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    <title>The Internet Has Not Killed Reading—or Attention Spans</title>
    <dc:date>2026-03-25T05:46:19+00:00</dc:date>
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    <dc:creator>robertogreco</dc:creator><description><![CDATA["An interview with Kevin Ashton, MIT technology pioneer and author of The Story of Stories"

...

"British author and technology pioneer Kevin Ashton has been puzzling over the nature of storytelling for the past 25 years. That’s how long it took him to research and write his latest book, The Story of Stories: The Million-Year History of a Uniquely Human Art.

The first seed of the book for Ashton lay in two seemingly contradictory questions posed by American philosopher and linguist Noam Chomsky. The first, known as Plato’s problem, asks how we can know so much with so little information. Babies, for instance, learn to speak based on what might seem like a poverty of inputs. The second question is known as Orwell’s problem, and it asks the opposite: How could we know so little, given that so much information is available to us?

Ashton—best known for coining the term “The Internet of Things” in 1999, to describe the rise of a whole economy of sensors and other objects connected to the World Wide Web—also began asking himself how the rise of the smartphone might transform the human relationship to storytelling and to the world. “By the mid 2010s, I could be pretty confident that by 2026, some 9 out of 10 people in the world would have a smartphone, and I wanted to know what that might mean,” he recently told me. “The smartphone was an incremental step in the developed world, but in the developing world, it was everything at once.” In the developing world, most people had skipped over radio, television, personal computers.

Ashton knew a revolution was coming. But to grasp what that revolution would look like required him to go back and understand the entire evolution of storytelling across human history—which was initially just a footnote in his research.

I recently spoke with Ashton about why cell phones are so revolutionary in the long history of storytelling technologies, why social media might not be as terrible for young people as some believe, why long-form narratives aren’t dead, and why he’s still hopeful about our newest storytelling technologies.

You divide The Story of Stories into two parts: the first act, which is a million years long and comes to its end with the smartphone, and then everything after that. What is so fundamentally different about the smartphone from earlier storytelling technology?

A lot of people are like, “New technology comes along, and kids can’t understand stories anymore. Kids can’t read, nobody talks, bad things happen, words change, and nobody’s got any attention.” And that didn’t stand up to research very well. But what I did realize was that these major new technologies, each change the scale of storytelling: How many people can tell stories, and how many people they can tell stories to. That started to look really interesting. I was beginning to realize that big new storytelling technology generally leads to big new revolutions.

Of course, one of the early ones is printing. We didn’t all read happily ever after because of printing. There were like 50 or so wars between Protestants and Catholics over whose story was right, and 12 million people were killed. That’s an example of the kind of revolution that happens when new stories become more broadly available. The smartphone really feels like the end of that arc, because now anybody can tell a story to anybody. There is someone in Mongolia right now using Facebook, and if they publish something viral enough and interesting enough that catches enough attention, it’s five shares away from being something everybody sees.

You write in the book that storytelling is uniquely human. Do we know for sure that other species don’t tell stories?

You don’t really see any symbolic behavior in other species. All species communicate, but very few species communicate through visual means. Crows do a little bit of pointing. Dogs can understand humans pointing. But wolves don’t use pointing in the wild. They will mark the ground and use urine for signaling behavior, most of which is olfactory. But what you don’t get is any rigid system where a scratch like this means one thing, or a scratch like that means another thing. And vocalizations are primarily calls and cries that convey warning or attraction. A lot of the information in those sounds is how big is the person making the call or the cry? How old or young is the person making the call or the cry? So there’s nothing remotely like storytelling or story comprehension in any species that we’ve ever studied or discovered.

Humans started telling stories when we sat around the fires. We were primates who wanted to socialize. We couldn’t see gestures. We started making sounds. The sounds we had were, “Look over there,” and “Oh my god, run.” And those sounds were actually very useful sitting around the fire. What you want to talk about around the fire is stuff that’s not there. Maybe it’s about tomorrow or yesterday or something you remember, or something you imagine or something you desire. Over a long period of time, hundreds of hundreds of thousands of years, those sounds start to evolve into something which becomes language. And the reason they evolved into language was so that we could have these conversations about things not present, which is storytelling.

You argue that a fundamental purpose of stories is to distribute glory and shame, in the form of heroes and villains. But literary critics might argue that good stories don’t have clear-cut heroes and villains. They have antiheroes. They have gray areas rather than certainties.

We have to distinguish between stories that tend to be long lasting and successful when told to large audiences—and ones that are not. In successful stories, the antiheroes are still heroes. Batman still saves Gotham City. He just does it wearing black. An antihero isn’t a villain. And there are no anti-villains. The antihero exists as a reaction to the heroic archetype, the pure goody-two-shoes heroes that were in earlier stories. The tweedy literary people in their Brooklyn brownstones who try to write stories where it’s very ambiguous who’s the good guy or the bad guy—it’s all a bit muddled, but there’s still someone you’re supposed to be rooting for. There’s still someone the author identifies with. You cannot tell a story that anyone will enjoy if there’s absolutely nobody doing anything virtuous at any stage. That wouldn’t be a compelling story. But really, the more emotion a story evokes, the better the story. Different things evoke different emotions in different people. But these more experimental white guy books that everyone pretends they read where nothing ever happens …

Like which ones?

I’m not going to name any names! But if you’re not evoking an emotion, you aren’t going to find a lot of readers. A lot of people who want to be high-art storytellers will experiment: “Well, what if they take out these elements? What am I left with? How does it work?” My answer is generally it’s an intellectually interesting exercise that I don’t want to return to. Depending on what kind of mood I’m in, I sometimes have some very salty conversations with literary critics.

Read more: “We Can Be Heroes”

If storytelling has been so utterly transformed by these new technologies, why do the earliest forms of storytelling stick around? People are constantly saying, poetry is dead, novels are dead, but they aren’t dead. They don’t go away even though we keep getting new storytelling technologies. Why do you think that is?

The real deep answer is we’re exactly the same people with exactly the same brains and behaviors that we were 100,000 years ago or more when storytelling first evolved. The things that appeal to us about stories today are the things that appealed to our ancestors. That hasn’t changed. The hard-wiring is the same. And more people can read than ever before. More novels are being sold than ever before.

I’ve been talking about this a long time because I get really tired of this old post-literate world thing. Marshall McLuhan was declaring the world post-literate when only 40 percent of people could read. Give me a break. We live in a world right now where there’s been a democratization of reading, an egalitarianism of reading. People who like romance and fantasy books are writing their own romance and fantasy books and they’re self-publishing them. And some of them get the attention of traditional publishers and become very successful.

I’m not generally very welcome on panel discussions, but you get, “The kids these days, they have no attention spans.” And: “The kids these days, they’re always looking at their phones.” And I’m like, “Well, hang on a minute. Both of those things can’t be true.” Either they have no attention or they can’t stop looking at their phones, by which you mean paying a lot of attention to their phones. What’s on their phones is words, most of the time, even if you go look at some dumb TikTok video, they put words on top of things. There are captions that help it make more sense when they’re communicating with one another. They’re sending text messages. Children today are writing more words than you or I did when we were teenagers.

The other day I was talking to an educator, and they asked, “What do you think about AI? It’s writing all the essays.” My reply is, “I think you should stop assigning people essays.” Why has nobody come up with this idea? Tell the students, “I want you to do the reading, and then you and I are going to sit down for five minutes, one-on-one, and we’re going to talk about it.” That solves the whole freaking problem.

But if our brains haven’t changed since we first started writing down and consuming stories, wouldn’t it be a good thing to continue to write essays? Evidence suggests writing is such an important part of the thinking process.

Writing is just a technology of story. It’s one of the earliest technologies of story. And older people always hold the things that they did when they were kids in higher regard. I’m a writer. I write books. I love writing. I can talk for days about why writing is good and why books are good, but are they better than everything else? That’s an unchallenged assumption based on the fact that it’s old and not based on the fact that it’s better.

The standard academic essay is an example of what Paulo Freire called banking education. The teacher deposits a question; the student retrieves content, formats it per conventions, returns it for grading. The product is assessed, not the thinking that was supposed to happen in the middle. What the essay actually measures is socioeconomic class and family income. Essay content and style correlate more strongly with household income than even SAT scores. Higher-income students deploy abstract reflection, complex syntax, and so on, not because they think more clearly, but because those conventions are part of their linguistic inheritance. Lower-income students write differently, not worse, but get marked down. And here’s the kicker: Rich kids have always been able to pay tutors, writing coaches, and consultants to help them write essays. AI has simply made that service free and universal. The scandal isn’t that students aren’t writing their own essays. The scandal is that we’re only worrying about the problem now that the cheat is available to everyone.

What about long-form versus very short-form storytelling? Can a 5-second post on a social media app really sustain attention or require you to think about ideas in the way that a novel or a nonfiction book would?

You can get equally enthralled by a short story and a 10-book series. Martin Luther’s 95 Theses was this one-page document. The first viral meme broke the world’s greatest power at the time—the Roman Catholic Church—in two. It really isn’t how you say it, it’s what you say. If you’re going to write long-form, you have to do it well. If you’re going to write short-form, you have to do it well. All of that stuff seems values-neutral to me.

But also, social media content isn’t always short-form. A teenager spending three hours on social media might be watching long-form YouTube essays, reading Reddit threads, participating in BookTok, or creating content. Collapsing all of that into a single variable and drawing conclusions about format isn’t justified. The most popular YouTube creators built massive audiences on long-form content. PewDiePie—110 million subscribers, nearly 30 billion total views—averages 28 minutes per video, more than double the platform average. Penguinz0, who has 17.5 million subscribers and 12 billion views, averages 27 to 60 minutes per video depending on measurement window. The generation supposedly incapable of sustained attention built two of YouTube's largest channels on content running 30-60 minutes per video.

And long-form reading is booming. United States young adult print sales went from approximately 23 million copies in 2018 when TikTok launched to a record 35 million in 2022, a 52-percent increase. Sales in 2024 remain 31 percent above 2018 levels. The primary driver of that growth, according to Circana BookScan, was TikTok. Those 30 million annual copies average roughly 70,000 words each, approximately 2 trillion words, of long-form reading per year in a single book category, from a generation supposedly incapable of sustained attention. That’s about the same number of words per capita as any other age group. Americans aged 11-18 read about one novel a year on average. So do Americans over 19.

Read more: “Our Brains Tell Stories So We Can Live”

What about recent studies that suggest kids’ social media use is linked to lower memory, vocabulary, and reading scores?
The claim that social media is measurably harming cognition isn’t supported by the evidence. The one genuinely controlled experimental result is a 2023 study, which found TikTok degraded prospective memory. Specifically, the ability to remember to execute a planned intention—in a between-subjects design—while Twitter, YouTube, and a no-activity control did not. This is a real finding. But it measures one narrow cognitive function under artificial lab conditions, not, say, reading, vocabulary, critical thinking, or abstract reasoning. 

Assessments like reading scores don’t measure things like narrative construction, persuasive communication, editing judgment, or audience awareness, all of which content creation develops. Participation matters. TikTok follows the 90-9-1 pattern common to all interactive media. One percent create, 9 percent interact and the rest read, watch, or whatever. But on a platform with 150 million U.S. users, even 1 percent is 1.5 million American content producers. And the 9 percent who comment, stitch, and duet are doing something cognitively active.

Research from University of Oxford experimental psychologists Amy Orben and Andrew Przybylski suggests technology use explains only around 0.4 percent of variation in adolescent well-being. The concern about bedtime screens, often treated as established fact, wasn’t supported when measured properly. Cognitive psychologist Lan Nguyen and colleagues reviewed some 100,000 participants and found a moderate correlation between short-form video and poorer attentional performance, but the causal direction isn’t proven: Children with pre-existing attention difficulties may gravitate toward high-stimulation short-form content, producing the observed correlation without any platform effect.

You write that critical literacy—the ability to look at the context of a story, to ask follow-up questions, to recognize that everybody tells you something with an agenda, is the only way to protect yourself from manipulation today. Is anyone successfully teaching critical literacy?

The way I conclude the book is, “No one is coming to save us.” We ourselves have to get more humble, more experienced, recognize our own cognitive biases, recognize when we’re mad about something because we forgot to eat breakfast, and actually understand that we see the world in stories. People often think, “What he’s saying to me is, ‘I’m already a good critical thinker, but I’ve gotta help the other people.’” But no, I’m saying “I, Kevin, have to get better at it. And you, Kristen, have to get better at it.” One of my favorite cognitive biases is bias blindness: People who know there are cognitive biases, but are absolutely convinced these biases don’t apply to them.

It seems like you’re hopeful, though, that this new era of storytelling can bring about progress of some kind.

It already has. I have a nice little chart that I show when I talk about the book. Even today, about 2 to 3 percent of the silent generation will identify as gay, lesbian, bisexual, or trans. It’s about the same for the Boomer generation, and it’s a little bit more for Generation X. But for millennials, it’s about 15 percent, and for Gen Z, it’s about 25 percent. A lot of that has roots in the Internet becoming a place where people could find one another and build community and learn to come out. You see supportive groups forming that allow people to be themselves.

The trans revolution, a historic movement that we’re now living through, is in many ways a result of the Internet and digital photography allowing people to tell their stories more loudly and more clearly than they could before. And a lot of the horrible things in the world are backlash against that. We look at this horrible Epstein situation and it’s all terrible, but the fact of the matter is that in the 1950s, that just would’ve been no big deal. We see a lot of progress. Particularly right now, we can rightly and reasonably get very focused on the backlash to the progress, but they can’t reverse it all the way. 

I can absolutely guarantee you that the Supreme Court will not reverse the miscegenation laws that prevented Black and white people from getting married in the late 1960s, because Clarence Thomas is a Black man married to a white woman. There are a lot of horrible, bloody, brutal things that happen because we made progress. And some of them push us back a little way, but they never push us back all the way."]]></description>
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    <title>The Chowchilla bus kidnapping: What happened all those years ago? | Vox</title>
    <dc:date>2026-01-05T22:33:14+00:00</dc:date>
    <link>https://www.vox.com/the-highlight/22570738/chowchilla-school-bus-kidnapping</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["In 1976, a school bus carrying 26 children and their driver disappeared from a small California town, capturing the world’s attention. Forty-five years later, we revisit the story."

[archived:
https://archive.is/RrjPI ]]]></description>
<dc:subject>1976 kalebhorton california history crime 1970s longform 2021 chowchilla</dc:subject>
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<item rdf:about="https://defector.com/introducing-the-new-yorker-eurostep">
    <title>Introducing The 'New Yorker' Eurostep | Defector</title>
    <dc:date>2025-07-27T21:14:10+00:00</dc:date>
    <link>https://defector.com/introducing-the-new-yorker-eurostep</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["I have a name for this thing, as it happens. I call it the New Yorker Eurostep. The first part is because The New Yorker, as something like the reigning venue for the Magisterial, Carefully Reported Feature, is the unofficial home for this gambit; when I mentioned to a friend that a story he'd written had a New Yorker Eurostep in it he was initially confused not because he didn't know what I was talking about but because, he said, he'd always just thought of it as "the thing that Nick Paumgarten does." And while Paumgarten is hardly the only New Yorker writer to deploy the move—here's Elizabeth Kolbert sticking a lovely hop back to 1869 in her August feature about Utah's Glen Canyon—it is one that he has indisputably mastered. If the New Yorker Eurostep has a Manu Ginobili, it's him."]]></description>
<dc:subject>writing howwewrite longform 2025 davidroth nickpaumgarten learning howwlearn elizabethkolbert via:lukeneff thenewyorker</dc:subject>
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<item rdf:about="https://www.beyondthedial.com/post/e1-perspectives-on-watches/">
    <title>Podcast Insights E1 - Academic Perspectives on Watches - BEYOND THE DIAL</title>
    <dc:date>2025-07-24T23:08:57+00:00</dc:date>
    <link>https://www.beyondthedial.com/post/e1-perspectives-on-watches/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["This introductory episode is a discussion about the various conceptual frameworks that we can use when thinking, writing, and talking about watches. These include mechanical, cultural, social, historical, design, phenomenological perspectives. This overview provides a set of possible frameworks that the ensuing episodes will use interchangeably. Think of this as a Metasode.

SHOW NOTES

The Mechanical Perspective
Jens Koch's Article in Watch Time about the Rolex DEEPSEA
https://www.watchtime.com/featured/rolex-deepsea-d-blue-hands-on-review/

The Social & Cultural Perspectives
Allen's Article at Worn & Wound about the Bell & Ross Areonavale 41mm
https://wornandwound.com/review/review-bell-ross-br-v2-92-aeronavale/

The Historical Perspective
Jack Forster's Article on the Omega Moon Watch 50th Anniversary Edition at Hodinkee
https://www.hodinkee.com/articles/omega-speedmaster-apollo-11-50th-anniversary-limited-edition-in-depth

The Design Perspective
Zach Weiss Video Essay on the Christopher Ward C-60 Trident Pro V3 at Worn & Wound
https://www.youtube.com/watch?v=ADJMKnLzYD8 "

[Also here:
https://podcasts.apple.com/us/podcast/insights-e1-academic-perspectives-on-watches/id1472733566?i=1000444295274
https://open.spotify.com/episode/5MOjNrPhCN1ZjPHrKvoNc5 ]

]]></description>
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<item rdf:about="https://www.honest-broker.com/p/audiences-prove-that-the-experts">
    <title>Audiences Prove that Experts Are Dead Wrong - by Ted Gioia</title>
    <dc:date>2025-06-27T04:07:23+00:00</dc:date>
    <link>https://www.honest-broker.com/p/audiences-prove-that-the-experts</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["No TikTok will ever generate that kind of passionate long-lasting response. They come and go. But longform fandoms will last a hundred years or more, and get passed on from generation to generation.

That’s why longform is making a comeback—in total defiance to the wishes of Silicon Valley and their scroll-driven strategies. Maybe that should be a lesson to them. Perhaps they should reconsider some of their other social engineering initiatives before they also meet with a painful reversal."]]></description>
<dc:subject>2025 tedgioia video youtube longform music songs taylorswift albums books fiction novels podcasts pagecounts substack algorithms socialmedia shorts clickbait siliconvalley resistance skepticism abudance abundancenetwork attention tiktok abundancemovement regulation deregulation accelerationism progressivism technosolutionism yimby yimbyism yimbys abundanceagenda</dc:subject>
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<item rdf:about="https://jamescosullivan.substack.com/p/critical-thinking-was-in-decline-before-ai">
    <title>Critical thinking was in decline before AI</title>
    <dc:date>2025-06-20T16:32:50+00:00</dc:date>
    <link>https://jamescosullivan.substack.com/p/critical-thinking-was-in-decline-before-ai</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["There is a tendency, especially in discussions shaped by technological determinism, to blame complex problems on a single, recent cause. Take, as a current and particularly pronounced example, generative AI, which is often portrayed as a principal culprit in the apparent collapse of critical thinking.

But this narrative ignores a longer and deeper decline in critical thinking. Generative AI has not caused the erosion of our critical capacities, but rather, has accelerated a process that was already well underway. If we are in the last days of critical thinking, it would be fairer to characterise gen AI as the final nail in the coffin.

But what do we even mean by critical thinking, a term that is invoked way too widely? For me (and you’re welcome to disagree), ‘critical thinking’ refers to a set of intellectual dispositions and practices oriented toward the careful evaluation of information, arguments, and assumptions. It’s not just about doubting claims or calling out flawed opinions, but about engaging in reasoned, reflective judgement. Critical thinking involves the capacity to distinguish between assertion and evidence, to evaluate competing perspectives, to draw warranted conclusions, and to remain open to revision in light of new arguments or data.

Importantly, critical thinking is not reducible to logic or problem-solving in the abstract—it is historically and culturally situated. It has roots in classical traditions of dialectic and rhetoric, but it also takes institutional form in the Enlightenment ideal of rational public discourse and, more recently, in liberal educational philosophies that emphasise independent thought over rote memorisation.

To think critically is also to recognise that knowledge is rarely neutral or complete, but entails an awareness of context, an attentiveness to ambiguity, and a willingness to inhabit intellectual uncertainty. As such, critical thinking is inseparable from epistemic humility, the understanding that our perspectives are always partial.

In contemporary educational and cultural discourse, it is thrown around as a vague good, or used a buzzword to decorate curricula or strategic plans. True critical thinking requires time, institutional support, and a tolerance for dissent and complexity. In many of the environments where it is most loudly championed, it is often, in fact, quite inhibited. What was once a set of intellectual virtues rooted in Enlightenment scepticism and liberal pedagogy is now often reduced to generic problem-solving strategies, and this depoliticised version of critical thinking no longer threatens dominant ideologies or power structures.

This isn’t anecdotal, it is observable in empirical indicators, institutional priorities, public discourse, and broader culture’s relationship with complexity.

The OECD’s 2022 Programme for International Student Assessment (PISA) recorded the most significant decline in reading and mathematics scores since the assessment’s inception. In reading, many national systems experienced losses equivalent to three-quarters of an academic year. The 2024 Survey of Adult Skills, part of the OECD’s broader PIAAC initiative, confirms a similar trend among adults: stagnating or declining literacy and numeracy levels.

Of course, such a stark downturn are more readily attributed to widening social inequalities, and literacy and numeracy, while foundational, aren’t synonymous with critical thinking.

Looking beyond the numbers, the decline is evident. Being genuinely comfortable with ambiguity and dissonance are, as already noted, essential to critical thinking, but public discourse has gown visibly hostile to such, reinforced by growing democractic polarisation. In political, academic, and cultural debates, there is increasing pressure to adopt clearly demarcated positions, to signal allegiance rather than engage in authentic and measured arguments.

Social media platforms, which facilitate much of our cultural conversations, are structurally aligned against critical thinking, rewarding speed, emotional charge, and brevity over careful analysis. The viral success of content is largely determined by its capacity to confirm biases and provoke instant reactions, conditions fundamentally at odds with the practices of sustained re-evaluation and contextualisation that critical thinking requires.

And it was into such a polarised and hyper socio-cultural landscape that generative AI arrived.

The most disquieting characteristic of popular large language models like ChatGPT is not their capacity to misinform, but their capacity to persuade. Language models don’t think—at least not in the ‘special’ way that humans do (please note the sarcasm)—but they do predict plausible continuations of language sequences based on statistical patterns in training data. This is, of course, extremely impressive from a technical and linguistics perspective, but for many consumers, the surface coherence of their outputs (grammatical, syntactic, and rhetorical) creates a strong impression of meaningful reasoning. This is not a new problem in the history of media, but it is a uniquely intensified one.

Research reveals a troubling relationship between reliance on LLMs and diminished critical engagement. Studies by Carnegie Mellon University and Microsoft indicate that greater trust in AI systems correlates with lower levels of measured critical thinking, while individuals with higher self-confidence in their own analytical abilities tend to retain stronger reasoning skills. As the authors put it: ‘We find that knowledge workers often refrain from critical thinking when they lack the skills to inspect, improve, and guide AI-generated responses.’ In other words, users who defer to AI are not simply outsourcing labour, they are also abdicating judgement.

This convergence of degraded reasoning and inflated confidence in AI outputs is incredibily dangerous. When AI-generated text appears plausible, users are less likely to interrogate it, even when its reasoning is shallow or flawed. This suggests a diminished awareness of the very need to think critically at all.

The automation of knowledge work is no longer speculative; in many sectors, routine intellectual tasks are already being delegated to generative systems. LLMs offer efficiencies, sure, but also carry epistemological costs: the language model generates the text, but the human operator cannot fully account for what it says. This represents something way beyond efficiency, but a deeper dislocation of epistemic responsibility, a shift from being the author of an argument to being its facilitator.

These dynamics are increasingly evident in educational contexts. A study in Smart Learning Environments observed that students who used dialogue-based AI tools to assist in essay writing reported increased confidence in the quality of their work. However, objective assessment revealed no significant improvement in argumentative depth or critical insight.

This discrepancy between confidence and competence is already familiar to educators. The essay that is well-written but critically shallow is hardly new, but what gen AI enables is the effortless production of such texts, reducing the pedagogical process to surface artefacts. The traditional pedagogical aim, to enable students to articulate, defend, and refine their reasoning, is being displaced by a focus on textual presentation.

Assessment regimes often reinforce these trends. Rubrics often reward clarity and coherence, whereas that which remains unmeasured and thus devalued is the slow and often disfluent labour of original thought.

None of this will be surprising to educators. Across much of the Anglophone world, education has shifted toward managerial logics: accountability metrics, standardised testing, and curriculum narrowing have reduced space for open-ended exploration. Subjects that traditionally fostered critical engagement have been marginalised in favour of STEM disciplines framed in narrowly vocational terms. Even within the humanities, there is increasing pressure to justify intellectual work in terms of ‘impact’ or ‘skills’, leaving less room for speculative, dialectical inquiry.

There is a tendency to dismiss critiques of new media as reactionary: the printing press, radio, television all provoked fears about the loss of intellectual virtue. And while these historical analogues are useful, they are also quite limited. What distinguishes gen AI from previous technologies is its capacity not merely to store or transmit information, but to produce linguistic outputs that simulate reasoning. A calculator does not pretend to understand arithmetic, it just executes it transparently. A LLM chatbot, by contrast, produces discursive performances that mimic the surface features of argument, and this mimetic quality is epistemically destabilising because it obscures the boundary between generation and justification.

What can be done about the decline of critical thinking and its apparent acceleration in the age of generative AI?

Faced with the erosion of analytical habits and the increasing normalisation of machine-assisted cognition, the appropriate response is not primarily technical. What is required is a deliberate cultivation of hugely unpopular attitudes and practices that slow cognition, foreground ambiguity, and demand active engagement.

The recovery of sustained reading would be a start. Long-form, linear texts (dare I say, even in printed form) offer a mode of engagement that resists the logic of digital distraction, requiring attentiveness, interpretative patience, and, perhaps most importantly, a tolerance for complexity. Reading in this way is not simply about absorbing information, but about inhabiting an argument and overcoming difficulty. It stands in contrast to the superficial scanning that typifies online consumption.

We also need to restore epistemic agency through estimation and provisional reasoning. Before consulting an LLM, one might at least attempt to formulate an initial hypothesis or outline a tentative explanation, to treat uncertainty as an intellectual opportunity rather than a problem to be eliminated. In doing so, the thinker reasserts their own role as a participant in inquiry, rather than a passive recipient of answers. Before delegating writing or summarisation tasks to generative systems, individuals might take time to sketch the structure of their own argument, its premises, evidence, potential counterpoints, and underlying assumptions. This clarifies the individual’s position but also repositions the AI as a tool to be interrogated, rather than an authority to be trusted. The model becomes a resource within a broader process of thinking, not a substitute for it.

Such practices are not ‘solutions’ in that they won’t counteract the epistemic consequences of generative AI at a societal level, but they may serve as acts of resistance, and that’s something.

Generative AI did not cause the decline of critical thinking, but it may bring us to a point where the appearance of thinking becomes an acceptable substitute for its practice. And in that future, the very idea of reasoning, as a discipline and social good, may become quaint. If we are to resist this trajectory, we must begin by acknowledging that the habits we cultivate today will shape the thinking we are still capable of tomorrow."]]></description>
<dc:subject>criticalthinking jameso'sullivan 2025 ai artificialintelligence oecd pisa schooling socialmedia chatgpt llms efficiency responsibility rubrics clarity coherence slow labor thinking howwethink metrics testing curriculum newmedia printingpress radio television tv history luddism luddites neoluddites neoluddism analysis ambiguity slowthinking slowlearning patience attentiveness complexity longform text</dc:subject>
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<item rdf:about="https://varnelis.net/works_and_projects/on-the-golden-age-of-blogging/">
    <title>On the Golden Age of Blogging - varnelis.net</title>
    <dc:date>2025-05-04T19:46:35+00:00</dc:date>
    <link>https://varnelis.net/works_and_projects/on-the-golden-age-of-blogging/</link>
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</item>
<item rdf:about="https://waxingthecurb.nyc/">
    <title>Waxing The Curb</title>
    <dc:date>2024-09-08T04:47:47+00:00</dc:date>
    <link>https://waxingthecurb.nyc/</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>samkorman skating skateboarding longform reviews</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
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<item rdf:about="http://pilgrim.are.na/">
    <title>Pilgrim</title>
    <dc:date>2018-04-07T20:08:57+00:00</dc:date>
    <link>http://pilgrim.are.na/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Pilgrim is something like a combination of a bookmarklet and web-crawler. It provides a better experience for consuming long-form text and exploring related materials on the web.

It works by extracting the content of an article, and loading any links clicked inline on the page. As you go deeper into supplemental material, your path is maintained, giving one a better sense of where the relevant information flows.

Pilgrim is an open source project by Are.na initiated with generous support from the Knight Foundation Prototype Fund"

[via: https://twitter.com/jsamlarose/status/982550374312759296 ]]]></description>
<dc:subject>are.na via:jslr bookmarking hypertext reading text longform instapaper howweread online bookmarklet</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:d658c8893558/</dc:identifier>
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</item>
<item rdf:about="https://sixcolors.com/post/2017/05/the-subscription-paradox/">
    <title>The subscription paradox - Six Colors</title>
    <dc:date>2017-05-29T21:16:08+00:00</dc:date>
    <link>https://sixcolors.com/post/2017/05/the-subscription-paradox/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["When Todd Vaziri recently updated his chart of the length of John Gruber’s The Talk Show—which prompted me to update my chart of The Incomparable’s length—I’ve been reminded of something I learned from my days in the magazine industry. As P.T. Barnum (presumably) said, “Leave them wanting more.”

This isn’t showbiz claptrap—it’s a real effect. What makes someone a happy magazine subscriber, newsletter reader, or television viewer is the feeling that you’re consuming all of something you enjoy. You get to the end and still wish there were more, making you anticipate the next installment.

There are two danger zones. The first is if people just don’t like what you’re making. That’s an obvious one. If they’re not buying what you’re selling, you’ll lose them as a customer, and rightly so.

But then there’s another, less obvious danger zone: People who like your stuff but just can’t finish it all. You’d think that this shouldn’t matter, that if you only ever consume half of everything but enjoy it all, that should be good enough. But it’s not. Most people hate feeling that they’re not using everything they’re paying for. (I know the feeling, at least when it comes to Dropbox storage.)

I’ve had this described to me as “The New Yorker Problem.” People who enjoy reading The New Yorker still cancel their subscriptions, because they’ve got a few issues piled up. When we were designing the digital edition of PCWorld magazine after the print edition shut down, we spent a lot of time debating what the ideal magazine length should be. We could’ve put all the stuff we were generating on the web in there, making it seem like a great value… but it would’ve resulted in enormous issues that few, if any, readers could get through.

I’ve had the same experience with newsletters I’ve subscribed to on the Internet. I get a few daily newsletters, and I like them, but the fact that I just can’t find the time to read every one of them makes me frustrated. Yes, it would literally make me a happier subscriber if they gave me less of what I’m paying for. Any more and it might be the straw that broke the camel’s back.

This may not be entirely logical, but I believe it’s true. And that’s one of the reasons I’ve tried to bend the average run time of The Incomparable, which was at one point threatening to break 90 minutes, back toward an hour. Of course, some people would love it if we’d do two hours every week—but I feel like we’d be risking overstaying our welcome if we did that. I don’t want episodes to pile up. If you get many episodes behind on a podcast, unsubscribing starts to seem like a logical next step.

It’s something for all of us who create things on the Internet to keep in mind: People have a near-infinite supply of content at their disposal now. We should be respectful of their time and always leave them wanting more. There is such a thing as “too much of a good thing.”"]]></description>
<dc:subject>subscriptions 2017 brevity attention newsletters jasonsnell thenewyorker longform podcasts time completion finishing guilt</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:8dc68a5c236f/</dc:identifier>
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<item rdf:about="https://itunes.apple.com/app/apple-store/id1138892702">
    <title>Audm on the App Store</title>
    <dc:date>2017-01-04T07:19:50+00:00</dc:date>
    <link>https://itunes.apple.com/app/apple-store/id1138892702</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Audm presents the world's best long-form journalism, read aloud word-for-word by celebrated audiobook narrators.


Listen to hours' worth of new stories every week, from publications including:

* The Atlantic
* Foreign Policy
* The New York Review of Books
* Outside Magazine
* ProPublica
* London Review of Books
* Aeon
* Epic Magazine
* Pacific Standard
* Guernica
* World Policy Journal
* The Bitter Southerner
* The Marshall Project
* The Millions
* The American Scholar
* The Morning News

Add stories to your playlist to download them, then listen on the go -- even with no Internet connection. Within a story, jump to any paragraph by tapping on it. Choose the narration speed you like best. 

If you enjoy your free trial, subscribe for continued access. You will be charged $6.99/month for access to the entire Audm catalogue, to which new stories are being added all the time. Payment will be handled through your iTunes account. The first charge will occur upon confirmation of purchase. Your subscription will automatically renew 24 hours before the end of each subscription period. You may cancel your subscription by going to iOS Settings > iTunes & App Stores > Apple ID > View Apple ID > Subscriptions > Manage. If you cancel in the middle of a subscription period, your cancelation will become effective at the end of that period, and you will forfeit access to the Audm service for the remainder of that period.

Terms of use and privacy policy: http://www.audm.com/tos.html "]]></description>
<dc:subject>longform applications ios via:ablerism audio iphone application</dc:subject>
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<item rdf:about="https://medium.com/thoughts-on-media/why-i-believe-in-text-bf2f823cca56#.t5ie2ucmo">
    <title>Why I Believe in Text — Thoughts on Media — Medium</title>
    <dc:date>2015-12-14T17:40:36+00:00</dc:date>
    <link>https://medium.com/thoughts-on-media/why-i-believe-in-text-bf2f823cca56#.t5ie2ucmo</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The next step is to have publishing and blogging platforms introduce “medium form” structures. Formats like Medium’s responses help you get your point across in faster and more lightweight manner. There has yet to be a widely adopted writing format that is medium form, under 2500 characters, can be read under 5 minutes, and designed with constraints for brevity. I see great potential for fast, medium-length, text sharing on the web. The format can be written in an abstract form where the user is constrained by a character limit under 2500 (approximately three paragraphs). Constraints in writing structure can breed innovation and concision. It also solves the blank canvas problem where people are intimidated by a never ending blank text editor.

Gone are the days of 10 minute long reads like http://longform.org/. People are producing and consuming content in shorter, quippier, digestable ways (listicles, Buzzfeed, Twitter, theSkimm etc). As a writer, I find this paradigm shift towards short form text both fascinating and scary. The scroll can be your friend when you write long prose (Source: Michael Sippey). Now people just stop scrolling when your content doesn’t catch their attention in the first 30 seconds.

The market for text is larger than ever

People are still reading and producing text more than ever. Facebook, Messenger, Whatsapp, and iMessage indicate that the demand for text in messaging and commenting is exponentially increasing. People are just writing and consuming text in different ways.

For a social network to cater to as many people’s needs as possible it needs to provide a spectrum of sharing as diagramed above. No one sharing format can perfectly capture one person’s identity or needs. There is an amalgamation of personas within social networks. Snapchat is for fast, casual sharing in real time; Instagram is for beautiful images + text to capture your best moments; Notes and Medium are for deeper and richer storytelling when you want to get your points across. For a healthy sharing ecosystem you need a wide spectrum of sharing from lightweight to heavyweight richer storytelling.

Christiana and I broke down the sharing ecosystem by content types and depth of expression. Depth of expression is how much emotional content you can convey in one post. As you progress to the right of the spectrum the content format becomes more meaningful and deeper in expression due to a combination of text and multimedia stories. When I see a singular check-in or Snapchat, I get a glimmer of a person. When I read a note or Medium post, I feel connected to that person and know how they think.

The future of writing is going to be Text+

Text’s linguistic sentence structure adds unique organization to other media. When it comes down to telling a story in visual, video, or written form it is all about flow and organization. The ability to communicate with simple words to complex sentence structures to paragraphs offer an unique advantage for text to be a flexible and modular media that organizes photos and videos into a multimedia story.

<blockquote>Text is the most flexible communication technology. Pictures may be worth a thousand words, when there’s a picture to match what you’re trying to say.
— Always Bet on Text [https://graydon2.dreamwidth.org/193447.html ]</blockquote>

The future of text is going to be text+ (text + multimedia e.g. photos, videos, gifs, podcasts etc). In a mobile first world coupled with our shrinking attention span, readers and users want text+ for a faster, more immersive, gratifying consumption experience. Multimedia stories are the future of text. For rich storytelling to have the fast consumption of videos and it photos, it also needs to be interwoven with the depth and organization of text. It’s not going to be enough for Medium to be just text + photos. The Atatvist Mag does a great job embedding rich media into longform content. Now anyone can generate Pulitzer-winning content on par with “Snowfall”, which is powerful. The Atavist is democratizing high brow publishing to the masses. You don’t need programmers or photo editors anymore to produce high quality long form content. Publishing platforms like Facebook Notes, Medium, and the Atavist empower anyone to generate publisher-par content.

Text Conveys Emotional Depth

I question a world and system that overweighs “fast food consumption” over “slow food consumption”. Text is slow food because it takes longer to produce and consume. Like fast food, fast consumption fills you up fast but doesn’t do much for you. In a world where we measure user satisfaction and trust, we neglect the very basic metric for “connectedness” between users. NPS scores mean nothing if your users don’t feel connected to each other. I want to see companies adopt a metric for “connectedness” measuring how a reader feels towards the writer after reading a story. We should measure how you feel after reading a post. Did it make you feel more connected to the writer? Was the 1 minute you spent reading quality time? How does 1 minute of cat video trade off with 1 minute of reading?

Most importantly, text conveys a certain emotional depth that is not possible in photos and videos. People write during heightened states in their life like when Sheryl Sandberg wrote about losing her husband (I broke down reading her beautiful and poignant post) or when Mark Zuckerberg wrote about the miscarriages he and his wife Priscilla experienced before Max was born (very few people talked publicly about the pain of miscarriages until Mark’s text post). Writing helps us share our pain and heal together by connecting others to us through shared humanity. Through writing we find out that we are not as alone as we thought about our hardships. Writing is a conveyor of vulnerability and brings people together.

You can get to know someone through their writing. Writing makes me feel like I know someone like katie zhu before meeting her. From reading Katie’s Medium posts, I felt like I knew her and skipped the small talk when we met in person. We talked about everything from our shared love for writing to love-hate relationship with SF to internet ethics to cognitive diversity. We started on what would have been a fourth or fifth conversation level all thanks to me reading her writing. Writing connects people because it provides a deeper understanding of someone’s psyche, their beliefs, and their values. And that is a powerful thing in a world with so many disparate beliefs and divisiveness in political and religious factions. Writing has the ability to help you understand the other side’s opinion and dismount hidden biases.

Your product is only as good as the amalgamation of the people who use it. Content changes on the web but products that build deeper, meaningful connections between people will be lasting.

Let’s not get caught up in a “fast food consumption” world and forget that the internet can also be place for permanent, deep, and meaningful expressions. And this is why I believe in text. Text is not over yet, it’s just the beginning."]]></description>
<dc:subject>boren writing text web digital via:tealtan 2015 slow reading slowreading howweread howwewrite communication socialmedia atavist longform mediumform snowfall christinachae twitter theskimmm buzzfeed michaelsippy slate theawl text+ theoffing theatlantic alwaysbetontext sms texting snapchat connectedness emotions storytelling instagram medium facebook internet online photography video toddvanderwerff messaging chat multiliteracies</dc:subject>
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<item rdf:about="http://www.scottcarney.com/2015/01/feature-story-market-cap-writer-wants-think/">
    <title>How much are words worth? - scottcarney.com</title>
    <dc:date>2015-01-09T22:36:28+00:00</dc:date>
    <link>http://www.scottcarney.com/2015/01/feature-story-market-cap-writer-wants-think/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["After ten minutes listing the average number of features in each magazine multiplied by the number of issues annually we had a number: 800. On average these stories would run at about 3000 words and pay $1.50 per word.  It was only a ball-park estimate of the overall freelance writing market cap. But it was also a rather depressing one.  Let me put this in bold so it stands out on the page.

 

The total market for long form journalism in major magazines in America is approximately $3.6 million.  To put it another way: the collective body of writers earned less than Butch Jones, a relatively unknown college football coach, earned in a single year. 
 

$3.6 million. That’s it. And the math gets even more depressing. If we assume that writers should earn the average middle class salary of $50,000 a year, then there’s only enough money in that pot to keep 72 writers fully employed.  And, of course, those writers would have to pen approximately 11 well thought out and investigated features per year–something that both my friend and I knew was almost impossible.


Now, it could be that our estimate was a little low. But even if you double it–a number that is almost certainly far and above the size of the actual feature market, then we are collectively still barely scraping above $7 million paid out by magazines in word rates every year. According to Small Business Chronicle, the overall magazine publishing industry generates a total revenue of $35-40 billion a year. While that number includes lots of publications that are not in our sample, it does give at least some sense OF how small a slice of the pie writers actually earn.

 

Another way to figure out what the total publishing industry is worth is to check out the advertising rates that mainstream magazines publish on their websites. Take Wired, for example – not to pick on them, but because they are a representative of the some of the best journalism that exists in the country today. According to its media kit, a single page of advertising sells for $141,680. (And that’s not even the top of the market. A full page ad in GQ sells for more than $180,000). Multiply that by the number of full page ads in a single issue of Wired (about 30) and you get about $4.6 million in gross revenues per issue of the magazine.

 

Think about that for a second.  A single issue of one major American magazine generates more gross revenue than what the entire magazine industry pays out in word rates over an entire year. If you figure that Wired spends about $30,000 on words in any given issue then a little more back of the envelope math says that words account for only 0.6% of the magazine’s revenue.

 

As a writer, this state of affairs horrifies me. I feel strongly that writers contribute more than just 0.6% of value to the overall magazine industry. Yes, magazines have a host of expenses–printing, distributing, editing, fact checking, office overhead and marketing all have a cost. But there is also something deeply sick in how little writers’ work is actually valued by the industry."]]></description>
<dc:subject>journalism writing pay compensation media magazines longform 2014 scottcarney publishing 2015</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
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<item rdf:about="http://soulellis.com/2012/08/scanflipspread/">
    <title>Scan/flip/spread | Soulellis</title>
    <dc:date>2012-09-20T08:06:37+00:00</dc:date>
    <link>http://soulellis.com/2012/08/scanflipspread/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["How we author, design and publish language-based communications is undergoing a radical shape-shift. The acceleration of the book (as commodity, technological device, art object) has entered a new stage of evolution in our trajectory towards constant presence and the post-human, and reading—the eye-brain processing of written culture—has much to lose, and gain, in the transformation.

What legacy of the book do we wish to bequeath to the future?

What is the futurestory of the book?

Several attributes of reading that are about to be lost, perhaps only temporarily (patina, olfactory, nostalgic), have opened up deep space for others (gestural, social, access, speed). And even more are on the way, as we prepare for the near-future absorption of the screen into the body (Google Glasses)…

…I propose a series of printed book experiments on the occasion of MutaMorphosis: Tribute to Uncertainty. These are actions of resistance—strategies for countering our growing need to read in haste. Three concepts will direct us to a poetic, if analog, investigation of book/time and the fast/slow speed of reading: scan, flip and spread. Working with found texts, public domain works, bot-generated ephemera and other digital artifacts, a printed book or short series of books that encourages and/or discourages slow reading will be produced as a limited print-on-demand edition for the MutaMorphosis conference (via Espresso Book Machine or other inexpensive digital-to-paper solution). The books will be distributed to all conference participants for discussion (panel, artist’s presentation or otherwise, TBD).

Scan/Flip/Spread puts forward the idea of the fast(er) book (print-on-demand) and braises it with the slow read. The investigation will explore the interface of the printed book—page-to-language ratio, typographic depth and density, page-turn-time, frame, weight, read rhythm, chance, flip speed and other formal aspects of the page; as well as content—questions of narrative, sense, curation and image/word play. Our goal, as a group, will be to create a space to embrace and counter the technologies of automation that are transforming language, visual culture, the page and reading—through the printed book object."]]></description>
<dc:subject>paulvirilio design longform automation dromosphere printondemand mutamorphosis uncertainty spread flip scan future ebooks bookfuturism googleglass speed access socialreading gestures nostalgia smell patina reading publishing books 2012 paulsoulellis slowreading slow selfpublishing self-publishing</dc:subject>
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<item rdf:about="http://rhizome.org/editorial/2012/aug/24/slow/">
    <title>Rhizome | The Web That Can't Wait</title>
    <dc:date>2012-09-18T20:39:38+00:00</dc:date>
    <link>http://rhizome.org/editorial/2012/aug/24/slow/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["…college would highlight in relief just how much I hadn’t read. Each semester I took far more courses than I could legitimately handle, and reading became consumptive instead of submersive. It became good enough to quickly read each text just once; a slower savouring could come later."

"When we enthuse about print books, we talk about them like they’ll be around forever. Such is not the case; like memories & scars, they fade and warp over time. Consider the spectrum from mass-market paperbacks that very quickly become unbound and jaundiced with age, through to more expensive texts that might be printed on acid-free paper. Rarer texts get a panopoly of preservation treatments from binding and display cases through to environmental controls that limit exposure to heat and light. In their attempt to rejuvenate print, Eterna Cadencia just might be sounding the death knell, in insisting that we treat each book with the white-gloved, sacralised care we accord to museum & archival pieces."]]></description>
<dc:subject>slowreading massmarket paperbacks ebooks longform fishapp robinsloan jackcheng slowweb slow speed fomo 2012 reading publishing rhizome books</dc:subject>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:2012"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:reading"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:publishing"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:rhizome"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:books"/>
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</item>
<item rdf:about="http://karrisaarinen.com/in-defense-of-the-best">
    <title>In Defense of the Best - Karri Saarinen</title>
    <dc:date>2012-09-10T16:38:52+00:00</dc:date>
    <link>http://karrisaarinen.com/in-defense-of-the-best</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["“What’s new” drives most of the popular sites and our consciousness. What are the scandals and news of today? What new your friends are doing? Twitter’s homepage literally says, “Find out what’s happening, right now”. Like tabloids, there is something new every today, and which is gone by tomorrow. Are we actually gaining anything?

Whether the internet has always been like that, I’m not sure. But it’s definitely accelerating towards faster and smaller bits. Filling up every spare moment, these things also invade our minds.

Where are the sites, apps or avenues that answers “What’s best?”. Is there even a place for them?"]]></description>
<dc:subject>square instagram newness qualityoverquantity slow robertpirsig karrisaarinen 2012 quora longform facebook twitter media addiction</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:1a9af4981d87/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:qualityoverquantity"/>
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</item>
<item rdf:about="http://www.theverge.com/2012/7/26/3184496/hacked-brain-adderall-cautionary-tale">
    <title>How I hacked my brain with Adderall: a cautionary tale | The Verge</title>
    <dc:date>2012-08-06T16:21:49+00:00</dc:date>
    <link>http://www.theverge.com/2012/7/26/3184496/hacked-brain-adderall-cautionary-tale</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[It is what it says]]></description>
<dc:subject>drugs psychology longform adderall brain via:jbushnell</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:43a20ad68aea/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:longform"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:brain"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:via:jbushnell"/>
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</item>
<item rdf:about="http://www.npr.org/2012/02/01/146083369/tina-browns-must-reads-dictators">
    <title>Tina Brown's Must-Reads: Dictators : NPR</title>
    <dc:date>2012-02-01T15:53:08+00:00</dc:date>
    <link>http://www.npr.org/2012/02/01/146083369/tina-browns-must-reads-dictators</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[1] "Johnson suggests even in private, North Koreans cannot tell the truth — that everything in their lives is fictionalized to one degree or another — & Brown says that's part of why his book is so original.

"Their own biographies are captured and rewritten and made to be the thing that you imbibe and live through, and that's why the freedom of the rower becomes such a haunting thing to Jun Do," Brown says."

[2] ""[York] writes about 'dictator chic,' which has now taken over as the fall of all these dictators from the Arab Spring brings all this flight money into Europe, & invades us with their taste," Brown says. According to York, 'despot decor' is increasing in certain spots around the world."

[3] "Murphy suggests that the Inquisition, rather than being a relic of the past, is a harbinger of modern times. Brown says that the sustained ability to create a system of fear, maintain records, & monitor people through communication systems & law reminds her of more modern examples."]]></description>
<dc:subject>toread cullenmurphy fear control architecture inquisition stasimuseum berlin eastgermany despotdecor dictatorchic peteryork northkorea literature fiction identity adamjohnson 2012 longform books tinabrown</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:e9c74a05f288/</dc:identifier>
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</item>
<item rdf:about="http://www.poynter.org/latest-news/top-stories/160301/5-provocative-ideas-sparked-by-women-in-media/">
    <title>5 provocative ideas sparked by women in media | Poynter.</title>
    <dc:date>2012-01-27T08:34:16+00:00</dc:date>
    <link>http://www.poynter.org/latest-news/top-stories/160301/5-provocative-ideas-sparked-by-women-in-media/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["From the many, many ideas Popova has sparked in my brain, one has stuck more stubbornly than any other: We need to start treating discovery, connection and sharing as creative acts."

"Why do these heady observations on nostalgia matter for busy media professionals? Because I’d argue there’s real opportunity in our affinity for nostalgia. Think of Instagram: I’d argue it’s taken off partly because its filters lend an artificial veneer of nostalgia to those in-the-moment digital photos; they instantly make a moment seem more distant or unrecoverable."

[via: http://bettyann.tumblr.com/post/16433811360 ]]]></description>
<dc:subject>humor comedy longform homicidewatch discovery connections curation instagram 2012 nostalgia connection sharing cv media journalism mariapopova mattthompson creativity</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:cb5181a8d0fa/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:homicidewatch"/>
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</item>
<item rdf:about="http://www.theatlantic.com/technology/archive/2012/01/how-radiolab-is-changing-the-sound-of-the-radio/251509/">
    <title>How 'Radiolab' Is Changing the Sound of the Radio - Alexis Madrigal - Technology - The Atlantic</title>
    <dc:date>2012-01-17T23:12:08+00:00</dc:date>
    <link>http://www.theatlantic.com/technology/archive/2012/01/how-radiolab-is-changing-the-sound-of-the-radio/251509/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["What's different about Radiolab (&…changing about the web) is that it *is* a production…one of a very new kind. Radiolab is actually post-blog & post-livestream…not aping oratory of old or raggedness of new…a hybrid that takes lessons from the past, recent & deep. 

That's where…web journalism is headed…"No one wants to read a 9,000-word treatise online. On the Web, one-sentence links are as legitimate as 1000-word diatribes—in fact, they are often valued more."

While this might have been true at one point, it simply no longer is…at The Atlantic, there is a very strong positive correlation between length of post & readers attracted. The genre conventions of blogging are changing. Few old-style linkblogs exist & a whole culture has developed around the longread. New online publications…look beautiful.

This is the Radiolab effect extended: expect less pretension to authority, greater understanding of one's nodeness, but greater respect for the production culture of the pre-web era."]]></description>
<dc:subject>post-livestream post-internet pretension radiolabeffect robertkrulwich twitter blogging journalism storytelling productionvalues authority longformjournalism longform theatlantic online web radio alexismadrigal jadabumrad 2012 radiolab</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:c4be7303ac5f/</dc:identifier>
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</item>
<item rdf:about="http://designmind.frogdesign.com/articles/the-never-ending-story.html">
    <title>The Never-Ending Story | design mind</title>
    <dc:date>2011-08-24T11:10:15+00:00</dc:date>
    <link>http://designmind.frogdesign.com/articles/the-never-ending-story.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[Harris: "I think that’s something stories can do—prepare their way of finding meaning in this madness and bringing some order to the chaos.

…creating a space that’s more about slowing down and contemplating and being introspective is a prerequisite for getting people to tell stories that have impact.

…Cow Bird is basically a storytelling platform that people can use to tell stories online using photos, sound maps, timelines, videos, and casts of characters. It’s geared towards long-form narrative…when many different people tell stories, the system automatically finds connections between them and weaves them together into a kind of meta-story…The platform automatically analyzes all the text in your memory, figures out your cast of characters, and connects it to previous stories.

…one of the pieces of this system I’ve been building is that to tell the story you have to dedicate it to somebody, which creates a gift economy of stories."

[via http://twitter.com/frogdesign/status/105785778331852800 via @bobulate]]]></description>
<dc:subject>design art writing storytelling jonathanharris cowbird slow slowness multimedia thisishuge gamechanging 2011 interviews classideas curating curation twitter facebook longform meaning meaningmaking meaningfulness self-expression internet web stories social socialsoftware metastory relationships connectivism narrative memory memories soundscapes soundmaps timelines video gifteconomy</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:bbbdf111a3ee/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:cowbird"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:thisishuge"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:twitter"/>
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</item>
<item rdf:about="http://www.guardian.co.uk/world/2010/dec/26/stephane-hessel-93-french-bestseller">
    <title>Political essay by 93-year-old tops Christmas bestseller list in France | World news | The Guardian</title>
    <dc:date>2011-08-15T22:46:33+00:00</dc:date>
    <link>http://www.guardian.co.uk/world/2010/dec/26/stephane-hessel-93-french-bestseller</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Proving that age is no boundary to publishing success, the French book world has been taken by storm by a surprise Christmas bestseller: a political call to arms by Stéphane Hessel, 93.<br />
<br />
The unlikely publishing sensation is a former resistance hero whose 30-page essay, Indignez-vous!, calls on readers to get angry about the state of modern society.<br />
<br />
Launched in October by Indigène…tiny first print-run, 6,000…sold for €3, unprecedentedly cheap in a country where book prices are regulated & kept high by the law.<br />
<br />
Hessel's success has stunned France. After two months on the bestseller lists, the book has spent five weeks at number one…has sold 600,000 copies & – publishers predict it will reach a million…<br />
<br />
 argues that French people should re-embrace the values of the French resistance, which have been lost, which was driven by indignation, and French people need to get outraged again…calls for peaceful and non-violent insurrection…"]]></description>
<dc:subject>stéphanehessel books publishing longform writing culture society politics 2010 insurrection resistance life qualityoflife france immigration outrage indignation frencresistance inequality disparity wealthdistribution</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:522cf4d6b7be/</dc:identifier>
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</item>
<item rdf:about="http://log.scifihifi.com/post/8315602718/twitter-instagram-and-the-journalistic-impulse">
    <title>Sci-Fi Hi-Fi — Twitter, Instagram, and the Journalistic Impulse</title>
    <dc:date>2011-08-01T06:35:24+00:00</dc:date>
    <link>http://log.scifihifi.com/post/8315602718/twitter-instagram-and-the-journalistic-impulse</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["…glaring weakness of “realtime” services like Twitter & Instagram as journalistic outlets: their narrow focus on “the now” & their relative disregard for the archival. While…the off-the-cuff, throwaway nature of Twitter or Instagram may be a big part of their appeal to otherwise reluctant amateur journalists…it’s a pretty poor journal that can’t be easily recalled later.

I’ve struggled a bit with this (I still dearly wish I could access my earliest tweets to put together my own tweet book), but I’ve recently found comfort in my friend Kellan’s notion of “long form tweeting.” Increasingly, I’ve come to think of Twitter & Instagram as notebooks where I develop & discuss ideas that I later elaborate on on my personal blog (I like to think of it a bit like F Scott Fitzgerald’s notebooks full of fragmentary ideas…). ”Real time” services are great for journalistic impetus and visceral feedback, but I’ve come go think of Tumblr as my final draft."]]></description>
<dc:subject>buzzandersen twitter instagram tumblr writing fscottfitzgerald journals archives archival journalism fragmentaryideas noticing longform longformtweeting tweeting 2011 notes notetaking thinkingoutloud</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:e676798820c9/</dc:identifier>
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</item>
<item rdf:about="http://byliner.com/">
    <title>Byliner</title>
    <dc:date>2011-04-19T17:57:34+00:00</dc:date>
    <link>http://byliner.com/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Introducing Byliner Originals. Great writers. Compelling stories. Told at their proper length."]]></description>
<dc:subject>writing journalism news books writers byliner longform longformjournalism shorts</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:f1a2e9e7663f/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:news"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:books"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:byliner"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:longformjournalism"/>
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</item>
<item rdf:about="http://www.marco.org/3044068415">
    <title>Marco.org - Readability's new service</title>
    <dc:date>2011-02-01T06:22:11+00:00</dc:date>
    <link>http://www.marco.org/3044068415</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["new Readability service: you pay a small fee each month, & they give most of the proceeds to the authors of the pages you choose (by using Readability bookmarklet on them, or adding them in other ways). It’s a great way for readers to support web publishers, big & small, directly & automatically…<br />
<br />
Instapaper will soon provide an option to send logs of your reading activity to your Readability account if you have one, so pages you read in Instapaper will give “credit” to the publishers.<br />
<br />
I’ve created a special Readability edition of the Instapaper iPhone & iPad app to serve as Readability’s official mobile app, due out in the near future.<br />
<br />
I’m an advisor to the company.<br />
<br />
Trust me, these guys really know their stuff, & their heads are in the right place: there are no sinister motives or shady practices. It works exactly the way you’d expect, & is one of the most positive, constructive efforts I’ve seen in the online publishing world in a long time."]]></description>
<dc:subject>instapaper readability media publishing micropayments longform marcoarment</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:0a831d4fc4fb/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:micropayments"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:longform"/>
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</item>
<item rdf:about="http://snarkmarket.com/2010/5979">
    <title>The generative web event « Snarkmarket [Important post stitching together two other important posts on the future of media]</title>
    <dc:date>2010-08-04T17:26:19+00:00</dc:date>
    <link>http://snarkmarket.com/2010/5979</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["One new kind of media that’s start­ing to func­tion as a work is a blog. Not, in most cases, a blog post—but a blog. If NYTimes decides, “hey, we’re going to start & host a blog all about par­ent­ing” that blog becomes a Work. It pro­duces ongo­ing cul­tural focus, & not just because it’s in NYT. Some posts get more atten­tion than oth­ers, espe­cially if they cross over into long-form venue, but writ­ing that blog, stick­ing with it, being its author, cre­ates focus, read­er­ship & long accu­mu­la­tion of con­tent. & I’m sure Lisa Belkin (already wrote a book about par­ent­ing) will get another book out of it.

But the other new, emer­gent work, which might be more rad­i­cal, is the gen­er­a­tive web event. 48HrMag, One Week | One Tool, Robin’s novel­las & maybe even New Lib­eral Arts (espe­cially if we put together another edi­tion) are all ances­tral species of this new thing—chil­dren of TED, Phoot Camp, Long Now, Iron Chef, & par­ents of whatever’s going to come next."]]></description>
<dc:subject>events ted gamechanging tcsnmy lcproject future generative generativeevents newliberalarts longnow 48hrmag longshot robinsloan timcarmody snarkmarket collaboration collaborative classideas media blogs blogging longform phootcamp ironchef oneweekonetool writing 2010 education weliveinamazingtimes generativewebevents</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:e2869b970d72/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:newliberalarts"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:blogging"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:ironchef"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:oneweekonetool"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:writing"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:2010"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:education"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:weliveinamazingtimes"/>
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</item>
<item rdf:about="http://givemesomethingtoread.com/">
    <title>Give Me Something To Read</title>
    <dc:date>2010-08-01T18:15:13+00:00</dc:date>
    <link>http://givemesomethingtoread.com/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["An editorial selection of the top articles bookmarked on Instapaper. "
]]></description>
<dc:subject>aggregator instapaper reading toread longform journalism writing</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:4fc1f136e60d/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:aggregator"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:instapaper"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:reading"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:toread"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:longform"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:journalism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:writing"/>
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</item>
<item rdf:about="http://www.kk.org/cooltools/archives/004610.php">
    <title>Cool Tools: Long Form * Instapaper</title>
    <dc:date>2010-08-01T18:14:22+00:00</dc:date>
    <link>http://www.kk.org/cooltools/archives/004610.php</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Longer than a newspaper item but shorter than a book, a magazine article is the ideal length for my attention span. I'd rather spend an hour with a great magazine article rather than read a book any day. Ditto for hopscotching through shallow blogs and newspaper bits. But there are fewer print publications running long form journalism. Ironically, a new website, called Long Form, points to the best long form articles appearing anywhere in print, and also collects the great magazine articles from the past. Long Form fits perfectly into a small ecosystem whereby you can read these great pieces of writing on a Kindle, iPad, or phone. I've found the easy-reading portable screens of these tablet devices fit a 1 to 2-hour window perfectly."
]]></description>
<dc:subject>kevinkelly longform instapaper givemesomethingtoread toread magazines ipad ereaders kindle reading</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:6b27763ba78c/</dc:identifier>
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</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://longform.org/">
    <title>Longform.org</title>
    <dc:date>2010-08-01T18:12:13+00:00</dc:date>
    <link>http://longform.org/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["We post articles, past and present, that we think are too long and too interesting to be read on a web browser.]]></description>
<dc:subject>content longform reading instapaper media news journalism writing toread iphone ipad aggregator culture design essays</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:cdbee3e29141/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:longform"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:reading"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:instapaper"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:media"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:news"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:journalism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:writing"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:toread"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:iphone"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:design"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:essays"/>
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</item>
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