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</item>
<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>
<dc:subject>watches watchmaking bernhardzwinz 2025 film perfectionism time timekeeping howwework mechanics art documentary interviews jtwinnerl winnerl 2023 russellshelldrake philippedufour gruebelforsey rogerdubuis andreasstrehler maxbüsser maximilianbüsser mb&amp;f gerd-rüdigerlang watchcanon ritual tea teamaking</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:6a76098338a4/</dc:identifier>
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<item rdf:about="https://www.newyorker.com/news/q-and-a/can-liberalism-be-saved">
    <title>Can Liberalism Be Saved? | The New Yorker</title>
    <dc:date>2025-09-26T05:57:41+00:00</dc:date>
    <link>https://www.newyorker.com/news/q-and-a/can-liberalism-be-saved</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The legal scholar Cass Sunstein argues for a more expansive definition of an ideology under threat."]]></description>
<dc:subject>casssunstein isaacchotiner liberalism politics 2025 law interviews</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:bf995c4f29fc/</dc:identifier>
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<item rdf:about="https://www.youtube.com/watch?v=AUEQInAQMqc">
    <title>entrevista nicanor parra 1987 - YouTube</title>
    <dc:date>2025-01-03T02:28:39+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=AUEQInAQMqc</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[also here:
https://www.rtve.es/play/videos/la-tarde/cervantes-nicanor-parra-011114ipipe093-1/2844147/ ]]]></description>
<dc:subject>nicanorparra 1987 interviews poetry chile antipoesía antipoemas violetaparra antipoems literature culture dictatorship antipoetry</dc:subject>
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</item>
<item rdf:about="https://emergencemagazine.org/interview/on-time-mystery-and-kinship/">
    <title>On Time, Mystery, and Kinship – with Jane Hirshfield</title>
    <dc:date>2024-11-03T22:46:24+00:00</dc:date>
    <link>https://emergencemagazine.org/interview/on-time-mystery-and-kinship/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["In this conversation, poet Jane Hirshfield locates time as part of the great mystery of the cosmos, embracing its largeness and unknowableness from a place of humility. Reciting several of her poems, she shares how an inner spaciousness can draw us towards being in service to the Earth."]]></description>
<dc:subject>janehirshfield 2024 interviews poetry poems time mystery kinship emmanuelvaughan-lee unknowing scale cosmos earth</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:89c0ba4fb67b/</dc:identifier>
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</item>
<item rdf:about="https://www.youtube.com/watch?v=zw7bLZOn0u4">
    <title>&quot;Yo quiero que mi gente viva feliz en Puerto Rico&quot; Benito - YouTube</title>
    <dc:date>2024-09-09T17:15:42+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=zw7bLZOn0u4</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[a partir de 40:00]

"En este episodio de El Tony Pregunta, nos sentamos con Benito Martínez, mejor conocido como Bad Bunny, para hablar de su vida, música y sus raíces en Vega Baja. Tocamos temas como su disco favorito, su proceso creativo, la importancia de la meditación, y sus reflexiones sobre la situación en Puerto Rico."]]></description>
<dc:subject>badbunny fame musicindustry interviews via:javierarbona music 2024 eltony depression puertorico happiness money sadness mentalhealth introversion introverts idols idolization</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:3e64374c82e6/</dc:identifier>
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</item>
<item rdf:about="https://www.youtube.com/watch?v=Jk6_B5pibt8">
    <title>Nardwuar: A Misunderstood Superstar - YouTube</title>
    <dc:date>2023-12-23T22:59:25+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=Jk6_B5pibt8</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Nardwuar the Human Serviette is a music industry superstar, known for his memorable interviews and eccentric demeanour. But Nardwuar's almost 40 year career is not without hundreds of bumps, hurdles and doubters. This video explores some of the moments that shaped him, from the 1991 incident with Sonic Youth to the 2003 attack from Dave Rowntree. Yet Nardwuar keeps working, researching, and always smiling. You know his name, his face, but do you know his story?

~

0:00 - Prologue
0:25 - Who is Nardwuar?
0:58 - First Interview
1:26 - Joining Radio
3:20 - The Evaporators
4:15 - Political Journalism
5:08 - Becoming a Name in Music
6:52 - Nardwuar Gone Wrong
9:36 - Nardwuar Gone Right
10:23 - His Lesson"]]></description>
<dc:subject>nardwuar music 2022 sonicyouth daverowntree johnruskin interviews interviewing punk radio vancouver via:javierarbona 1986 1988 1990 curiosity notknowing</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:7289f5afaafe/</dc:identifier>
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<item rdf:about="https://www.johnmcdonald.net.au/2017/tracey-moffatt/">
    <title>Tracey Moffatt - John McDonald</title>
    <dc:date>2023-08-31T23:45:15+00:00</dc:date>
    <link>https://www.johnmcdonald.net.au/2017/tracey-moffatt/</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>2017 traceymoffatt johnmcdonald art photography film interviews aborigine australia aborigines aboriginal</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:aaaf59693b13/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:2017"/>
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</item>
<item rdf:about="https://www.youtube.com/watch?v=OjfzTORRx7c">
    <title>TIAGO PZK DA SU MEJOR ENTREVISTA: nopor favorito, dice que no se considera “artista”, sus sueños etc - YouTube</title>
    <dc:date>2023-07-20T06:33:17+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=OjfzTORRx7c</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>tiagopzk interviews 2023 chenteydrach music argentina</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:d3ddd140fcaa/</dc:identifier>
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<item rdf:about="https://www.youtube.com/watch?v=kTcv4HyEY3w">
    <title>Eric Hoffer pt. 1 of 5 - YouTube</title>
    <dc:date>2022-12-30T07:24:22+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=kTcv4HyEY3w</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[Part 1
https://www.youtube.com/watch?v=kTcv4HyEY3w

Part 2
https://www.youtube.com/watch?v=dO1HqWUMxbs

Part 3
https://www.youtube.com/watch?v=LYOvfkNypqc

Part 4
https://www.youtube.com/watch?v=N9amjBIVraY

Part 5
https://www.youtube.com/watch?v=o6XM1Mh4Ciw ]

[See also:

"Conversations with Eric Hoffer"
https://www.youtube.com/playlist?list=PL5IwhwpppROHd9FbfQRYs1I7lc8q9bk_G

"Eric Hoffer, philosopher and longshoreman is interviewed by James Day, general manager of KQED in San Francisco. In the first series of six episodes, the conversations are based on Hoffer's book, "The Ordeal of Change" published in March 1963 by Harper and Row."

"James Day interviews Eric Hoffer 1, The Ordeal of Change (1963)"
https://www.youtube.com/watch?v=DTysnfOLrQY

"Eric Hoffer 2, The Role of the Intellectual (1963)"
https://www.youtube.com/watch?v=GC2MuS_j_oE

"Eric Hoffer 3, The Role of the Weak (1963)"
https://www.youtube.com/watch?v=qtKHGYi8-uM

"Eric Hoffer 4, The Nature of Man (1963)"
https://www.youtube.com/watch?v=gt3L0b-HWSY

"Eric Hoffer 5, Man's Struggle for Uniqueness (1963)"
https://www.youtube.com/watch?v=hSgLWRcvv_I

"Eric Hoffer 6, From the Cradle to Skid Row (1963)"
https://www.youtube.com/watch?v=8JiV10RvVCA

"Eric Hoffer 7, The Growth of a Train of Thought (1964)"
https://www.youtube.com/watch?v=oBfIjSkeOOQ

"Eric Hoffer 9, Automation (1964)"
https://www.youtube.com/watch?v=nEadRn8FJS4

"Eric Hoffer 10, The Mysterious Occident (1964)"
https://www.youtube.com/watch?v=qFa3U-AII0s

"Eric Hoffer 11, The New Age (1964)"
https://www.youtube.com/watch?v=DqaUdZ_HQ2g

"Eric Hoffer 12, Reading and Writing (1964)"
https://www.youtube.com/watch?v=vmqUPqrXc-Q

"Eric Hoffer with Nancy Nee (The Temper of Our Time, 1967-01-24)"
https://www.youtube.com/watch?v=n1UCgus2-lM ]]]></description>
<dc:subject>erichoffer documentary interviews thinking movements change intellectuals 1963 1964</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:0d0fa17a68a8/</dc:identifier>
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<item rdf:about="https://www.youtube.com/watch?v=zJHf_SwNurY">
    <title>Two Things that Would Fix Twitter - YouTube</title>
    <dc:date>2022-11-29T01:00:57+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=zJHf_SwNurY</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["In this clip, Hasan Minhaj mentions two things that he would add to the "Dear Twitter" video Marques made a few weeks ago. Then Marques talks about how he curates a positive Twitter experience by selectively responding to certain kinds of comments."

[See also:

"The Responsibility of Interviewing Powerful People"
https://www.youtube.com/watch?v=VghKXxtsyIk

"In this clip, Hasan Minhaj asks Marques what it's like to sit down with some of the most powerful people on the planet. They talk about Elon Musk, the late Kobe Bryant, and tech CEOs in general. "

and/or the full interview

"Are We Optimistic About Tech with Hasan Minhaj" [tags here also for this longer version]
https://www.youtube.com/watch?v=3Zch9Uaxtrw

"This week, Marques and Andrew sit down with Hasan Minhaj! They discuss everything from fantasy basketball to whether or not artificial intelligence can create art. There are a lot of upsides to new technologies, but there are also some serious negative aspects of technology that are worth discussing (hence this 2-hour long conversation). Despite all the downsides, Marques sheds some light on how he thinks about technology and continues to stay optimistic about the future. This is a good one!

Chapters:
00:00 Intro
02:00 Hasan Minhaj intro and fantasy basketball
07:55 Art and Basketball
20:33 Ad break
20:35 Hasan asks questions from his sticky notes
21:30 Staying honest as the YouTube algorithm has grown
30:00 Hasan's problem with tech
38:49 Is social media good for the entertainment industry?
49:31 Ad break
49:37 Screen addictions and anxiety
01:02:55 Conversations about AI and DALL-E 2
01:14:50 How to fix Twitter and incentivizing positive behavior online 
01:43:45 Elon Musk coverage and interviewing important people
01:55:34 A Race to Z with Hasan Minhaj
01:49:45 Outro"]]]></description>
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<item rdf:about="https://www.youtube.com/watch?v=LNl2D4yDg18">
    <title>How I Wrote That Song: Santigold &quot;Can't Get Enough of Myself&quot; - YouTube</title>
    <dc:date>2022-11-23T00:16:41+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=LNl2D4yDg18</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>santigold interviews 2016 music</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:0058f7cc0f29/</dc:identifier>
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<item rdf:about="https://www.youtube.com/watch?v=eXBNm7CCHJU">
    <title>The FADER Uncovered - Episode 8 Santigold - YouTube</title>
    <dc:date>2022-11-23T00:16:03+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=eXBNm7CCHJU</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["On the eighth episode of The FADER Uncovered, host Mark Ronson is joined by the one-of-a-kind superstar Santigold. Ronson and Santi, friends for over two decades, talk about her genre-spanning 2008 debut album and its unforgettable singles “Creator” and  "L.E.S. Artistes." Santi goes back in time to discuss her first band, the punk group Stiffed, and her days as a regular performer at CBGBs as well as her transition into becoming an unlikely popstar in the mid-2000s. Later on Santi fills Mark in on upcoming album Spirituals, her first new music since 2016."]]></description>
<dc:subject>santigold 2021 interviews markronson genre music socialmedia online versatility adaptability</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:40db75879437/</dc:identifier>
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<item rdf:about="https://www.youtube.com/watch?v=kUVKquVIME4">
    <title>Santigold Interview - YouTube</title>
    <dc:date>2022-11-23T00:13:57+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=kUVKquVIME4</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>santigold 2012 interviews music</dc:subject>
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<dc:identifier>https://pinboard.in/u:robertogreco/b:b5753b25b96b/</dc:identifier>
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<item rdf:about="https://www.youtube.com/watch?v=SkYw1WVAumU">
    <title>Santigold Interview: How Motherhood Influenced Her Creative Process + Industry Obstacles - YouTube</title>
    <dc:date>2022-11-23T00:13:24+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=SkYw1WVAumU</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>santigold interviews 2016 music</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:f8975addcdc0/</dc:identifier>
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<item rdf:about="https://www.youtube.com/watch?v=ojX3ef2Gfgc">
    <title>We're All Mad Here: A Conversation With Tom Waits - YouTube</title>
    <dc:date>2022-11-21T06:29:53+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=ojX3ef2Gfgc</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["We're All Mad Here: A Conversation With Tom Waits
June 13, 2002. Ambassador Hotel, Los Angeles.
Anti Electronic Press Kit / We're All Mad Here
Anti Record promo interview, by Robert Lloyd "]]></description>
<dc:subject>tomwaits 2002 interviews robertlloyd music howwework humor via:morgan animals giraffes emus birds trivia crows bats camels corvids</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
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<item rdf:about="https://www.youtube.com/watch?v=bPKSSUP-PP8">
    <title>#EntrevistaCanalla | Francisco Ortega, periodista y escritor - YouTube</title>
    <dc:date>2022-07-12T19:37:34+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=bPKSSUP-PP8</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>franciscoortega 2022 interviews chile writing literature srg</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:670de0fe77b7/</dc:identifier>
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<item rdf:about="https://www.youtube.com/watch?v=e0zFclaxA1A">
    <title>Shari Frilot - “Sundance and New Frontier 2021” AD 190 - YouTube</title>
    <dc:date>2022-06-08T23:25:24+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=e0zFclaxA1A</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Shari Frilot is a filmmaker who has produced television for the CBS affiliate in Boston and for WNYC and WNET in New York before creating her own independent award-winning films, including Strange & Charmed, A Cosmic Demonstration of Sexuality, What Is A Line?, and the feature documentary, Black Nations / Queer Nations? She is the recipient of multiple grants, including the Ford Foundation and the Rockefeller Media Arts Foundation. She is presently working on a feature film project about the crisis in water supply with producer Effie Brown's production company, Duly Noted Inc.

In tandem with filmmaking, Shari also maintains a career in festival programming, occupying a distinguished position on the curatorial vanguard through her pioneering development of immersive cinematic environments. As the Festival Director of the MIX Festival in New York (1992-1996) she co-founded the first gay Latin American film festivals, MIX BRASIL and MIX MEXICO film festivals. As Co-Director of Programming for OUTFEST (1998-2001), she founded the Platinum section which introduced cinematic performance installation and performance to the festival. She is presently in her 22nd year as a Senior Programmer for the Sundance Film Festival. She is the curator and driving creative force behind New Frontier, an exhibition and commissioning initiative that focuses on cinematic work being created at the intersections of art, film, and new media technology.

Topics Discussed In This Episode:
Collective consciousness and being on the cusp of the new year
Shifts within communities
Finding confluence within multiple subjects
Art and science working together
Visualization
Shari’s love of culture, and her work within curation and art
Wave-particle dualities
Measuring the concept of love within our life
The differences in seeing something versus feeling something
Neuroplasticity
Perceiving reality
Storytelling
Sundance Festival and New Frontier 2021, and the innovations that are taking place
Subjective and objective truths
Empathy
The lost art of listening
Shari’s experiences with filmmaking and changing the framework of the industry itself
The complications within creating and presenting Sundance’s 2021 festival
Focusing on humanity
Pushing into the new year with aspirations of inclusivity and connectedness
Finding clarity within your vision"]]></description>
<dc:subject>sharifrilot 2021 interviews collectiveconsciousness newfrontier sundance communities community ove visualization art film newmedia transdisciplinary interdisciplinary multidisciplinary filmmaking culture neuroplasticity curation presentation performance humanity inclusivity connectedness clarity vision paradigmshifts covid-19 pandemic coronavirus biodigital digital storytelling bodies</dc:subject>
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<item rdf:about="https://www.accutronwatch.com/blogs/podcast/the-storytelling-power-of-virtual-reality-with-shari-frilot">
    <title>The storytelling power of virtual reality with Shari Frilot – accutron</title>
    <dc:date>2022-06-08T21:52:48+00:00</dc:date>
    <link>https://www.accutronwatch.com/blogs/podcast/the-storytelling-power-of-virtual-reality-with-shari-frilot</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[on YouTube:
https://www.youtube.com/watch?v=CXv51mqs9fU ]

"[25:03] What gets us into trouble is not technology, what gets us into trouble are our values, what we feel is important to do with our lives. To acquire things, to buy things, to extract, to go into competition, you know those sets of values. Versus to work together, to create, to magnify beauty, that's another set of values. Those two sets of values and the same technology can get two different results, two different worlds, two different internets."

...

"Episode Summary

Technology advancement can often make our life better, but what role does it play in art and film? In this episode of The Accutron Show, our hosts talk to Shari Frilot, artist, filmmaker, and chief curator of the New Frontier program at the Sundance Film Festival. Shari plays a key role in discovering new art forms that use technology as a tool to tell stories. Together they discuss the importance of values in a time where everything is controlled by technology, the meaning of the word "bio-digital" and much more.

Episode Notes

Technology advancement can often make our life better, but what role does it play in art and film? In this episode of The Accutron Show, our hosts talk to Shari Frilot, artist, filmmaker, and chief curator of the New Frontier program at the Sundance Film Festival. Shari plays a key role in discovering new art forms that use technology as a tool to tell stories. Together they discuss the importance of values in a time where everything is controlled by technology, the meaning of the word "bio-digital" and much more. They also talk about the "spaceship" at Sundace, the physical and virtual space where everyone can hang out, socialize and experience art. Tune in and project yourself into cyber space.

Episode Highlights

25:03 What gets us into trouble is not technology, what gets us into trouble are our values, what we feel is important to do with our lives. 

36:04 What artists are doing with these technologies is really incredible. What may be a prototype today, may well become a whole industry a year later. And we have seen this happen already. 

39:37 This technology is powerful and very compelling. It makes you feel, it's revelatory, it's connected to a very powerful, very lucrative network technology called, cell phone. So it's very compelling to put money into this. It's healthy to see this enthusiasm and investment, we just have to be very careful of where our values go, so that this technology is working for humanity and not against it."]]></description>
<dc:subject>sharifrilot film virtualreality dance theater creativity 2022 interviews vr technology art values filmmaking sundance facebook metaverse markzuckerberg billmccuddy davidgraver documentary animation newfrontier empathy immersive curation media newmedia storytelling bodies</dc:subject>
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<item rdf:about="https://wornandwound.com/podcasts/windup-watch-fair-discussions-anordain-mk-ii-baltic-and-nivada-grenchen/">
    <title>Windup Watch Fair Discussions: anOrdain, MK II, Baltic, and Nivada-Grenchen - Worn &amp; Wound</title>
    <dc:date>2022-05-05T03:29:55+00:00</dc:date>
    <link>https://wornandwound.com/podcasts/windup-watch-fair-discussions-anordain-mk-ii-baltic-and-nivada-grenchen/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["In the final installment of our Windup Watch Fair Discussions series, we have three great interviews with some of our favorite brand founders. The brands represented here run the gamut in terms of design and price point, and really feel like a cross section of where the micro-brand space is at this moment. 

Featured today we have an interview with Lewis Heath of anOrdain, a brand known for their incredible enamel dials, who debuted brand new cases at Windup this year. We’re also featuring an interview with Bill Yao, who runs both MK II and Tornek-Rayville. In this conversation, he articulates the key differences between his two brands, which should clear up any confusion among watch enthusiasts as to why there’s a need for both. Finally, we recorded an interview with Baltic’s Etienne Malec and Nivada-Grenchen’s Guillaume Laidet. It was great to have these two in a room together to talk about their brands and where each is heading in the near future."]]></description>
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<item rdf:about="https://www.youtube.com/watch?v=gxBotIsfzoA">
    <title>Personal: la prima intervista di Baby Gang - YouTube</title>
    <dc:date>2022-05-02T00:48:45+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=gxBotIsfzoA</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["“Da bambino, te lo giuro, dormivo sui treni,” attacca Baby Gang nel suo ultimo singolo, “Treni”. E non è uno di quei versi che si trovano in ogni altra canzone rap. Nel nuovo episodio di Noisey Personal, Zaccaria a.k.a. Baby Gang ci ha raccontato la complicata storia della sua vita, passata tra strada, carceri minorili e comunità, e di come si è salvato grazie al rap e a un parroco."]]></description>
<dc:subject>babygang interviews milan italia italy music 2022</dc:subject>
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    <title>Ep.72 Babygang - Muschio Selvaggio Podcast - YouTube</title>
    <dc:date>2022-05-02T00:48:40+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=QvMwOqFqfCw</link>
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<item rdf:about="https://futuress.org/magazine/please-say-more/">
    <title>“Please Say More”</title>
    <dc:date>2022-03-09T22:56:54+00:00</dc:date>
    <link>https://futuress.org/magazine/please-say-more/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Bec Wonders on the Vancouver Women’s Library, the legacy of feminist archives, and the complex history of female conflict."

...

“Often when you have a disagreement with another woman, especially in a feminist context, it feels like this is the first time it’s ever happened [...]. Something about reading those magazines made me realize that it’s just inevitable that women disagree. We’re always gonna disagree, cuz we’re different!”

...

“When I’m going into an archive, I’m relating and speaking to the women in that material. It’s a way for me to bridge that generational divide.”

...

“In her book Feminist Literacies, Kathryn Thoms Flannery talks about feminist periodicals being like counter institutions to the university because women were teaching themselves everything. The feminist periodical functions as a pedagogical tool of teaching each other, but also mostly teaching yourself about something. You wanted to write a response to some woman talking about socialist feminism, or whether we should allow men into the movement, and in crafting that response you are actually teaching yourself, and you are learning your position on the subject. It allows for a lack of categories and categorical positioning, which we can get trapped in so often.”]]></description>
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    <title>Sarah Miller Is HODINKEE's 'Complete Newbie'</title>
    <dc:date>2022-02-07T17:27:26+00:00</dc:date>
    <link>https://www.hodinkee.com/articles/a-complete-newbie-does-a-watch-podcast</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Starting as a blank slate, Sarah Miller explores the watch world with humor and curiosity."

...

"This week, I'm thrilled to have Sarah Miller and Nick Marino on the show. Sarah has been functioning as HODINKEE's "Complete Newbie" since the spring of last year and since Nick, who is HODINKEE's SVP of Content, came up with the idea and got Sarah to take her first writing gig in the watch space, the pairing only made sense. It's a silly, personal, and curious conversation about Sarah's personal (and evolving) perspective on watches, Nick's drive to make the world a bit more open and welcoming, and how being able to operate as a newbie can grant an uncommon perspective in a niche environment.

If, for whatever reason, you've not dug into Sarah's work for the Complete Newbie series, here's your chance to get some additional context on Sarah's hilariously disconnected take on watches as she makes her way through Rolex shopping, meeting collectors, buying vintage watches, killing 24 hours in Geneva, and many more experiences that (ideally) help to connect a person with the greater world of watch fascination."]]></description>
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    <title>Subcomandante Marcos, The Punch Card and the Hourglass, NLR 9, May–June 2001</title>
    <dc:date>2021-12-25T23:48:02+00:00</dc:date>
    <link>https://newleftreview.org/issues/ii9/articles/subcomandante-marcos-the-punch-card-and-the-hourglass</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[en español:
https://enlacezapatista.ezln.org.mx/2001/03/25/entrevista-con-gabriel-garcia-marquez/ ]

"You’ve used the expression ‘as we soldiers say’. To a Colombian, accustomed to the way our guerrillas talk, your language doesn’t sound very soldierly. How military is your movement, and how would you describe the war in which you have been fighting?

We were formed in an army, the EZLN. It has a military structure. Subcomandante Marcos is the military chief of an army. But our army is very different from others, because its proposal is to cease being an army. A soldier is an absurd person who has to resort to arms in order to convince others, and in that sense the movement has no future if its future is military. If the EZLN perpetuates itself as an armed military structure, it is headed for failure. Failure as an alternative set of ideas, an alternative attitude to the world. The worst that could happen to it, apart from that, would be to come to power and install itself there as a revolutionary army. For us it would be a failure. What would be a success for the politico-military organizations of the sixties or seventies which emerged with the national liberation movements would be a fiasco for us. We have seen that such victories proved in the end to be failures, or defeats, hidden behind the mask of success. That what always remained unresolved was the role of people, of civil society, in what became ultimately a dispute between two hegemonies. There is an oppressor power which decides on behalf of society from above, and a group of visionaries which decides to lead the country on the correct path and ousts the other group from power, seizes power and then also decides on behalf of society. For us that is a struggle between hegemonies, in which the winners are good and the losers bad, but for the rest of society things don’t basically change. The EZLN has reached a point where it has been overtaken by Zapatismo. The ‘E’ in the acronym has shrunk, its hands have been tied, so that for us it is no handicap to mobilize unarmed, but rather in a certain sense a relief. The gun-belt weighs less than before and the military paraphernalia an armed group necessarily wears when it enters dialogue with people also feels less heavy. You cannot reconstruct the world or society, nor rebuild national states now in ruins, on the basis of a quarrel over who will impose their hegemony on society. The world in general, and Mexican society in particular, is composed of different kinds of people, and the relations between them have to be founded on respect and tolerance, things which appear in none of the discourses of the politico-military organizations of the sixties and seventies. Reality, as always, presented a bill to the armed national liberation movements of those days, and the cost of settling it has been very high.

You also seem to differ from the traditional Left in the social sectors that you represent. Is that so?

Broadly speaking, there were two major gaps in the movement of the revolutionary Left in Latin America. One of them was the indigenous peoples, from whose ranks we come, and the other was the supposed minorities. Even if we all removed our balaclavas we would not be a minority in the same way that homosexuals, lesbians, transsexuals are. These sectors were not simply excluded by the discourses of the Latin American Left of those decades—and still current today—but the theoretical framework of what was then Marxism–Leninism disregarded them, indeed took them to be part of the front to be eliminated. Homosexuals, for example, were suspect as potential traitors, elements harmful to the socialist movement and state. While the indigenous peoples were viewed as a backward sector preventing the forces of production . . . blah, blah, blah. So what was required was to clean out these elements, imprisoning or re-educating some, and assimilating others into the process of production, to transform them into skilled labour—proletarians, to put it in those terms.

Guerrillas normally speak in the name of majorities. It seems surprising that you speak in the name of minorities, when you could do so in the name of the poor or exploited of Mexico as a whole. Why do you do this?

Every vanguard imagines itself to be representative of the majority. We not only think that is false in our case, but that even in the best of cases it is little more than wishful thinking, and in the worst cases an outright usurpation. The moment social forces come into play, it becomes clear that the vanguard is not such a vanguard and that those it represents do not recognize themselves in it. The EZLN, in renouncing any claim to be a vanguard, is recognizing its real horizon. To believe that we can speak on behalf of those beyond ourselves is political masturbation. In some cases it is not even that, because there is no pleasure in this onanism—at most, that of pamphlets read only by those who produce them. We are trying to be honest with ourselves and some might say that this is a matter of human decency. No. We could even be cynical and say that the honest admission that we only represent the indigenous Zapatista communities of one region of the Mexican South-East has paid off. But our discourse has reached the ears of many more people than those we represent. This is the point we have reached. That’s all. In the speeches we made in the course of our march to the capital, we told people—and ourselves—that we could not and should not try to lead the struggles we encountered on our journey, or fly the flag for them. We had imagined that those below would not be slow to show themselves, with so many injustices, so many complaints, so many wounds . . . In our minds we had formed the image that our march would be a kind of plough, turning the soil so that all this could rise from the ground. We had to be honest and tell people that we had not come to lead anything of what might emerge. We came to release a demand, that could unleash others. But that’s another story.

Were the speeches you gave along the route improvised from town to town until the address in Mexico City, or did you design them from the outset as a sequence, such that the last was not necessarily the strongest?

Look, there is an official version and a real version. The official story is that we saw at each stop what we had to do. The real story is that we wove this discourse together over the course of the last seven years. A moment arrived when the Zapatismo of the EZLN was overtaken by many developments. Today we are not expressing what we were before 1994, or in the first days of 1994 when we were fighting; we are acting on a series of moral commitments we made in the last seven years. In the end we didn’t manage to plough the land, as we had hoped. But the mere act of our walking on it was enough to bring all these buried feelings to the surface. In every town square, we told people: ‘We have not come to lead you, we have not come to tell you what to do, but to ask for your help.’ Even so, we received during our march dockets of complaints going back to the time before the Mexican Revolution, given to us in the hope that finally someone might resolve the problem. If we could sum up the discourse of the Zapatista march to date, it would be: ‘No one is going to do it for us.’ The forms of organization, and the tasks of politics, need to be changed for that transformation to be possible. When we say ‘no’ to leaders, we are also saying ‘no’ to ourselves.

You and the Zapatistas are at the peak of your prestige. The PRI has just fallen in Mexico, there is a bill before Congress to create an Indigenous Statute, and the negotiations you have demanded can begin. How do you view this scene?

As a struggle between a clock operated by a punch card, which is Fox’s time, and an hourglass, which is ours. The dispute is over whether we bend to the discipline of the factory clock or Fox bends to the slipping of the sand. It will be neither the one nor the other. Both of us need to understand, we and he, that we have to assemble another clock by common agreement, that will time the rhythm of dialogue and finally of peace. We are on their terrain, the arena of power, where the political class is in its element. We are there with an organization that is perfectly ineffectual when it comes to playing politics, at least that kind of politics. We are gauche, stammering, well-intentioned. Opposite us are skilled players of a game they know well. This too will be a dispute, over whether the agenda will be dictated by the political class or shaped by our requirements. Once again, I think it will be neither one nor the other. When we waged war we had to challenge the government, and now in order to build peace we have to challenge not only the government but the entire Mexican State. There is no table at which to sit in dialogue with the government. We have to construct it. The challenge now is to convince the government that we need to make that table, that it should sit down and that it stands to gain by doing so. And that if it doesn’t, it will lose.

Who should be at that table?

The government on one side and ourselves on the other.

Hasn’t Fox in practice accepted that table when he says he wants to talk to you, and will receive you in the Presidential Palace or wherever you please?

What Fox is saying is that he wants his slice of the media cake, in what has become a popularity contest, rather than a dialogue or negotiation. Fox is looking for a photo opportunity, to maintain his grip on the media. But a peace process is not to be constructed by a spectacle, but by serious signals, sitting down at a table and dedicating yourself to a real dialogue. We are ready to talk to Fox, if he takes personal responsibility for that dialogue and sees the negotiation with us through to the end. But we would ask him: who is going to run the country while you are meeting with us, which will be an arduous business? I don’t have to explain this to anyone from Colombia, where you know from your own experience that the processes of dialogue and negotiation in an armed conflict are extremely tricky, and impossible for the head of the Executive to dedicate himself to full-time. Let Fox designate a representative of his government with whom we can construct a dialogue. There’s no hurry. A handshake with Vicente Fox is not among our wet dreams.

During that lengthy process, will you carry on as you are, dressed as a guerrilla, on a university campus? What’s your average day like just now?

I get up, I give interviews and then it’s time to go to bed [laughter]. We hold discussions with various of the groups I have mentioned: a large number of worlds or sub-worlds—the difference depends on how they are persecuted or marginalized—that have been affected by our message. We are sitting at two tables, swivelling between them on one of those chairs on wheels I remember from my youth. At the moment we are at one table with Congress and at another with the communities of Mexico City. But it worries us that Congress is treating us as it would anyone who asks to be seen, and is told to wait because it is attending to other matters. If that’s the case, it will cause a lot of damage, because it’s not only the recognition of indigenous rights that is at issue now. The knock-on effect would hit many people. People will not accept being looked in the eye only on election day. Besides which, it would send a signal to other, more radical politico-military groups, which have grown up under a banner that proclaims any political negotiation a form of surrender.

In parentheses, you said there were swivel chairs when you were young. How old are you?

I’m 518 . . . [laughter]

Does the dialogue you propose aim to create new mechanisms of popular participation in decision-making, or do you support government decisions you consider necessary for the country?

Dialogue means simply agreeing rules for the dispute between us to shift to another terrain. The economic system is not on the table for discussion. It’s the way we’re going to discuss it that is at issue. This is something Vicente Fox needs to understand. We are not going to become ‘Foxistas’ at that table. What the table has to achieve is to allow us to emerge with dignity, so that neither I nor anyone else has to go back and don all that military paraphernalia again. The challenge before us is to construct not only the table, but also our interlocutor. We need to make a statesman, not a marketing product designed by image consultants, out of him. It won’t be easy. War was easier. But in war much more becomes irremediable. In politics, remedies can always be found.

Your attire is a little strange: a threadbare scarf tied at the neck and a cap that’s falling apart. But you are also carrying a torch, which you don’t need here, a communications device which looks very sophisticated, and a watch on each wrist. Are they symbols? What does all this mean?

The torch is because we have been put into a lightless pit and the radio is for my image consultants to dictate my answers to questions from journalists. No. More seriously: this is a walkie-talkie which allows me to communicate with security and with our people in the jungle in case there is a problem. We have received several death threats. The scarf was red and was new when we took San Cristóbal de las Casas seven years ago. And the cap is the one I had when I arrived in the Lacandón jungle eighteen years ago. I arrived in that jungle with one watch and the other dates from when the ceasefire began. When the two times coincide it will mean that Zapatismo is finished as an army and that another stage, another watch and another time has started."]]></description>
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<item rdf:about="https://podcasts.apple.com/us/podcast/early-stage-2-romaric-andr%C3%A9-seconde-seconde-le-temps/id1209142994?i=1000450191853">
    <title>‎Génération Do It Yourself: Early stage #2 - Romaric André - Seconde Seconde - Le temps et la lenteur peuvent-ils être les meilleurs alliés de l'entrepreneuriat ? on Apple Podcasts</title>
    <dc:date>2021-11-24T08:14:58+00:00</dc:date>
    <link>https://podcasts.apple.com/us/podcast/early-stage-2-romaric-andr%C3%A9-seconde-seconde-le-temps/id1209142994?i=1000450191853</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[also here:
https://soundcloud.com/generation-do-it-yourself/early-stage-2-romaric-andre-seconde-seconde
https://open.spotify.com/episode/72UYe8ONQrCfa3TJC2nhSz
https://www.gdiy.fr/hors-series/romaric-andre/
and elsewhere]

"Pour ce deuxième épisode de “Early Stage”, je reçois Romaric André, fondateur de Seconde Seconde. Cette force tranquille, prend le temps de me parler… du temps justement. Après tout, quoi de plus logique pour un horloger?

Je remercie Hiscox, pour son soutien sur cette série d’épisodes. Si vous n’avez pas encore souscrit à une assurance Responsabilité Civile Professionnelle (la fameuse “RCPro”), cliquez ici pour obtenir un devis gratuit en moins de 5 minutes !  -> et ça prouve à Hiscox que c’était une bonne idée de me faire confiance

“Quand tu achètes une montre vintage, c’est une histoire que tu t’offres. Ça, il faut le respecter”

Clairement, si on devait résumer le parcours de Romaric en une phrase, ça serait “il faut prendre le temps de laisser faire le temps”. Avec lui, pas question de produire pour produire, tout est dans le détail. Patience et minutie sont ses maîtres mots. Alors, si la rapidité est ce que vous recherchez, on vous laisse passer votre chemin!

Pourtant, cette recherche du détail est aussi un problème. Romaric André, raconte sans filtre, sans édulcorer ou se chercher d’excuses, la faillite de sa première entreprise, Celsius, le redressement judiciaire qui s'ensuit et son projet de livraison de plat de chefs étoilés …  où il se fait doubler.

“Ça a été une période compliquée mais mes salariés étaient protégés, il n’y avait que moi. Alors j’ai décidé de rebondir et d’en faire une expérience positive”.

Mais n’allez pas croire que cela suffirait à le décourager. Au contraire ! Romaric prend la décision de changer de vie, de quitter les entreprises véloces où tout va toujours plus vite, où tout s’enchaîne pour se consacrer à sa passion : les montres vintages avec un léger twist, un grain de folie qu’il porte fièrement : une aiguille pop ! Une aiguille falcon millenium sur une zenith des années 50, une autre peace and love sur la montre officielle de la Wehrmacht … Si l’aiguille est modifiée, c’est pour raconter une histoire qui a du sens. Cette histoire, il nous la raconte dans cet épisode de #Earlystagegdiy.

On le sait bien, quand on crée son entreprise, tout s’efface un peu. On y met tout ce qu’on a, son coeur, ses tripes, son énergie. On garde le focus sur notre produit et nos clients. Alors, dans ce tourbillon, l’assurance c’est un peu un détail. Pourtant, ça peut rapidement nous coûter notre bébé.  L’idée avec Hiscox est d’avoir un devis en ligne en quelques minutes pour ce qu’on appelle la « RC Pro », la responsabilité civile professionnelle. Pour demander un devis gratuit, c’est juste ici."]]></description>
<dc:subject>romaricandré 2019 watches interviews seconde/seconde/ fun humor podcasts</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:90df959b7198/</dc:identifier>
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<item rdf:about="https://www.louiserard.com/creations/excellence/le-regulateur-louis-erard-x-seconde-seconde/">
    <title>Le Régulateur Louis Erard x seconde/seconde/ - Louis Erard</title>
    <dc:date>2021-11-23T07:00:36+00:00</dc:date>
    <link>https://www.louiserard.com/creations/excellence/le-regulateur-louis-erard-x-seconde-seconde/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[See also:

https://revolutionwatch.com/introducing-le-regulateur-louis-erard-x-seconde-seconde/
https://monochrome-watches.com/le-regulateur-louis-erard-x-seconde-seconde-http-404-error-live-pics-price/
https://www.fratellowatches.com/le-regulateur-louis-erard-seconde-seconde-left-me-speechless/
https://wornandwound.com/louis-erard-collaborates-with-seconde-seconde-on-a-new-error-filled-regulator/
https://asterinternacional.com/noticia.php?le-rgulateur-louis-erard-x-secondeseconde-&id_noticia=645 ]]]></description>
<dc:subject>romaricandré watches 2021 louiserard seconde/seconde/ art humor fun interviews podcasts</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:b4479532f60d/</dc:identifier>
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<item rdf:about="https://groundedfutures.com/shows/silver-threads/silver-threads-episode-25-antonio-buehler/">
    <title>Silver Threads Episode 25: Antonio Buehler - Grounded Futures</title>
    <dc:date>2021-11-10T17:44:45+00:00</dc:date>
    <link>https://groundedfutures.com/shows/silver-threads/silver-threads-episode-25-antonio-buehler/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[“We’re not trying to hack the system in our unschooling – we’re trying to burn it down.”




[transcript also here:
https://www.self-directed.org/tp/seeding-liberated-futures/ ]

“There is a real risk of people confusing their sort of individual freedom with a sense of liberation for everyone.” 

“young people are awesome. …they’re so much better than us old people if for no other reason than they just haven’t been conditioned into some of the worst aspects of society, they’re young enough to believe that that the way things are don’t have to stay the same… they’re young enough to believe that there’s something better and so I certainly have hope.”

“I do believe that the effort that people put in now, and have been putting in for generations, is seeding a potential future wherein something will happen that finally gets people to collectively come together and try to tear down these harmful institutions.”

“I used to be of the opinion that I had to be the hero that did it. … a lot of especially male activists probably think like, “I’m that guy, I’m gonna be the one that everyone rallies behind, and we’re gonna do this.” And so I certainly don’t believe in that anymore. It’s the organizers who’ve been doing this forever, who do it in a way in which they’re not asking for attention or money or anything that have been planting those seeds that will allow people recognize that there are real alternatives … alternative approaches that we can take, instead of just trying to manage within the system that we that we live in.”]]></description>
<dc:subject>antoniobuehler carlabergman eleanorgoldman 2021 interviews unschooling deschooling schools schooling learning howwelearn radicalism activism homelessness poverty abolition abolitionism austin children education abrome liberation emancipation prisonabolition schoolabolition police policing libertarianism franksmith mariamekaba nkjemisin scifi sciencefiction octaviabutler adriennemariebrown akilahrichards robinwallkimmerer facebook braidingsweetgrass capitalism flyingsquads colonialism colonization inequality anarchism radicals unlearning mutualaid community alternative texas georgefloyd acabspring pandemic hope covid-19 coronavirus homeschool youth optimism generations patience anger reform reformism progressive teaching howweteach bobbyseale blackpanthers blackpantherparty brownberets alcs agilelearningcenters scottcrow georgefloydprotests georgefloyduprising carlajoybergman</dc:subject>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:georgefloydprotests"/>
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<item rdf:about="https://podcast.ausha.co/tourbillon-watch/episode-21-romaric-andre">
    <title>Tourbillon Watch | Épisode 21 : Entretien avec Romaric André, créateur de Seconde Seconde | Ausha</title>
    <dc:date>2021-11-05T20:47:03+00:00</dc:date>
    <link>https://podcast.ausha.co/tourbillon-watch/episode-21-romaric-andre</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Aujourd'hui, nous avons le plaisir d'accueillir Romaric André, le créateur de Seconde Seconde.

Si vous ne le connaissez pas, je vous invite à embarquer dans notre conversation. Son concept est surprenant et son histoire l'est tout autant !

On vous souhaite une excellente écoute et on vous remercie de votre soutien ! 

N'hésitez pas à vous abonner ainsi qu'à partager le podcast s'il vous a plu !"]]></description>
<dc:subject>romaricandré watches seconde/seconde/ 2020 humor fun 2021 art interviews podcasts</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:7e5fe79dfbd8/</dc:identifier>
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<item rdf:about="https://www.nytimes.com/2021/11/01/fashion/watches-climate-change-ayana-elizabeth-johnson.html">
    <title>Watches, Climate Change and Running Out of Time - The New York Times</title>
    <dc:date>2021-11-03T07:11:54+00:00</dc:date>
    <link>https://www.nytimes.com/2021/11/01/fashion/watches-climate-change-ayana-elizabeth-johnson.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[“Ayana Elizabeth Johnson, a marine biologist, talks about all three.

It never occurred to Ayana Elizabeth Johnson that she was a watch collector.

As a marine biologist and co-founder of the think tank Urban Ocean Lab, Dr. Johnson, 41, constantly ponders time, but she said she considered her six watches just pieces of her identity.

During a phone interview from Brooklyn, her hometown, she described her quirky timepieces, mused about the concept of legacy and explained how she has used time as a powerful metaphor. Her comments have been edited and condensed.

Why haven’t you considered yourself a watch collector?

My dad was into watches, and as far as I can remember he had a hefty silver Omega. It was a part of his style. When he gave me a silver Tag Heuer with a blue face for my high school graduation, I felt like I was joining his club. I wore it for years until, in my grad program at U.C. San Diego, I bought a Suunto D6. I was working on my Ph.D. in marine biology and it was important for me to get it for scuba diving.

Years later, I ended up buying this gold Casio digital watch in the Addis Ababa airport. That’s like a club; everyone who has one finds it sort of irreverent. A while back, I was cleaning out my mom’s house and found two watches, a little Omega with a leather band and a men’s gold Movado that I now wear every day. I’ve never purchased an expensive watch, but it’s nice to have these little things that are associated with important phases in my life.

It’s like I’ve had a watch per decade, but I’ve never really sought them out. They’ve found me.

How would you define your relationship with time and legacy?

It’s funny to think about watches in this context. What is our relationship to time? What motivates us? Legacy, for one. People want to pass a watch down to their children, but what world do you want to pass down to them? Legacy is time, and the time to spend all of our money on figuring out renewables and climate policy is exactly now.

Urban Ocean Lab talks about how unprepared coastal cities are for rising seas and storms.

This metaphor of time and time running out and the clock ticking has been a really powerful one for the climate movement. As often as I hear it, this message that time is up — it’s true. We as wealthy nations have been dithering to the detriment to the entire world. It’s terrifying because we really only have so many chances at this.

You never leave the house without a watch on your wrist. Why?

I was given my first watch from my dad. He was an architect and a Black man trying to be taken seriously. He cared so much about design.

Every day I think about: How do we design the future that we want? It matters what the pieces and materials are and how they accommodate and fit people.”]]></description>
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    <title>Episode 39: Serica Watches - YouTube</title>
    <dc:date>2021-10-30T20:02:59+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=sRLLhAs6D4E</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[“For this episode, I sit down with Jerome from Serica Watches to discuss the history of the brand, unique design language and their current catalog. We dive into the depths of story telling in the watch world and the importance of wearability when it comes to designing a piece. This is a terrific episode and the opportunity to learn about a unique brand!”

[interesting explanation of the California dial at 23:15 and he says that they referred to it as a "error-proof radium dial"

more on that here:
https://vintagepanerai.com/tag/california-dial/
https://www.bobswatches.com/rolex-blog/resources/panerai-california-dials-rolex.html

See also the "californiadial" tag in these bookmarks
https://pinboard.in/u:robertogreco/t:californiadial/ ]]]></description>
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    <title>Interviews: Aneil Rallin and Kartika Budhwar - YouTube</title>
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    <dc:creator>robertogreco</dc:creator><description><![CDATA[""Along with scholars like Trinh T. Minh-ha and Susan Griffin, I want to reject the notion that academic scholarly writing has to be pedantic, or that it can't be playful or elliptical or weird or whimsical or mixed-genre or creative. There seems to be a distrust in academia, of playfulness and creativity, it's not seen as serious or critical or important. But, I like bringing together lots of different forms, critical writing and anecdotes and notes and analysis and snippets of conversations and fragments and juxtapositions." 

Literary theorist and author, Aneil Rallin, in conversation with SAAG Senior Editor Kartika Budhwar."]]></description>
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    <title>Transcript: Ezra Klein Interviews Tressie McMillan Cottom - The New York Times</title>
    <dc:date>2021-04-29T23:22:50+00:00</dc:date>
    <link>https://www.nytimes.com/2021/04/13/podcasts/ezra-klein-podcast-tressie-mcmillan-cottom-transcript.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[“TRESSIE MCMILLAN COTTOM: Oh, man. I wish I could say that I did train myself to write in so many ways. I think what happens instead is that — first of all, I’m a very curious person. I’m in these spaces anyway. I am an internet person for better or for worse, right? I came of age as a public person and like live journal, right? Like, I have followed the development of these spaces just like any other person, I think, of my generation, though. That’s just kind of where. That’s where we were hanging out.

And when I’m in a space, this predates being a sociologist or an academic. When I’m in a space, I’m very much a one step, in one step removed kind of person. I’m watching the thing I’m participating in, can’t turn that off. It’s just what I am and who I am. And so it makes sense for me that if I’m on Twitter, I’m also thinking about Twitter, right? I’m thinking about, why are all these people here? What’s the audience looking? What’s that about? And so that comes out in the things that I’m interested in. So that’s one thing.

I think training myself to write to that audience — understanding it is one thing, to be fair. Understanding everything as a genre is another thing, and there was a moment when I realized this is just like learning how to write the five paragraph essay, right, as opposed to a long form piece of creative nonfiction. Every medium has a genre, and some of that, cracking some of it really is just fun for me.

It’s like, OK. Let me see if I can do this. I can’t do them all, to be fair. There are definitely some genres, especially ones that lean more visual, because I’m a textual kind of girl. And I just don’t get like visual and editing, but some of it is just fun for me to see if I can remix the genre. First of all, can I capture it? And then can I remix it a little? Can I make an essay you have like the freewheeling feeling of Twitter? Can I surprise an audience that thought they were showing up for like a first person essay with a little bit of empirical thinking? Can I just sort of surprise people? That’s part of the fun for me.”

…

“There was a class of thinkers, a class of writers who came up in that web 2.0 that does feel like, yeah, we lost something there.

There was a humanity there for good or for bad. Humanity is messy, but there was a sense that those ideas were attached to people, and there were things driving those people, there’s a reason they had chosen to be in that space before it all became about chasing an audience in a platform and turning that into influencer and translating that into that — before all that happened, the professionalization of it all. And that’s what I think we’re missing when we become nostalgic for that web 2.0. I think it’s the people in the machine.

Having said that, I am very resistant to nostalgia as a thing because usually what we are nostalgic for is a time that just was not that great for a lot of people. And so what we were usually a really nostalgic for is a time when we didn’t have to think so much about who was missing in the room, who wasn’t at the table. So when I talk to friends, and especially younger people coming up behind us either in the internet or in writing spaces, we’re like, that time was horrible for young queer people.

They talk about looking for little safe pockets of space in web 2.0 world where it was still very OK to be homophobic, for example, in those spaces and our casual language and how we structured that kind of thing. And they love being able to leave that part behind in this new world of whatever the web is now, both a consolidated and a disaggregated new web.

That’s why I’m like resistant to nostalgia. At the same time, I’m like, yeah. I also laugh and go, I really miss having a blog. In some ways, coming back to the newsletter, and Substack was kind part of that. It’s me being nostalgic for having a place where I could put thoughts that didn’t fit into any other discourse or genre, and I wanted a space where I could talk to people who were actually interacting like real people. They weren’t acting like bots, or trolls, or whatever your internet persona is.

So, I mean, I say I’m resistant to nostalgia. I just try not to reproduce, but even I get a little — I’ll always have a soft spot for Blogger, which is coincidentally my first “where I state” space on Blogger.”

…

“One of the things I like to say to people is that we think that broadening access in any realm — we do this with everything, by the way. It’s such an American way to approach the world. We think that broadening access will broaden access on the terms of the people who have benefited from it being narrowed, which is just so counterintuitive.

Broadening access doesn’t mean that everybody has the experience that I, privileged person, had in the discourse. Broadening it means that we are all equally uncomfortable, right? That’s actually what pluralism and plurality is. It isn’t that everybody is going to come in and have the same comforts that privilege and exclusion had extended to a small group of people. It’s that now everybody sits at the table, and nobody knows the exact right thing to say about the other people.

Well, that’s fair. That means we all now have to be thoughtful. We all have to consider, oh, wait a minute. Is that what we say in this room? We all have to reconsider what the norms are, and that was the promise of like expanding the discourse, and that’s exactly what we’ve gotten. And if that means that I’m not sure about letting it rip on a joke, that’s probably a pretty good thing.”

…

“human nature is resistant to learning. I mean, nobody knows that more than people who teach for a living. But for all we valorize learning and education, human nature really trends towards inertia, and every layer of privilege you layer on top of somebody makes that more true. And so what we’re fundamentally, I think, saying to people is — who achieved something where part of the promise of the achievement was that I’ll never have to learn anything new again, right?

This was the promise, right? I’m now the editor. I’m the gatekeeper or whatever, and the whole promise of that was I’ll never have to worry about learning anything new again. And then we come to them and we go, no. You got to relitigate. You got to reconsider what your role is, and now there actually are people who can hold you accountable for that in a way that wasn’t always true.

And I found it to be true in every space I’ve ever been in, every organization. It is true of myself. Nobody likes being reminded that they are not done yet, that there’s still more work for them to do. And that’s, I think, what we’re fundamentally saying to people, and they resist that because that’s human nature. It’s just that some people get to resist it in a way more aggressive fashion than other people.”

…

“Nothing is funny to me than when I realize, we wrote all of this stuff. We did all this stuff. We threw out all these theories of change, and then people believed us. That’s literally what happened. You’ve got young people who said, wait a minute. Gender is a spectrum? OK. I’m a live it like a spectrum. And we’re like, no, but we didn’t mean that.

Really, what fundamentally happened is we hypothesized and imagined all of this stuff, wrote it into the ether, and then we’re surprised that people actually took it up and lived it. That does happen faster, as you point out. We do owe that to the internet. The generations are now like four and a half years long, but it happens faster, and so we feel older faster, and we feel outdated faster.

But I get so inspired by the people who, within a generation, have resisted becoming that old person. And I’m just like, OK. I’m just going to double down, right? I think we’ve got a choice. You can become like the Angela Davis of the world, or you’re like, OK, I hear you. Each new generation comes along, and I hear you. I got to get with it, and I’ve seen Angela do that in real time.

Like a young person will stand up in the audience and go, and we say “sibs” now. And she’s like, I’m with you. Gotcha. Like, you just take it, and you’re supposed to go. And I think we’ve got a choice. You can become that person within your generation who lives in that uncomfortable space, or you can become the person — I won’t name a name — but you can become the person who doesn’t and resists it. I just don’t want them writing about me like that later. So I’m really shooting for the Angela Davis model.”

…

“What a culture needs from its smart people at any given point in time changes. We can have a very different value system about what constitutes smart. What I want to keep in mind, and one of the things I hope that people take away when I say something about the correspondence of how smart you are is just really about your place in the world is because I want people to feel obligated to think about what world they’re creating for somebody else, but first we got to recognize how vulnerable our own identity is.

If you build your whole identity on how smart you are, I think it can make you very small and selfish in thinking about the world for everybody else. And so that’s why I try to pinpoint, like, if you think that I’m good enough, if you think, wow. Tressie’s really sharp, right? Tressie’s really brilliant. What I want you to imagine is how easy it would be for you to not think that and for me to just not exist, right?

I’d still be me. I’d still have my talents and abilities, and that we do that to people every day. We build a world that’s just not allowable or acceptable, and then I also really want to push the idea that we have so embodied the idea of smart as being something that a person is that it makes us really easy to disinvest from the things that make smart actually possible because smart is like a social problem.

We make smart. We make smart with schools. We make smart with our political decisions and choices, right? And if you think nature is just going to take care of it and it’s just going to give you a once in a lifetime genius every go round, then you don’t invest in the things that produce smartness. And a fixed idea of intelligence invites us to disinvest from the social contract of making more smart people. Just make more by expanding your understanding of it.”

…

“But we were having coffee one day with some of those folks, and friend Adam turns to me. And he’s like, the thing is, it’s not about who is disabled. It’s about when are you going to become disabled. We will all be disabled at some point in our life course, and so much middle class consumption, by the way, and our obsession with health and wellness is about that.

We are fundamentally — because we know how horrible we are to other disabled people, so we are terrified of becoming in any way disabled or differently-able, right? So take your bee pollen, and get your magnesium, and — well, you’re going to age. If nothing else, your eyesight is going to go. You’re going to lose some of your mobility, speaking about smart as a fixed idea. Just the way your brain works is going to change. We’re just so vulnerable to nature and time and biology, and we’re so terrified of it, I think, because we know that a lot of what we have built our ideas of who we are on are really far more vulnerable than we think they are.”

…

“So thick description is ultimately about asking as many questions of yourself as you’re asking of other people. So a thin way of engaging with the world is to assume that everybody has already made the decisions that you’ve made prior to the discussion, and all of your questions are going to be reserved for the object that you’re talking about, right, the people you’re talking about, the idea you’re talking about. I think that’s one way to think about it.

We also think about thick description as being really evocative, and that’s true, too. Using language to really try to capture people’s experience of things, that’s also true. Whereas thin description usually tries to flatten differences between experiences because it wants to tell you about sort of a universal experience, right, that I can make you understand your connection to something by pointing out what’s universal in it.

We think that we’re going to lose people when we start talking about the differences, by the way. And I’m not sure that’s true, and I try to show in my work that that’s not true, that you can absolutely seduce people into having a thick, nuanced conversation. It’s just going to take work on your part, right? I think you have to be dead on with craft. I think you have to be brutal about your empirics being accurate. I think you have to consecrate your own belief in yourself as being the universal storyteller.

But I think if you do all of that, people will follow you into a thick, uncomfortable conversation that they did not know they needed to have, but the mediums you talk about, who’s going to do that, right? The economics of that are horrible, and I know that. I get it, but I think what we’re seeing is an unspoken desire for exactly that kind of work, but a media ecosystem and an attention economy that just cannot allow that to happen.

That takes a lot of human beings, a lot of human power, takes a lot of willingness to embrace risk because you’re going to mess it up. You’re going to fail, and you’re going to piss somebody — right? This is just going to happen. There’s a lot of risk involved. And initially, it’s not profitable, but that is one of our struggles, I think, in the public discourse where we are trying to have that kind of conversation that I think people absolutely are attracted to even if that attraction feels like they’re angry about it, but that’s still desire for the conversation. I think they’re attracted to it, but we’ve only figured out the economics for very thin genre.”

…

“We don’t have a culture right now for scale and efficiency that can be productive. That’s for a culture that mostly agrees on who and what it is is mostly functioning the way most people need it to function for a good life. We don’t have that culture. And so I tell people, maximizing efficiency is for very different political body and public discourse than the one we have.

The one we have is trying to grapple with potentially massive social change and social transformation. That is a culture that needs messier, more nuanced places for public discourse. Trying to skip over that to get to the scale and efficiency part is how you become antagonistic to the audience. Even as y’all are sort of in a dance together, I think that thin stuff that is narrowed, asking the least from the audience, is actually fundamentally antagonistic to the idea of having an audience.”

…


“A lot of people woke up to find that the merit culture that they have been operating in has been, for a very long time, an honor culture. See, we were supposed to be too sophisticated for our honor culture of ritual and honor, exchanges of prestige and status and privilege, right? We were supposed to be too sophisticated for that.

And so you work hard and that the status will follow, economic achievement. And when that economic promise starts to collapse but the ritual of status remains, you really just have an honor-based culture where people will defend honor, will determine their honor in relation to other people. They’ll build hierarchies of honor within their own little corner of the world that might be at odds with another corner.

That’s when we talk about the siloing effect of culture. It’s not that people don’t know that people disagree with them. It’s that they’ve built their own little honor culture over here. And if there are no economic incentives to leave it, why would you?”]]></description>
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    <title>The Quietus | Features | A Quietus Interview | Earth, Wind And Fire: An Interview With Annea Lockwood</title>
    <dc:date>2021-04-10T03:07:43+00:00</dc:date>
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    <dc:creator>robertogreco</dc:creator><description><![CDATA[“Jennifer Lucy Allan talks to the New Zealand born composer about love letters on quarter-inch tape, piano gardens and doll shops, and the physical effects of sound upon our bodies”

[See also:
https://counterflows.com/commission/for-ruth/ ]]]></description>
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    <title>Robin D.G. Kelley on 'Black Marxism,' protests, L.A. politics - Los Angeles Times</title>
    <dc:date>2021-03-18T23:05:54+00:00</dc:date>
    <link>https://www.latimes.com/lifestyle/image/story/2021-03-17/robin-dg-kelley-black-marxism-protests-la-politics</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[“This story is part of our issue on Remembrance, a time-traveling journey through the L.A. experience — past, present and future. See the full package here.

Robin D.G. Kelley is, for my money, the great historian of our era. He has written groundbreaking works about, among other things, Alabama’s Communist Party during the Great Depression; the life of Thelonious Monk; and the visions of activists and thinkers from the African diaspora. On top of his work at UCLA — where he is a distinguished professor and holds the Gary B. Nash Endowed Chair in U.S. history — he issues a steady stream of limpid, persuasive, almost casually brilliant essays on politics, current affairs and cultural matters for Boston Review and other outlets. He keeps an eye on grassroots movements and on how maintaining a fertile, humane vision for the future creates new opportunities for radical action in the present.

In the year 2000, Kelley led the charge to reissue “Black Marxism,” a great, globe-spanning work of political history by one of his mentors, Cedric Robinson — successfully rescuing the book, then out of print, from near-obscurity. Since then, he has quite accidentally become the foremost authority on the late Robinson’s work and ideas. (“I did not want that,” he told me, sounding good-naturedly harried by the distinction.) Last year, after the deaths of George Floyd and Breonna Taylor, among others, at the hand of police officers, and the global protest uprising that followed, UNC Press decided to reissue “Black Marxism,” which — as Kelley had predicted two decades earlier — had become more relevant than ever.

Kelley wrote a rousing foreword for the new edition of “Black Marxism” and is working on a book called “Black Bodies Swinging: An American Postmortem,” about how the protests of 2020 are connected to a long history of resistance.

———

Vinson Cunningham: I’ve been thinking about you and Cedric Robinson. I love how, in your foreword to “Black Marxism,” this new foreword, you always call him by his first name. It’s like: Marx and Engels and Cedric. That’s moving to me. It reminds me of one of my favorite essays, “Looking for Zora,” where Alice Walker goes to find Zora Neale Hurston’s grave. There’s a kind of artistic and intellectual lineage that’s not only about reading — there’s an affective aspect, something to do with feeling and familiarity. What is it about Cedric for you?

Robin D.G. Kelley: I was a student of Cedric’s. He was on my dissertation committee. I was in awe of him. Reading “Black Marxism” that first time in 1984, it just blew my mind and changed my whole orientation. Everything I do as a scholar can be traced back to that book — everything.

He passed in 2016, and with his passing, that’s the first time I ever really dug into his biography. His widow, Elizabeth Robinson, knew that I was close to Cedric intellectually and in other ways. She said, “Look, no one’s writing an obit. We can’t get an obit anywhere.” And I said, “I’ll write one.” I interviewed her, talked to her, and learned all these details that I was kicking myself. I was like, “If I had asked the question … .” I didn’t ask the question because I’m a very shy person. I know that I’m in the public and stuff, but it’s a different thing.

VC: Why did you think the time was right for this third edition?

RDGK: I confess, I’m not the one who came up with the idea of putting it out again. It was UNC Press: Brandon Proia. In the midst of the protests — you had 2,600 people on the street. He emailed me and Elizabeth and said, “Look, now’s the time to put out a third edition.” With the new foreword I wanted, one, to really tell Cedric’s story, to situate his intellectual biography to understand where this book came from. Two, to situate the book in relationship to the rebellion of 2020 and talk about it as a manifestation of a black radical tradition. So much of the conversation in political circles, coming out of or preceding the 2020 rebellion, all use terms like “racial capitalism” more than anything else. So I wanted to try to understand this movement, while also trying to clarify what Cedric meant by (a) Black radical tradition and (b) racial capitalism.

VC: What are the difficulties in defining what racial capitalism means?

RDGK: The slightly more traditional Marxist scholars reject the idea that capitalism can actually be racial. They say, “Race is real. It’s a phenomenon. But it’s not really the fundamental one. It sort of gets in the way of what’s really the root of oppression: the reproduction of a capitalized class.” That’s class reduction. And then meanwhile, the so-called race reductionist position — you could call it Afro-pessimism lite — is that we’re just for Black people. They say, “The whole structure of Western civilization is based on anti-Blackness and anti-Blackness alone. And therefore, there can be no allyship, there can be no solidarity.” This kind of standoffishness, saying Black people need to just be for Black people, is not Cedric’s position at all.

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The class reductionist versus race reductionist debate doesn’t really advance us. Cedric advances us by helping us understand how capitalism is based on racial regimes. So, for example, property may be capital, in the Marxist sense, but property values are dependent on things that are nonmaterial — that are ideological, or superstructural — like race. Capitalism is rooted in a civilization that is based on difference. This doesn’t at all mean that white people are the enemy, or that Black people are all victims, which I totally reject. It doesn’t mean that all white people benefit. It just simply means that capitalism is structured through difference.

I have made a point of the fact that Cedric was writing a critique of Marxism — but not a hostile critique. He wasn’t rejecting all of Marx and Engels’ ideas, but he felt like Marxism was a window to understanding forms of radicalism that neither Marx nor Engels, nor Lenin, and others, could really grasp. Ironically, some people have gone to a kind of extreme, saying, “There’s nothing in Marxism that’s useful. It’s just a white man making up some stuff, and Cedric is right.” And I’m like, “No.” I find myself actually becoming more of a Marxist in my defense of Cedric.

VC: What do you view as your role as an intellectual? As you write “Black Bodies Swinging,” how do you make sure that what you’re describing is not only scrupulously true but also feeds into a politics that helps us both survive in the present and get somewhere more free in the future?

RDGK: That’s a great question. I feel like it’s not mandatory but it’s really important for me to be engaged in these movements, to make no pretense about some kind of dispassionate, detached objectivity. I think that we need to practice something that’s even better than objectivity. And that is, as you know, critique. Critique, to me, is better than objectivity. Objectivity is a false stance. I’m not neutral. I’ve never been neutral. I write about struggles and social movements because I actually don’t think the world is right and something needs to change.

As a historian, as a writer, I’ve got to try to be as critical as possible. I’m always trying to be truthful. As I write and produce this work, I learn things that we didn’t see before, but then, the work also reveals things that I failed to understand. And so to me, it’s always a process.

VC: Speaking of that kind of deep involvement, I would love to hear you talk about what California — and maybe Los Angeles, specifically — has meant for you in terms of your life but also in terms of your imagination of struggle.

RDGK: I came to California by way of Seattle in high school at the age of 15. It was in Pasadena. I was able to go to a state university where the tuition or the fees were $90 a semester. Cal State Long Beach. This was a time when we had a lot more Black students and brown students in college. I was involved with the Black student union. I had a part-time study group that was organized by the All-African People’s Revolutionary Party in Long Beach. That’s where I read Walter Rodney and Samir Amin and C.L.R. James — not so much in classrooms but in study groups.

A lot of the young people at the university and older people were working-class people — these were not the elites. In the ’80s we had the invasion of Grenada, we had the sanctuary movement, and the wars in Central America that were just driving Central Americans into Southern California; there was the anti-apartheid movement.

I ended up joining the Communist Workers Party at some point around 1983 or ’84. I can’t remember when. [Jesse] Jackson’s 1984 campaign was really, really important. We had the Olympics come to Los Angeles in ’84. We organized a whole protest around the Olympics called Survival Fest. And we had a march down Wilshire Boulevard, MacArthur Park. There were like 10,000 people. Got no press, but 10,000 people marching down Wilshire Boulevard. Demanding what? Our demands were jobs, peace and freedom. It was a very exciting time.

VC: I’m glad you mentioned Jesse Jackson, because I have often lamented our resistance to his idea of a Rainbow Coalition. He was explicitly tying rural whites to Latino immigrants to Black working-class people, and putting forward the idea that we can only do this together. Solidarity was in the air.

RDGK: And, of course, where does Jesse Jackson get the idea of the Rainbow Coalition? It comes from Fred Hampton. He coined the term. The Black Panther Party, Illinois chapter, coined the term. And it’s through, specifically, a man named Jack O’Dell. I knew him. Jack was a former Black Communist, a close associate of Dr. King’s and then of Jesse’s, who bridged the generations and brought a left orientation to the civil rights movement. He was the one who introduced the Rainbow Coalition to Jackson. In our current moment, it’s hard to talk about things like a Rainbow Coalition politically. It goes against the white-ally idea, which I’m not really big into, where the ally is perceived to stand aside, standing there ready to be …

VC: … happy to help.

RDGK: Yeah, “happy to help.” The Rainbow Coalition’s more like, “We need to build a movement and we’re all in it.”

VC: And my freedom is a part of yours. I can’t get mine without you getting swept up too.

RDGK: Absolutely. The Rainbow Coalition notion really happened at the grass roots. It had less to do with Jackson and more to do with all the organizing on the ground. When Jackson ran for office, there was a vacuum because the Democratic Party establishment did not like him. The Black Democratic Party establishment did not like him. So that vacuum meant that all of these left-wing organizations basically swept in and became his advisors, Line of March, Communist Workers Party, the Communist Labor Party. I can name them because I was part of it. I was a member of the Communist Workers Party working on the Jackson campaign, all part of this underground of left-wing forces.

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VC: You’ve said that in some ways the Black radical tradition comes together at “the crossroads where Black revolt and fascism meet.” What does fascism have to do with our moment, and what resources do we have to fight it?

RDGK: I would say — following the argument that Aimé Césaire made in 1950, and that Hannah Arendt made after that — that the roots of fascism are in colonial domination. Fascism is the power of the state, through coercion and through nationalism, to mark certain people through brutal suppression of rights, especially using emergency powers. It’s the idea that we’re in a state of war and that state of war is justification for abrogating any kind of civil liberties. In some ways, that’s what colonialism is.

VC: The constant state of war.

RDGK: For certain people, America has been fascist all along, and it just depends on what side you’re on. The vast majority of people can’t see fascism in a democracy where they can vote, and where they can walk freely. But for some of us, for undocumented people, for Black people, brown people, for Indigenous peoples especially, who’ve been put in concentration camps — all these fascist practices have existed in the United States from the get-go, from the beginning. What we see is fascism ebbing and flowing.

The abolitionist movements that erupted in 2020 are the movements that are dead set on ending fascism once and for all. “Fascism” is a word that we can’t be afraid of. I can’t say everything is fascist, but we can’t be afraid of recognizing the fascist elements that have been foundational to this country. Then we also can’t make the mistake of thinking of fascism as a particular, peculiar European thing, because part of Cedric’s point was that African American activist intellectuals were premature anti-fascists. They recognized fascism before a lot of white America did because they knew it. They knew it in the colonies, they knew it in the South, they knew it in their lives, they’ve seen it.

VC: In some ways, inviting the term “fascism,” and watching its ebbs and flows, necessitates internationalism and international thinking, right?

RDGK: Yes.

VC: In order to fight it, you have to fight it everywhere it exists and be in solidarity with — show love for — everybody who lives under it.

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RK: Internationalism is the Raid for the cockroach of fascism. Because fascism, it’s always about using nationalism, and the nation, as a bludgeon to generate support for death policies, on behalf of death governments. For violence and repression and exploitation, internationalism is the antidote, always.

Vinson Cunningham, a staff writer and theater critic for the New Yorker, is the author of the forthcoming novel “The Party Year.””]]></description>
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    <title>offshoot – What Will Be The Cure?: A Conversation With Sylvia Wynter</title>
    <dc:date>2021-01-11T09:11:02+00:00</dc:date>
    <link>https://offshootjournal.org/what-will-be-the-cure-a-conversation-with-sylvia-wynter/</link>
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<item rdf:about="https://densho.org/">
    <title>Densho: Japanese American Incarceration and Japanese Internment</title>
    <dc:date>2021-01-11T09:05:44+00:00</dc:date>
    <link>https://densho.org/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[“DENSHO: PRESERVING STORIES OF THE PAST FOR GENERATIONS OF TOMORROW
Our mission: To preserve and share history of the WWII incarceration of Japanese Americans to promote equity and justice today.

Densho documents the testimonies of Japanese Americans who were unjustly incarcerated during World War II before their memories are extinguished. We offer these irreplaceable firsthand accounts, coupled with historical images and teacher resources, to explore principles of democracy, and promote equal justice for all.

Densho is a Japanese term meaning “to pass on to the next generation,” or to leave a legacy. The legacy we offer is an American story with ongoing relevance: during World War II, the United States government incarcerated innocent people solely because of their ancestry.

Densho is a nonprofit organization started in 1996, with the initial goal of documenting oral histories from Japanese Americans who were incarcerated during World War II. This evolved into a mission to educate, preserve, collaborate and inspire action for equity. Densho uses digital technology to preserve and make accessible primary source materials on the World War II incarceration of Japanese Americans. We present these materials and related resources for their historic value and as a means of exploring issues of democracy, intolerance, wartime hysteria, civil rights and the responsibilities of citizenship in our increasingly global society.”

…

“DENSHO
A grassroots organization dedicated to preserving, educating, and sharing the story of World War II-era incarceration of Japanese Americans in order to deepen understandings of American history and inspire action for equity.

DISOCVER
A comprehensive reference tool with nearly 1,000 free and accessible entries related to the World War II incarceration of Japanese Americans.

EXPLORE
Oral history interviews, photos, newspapers, and other primary sources that document the Japanese American experience from immigration through redress with a strong focus on the World War II mass incarceration

LEARN
Online education center featuring multidisciplinary curriculum, instructional guides, and primary source material that allow teachers and students to connect with the lived experiences of Japanese Americans.”]]></description>
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<item rdf:about="https://truthout.org/articles/black-trans-feminist-thought-can-set-us-free/">
    <title>Black Trans Feminist Thought Can Set Us Free</title>
    <dc:date>2020-12-19T09:38:12+00:00</dc:date>
    <link>https://truthout.org/articles/black-trans-feminist-thought-can-set-us-free/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[“How can we move beyond a mindset dictated by the logic of prison, policing and anti-Blackness? What is “abolition feminism”? And how do the politics of gender, including the criminalization of trans and nonbinary people, dovetail with our understandings of race? How can deconstructing racialized gender binaries help us move toward justice and liberation?

To confront these questions, I spoke with Che Gossett, a Black nonbinary femme writer based in Brooklyn, New York. They are a 2019-2020 Helena Rubinstein Fellow in Critical Studies in the Whitney Independent Study Program, and a Ph.D. candidate in Women’s and Gender Studies, as well as a graduate fellow at the Center for Cultural Analysis at Rutgers University in New Brunswick, New Jersey. They are co-editor with Professor Eva Hayward of University of Arizona of a forthcoming Transgender Studies Quarterly Journal special issue: “Trans in a Time of HIV/AIDS.”

George Yancy: Within a context where Black people, Indigenous people and people of color (or BIPOC) continue to be victims of a form of racist and capitalist carceral punishment, can you speak to the importance of what is being called “abolition feminism”? Please define the meaning of this important term and speak to its relevance at this critical moment in U.S. history and global history.

Che Gossett: My knowledge of the term abolition feminism derives from Angela Davis and Gina Dent’s critical labor. I think of it as an open invitation to the unfinished liberatory struggle for abolition that is also a Black feminist struggle against anti-Blackness and heteropatriarchy and forms of carceral and white feminism that continue to perpetuate these forms of what Hortense Spillers calls “grammars of capture.” Abolition feminism would not only entail the abolition of the normative version of “feminism,” as opposed to its reform, and is not just a project of negative freedom but one that is immanent to and animate within already existing ensembles of struggle. Spillers’s definition of Black feminism as a “critical disposition” is that it is “a repertoire of concepts, practices, and alignments,” that “is progressive in outlook and dedicated to the view that sustainable life systems must be available to everyone; it also stands up for the survival of this planet.” This concept really resonates with me and I see this as critical to a formulation of “abolition feminism.”

Black trans women and femmes have historically and contemporaneously battled criminalization and policing, the precarious violence of lumpen proletarianization within the capitalist political economy — underground economies of drag and sex were and are criminalized — and also the violence of the anti-Black and anti-trans libidinal economy. My thinking here is informed by Lindon Barrett in terms of how race is conceived as a set of libidinal and corporeal protocols, that is, where “Race is conceived of as a set of libidinal prohibitions” — an economy wherein Black trans people face anti-Black and anti-trans patriarchal violence that is both legal and extralegal. In this moment, I am also thinking about Layleen Polanco, who died at Rikers, in the women’s facility, where the carceral liberals and carceral feminists would have imagined her to be safe. As CeCe McDonald reminds us, prisons are safe for no one.

The premature death of Black trans women continues now in the middle of the COVID-19 epidemic. I went to a powerful protest here in New York City over the summer for Black trans life, which was modeled after the 1917 Silent Parade. The march this summer was a powerful surge of rage and mourning where an estimated 15,000 people attended. This felt like a seismic shift. Black trans demands continue and there’s dedicated mutual aid and organizing happening that made that moment possible. The Brooklyn Liberation, The Okra Project, Marsha P. Johnson Institute, For the Gworls, GLITS and Black Trans Femmes in the Arts have all been doing incredible work at this historical juncture. GLITS just opened the first by and for trans housing complex, and all of these organizations and formations center formerly incarcerated trans people and sex workers.

Black trans women and femmes have not only been at the epicenter of the struggle against racial patriarchy — even while being exiled from and unthought of by feminism — but also there’s an analysis, a study of racial patriarchy that is made available to us through the 1970s political formations: an archive of zines and political grammar (fag, non-men, street queen, etc.) that continues and that is essential to and indispensable for the struggle against racial patriarchy and carceral violence in the present tense.

How do we creatively cultivate spaces that exist outside of carceral logics and anti-Black logics?

I’m not sure that we can ever fully in this “world” create spaces that exist entirely outside of anti-Blackness and its carceral technologies, since we are always under duress. I think one of the incredible lessons of the abolitionist movement, which is a form of critique and praxis, is that abolition is both an interior and external practice. I think of Jared Sexton’s brilliant synopsis: “Slavery is the threshold of the political world, abolition the interminable radicalization of every radical movement.” The radicalization is perennial. And rather than falling for the ruse of political immunity to carceral logics and anti-Blackness, perhaps knowing that this protracted struggle is one that preceded us, and will continue after, can sustain us.

There’s a powerful line in Frantz Fanon’s The Wretched of the Earth that speaks to contamination and the illusion of purity and the need for an entangled effort: “everyone must be involved in the struggle for the sake of the common salvation. There are no clean hands, no innocent bystanders. We are all in the process of dirtying our hands in the quagmire of our soil and the terrifying void of our minds.”

Black thought has always been “thought of the outside” (to repurpose Maurice Blanchot). Part of this thinking of the outside is the project of moving against and beyond the coordinates of what Sylvia Wynter termed “our narratively condemned status” in her incredible essay “No Human Involved,” which she wrote following the brutal assault and viral circulation (the digital afterlife of slavery) on Rodney King.

Wynter’s “Towards the Sociogenic Principle” holds out a theoretical and political horizon for life beyond/against the racial and colonial figure of the Human, which she so brilliantly terms a genre. In this pathbreaking essay, Wynter parts ways with functionalism — the theory that the mind is what it does — and argues for sociogenesis: “if the mind is what the brain does, what the brain does, is itself culturally determined through the mediation of the socialized sense of self, as well as of the ‘social’ situation in which this self is placed.” For Wynter, not only is Man a genre but so too is (the theory of) Mind. Within a context where the mind-body problem is maintained, with its positing of an a priori universalized consciousness, the phylogenetic/ontogenetic dyad is a symptom of whiteness in that it ignores sociogeny and it can take that position of epistemic pseudo- or quasi-ignorance as a result of not experiencing racialization. In this sense, mind is seen as universal and given, as opposed to constructed.

To modify and repurpose theories of mind that posit underlying laws that determine the necessity for consciousness in the face of the question as to why living creatures, humans in particular, require conscious experience at all, Wynter extends Fanon’s theorization of sociogeny. She brilliantly shows how thinking with Fanon opens up “insights into the laws which govern the realm of lived subjective experience, human and nonhuman, which govern therefore, the interrelated phenomena of identity, mind and/or consciousness.”

Wynter makes a lateral move and offers, via her theorization of the Human as a genre, a de-hierarchization of life/subjectivities. This to me, especially in this moment of what anti-Black capitalist planetary destruction might look like, speaks to other formations and orchestrations of life that work toward new iterations of livability and inhabitability of this planet.

I have written about how cisgender Black men have suffered under the gaze of whiteness, how they have been rendered both invisible and hyper-visible. Within the context of the U.S.’s anti-Black imaginary, Black men are deemed criminals, thugs and brutal animals. My work here presupposes a gender binary that I leave untroubled. Could you speak to how violence operates precisely at the site of the gender binary?

The violent figuration of Black people as criminals, thugs and brutal animals — “beasts,” since they are imagined creatures, not actual animals — is also sexualized and gendered against Black trans, queer and gender nonconforming people. This can be seen with the anti-Black and anti-trans viral lithograph of Black trans sex worker Mary Jones in 1836. She was demonized as “monstrous” as she testified that she had “always dressed this way amongst people of my own colour.” Or, think about the news media referring to the Black, gender-nonconforming queer young people known as the NJ4 — whose struggle was the center of the documentary Out in the Night — who defended themselves against patriarchal and homophobic attacks and were prosecuted as a result, and referred to as a “wolf pack.” It is this aestheticization of anti-Blackness that we face in trying either to force us to be “normal” or in figuring us as disposable. Again, this is the discursive violence of what Wynter calls “our narratively condemned status.”

Blackness is gender trouble. The etymology of cisgender itself presumes a correspondence between assigned sex and gender, which fails to account for Blackness. Thinking here of Black feminist and Black trans studies’ deconstruction of sex and gender, of Spillers’s “ungendering” and also the work of Riley Snorton and also Zakiyyah Iman Jackson on the anti-Black logic of binary sexuation. As Snorton argues, “captive flesh figures a critical genealogy for modern transness, as chattel persons gave rise to an understanding of gender as mutable and as an amenable form of being” — this happens through fungibility. The slave is the ground for “modern” gender and sexuality.

In her writing on fungibility in Scenes of Subjection, Saidiya Hartman expands the conceptualization of the commodity form by showing how the figure of the slave as commodity is situated not only in the political but also within a libidinal economy of what Frank Wilderson calls “gratuitous violence.” Hartman and Fred Moten think of the commodity that speaks (which Marx only imagines) and, moreover, the commodity that screams. Black thought begins with the un-apprehension of being. Marx beyond Marx (to sabotage Antonio Negri). Hartman writes about the relationship between libidinal economy and political economy that is consecrated in the commodity form and its fungibility and trans-positionality. In a paragraph worth quoting at length, she argues:

<blockquote>The relation between pleasure and the possession of slave property, in both the figurative and literal senses, can be explained in part by the fungibility of the slave — that is, the joy made possible by virtue of the replaceability and interchangeability endemic to the commodity — and by the extensive capacities of property — that is, the augmentation of the master subject through his embodiment in external objects and persons. Put differently, the fungibility of the commodity makes the captive body an abstract and empty vessel vulnerable to the projection of others’ feelings, ideas, desires, and values.</blockquote>

Black queer and trans and feminist thought provide an arsenal of critique and praxis that allows us to think rigorously both about violence, and to think again alongside Frank Wilderson’s brilliant grammar, the demand for “gratuitous freedom.” The violence that you are describing is part of a broader matrix of the gender binary that constantly seeks to imperil and outlaw Blackness, despite the failed optimism of appeals to what Jared Sexton calls “borrowed institutionality.”

How might the discourse and praxis of Trans Studies help us to move forward, to a world where justice and radical love prevails?

One of the problems of the heralded moment of “trans visibility” is the assumption that trans is perceptible and knowable, that you can visually isolate trans or that there are more authentic versions of trans than others, which implies a kind of hierarchical and vertical visual economy. Trans visibility so often means surveillance, especially by non-trans people and also by the security state — from TSA at airports to the welfare line. This is rigorously studied and dismantled by Toby Beauchamp in Going Stealth: Transgender Politics and U.S. Surveillance Practices and in Eric Stanley’s brilliant essay on visibility as an anti-trans optic (and operation). I’m interested in how trans artists through their visual theorizing are subverting that order through iterations of trans “opacity” and troubling aesthetics as a racial and patriarchal regime. For example, Ser Serpas, who in a show in 2017 at the gallery Current Projects exhibited as “self- portrait,” undercuts the autobiographical notion of the self and its portrait, titled penultimate warrior. The “self-portrait” was an incinerated armchair that she had lit on fire after throwing estradiol on it. The armchair isn’t an armchair anymore; rather than perfected, it is undone. Trans as gender in ruins.

Thinking about another intervention and troubling of trans linearity and visibility within the frame of trans studies is Eva Hayward’s “More Lessons from a Starfish: Prefixial Flesh and Transspeciated Selves.” Hayward presents an alternative to the medical linear narrative of trans women and femme embodiment as ontological insufficiency and corporeal lack — the idea that to transition requires a supplement to an originary lack that is then solved by reassignment surgery that would make one into a “real” woman. Instead, Hayward shows how every cut is a fold, how there’s no lack but instead a transition of body from itself to itself.

Finally, in thinking about Black trans art and the afterlife of slavery, it’s important to bring attention to the incredible aesthetic, cinematic and archival labor of the filmmaker and artist Tourmaline. Hartman argues that the afterlife of slavery is an aesthetic problem and I see the work of Tourmaline as both an inhabitation of that problem, through speculative cinematography and what Hartman terms “critical fabulation.” Tourmaline’s film Salacia, which is now in the permanent collection of both the Museum of Modern Art and the Tate in London, as well as her films Happy Birthday Marsha and Atlantic is a Sea of Bones helps us imagine the Black trans aesthetics of abolition, as well as think of the historical temporality of Blackness and transness beyond the limits to and effacements of the archive of slavery.”]]></description>
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    <title>The Red Nation Podcast: The end of US empire? with Kim TallBear</title>
    <dc:date>2020-09-15T22:47:51+00:00</dc:date>
    <link>https://directory.libsyn.com/episode/index/show/therednation/id/15815267</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Dakota scholar Kim TallBear talks about the end of US empire and what that means for Indigenous people. 

She is a regular panelist for the podcast Media Indigena and writes for the Critical Polyamorist."]]></description>
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<item rdf:about="https://directory.libsyn.com/episode/index/id/15743372/tdest_id/1617341">
    <title>Libsyn Directory: THE RED NATION PODCAST: Learning &amp; unlearning w/ Noname</title>
    <dc:date>2020-08-29T19:31:29+00:00</dc:date>
    <link>https://directory.libsyn.com/episode/index/id/15743372/tdest_id/1617341</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[See also: https://soundcloud.com/therednationpod/learning-unlearning-w-noname ]

[Discussion of Land Back (and reparations) starts around 21:40 and continues on from there until 27:00 and beyond

Nick Estes also references Cheryl Harris's "Whiteness As Property"
https://harvardlawreview.org/1993/06/whiteness-as-property/ ]]]></description>
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<item rdf:about="https://quillandquire.com/omni/qa-canisia-lubrin-speaks-to-dionne-brand-about-her-two-new-books-the-blue-clerk-and-theory/">
    <title>Q&amp;A: Canisia Lubrin speaks to Dionne Brand about her two new books, The Blue Clerk and Theory | Quill and Quire</title>
    <dc:date>2020-07-13T22:43:18+00:00</dc:date>
    <link>https://quillandquire.com/omni/qa-canisia-lubrin-speaks-to-dionne-brand-about-her-two-new-books-the-blue-clerk-and-theory/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Dionne Brand, winner of the Griffin Poetry Prize, the Governor General’s Literary Award, the Trillium Book Award, member of the Order of Canada, and one of the country’s most respected and beloved writers, returns this fall with two books: The Blue Clerk and Theory.

The former, the writer’s latest poetry collection, is composed of a sequence of versos, or left-hand pages, that cumulatively form an ars poetica in which Brand forwards a meta-theory about the act of writing poetry. Brand’s blue-ink-stained clerk lives on a lonely wharf where she presides over bales of paper that comprise the poet’s accumulated pages – things unwritten, withheld, or unexpressed. This book-length conversation between Brand and her clerk is a mix of memoir, poetry, criticism, theory, and philosophy.

Theory is a slim philosophical novel that focuses on a narrator who is attempting to complete a PhD thesis despite becoming disillusioned by the promise of the academy. The novel investigates contemporary realms of the intellect, the body, and the spirit by way of the narrator’s reminiscences regarding three ex-lovers who respectively symbolize these three ontological elements.

Canisia Lubrin: Regarding The Blue Clerk, I have no questions. What I have are 242 pages of comments. Why don’t we start with time and place.

Dionne Brand: The Blue Clerk is an attempt to observe time and not place. Therefore, the materials that the clerk excavates/collects are not hinged to place. The clerk lives in nowness. The clerk lives in the continuum of the present. The author is stuck in place.

CL: In Verso 2, you write that you have spent “years and years actually trying to write in the centre of your life.” How does this work in the context of a book that tries to interrogate the practice of poetry within the context of a poetic language?

DB: Writing this clerk called for a degree of ruthless honesty, which was sometimes difficult. The things one has left unwritten or unsaid [in earlier work] would lead to a set of confrontations that would expose all the compromises, self-corrections, self-censorships, and sometimes nefarious and cowardly reasons for leaving the things unwritten and unsaid. So that’s a difficult process: to revisit the decisions of language, to revisit and critique the choices made even if those choices seemed, at the time, perfectly legitimate.

CL: And can I posit that you created the clerk as a mechanism for self-criticism?

DB: Poetry is pressure on the page, on space, on time. This is a diacritical text – an accenting, overwriting, and underwriting of what the poet has produced so far. A process that changes the tone, quality, texture, lines, shape. The clerk has thrown out all of the methods that the author has used so far, but what is created is a strange synthesis, a scansion of all the poet has written, pointing to the unstressed.

CL: I wonder if we can talk about Guyanese writer Wilson Harris’s idea of the unfinished work of the imagination in The Blue Clerk.

DB: I return to Harris’s essay “The Unfinished Genesis of the Imagination,” because for me it opens up ways of knowing that haven’t been suppressed by colonial logics. Likewise, his phrase “the originality of the future” is so rich and for me it seems to get at a set of knowledges that have yet to declare themselves fully.

CL: You say also that the clerk isn’t burdened by the blank page. There’s a freedom there that insists toward possibility. That seems to be a dismissal of the idea of the Black diaspora as an absolutely tragic place.

DB: The clerk’s manifest speaks to the business of full possibility in spite of all the regimes that seek to strangle that fullness – the regimes of white supremacy, racism, capitalism, sexism. These are not terms the clerk would use since the clerk lives in time and not in narrow place. This place we live in is narrow, meagre, and reductive. The clerk has a kind of knowledge and, perhaps, cynicism of this world whose conditions are paltry. The clerk thinks the author is slightly cowardly. The clerk is stringent. She feels that the author with all her beautiful finishes never manages to de-centre what she strives to de-centre because she pays too much attention to and, therefore, inadvertently capitulates to those logics. The clerk reformulates what to consider, what to think of as knowledge.

CL: Some versos question how we use language to animate space and how we in turn are animated in space.

DB: I try to listen to the actual sound of a place, not the official sound or the official narrative. The space the poet occupies is against the official narrative. The poet collects the sounds, the meanings, and through accumulation something appears. The job of the poet is to notice.

CL:  To be alive, then, is to collect? We live and accumulate.

DB: This collecting is involuntary on the part of the clerk. And the clerk would rather not. The author has an archive; the clerk has a living library whose records are always undone, always changing. That living, breathing, elliptical, complicated, undone thing is [the subject of] the actual discussion that they’re having.

The clerk is not a tool of the author. One might think it is the other way around, yet I think that the relationship is far less knowable. In this sense, their argument is not a dialectic in the way of Socratic dialogues. Perhaps it approaches Kamau Brathwaite’s Tidalectics – cyclical rather than linear. The exchanges between the author and the clerk are wave-like and oceanic, petering out or explosive.

CL: In Theory, the desire of the protagonist is to create something – by way of a dissertation – so radical as to change the world in a concrete way. Does the narrator exemplify what the clerk might be on this side – our side – of the wharf?

DB: No. The clerk is a creature of the air of the wharf; she’s pure poetry, in a sense. Theory is a different matter altogether – an experiment in an experiment.

CL: The narrator’s life in Theory is refracted through the intellect. The novel exposes how living a critical life is often in conflict with a person’s way of being in the world.

DB: The narrator really doesn’t have a grasp of the social. When the novel opens, the character has already been through those social experiments with the lovers, who have inculcated a kind of mystery. The narrator is rigorous and very bright but also vain. For the narrator, the social and the intellectual are at odds with each other.

CL: It’s a portrait of someone who has turned life into an experiment.

DB: Yes, in a sense.

CL: Theory seems a way of trying to escape ideology, pushing back against hierarchy and its dangerous normativities and conformities.

DB: Theory is a novel of ideas. This isn’t a new thing. The form of the dissertation crosses into the form of the novel. Gradually, the thesis that the narrator tries to attend to walks into the novel; the thesis is performed in the novel.

CL: Would you say this is an approach to eliding narrative?

DB: Definitely. Yes. You can say that the novel comments on the regularity of a certain kind of narrative that has locked the reader into expectations about the creation of a physical world. Certainly, in North America, [this] is the logic of novels. Everywhere else, forms of narrative are expanding. In entering Theory, both the reader and author must be generous in understanding that the universe is 13.772 billion years old. 

CL: The book plays with this idea of what kind of academic the narrator is, what space the narrator occupies. The idea of honesty as it appears in the novel (“mistaking honesty for cruelty”) seems to set up a false dichotomy.

DB: Adjacency, I think, is what the narrator would call it. The narrator is aware of context and treats life as an academic question and enterprise. The character comes from a kind of middle class but practises a form of living that is not suitable enough. There are proscriptions that must be adhered to. The narrator is a rigorous academic, even in the personal.

CL: The narrator’s encounters with the past are humorous, calling up figures like Dickens, Shakespeare, Walcott, Naipaul. Hilarious and so true.

DB: Yes.

CL: The book is quite something.

DB: I had a lovely time writing it."]]></description>
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<item rdf:about="https://twitter.com/keguro_/status/1280028271263039488">
    <title>k'eguro on Twitter: &quot;As I was watering stuff this morning, I started thinking of that interview with Frank B. Wilderson III. https://t.co/VE0bwCQFpI&quot; / Twitter</title>
    <dc:date>2020-07-13T16:02:12+00:00</dc:date>
    <link>https://twitter.com/keguro_/status/1280028271263039488</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[this thread by Keguro Macharia is a work of art *and* scholarship *and* criticism, fully recorded, here but best read on Twitter as a thread, for effect]

“As I was watering stuff this morning, I started thinking of that interview with Frank B. Wilderson III.

“Part III: Afropessimism and rituals of anti-Black violence: The final part of Zamansele Nsele’s interview with Frank B Wilderson expands on some of the thinking in his latest book, ‘Afropessimism’”
https://mg.co.za/friday/2020-07-02-part-iii-afropessimism-and-rituals-of-anti-black-violence/

[Part I and Part II here:
https://mg.co.za/article/2020-06-24-frank-b-wilderson-afropessimism-memoir-structural-violence/
https://mg.co.za/friday/2020-06-27-part-ii-afropessimism-and-the-rituals-of-anti-black-violence/ ]

I like interviews. They create ways for readers to engage authors and ideas.

Sylvia Wynter’s conversations with David Scott, Katherine McKittrick, and Greg Thomas—three separate ones!—helped me read her work.

The interviews on The Public Archive blog have enriched my thinking in many ways.

https://thepublicarchive.com/?page_id=3001

Reading Spivak’s interviews helped me think with her.

And I’m still asking Aaron Bady to publish a book of his multiple interviews with African authors.

I love interviews.

And a final shoutout to Canisia Lubrin’s conversation with Dionne Brand, which is fun and deep—deep, as the young ones say!

https://quillandquire.com/omni/qa-canisia-lubrin-speaks-to-dionne-brand-about-her-two-new-books-the-blue-clerk-and-theory/

So I was thinking about Wilderson’s interview, and was stopped by a question about how Afropessimism has been received.

“One of the criticisms against Afropessimism is that it originates in the US academy and that it is only applicable or exclusive to the Global North (not in the Global South where there is a Black majority context). What do you say to this?”

I do not like this question.

I like names.

Which people have leveled this criticism?

What are their names?

Where are they?

Who are they?

I do not like this question. At. All.

I dislike Wilderson’s answer even more than I dislike the question.

“That is a form of sophistry that is coming from people who want to demonise Afropessimism through ad hominem attacks rather than engaging and interrogating its first principles and assumptive logic.”

Again, I ask, which people?

Who are these people that the interviewer and Wilderson know? Who are these people who are such poor readers and thinkers that they can only attack Wilderson, and not the ideas in Afropessimism?

And then I thought, fair enough. There are people who attack Wilderson and not Afropessimism.

I’ll let that go.

But then I thought.

(But is a dangerous word.)

But then I thought: if you publish a memoir that has the SAME title as a school of thought, what are you inviting?

What are you inviting?

Is a critique of the memoir—its stye, its method, its narrative, its organization, its affects—an ad hominem attack?

How are we to read and assess this hybrid memoir-as-theory work?

(It is not the first such work in the history of writing.)

And if I say, Wilderson, the gender and sexual politics of your memoir are patriarchal as fuck. And heteronormative as shit.

Have I attacked the person or the memoir? The person or the theory? The memoir or the theory?

Which is it?

And if I say, the working class South Africans in the memoir are props. And the only South African who gets any intellectual and aesthetic credit is Nadine Gordimer.

Read the memoir. This is true.
We can disagree. But it is true.

What, then, have I read or misread?

But then I decided to let it go.

Because I have things to plant, things to weed, beans to boil, and tea to drink.

But then.

(But is a dangerous word.)

I read this interview.

Me, who TRAINED originally as an African Americanist. I read this interview. Me. An expert in the Harlem Renaissance. Me. I read this interview.

And I learn, in this interview—more implied than said—that Africans are “rejecting” thinking from “the Global North.”

And I pause.
And I pause again.

And if Afropessimism represents something, let us say Africans are rejecting thinking from Black North America.

And I paused.

Synecdoche is a useful word.

And I thought of the many people I know across many African countries who study and teach Audre Lorde and bell hooks and Hortense Spillers and Saidiya Hartman and W.E.B. Du Bois and Alain Locke and Zora Neale Hurston and Christina Sharpe and Henry Louis Gates and and and.

Flip through an MA or PhD thesis from Africa that addresses blackness and you will see a rich bibliography FULL of thinking from Black North America.

Full.

Spend a little bit of time online, and you will encounter many people from “the Global South” begging for pdfs from the Global North, because library access here is not great.

Pay attention to what is requested.

Ask, casually, how many Africans have read or studied Alice Walker and Toni Morrison and Ntozake Shange and Tayari Jones and Claudia Rankine and Zora Neale Hurston and and and.

And if it’s “the greatest hits,” let’s admit that books are expensive, and let it go.

So I thought about this implicit claim that Africans are rejecting Afropessism because Africans reject thinking from the Black Global North.

(As though Christopher Ouma’s body of work is not in deep conversation with Paul Gilroy.)

And I was still watering plants.

And then I got even more interested in the interview.

And you mostly don’t want me to get interested, because I am a fucking good reader.

And I thought about that memoir I had read. And what it had done with gender and sexuality. In its bildung form.

(A refrain: “I was not yet an Afropessimist.”)

And I thought about Wilderson’s response to a question about Black feminism.

“My work, in particular, and I would say Afropessimism in general, is influenced by one stratum of Black feminism. I’m thinking of the work of Saidiya Hartman, Joy James, Christina Sharpe, Sylvia Wynter, Hortense Spillers and Zakkiyah Iman Jackson”

And I laughed.

And I laughed because I have read and studied these thinkers, and I call some of them friends and acquaintances.

And I know, with bonedeep conviction, that if Wilderson had taken these Black feminists seriously, there’s no fucking way he’d have written many of those sentences he wrote about gender and sexuality.

Absolutely no fucking way.
A list is not engagement.

And then I wondered, as I do, about engagement.

You find the idea of African Pessimism in African writing that begins in the 1950s.

It is not the same thing as Afropessimism, though I would argue that it is structured by the same conditions of colonial modernity.

It’s one thing to say Afropessimism works through a set of ideas through particular archives and thinkers and, in that way, is not really the same as African Pessimism.

I’m okay with that.

It’s another thing to pretty much ignore a body of work that shares a name.

If some Africans are salty, perhaps that accounts for some of it.

Perhaps.

And I was still watering plants.

And I was interested.

And you don’t want me interested. Or you do. Up to you.

And then I thought, if Africans are being accused of disengaging with Black North America, where is Wilderson’s own engagement with African thinkers?

Mbembe doesn’t count.

Which contemporary thinkers on the continent is he reading and engaging?

Which ones?

How is he engaging them?

Should we expect some reciprocity?

Or does this thing go one way?

Because, you see, I work across geohistories.

And when I work on Afro-Caribbean authors, I try to engage Afro-Caribbean scholarship. Access will always be a problem. I no longer apologize for what I can neither find nor afford.

When I work on U.S. or Canadian authors, I try to engage scholarship from those places. I try to think with it.

When I work on African authors, I try to engage African thinkers.

Because geohistory matters. And the Black diaspora work I do is frottage and suture.

Rub & Sew.

And then I had a final thought: it’s dangerous to imagine you incarnate a theory.

And if people do not like the memoir for whatever reason, that says nothing about their engagement with Afropessimism.

And I would very much appreciate the people who line up to DEFEND Afropessimism to stop.

It’s not a cult.

It’s a body of thinking that lives alongside other bodies of thinking.

We work across difference if our shared goal is freedom.

And then the plants were watered and I came in to write this thread.”]]></description>
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    <title>Earl Sweatshirt x MOCA - Conversation with Cheryl I. Harris - YouTube</title>
    <dc:date>2020-05-20T01:33:29+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=gwgIWG6V3qk</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[“Uproxx reports on In/between us: a conversation on art, music, and life with Thebe Kgositsile and Cheryl I. Harris at the Museum of Contemporary Art in Los Angeles.”]]></description>
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<item rdf:about="https://www.youtube.com/watch?v=dXuXfgquwkM">
    <title>Bong Joon-ho Discusses PARASITE, Genre Filmmaking And The Greatness Of ZODIAC - YouTube</title>
    <dc:date>2020-01-10T21:33:24+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=dXuXfgquwkM</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[“When directing the movie, I tried to express a sentiment specific to Korean culture, and I thought that it was full of Koreanness if seen from an outsider’s perspective, but upon screening the film after completion, all the responses from different audiences were pretty much the same, which made me realize that the topic was universal, in fact. Essentially, we all live in the same country called Capitalism, which may explain the universality of the responses.”

…

“As a matter of fact, i didn’t set out to deal with the theme of class struggle. When we look around, however, we can identify both the poor and the rich, and the disparity can be seen everywhere. In depicting their unique stories and situations, the topic emerged organically.“

]]></description>
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    <title>Longform Podcast #371: Parul Sehgal · Longform</title>
    <dc:date>2019-12-14T00:01:32+00:00</dc:date>
    <link>https://longform.org/posts/longform-podcast-371-parul-sehgal</link>
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<item rdf:about="https://logicmag.io/nature/a-giant-bumptious-litter/">
    <title>A Giant Bumptious Litter: Donna Haraway on Truth, Technology, and Resisting Extinction</title>
    <dc:date>2019-11-08T04:20:35+00:00</dc:date>
    <link>https://logicmag.io/nature/a-giant-bumptious-litter/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Socialists aren’t the only ones who have been techno-utopian, of course. A far more prominent and more influential strand of techno-utopianism has come from the figures around the Bay Area counterculture associated with the Whole Earth Catalog, in particular Stewart Brand, who went on to play important intellectual and cultural roles in Silicon Valley.

They are not friends. They are not allies. I’m avoiding calling them enemies because I’m leaving open the possibility of their being able to learn or change, though I’m not optimistic. I think they occupy the position of the “god trick.” [Eds.: The “god trick” is an idea introduced by Haraway that refers to the traditional view of objectivity as a transcendent “gaze from nowhere.”] I think they are blissed out by their own privileged positions and have no idea what their own positionality in the world really is. And I think they cause a lot of harm, both ideologically and technically. 

How so?

They get a lot of publicity. They take up a lot of the air in the room. 

It’s not that I think they’re horrible people. There should be space for people pushing new technologies. But I don’t see nearly enough attention given to what kinds of technological innovation are really needed to produce viable local and regional energy systems that don’t depend on species-destroying solar farms and wind farms that require giant land grabs in the desert.

The kinds of conversations around technology that I think we need are those among folks who know how to write law and policy, folks who know how to do material science, folks who are interested in architecture and park design, and folks who are involved in land struggles and solidarity movements. I want to see us do much savvier scientific, technological, and political thinking with each other, and I want to see it get press. The Stewart Brand types are never going there. 

Do you see clear limitations in their worldviews and their politics?

They remain remarkably humanist in their orientation, in their cognitive apparatus, and in their vision of the world. They also have an almost Peter Pan quality. They never quite grew up. They say, “If it’s broken, fix it.” 

This comes from an incapacity to mourn and an incapacity to be finite. I mean that psychoanalytically: an incapacity to understand that there is no status quo ante, to understand that death and loss are real. Only within that understanding is it possible to open up to a kind of vitality that isn’t double death, that isn’t extermination, and which doesn’t yearn for transcendence, yearn for the fix.

There’s not much mourning with the Stewart Brand types. There’s not much felt loss of the already disappeared, the already dead — the disappeared of Argentina, the disappeared of the caravans, the disappeared of the species that will not come back. You can try to do as much resurrection biology as you want to. But any of the biologists who are actually involved in the work are very clear that there is no resurrection. 

You have also been critical of the Anthropocene, as a proposed new geological epoch defined by human influence on the earth. Do you see the idea of the Anthropocene as having similar limitations?

I think the Anthropocene framework has been a fertile container for quite a lot, actually. The Anthropocene has turned out to be a rather capacious territory for incorporating people in struggle. There are a lot of interesting collaborations with artists and scientists and activists going on.

The main thing that’s too bad about the term is that it perpetuates the misunderstanding that what has happened is a human species act, as if human beings as a species necessarily exterminate every planet we dare to live on. As if we can’t stop our productive and reproductive excesses. 

Extractivism and exterminationism are not human species acts. They come from a situated historical conjuncture of about five hundred years in duration that begins with the invention of the plantation and the subsequent modeling of industrial capitalism. It is a situated historical conjuncture that has had devastating effects even while it has created astonishing wealth. 

To define this as a human species act affects the way a lot of scientists think about the Anthropocene. My scientist colleagues and friends really do continue to think of it as something human beings can’t stop doing, even while they understand my historical critique and agree with a lot of it. 

It’s a little bit like the relativism versus objectivity problem. The old languages have a deep grip. The situated historical way of thinking is not instinctual for Western science, whose offspring are numerous. 

Are there alternatives that you think could work better than the Anthropocene?

There are plenty of other ways of thinking. Take climate change. Now, climate change is a necessary and essential category. But if you go to the circumpolar North as a Southern scientist wanting to collaborate with Indigenous people on climate change — on questions of changes in the sea ice, for example, or changes in the hunting and subsistence base — the limitations of that category will be profound. That’s because it fails to engage with the Indigenous categories that are actually active on the ground. 

There is an Inuktitut word, “sila.” In an Anglophone lexicon, “sila” will be translated as “weather.” But in fact, it’s much more complicated. In the circumpolar North, climate change is a concept that collects a lot of stuff that the Southern scientist won’t understand. So the Southern scientist who wants to collaborate on climate change finds it almost impossible to build a contact zone. 

Anyway, there are plenty of other ways of thinking about shared contemporary problems. But they require building contact zones between cognitive apparatuses, out of which neither will leave the same as they were before. These are the kinds of encounters that need to be happening more.

A final question. Have you been following the revival of socialism, and socialist feminism, over the past few years? 

Yes.

What do you make of it? I mean, socialist feminism is becoming so mainstream that even Harper’s Bazaar is running essays on “emotional labor.”

I’m really pleased! The old lady is happy. I like the resurgence of socialism. For all the horror of Trump, it has released us. A whole lot of things are now being seriously considered, including mass nonviolent social resistance. So I am not in a state of cynicism or despair."]]></description>
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    <title>PlayDate, lethal playgrounds and goat boobs: the eccentricity of Keita Takahashi • Eurogamer.net</title>
    <dc:date>2019-09-26T18:33:36+00:00</dc:date>
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    <title>Methods Toolkit – Designing Methodologies</title>
    <dc:date>2019-09-25T21:21:05+00:00</dc:date>
    <link>http://www.wordsinspace.net/designingmethods/spring2018/category/methods-toolkit/</link>
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<item rdf:about="http://www.cc.com/video-clips/ed6ma7/the-daily-show-with-trevor-noah-greta-thunberg---inspiring-others-to-take-a-stand-against-climate-change---extended-interview">
    <title>Interview - Greta Thunberg - Inspiring Others to Take a Stand Against Climate Change - Extended Interview - The Daily Show with Trevor Noah (Video Clip) | Comedy Central</title>
    <dc:date>2019-09-13T16:37:22+00:00</dc:date>
    <link>http://www.cc.com/video-clips/ed6ma7/the-daily-show-with-trevor-noah-greta-thunberg---inspiring-others-to-take-a-stand-against-climate-change---extended-interview</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[See also: https://www.greenmatters.com/p/greta-thunberg-trevor-noah-daily-show 

“So, host Trevor Noah asked Greta about the difference between Sweden and the U.S. in terms of treatment of the climate crisis  — and Greta’s answer says it all.

“I would say yes,” Greta said, when Noah asked her if she has noticed a different feeling surrounding climate change between the two countries. “Because here, it feels like it is being discussed as something you believe in or [do] not believe in. And where I come from, it’s more like, it’s a fact.”

…

In the U.S., we like to think that we are ahead of the curve — but it’s clear that some Americans are foolishly ignoring the science that proves that human activity is deepening the climate crisis, while other nations treat that information as a fact. Americans still have a long way to go before we can be real leaders in the fight for the climate.

Before noticing that disparity, Greta made a few more surface observations about New York when Noah asked her about her impression of NYC so far.

“Everything is so much, so big, so loud. People talk so loud here,” Greta told Noah, comparing the bustling city to her time on the Malizia II yacht. “Because when I was on the boat, there is nothing. There is just the ocean, and of course the sound of the waves crashing, but that’s it. No smells —  apart from sweat. So, I remember the first thing I noticed when we came into the harbor — I woke up, and suddenly smelled something. And of course, it was pollution, but it’s still something. And that was… [in]describable,” she said with a smirk, to which the audience burst out laughing. 

“To go from this extreme environment — you are disconnected from everything and everyone, you only have yourself, and the ocean, and the boat of course… to New York,” Greta added, her eyes widening with the slightest cringe, to which the audience laughed once again.”

…

“Noah also asked Greta why she stopped flying in airplanes, and why she opted to make the boat trip to New York. “I did it because I have, since a few years [ago], stopped flying because of the enormous impact aviation has on the climate, individually,” she told Noah. “And just to make a stand. I am one of the very few people in the world who can actually do such a trip, so I thought, why not?”

Greta makes an important point here. If there’s something we have the privilege to do that will protect the planet — or even just make a statement about protecting the Earth — we should do it."]]]></description>
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<item rdf:about="https://www.democracynow.org/2019/9/11/greta_thunberg_swedish_activist_climate_crisis">
    <title>“We Are Striking to Disrupt the System”: An Hour with 16-Year-Old Climate Activist Greta Thunberg | Democracy Now!</title>
    <dc:date>2019-09-13T16:33:40+00:00</dc:date>
    <link>https://www.democracynow.org/2019/9/11/greta_thunberg_swedish_activist_climate_crisis</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["In her first extended broadcast interview in the United States, we spend the hour with Greta Thunberg, the 16-year-old Swedish climate activist who has inspired millions across the globe. Last year she launched a school strike for the climate, skipping school every Friday to stand in front of the Swedish parliament, demanding action to prevent catastrophic climate change. Her protest spread, quickly going global. Hundreds of thousands of schoolchildren around the globe have participated in their own local school strikes for the climate. Since her strike began in 2018, Greta has become a leading figure in the climate justice movement. She has joined protests across Europe. She has addressed world leaders at the U.N. climate talks in Poland and the European Union Parliament. She has even met the pope. And now she is in New York to join a global climate strike on September 20 and address the U.N. Climate Action Summit on September 23. Greta has refused to fly for years because of emissions, so she arrived here after a two-week transatlantic voyage aboard a zero-emissions racing yacht. She is also planning to attend the U.N. climate summit in Santiago, Chile, in December. Greta joined us Tuesday in our Democracy Now! studio."]]></description>
<dc:subject>gretathunberg 2019 climatechange climatejustice amygoodman interviews activism</dc:subject>
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<item rdf:about="https://www.youwantedalist.com/">
    <title>You Wanted A List</title>
    <dc:date>2019-08-18T20:47:13+00:00</dc:date>
    <link>https://www.youwantedalist.com/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["You Wanted A List is an online magazine publishing interviews with exciting individuals sharing what they read, hear, watch or use.
Focusing on people whose work we admire, the blog is committed to help our readers to find new stuff out there that is worth checking.
Our hope is to create a resource for our visitors who are seeking to be inspired by subjects ranging from cool music to never heard apps."]]></description>
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<item rdf:about="https://www.democracynow.org/2010/11/26/chilean_economist_manfred_max_neef_on">
    <title>Chilean Economist Manfred Max-Neef on Barefoot Economics, Poverty and Why The U.S. is Becoming an “Underdeveloping Nation” | Democracy Now!</title>
    <dc:date>2019-08-18T19:37:26+00:00</dc:date>
    <link>https://www.democracynow.org/2010/11/26/chilean_economist_manfred_max_neef_on</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["We speak with the acclaimed Chilean economist, Manfred Max-Neef. He won the Right Livelihood Award in 1983, two years after the publication of his book Outside Looking In: Experiences in Barefoot Economics. “Economists study and analyze poverty in their nice offices, have all the statistics, make all the models, and are convinced that they know everything that you can know about poverty. But they don’t understand poverty,” Max-Neef says. [includes rush transcript]"

...

"We have reached a point in our evolution in which we know a lot. We know a hell of a lot. But we understand very little. Never in human history has there been such an accumulation of knowledge like in the last 100 years. Look how we are. What was that knowledge for? What did we do with it? And the point is that knowledge alone is not enough, that we lack understanding.

And the difference between knowledge and understanding, I can give it as an example. Let us assume that you have studied everything that you can study, from a theological, sociological, anthropological, biological and even biochemical point of view, of a human phenomenon called love. So the result is that you will know everything that you can know about love. But sooner or later, you will realize that you will never understand love unless you fall in love. What does that mean? That you can only attempt to understand that of which you become a part. If we fall in love, as the Latin song says, we are much more than two. When you belong, you understand. When you’re separated, you can accumulate knowledge. And that is — that’s been the function of science. Now, science is divided into parts, but understanding is holistic.

And that happens with poverty. I understood poverty because I was there. I lived with them. I ate with them. I slept with them, you know, etc. And then you begin to learn that in that environment there are different values, different principles from — compared to those from where you are coming, and that you can learn an enormous amount of fantastic things among poverty. What I have learned from the poor is much more than I learned in the universities. But very few people have that experience, you see? They look at it from the outside, instead of living it from the inside.

And you learn extraordinary things. The first thing you learn, that people who want to work in order to overcome poverty and don’t know, is that in poverty there is an enormous creativity. You cannot be an idiot if you want to survive. Every minute, you have to be thinking, what next? What do I know? What trick can I do here? What’s this and that, that, that, that? And so, your creativity is constant. In addition, I mean, that it’s combined, you know, with networks of cooperation, mutual aid, you know, and all sort of extraordinary things which you’ll no longer find in our dominant society, which is individualistic, greedy, egoistical, etc. It’s just the opposite of what you find there. And it’s sometimes so shocking that you may find people much happier in poverty than what you would find, you know, in your own environment, which also means, you know, that poverty is not just a question of money. It’s a much more complex thing."

...

"The Peace Corps, yeah, OK. I was many times in that. I even taught Peace Corps groups, you know, in California and so on and on. Then I found them, you know, in the field when I was there. Lovely young people, you know? I mean, very well-intentioned, you know. And the situations like this.

Well, there you have a woman making a poncho. No, but with another machine, instead of making two ponchos in one week, I mean, she could make 20 ponchos.

So, now, “We will bring you a much better thing.”

“Oh, OK, well…”

They bring it in, you know, and come back a few months later, you know, to see a huge production of this woman. And how our young find?

“Oh, how do you like the machine?”

“Oh, very nice.”

“And how many ponchos are you making?”

“Well, two ponchos a week.”

“What do you mean? You could make much more.”

“Well, but I don’t need to make more.”

“But why do you make just two? Well, what is the machine then for?”

“Well, I make two, but now I have much more time to be with my friends and with my kids.”

In our environment, you know, you have to do more and more and more and more. No, there, instead of making more, they have more time to enjoy themselves, to have a nice relationship with friends, with family, etc. You see? Lovely values which we have lost.

AMY GOODMAN: What do you think needs to change? You’re saying it’s obvious, but what do you think needs to happen that they’re avoiding?

MANFRED MAX-NEEF: Well, to begin with, a completely new concept of economics. This economy is crazy and poisonous. I am an economist, and I have been fighting against the economy that is taught the way it is being taught and being practiced. I have been fighting it for almost 40 years of my life, because it’s an absurd economy that has nothing to do with real life. It’s all fabrications, no? If the model doesn’t work, it’s not because the model is wrong, but because reality plays foul tricks. And reality is there to be domesticated, you know, and become the model. That is the attitude. And that’s systematic, in addition.

What is the economy that is being taught in the universities today everywhere? Neoclassical economics. Neoliberalism is an offspring of neoclassical economics. And neoclassical economics is 19th century. So we are supposed to solve problems of the 21st century that have no precedent with theories of the 19th century. We no longer have a physics of the 19th century, nor a biology, nor an engineering — nor nothing. The only thing in which we stopped in the 19th century is in the concept of economics. I mean, and that is elementarily absurd. And the main journals and everything, you know — I mean, no, no, that’s the way it must be."

...

"AMY GOODMAN: And if you’re teaching young economists, the principles you would teach them, what they’d be?

MANFRED MAX-NEEF: The principles, you know, of an economics which should be are based in five postulates and one fundamental value principle.

One, the economy is to serve the people and not the people to serve the economy.

Two, development is about people and not about objects.

Three, growth is not the same as development, and development does not necessarily require growth.

Four, no economy is possible in the absence of ecosystem services.

Five, the economy is a subsystem of a larger finite system, the biosphere, hence permanent growth is impossible.

And the fundamental value to sustain a new economy should be that no economic interest, under no circumstance, can be above the reverence of life.

AMY GOODMAN: Explain that further.

MANFRED MAX-NEEF: Nothing can be more important than life. And I say life, not human beings, because, for me, the center is the miracle of life in all its manifestations. But if there is an economic interest, I mean, you forget about life, not only of other living beings, but even of human beings. If you go through that list, one after the other, what we have today is exactly the opposite.

AMY GOODMAN: Go back to three: growth and development. Explain that further.

MANFRED MAX-NEEF: Growth is a quantitative accumulation. Development is the liberation of creative possibilities. Every living system in nature grows up to a certain point and stops growing. You are not growing anymore, nor he nor me. But we continue developing ourselves. Otherwise we wouldn’t be dialoguing here now. So development has no limits. Growth has limits. And that is a very big thing, you know, that economists and politicians don’t understand. They are obsessed with the fetish of economic growth.

And I am working, several decades. Many studies have been done. I’m the author of a famous hypothesis, the threshold hypothesis, which says that in every society there is a period in which economic growth, conventionally understood or no, brings about an improvement of the quality of life. But only up to a point, the threshold point, beyond which, if there is more growth, quality of life begins to decline. And that is the situation in which we are now.

I mean, your country is the most dramatic example that you can find. I have gone as far as saying — and this is a chapter of a book of mine that is published next month in England, the title of which is Economics Unmasked. There is a chapter called “The United States, an Underdeveloping Nation,” which is a new category. We have developed, underdeveloped and developing. Now you have underdeveloping. And your country is an example, in which the one percent of the Americans, you know, are doing better and better and better, and the 99 percent is going down, in all sorts of manifestations. People living in their cars now and sleeping in their cars, you know, parked in front of the house that used to be their house — thousands of people. Millions of people, you know, have lost everything. But the speculators that brought about the whole mess, oh, they are fantastically well off. No problem. No problem."]]></description>
<dc:subject>manfredmax-neef economics chile 2010 interviews poverty capitalism development barefooteconomics knowledge understanding creativity ingenuity society individualism greed cooperation mutualaid survival time work perspective peacecorps colonialism neoliberalism ecosystems humanism growth gdp underdevelopment accumulation</dc:subject>
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<item rdf:about="http://www.warscapes.com/conversations/conversation-mahmood-mamdani">
    <title>In Conversation with Mahmood Mamdani | Warscapes</title>
    <dc:date>2019-04-22T21:31:39+00:00</dc:date>
    <link>http://www.warscapes.com/conversations/conversation-mahmood-mamdani</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["MM: One night. They let you make one phone call, and I called the Ugandan Ambassador in Washington, DC, talked to him, and he said, “What are you doing interfering in the affairs of a foreign country?” I said, “What? We just got our independence! This is the same struggle. Have you forgotten?” Anyway, he got me out. Two or three weeks later, I was in my room. There was a knock at the door. Two gentlemen in trench coats and hats said, “FBI.” I thought, “Wow, just like on television.” They sat down. They were there to find out why I had gone – because this turned out to be big – it is after Montgomery that King organized his march on Selma. They wanted to know who had influenced me. After one hour of probing, the guy said, “Do you like Marx?” 

I said, “I haven’t met him.” 

Guy said, “No, no, he’s dead.” 

“Wow, what happened?” 

“No, no, he died long ago.” 

I thought the guy Marx had just died. So then, “Why are you asking me if he died long ago?”  

“No, he wrote a lot. He wrote that poor people should not be poor.”  

I said, “Sounds amazing.” 

I’m giving you a sense of how naïve I was. After they left, I went to the library to look for Marx. So that was my introduction to Karl Marx.

BS: The FBI. 

MM: The FBI. Then, of course, I took a class on Marx. Couldn’t just get Marx out of the library. But, basically, it is the US – the civil rights movement and the anti-war movement – which gave me a new take on my own experience, and on the Asian experience in east Africa. It gave me a way of rethinking my own experience of growing up in east Africa and growing up in an Africa with a lens crafted by the civil rights movement."]]></description>
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<item rdf:about="https://www.them.us/story/janelle-monae-living-out-loud">
    <title>Janelle Monáe: Living Out Loud - them.</title>
    <dc:date>2019-04-18T02:53:18+00:00</dc:date>
    <link>https://www.them.us/story/janelle-monae-living-out-loud</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["When Janelle Monáe came out as queer in a Rolling Stone cover story last April, the revelation made headlines around the world. As one of the most prolific multi-hyphenate artists of a generation, her declaration carried immense weight, both for herself and for queer black women and LGBTQ+ people everywhere. The announcement was followed by the release of her most brilliant, vulnerable work to date: Dirty Computer, an album that was at its core about embracing the freedom one finds in self-exploration and discovery. Bold, unabashedly fluid anthems like “Pynk,” “Screwed,” and “Make Me Feel” further solidified Monáe as a leader for “free-ass motherfuckers” (as she delightfully referred to herself when coming out) everywhere, one who challenges social binaries and norms alike with grace and strength.

Always evolving sonically and aesthetically, today, Monáe is entering a new era of her genre-bending career. The constant, though, is her work, which remains centered in advocacy, agency, and empowerment, regardless of what form it takes. With reverence for the responsibility of an artist and activist, Monáe uses every platform she builds to amplify intersectional discourse about race, gender, and sexuality in new ways. She takes action in a way that makes everyone take notice.

Monáe’s ascent as an advocate for the LGBTQ+ community has tracked alongside her own journey towards personal enlightenment and fulfillment of purpose. It has come with an understanding of the paradox of visibility, and a reckoning with the fears and challenges that queer people, specifically queer people of color, face when living authentically. In taking center stage to speak out and perform against aggressive oppression, Monáe’s voice and vision for humanity help to define what it means to advance emancipation for all.

That’s just a sliver of why we chose Monáe to star in them.’s debut cover story, “Janelle Monáe: Living Out Loud.” It would only be right to have one free-ass motherfucker interview another for the occasion, which is why we recruited Lizzo, an inimitable musical force in her own right and an unerring LGBTQ+ ally, to speak with Monáe below. Both women are known for hits that make you dance while reaching for something deeper, and both share a commitment to uplifting marginalized communities, championing self-love and self-care, subverting social expectations, and speaking their truths through their work. In the wide-ranging conversation below, they touch on that common ground and more, speaking to the terrifying, liberating process of challenging the world’s preconceptions about you, what it really means to live freely in our world today, and loving and living out loud."

…

[Janelle Monáe] "It's been a journey. For me, sexuality and sexual identity and fluidity is a journey. It's not a destination. I've discovered so much about myself over the years as I've evolved and grown and spent time with myself and loved ones. That's the exciting thing — always finding out new things about who you are. And that's what I love about life. It takes us on journeys that not even we ourselves sometimes are prepared for. You just adapt to where you are and how you've evolved as a free thinking person."

[Lizzo] "Absolutely. I was just talking about this the other day, about how fluidity can mean so many things. It's not just what you like in that moment. I've seen fluidity change with age. I've seen people come out in their sexual identity in their forties and fifties. Yet there's so much pressure on young people to choose an identity, when you're a teenager and your hormones are jumping off — it's like, "Choose an identity, choose a sexual orientation." It's like, "How?” When I like everything sometimes, and I like nothing sometimes.

Do you have any words for those who are struggling with their sexuality or coming out? At any age, but especially for young people."

…

[Lizzo] 'You know what I noticed? The more I started loving myself, and the more I started self-caring, the people around me changed and became more conducive to that. The people who were toxic and weren't conducive to a self-loving nature just were segued out by God, by the universe, by my energy just repelling them. And I wish it didn't have to be that way, I wish it was the other way around. I wish that the people around us could help us find self-care and self-love. But that's unfortunately not the world that we were given.

We have to create our own worlds. And I think that mentorship is so important. Like you were saying, therapy's expensive. But mentorship can be free. And that's something that we can start with. Especially in lower income communities, the black community. But for now, we just have you. [laughs] We have music. People are looking to Dirty Computer and artists like you as mentors, long distance mentors. And I think it's really special that you hold that place in people's hearts and that it's reaching a culture. You can watch Queer Eye and see your influence. I'm just so happy to breathe the same air as you.

[Janelle Monáe] Oh, please. I’m happy to breathe the same air as you. You also are a free ass motherfucker to me in the way that you approach how you perform, how you love yourself publicly, how you embrace your body. And you're just gorgeous. On stage, offstage, the fact that you play an instrument, the fact that you're writing, the fact that you have ideas as a black woman — you are redefining what it means to be young, black, wild, and free in this country. And you are someone I actively look to whenever I feel like second guessing if I should take risks or not. Because I see the risks that you're taking and the love and appreciation that you show for yourself makes me lean further into loving and respecting myself, and being patient with myself, and not allowing myself to live by anybody's standards."]]></description>
<dc:subject>janellemonáe lizzo 2019 criticalthinking feedom sexuality gender interviews queer binaries fluidity dirtycomputer identity therapy life living self-love art music making lorrainehansberry bellhooks meshellndegeocello lenawaithe rosettatharpe janetmock mjrodriguez indyamoore lavernecox</dc:subject>
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    <title>Liberation Under Siege | Liberación Bajo Asedio on Vimeo</title>
    <dc:date>2019-03-06T02:28:58+00:00</dc:date>
    <link>https://vimeo.com/309160294</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Following the triumph of the Cuban Revolution, which successfully fended off imperial aggression by the United States, the United States imposed an economic trade blockade as punishment, which has continued to be in place for the past 60 years. The US has undertaken repeated attempts to plunder the Cuban people through genocidal measures, which has been met with the staunch resilience of the Cuban people, who continue to have faith and confidence in the socialist principles of the Revolution, despite the blockade materially impacting their everyday lives.

“Liberation Under Siege” examines the material conditions cultivated by the destructive blockade through the experiences and stories of everyday Cubans, and reclaim the imperialist narrative pushed by the United States through billions of dollars.

Filmed, Directed, and Edited by:

Priya Prabhakar
Reva Kreeger
Sabrina Meléndez"]]></description>
<dc:subject>cuba excess us foreignpolicy interviews education healthcare medicine socialism food highereducation highered politics blockade embargo poverty equality economics race gender sexuality priyaprabhakar revakreeger sabrinameléndez video small slow consumerism materialism capitalism less environment values success health imperialism media propaganda resourcefulness trade 2019</dc:subject>
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<item rdf:about="https://www.youtube.com/watch?v=Op2Ybfi8tII">
    <title>Debunking the Bernie Bro Myth: Briahna Joy Gray Interview - YouTube</title>
    <dc:date>2019-02-16T03:52:23+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=Op2Ybfi8tII</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Katie Halper, for her first TYT Interview, sits down with political writer and editor Briahna Gray."]]></description>
<dc:subject>2018 interviews elections politics identitypolitics class education banks banking policy hillaryclinton 2016 berniesanders berniebros katiehalper barackobama shame guilt change leftists us elizabethwarren race gender racism classism sexism economics campaigning roymoore inequality democrats republicans donaldtrump mississippi poverty schools funding schoolfunding briahnajoygray</dc:subject>
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<item rdf:about="https://www.theparisreview.org/blog/2018/11/16/between-two-languages-an-interview-with-yoko-tawada/">
    <title>Between Two Languages: An Interview with Yoko Tawada</title>
    <dc:date>2019-01-27T20:30:21+00:00</dc:date>
    <link>https://www.theparisreview.org/blog/2018/11/16/between-two-languages-an-interview-with-yoko-tawada/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Among the finest of Tawada’s works are short stories about adapting to new cultures, both physically and linguistically. The daughter of a nonfiction translator and academic bookseller, Tawada learned to read in over five languages; she speaks English, but doesn’t write it. “I feel in between two languages, and that’s big enough,” she told me. Her stories often turn on feeling outside the culture, as an immigrant, as a citizen witnessing great national change, or even as a tourist."

…

"I look like a person who cannot think when I wake up, because I’m still quite between the sleep and the dream and the waking, and that’s the best time for business."

…

"Being multilingual is tricky. I feel more as though I am between two languages, and that feels like enough. To study that in-between space has given me so much poetry. I don’t feel like one of those international people who juggles many tongues."]]></description>
<dc:subject>yokotawada language languages bilingualism 2018 interviews japan japanese howwewrite dreams sleep liminality betweenness littoralzone liminalspaces multilingualism dualism srg inbetweenness inbetween between liminal</dc:subject>
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</item>
<item rdf:about="http://scratchingthesurface.fm/post/180816972790/102-laurel-schwulst">
    <title>Scratching the Surface — 102. Laurel Schwulst</title>
    <dc:date>2019-01-12T06:03:56+00:00</dc:date>
    <link>http://scratchingthesurface.fm/post/180816972790/102-laurel-schwulst</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Laurel Schwulst is a designer, writer, teacher, and webmaster. She runs an independent design practice in New York City and teaches in design programs at Yale and Rutgers. She previously was the creative director for The Creative Independent and a web designer at Linked By Air. In this episode, Laurel and Jarrett talk about how horses got her into graphic design, what websites can be, the potential of the peer-to-peer internet, and how writing and teaching influence her practice."

[Direct link to audio: https://soundcloud.com/scratchingthesurfacefm/102-laurel-schwulst ]]]></description>
<dc:subject>jarrettfuller scratchingthesurface laurelschulst 2018 interviews design web online internet are.na lynhejinian mindyseu decentralization neilpostman charlesweingartner juliacameron teachingasasubversiveactivity teaching education learning howwelearn kameelahjananrasheed research archiving cv roombaghost graphicdesign websites webdev webdesign p2p beakerbrowser decentralizedweb dat p2ppublishing p2pweb distributed dweb</dc:subject>
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<item rdf:about="https://www.elsoldemexico.com.mx/cultura/cine/hay-que-reconciliar-al-cine-mexicano-con-su-publico-fernanda-solorzano-2737484.html">
    <title>Hay que reconciliar al cine mexicano con su público: Fernanda Solórzano - El Sol de México</title>
    <dc:date>2018-12-07T20:45:26+00:00</dc:date>
    <link>https://www.elsoldemexico.com.mx/cultura/cine/hay-que-reconciliar-al-cine-mexicano-con-su-publico-fernanda-solorzano-2737484.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["ENCONTRAR VIRTUD EN LO COMPLEJO

Otro tema que para ella es importante a la hora de dignificar las películas que se hacen aquí es revisar la idea de que el cine es sólo una forma de entretenimiento, útil nada más para el escapismo y la evasión, sin dar oportunidad a las producciones que no tienen un mensaje cerrado y que apelan a que el espectador abra su inteligencia a distintas posibilidades de mensaje.

“A mí me gustaría que en las escuelas mismas se promoviera entre los niños la idea de que no todos tenemos que entender de inmediato los relatos sino que entre más preguntas puedan provocar más pueden enriquecer. Que seas capaz de salir de una película y la puedas comentar con alguien que quizá tenga un punto de vista distinto al tuyo, justamente porque no se les dio un mensaje definido…”

Reconoce que es un trabajo lento y que puede durar varias generaciones, pero que no hay nada como encontrarle virtud a lo complejo y entender que una película que te permite tener varias lecturas puede resultarte quizá más satisfactoria que una que no va a permitir que alguien te cambie tu propio punto de vista.

Y remarca: “El cine que más disfruto es el que me saca de mis certezas; el que me hace pensar y repensar mi realidad. Me choca darme cuenta de que me están manipulando. Me gusta que confíen en mi inteligencia. A mí me gusta que los directores también confíen en la inteligencia del público y el público en su propia inteligencia”.

LA COMEDIA ROMÁNTICA

Y de todo ese panorama destaca algo con lo que no está de acuerdo, la temática con la que se están haciendo algunas comedias mexicanas actuales, ya que le parece que refuerzan valores a los que como sociedad estamos tratando de oponernos, como el machismo o la homofobia, y que en este género suelen ser abordados como algo gracioso y normal.

“Voy a poner como ejemplo la cinta Qué culpa tiene el niño, cuya historia versa sobre una chica que en una fiesta queda embarazada, no sabe de quién porque estaba alcoholizada y entonces eso es presentado como chistoso, sin importar que es irresponsable que un hombre se aproveche de una mujer en esas condiciones”.

No ve que este tipo de producciones sean tan terribles y bajas como las sexy comedias de los años 80, donde los hombres literalmente violaban a las mujeres y nadie decía nada y todos se reían, pero asumen los mismos valores. “Obviamente son más sofisticadas estas comedias, son más pulidas, pero los chistes son los mismos, apelan al mismo tipo de moral, lo que me parece triste”.

LA ERA DIGITAL

Con respecto a los nuevos formatos de filmación y las modalidades de exhibición más allá de las salas cinematográficas, Fernanda percibe que ciertamente plantean nuevos problemas estéticos y económicos, lo cual también puede ser una oportunidad para que se abaraten las posibilidades de acceso para producir cine a quien actualmente no tiene los recursos para hacerlo.

“Al final lo importante es contar bien una historia y hacerlo estéticamente. Incluso hay historias que se pueden contar mejor en uno u otro formato. Por ejemplo, hay un director que filmó su primera película en iPhone, Tangerine, de Sean Baker, que fue muy premiada, y después decidió que su segunda producción se hiciera en 35 mm porque consideró que esa cinta no aguantaba lo digital y requería cierta profundidad. O sea hay narrativas para todo tipo de formato”.

Sobre el formato de miniseries, predominante en los servicios de streaming on line, la crítica de cine también los califica de oportunidad interesante. “A mí me gustan muchísimo, yo no las veo como un producto menor. Creo que muchos directores de cine, ante la imposibilidad de tener un presupuesto tan alto, están experimentando. Y pongo cono ejemplo la serie Un extraño enemigo de Gabriel Ripstein, que me pareció muy buena, bien contada, bien narrada y muy acentuada, a pesar de que era muy difícil que una serie más sobre el 68 tuviera impacto”."]]></description>
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<item rdf:about="https://lareviewofbooks.org/article/the-questionnaire-mike-davis/">
    <title>The Questionnaire: Mike Davis - Los Angeles Review of Books</title>
    <dc:date>2018-10-07T22:22:24+00:00</dc:date>
    <link>https://lareviewofbooks.org/article/the-questionnaire-mike-davis/</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>2012 interviews mikedavis</dc:subject>
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    <title>Economic Update: Black Socialists of America - YouTube</title>
    <dc:date>2018-10-03T21:22:24+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=HMpU-79vC58</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>blacksocialistsofamerica socialism economics capitalism 2018 interviews richardwolff policy dsa democratic democracy politics us race class racism governance government longterm history fredhampton rainbowcoalition division unity cooperation action grassroots berniesanders inequality left internationalism labor leftists organizing activism bsa</dc:subject>
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<item rdf:about="http://scratchingthesurface.fm/post/176253243375/85-mindy-seu">
    <title>Scratching the Surface — 85. Mindy Seu</title>
    <dc:date>2018-07-27T03:25:02+00:00</dc:date>
    <link>http://scratchingthesurface.fm/post/176253243375/85-mindy-seu</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Mindy Seu is a designer, educator, and researcher. She is currently a student at the Harvard Graduate School of Design and was previously a designer at 2x4 and MoMA. She’s designed and produced archival sites for Ralph Ginzburg and Herb Lubalin’s Eros and Avant Garde magazines. In this episode, Mindy and I talk about her early career and why she decided to go to graduate school, the role of research and archives in her work, and how graphic design is just one pillar of her practice."]]></description>
<dc:subject>mindyseu design education archives internet web online 2018 positioning internetarchive claireevans brunolatour graphicdesign purpose iritrogoff networks connections fearlessness decentralization neilpostman teaching howweteach institutions structure interviews research project-basedreasearch jarrettfuller</dc:subject>
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<item rdf:about="https://www.youtube.com/watch?v=KqVDVVrJBSE">
    <title>Death Grips Interview (DELETED) - YouTube</title>
    <dc:date>2018-07-10T04:47:57+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=KqVDVVrJBSE</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["..At one point in my life I was inspired by people, but as I've grown more, humans aren't really my,  I don't look really look to that for inspiration that much anymore. I look more inside and what goes on in there,  internal, internal struggle, internal shit like that; look inside, more than outside, I'm not into really surface reality, that much."]]></description>
<dc:subject>deathgrip mcride interviews 2012 music art artists zachhill humans</dc:subject>
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<item rdf:about="https://www.bbc.co.uk/programmes/b098n8z9">
    <title>BBC Radio 4 - Pick a Sky and Name It</title>
    <dc:date>2018-07-04T18:51:33+00:00</dc:date>
    <link>https://www.bbc.co.uk/programmes/b098n8z9</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["How did Momtaza Mehri go from net savvy 6th former to successful millennial poet?

A house belonging to her grandmother is the closest poet Momtaza Mehri has ever come to having a permanent home. Aside from summer months in London, Momtaza's family picked its way across the Middle East.

"Then I just realise, I'm having this typical Somali experience where we're literally going to the places that would be considered the bad 'hoods."

Across a sea, another gulf, was the country her parents no longer called home.

Talking with her mother, Momtaza revisits the childhood experiences that shaped her outlook and her coming of age as a millennial poet.

Poetry extracts are taken from:
I believe in the transformative power of cocoa butter and breakfast cereal in the afternoon
Manifesto for those carrying dusk under their eyes
The Sag
Shan
Wink Wink
November 1997

"The internet just switched up the entire game," Momtaza says.

Producer: Tamsin Hughes
A Testbed production for BBC Radio 4."]]></description>
<dc:subject>momtazamehri poets poetry poems howwelearn online internet web blogging autodidacts somalidiaspora tamsinhughes 2018 interviews radio profiles somalia middleeast london experience childhood dubai mogadishu civilwar tumblr publishing howwewrite freedom autodidactism</dc:subject>
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<item rdf:about="https://earroom.wordpress.com/2013/02/14/ernst-karel/">
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    <dc:date>2018-05-19T18:33:56+00:00</dc:date>
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    <dc:creator>robertogreco</dc:creator><description><![CDATA["Ernst Karel is an artist and researcher active in the fields of electroacoustic improvisation and composition, location recording, sound for nonfiction vilm, and solo and collaborative sound installations. Karel is currently lab manager for the Sensory Ethnography Lab (SEL) at Harvard University, where as lecturer on Anthropology, he teaches a course in sonic ethnography. For comprehensive information please visit: http://ek.klingt.org "]]></description>
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    <title>Rebecca Solnit on Skipping High School and California Culture | Literary Hub</title>
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    <dc:creator>robertogreco</dc:creator><description><![CDATA["Paul Holdengraber: I had the pleasure, a bittersweet pleasure, of speaking with John Berger two years ago (about two months before he died) and I was so amazed by his extraordinary freedom of thinking. I was wondering, though I was never able to ask him, how much of it came to him from not having been forced into a certain school, or not having gone to all the schools people feel they need to go to in order to think.

It strikes me that you have that same appetite, that same appetite that comes from not having had to follow a certain regime, but rather following what really interests you, what really fills you with passion. I wonder how much of that is true, and how much of that is true to the place you’ve committed yourself to live in.

Rebecca Solnit: I didn’t go to high school and I feel that was one of the great strategic victories of my life. In the 1970s everything was very nebulous and wide open, and I just managed by going to an alternative junior high school through tenth grade, which was a very kind place compared to the place I went to for seventh and eighth grade. Then I took the GED test and started college at 16, to avoid high school altogether.

I remember thinking the GED—which is supposed to test you on everything you’re supposed to know when you graduate from high school—and thinking, “I’ve basically goofed off for two years. I’m 15 and I’m apparently able to acquire all the knowledge you need to get out of high school—what are you doing for those other three or four years?” I’ve always felt that a lot of what people are taught to do is conform and obey a set of instructions about hierarchy. It’s really destructive of the people who succeed in that system, as well as the ones who fail. I know you didn’t grow up in this country—

PH: I’m not sure I grew up. I’m still trying.

RS: Well that too. There’s the people who feel damaged by being unpopular in high school, but there’s a different kind of tragedy of people who were so popular in high school—the homecoming queens, the football captains—who feel as though they’ve arrived at the end of the journey without ever having set out for it, who feel like now they can rest on the laurels, which aren’t the laurels that will matter for the next 50 or 60 years.

It’s a very destructive system of values. You look at schools in other countries and they don’t have proms and homecoming queens and team spirit—this kind of elaborate sports culture that is very heteronormative as well as hierarchical. It also creates monsters out of the boys who are able to get away with bullying and sexual assault because they’re good at sports.

PH: You were mentioning my own upbringing. I grew up, in part, in many different countries in Europe, but one of the countries I lived was Belgium. In the mid-70s they introduced something they called Le Test Américain, “the American test.” You know what that was: multiple choice. I was terrible at it because I always felt ambivalent. I always felt, if you look at it from this perspective, that would be the answer; but if you look at it from that perspective, this would be the answer. And of course that didn’t bode well for school.

I know now that teaching has become so much that—so much about getting the supposed right answer to a question, which really means the right answer to a question if you look at it only from one vantage point. Which is exactly the contrary of what literature teaches, or for that matter, what life teaches us to think and do.

RS: When I was young, in the 80s, I read a wonderful report on why we should teach art in schools, and one of the arguments was that there is no right answer in art. There might be good ways to do things, but there’s no simple one right answer. Two plus two might be four, but the way a bird flies can be represented in innumerable ways.

PH: I wonder also, in your escape from high school, how much California and your interest in California has had to do with the way you think.

RS: One of the things about being deinstitutionalized—because not only did I not go to high school, I did sort of sprint through college and then get a journalism degree that was training to be a writer in a practical sense rather than becoming an academic—was the freedom to be synthetic, to move through what’s considered to be many fields. In fact in Wanderlust, early on, I said that if the fields of study could be considered real fields, then the the history of walking trespasses through many of them on its trajectory. And my life has been kind of like that. There’s a curious thing in academia in which authority is demonstrated by specialization and that you have to color within the lines and stick within the lines of your discipline, which I know a lot of people feel fretful about.

California wasn’t inherently an interest in mine. It was just where my father was born and where I grew up and have lived most of my life. When I was young and working at San Francisco Museum of Modern Art and going to the journalism school at UC Berkeley, I did my thesis on the artist Wallace Berman and I began the process of writing the history that wasn’t available to me to read. When I was growing up in California we were regarded, almost universally, as almost a barbarian hinterland that had gone, as I often say, from wilderness to shopping mall in a single bound. And there was a lot of sneering on the East Coast about us as a place without culture, as a place of yahoos and bimbos and babes and surfer dudes, as lacking the high seriousness.

I have a friend whose East Coast cousin once said to him, “people in California don’t read.” And it was just amazing having someone dismiss the state with the UC system and Stanford and some remarkable intellectuals, from Angela Davis to Garry Snyder.

So I really didn’t grow up here with it being treated as an interesting place, though I loved the landscape, wondered about the Native history, and actually went to Europe because of that yearning for a sense of deep past and time in history. And then came back and had to find a way to locate it in this landscape.

Of course a lot of things have changed. A lot of California history has been written by Mike Davis and many other people since then. But it really was treated as a blank and trivial place when I was younger. There were some California historians, but the public mainstream attitude was very dismissive.

PH: I remember a conversation I had with Werner Herzog who said that in New York they consume culture, and in Los Angeles they actually make it. And it struck me as very interesting because there is such an assumption in New York that everything emanates from here.

RS: I’ve noticed.

PH: That’s a fantastic response, Rebecca. We’ll leave it at that for now."]]></description>
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