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recent bookmarks from robertogrecoThe Photographer Who Found Color | Street Study Ep. 02 - Alex Webb - YouTube2023-09-17T01:41:27+00:00
https://www.youtube.com/watch?v=DzmzR5kiY-M
robertogrecoalexwebb faizalwestcott streetphotography photography 2023 color haiti grenada puertorico mexico istanbul india africa framing composiiton photojournalism attitude curiosity exploration discovery walking patience unexpected unknown observation aesthetics form wandering positioning insight process craft travel waiting dedication consistency failure colorphotography lcdhttps://pinboard.in/https://pinboard.in/u:robertogreco/b:2bfd77c0db5c/ben geldim gidiyorum / I’ve come and I am gone on Vimeo2022-09-26T07:35:32+00:00
https://vimeo.com/64670235?embedded=true&source=video_title&owner=9272344
robertogrecoistanbul sound video film documentary voices streetsellers streetscapes soundscapes marketing 2011https://pinboard.in/https://pinboard.in/u:robertogreco/b:026f9f334e39/The Soundsslike Project2022-09-26T07:33:33+00:00
https://soundsslike.com/
robertogrecomaps mapping istanbul sound soundscapes archives urban urbanismhttps://pinboard.in/https://pinboard.in/u:robertogreco/b:4e1313bafdc1/Istanbul and the Ottoman Olfactory Heritage2022-03-11T21:37:06+00:00
https://www.ottomanhistorypodcast.com/2018/06/istanbul-and-ottoman-olfactory-heritage.html
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https://openspace.sfmoma.org/2019/09/against-empathy/
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https://www.reuters.com/world/middle-east/wandering-dog-is-istanbul-commuters-best-friend-2021-10-06/
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http://www.istanbulurbandatabase.com/
robertogrecoistanbul maps mapping data database digitalhumanities urban archiveshttps://pinboard.in/https://pinboard.in/u:robertogreco/b:4bdb54973f02/The Future of Museums Is in Our Homes: Orhan Pamuk’s Museum Manifesto | The Getty Iris2020-08-10T18:25:09+00:00
http://blogs.getty.edu/iris/the-future-of-museums-is-in-our-homes-orhan-pamuks-museum-manifesto/
robertogreco“Big museums with their wide doors call upon us to forget our humanity and embrace the state and its human masses. This is why millions outside the Western world are afraid of going to museums.”
While I haven’t done a systematic survey of the size of museum doors around the world, it’s difficult to imagine any museum having wider doors than the Getty’s magnificent sliding glass portal through which visitors pass on their way out of the Entrance Hall toward the museum’s pavilions. The curved door, designed by Richard Meier, is so substantial that opening it requires the assistance of a machine to slide it along its curving track.
Pamuk’s manifesto, however, is not a treatise on museum buildings, which has been an obsession for starchitects and their patrons. Rather, it expresses Pamuk’s love-hate relationship with our temples of culture. Pamuk—who before becoming a novelist dreamed of being a painter and architect—writes in the preamble to his manifesto: “I love museums and I am not alone in finding that they make me happier with each passing day. I take museums very seriously, and that sometimes leads me to angry forceful thoughts.” Pamuk’s manifesto envisions a different sort of museum for the future, one that presents humanistic and personal stories, rather than authoritative histories of nations and empires. Consider some of the other points of the manifesto:
- Large national museums such as the Louvre…present the story of the nation—history, in a word—as being far more important than the stories of individuals. This is unfortunate because the stories of individuals are much better suited to displaying the depths of our humanity.
- We don’t need more museums that try to construct the historical narratives of a society, community, team, nation, state, tribe, company, or species. We all know that the ordinary, everyday stories of individuals are richer, more humane, and much more joyful.
- Demonstrating the wealth of Chinese, Indian, Mexican, Iranian, or Turkish history and culture is not an issue—it must be done, of course, but it is not difficult to do. The real challenge is to use museums to tell, with the same brilliance, depth, and power, the stories of the individual human beings living in these countries.
- It is imperative that museums become smaller, more individualistic, and cheaper. This is the only way that they will ever tell stories on a human scale.
- Monumental buildings that dominate neighborhoods and entire cities do not bring out our humanity; on the contrary, they quash it. Instead, we need modest museums that honor the neighborhoods and streets and the homes and shops nearby, and turn them into elements of their exhibitions.
[image: The Museum of Innocence, Istanbul. Photo: Innocence Foundation and Refik Anadol, masumiyetmuzesi.org ]
Pamuk enacted his manifesto by opening The Museum of Innocence in a modest 19th-century house in the Çukurcuma neighborhood of Istanbul, said to be the home where the novel’s protagonist Kemal Basmaci lived from 2000 to 2007. The museum shares more than a name with Pamuk’s novel, which has been translated into almost 40 languages. The written work and the museum were developed together from the beginning, as Pamuk collected over a thousand artifacts and knick-knacks in Istanbul’s junk shops and various other unanticipated locations to build his narrative. As ordinary objects—a quince grater, a postcard, some keys—became part of the story, they were infused with Kemal’s memory of his beloved Füsun, whom he cannot marry. (The book was published in 2008, four years before the museum opened.)
The museum, which I visited last summer, consists of 83 numbered, lovingly crafted display cases corresponding to the 83 chapters in the novel, each containing objects connected to the book’s characters. (The museum does have at least one advantage over the book, as the audio guide notes: “This is a museum not a novel, so if you ever get bored, skip to the next section.”) The narrators on the museum’s audio guide lead listeners through the experience, situating the displayed objects in the lives of Kemal and those around him. The recorded voices frequently shift from explanations to monologues culled from Kemal’s thoughts as he recalls memories conjured by the objects.
[image: A vitrine/chapter titled “My Father’s Death,” in the Museum of Innocence. Photo: Innocence Foundation and Refik Anadol, masumiyetmuzesi.org ]
Here the boundary between the fiction of the story and the reality of objects bends. On the audio guide we hear the voice of Orhan Pamuk, the prize-winning author, who welcomes us to his museum and intermittently shares information about the museum-making process: “While making the museum, we frequently came face-to-face with the serendipitous nature of beauty.” But we also encounter the Orhan Pamuk who intimately knew Kemal, the novel’s protagonist, and who shares observations on his life of unfulfilled love. The characters of the novel come to life for us as we glimpse their experiences through display-case glass and accompanying words, much as the ancients might take shape in our minds as we see their artifacts and learn their mythologies.
[Photo: Innocence Foundation and Refik Anadol, masumiyetmuzesi.org ]
Do the Museum of Innocence and its kin—the Museum of Jurassic Technology here in Los Angeles, Das Museum der Unerhörten Dinge (Museum of Extraordinary Things) in Berlin, for example—pose a challenge for the large national museums housed in monumental buildings that Pamuk would have them supplement? No doubt big museums with grand historical narratives will continue to receive funding, fill the pages of guidebooks, and stand as symbols of national pride, unthreatened by the proliferation of smaller, alternative museums. But perhaps the museums “with wide doors” can learn from the narrative, inventive impulses of smaller institutions.
Objects, whether they are found in junk stores, our own attics, or auctioned at Sotheby’s, encapsulate stories and can unleash our imaginations. If we shroud artifacts in authoritative information, construct historical narratives around them, and continue what Pamuk calls, in the audio guide, the soulless tradition of state-sponsored museums displaying artifacts in sequence, we quash possible creative reactions to museum displays, dehumanizing the museum encounter. We need to remember, as we are told at museum box/novel chapter #47, that “objects placed side by side can bring forth unusual emotions and thoughts.””]]>orhanpamuk museums homes collections petertokofsky museumofinnocence literature 2015 istanbul turkey small storytelling humanism size humans collecting humanityhttps://pinboard.in/https://pinboard.in/u:robertogreco/b:7f7ef2c9ddc5/The Wild Dogs of Istanbul | The Smart Set2020-08-10T18:23:05+00:00
https://www.thesmartset.com/article02291201/
robertogrecoistanbul dogs animals multispecies wolddogs 2012 berndbrunner cities human-animalrelations human-animalrelationships feral morethanhuman turkeyhttps://pinboard.in/https://pinboard.in/u:robertogreco/b:f1c6befa3c4b/A Worldwide #MeToo Protest that Began in Chile | The New Yorker Radio Hour | WNYC Studios2019-12-13T23:55:27+00:00
https://www.wnycstudios.org/podcasts/tnyradiohour/segments/worldwide-metoo-protest-began-chile
robertogrecometoo 2019 chile protest unvioladorentucamino genderviolence violence lastesis camilaosorio paris bogotá colombia istanbul turkey nyc gender berlin latinamerica police valpariaíso women carabineros santiago twitter viralperformance performance mexico mexicodf us losangeles italy italia bolivia beirut lebanon translation solidarity mexicocity dfhttps://pinboard.in/https://pinboard.in/u:robertogreco/b:f07b04c3c392/Spaces of encounter: the performative art of reading | Thinkpiece | Architectural Review2019-01-24T18:57:11+00:00
https://www.architectural-review.com/essays/spaces-of-encounter-the-performative-art-of-reading/10039109.article
robertogrecoethelbaraonapohl césarreyesnájera books reading howweread howwewrite rayuela 2019 neilgaiman fiction space performance etienneturpin derive collections libraries raybradbury connectivity interrelation hypertext athenaathanasiou architecture protest biblioburro nomads nomadism nomadic ows occupywallstreet conversation neighborhoods urban urbanism cities istanbul geziprk erdemgunduz taksimsquare georgesdidi-huberman comradeship solidarity empathy writing visibility hopscotch juliocortázar anna-sophiespringer dérive turkey larayuelahttps://pinboard.in/https://pinboard.in/u:robertogreco/b:2296780ceacb/Making the Ordinary Visible: Interview with Yasar Adanali : Making Futures2018-12-27T03:42:16+00:00
https://www.making-futures.com/interview-with-yasar-adanali/
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https://www.dailysabah.com/feature/2016/10/21/birdhouses-miniature-mansions-of-istanbul
robertogrecovia:tealtan birds birdhouses multispecies 2016 human-animalrelations human-animalrelationships animals nature architecture classideas istanbul morehtanhuman wildlife turkeyhttps://pinboard.in/https://pinboard.in/u:robertogreco/b:f27d455843dd/Flatbread Society Seed Journey2017-01-03T06:51:01+00:00
http://futurefarmers.com/seedjourney/
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https://www.theartnewspaper.com/comment/orhan-pamuk-s-manifesto-for-museums
robertogrecoorhanpamuk museums museumdesign small accessibility 2016 museumofinnocence istanbul manifestos everday experience storytelling humanity humans representation humanism individuals objects situated place homes novels literature turkeyhttps://pinboard.in/https://pinboard.in/u:robertogreco/b:64f6835ff5f1/A manifesto for museums | Blog—Jarrett Fuller2016-07-11T17:36:54+00:00
http://jarrettfuller.tumblr.com/post/147070033957/a-manifesto-for-museums
robertogrecoIt is imperative that museums become smaller, more orientated towards the individual and more economical. This is the only way that they can ever tell stories on a human scale. The great museums invite us to forget our humanity and to accept the state and its human masses. This is why there are millions, outside the West, who are frightened by museums. This is why museums are associated with governments.
I’m reminded of David Joselit’s essay In Praise of Small (here’s a PDF of the essay [http://commonpracticeny.org/assets/CPNY_NearContact_2016.pdf ]) that also argues for and encourages small organizations and institutions, subverting the common phrase, that bigger is better:
Here then are the offcial assumptions with regard to the question of scale and the public good: BIG (capitalization of finance or audience) = PUBLIC. SMALL (capitalization of finance or audience) = ELITIST. But in fact this equation inverts the actual situation. It is the “public” (too big to fail) that disproportionately benefits elites, whereas it is the “elitist” (too small to survive) that serves communities in ways that other, larger organizations cannot. Might this ideological inversion be just as insidious and frightening as it sounds? Is it possible that artists in New York City are not only supposed to decorate the salons of hedge fund managers—and thus be implicated in financial elitism—while also taking the rap for intellectual elitism through their lively participation in specialized art discourse?
The term critique is tossed around as though it were a grenade with its needle pulled. But where does “critique” inhere? In my view, it is generally ineffectual in individual works of art, whose transgression can be easily neutralized in the halls of BIG. No, our political challenge is to maintain alternate forms of public space for exhibition and debate. To do so, we must exit the ethos of “Too big to fail.”
I’ve been thinking about Joselit’s essay a lot, recently rereading it as part of the Triple Canopy Publication Intensive I took part in earlier this summer. While I learned a lot during my two weeks at Triple Canopy, one thing I keep coming back to is are the benifits of staying small. Of how when an institution grows and gains power and size, there are all sorts of political, economic, and public considerations than must be accounted for. There is, of course, nothing wrong with that—I’m seeing the Whitney navigate that each day with a stunning grace—but like Joselit proposes, bigger isn’t always better, and at each scale there are a new set of tradeoffs.”]]>museums small jarrettfuller 2016 orhanpamuk organizations institutions sfsh publicspace davidjoselit elitism triplecanopy scale scalability power size whitneymuseum nyc manifestos humans toobigtofail istanbul museumofinnocence turkey humanhttps://pinboard.in/https://pinboard.in/u:robertogreco/b:da13801817c3/Martin Roemers - Metropolis | LensCulture2015-11-25T02:06:08+00:00
https://www.lensculture.com/articles/martin-roemers-metropolis#slide-1
robertogrecomartinroemers photography streetphotography 2015 cities urban urbanism global kolkata lagos pakistan bangladesh cairo nigeria egypt karachi dhaka mumbai india guangzhou china istanbul turkey jakarta indonesia buenosaires argentina manila philippines basil brazil riodejaneiro mexicocity mexicodf mexico nyc sãopaulo london tokyo japan dfhttps://pinboard.in/https://pinboard.in/u:robertogreco/b:13ba7f19ddf5/The Voyages Issue: Six Photographers on Their Dream Journeys - The New York Times2015-09-24T14:30:35+00:00
http://www.nytimes.com/interactive/2015/09/23/magazine/the-voyages-issue.html
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http://www.nytimes.com/2012/03/11/travel/thin-places-where-we-are-jolted-out-of-old-ways-of-seeing-the-world.html?pagewanted=all
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http://www.materialconnexion.com/
robertogrecomaterials architecture database design reference nyc bangkok beijing cologne daegu istanbul milan seoul shanghai skövde tokyo turkeyhttps://pinboard.in/https://pinboard.in/u:robertogreco/b:a0e17128d861/Ekümenopolis: Ucu Olmayan Şehir | 2012 (English Subtitle) - YouTube2013-06-05T21:56:42+00:00
http://www.youtube.com/watch?v=maEcPKBXV0M
robertogrecoistanbul documentary turkey towatchhttps://pinboard.in/https://pinboard.in/u:robertogreco/b:aa996f742f79/Taksim Gezi Parkı2013-06-03T00:08:12+00:00
http://showdiscontent.com/
robertogrecoturkey istanbul taksimgezipark 2013 documentation photography protests erdoğanhttps://pinboard.in/https://pinboard.in/u:robertogreco/b:02321d9a415d/Big Red & Shiny: Did someone say 'Adhocracy'? An interview with Ethel Baraona Pohl2012-11-14T02:14:13+00:00
http://www.bigredandshiny.com/cgi-bin/BRS.cgi?section=article&issue=137&article=2012-10-01-18162374197316357
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http://www.urbanology.org/
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http://www.theatlantic.com/technology/archive/2011/04/comparing-16th-century-maps-to-current-satellite-imagery/237664/
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http://archinect.com/news/article.php?id=97584_0_24_0_C
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http://www.npr.org/templates/story/story.php?storyId=114208983
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