof. Miguel Robles-Durán. A radical exploration into the capitalist contradictions of our urban world, and the many anti-capitalist futures to come.

In this first episode with Politics In Motion, Prof. Robles-Durán attempts a retake/update to a previous podcast series he did last year, titled Office Spaces as Homes; This new broadcast is a response to new doom predictions of a collapse of the commercial real-estate bubble and about the active reluctance of many employees to go back to the office.

In the wake of the pandemic, one mode of labor exploitation has gained a remarkable worldwide popularity: Work From Home. In heavily urbanized and service-oriented regions, this prevailing trend has been inciting rampant anxiety among the ranks of municipal officials, urban economists, and the real-estate industry alike. Indeed, as vacancy rates continue to soar beyond the 90th percentile in some regions. In an absurd contradiction to all the vacant spaces, the plight of the homeless has reached dire proportions, leaving a dire need for truly affordable housing. In this compelling episode, Prof. Robles-Durán plunges into the depths of the capitalist undercurrents and some social counter-currents behind this crisis, delving into the ominous consequences and complex future outcome.

Prof. Miguel Robles-Duran’s Cities After… is co-produced by Politics in Motion. Politics In Motion is a nonprofit organization founded in May 2023 by Prof. David Harvey and Prof. Miguel Robles-Durán, along with Dr. Chris Caruso, instructional technologist, and noted writer and art curator Laura Raicovich. Our anti-capitalist media platform offers piercing insights and thought-provoking analyses on political, social, spatial, cultural, environmental and economic issues through a range of engaging mediums, including YouTube streams, podcasts, and live events."]]></description>
<dc:subject>2023 citiesafter work realestate offices workfromhome politics economics society culture environment sustainability howwework labor pandemic covid-19 coronavirus miguelrobles-durán homes housing class classstruggle capitalism atomization alienation workplace commutes community productivity commercialrealestate escape liberation freedom gaze corporations control democracy worklifebalance balance life living exploitation hybridwork whitecollar whitecollarwork philippines southafrica india spain españa korea southkorea poland urban urbanism workculture laborrelations space personalspace communalspace sanfrancisco cities nyc infrastructure paris madrid losangeles chicago houston berlin london travel hongkong amsterdam malls wages flexibility parenting profits hr inequality disparity poverty mckinsey deloitte bostonconsulting bain pricewaterhousecoopers accenture happyhours surveillance decentralization unionization latecapitalism anarchism socialism organizing wageslavery adaptivereuse socialmedia loudquitt</dc:subject>
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<item rdf:about="https://www.fratellowatches.com/watchbrands/vpc/">
    <title>[Building a Watch Brand series] VPC Review - Fratello Watches - the magazine dedicated to luxury watches</title>
    <dc:date>2023-06-12T23:42:30+00:00</dc:date>
    <link>https://www.fratellowatches.com/watchbrands/vpc/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Building A Watch Brand Episode 12: Ultra-Hard Coating And Other Updates

Building A Watch Brand Episode 11: Manufacturing — The Watchmaker’s Tools Finally Come Out

Building A Watch Brand Episode 10: From Design To Manufacturing

Building A Watch Brand Episode 9: 3D Modeling, Tech Development, And Opening Up On The Mentally Challenging Side

Thomas’s GADA Watch — A King Seiko Now, A VPC Soon

Building A Watch Brand Episode 8: Geeking Out On Typography

Building A Watch Brand Episode 7: Dial Design

Building A Watch Brand Episode 6: Caliber, Pouch, Logo, Bracelet, And Case Refinements

Building A Watch Brand Episode 5: The First Design Ideation Sketches

Building A Watch Brand Episode 4: Unveiling The Watch Concept

Building A Watch Brand Episode 3: A Designer, Finances, And Risk Mitigation

Building A Watch Brand Episode 2: Revealing The Name And Brand Concept

Building A Watch Brand Episode 1: Follow Thomas As He Develops A Watch Of His Own"

[See also:

posts above indexed here
https://vpcwatch.com/vpc-on-fratello/

brand website
https://vpcwatch.com/ ]]]></description>
<dc:subject>thomasvanstraaten microbrands 2023 2022 watches design marketing vpc watchmaking venustasperconstantiam howwework gadawatches</dc:subject>
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<item rdf:about="https://austinkleon.com/2023/03/22/ai-as-intern/">
    <title>AI as intern - Austin Kleon</title>
    <dc:date>2023-04-09T03:37:10+00:00</dc:date>
    <link>https://austinkleon.com/2023/03/22/ai-as-intern/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["This, so far, has been the most convincing case I’ve heard [for AI].

But then, I’ve always resisted having an assistant — in my experience, doing the “grunt work” of researching, writing a first draft, etc., is where a lot of my good discoveries are made. I want my hands on the work, because that’s how I find it."]]></description>
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<item rdf:about="https://nomos-glashuette.com/en/watchmaking/watchmaking-craft/made-in-glashuette">
    <title>Made in Glashütte–Film sequences from the watch manufactory — NOMOS Glashütte</title>
    <dc:date>2023-03-26T22:16:52+00:00</dc:date>
    <link>https://nomos-glashuette.com/en/watchmaking/watchmaking-craft/made-in-glashuette</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Made in Glashütte: Work in portrait
"Made in Glashütte" is the title we give to the in-depth film sequences in which we portray the work processes in our manufactory. Individual steps that are important in the manufacturing of each watch are made clearly visible in these films from the perspective of our watchmakers. The calm and concentration with which the experts carry out a multitude of precise steps make the expertise and experience tangible—the very qualities that can be found in our watches. The third season will start on April 2, 2023, and you can subscribe to it on the usual channels. You can find a compilation of the second season above."

[Season 1: https://nomos-glashuette.com/en/watchmaking/watchmaking-craft/made-in-glashuette/made-in-glashutte-season-1 ]]]></description>
<dc:subject>nomos film watches watchmaking howwework</dc:subject>
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<item rdf:about="https://nomos-glashuette.com/en/watchmaking/watchmaking-craft/made-in-glashuette/made-in-glashutte-season-1">
    <title>Made in Glashütte–Film sequences from the watch manufactory — NOMOS Glashütte</title>
    <dc:date>2023-03-26T22:16:45+00:00</dc:date>
    <link>https://nomos-glashuette.com/en/watchmaking/watchmaking-craft/made-in-glashuette/made-in-glashutte-season-1</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Made in Glashütte: Work in portrait
"Made in Glashütte" is the title we give to the in-depth film sequences in which we portray the work processes in our manufactory. Individual steps that are important in the manufacturing of each watch are made clearly visible in these films from the perspective of our watchmakers. The calm and concentration with which the experts carry out a multitude of precise steps make the expertise and experience tangible—the very qualities that can be found in our watches. The first portraits of individual work steps from our manufactory have been received with great interest by watch enthusiasts. We are therefore happy to continue. The second season will start on January 1, 2023, and you can subscribe to it on the usual channels. You can find a compilation of the first season above."

[Season 2: https://nomos-glashuette.com/en/watchmaking/watchmaking-craft/made-in-glashuette ]]]></description>
<dc:subject>nomos film watches watchmaking howwework</dc:subject>
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<item rdf:about="https://www.rockpapershotgun.com/how-to-conference-call-with-red-dead-redemption-2">
    <title>People are using Red Dead Redemption 2 to hold conference calls | Rock Paper Shotgun</title>
    <dc:date>2023-03-22T01:57:54+00:00</dc:date>
    <link>https://www.rockpapershotgun.com/how-to-conference-call-with-red-dead-redemption-2</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[images throughout]

"It still beats Zoom.

"Found my own body floating down the river today. Didn't recognise myself for ages." This may sound like the start of a magical realist detective story, rather than something you'd say in a meeting with colleagues. But in Red Dead Redemption 2, which is rapidly emerging as an unlikely competitor to Zoom and Skype in the world of conference calling, this is business as usual.

I've long been a fan of the way the Cowboy Game - especially its multiplayer mode - mixes obsessive realism with glitchiness and ultraviolence to create a sense of weird, unreal melancholy. But writer, illustrator and good tweeter Viv Schwarz, who related the above anecdote to me, has discovered that this recipe was missing a crucial third ingredient: corporate culture. They've been meeting with workmates in the uncanny environs of RDR2 for some time now, and while they can't swear blind that it's the most efficient place to do business, it is at least not Zoom. So grab yourself a seat by the fire and a rusty tin of hawk viscera, and let's action some deliverables.

Viv brought this revelation to light with this thread on Twitter, which has since launched dozens of similar initiatives in small businesses with a taste for their weird, and has reputedly been received with delight at Castle Rockstar, where the Cowboys were originally created before being imprisoned in the game.

<blockquote>Zoom sucks, we started having editorial meetings in Red Dead Redemption instead. It's nice to sit at the campfire and discuss projects, with the wolves howling out in the night

— Viviane Schwarz (@vivschwarz) May 16, 2020</blockquote>

"Mostly we were just having a really crap time," said Viv when I spoke to them, about their meeting life before Cowboys. "We were having to deal with all those Zoom and Skype meetings and emails and phone calls... and we were just feeling worse and worse and more annoyed all the time." Minecraft was considered, apparently, but people tended to just wander off and start digging, or dumping gravel on the meeting table, "so picking the most ludicrous game to meet in seemed good."

But then, as it turned out, it wasn't quite as ridiculous as expected. "The thing is," Viv explained, "the Cowboys just look right when they're sitting around the campfire? They look like they're in a meeting: scratching noses and frowning, and occasionally gesturing."

Viv's colleagues have taken some steps to boost their immersion in the world of Cowboy conferencing, and work around the limitations of the game at the same time. "We keep trying to have coffee breaks, because it feels right - and because if you don't do anything you get kicked off the server for idling. So we order a load of coffee in, and keep brewing it to unidle". Apparently, the posse are considering getting a stew pot next, "because it feels kinda rude that we can't share snacks", but doing so will involve Viv becoming a trader, and they're a bit worried that doing so will make the camp too busy.

Etiquette, too, is important. It's polite to wash your face before a Cowboy meeting, of course, "as sometimes you can be really caked in blood and dirt, and not realise". And that's just not a professional look. Participants should also make liberal use of emotes. Viv, for example, sometimes opens up RDR2's weapon catalogue when they're reading a shared document IRL, because it makes it look like their Cowboy is thoughtfully studying it in-game. It's an expensive tactic, since if they don't order anything, their Cowboy just closes the catalogue and leaves the table, and it's pretty hard to negotiate purchasing while reading a document at the same time - but it's almost worth it for the realism.

An added perk to holding meetings in Cowboy space, Viv revealed, "is that when you agree that the meeting is over, you can all jump on your horses and do crime or justice, which is a lot less awkward than everyone smiling at the camera while they're trying to sign off". Not only that, but if colleagues are successful in the post-meeting rampage, they might just get to spend the next meeting sitting in nice mismatched chairs by the campfire, rather than having to squat on their haunches in the dirt. "Also, the landscape is amazing, so you can walk and talk, and if some other posse attacks they only get five minutes to fight you. So it's in effect a tea break, except you don't have to pretend to make tea, or agree when it happens."

Nevertheless, RDR2 is not without its drawbacks as a piece of conferencing software. And while it may avoid the ritualistic solving of minor audio and connection problems that attends the start of most conventional video calls, it comes with its own set of technical idiosyncrasies, as Viv's tweets attest:

<blockquote>"Can you parlay these people, they keep hogtying me"
"Where did you spawn?"
"Am I not on the map?"
"You're miles away... Let me just kick you out from to the posse and invite you again"

— Viviane Schwarz (@vivschwarz) May 16, 2020</blockquote>

And then there are the glitches. The main problem encountered, apparently, is that the meeting table sometimes doesn't exist for everyone. Occasionally, the whole camp will vanish, so along with the fire, leaving everyone talking away in the dark until it reappears. And if someone gets dropped out of the posse and returns, they can't sit down for the remainder of the discussion. Oh, and of course, there's the fact that "sit on the ground" is mapped to the same control as "strangle the nearest person", which can apparently lead to some pretty robust brainstorming sessions.

"It’s the same glitches as usual," Viv said, "only, they're funnier when you're talking about business about the same time. Like, you fall off a cliff, and your horse falls on your head and kills you, after which you respawn elsewhere. But your body and horse haven't disappeared. So your colleague gets distracted, silently wondering whether they should revive your horse, and trying to figure out whose body lies crushed beneath it, and all the while you're walking back from miles away, carrying on about the project."

But perhaps the eeriest presence in the world of business cowboys is Cripps, the ever-present NPC in charge of organising and maintaining the player's camp. "We thought it would be nicer to meet at the campfire rather than in a saloon, as we just liked being outdoors for a change", Viv lamented. "But we forgot that this would mean Cripps continually interjecting with stories about his life". Apparently, Viv's posse have had to work hard not to be distracted by his constant mouth-harp playing, which becomes particularly challenging when he begins to play more and more slowly. "My thoughts just slow down. I have to sit with my back to him or else the mouth harp drives me nuts," Viv said.

Sometimes, needless to say, Cripps disappears, but the sound of his mouth harp continues to haunt the camp. Viv is currently looking into whether you can silence the grim musician by continuing to trade with him, but fears that this wouldn't help anyone else in the posse, for whom the infernal jam would continue unabated. "I noticed it is possible for him to become invisible to team members, meaning they can then stand on him, while in their own world they are standing on the ground," Viv explained, running me through their logic in deducing the rules governing this eldritch presence. "But to be honest, he's a really good stand-in for the distractions we would have when meeting in a cafe usually, and he can be useful in breaking things up when we've lost focus."

The final drawback of the virtual campfire as a meeting venue is a significant one, unfortunately. You see, to get to a point where you can invite friends into a posse, and have a camp to meet at, you've got to go through the intro quests to Red Dead Online, which are unskippable, relatively dull, and time-consuming. It can take an hour or more for a Cowboy to progress through this mandatory prologue. "Especially," said Viv, "if the people you get paired up with for staff training decide to sabotage your horse wrangling".

We did discuss how fun and weird it would be if Rockstar opened up business-only servers for commercially-minded Cowboys. There's certainly a demand for it, if the interest shown by companies in the wake of Viv's tweets going big is to be believed. But we'd only floated the idea for a few minutes when we both realised how quickly the idea would sour: the whole endeavour would get bogged down in dull, intricate rules, and as Viv pointed out "it might technically be gentrification". Thinking about it, I was reminded suddenly of Deadwood, the best show ever on telly, and Al Swearengen's increasing worries over the encroachment of civilisation - somehow, then, its use as a venue for meetings has made RDR2 more thematically potent as a Western.

Perhaps, then, this West is best left wild? "I mean... it isn't a good game for an uninterrupted meeting," concluded Viv. "Or even... a meeting... really. But it still beats Zoom.""]]></description>
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    <title>Episode 36: romaric Andre On Seconde/Seconde/ Disrupting And Uniting The Industry — The Real Time Show</title>
    <dc:date>2023-03-05T07:11:46+00:00</dc:date>
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    <dc:creator>robertogreco</dc:creator><description><![CDATA["One of the Industry’s most disruptive and yet uniting figures joins us in the virtual booth for an exploration of his unique concept and approach to collaboration. Romaric Andre of seconde/seconde/ tells all."

[also here:
https://podcasts.apple.com/us/podcast/romaric-andre-on-seconde-seconde-disrupting-and/id1652462121?i=1000602417452 ]]]></description>
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<dc:identifier>https://pinboard.in/u:robertogreco/b:af8eda992a22/</dc:identifier>
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    <title>OVERCOME THE FEAR OF CREATING - YouTube</title>
    <dc:date>2023-03-01T05:59:02+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=zPVPJJLFJ3k</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>intranetgirl creativity 2023 howwewrite howto analog making howwework blender</dc:subject>
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