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    <dc:creator>robertogreco</dc:creator><description><![CDATA["One recent morning I realized something I should have noticed years ago, namely that for much of my life the extrovert in me has been selling out the introvert"]]></description>
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    <dc:creator>robertogreco</dc:creator><description><![CDATA["The rewards of the tangential, the digressive, and the dreamy."

[See also:
https://www.themarginalian.org/2014/03/04/the-distracted-public-saul-bellow/ 

https://www.poetryfoundation.org/poems/45564/the-world-is-too-much-with-us ]]]></description>
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    <title>Cabel Sasser, Panic - XOXO Festival (2024) - YouTube</title>
    <dc:date>2024-10-21T19:38:50+00:00</dc:date>
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    <dc:creator>robertogreco</dc:creator><description><![CDATA["“Don’t waste this. Keep everyone guessing. Make me proud.” When Panic co-founder Cabel Sasser spoke at our second festival in 2013, the Mac software company had just started venturing into games by funding the studio behind Firewatch, an indie blockbuster that launched Panic’s games publishing business and, eventually, the Playdate handheld console.

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

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

[UPDATE 12 FEB 2026

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

and 
https://wescook.art/
https://en.wikipedia.org/wiki/Wes_Cook ]]]></description>
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<item rdf:about="https://www.youtube.com/watch?v=QhCYH95t768">
    <title>Ivan Illich/David Cayley Book Club #3 of 6 - YouTube</title>
    <dc:date>2023-10-25T17:04:17+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=QhCYH95t768</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[See also:

"Four Illich Conversations, Part 1: Cayley/Hine"
https://www.youtube.com/watch?v=nvbzuQdO19M

"Walking the Razor's Edge: Illich Conversation #2 with David Cayley and Sam Ewell"
https://www.youtube.com/watch?v=IJOwHQXpMbQ

“One No, Many Yeses” – Sam Ewell & Dougald Hine in Illich Conversation #3"
https://www.youtube.com/watch?v=1Avh1AJ9sls

"Ave Maria/Sophia/Gaia: Katherine Bubel and Michelle Berry Lane on Illich and the Sacred Feminine" (Conversation #4)
https://www.youtube.com/watch?v=19q4pWKPlj0 ]]]></description>
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<item rdf:about="https://store.corita.org/products/ordinary-things-will-be-signs-for-us">
    <title>Ordinary Things Will Be Signs for Us | Corita Art Center</title>
    <dc:date>2023-09-03T03:34:44+00:00</dc:date>
    <link>https://store.corita.org/products/ordinary-things-will-be-signs-for-us</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Ordinary Things Will Be Signs for Us
Photographs by Corita

Edited by Julie Ault, Jason Fulford, and Jordan Weitzman. Featured essay by CAC Senior Curator, Olivian Cha.

Co-published by J&L Books and Magic Hour Press.
Softcover, 144 pages, 10” x 7.5”

Corita Kent, formerly Sister Mary Corita, is known for her exuberant, colorful serigraphs and her teaching, as evidenced in her lively art classes. As a Catholic nun from 1936 until 1968, Corita lived and worked in the Immaculate Heart of Mary community in Los Angeles. She taught lettering and layout, image finding, and art structure for 20 years in Immaculate Heart College’s art department. There, she screened multiple films simultaneously, hosted guest thinkers including Saul Bass, Buckminster Fuller, and John Cage, and guided the making of large-scale collaborative projects with students.

Corita regularly took her students out for looking sessions at a used car lot or an art exhibition. While constantly looking and discovering visually, Corita shot thousands of 35 mm slides documenting references, the IHC milieu, and the art department processes. For Corita, the vernacular environs of advertising, supermarkets, and the city’s media landscape were a source of inspiration and raw material. Her slide collection encompasses a wide range of subjects: cookies, coke bottles, toys, presents, experiments, projects, Mary’s Day celebrations stemming from Corita’s classroom, flowers, magazines, seeds, puppets, visits with Charles and Ray Eames, street signs, trade fairs, folk art, boxes, billboards, and kites. Drawing from the Corita Art Center’s vast slide collection, Ordinary Things Will Be Signs for Us embodies Corita’s philosophy of looking."]]></description>
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<item rdf:about="https://yalereview.org/article/elleza-kelley-ordinary-allurements">
    <title>The Yale Review | Elleza Kelley: &quot;Ordinary Allurements&quot;: Christina Sharpe’s reading lessons</title>
    <dc:date>2023-06-13T20:34:36+00:00</dc:date>
    <link>https://yalereview.org/article/elleza-kelley-ordinary-allurements</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Black writing, from W.E.B. Du Bois to John Keene, is full of rebellious paratexts rearing up from the margins and backs of books—epigraphs, footnotes, endnotes, indexes, and appendices that subvert, interject, and critique. These para­texts echo black inhabitations of space: they refuse to be subor­dinated. Epigraphs become musical notation; glossaries invoke spirits; appendices map other worlds. In Édouard Glissant’s 1989 Caribbean Discourse, a single footnote upends the entire forma­tion of the West: “The West is not in the West,” it declares from the subterranean depths of the page. “It is a project, not a place.” Across the smooth surface of the master narratives to which they are keyed, black notes disturb and disarrange.

For writer and professor Christina Sharpe, these eruptive oper­ations tell us what it is to live “life under these brutal regimes.” Her new book, Ordinary Notes, is structured as a series of 248 numbered reflections of varying lengths, collected for the reader like a handful of gems—or, as Gwendolyn Brooks’s Maud Martha describes dan­delions, “jewels for everyday” and “ordinary allurements.” Sharpe gathers many threads across these notes, moving freely among subjects and methods. Archival photographs, contemporary art­works, public memorials, and news clippings intermingle with sto­ries of Sharpe’s childhood and family, creating new arrangements for thinking about black living and dying. Sharpe’s notes are less invested in mounting a singular, unified argument than in offering lessons in attentiveness. They are a vehicle for the preservation and transmission of “beauty’s knowledge.” I am reminded of the image that concludes Brent Hayes Edwards’s essay “Evidence”: Zora Neale Hurston passing into her reader’s care an emptied “brown bag of miscellany” and “the jumble it held.” “You take this, emptied out, strewn and scattered,” Edwards writes. “What do you find in the pieces?” If Sharpe’s previous books, Monstrous Intimacies: Making Post-Slavery Subjects and In the Wake: On Blackness and Being, theo­rized the ongoingness of antiblack violence and its attendant grief, Ordinary Notes wonders what we do with that grief.

Above all, Sharpe asks us to become better readers, moti­vated not by extraction and violence, but by regard and tender­ness. Practices of reading form the book’s infrastructure. Many of Sharpe’s notes document her childhood love of literature, which developed under the care of her mother, Ida Wright Sharpe, to whom Ordinary Notes is dedicated. What begins as a survival tactic—sustaining Sharpe through racial violences, big and small, growing up in Wayne, Pennsylvania and attending a majority-white Catholic school—evolves into a theory of reading that dis­rupts antiblackness, which Sharpe characterized in In the Wake as the “weather,” the “totality of our environments.” “The reading life, the beauty-filled one,” she writes in Ordinary Notes, “was central to the livable internal life my mother tried to carve out for us and to equip us to make for ourselves.” Her mother’s lessons in “the read­ing life” were aesthetic lessons, reaching beyond text: “This atten­tion to a Black aesthetic made me: moved me from the windowsill to the world.” In this way, the book’s notes might function in turn as reading lessons imparted by Sharpe, illuminating the power of narrative to make and unmake worlds.

This reading practice is key to what is perhaps the book’s most significant intervention: its form, which not only generatively extends Sharpe’s claims but also offers (and authorizes) new meth­ods for doing scholarship. Ordinary Notes is a big book full of small gestures. No note is more than a few pages long; many notes are a single sentence, each taking up its own page. This means the book, though imposing in size, is full of white space. Sharpe converts the reader’s own modes of engagement, compelling us to zoom in as if on a poem, loop back as if circling a sculpture, slow down as if studying scripture. In the seemingly excessive margins, we find a place to breathe and rest. Formal errancy has always offered writ­ers a way to conjoin theory and method in the study of black life, which is always more, and other, than academic study. Here, per­haps, as Toni Morrison writes about Faulkner’s Absalom! Absalom!, “the structure is the argument.”

Sharpe invites us to read Ordinary Notes in this longer tradi­tion of black assemblage and assembly. When she writes, “Roy DeCarava’s The Sound I Saw, a book of photographs and text, is filled with everything,” she is telling us something about her own book. We might also consider it kin to recent multigenre compen­dia like Arthur Jafa’s A Series of Utterly Improbable, Yet Extraordinary Renditions, Ariella Aïsha Azoulay’s Potential History: Unlearning Imperialism, Teju Cole’s Blind Spot, and Morrison’s now classic The Black Book, in which word warps and wraps over image. Likewise, Sharpe’s practice of assembly in Ordinary Notes operates by what John Akomfrah calls “affective proximity,” a logic of resonance rather than temporal or thematic sequence.

The book’s loose joints and unfinished edges allow the voices of fellow writers and artists to enter like a chorus. Note 203 takes the form of call and response, reproducing several pages’ worth of replies to a question Sharpe posed on Twitter: “What book or books produced a feeling you wanted or needed to feel?” Citations weave seamlessly throughout the book but are also often treated as a note’s precious center. The book itself is the acknowledgement and the bibliography: K’eguro Macharia, Saidiya Hartman, Jessica Marie Johnson, Zakiyyah Iman Jackson, Keeanga-Yamahtta Taylor, Adrienne Kennedy, Chinua Achebe, and so many more appear by name—scraps of cloth pieced into the quilt of the story. This poly­vocal gesture is reminiscent of Hartman, who writes in the “Note on Method,” which opens her influential book Wayward Lives, Beautiful Experiments, “The italicized phrases and lines are utterances from the chorus. This story is told from inside the circle.” We get the sense that Sharpe is after a similar effect, but instead of the smoothly inlaid italics of Hartman’s prose, Sharpe’s patchworked notes allow for adjacency—a collage of voices, overlapping, exchanging, listening.

The central voice belongs to Sharpe’s mother, from whom she first learned to appreciate beauty as a response to and provisional haven from violence. In one of the book’s most stunning notes, “Note 51: Beauty is a Method,” Sharpe extends Hartman’s proposi­tion in Wayward Lives that beauty “is a way of creating possibility in the space of enclosure, a radical act of subsistence, an embrace of our terribleness, a transfiguration of the given.” Beauty takes Sharpe somewhere that may seem surprising: a scene of quotidian police violence in her hometown. A white woman has called the cops on a black teenager, Chicki Carter, claiming to have seen a rifle in the outline of his rake. But the beauty Sharpe wants to show us is not the police’s invasion of the neighborhood. The beauty is this: “We gathered in our front yards, on the sidewalks, and in the road; we ran after the police cars; and we witnessed and insisted loudly that Chicki had done nothing wrong.” The beauty is care.

In a pivot that is emblematic of Sharpe’s broad sweep and deft movement between scales, this scene of communal resistance leads back to her family home: “Knowing that every day that I left the house, many of the people whom I encountered did not think me precious and showed me so, my mother gave me space to be pre­cious—as in vulnerable, as in cherished.” Her mother is also a vora­cious reader and creator of beautiful things—a purple gingham dress, Christmas ornaments, a carefully arranged garden bursting with flowers and herbs. She instilled in her daughter the value of “Attentiveness whenever possible…even if it is only the perfect arrangement of pins.”"]]></description>
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<item rdf:about="https://theconvivialsociety.substack.com/p/understanding-mcluhan-a-conversation">
    <title>Understanding McLuhan: A Conversation with Andrew McLuhan</title>
    <dc:date>2022-01-07T20:46:39+00:00</dc:date>
    <link>https://theconvivialsociety.substack.com/p/understanding-mcluhan-a-conversation</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Welcome to a special installment of the Convivial Society featuring my conversation with Andrew McLuhan. I can’t recall how or when I first encountered the work of Marshall McLuhan, I think it might’ve been through the writing of one of his most notable students, Neil Postman. I do know, however, that McLuhan, and others like Postman and Walter Ong who built on his work, became a cornerstone of my own thinking about media and technology. So it was a great pleasure to speak with his grandson Andrew, who is now stewarding and expanding the work of his grandfather and his father, Eric McLuhan, through the McLuhan Institute, of which he is the founder and director.

I learned a lot about McLuhan through this conversation and I think you’ll find it worth your time. A variety of resources and sites were mentioned throughout the conversation, and I’ve tried to provide links to all of those below. Above all, make sure you check out the McLuhan Institute and consider supporting Andrew’s work through his Patreon page."]]></description>
<dc:subject>lmsacasas 2022 ericmcluhan andrewmcluhan walterong neilpostman howweread howwethink howwewrite media medialiteracy mediastudies screentime children parenting literacy education academia scholarship highered highereducation language deschooling unschooling technology communication religion belief translation humans humanism theory senses allthesenses perception shannonweaver libraries archives catholicism bible dialog discovery conversation rhetoric tools internet web online collaboration footnotes annotation posttheory madiaecology jamesjoyce intertextual intertextuality references enddnotes marginalia normanmailer punk punkrock identity curiosity legacy companionship writing relationsips reading edwincarpenter buckminsterfuller whauden stephaniemcluhan davidstaines poetry form wterrencegordon douglascoupland grayareafoundation synthesis assignments pedagogy marshallmcluhan specialists generalists haroldinni thomasaquinas bodylanguage inevitability techdeterminism techvoluntarism francisbacon responsibility j</dc:subject>
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<item rdf:about="https://themillions.com/2017/07/finding-way-new-form-interview-teju-cole.html">
    <title>Finding My Way into a New Form: An Interview with Teju Cole - The Millions</title>
    <dc:date>2021-01-22T17:45:39+00:00</dc:date>
    <link>https://themillions.com/2017/07/finding-way-new-form-interview-teju-cole.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[“TC: I wanted to make a book that was a little bit novelistic but with none of the things you expect from a novel. This book is not made up. These are stories drawn from real life — personal experience, philosophy, essayistic-type of speculations. Novels usually don’t have 150 color photographs. And yet I wanted to give it the energy of a novel or a documentary film, just a very peculiar one. So in one sense it was about the excitement of working in a new genre — a genre I was developing myself — the rhythm of text and image. But if you look at just the images all by themselves, they have a common visual language. They’re in color. I shot everything in film in 25 different countries. They usually have streetscapes or interiors, not a lot of people. When we have people, they’re turned away from us, so there’s a quietness that connects all the images. And if you read all the text in sequence, they have a kind of philosophical temperature that unites them. So this adventure was finding my way into a new form that I hope has a coherence. So if somebody goes through the book, they feel they’ve been through something strange and marvelous. It’s a strange album, a strange movie, a strange novel, but it’s none of those things because it’s actually just texts and images.”

…

“SP: Is your project to remove the blind spots, or to acknowledge that we all have blind spots?

TC: It’s really about acknowledgement. To go back to these very old texts was also a way to acknowledge the antiquity of these questions. There’s something elemental about a person walking down a street, so I talk a lot about walking in the book because walking is connected to photography but photography is connected to seeing. The kind of seeing we do has to do with us being upright creatures whose eyes are flat on our faces. We’re not like dogs close to the earth, with eyes on either side of the snout. So these are very old questions. At some point we were on all fours and then we stood up. Of course the book is haunted by frailty, eventually also by death. I wanted this book to be very contemporary but also to deal with what it means to be a human creature upon the earth. Somehow thinking about theology and Homer gave me access to that.

SP: You’ve taken these photos all over the world. I started jotting down some of these places: Lagos, where you grew up, Nuremberg, Tivoli, Nairobi, Auckland, Tripoli, Milan, Berlin, Zurich, Copenhagen, Seoul, Bombay, Sao Paolo, Brooklyn, Beirut, Bali. The list goes on and on. You must like to travel.

TC: I get to travel a lot. I take a lot of pleasure from it and I get a lot of productive discomfort from it. I only included photos I felt were relevant to the project of the book. I only included places where I made film photographs because I wanted a consistency of effect and appearance. Not because film is better than digital. For example, on this visit to Madison, I’ve only brought my small digital camera.

SP: So I have this image of you. You land in a new place and just start walking with your camera, not necessarily to any particular destination. Is this what you do?

TC: That’s pretty accurate. You know, what’s missing from this book is I don’t have any pictures of Iceland because when I went there, I didn’t take a film camera. I took a digital one. I have no pictures from South Africa. I have no pictures from Australia.”

…

“SP: Do you consider Brooklyn home?

TC: Yes.  That’s where my wife is. My brother lives there. My friends are there. My books are there. My office is there. So that’s home. I also consider Lagos home. My parents live there. It’s where I grew up. If I go to Nigeria, my room is there. The two most spoken languages in Lagos — Yoruba and English — are languages I’m fluent in. So there’s an at-homeness, but a home is also wherever there’s good wi-fi. That connects me to the world in a way that is irreducible and essential to my experience of the world.

SP: Do you consider yourself more Nigerian or more American?

TC: Neither. Split right down the middle. Or rather 100 percent of both. I feel very invested in Nigeria’s future. There’s a book I’ve been working on for a long time about Lagos, so I think a lot about Nigeria. I’m American and America is in crisis at the moment and I feel invested. Open City was definitely an approach to this question but I feel invested in what this country ought to be.  I’m a citizen who is not a patriot.  I’m a citizen in the sense of being invested in what we owe each other. What do we do to protect each other’s rights? What do we do about people who break our mutual agreement? What do sanctions and punishments look like?  Those philosophical questions are very interesting to me. Our borders are interesting to me. If my money’s being used to kill foreigners in the theater of war, that’s my business. So I’m very American and I’m also very Nigerian.

SP: The two cities where you’ve spent the most time are Lagos and New York. Are they totally different experiences for you or do they have certain similarities?

TC: The commonalities are extensive. It is the experience of cosmopolitanism, which is maybe the fourth definition of home for me.  And this is what I find in spaces in Lagos. And it’s what I find in New York — restaurants, clubs, bookshops, shopping malls, traffic, crazy people on the street, high fashion. Cities as a kind of problem-solving technology. If there are 16 million people in the same place, then we have to use resources in a way that makes sense in such a compressed space.

SP: What are the biggest differences between Lagos and New York?

TC:  New York is much richer. Lagos might have 25 buildings of monumental scale and New York has 300. The sheer physical scale of New York never ceases to surprise me. And then there’s that thing of New York being a world capital. Lagos is the capital of Africa.

Don’t let people in Cairo or Johannesburg tell you different. Lagos is the place where the pop culture of Africa is being made.  Lagos is the capital of Africa but New York is the capital of the world.  So there is something about encountering this expansive, complex mutual togetherness in conversation. It’s possible in New York. So New York is almost not an American city. It’s a city that’s a vision of what the world looks like if these borders are not as they are right now.”]]></description>
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Recorded on April 25, 2019, at the Carpenter Center for the Visual Arts, Harvard University.

Sponsored by the Woodberry Poetry Room and the T. S. Eliot Foundation.“]]></description>
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<item rdf:about="https://www.youtube.com/watch?v=IRPyql3cezo">
    <title>Art + Life Rules from a Nun - YouTube</title>
    <dc:date>2019-03-31T21:16:36+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=IRPyql3cezo</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Sister Corita Kent was a master printmaker and teacher, and her rules for artists and teachers are legendary - let’s break them down."

[vi: https://austinkleon.com/2019/03/26/camus-and-corita/ ]]]></description>
<dc:subject>sistercorita coritakent art design 2019 rules teaching howweteach via:austinkleon howwelearn education screenprinting benshahn losangeles cv pedagogy play work plork discipline self-discipline charleseames rayeames eames film life living howwework buckminsterfuller saulbass alfredhitchcock johncage making make failure mistakes persistence accessibility egalitarianism process creativity analysis learningbyheart brainstorming productivity production quantity ideas ideation happiness classideas critique socialjustice protest criticism wisdom inspiration messaging advertising remixing religion catholicism mercecunningham readiness reading video collecting looking seeing noticing meaning meaningmaking openness openended open-ended learning</dc:subject>
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<item rdf:about="https://www.instagram.com/p/BramX0jFm-y/">
    <title>Black Mountain College Museum en Instagram: “&quot;Albers was a beautiful teacher and an impossible person. He wasn’t easy to talk to, and I found his criticism so excruciating and so…”</title>
    <dc:date>2018-12-15T19:05:45+00:00</dc:date>
    <link>https://www.instagram.com/p/BramX0jFm-y/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[Robert Rauschenberg on Josef Albers as his teacher at Black Mountain College]

"Albers was a beautiful teacher and an impossible person. He wasn’t easy to talk to, and I found his criticism so excruciating and so devastating that I never asked for it. Years later, though, I'm still learning what he taught me, because what he taught had to do with the entire visual world. He didn’t teach you how to do art. The focus was always on your personal sense of looking. When he taught watercolor, for example, he taught the specific properties of watercolor - not how to make a good watercolor picture. When he taught drawing, he taught the efficient functioning of line. Color was about the flexibilities and the complex relationships that color have with one another.
...
I consider Albers the most important teacher I've ever had, and I'm sure he considered me one of his poorest students. Coming from Paris, entering in the middle of the term, and showing all that wildness and naivety and hunger, I must have seemed not serious to him, and I don’t think he ever realized the it was his discipline that I came for. Besides, my response to what I learned from him was just the opposite of what he intended. When Albers showed me that one color was as good as another that that you were just expressing a personal preference if you thought a certain color would be better, I found that I couldn’t decide to use one color instead of another, because I really wasn’t interested in taste. I was so involved with the materials separately that I didn’t want painting to be simply an act of employing one color to do something to another color, like using red to intensify green, because that would imply some subordination of red. I was very hesitant about arbitrarily designing form and selecting colors that would achieve some predetermined result, because I didn’t have any ideas to support that sort of thing — I didn’t want color to serve me, in other words. That’s why I ended doing the the all-white and all-black paintings — one of the reasons anyway." (via @rauschenbergfoundation)"]]></description>
<dc:subject>bmc blackmountaincollege teaching robertrauschenberg josefalbers howeteach looking seeing color</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:a973c6f31ac4/</dc:identifier>
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</item>
<item rdf:about="https://austinkleon.com/2018/07/12/reading-right-to-left/">
    <title>Reading right to left</title>
    <dc:date>2018-07-12T19:29:24+00:00</dc:date>
    <link>https://austinkleon.com/2018/07/12/reading-right-to-left/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[After I wrote about looking at things upside down [https://austinkleon.com/2018/06/26/turn-it-upside-down/ ], a reader relayed what his daughter was learning in army cadet training: “In the field, troops are told to scan from right to left. As we generally read left to right, doing the opposite aids in detecting anomalies in the landscape and potential threats to safety.”

Here’s photographer Dale Wilson (emphasis mine):

<blockquote>One of the first tricks I learned many years ago had nothing to do with photography, but was drilled into me by an army sergeant. It only took a few smacks up the back of my head to learn how to look from right-to-left when scanning a landscape in an effort to see the hidden “enemy” in our mock battles. This process of reverse reading forced me to slow down and read each tree as if it were a syllable I was seeing for the first time. Even today, about thirty years after I called that sergeant every adjective not found in a descent dictionary, I still find myself scanning a landscape from right-to-left.</blockquote>

More on reading right-to-left here. [https://booktwo.org/notebook/reading-right-to-left/, previously posted here https://robertogreco.tumblr.com/post/132287071238/im-getting-more-radical-in-my-view-of-the ]"

[See also: https://robertogreco.tumblr.com/post/38278729921/this-is-how-i-read
https://robertogreco.tumblr.com/tagged/how-we-read
https://pinboard.in/u:robertogreco/t:howweread ]]]></description>
<dc:subject>howweread seeing austinkleon 2018 jamesbridle dalewilson looking attention process reading scanning photography</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:b536ffa890b2/</dc:identifier>
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<item rdf:about="http://www.dontblinkrobertfrank.com/">
    <title>Don't Blink - Robert Frank</title>
    <dc:date>2017-11-22T23:12:09+00:00</dc:date>
    <link>http://www.dontblinkrobertfrank.com/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[So good!]]></description>
<dc:subject>robertfrank film documentary photography towatch memory scavengers curiosity life living loss filmmaking noticing observation art making collecting 2015 us immigrants watching looking seeing mabou novascotia nyc</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:5f9507943556/</dc:identifier>
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<item rdf:about="http://jarrettfuller.blog/post/162824559912/blind-spot">
    <title>Blind Spot | Blog—Jarrett Fuller</title>
    <dc:date>2017-07-18T20:59:02+00:00</dc:date>
    <link>http://jarrettfuller.blog/post/162824559912/blind-spot</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Blind Spot, the writer and photographer Teju Cole’s new book, feels like a culmination of his intellectual work of the last few years. A master of shifting forms, Cole previously published two novels (Open City and Everyday is for a Thief) and an essay collection (Known and Strange Things), is the photography critic for The New York Times, and is prolific on Instagram where he showcases his photography. Blind Spot, a book that mixes text with his original photography, at once feels like a continuation of his previous work while also something completely new. How does one define Blind Spot? Is it a photo book or a novel? A travelogue or a poem? A memoir or a lyric essay? The answer, I think, is ‘yes’.

The photos — all shot on color film from Cole’s travels across the globe — blend seamlessly from Brooklyn to Berlin, Omaha to Africa. The images are quiet and largely devoid of humans, aside from a final striking portrait, recalling great street photographers like Stephen Shore and Louis Ghirri. The text — which shifts between narrative, memoir, criticism, poetry — sometimes refers to these photos while at other times remain independent. All of Cole’s familiar influences — Sebald, Berger, Calvino — are on display here.

The text reads less as captions as they do a voiceover — he’s said in interviews he sees the book as a documentary in book form — where another set of influences emerge. “I pray to Tarvoksy, Marker, Hitchcock” he writes in the middle of the book. Sure enough, the flipping between Cole’s text and image, one could see the book as homage to Chris Marker’s Sans Soliel. And as the photos start to reference each other, and fragments begin to connect, Marker’s more famous La Jetee comes to mind. There’s a playful reflexivity throughout — his writing reflects on his own writing process for the book, how he selected particular images, and what he hopes the book will be. In one passage he writes:

<blockquote>She asked, though these were not her exact words: Isn’t all the work part of a single piece? She asked, like someone patiently unlocking, with a pin, a pair of handcuffs: Aren’t all the photographs and texts, the fragments and experiments, even the things you say into a microphone, even the things you don’t say, aren’t they all installments toward a unified project? She said, though these are not her exact words: I have always felt that Open City was one way you approached the problem. You’re still circling the problem now, she said, obsessed, she said, and approaching it in other ways. You will probably always be returning to it, she said, making herself comfortable within the folds of my brain.</blockquote>

In a later passage, Cole invokes Calvino’s continuous city and his search of the threads that connect the places he visits. But he’s also looking for the threads that connect the images and the text. Calvino suggests that there is simply one big, continuous city that does not begin or end: ‘Only the name of the airport changes,’ he writes in Invisible Cities. The same can be said of Cole’s work — it’s simply one big, continuous journey — his intellectual interests and preoccupations recur — he finds new ways to display them, new ways to talk about them. Only the name of the book changes.

I read Open City, Cole’s first novel in 2015 during my last week in San Francisco, before moving to Baltimore for graduate school. My belongings were packed up and I’d lay on the floor in the middle of a nearly empty apartment reading. In the book, largely devoid of an obvious plot, we follow the narrator, Julius, as he walks through Manhattan. I started doing the same thing — after a period of reading, I’d put the book down, put classical music on in my headphones, and walk the San Francisco streets. This had been my neighborhood for the last three years but that week, with that music, and Cole’s prose rattling around in my head, I saw the city differently. That, I think, is the thread that ties Cole’s work together. He changes your pace, forces you to slow down. His writing is patient, his photography reserved. He makes you look, really look. This world moves fast. There’s always something new to read, new tweets, new emails, new books, new music. Last month’s news feels like a decade ago.

Blind Spot is a book about looking; about seeing what’s in the frame, about reflecting on what we see. Teju Cole asks us to slow down so we can understand our own blind spots. I saw San Francisco differently that last week, and as I finished Blind Spot this week, I started to see New York differently too. He taught me to see."]]></description>
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<item rdf:about="http://austinkleon.com/2017/02/16/get-out-now/">
    <title>Get out now</title>
    <dc:date>2017-02-19T00:32:55+00:00</dc:date>
    <link>http://austinkleon.com/2017/02/16/get-out-now/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[“GET OUT NOW. Not just outside, but beyond the trap of the programmed electronic age so gently closing around so many people…. Go outside, move deliberately, then relax, slow down, look around. Do not jog. Do not run…. Instead pay attention to everything that abuts the rural road, the city street, the suburban boulevard. Walk. Stroll. Saunter. Ride a bike, and coast along a lot. Explore…. Abandon, even momentarily, the sleek modern technology that consumes so much time and money now…. Go outside and walk a bit, long enough to forget programming, long enough to take in and record new surroundings…. Flex the mind, a little at first, then a lot. Savor something special. Enjoy the best-kept secret around—the ordinary, everyday landscape that rewards any explorer, that touches any explorer with magic…all of it is free for the taking, for the taking in. Take it. take it in, take in more every weekend, every day, and quickly it becomes the theater that intrigues, relaxes, fascinates, seduces, and above all expands any mind focused on it. Outside lies utterly ordinary space open to any casual explorer willing to find the extraordinary. Outside lies unprogrammed awareness that at times becomes directed serendipity. Outside lies magic.”

—John Stilgoe, Outside Lies Magic]]></description>
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<item rdf:about="https://www.youtube.com/watch?v=b5y7QRt2bws">
    <title>John Berger on Ways of Seeing, being an artist, and Marxism (2011) - Newsnight archives - YouTube</title>
    <dc:date>2017-01-08T21:58:59+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=b5y7QRt2bws</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["John Berger - artist, writer, critic and broadcaster - has died at the age of 90. His best-known work was Ways of Seeing, a criticism of western cultural aesthetics. For Newsnight, Gavin Esler, met him back in 2011."]]></description>
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<item rdf:about="https://www.theguardian.com/books/2017/jan/06/john-berger-remembered-by-geoff-dyer-olivia-laing-and-ali-smith">
    <title>John Berger remembered – by Geoff Dyer, Olivia Laing, Ali Smith and Simon McBurney | Books | The Guardian</title>
    <dc:date>2017-01-07T04:58:55+00:00</dc:date>
    <link>https://www.theguardian.com/books/2017/jan/06/john-berger-remembered-by-geoff-dyer-olivia-laing-and-ali-smith</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Ali Smith

I heard John Berger speaking at the end of 2015 in London at the British Library. Someone in the audience talked about A Seventh Man, his 1975 book about mass migrancy in which he says: “To try to understand the experience of another it is necessary to dismantle the world as seen from one’s own place within it and to reassemble it as seen from his.”

The questioner asked what Berger thought about the huge movement of people across the world. He put his head in his hands and sat and thought; he didn’t say anything at all for what felt like a long time, a thinking space that cancelled any notion of soundbite. When he answered, what he spoke about ostensibly seemed off on a tangent. He said: “I have been thinking about the storyteller’s responsibility to be hospitable.”

As he went on, it became clear how revolutionary, hopeful and astute his thinking was. The act of hospitality, he suggested, is ancient and contemporary and at the core of every story we’ve ever told or listened to about ourselves – deny it, and you deny all human worth. He talked about the art act’s deep relationship with this, and with inclusion. Then he gave us a definition of fascism: one set of human beings believing it has the right to cordon off and decide about another set of human beings.

A few minutes with Berger and a better world, a better outcome, wasn’t fantasy or imaginary, it was impetus – possible, feasible, urgent and clear. It wasn’t that another world was possible; it was that this world, if we looked differently, and responded differently, was differently possible.

His readers are the inheritors, across all the decades of his work, of a legacy that will always reapprehend the possibilities. We inherit his routing of the “power-shit” of everyday corporate hierarchy and consumerism, his determined communality, his ethos of unselfishness in a solipsistic world, his procreative questioning of the given shape of things, his articulate compassion, the relief of that articulacy. We inherit writing that won’t ever stop giving. A reader coming anywhere near his work encounters life-force, thought-force – and the force, too, of the love all through it.

It’s not just hard, it’s impossible, to think about what he’s given us over the years in any past tense. Everything about this great thinker, one of the great art writers, the greatest responders, is vital – and response and responsibility in Berger’s work always make for a fusion of thought and art as a force for the understanding, the seeing more clearly and the making better of the world we’re all citizens of. But John Berger gone? In the dark times, what’ll we do without him? Try to live up to him, to pay what Simone Weil called (as he notes in his essay about her) “creative attention”. The full Weil quote goes: “Love for our neighbour, being made of creative attention, is analogous to genius.”

Berger’s genius is its own fertile continuum – radical, brilliant, gentle, uncompromising – in the paying of an attention that shines with the fierce intelligence, the loving clarity of the visionary he was, is, and always will be.

***

Geoff Dyer

There is a long and distinguished tradition of aspiring writers meeting the writer they most revere only to discover that he or she has feet of clay. Sometimes it doesn’t stop at the feet – it can be legs, chest and head too – so that the disillusionment taints one’s feelings about the work, even about the trade itself. I count it one of my life’s blessings that the first great writer I ever met – the writer I admired above all others – turned out to be an exemplary human being. Nothing that has happened in the 30-odd years since then has diminished my love of the books or of the man who wrote them.

It was 1984. John Berger, who had radically altered and enlarged my ideas of what a book could be, was in London for the publication of And Our Faces, My Heart, Brief as Photos. I interviewed him for Marxism Today. He was 58, the age I am now. The interview went well but he seemed relieved when it was over – because, he said, now we could go to a pub and talk properly.

It was the highpoint of my life. My contemporaries had jobs, careers – some even owned houses – but I was in a pub with John Berger. He urged me to send him things I’d written – not the interview, he didn’t care about that, he wanted to read my own stuff. He wrote back enthusiastically. He was always encouraging. A relationship cannot be sustained on the basis of reverence and we soon settled into being friends.

The success and acclaim he enjoyed as a writer allowed him to be free of petty vanities, to concentrate on what he was always so impatient to achieve: relationships of equality. That’s why he was such a willing collaborator – and such a good friend to so many people, from all walks of life, from all over the world. There was no limit to his generosity, to his capacity to give. This did more than keep him young; it combined with a kind of negative pessimism to enable him to withstand the setbacks dished out by history. In an essay on Leopardi he proposed “that we are not living in a world in which it is possible to construct something approaching heaven-on-earth, but, on the contrary, are living in a world whose nature is far closer to that of hell; what difference would this make to any single one of our political or moral choices? We would be obliged to accept the same obligations and participate in the same struggle as we are already engaged in; perhaps even our sense of solidarity with the exploited and suffering would be more single-minded. All that would have changed would be the enormity of our hopes and finally the bitterness of our disappointments.”

While his work was influential and admired, its range – in both subject matter and form – makes it difficult to assess adequately. Ways of Seeing is his equivalent of Keith Jarrett’s Köln Concert: a bravura performance that sometimes ends up as a substitute for or distraction from the larger body of work to which it serves as an introduction. In 1969 he put forward Art and Revolution “as the best example I have achieved of what I consider to be the critical method”, but it is in the numerous shorter pieces that he was at his best as a writer on art. (These diverse pieces have been assembled by Tom Overton in Portraits to form a chronological history of art.)

No one has ever matched Berger’s ability to help us look at paintings or photographs “more seeingly”, as Rilke put it in a letter about Cézanne. Think of the essay “Turner and the Barber’s Shop” in which he invites us to consider some of the late paintings in light of things the young boy saw in his dad’s barber shop: “water, froth, steam, gleaming metal, clouded mirrors, white bowls or basins in which soapy liquid is agitated by the barber’s brush and detritus deposited”.

Berger brought immense erudition to his writing but, as with DH Lawrence, everything had to be verified by appeal to his senses. He did not need a university education – he once spoke scathingly of a thinker who, when he wanted to find something out, took down a book from a shelf – but he was reliant, to the end, on his art school discipline of drawing. If he looked long and hard enough at anything it would either yield its secrets or, failing that, enable him to articulate why the withheld mystery constituted its essence. This holds true not just for the writings on art but also the documentary studies (of a country doctor in A Fortunate Man and of migrant labour in A Seventh Man), the novels, the peasant trilogy Into Their Labours, and the numerous books that refuse categorisation. Whatever their form or subject the books are jam-packed with observations so precise and delicate that they double as ideas – and vice versa. “The moment at which a piece of music begins provides a clue to the nature of all art,” he writes in “The Moment of Cubism”. In Here Is Where We Meet he imagines “travelling alone between Kalisz and Kielce a hundred and fifty years ago. Between the two names there would always have been a third – the name of your horse.”

The last time we met was a few days before Christmas 2015, in London. There were five of us: my wife and I, John (then 89), the writer Nella Bielski (in her late 70s) and the painter Yvonne Barlow (91), who had been his girlfriend when they were still teenagers. Jokingly, I asked, “So, what was John like when he was 17?” “He was exactly like he is now,” she replied, as though it were yesterday. “He was always so kind.” All that interested him about his own life, he once wrote, were the things he had in common with other people. He was a brilliant writer and thinker; but it was his lifelong kindness that she emphasised.

The film Walk Me Home which he co- wrote and acted in was, in his opinion, “a balls-up” but in it Berger utters a line that I think of constantly – and quote from memory – now: “When I die I want to be buried in land that no one owns.” In land, that is, that belongs to us all.

***

Olivia Laing

The only time I saw John Berger speak was at the 2015 British Library event. He clambered on to the stage, short, stocky, shy, his extraordinary hewn face topped with snowy curls. After each question he paused for a long time, tugging on his hair and writhing in his seat, physically wrestling with the demands of speech. It struck me then how rare it is to see a writer on stage actually thinking, and how glib and polished most speakers are. For Berger, thought was work, as taxing and rewarding as physical labour, a bringing of something real into the world. You have to strive and sweat; the act is urgent but might also fail.

He talked that evening about the need for hospitality. It was such a Bergerish notion. Hospitality: the friendly and generous reception and entertainment of guests, visitors or strangers, a word that shares its origin with hospital, a place to treat sick or injured people. This impetus towards kindness and care for the ill and strange, the vulnerable and dispossessed is everywhere in Berger’s work, the sprawling orchard of words he planted and tended over the decades.

In 1972 he won the Booker prize, and in his acceptance speech explained that he would be donating half his winnings to the Black Panthers. His closing words were “clarity is more important than money”. Few people have possessed such clarity, nor yoked it to such persistently generous political ends. Art he saw as a communal and vital possession, to be written about with sensual exactness.

His essays on painting are packed with unforgettable images, the diligent, inspired seeing of an artist who’d given himself over to written language. Vermeer’s rooms, “which the light fills like water in a tank”. Goya, whose cross-hatched tones gave “a human body the filthy implication of fur”. Bonnard’s “dissolving colours, making his subjects unattainable, nostalgic”. Pollock’s “great walls of silver, pink, new gold, pale blue nebulae seen through dense skeins of swift dark or light lines”. Art criticism is rarely this plain, this fruitful, or this adamant that what happens on a canvas has a bearing on our human lives.

Capitalism, he wrote in Ways of Seeing, “survives by forcing the majority to define their own interests as narrowly as possible”. It was narrowness he set himself against, the toxic impulse to wall in or wall off. Be kin to the strange, be open to difference, cross-pollinate freely. He put his faith in the people, the whole host of us.

Host: there’s another curious word, lurking at the root of both hospitality and hospital. It means both the person who offers hospitality, and the group, the flock, the horde. It has two origins: the Latin for stranger or enemy, and also for guest. It was Berger’s gift, I think, to see that this kind of perception or judgment is always a choice, and to make a case for kindness: for being humane, whatever the cost.

***

Simon McBurney

No one I have ever met listened like John. He leaned forward. His very blue eyes scanning yours. Then glancing away for away for a moment as his ear turned towards you. To be the object of this fierce attention was… to feel heard. And being heard, at once you had a place in the world. You belonged. You were situated. Sited.

John’s writing desk in his house in the mountains in France faced the wall. Above it drawings by his son Yves and his granddaughter Melina. A CD of Glenn Gould lay beside one of Tom Waits. His pen (he only wrote in ink) was fat and comfortable. The window to his left looked out onto the garden. A vegetable patch gave way to apple trees which in turn bordered a field where cows, except in winter, would graze.

We would watch them as each evening they were called to milk. Bells sounding, arses covered in shit. He listened to them in the same way. With the same attention. He was never not listening.

In 1992, never having met, I watched him watching The Street of Crocodiles (a play created from the writings of Bruno Shultz) from a point of vantage above the audience. His body so concentrated as if he himself were creating the piece before him. Afterwards he suggested we eat. Days later he was in my kitchen discussing the show and the magnetic knife rack beside my ancient gas stove.

His short story The Three Lives of Lucie Cabrol is the final entry in a collection entitled Pig Earth, the first of the epic trilogy Into Their Labours, which chronicles peasant life, and migration into the cities, in the 20th century. I asked him if he would allow me to make Lucie Cabrol into a piece of theatre.

He invited me to visit him in the Haut Savoie and picked us up at the airport. “Lucie was not her real name,” shouted John as he drove Tim Hatley, my designer, and I into the mountains. “I will show you where she lived and the site of her death.”

We drank his coffee, saw the memorials to the Maquis, walked the precipitous slopes. Laughed. There was always laughter with John. We heard how he had first heard the story of this woman, a mythic figure in the all the local villages. “To live here was always an act of resistance. She was tiny, the unlikeliest of survivors. But never accepted defeat. Even in the face of her own murder.”

For him resisting was part of existing. “... defiant resistance in the face of likely defeat. The poor, the ill, animals, the prisoner, especially the political prisoner, the migrant, the peasant, the Palestinian: he saw none of them as failures,” as Anthony Barnett writes.

John Berger was my friend. Seeing people’s responses to his death over the last few days, many many people would claim him as theirs too. John had that quality of engagement. “The opposite of love is not hate, but separation,” he wrote.

His words joined things together. With certainty, clarity and, always, tenderness. The personal and the political, the poetic and the prosaic, the natural with the man made. And also the writer and the reader. They too were joined, bound together. Thus people felt, correctly, he was attached to them. And they to him. He was theirs. He listened to them. Even now, in the most deafening roar of these dark and absurd times, he makes me feel that it is possible to be heard. That we must be heard.

One consolation in the face of his absence, is that his writing will remain for me a place of refuge. A site where “language has acknowledged the experience which demanded which cried out...” Where words promise “that which has been experienced cannot disappear as if it had never been.”

“Can you hear me in the dark?”

In 1999, in the abandoned Aldwych Underground station we created, together, for Artangel, A Vertical Line. A meditation on the origins of art. The last movement was in a deep tunnel imagining the discovery of the Chauvet cave, the site of the worlds oldest prehistoric paintings.

“Can you hear me in the dark?” John shouts. And the piece begins...

Yes, John, we can still hear you in the dark.

The last time he fetched me from the airport, aged 84, he was holding two crash helmets. Laughing. We’re on the bike. Minutes later John and I were weaving through the Geneva traffic and hitting the motorway towards the mountains. Over his shoulder I glanced at the speedometer as it climbed towards 160kph. If we die, I thought, at least it will be quick. Then I closed my eyes and pushed myself into his back."]]></description>
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    <title>BBC Four - John Berger: The Art of Looking</title>
    <dc:date>2017-01-02T21:49:29+00:00</dc:date>
    <link>http://www.bbc.co.uk/programmes/b082qynq</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[video currently available on YouTube: https://www.youtube.com/watch?v=e3VhbsXk9Ds ]

"Art, politics and motorcycles - on the occasion of his 90th birthday John Berger or the Art of Looking is an intimate portrait of the writer and art critic whose ground-breaking work on seeing has shaped our understanding of the concept for over five decades. The film explores how paintings become narratives and stories turn into images, and rarely does anybody demonstrate this as poignantly as Berger.

Berger lived and worked for decades in a small mountain village in the French Alps, where the nearness to nature, the world of the peasants and his motorcycle, which for him deals so much with presence, inspired his drawing and writing.

The film introduces Berger's art of looking with theatre wizard Simon McBurney, film-director Michael Dibb, visual artist John Christie, cartoonist Selçuk Demiral, photographer Jean Mohr as well as two of his children, film-critic Katya Berger and the painter Yves Berger.

The prelude and starting point is Berger's mind-boggling experience of restored vision following a successful cataract removal surgery. There, in the cusp of his clouding eyesight, Berger re-discovers the irredeemable wonder of seeing.

Realised as a portrait in works and collaborations, this creative documentary takes a different approach to biography, with John Berger leading in his favourite role of the storyteller."]]></description>
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    <title>Why Look at Animals? by John Berger | Book review | Books | The Guardian</title>
    <dc:date>2017-01-02T21:06:00+00:00</dc:date>
    <link>https://www.theguardian.com/books/2009/sep/19/why-look-animals-john-berger</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Part of Penguin's Great Ideas series, this slim book brings together seven of John Berger's essays from 1971-2001, a poem, a drawing and a new story. Apart from the final piece - a moving memoir on the death of Austrian intellectual Ernst Fischer - the theme is the marginalisation of animals. The title essay (1977) explores the ancient relationship between animals and humankind: an "unspeaking companionship". But today the caged creatures in zoos have become "the living monument to their own disappearance" from culture. In all these pieces, what concerns Berger is the loss of a meaningful connection to nature, a connection that can now only be rediscovered through the experience of beauty: "the aesthetic moment offers hope." Berger's writing is wonderfully physical, with a powerful sense of how things look, smell, feel. At his best he shows how everyday experiences - a swallow straying into a room, the performances of primates in a zoo, a peasant carving - hold the aesthetic key to unlock the true order of things."]]></description>
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<item rdf:about="http://hyperallergic.com/215578/the-kalman-familys-language-of-looking/">
    <title>The Kalman Family's Language of Looking</title>
    <dc:date>2016-11-16T03:51:45+00:00</dc:date>
    <link>http://hyperallergic.com/215578/the-kalman-familys-language-of-looking/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["“Anything becomes interesting if you look at it long enough,” Gustave Flaubert wrote in a letter. This is something I keep in mind when looking at visual art: there is usually a story for the eye to find, some detail to latch onto. But when in the company of Maira and Alex Kalman, I am reminded that this truly does extend to most “anything.”

Maira Kalman is a New York–based illustrator, while Alex, her son, is the co-founder of Mmuseumm, a former elevator shaft in Tribeca that he and two friends transformed into an exhibition space. This month, Mmuseumm launched its fourth season with a second space, Mmuseumm 2, a storefront window nearby where Maira has re-created the closet of her mother, Sara Berman.

Kalman, an author and illustrator for The New Yorker, New York Times, and Departures Magazine, is known for picking up on the unnoticed, overlooked particulars of daily existence — in her telling of the life of Thomas Jefferson, for instance, we learn that the author of the Declaration of Independence “slept slightly sitting up” and that his favorite vegetable was peas. There is a rambling quality to her stories; we feel we are with her while she freely discovers her subjects, which vary from fashion shows to yoga retreats to artist studios.

“For me, the digressive moment is the moment,” she once told the interviewer Paul Holdengräber. It’s why Kalman loves walking — because you can stop thinking and just look and be. Walking, for her, is an exercise in keeping an open mind, in letting her surroundings catch her by surprise.

It’s only suitable, then, that one stumbles upon Kalman’s installation of her mother’s closet by walking down a quiet alley. Behind a pane of glass, neatly folded white linens and shirts and stacks of rosy underwear sit on white shelves — “Sara, who came from Belarus, only wore white,” says the British voice of the audio guide. “I always say she was emulating the empress Josephine,” Kalman said to me of her mother’s fashion choices. “But that is not true. We never talked about it … In some instinctual way she was clarifying the world.”

There’s a glass jar filled with identical gray buttons, a bottle of Chanel No. 19, a box of recipes (for roasts, blintzes, schnitzel, and “some unfortunate forays into Americana,” Maira confessed), and a cheese grater for making potato pancakes. The chain for the light dangles playfully from the ceiling with a fluffy red ball of yarn to pull on. While growing up, “the closet was a masterpiece of modern art in our eyes,” said Alex. The closet has been reproduced almost identically, though on a slightly smaller scale, and with a few substitutes — “it’s like the vertebrae at the Natural History Museum, only here we have a bra and a pair of socks,” he explained. Indeed, ever since Sara Berman died, Maira has envisioned her mother’s closet as a kind of museum, hoping that one day it would become “a big attraction for people worldwide.”

Sara Berman’s luminous closet gives us pause. There is a sense of calm and purpose in those sheets and sweaters that were daily and meticulously folded. (“Some families go bowling together. We ironed and folded and sorted and stacked with joy,” said Maira.) Everything, from the pair of reading glasses to the stray piece of checkered ribbon, takes on an anthropomorphic quality; the shoes themselves become portraits: there are six pairs of them, lined up neatly, all with pointed ends and some with their laces undone. Varying in grays, browns, and creams, the shoes are sharp and delicate, playful and smart — much as I imagine Sara Berman to have been.

“Everyone grows up with a language in their home. Ours was looking,” said Alex. Just as Maira asks us to contemplate a closet, usually thought of as a repository behind closed doors, Alex draws our attention to objects that would’ve generally escaped us, like coffee cup lids, vomit bags, gas masks, and eggs (that will, in fact, hatch). He describes the objects in Mmuseumm, on display behind glass vitrines like scientific specimens, as “meaningless and potentially meaningful.” Some come from Mmuseumm’s permanent collection, like a gold $100 bill and a rubber chicken wing, but the majority traveled from collections around the world. For instance, the cornflake index — a personal collection of cornflakes organized by shape, color, and texture — arrived from England “packaged like the queen’s jewels.” The way Alex sees it, these objects should be cared for like artworks. And yet, when Mmuseumm runs its call for submissions each season, it welcomes proposals from anyone around the world on one condition: that it not include “art.”

The winning collections, Alex explains, are those whose contents are “not obvious” — you wouldn’t think to stop to look at a rusty nail (one of many in a doctor’s collection of objects he has removed from people’s bodies) in the same way you would stop before a painting. “It is never ironic,” he made clear. “It’s sincere.” Like Maira, Alex is drawn to “the vernacular” because it communicates something “incredibly intimate and human.”

In other museums, the assumption is that you won’t fully appreciate an object unless you have the historical background. Here, there is no background necessary, except perhaps a sense of humor and some compassion. It was from “my beautiful mother,” an oft-repeated phrase, that Maira learned that knowledge isn’t really what matters. “What you have to have is curiosity.” Growing up, Maira was never “tested” on her knowledge or asked to “perform.” In fact, she says with some pride, “facts were banished from our home.”

In following their curiosity, the Kalmans have observed their surroundings indiscriminately, capturing pieces of our lives that we generally don’t think are worth our time or contemplation. The Kalman language of “looking” requires patience and dedication — as does looking at visual art. Responding to art, really engaging with it, involves actively journeying through it with no purpose. It is a rare moment when I give myself that wandering freedom and time. The Kalmans, in seemingly assuming this attitude wherever they look, remind me of what the artist Paulo Bruscky once said in an interview:

<blockquote>For me, art is a form of seeing and not of doing. It might seem utopian, but the day will arrive when the artist will no longer be necessary. The artist makes things only because people don’t know how to see for themselves. Someday … people will begin learning how to see art in everything …. because art is present everywhere — the artist merely captures and displays it.</blockquote>

I don’t totally buy Bruscky’s conclusion, but he has a point when he suggests that the artist’s sources of inspiration surround us all. Though Alex doesn’t acquire art for Mmuseumm, the works in his museum are just as artful. In some ways, what Mmuseumm is encouraging us to do — to look for the art around us — is a greater task than that of your regular one."]]></description>
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<item rdf:about="http://morethanhumanlab.org/blog/2015/07/22/design-ethnography-in-the-anthropocene/">
    <title>More-Than-Human Lab. » Design Ethnography in the Anthropocene</title>
    <dc:date>2015-07-22T16:10:50+00:00</dc:date>
    <link>http://morethanhumanlab.org/blog/2015/07/22/design-ethnography-in-the-anthropocene/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["It’s the second week of winter trimester, and I’m teaching my second-year undergraduate course in Design Ethnography. The theme this year is the Anthropocene, or how design relates to people’s relationships with animals, plants, the Earth’s elements, and “natural” materials in an era defined by humanity’s impact on the planet.

In this course, students learn about some of the main ecological challenges facing the world today and how different cultures around the world understand the relationship between nature and culture. And we focus on developing critical and creative skills in observation, interviews, interpretation, representation, and reflection so that design can play a more sustainable role in our shared future.

Anthropocene Fever by Jedediah Purdy

The Anthropocene debate: Why is such a useful concept starting to fall apart? by Aaron Vansintjan

Anthropocene, Capitalocene, Plantationocene, Chthulucene: Making Kin (pdf) by Donna Haraway

Arts of Living on a Damaged Planet

Tomorrow we delve into what ethnography means and how we do it. I like this lecture because I get to share one of my favourite descriptions of ethnography, from Bronislaw Malinowski’s 1922 Argonauts of the Western Pacific :

<blockquote>“Ethnography has a goal, of which an Ethnographer should never lose sight. This goal is, briefly, to grasp the native’s point of view, his relation to life, to realise his vision of his world. We have to study man, and we must study what concerns him most intimately, that is, the hold life has on him. In each culture, the values are slightly different; people aspire after different aims, follow different impulses, yearn after a different form of happiness . . . In each culture, we find different institutions in which man pursues his life-interest, different customs by which he satisfies his aspirations, different codes of law and morality which reward his virtues or punish his defections. To study the institutions, customs, and codes or to study the behaviour and mentality without the subjective desire of feeling by what these people live, of realising the substance of their happiness—is, in my opinion, to miss the greatest reward which we can hope to obtain from the study of man.”</blockquote>

Ignore the outdated language and, almost one hundred years later, I think it is still an unusually eloquent statement on the beauty of our field of research. And if ethnography is committed to sharing stories about what it means to be human, then we can also count amongst its rewards a greater understanding of ourselves.

The first assignment is to conduct several hours of participant observation, doing something that can help us better understand people’s everyday understandings of, and interactions with, “nature”. I haven’t defined nature for them, and I can’t wait to see what they do!

I’ve also started doing something new this trimester: Each class begins with 10 minutes of sustained consideration of a photograph. Spending ten full minutes looking at one image is incredibly challenging but, I hope, also rewarding. The longer we spend looking at something, the more we stand to see. Our minds are given time to move away from–and perhaps more importantly, return to–what’s right in front of us. The activity, especially when done regularly, sharpens attention and increases awareness. It teaches students the foundational skill of all ethnographic research: engaged observation. The activity ends with answering one question: “What matters here?” and, of course, there is no right answer. The goal is simply to get better at seeing–at recognising–the larger context(s) which lend any image its resonance or power."]]></description>
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<item rdf:about="http://austinkleon.com/2015/02/03/borrow-a-kid/">
    <title>Borrow a kid</title>
    <dc:date>2015-02-03T22:34:50+00:00</dc:date>
    <link>http://austinkleon.com/2015/02/03/borrow-a-kid/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["This weekend we visited the Umlauf Sculpture Garden here in Austin. Towards the end of our visit, I spent at least half an hour at the very edge of the garden with my back to the beautiful art and scenery, watching the cars whiz by on Robert E. Lee Road.

Going to an art museum with a two-year-old will make you rethink what’s interesting and what’s art. (After all, what are cars but fast, colorful, kinetic sculptures?) This, of course, should be the point of museums: to make us look closer at our everyday life as a source of art and wonder."

…

"Borrow a kid. Spend some time trying to see through their eyes. You will discover new things."]]></description>
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<item rdf:about="http://magicalnihilism.com/2015/01/01/station-identification-4/">
    <title>Station identification | Magical Nihilism</title>
    <dc:date>2015-01-01T04:58:21+00:00</dc:date>
    <link>http://magicalnihilism.com/2015/01/01/station-identification-4/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[“Have you ever read the speech he made when he accepted the Nobel Prize? This is the whole speech: ‘Ladies and Gentlemen. I stand before you now because I never stopped dawdling like an eight-year-old on a spring morning on his way to school. Anything can make me stop and look and wonder, and sometimes learn. I am a very happy man. Thank you.’”

– Cat’s Cradle, Kurt Vonnegut]]></description>
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<item rdf:about="http://snarkmarket.com/2014/8259">
    <title>A leaky rocketship / Snarkmarket</title>
    <dc:date>2014-11-05T05:37:47+00:00</dc:date>
    <link>http://snarkmarket.com/2014/8259</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Joining this blog was one of the most important things that ever happened to me, and that’s another way in which I can judge somewhat objectively how important it is been. In November 2008, I was on the academic job market, getting ready to interview for a few tenure-track jobs and postdoctoral fellowships, and it was weird — it was a time when people, smart people, influential people still said “you shouldn’t have a blog, you shouldn’t be on twitter, if you do these things, you should do them under pseudonyms, and if anyone asks you about it, you shouldn’t tell them, because if you blog, and it’s known that you write a blog, online, people are going to wonder whether or not you’re really serious about your work, and you just don’t want to give them any extra ammunition to wonder anything about you.”

I didn’t care. I had been waiting for one or two years, ever since Robin had suggested that maybe Snarkmarket would add a few writers and maybe I might be one of them, I think when we were on our way to the bathroom at the Museum of Modern Art on a random visit, and I was just super hungry to be handed the key to this place where I’ve been reading and writing comments since before I knew what a blog really was.

Is that still a thing, people getting excited about being able to be part of a blog? I didn’t think so, but then I became part of Paul Ford’s tilde.club and saw people falling over themselves to get an invite to SSH into a UNIX server, just to be a part of something, just to have a chance to put up some silly, low bandwidth, conceptually clever websites and chat with strangers using the UNIX terminal. It’s not like being one of the cool kids who’s in on a private beta for the latest and greatest smartphone app, where your enjoyment is really about being separate from the people who aren’t included, and the expected attitude is a kind of jaded, privileged disinterest: it’s more like getting a chance to play with the neighbor kid’s Lego set, and he has all the Legos.

Robin and Matt had crazy good Legos. I didn’t get that academic job, but I was able to take their Legos and build my way into a job writing for Wired, of all places, 30 years old and I’d never been a journalist except by osmosis and imposture here at Snarkmarket, and now I get paid every month to write for Wired, how does that happen except that this place was an extra scaffolding for all of us, for me in grad school, for Matt at newspapers across the country, for Robin at Gore TV/Current TV/Twitter, to build careers that weren’t possible for people who didn’t have that beautiful Lego scaffolding to support them (I’m wearing a sling on my arm right now with straps that wrap around my body to hold my arm in place, and a screw and washer to hold my shoulder bone together, my upper arm bone really, plus my rotator cuff, plus hold massive tendons, plus I’m thinking about those times that I would walk from my apartment in Columbus Circle down Broadway to Four Times Square in Manhattan to go to work at wired, wired isn’t there anymore, Condé Nast just moved in to one World Trade Center today, all the way downtown, but the scaffolding in Manhattan that is just constant, that is the only thing that allows the city to remake itself day after day month after month year after year, so this scaffolding metaphor is really doing something for me, plus Legos, well, Legos that just came from before, so what can I tell you, roll with it).

I don’t work at Wired, Robin doesn’t work at Twitter, Matt is at NPR, and we are where we are because of the things that we did but also because of this place. Ars Technica ran a story about it being 10 years since EPIC 2014 – I could paste the link [http://arstechnica.com/business/2014/11/epic-2014-recalling-a-decade-old-imagining-of-the-tech-driven-media-future/ ] and maybe that would be the bloggy thing to do, but you’re big boys and girls, you can Google it after you finish reading this — and there’s great interviews in there with Robin and Matt about how they made the video, and some specific names of wars and companies aside, were basically right about how technology companies were going to take the distribution and interpretation of the news away from both traditional journalism companies and the emerging open standards of the World Wide Web. I mean, isn’t that a hell of a thing, to see the future and put it in a flash movie? Anything was possible in 2004, especially if that anything Looked like a future that was vaguely uncomfortable but not so bad, really.

I turned 35 today, and I don’t really have a lot of deep thoughts about my own life or career or where I am in it. I’ve had those on other birthdays, and I’ve had them on many days in the not too distant past. Today, though, I’ve mostly felt warm and embraced by the people all around me, in my home, across the country, on the telephone, connected to me by the mails, whose books I read (and whose books publishers send to my house, my friends are writing books and their publishers send them free to my house, that’s almost as amazing as a machine that I can control that lets me read new things all day), and who were connected to me by the Internet: on twitter or Facebook, on Slack or email, by text message or text messaging’s many, many hypostases, all around me, as real to me as anyone I’ve ever imagined or read or touched, all of them, all of them warm and kind and gracious and curious about me and how I’m doing, what I’m up to, what I’m thinking, what I want to do this week or next month or when I get a chance to read that thing they sent me. it is as real to me as that invented community at the end of epic 2015 [http://epic.makingithappen.co.uk or https://www.youtube.com/watch?v=OQDBhg60UNI ], that brilliant coda that people almost always forget, and I don’t know why because it’s actually a better prediction of our future-come-present than anything in the first video, but maybe it’s not about the New York Times, it’s just about a beautiful day outside, a traffic accident, an open door, Matt’s beautiful voice when he narrates that photograph, beckoning you to come outside to look, LOOK.

The Snarkmatrix Is infinite, the stark matrix is everywhere, the start matrix can touchdown at any point in these electronic channels and reconstitute itself, extending perpetually outward into the entire world of media and ideas and editors who are trying to understand what will happen next, and teenage kids who are trying to figure out how what they’re doing maps in any way at all to this strange, established world of culture, to writers who are anxious for any sense of community, any place to decompress between the often hostile worlds of social media and professional correspondence. People want a place, a third place, and blogs are a great form of that place, even when they’re not blogs. (I’m subblogging now. This is what it’s come to. But I think most of you feel me.)"]]></description>
<dc:subject>2014 snarkmarket epic2014 epic2015 timcarmody robinsloan mattthomas blog blogging writing scaffolding lego snarkmatrix looking seeing observing sharing conversation howwelearn howwethink howwewrite history future making culturecreation media journalism slack email im twitter facebook socialmedia</dc:subject>
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<item rdf:about="https://ello.co/budnitz/post/-uLhrLs7EaVj4P0X6Q7M1w">
    <title>Ello | budnitz</title>
    <dc:date>2014-09-13T20:35:12+00:00</dc:date>
    <link>https://ello.co/budnitz/post/-uLhrLs7EaVj4P0X6Q7M1w</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["This is what made me want to become a photographer when I was 17, and led me to quit a physics degree for fine arts.

Seeing the world without seeing the world, revealing shape and meaning that is distinct from assumed shape and meaning. I've always been attracted to looking very closely at things, to try to find out what is really going on beneath what we assume is real.

The older I get, and the closer I look, the more it appears that nothing in the world has independent substance of its own.

Beneath the surface of forms, if you really very diligently and very hard, there's nothing there."]]></description>
<dc:subject>seeing paulbunditz photography 2014 art meaning meaningmaking looking noticing substance nothingness nothing</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:5a420badef28/</dc:identifier>
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<item rdf:about="https://www.youtube.com/watch?v=15YDYbNk570">
    <title>Sister Corita - We Have No Art - YouTube</title>
    <dc:date>2014-07-30T03:11:17+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=15YDYbNk570</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[maybe here now:
https://www.youtube.com/watch?v=-VjtvgCGrWg ]

[The film is by Baylis Glascock:
http://sunshinesocialistcinema.wordpress.com/2013/05/23/sister-corita-in-we-have-no-art-by-baylis-glascock/

[Also by Glascock about Sister Corita: Mary's Day 1964:  https://www.corita.org/gift-shop.html?page=shop.product_details&category_id=3&flypage=shop.flypage&product_id=4 ]]]></description>
<dc:subject>sistercorita film coritakent art beauty looking seeing noticing observing lettering baylisglascock teaching howweteach happenings learning education structure</dc:subject>
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</item>
<item rdf:about="http://notesonlooking.com/">
    <title>Notes on Looking | Contemporary Art from Los Angeles</title>
    <dc:date>2014-02-27T09:37:42+00:00</dc:date>
    <link>http://notesonlooking.com/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Notes on Looking is blog about contemporary art that invites one to consider the object, and to seek understanding from the moment of looking; anti-nomian to the orthodoxies of art criticism and academics, Notes on Looking takes a supportive stance – support that is informed by the rigors of close observation and inquiry.

Notes on Looking is also fun, or it aims in that direction.

Notes on Looking also publishes a weekly email newsletter that offers highlights and context for upcoming exhibitions and art events as well as a synopsis of recent blog posts. Sign up in the side bar.

In addition to writing by founder Geoff Tuck, Notes on Looking publishes work by a number of artists and writers, these will be found in the Topic “Artist Collaborators.” Through these collaborative projects Notes on Looking serves as a space where artists can share their thoughts on the art worlds they inhabit. Submissions are welcome, please refer to the “Contact” page for information. The site offers reviews, artist projects, podcast interviews and – under Miscellaneous – historical and contextual commentary on exhibitions, announcements of opportunities to support projects, archived copies of Notes on Looking email newsletters and more.

At heart, Notes on Looking is quirky, enthusiastic and humanist; the blog was founded out of a wish to educate myself about art and to share what I find in the public square. That the blog also serves as a passionate and vocal advocate and booster for art, artists and art spaces in Los Angeles is simply the way things should be. If you’re given a voice, use it for something good."]]></description>
<dc:subject>geofftuck losangeles art architecture looking noticing blogs</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:bd92b07d9503/</dc:identifier>
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<item rdf:about="http://pamhook.com/2013/10/26/learning-as-an-ongoing-artwork/">
    <title>Learning as an ongoing artwork — HookED</title>
    <dc:date>2013-10-26T08:12:08+00:00</dc:date>
    <link>http://pamhook.com/2013/10/26/learning-as-an-ongoing-artwork/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["It is the beginning of a “long weekend” in Auckland – I am lost in Hans Ulrich Obrist’s “do it” – a breath-taking and thought provoking compendium of “instructions for others to make into works of art”. You can read Maria Popova’s Brain Pickings post about the compendium here.

Digital ImageI was thinking about writing instructions for an art project currently underway – AKA fix a one-day deal pet camera to your dog’s collar – before setting out on a walk around a local suburb. We got some promising images, plus a few folded jowl shots before bulldog slobber overwhelmed the camera mechanism.

It strikes me that SOLO Taxonomy could easily feature in the “do it” compendium – it is easily re-imagined as a set of instructions for someone else to make into an artwork.

My SOLO based “do it” instructions for creating art follow:

1. Observe everything.
Sub text – Notice especially those things/ideas we are blind to – those ideas and things so familiar that we feel we know them and thus no longer “look” at them. Observe things “recognised” rather than “observed” – for recognition is a barrier to observation.

2. Let one idea or thing nudge up against you.
Sub text – Let one idea brush past you like a lover with a desire to be noticed. Identify the idea. Let it capture all your attention. Do it and let it be a focus for perception. [SOLO unistructural outcome]

3. Sense the idea in multiple ways. 
Sub text – Touch the idea; let your fingertips trace its boundaries and liminal zones. Caress the idea with the inside of your wrist. Rub your back against the idea. Use the idea to massage the knot out of the back of your neck. Scratch at and then pinch the idea. Pummel the idea with your fists. Rake the idea with your toes. Taste the idea; lick it, kiss it, mouth it, nibble it – take great hungry gaping bites out of the idea. Swill the idea around inside your mouth – spit the idea onto a pavement or down a drain. Listen to the idea; listen to every rustle and listen to it rage and rail. Shut your eyes and sniff, sniff, sniff the air surrounding the idea. Breathe deeply so that the air from each breath flows over the surface of the idea enveloping it. Use the Bernoulli principle to calculate the lift force on the idea. Calculate the size of the boundary layer around the idea and its evaporation index. Drag in every scent, every smell no matter how nuanced – no matter how rank. Bury your nose in the idea. Do it – all of it – and know the idea with all your senses. [SOLO multistructural outcome]

4. Encourage the idea to mingle with many other ideas. 
Sub text – Let your idea form nodes and networks with other ideas. Do it by looking for patterns – symmetries and asymmetries, harmonies and disharmonies, proportions and scaling, reflections and rotations, rhymes and rhythms and irregularities and arrhythmia, causes and consequences, variance and invariance, repetitions and time lines, structures and geometries, similarities and differences, connections and disconnections, balances and imbalances. [SOLO relational outcome]

5. Form analogies.
Sub text – Find seemingly disconnected ideas that share deep truths, properties or functions. Make whakataukī. [SOLO relational and extended abstract outcome]

6. Step back and look at the idea as if seeing it for the first time.
Sub text – Look at the idea in a new way – from another perspective, another place, another time. Empathise with the idea. Become the idea. Re-create the idea. [SOLO extended abstract outcome]

Why do I post this?
I am thinking of learning as an on-going art project."]]></description>
<dc:subject>pamhook 2013 art openstudioproject howwelearn cv tcsnmy unschooling hansulrichobrist solotaxonomy analogies perspective patterns patternsensing looking observing noticing</dc:subject>
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<item rdf:about="http://www.derrickjensen.org/work/published/essays-interviews/kathleen-dean-moore-interview/">
    <title>2001: An Interview with Kathleen Dean Moore | Derrick Jensen</title>
    <dc:date>2012-07-13T21:33:55+00:00</dc:date>
    <link>http://www.derrickjensen.org/work/published/essays-interviews/kathleen-dean-moore-interview/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[via: http://randallszott.org/2012/07/05/philosophy-a-living-practice-grace-place-and-the-natural-world-kathleen-dean-moore-the-ecology-of-love/ ]

[broken link, now here: https://www.thesunmagazine.org/issues/303/a-weakened-world-cannot-forgive-us

and here: https://docs.google.com/document/d/1FDgoxH2-YWV1mqQH5mjNF3tvV_jLzgrcXmBTnb68SbM/edit (and a copy in my Google Drive)]

“Philosophers fretted that the world would disappear if they turned their backs, but when I closed their finely argued books and switched off the light, it was their worries that disappeared, not the world.”

"Not just our bodies, but our minds – our ideas, our emotions, our characters, our identities – are shaped, in part, by places. Alienation from the land is an alienation from the self, which causes sadness. And the opposite is true, too: there’s a goofy joy to finding ourselves in places that have meaning for us."

"So, to a certain extent, it’s your memories that make us who we are. For example, I am the person who remembers seeing a flock of white pelicans over Thompson Lake and the apple tree in the backyard of my house. And every time I notice something, every time something strikes me as important enough to store away in my memory, I add another piece to who I am. These memories and sense impressions of the landscape are the very substance of my self. In this way, I am – at the core of my being – made of the earth."

"Memories do live in places, and if you go there, you can find them. Sometimes, if your memory is as unreliable as mine, you can find them only if you go there."

"Environmental destruction is a kind of self-destruction. If we go around systematically destroying the places that hold meaning for us, that hold our memories, then we become fragmented and don’t have a sense of who we are."

"One of my colleagues says that, if there is eternal life, it isn’t found in the length of one’s life, but in its depth. That makes sense to me. I have no doubt that each life has a definite limit, an endpoint, but I don’t think there is any limit to the potential depth of each moment, and I try to live in a way that reaches into those depths. I want to live thickly, in layers of ideas and emotions and sensory experience. I recommend a way of life that is rich with noticing, caring, remembering, embracing, and rejoicing – in the smell of a child’s hair or the color of storm light."

"We lead lives of relentless separation – comings and goings, airport embraces, loneliness, locked doors, notes left by the phone. And the deepest of all those divides is the one that separates us from the places we inhabit. Everywhere I go, I encounter people who have come from someplace else and left behind their knowledge of that land. Universities, which should study connections, specialize in distinctions instead. Biologists in their laboratories forget that they are natural philosophers. Philosophers themselves pluck ideas out of contexts, like worms out of holes, and hold them dangling and drying in the bright light. We lock ourselves in our houses and seal the windows and watch nature shows on tv. We don’t go out at night unless we have mace, or in the rain without a Gore-Tex jacket. No wonder we forget that we are part of the natural world, members of a natural community. If we are reminded at all, it’s only by a sense of dislocation and a sadness we can’t easily explain."

"You have to be careful how you generalize about Western philosophy, because there are so many different branches of it, and what’s true of one branch might not be true of another.

That said, I think the problem is summed up by Socrates’ statement that philosophy seeks “the true nature of everything as a whole, never sinking to what lies close at hand.” A philosopher, Socrates said, may not even know “what his next-door neighbor is doing, hardly knows, indeed, whether the creature is a man at all; he spends all his pains on the question [of] what man is.”

The implication of his statement is that, if philosophy is concerned with big, abstract ideas, then it must be di-vorced from the details of our lives. I believe that is a huge mistake. If philosophy is about big ideas, then it must be about how we live our lives. If I find out what a human being is, to borrow Socrates’ example, then I will know what makes one human life worth living."

"Jensen: I would like a philosophy that teaches me how to live: How can I be a better person? How can I live my life more fruitfully, more happily, more relationally?

Moore: These are traditionally the most significant philosophical questions, but they’ve been washed off the surface of philosophy by the twentieth century.

It’s a failure of courage, I think. Real-life issues are messy and ambiguous and contradictory and tough. But their complexity should be a reason to engage them, not a reason to turn away. The word clarity has two meanings: one ancient, the other modern. In Latin, clarus meant “clear sounding, ringing out,” so in the ancient world, clear came to mean “lustrous, splendid, radiant.” The moon has this kind of clarity when it’s full. But today that usage is obsolete. Now clear has a negatively phrased definition: “without the dimness or blurring that can obscure vision, without the confusion or doubt that can cloud thought.” For probably twenty years, I thought that this modern kind of clarity was all there was; that what I should be looking for as a philosopher was sharp-edged, single-bladed truth; that anything I couldn’t understand precisely wasn’t worth thinking about. Now I’m beginning to understand that the world is much more interesting than this."

"I’m always surprised when a nature writer describes going off alone to commune with nature. That way of relating to nature is all about isolation, and I don’t have much patience with it. To me, that’s not what being in nature is about at all.

In my life, the natural world has always been a way of connecting with people – my children, my husband, my friends. The richness of my experience in the natural world translates immediately into richer relationships with people.

I think one of the most romantic and loving things you can say to another person is “Look.” There is a kind of love in which two people look at each other, but I don’t think it’s as interesting as the love between two people standing side by side and looking at something else that moves them both.

Let’s think about this in terms of what we were saying about memory and identity: If we are our memories, then to the extent that two people share memories, they become one person. The whole notion of the joining of souls that’s supposed to happen in marriage may come down to those times when we say, “Look,” to our partner, so the two of us can capture a memory to hold in common."]]></description>
<dc:subject>2001 well-being fluidity consistency truth landscape connectivism ecology ecologyoflove surroundings education learning community socialemotional lcproject relationships nature cv philosophy slow local highereducation highered academia isolationism loneliness isolation kathleendeanmoore place leisurearts leisure meaning geography memory memories space sharing environment environmentalism looking seeing noticing sharedexperience beauty communing identity humans humanism canon reconciliation forgiveness life rivers communities dams artleisure socialemotionallearning derrickjensen wellbeing</dc:subject>
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<item rdf:about="http://www.wnyc.org/shows/lopate/articles/web-extras/2012/may/07/qestions-teju-cole/">
    <title>The Leonard Lopate Show: Video: Questions for Teju Cole - WNYC</title>
    <dc:date>2012-05-13T04:12:57+00:00</dc:date>
    <link>http://www.wnyc.org/shows/lopate/articles/web-extras/2012/may/07/qestions-teju-cole/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["What are your favorite books/who are your favorite authors?

Poets inform my ear and my way of seeing the world. I read poetry much more than I read prose…"

"Do you have any writing rituals or habits? Where and when do you write?

I make notes all the time. There are little fragments of experience that somehow call out to me, and I make note of them: either something I’ve read in a book, or something I see on the subway, or a thought that occurs to me in the shower. And this archive of fragments after a while begins to show family resemblance, and could lead to a work, fictional or otherwise. Other than that, I have no particular rituals. I write longhand or on a computer, usually the latter, in the morning or late at night, usually the latter, in silence or with music, usually the latter."

"How does your photography inform you writing?

I try to see things from a different angle, in photography and in writing. Not novelty for its own sake but something that comes from an…"]]></description>
<dc:subject>noticing patterns patternrecognition seamusheaney derekwalcott poetry nyc walking experience interviews 2012 notetaking writing opencity cities perspective seeing looking photography adjectives words tejucole howwework</dc:subject>
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<item rdf:about="http://www.designculturelab.org/2012/04/30/looking-walking-being/">
    <title>Looking, Walking, Being | Design Culture Lab</title>
    <dc:date>2012-05-11T17:40:06+00:00</dc:date>
    <link>http://www.designculturelab.org/2012/04/30/looking-walking-being/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[Looking, Walking, Being

“The World is not something to
look at, it is something to be in.”
- Mark Rudman

I look and look.
Looking’s a way of being: one becomes,
sometimes, a pair of eyes walking.
Walking wherever looking takes one.

The eyes
dig and burrow into the world.
They touch
fanfare, howl, madrigal, clamor.
World and the past of it,
not only
visible present, solid and shadow
that looks at one looking.

And language? Rhythms
of echo and interruption?
That’s
a way of breathing.

breathing to sustain
looking,
walking and looking,
through the world,
in it.

~ Denise Levertov]]></description>
<dc:subject>eyes language walking 2012 deniselevertov observation annegalloway poetry poems markrudman noticing looking</dc:subject>
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<item rdf:about="http://www.spoon-tamago.com/2012/02/22/sagashitemiyo-benesses-new-iphone-app-for-little-explorers/">
    <title>Sagashitemiyo! | Benesse’s new iPhone app for little explorers | Spoon &amp; Tamago</title>
    <dc:date>2012-02-26T08:32:57+00:00</dc:date>
    <link>http://www.spoon-tamago.com/2012/02/22/sagashitemiyo-benesses-new-iphone-app-for-little-explorers/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["I love the idea behind this new iPhone app for kids called Sagashitemiyo! (さがしてみよ！), or Let’s Search! The simple interface starts off by prompting little explorers to search for objects based on certain criteria like something “round,” “white” or “sparkly.”

The kids then set off on an expedition, capturing objects with the phone’s camera.

The app then allows you to catalog your discoveries into a virtual field guide of things around you. You can even share your discoveries with friends who are also using the app."

[See also http://kodomo.benesse.ne.jp/enjoy/iapl/search/ AND http://itunes.apple.com/jp/app/id484416695 ]
]]></description>
<dc:subject>viewfinders cameras photography seeing looking benesse virtualtinboxes search searching sagashitemiyo observation 2012 noticing emptytins discovery japanese japan children applications ios iphone</dc:subject>
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</item>
<item rdf:about="http://sldistin.tumblr.com/post/11011925366/this-is-what-happens">
    <title>(SL) DISTIN 15 (This is what happens.)</title>
    <dc:date>2012-02-01T20:13:17+00:00</dc:date>
    <link>http://sldistin.tumblr.com/post/11011925366/this-is-what-happens</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Looking, really looking, at art (some might say seeing…feeling) is like this: It is like all the other really amazing things in life…You do it too much & you forget how good it can actually be…you become jaded. You don’t get enough & it is all you can think about—the good & the bad. Then, there is one photo…drawing…performance & you want to know all there is to know about it…It is a little bit like falling in love. It’s best, most exciting, when you don’t know why you like something…the thing you are looking at is something you might usually be inclined to dislike…But, with this, you cannot stop looking, cannot stop thinking. And so, in every other thing that you think about, talk about, read about, talk about, read about, you start to see it in all of those other things, whether or not they, directly, have anything to do with that thing you are suddenly, entirely, falling for…all of those other things have changed. And everything that you thought you knew is no longer the same."]]></description>
<dc:subject>rabbitholes looking taste feeling artappreciation interestedness interest interests thinking howwelearn evolution understanding appreciation art love 2011 passion obsession wittgenstein change yearning learning noticing seeing saradistin canon interested</dc:subject>
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<item rdf:about="http://www.cityterm.org/admission-cityterm/admitted-students/outside-lies-magic/index.aspx">
    <title>CITYterm: Admission » Admitted Students » Outside Lies Magic</title>
    <dc:date>2011-02-25T22:15:34+00:00</dc:date>
    <link>http://www.cityterm.org/admission-cityterm/admitted-students/outside-lies-magic/index.aspx</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Get out now. Not just outside, but beyond the trap of the programmed electronic age so gently closing around so many people at the end of our century. Go outside, move deliberately, then relax, slow down, look around. Do not jog. Do not run. Forget about blood pressure and arthritis, cardiovascular rejuvenation and weight reduction. Instead pay attention to everything that abuts the rural road, the city street, the suburban boulevard. Walk. Stroll. Saunter. Ride a bike, and coast along a lot. Explore.

Abandon, even momentarily, the sleek modern technology that consumes so much time and money now, and seek out the resting place of a technology almost forgotten. Go outside and walk a bit, long enough to forget programming, long enough to take in and record new surroundings.

Flex the mind, a little at first, then a lot. Savor something special. Enjoy the best-kept secret around--the ordinary, everyday landscape that rewards any explorer, that touches any explorer with magic."]]></description>
<dc:subject>architecture books via:britta johnstilgoe pedestrians walking biking bikes psychogeography noticing learning landscape classideas openstudio classtrips fieldtrips bighere exploration looking cities urban urbanism builtenvironment visibility meandering deliberate</dc:subject>
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<item rdf:about="http://berglondon.com/blog/2010/12/17/announcing-svk/">
    <title>Announcing SVK: an experimental publication by Warren Ellis, D’Israeli &amp; BERG – Blog – BERG</title>
    <dc:date>2010-12-20T00:22:48+00:00</dc:date>
    <link>http://berglondon.com/blog/2010/12/17/announcing-svk/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["What is SVK?
It’s going to be a very beautifully-printed object – a graphic novella, drawn by one of our very favourite artists – Matt “D’Israeli” Brooker – who Warren collaborated with on “Lazarus Churchyard” back in 1991. I think I’m right in saying it’s their first major collaboration since then…

We can’t tell you too much more just yet, as they are both currently hard at work on it, but Warren describes SVK as “Franz Kafka’s Bourne Identity”.<

Brilliant.

It’s also a story about looking, and it’s an investigation into perception, storytelling and optical experimentation that inherits some of the curiosities behind previous work of the studio such as our Here & There maps of Manhattan.

For us – it’s also an investigation into new ways to get things out in the world, and as a result we’re talking about SVK now because we’re looking for people, brands and companies who would like to be in the SVK project… "]]></description>
<dc:subject>berg warrenellis design comics graphicnovels berglondon mattjones hereandthere kafka bourne bourneidentity looking observation towatch storytelling perception noticing communication publishing svk</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:70c1c790ded2/</dc:identifier>
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<item rdf:about="http://blog.wired.com/geekdad/2008/12/how-to-be-an-ex.html">
    <title>How To Be An Explorer Of The World Helps Readers Tune Back In | Geekdad from Wired.com</title>
    <dc:date>2008-12-13T04:58:54+00:00</dc:date>
    <link>http://blog.wired.com/geekdad/2008/12/how-to-be-an-ex.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["We're all blind. Overwhelmed by a thousand stimuli, busy as hell, we tune out the world. Who has time to appreciate the beauty of the world around us when we're always in a hurry? How to Be an Explorer of the World: Portable Art Life Museum aims to help busy people find a creative outlet in the midst of their routines, rather than cramming it all into special creative times. Written by writer and artist Keri Smith (author of the Guerilla Art Kit) the book features a number of "explorations" to help people reconnect with the oft-ignored detail around them."
]]></description>
<dc:subject>books kerismith glvo gifts edg srg tcsnmy observation looking senses collections italocalvino cities creativity serendipity collecting</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:11a1d8eb00de/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:gifts"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:edg"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:srg"/>
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