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  </channel><item rdf:about="https://www.plough.com/en/topics/community/education/stupidity-is-the-greatest-sin">
    <title>Stupidity Is the Greatest Sin by Peter Mommsen</title>
    <dc:date>2026-05-28T07:05:03+00:00</dc:date>
    <link>https://www.plough.com/en/topics/community/education/stupidity-is-the-greatest-sin</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Studying the liberal arts beyond the classroom can help combat the intellectual dullness that continues to afflict our world."

...

"The aim of small magazines like Plough is not simply to inform or entertain but to offer fresh perspectives that help readers think differently and equip them to live their lives more intentionally. Nor is that a one-way street: from readers who offer contrasting views, argue, critique, and sometimes unsubscribe, editors and writers can learn to see the world from perspectives they otherwise would have missed.

It’s exhilarating to see the power of small magazines to draw together an unlikely assortment of thinkers, readers, and doers into the kind of educational communities that Arnold envisioned. A few publications that have been doing this well are The Baffler, Comment, Commonweal, First Things, The Hedgehog Review, Jacobin, The Lamp, Local Culture, Mere Orthodoxy, Mockingbird, The New Atlantis, and The Point. Increasingly, small magazines like these are facilitating local gatherings of their readers in various towns and cities, to build community through face-to-face conversation.

A common pitfall of the present moment is that any publication risks becoming predictably partisan and then being pigeonholed and dismissed as either right-wing or left-wing. It can be tough to resist the currents tugging a writer or an editor into an attitude that assumes an “us” while excluding a “them,” or that simply serves up regular helpings of whatever kinds of hot take will reliably fire up one’s base. I’ve found that a strong antidote is a rigorous commitment to seeking truth together with people with whom I disagree and an openness to discovering common ground in surprising places.

It’s essential that this truth-seeking be rooted in a way of life – that we find ways to put the insights we gain into practice. Ultimately, it’s within real, not virtual, communities that the lifelong learning of Arnold’s “educational communities” can best be sustained. The small magazines I’ve just mentioned are each, in different ways, focal points for networks of people who want to not just think well, but do well. (Of course, they vary widely in their sense of what this actually looks like.)

To take Plough as the example I know best, this is a network of readers, writers, and practitioners drawn to the magazine for any number of reasons. From surveys, we know they span the political spectrum and hold a wide range of philosophical and religious beliefs. Yet they share a common conviction summed up by the magazine’s motto: “Another life is possible.”

Although today the word “community” carries a suspicious odor thanks to its abuse by corporate marketing departments, for the readership of a small magazine it’s an accurate term. In the case of Plough’s staff, this is true even more literally: the same year that Arnold founded Plough, he also founded the Bruderhof, the Christian intentional community that publishes the magazine and of which many (but not all) of the editors are members. The flesh-and-blood communal life behind the magazine is proof that the collective task of discovering and remembering our purpose as human beings is not just an idealistic project but also an eminently practical one.

As it happens, this somewhat unusual case study provides substantiation, too, for the liberating arts’ broader claim that the search for truth is not something reserved to the academically educated. To speak from my own experience, on the Bruderhof where I grew up, in New York’s Hudson Valley, I got to know older members who were the evidence of this. There was the tool-and-die maker who loved Dostoyevsky, the sheep farmer who sang Schubert’s Lieder, and the former factory worker who kept a copy of Kierkegaard on his coffee table. This was just what Arnold, who himself regularly spent time turning the communal farm’s manure pile before heading to his study to write and edit, had in mind. From a 1920 essay:

<blockquote>We should be ready to spend several hours each day (provided we are in good health) doing physical work. Intellectuals, in particular, would discover the wholesome effect this has. Daily practical work allows each person’s special light, his or her gift, to be kindled. This spark in each one, though maybe hidden, gives a glimpse of various gifts – possibly in scholarship, music, the use of words, creative art in woodwork, sculpture, or painting. Or simplest and best of all, a nature-loving person may have a particular gift for farm or garden work…. Idleness and tedium are symptoms of death. Where there is life, people have alert, creative minds and are ready to serve and help one another. This is not mere fantasy about an unattainable future; it is a present reality in a growing community.</blockquote>

Such lifelong educational community, whatever the varying forms it may take, is the goal of the liberating arts. It’s the way that we can remember our purpose as human beings possessing bodies, minds, and souls. And it’s an effective answer to the stupidity that continues to afflict our world."]]></description>
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    <title>Post by Viviane Schwarz (Viv Schwarz) @vivschwarz.bsky.social on Bluesky</title>
    <dc:date>2025-11-02T19:18:29+00:00</dc:date>
    <link>https://bsky.app/profile/vivschwarz.bsky.social/post/3m43jied7cs24</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["I used to read a book a day as a child. Spent as much time in the library after school as I could add a teenager. I read loads of stories, eventually. But the first books I really wanted to read were dictionaries, craft books and non fiction. https://www.vivianeschwarz.co.uk/the-best-place-in-the-world/

The first story books I was interested in reading were the ones that had recipes, instructions, maps worked in. Things I recognised as "information", things I felt I could "get out" of the book, apply to reality.
‪
Story books I loved as a child: A book about cowboy who made up a new bit of song about every adventure, musical notation at the back so one could sing it.
A book that featured a machine and there was a blueprint of it included. 
An adventure book with instructions for getting out of a locked room
‪
Yes, I also appreciated good writing, but first of all I loved stories that gave me something I could think about applying to my own world quite literally. Some of those were from free little magazines you'd get at the shoe shop or pharmacy. That was my way in.
‪
And the most amazing books were illustrated non fiction on a theme. THE MICROSCOPE was probably my favourite, with hand rendered bacteria and cell structures that were as beautiful as the real thing, more beautiful than photographs. Instructions for slide-making that involved razor blades and ink
‪
And all those dinosaurs. Is there a more complete love than one may feel as a child reading an illustrated book about dinosaurs, loving every bone of them, cherishing every minute of their lives, accepting their fossilized giant bird shits and even their very departure with fierce love.
‪
And don't forget the instruction manuals for board games. The IKEA leaflets describing in detail the angular blossoming of furniture. Do not tell me those joys of reading are lesser than opening a classic children's book one is given without curiosity demanding it right then.
‪
There must be substrate for curiosity to grow from where it's at to where it may go.

Telling a child that what they're reading is worthless won't encourage them to pick up your favourite kind of thing instead."

[via:
https://buttondown.com/perfectsentences/archive/perfect-sentences-149/ ]]]></description>
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<item rdf:about="https://www.equator.org/">
    <title>equator</title>
    <dc:date>2025-10-19T20:41:46+00:00</dc:date>
    <link>https://www.equator.org/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["WHAT WE STAND FOR

In the winter of 2023, watching the images coming out of Gaza, many of us felt we were quietly going mad. Nothing, it seemed, could be done to stop the atrocity whose death toll mounted every day. Western leaders embraced the perpetrators of this unfolding genocide, while forcefully repressing their own citizens’ peaceful protests against starvation and ethnic cleansing.

It was during this moment of moral despair that a small group of writers and editors came together. We did so, initially, to preserve our own sanity by seeking a temporary refuge from the regime of censorship and equivocation at so many prestigious periodicals. We began to imagine a new cultural venture, one that rejects the nihilistic idea that the powerful do what they please, and success is the only measure of moral virtue.

The genocide in Gaza has destroyed what remains of the illusion that the West should determine the future for the rest of the world. The United States and its satellites, having taken the centre stage of history to great fanfare after the fall of the Soviet Union, are now exiting in disgrace. A profound disorientation is the fate of the intellectual class that was created and sustained by the ‘American Century’. A legacy media whose authority to narrate the world depends on Western assumptions of omniscience is now lost in a ruin of shattered concepts.

After years spent working as editors and writers in these institutions, we have witnessed their accelerating moral and intellectual decline firsthand. They have met an increasingly globalised and interconnected world with boilerplate journalism, facile binaries, and an invincible ignorance of other societies and cultures. Equator is founded on our conviction that these storied titles of the Anglophone West cannot be internally reformed, nor redeemed by their periodic U-turns and belated mea culpas. The time has come to create something new.

Equator is our collective response to a crisis that is as much spiritual and intellectual as it is political and economic. It is a venture that aims to create a more cosmopolitan home for thought and art than the one assigned to them by provincial Western periodicals. It also seeks to restore dignity to the concept of truth and create a public space where the values of justice, solidarity and compassion can flourish.

The mission of Equator is to hold up a mirror to a global audience of readers and writers who don’t yet recognise themselves as belonging together. All of us have had intimations of our overlapping identities and affinities, our participation in a shared global history even while separated by narrow nationalisms and parochial press cultures. For us, the widely proclaimed “end of the West” is not the end of the world; the epoch ahead is ripe with the promise of fresh illuminations, of new horizons of human action and imagination.

Equator is a movement as much as a magazine. We will publish unique longform stories about politics, culture, literature and art – but our work will also encompass public events, reading groups, screenings and exhibitions.

As the dream of homogenising the world through Western prescriptions fades, its rich variety will finally be revealed. No longer defined by a ‘developed’ centre and ‘underdeveloped’ peripheries, this new world has multiple, shifting ways of being and belonging – and a different set of fears, regrets, and aspirations too.

Equator seizes this liberating perception. It won’t derive its understanding from anything so simple as ethnic or civilisational identities ascribed to East or West, North or South. Rather, it will move beyond the easy certainties of Western exceptionalists while also spurning claims made on behalf of a supposedly unitary ‘Global South’. Equator will engage a new generation of writers and artists as we seek to express the monumental shifts taking place in not only the economic and political order of the world, but also, crucially, in the inner lives of individuals.

We believe that the future is to be actively conceived and vigorously fought for rather than passively awaited. Committed to a universalism in which all human beings of conscience come together, no longer enslaved to wealth and power, Equator strives to incarnate a heroic sense of possibility and reaffirm the moral obligation to hope.

We invite you to join us."]]></description>
<dc:subject>equator 2023 gaza palesting ethniccleansing genocide israel us ussr sovietunion interconnected interconnectedness journalism solidarity justice compassion crisis soicety magazines globalsouth</dc:subject>
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<item rdf:about="https://www.nplusonemag.com/issue-45/the-intellectual-situation/the-new-new-reading-environment-1/">
    <title>The New New Reading Environment | Issue 45 | n+1 | The Editors</title>
    <dc:date>2025-08-19T03:27:53+00:00</dc:date>
    <link>https://www.nplusonemag.com/issue-45/the-intellectual-situation/the-new-new-reading-environment-1/</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>reading publishing twitter jounalism magazines paywalls internet web subscriptions substack newsletters online elonmusk vox voxmedia eater curbed nymagazine semafor bensmith justinsmith jorgepaulolemann jeffreycoldberg theatlantic puck airmail graydoncarter jonkelly veuveclicquot writing howwewrite howweread firstlookmedia newscorp chrishughes newrepublic media jakesherman annapalmer johnbresnahan politico axios news punchbowlnews fineprint gabrielsnyder bloomberg businessweek londonreviewofbooks lrb leonwieseltier timflannery nyrb newyorkreviewofbooks business newspapers niemanlab joshuabenton arizonarepublic houstonchronicle detroitfreepress atlantajournal-constitution freelance freelancing freelancerization autonomy hustleeconomy economics wapo washingtonpost ajliebling nytimes maggiehaberman jamellebouie margaretsullivan jaysonblair davidrothschild duncanwatts politics hillaryclinton discernment jamesfallows billclinton transgender tomscocca nonbinary philipcorbett rondesantis benmontgomery farright right</dc:subject>
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<item rdf:about="https://archive.org/details/processedworld">
    <title>Processed World Zine : Free Texts : Free Download, Borrow and Streaming : Internet Archive</title>
    <dc:date>2025-04-17T07:40:44+00:00</dc:date>
    <link>https://archive.org/details/processedworld</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[from Wikipedia:
https://en.wikipedia.org/wiki/Processed_World

"Processed World was an anti-capitalist, anti-authoritarian magazine focused on the oppressions and absurdities of office work, which, at the time the magazine began, was becoming automated.[2] The magazine was founded by Chris Carlsson, Caitlin Manning, and Adam Cornford in 1981.[3] No new issues have been produced since 2005.[1]

The print magazine was widely distributed to and read by office workers in Downtown San Francisco during the years the print magazine was published from 1981 to 1994.[4][5][6]

Publication history

Processed World began publication in April 1981 and was printed on an irregular basis, approximately quarterly to semi-annually until Winter 1992. There were 32 published printed issues.

There have subsequently been three more issues published on the Internet — number 33 in 1995, and two more issues, one in 2000 and one in 2005. These last two issues are numbered 2.001 and 2.005. All of the issues of the magazine are now available online.[7]

Themes

The magazine is about the absurdity and futility of modern employment practices in which a large number of college-educated people are often forced to seek temporary work with no employee benefits. The magazine details the subversive attitudes and sense of humor required for workers to be able to get through the day when forced to perform dull, degrading and boring work as wage slaves doing modern office work such as working as a computer programmer, word processor, call center operator, data entry operator, telemarketer or file clerk.[8][1][4][6]

Contributors

Writers that have had work published by the magazine include founder Carlsson, Manning, Chris Winks, Denis Hayes, Greg Williamson, Jim Swanson,[3] Fred Rinne, Adam Cornford, John Norton, Jesse Drew, and Donna Kossy and many more. The magazine featured cartoons by artists such as Tom Tomorrow,[9] Melinda Gebbie,[1] Ted Rall,[10] Jay Kinney, and Paul Mavrides.

Many of the magazine's contributors, such as Dan Perkins, e.g. "Tom Tomorrow," adopted pseudonyms to avoid retribution from potential employers.[9]"]

[See also:
https://www.processedworld.com/home.html
https://processedworld.com/index_covers.html
https://processedworld.com/History/history.html

"World Processor" by Jacob Silverman (2014)
https://thebaffler.com/salvos/world-processor

https://libcom.org/article/processed-world-magazine

"Bad Attitude:The Processed World Anthology, Edited by Chris Carlsson"
https://www.versobooks.com/products/1300-bad-attitude

"Processed World: "I was there..."" by Chris Carlsson and Adam Cornford
https://www.foundsf.org/Processed_World

"Escaping the Processed World: On this episode of Tech Won’t Save Us, Chris Carlsson on the legacy of Processed World, an anti-capitalist magazine that took on tech."
https://techwontsave.us/episode/231_escaping_the_processed_world_w_chris_carlsson
https://www.thenation.com/podcast/society/twsu-080124/
https://www.youtube.com/watch?v=X1UcAfFpkiY

"On this episode of Tech Won’t Save Us, we’re joined by Chris Carlsson to discuss Processed World, a tech-critical, anti-capitalist magazine that satirized the absurdity of work in its publishing run between 1981 and 2005.

Chris Carlsson is the author of many books, including, most recently, When Shells Crumble. He’s the director of Shaping SF and a cofounder of Critical Mass. He was also one of the people behind Processed World."

"To end neoliberalism, we have to 'stop everything we do'" by Becca Warner
https://www.huckmag.com/article/chris-carlsson-processed-world-interview-how-to-end-neoliberalism

"In 1981 Chris Carlsson co-founded ‘Processed World’ – a radical zine that foresaw the dystopian direction society was headed in. Here, he talks about its impact, his hopes for the future, and how stupid most jobs are."

(Bob Black, grain of salt)
https://inspiracy.com/black/abolition/circleadeceit.html ]]]></description>
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<item rdf:about="https://pjvogt.substack.com/p/how-do-i-use-the-internet-now">
    <title>How do I use the internet now? (Is there a sane way to use the internet?) - Search Engine with PJ Vogt (October 2023)</title>
    <dc:date>2024-03-26T22:46:27+00:00</dc:date>
    <link>https://pjvogt.substack.com/p/how-do-i-use-the-internet-now</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["This week, a conversation we recorded a while ago that we’ve been impatient to share.

Ezra Klein joins Search Engine to answer a question that's increasingly confounded us: is there a sane way use the internet, now?

How do I get information about the things I care about without getting sucked into a vortex of opinion, unearned certainty, and yelling?

We make this clear in the episode’s introduction, but one of the pleasures of this show, for me, is that it gives me an excuse to talk to people I admire.

I really like Ezra’s podcast, The Ezra Klein Show. And often when I’m listening, the thought I have is just — how does this person find the time to read and think this much? So it was a treat to demand Ezra answer a series of questions about how he is managing to waste less time on the internet, and what he looks at when he, like anybody, dumbly stares at his phone."

[Available here too:
https://podcasts.apple.com/za/podcast/is-there-a-sane-way-to-use-the-internet/id1614253637?i=1000631989200
https://www.youtube.com/watch?v=NiM5rJO_WYc
https://open.spotify.com/episode/2JeA3ChR0LZ5yz1enxOIaM

See also:
https://overcast.fm/+BBVQR_bJsM
https://robinrendle.com/notes/is-there-a-sane-way-to-use-the-internet/ ]

[Follow-up interview with Ezra Klein (March 2024): How do we survive the media apocalypse?
https://pjvogt.substack.com/p/a-big-announcement-from-search-engine

"We have a new episode for you, an interview with Ezra Klein where he talks about what we can do about this scary moment in media, where so many of the outlets we love are dying or being gutted. It gave me a shot of hope and direction after a bleak few months."

also here:
https://open.spotify.com/episode/2pcYNqD0n9R6UgJMbvJw27
https://podcasts.apple.com/gb/podcast/how-do-we-survive-the-media-apocalypse/id1614253637?i=1000649296199 ]]]></description>
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    <title>The Small Media Company Making Independent Publishing A Threat Again | HackerNoon</title>
    <dc:date>2023-06-23T00:55:27+00:00</dc:date>
    <link>https://hackernoon.com/the-small-media-company-making-independent-publishing-a-threat-again-17df7f5f7bee</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>maskmagazine 2017 tylerreinhard hannahurr ripleysoprano publishing magazines</dc:subject>
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    <title>Inside Tyler, The Creator’s Collections of Watches, Cars and More – Robb Report</title>
    <dc:date>2022-11-12T20:17:40+00:00</dc:date>
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    <title>An alternative way to show off your images! - YouTube</title>
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<item rdf:about="https://eyeondesign.aiga.org/rubbish-famzine/">
    <title>From Kindergarten Through High School, This Family Has Been Making a Magazine Together for Ten Years – Eye on Design</title>
    <dc:date>2022-06-04T18:10:04+00:00</dc:date>
    <link>https://eyeondesign.aiga.org/rubbish-famzine/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[“Some families play sports, some cook together. For us, it happens to be art-making.”
]]></description>
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<item rdf:about="https://www.accutronwatch.com/blogs/podcast/time-travel-with-jack-forester">
    <title>Time travel with Jack Forster – accutron</title>
    <dc:date>2022-03-21T06:20:26+00:00</dc:date>
    <link>https://www.accutronwatch.com/blogs/podcast/time-travel-with-jack-forester</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["This episode features watch connoisseur royalty, Jack Forster, Editor in Chief of Hodinkee.com. Jack discusses with our hosts the origins of his renowned digital platform, the future of print media and the book he wrote to celebrate the 60th anniversary of Accutron. How successful can a digital platform be when it jumps into print media? What was the process of writing a book about Accutron? Tune in to find out more. 

EPISODE HIGHLIGHTS: 
15:40 - The Accutron book is a pretty decent technical and sociologial history of the timepiece, past, present and future. Jack mentions it was great to get access to the Accutron archives and learn more incredible details about the watch and the brand. 

23:11 - Back in the 60s, time accuracy was a very important selling point; it is what inspired Accutron to develop the tuning fork technology; especially in a time when quartz timekeeping technology was not as popular as it is today."]]></description>
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    <title>“Please Say More”</title>
    <dc:date>2022-03-09T22:56:54+00:00</dc:date>
    <link>https://futuress.org/magazine/please-say-more/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Bec Wonders on the Vancouver Women’s Library, the legacy of feminist archives, and the complex history of female conflict."

...

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

...

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

...

“In her book Feminist Literacies, Kathryn Thoms Flannery talks about feminist periodicals being like counter institutions to the university because women were teaching themselves everything. The feminist periodical functions as a pedagogical tool of teaching each other, but also mostly teaching yourself about something. You wanted to write a response to some woman talking about socialist feminism, or whether we should allow men into the movement, and in crafting that response you are actually teaching yourself, and you are learning your position on the subject. It allows for a lack of categories and categorical positioning, which we can get trapped in so often.”]]></description>
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<item rdf:about="https://www.youtube.com/watch?v=-c-lpBIWNCY">
    <title>Arthur Jafa: APEX | ARTIST STORIES - YouTube</title>
    <dc:date>2021-11-11T23:07:38+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=-c-lpBIWNCY</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Mickey Mouse, Tupac, a baby, planets, injured and dead bodies, Miles Davis. These are some of the 841 images that appear in rapid sequence in Arthur Jafa’s APEX, a video set to a pulsing techno beat and the beeping of a heart monitor. For several decades Jafa has collected hundreds of images from newspapers, magazines, books, and films, saving them in notebooks. Before he began downloading and organizing images digitally, these notebooks often provided inspiration for his cinematography, and he is known for bringing them out to share with friends.

Jafa references and reuses many of these images throughout his work; one is a mid-1800s photograph of a former enslaved person’s scarred back, which for Jafa is “an emblem of how the black experience is this complex of majesty and misery that are inextricably bound up.” What is the relationship between this image and others in APEX? For Jafa, “it’s all associative...The whole idea was always if you took this thing and that thing and you overlap them, the place in which they overlapped was you.” This summer, we traveled to Arthur Jafa’s studio in Los Angeles to talk with him about APEX and the notebooks, which are now on view at MoMA in the exhibition Surrounds: 11 Installations."]]></description>
<dc:subject>arthurjafa 2019 art film filmmaking moodboards images collections collage howwework howweread howwethink howwewrite patterns sensemaking making learning cv howwelearn software books magazines notebooks notetaking cinematography association makingsense</dc:subject>
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<item rdf:about="https://2or3things.tumblr.com/post/161316248271/printing-press-at-bloemstraat-amsterdam-1966">
    <title>Two or Three Things I Know About Provo - On printing Provo</title>
    <dc:date>2021-08-25T18:29:56+00:00</dc:date>
    <link>https://2or3things.tumblr.com/post/161316248271/printing-press-at-bloemstraat-amsterdam-1966</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[“Printing press at Bloemstraat, Amsterdam (circa 1966). Page from ‘Het Witte Gevaar’ (Meulenhoff, 1967). The caption reads “Work-shy Provos, Rob Stolk (in the foreground) and Fred Fontijn (in the background), operating the Provo press”.

On printing Provo

‘Je Bevrijden van de Drukpers’ (‘To Liberate Yourself from the Printing Press’) was a Dutch article published in 1991 in the magazine ‘Jeugd en Samenleving’ (‘Youth and Society’). Written by the archivist, activist and artist Tjebbe van Tijen, the article featured interviews with a selection of people that were, each in their own way, involved in the printing of independent youth magazines. One of the persons being interviewed was Rob Stolk. What follows is a translation of the full interview.

Provo 1965–1967

I never attended a school for printing, so I wasn’t fully aware of all the possibilities available for publishing pamphlets. And if you aren’t aware of that, there’s only one thing you’re focused on, and that’s the costs. When you have an idealistic background, and you want to publish printed matter (an anti-war pamphlet, for example), it basically means that you won’t recover your money.

My first produced pamphlet was related to the activities we undertook as pacifist-socialist youngsters. We used a stencil duplicator (mimeograph machine) owned by a comrade of the PSP [Pacifist Socialist Party] at his place on the Westzijde in Zaandam. That thing was ancient, you had to operate it manually.

If we wanted to add something fancy, like an illustration, we had to order a ‘photo stencil’, as we didn’t own a stencil-making machine ourselves. A stencil like that costed us seven and a half guilders, a considerable sum in those days. We picked up those stencils in Amsterdam, at the Spuistraat.

When we mimeographed the first issue of Provo, we were offered the use of the machine of mister De Groot, a subscriber to ‘Recht voor Allen’ [a Dutch anarcho-socialist magazine, originally founded in 1879], who had one of those machines standing in his attic. We were printing there until the early hours. That guy really enjoyed that he could support us that way. He had always hoped that a new generation would keep his ideals alive.

The first issue of Provo was mimeographed in an edition of 500, of which approximately 100 copies were actually distributed. The rest was confiscated by the police because of a text on how to manufacture bombs, a 19th century nonsense article that came illustrated with a glued-in firecracker.

This immediately meant that there was enormous demand for the second issue. We printed 2000 of those; a gigantic task. Part of that edition was eventually printed at Roneo in the Spuistraat. Imagine those guys dressed in tidy suits and grey dust-coats, printing our magazine surrounded by office machines.

At a certain point, we started relocating our stencil machine. We had so much trouble with pamphlets being confiscated, because of insults to the queen and pranks like that – we just had to keep on moving the machine.

One time, we were printing an issue of Provo in a tiny room in the Staatsliedenbuurt, in the house of a lady who had no idea what the magazine was about, but she assumed it was alright since her son was involved. I was constantly dragging suitcases and piles of paper around; nobody knew the location of the machine but me.

Very quickly, it became clear to us that the distribution of Provo was dependent only on our ability to produce it. The demand was huge. The public had no idea what these Provos were about, and much to everybody’s surprise, these kids also published a magazine! That was a huge difference compared to the previous image of ‘pleiners’, ‘dijkers’ and ’nozems’ [Dutch youth cultures, comparable to mods, rockers and teddy boys], thugs no one really understood. In that sense, the Provos were perceived quite differently: at least, they published a magazine!

We then bought an offset press, and installed it in a tiny basement. That was in the Bloemstraat, at Henk Raaf’s place, who ran a small travel agency from there. This was around 1966. After the 10th of March [the riots during the wedding procession of Princess Beatrix and Claus von Amsberg], we were all arrested. The police had a rough idea where the press was located; they had the feeling that if they would manage to the confiscate the press, the trouble would be over – that’s the way they thought back then. It never occurred to them that the press would be located in a neat building, in the basement of a travel agency. They were searching for long-haired people who were walking in and out of houses carrying printed matter, but of course, carrying printed matter in and out of a traveling agency was considered to be very normal. So they never found that press.

The print run of later editions of Provo reached 10,000. These copies were paid for only partially. If a new issue of Provo rolled off the press, youngsters came by to take stacks of magazines with them. Loe/Lou van Nimwegen [responsible for the administrative part of the printing] gave them 25 copies each. They sold those copies for 70 cent or so, and had to pay us part of that. Some of these guys you never saw back, while others just kept on selling.

Some of them sold a couple of hundred copies on a single day; they immediately had enough money on them for the whole month. Maybe that was the problem; there was not enough stimulus to keep things going. We also tried to distribute the magazine through Van Gelder. Maybe that was exactly the strength of the magazine: the fact that the supply never met the demand, so that it always stayed something of a curiosity. If you managed to get a copy, it was special. It was never professionally organized, in terms of distribution.

Swiftly setting a text is a difficult task. You always had to search for the right typewriter, with the best letter. You wanted to act quickly, so you didn’t want to rely on suppliers of professional typography. This meant that aesthetically, things could get problematic. But of course, this was exactly what made the design so specifically subcultural. It went against the commercial design of mainstream printed culture – a mainstream culture that was boring and annoying.

True, within the Provo movement there were also designers who, within other contexts, designed beautiful things; costly productions that were in a different league compared to the printed matter of Provo. But then again, we never had the pretension to measure ourselves against that. Subversive printed matter simply wasn’t meant to be beautiful.

I have always operated from the absolute minimum of money and assets. The people who were participating in these publications didn’t have a dime to spare. The plan was to produce it as cheap as possible, and to distribute it as wide as possible.

It was around that time that, at magazines such as Hitweek, a new form of design came into existence – one that was very different from the design that was common at advertising agencies. Also, with the rise of offset printing, it was no longer the typesetter who performed the job according to the instructions of the client; instead, the whole discipline of design became separated from the printing. The offset plate became the medium that could be filled with images and typography completely independent of the printer’s typesetting case.

I once cooperated with Chris Hahn on a booklet that included photos by Koen Wessing, documenting the riots during Beatrix’ wedding. It was printed quite weakly, but that was because we had a tiny offset press that was impossible to apply any ink on. Although we screened (‘rasterized’) the images quite decently, especially considering the time, the machine just couldn’t pull it off. We printed it on A4 sheets – it was still a pretty neat publication for those days. But again, the costs and the proceeds didn’t match up.

It just wasn’t organized well enough to sustain. That’s typical though for political projects: the distribution is geared mainly to get the publication to as many people as possible, not to get any money back.

Hitweek [a then ‘hip’ Dutch music magazine] was a commercial enterprise, where they took into consideration the costs, the office hours, the phone bills. If we would have produced Provo in such a way it would have had a larger reach, especially if we would have included music coverage. But there were a lot of people who weren’t into that. Roel van Duijn wasn’t exactly a fan of the Beatles.

In the end, a magazine is a conspiracy of people who all have a say about it. And if these people don’t agree on a subject, the tendency is to keep that subject out of the magazine. Cooperation consists of that what you do together.

It also depended on who was momentarily responsible for the content. This responsibility was handed over from person to person. In the beginning it was mainly Roel’s job, but if he dominated too much editorially, it was pulled from his hands. Which meant that he refused to take part in the following issue, resulting in a totally different editorial tone.

I always wanted to employ my own printing press, because I always longed to publish things, for example magazines like Bethaniënnieuws or Nieuwsmarkt [magazines affiliated with Aktiegroep Nieuwmarkt]. In my view, these initiatives could only be conceivable if you had your own printing press.

If you have to work with budgets like these, with print runs like these, on initiatives like these, and it lasts for only one or two issues – it’s impossible to deal with. In the end, we could only continue our activities by trying to make money with printing; by taking on assignments. Added to that, we owned some money from selling the Provo archive. So we had some resources to continue printing.

But it still remained a struggle to keep on going. Just look at the difficulties that Bluf [an ’80s squatting magazine] had, trying to sustain in a non-profit way.

On the rise of screen-printed posters, especially those designed in the ’60s by Ontbijt op Bed [a Provo-related group from Maastricht]:

These posters were of a beauty… Spectacular, wonderful, really incredible. So, just like Kees Graaf [printer of Ontbijt op Bed], I started screen-printing, but without the know-how and resources that he had.

The problem remained though: how to make a living…

On the rise of psychedelic posters, which also happened around that time:

That was something we had nothing to do with; this whole sphere of ‘alternative culture’… In our eyes, those posters were still commercial commodities. We did everything we could to avoid that scene. Which is why I also worked as a plasterer, doing construction work with Ronnie and Otto, because I’d rather do that than to print commercially. To me, printing was something sacred; it was my weapon, a way to manifest oneself, and to cause confusion.

More and more, I realized I didn’t want to stand in the foreground of the activities I participated in. That would have been very counterproductive as well: to give the impression that it was “always the same guys”. In that sense, Provo also became very counterproductive.

Everything that came after Provo had an easier time manifesting itself, because of the vacuum that Provo left behind. Provo stopped, but the ideas was still there, the newspapers took notice, there was a voice that wasn’t there before. People outside the official circuit were suddenly being heard. You only had to start a committee or group, and you were in the news. If people were agitated about certain issues, it was in the newspapers. Before Provo, that was unthinkable.

Apart from those printing companies who weren’t members of the Koninklijk Verbond van Drukkerijen [trade organization for printers] and artists printing independently, Provo was one of the first post-war presses that wasn’t being exploited as a commercial printing company. Many others followed that example.

After the liquidation of Provo, we handed over the press for 6000 guilders or so, which we used to pay off our debts at the paper suppliers. The press was passed on to ASVA [a left-wing student organization], who set up SSP, the Stichting Studentenpers [the Students’ Press]. The SSP still exists, but I don’t know if they are still affiliated with ASVA.

This whole counterculture of independent printers has more a political background than a cultural background, at least in The Netherlands. It was quite simple in those days to get hold of a cheap, reasonably functioning press. The bar to start a printing company wasn’t set so high: if you had a couple of thousand guilders, you had a pretty decent Rotaprint press. The clients weren’t so demanding, so all it took was a minimum of means.

If a client asks you to deliver a certain product, you have to deal with a totally different set of requirements than when you only have to meet your own requirements. If it’s your own initiative to publish something, then what matters most is the content, not the quality of printing. There was an urgency then to get the information out as quickly as possible, to as many readers as possible.

In fact, I still believe that a simple text can be more important than the most intricate design. It is certainly possible to express something original, without it being printed perfectly. You should be able to look beyond the design.

It seems very clear to me that a country without a free press is a country that sucks, because it is a country that conceals things. A society in which people have the possibility to organize themselves freely, to express themselves freely, is always a better society. I am fully convinced that the free press is one of the most important forces behind the progress of human society.

Rob Stolk (as interviewed by Tjebbe van Tijen), Amsterdam 1991”]]></description>
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<item rdf:about="https://www.versobooks.com/books/1028-a-short-history-of-cahiers-du-cinema">
    <title>A Short History of Cahiers du Cinéma by Emilie Bickerton - Verso</title>
    <dc:date>2020-12-21T18:51:44+00:00</dc:date>
    <link>https://www.versobooks.com/books/1028-a-short-history-of-cahiers-du-cinema</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["An unique account of cinema's most influential journal.
Cahiers du Cinéma was the single most influential project in the history of film. Founded in 1951, it was responsible for establishing film as the 'seventh art,' equal to literature, painting or music, and it revolutionized film-making and writing. Its contributors would put their words into action: the likes of Godard, Truffaut, Rivette, Rohmer were to become some of the greatest directors of the age, their films part of the internationally celebrated nouvelle vague.

In this authoritative new history, Emilie Bickerton explores the evolution and impact of Cahiers du Cinéma, from its early years, to its late-sixties radicalization, its internationalization, and its response to the television age of the seventies and eighties. Showing how the story of Cahiers continues to resonate with critics, practitioners and the film-going public, A Short History of Cahiers du Cinéma is a testimony to the extraordinary legacy and archive these 'collected pages of a notebook' have provided for the world of cinema.

Reviews

“It was 'the last modernist project', Emilie Bickerton says in this deft account of the real life and virtual death of Cahiers du cinema. The cinema itself lived and died in its pages, and it would be hard to imagine a better brief guide to the magazine's positions and polemics than this intelligent and sharply focused book.” – Michael Wood

“Valuable and highly informative.” – Philip French, The Observer

“The French New Wave directors all came from Cahiers du Cinéma, a magazine that turned film criticism upside down in the 1950s. The salvos of its sagacity are finely charted by Bickerton, who also laments the recent slide into dumbed-down mediocrity.” – Nigel Andrews, Financial Times

“What I love is Bickerton’s certainty and courage ... Bickerton does a well-told, thoroughly researched job.” – Nick James, Sight & Sound

“Compelling ... a reminder that contemporary film criticism could do with being more unapologetically clever—more ingenious, more argumentative, more French.” – London Review of Books

“Has many of the ingredients of a good thriller ... Emilie Bickerton’s alert prose manages to convey the drama and passionate confrontation of ideas, and she shows a keen eye for revealing detail.” – Times Literary Supplement

“Emilie Bickerton has done a valuable and highly informative job.” – Philip French, Observer

“Tantalisingly concise ... A reminder that contemporary film criticism could do with being more unapologetically clever—more ingenious, more argumentative, more French.” – Jonathan Romney, London Review of Books"]]></description>
<dc:subject>cahiersducinéma film 2011 emiliebickerton books magazines history secondwave france françoistruffaut jacquesrivette éricrohmer frenchnewwave filmmaking claudechabrol jean-lucgodard</dc:subject>
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<item rdf:about="https://www.illustoria.com/">
    <title>ILLUSTORIA</title>
    <dc:date>2020-08-20T05:23:17+00:00</dc:date>
    <link>https://www.illustoria.com/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["ILLUSTORIA was founded in 2016 by its former editor-in-chief, Joanne Meiyi Chan, a longtime children’s book editor & passionate kid-lit lover, and her partner, Mark Rogero, a designer and maker (Concreteworks, Thatcher Hotel, Open Hand Ranch). Together they created Illustoria Magazine as a high-quality print publication for creative kids & their grownups to slow down and enjoy stories, art, and activities; and as a counter to our fast-paced, digital age. Illustoria celebrates visual storytelling, makers, and DIY culture through print and beyond. Read about the origins of Illustoria here.  

Illustoria Magazine became, in 2019, a collaboration between McSweeney’s, an independent publishing house in San Francisco, and the International Alliance of Youth Writing Centers, an informal network of organizations around the world who share the belief that young people need places where they can write and be heard and have their voices polished, published, and amplified. In every issue of Illustoria Magazine, students from these centers contribute their own writing and art and conduct interviews with the artists and others profiled in these pages. The Alliance’s goal is to get more young people published and to let readers of all ages see just how much young people have to say.

ILLUSTORIA Studio is an incubation lab for creative collaborations started by Joanne, and serves as a space for artful community & inspiration. In addition to musings on art, books, and visual storytelling, Illustoria Studio hosts events and occasional drawing and creativity prompts. Join along at @illustoria_studio."]]></description>
<dc:subject>illustoria children writing publishing publications magazines storytelling visual diy making print stories art activities youth mcsweeney's</dc:subject>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:mcsweeney's"/>
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</item>
<item rdf:about="https://readymag.com/">
    <title>Readymag — design anything on the web</title>
    <dc:date>2020-01-28T00:50:13+00:00</dc:date>
    <link>https://readymag.com/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[“Readymag is a browser-based design tool that offers unlimited possibilities to create“

[Able Parris is using this for:
https://lookbook.wtf/
https://ableparris.com/
https://wtf.studio/
https://kamuter.world/
https://equalitysymbol.com/

https://juliaparris.com/ ]]]></description>
<dc:subject>webdesign webdev publishing magazines zines online web internet cms design tools onlinetoolkit</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:bd86c4c6cfdf/</dc:identifier>
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</item>
<item rdf:about="http://bittersoutherner.com/">
    <title>THE BITTER SOUTHERNER - Great Stories from the South</title>
    <dc:date>2017-05-07T21:14:28+00:00</dc:date>
    <link>http://bittersoutherner.com/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["You see, the South is a curiosity to people who aren’t from here. Always has been. Open up your copy of Faulkner’s 1936 masterpiece, “Absalom, Absalom!” Find the spot where Quentin Compson’s puzzled Canadian roommate at Harvard says to him, “Tell about the South. What it’s like there. What do they do there. Why do they live there. Why do they live at all.”


It always comes down to that last bit: With all our baggage, how do we live at all? A lot of people in the world believe that most folks in the South are just dumb. Or backward. Just not worth their attention. 

And you know what? If you live down here, sometimes you look around and think, “Those folks are right.” We do have people here who will argue, in all sincerity, that the Confederacy entered the Civil War only to defend the concept of states’ rights and that secession had nothing to do with the desire to keep slavery alive. We still become a national laughing stock because some small town somewhere has not figured out how to hold a high school prom that includes kids of all races. 

If you are a person who buys the states’ rights argument … or you fly the rebel flag in your front yard … or you still think women look really nice in hoop skirts, we politely suggest you find other amusements on the web. The Bitter Southerner is not for you. 

The Bitter Southerner is for the rest of us. It is about the South that the rest of us know: the one we live in today and the one we hope to create in the future.

According to Tracy Thompson’s brilliant “The New Mind of the South,” it’s been only two decades since Southern kids (including the entire Bitter Southerner crew) stopped learning history from censored textbooks, which uniformly glossed over our region’s terrible racial history. Even today, kids are studying texts that Thompson rightfully labels “milquetoast” in their treatment of Southern history. 

And recent election results suggest that the Southern mind hasn’t evolved much, that we’re not much different from what we were in 1936, when Faulkner was struggling yet again with the moral weirdness of the South. Almost 80 years later, it’s still too damned easy for folks to draw the conclusion that we Southerners are hopelessly bound to tradition, too resistant to change.

But there is another South, the one that we know: a South that is full of people who do things that honor genuinely honorable traditions. Drinking. Cooking. Reading. Writing. Singing. Playing. Making things. It's also full of people who face our region's contradictions and are determined to throw our dishonorable traditions out the window. The Bitter Southerner is here for Southern people who do cool things, smart things, things that change the whole world, or just a few minds at a time.

The world knows too little about these people, which is, alas, another reason to be bitter. But it prompted us to create The Bitter Southerner™.

We’re talking here about people whose work embodies what my old buddy Patterson Hood once called, in a song, “the duality of the Southern thing.” The purpose of The Bitter Southerner is to explore, from every angle we can, the duality of the Southern thing.

Last time I saw Patterson, we sat in his van outside Eddie’s Attic in Decatur, Ga. We were talking about how his view had changed in the dozen or so years since he’d written that song. 

To him, the 2012 election results brought clear evidence that we are moving into a more progressive era, and that our southern home might actually be following, however slowly. “We may actually wind up living in a more enlightened country,” he said, and laughed a little. 

Still, the tension — the strain between pride and shame, that eternal duality of the Southern thing — remains. Lord knows, most folks outside the South believe — and rightly so — that most Southerners are kicking and screaming to keep the old South old. But many others, through the simple dignity of their work, are changing things.


We’re here to tell their stories. Over time, you’ll see many pieces about bartenders, because a) that’s where we started and b) we very much enjoy a great cocktail. After all, one Southern tradition worthy of honor is the act of drinking well. But we’ll also cover the musicians, cooks, designers, farmers, scientists, innovators, writers, thinkers and craftsmen. We’ll show you the spots that make the South a far better place than most folks think it is. You’ll also see essays, short stories and poems — pieces that Bitter Southerners like ourselves create as we wrestle with our region. And every now and then, we’ll give you a peek at the oddities that seem to happen only down here.

We hope you’ll enjoy The Bitter Southerner and spread the word about it. Help us round up other Bitter Southerners, no matter where they live.

We hope you’ll want to contribute to The Bitter Southerner. In fact, we need you to. Right now, we have no budget and a staff of volunteers, so we're starting in our hometown of Atlanta. But we know there are others out there like us, people with the skills to capture a good story, or create one. Tell us your ideas. Let us know who you are.

The stories are out there, all over the South. They deserve to be told.

Until we tell them all, we will remain as bitter as Antoine Amedie Peychaud.

Welcome to The Bitter Southerner."

[via: 
"Gifts to self recently include this subscription to @BitterSouth"
https://twitter.com/tressiemcphd/status/861322125348614145 ]]]></description>
<dc:subject>magazines south chuckreece pattersonhood tracythompson williamfaulkner bittersoutherner</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:5b5100a27f05/</dc:identifier>
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<item rdf:about="http://monkeybusinessmag.tumblr.com/">
    <title>New Writing From Japan</title>
    <dc:date>2016-07-25T22:42:29+00:00</dc:date>
    <link>http://monkeybusinessmag.tumblr.com/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[via: http://lithub.com/our-fairy-tales-ourselves-storytelling-from-east-to-west/ ]]]></description>
<dc:subject>magazines japan translation writing</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:43293873ee4d/</dc:identifier>
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<item rdf:about="http://032c.com/REAL-review-architecture-magazine-jack-self#image10">
    <title>The REAL REVIEW Tells Us What it Means to Live Today - 032c Workshop</title>
    <dc:date>2016-07-20T18:26:38+00:00</dc:date>
    <link>http://032c.com/REAL-review-architecture-magazine-jack-self#image10</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["032c contributor and highly productive architecture critic Jack Self has a new quarterly magazine called Real Review, and it has the world’s most enviable tagline: “What It Means To Live Today.”

The contributor list includes writers such as Oliver Wainwright, Pier Vittorio Aureli, and Sam Jacobs, and the articles span subjects as such the “Duck House” architecture of North Korea, Prince Charles vs The Sex Pistols on the Thames, and the “cybernetic socialist orgasm” of Allende’s Chile.

Yet it is the format that best indicates the magazine’s objective: rather than the indie-mag cliche of perfect-bound, matte-stock A4 pages, Self and executive editor Shumi Bose went for a long, thin structure, that opens like a thick and demented travel brochure. It is designed to be stuffed into jeans pockets, not sitting idle on coffee-table. It is a designed to be thumbed, read, and passed around like samizdat.

The title is another dead giveaway: REAL proudly presses the medium of “the review” as a perfect form for approaching 21st century architecture: one that can critically evaluate anything from artistic movements to failed utopias. The magazine is therefore at once errant and urgent, writing about the present through the tangled archeology of what currently surround us.

032c spoke to Self about his new magazine, and the uses of living in a post-apocalyptic world."]]></description>
<dc:subject>magazines classideas jackself shumibose print zines</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:ee453f940d16/</dc:identifier>
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</item>
<item rdf:about="http://www.elle.com/culture/news/a37590/elle-cover-response-mellissa-harris-perry/">
    <title>ELLE's fka twigs Cover - Melissa Harris-Perry Responds</title>
    <dc:date>2016-07-17T20:58:10+00:00</dc:date>
    <link>http://www.elle.com/culture/news/a37590/elle-cover-response-mellissa-harris-perry/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Lesson 1: Becky 101

…

Lesson 2: Not everyone sees the same thing.

…

Lesson 3: Black women's hair is personal and political

Let me make this plain. For most black women in America (although not all), if we allow our hair to simply grow out of our heads in its natural state, most people will assume that we are making a social and political statement. If we allowed our hair to simply grow out of our heads, many of us would be barred or fired from our jobs. If we allowed our children's hair to grow similarly, many of our children would be dismissed from their schools. It is 2016. Sit with that for a moment. Most non-black folks fail to grapple with the profound implications of living in a society that institutionally requires an entire group to intervene so utterly in its own bodily reality and sanctions so heavily those who refuse to conform.

Despite the high stakes and deep trauma so often associated with black women's hair, many non-black individuals and institutions remain stunningly uninformed about even the most basic aspects of black hair. It is both insulting and disheartening to flip the pages of sophisticated fashion magazines and find so many images of black women wearing hair pieces, weaves, wigs, and chemical treatments, featured next to white women without these hair interventions, while the copy surrounding the images makes no mention of the differences. (Granted, in the ELLE spread, a few pages on from page 110, the text mentions that many of Zendaya's styles are wigs and weaves.) The omission makes it seem as though, in each case, the hair is simply growing wholesale from the heads of individuals pictured.

This practice does violence to us.

In her smart, funny memoir, The Year of Yes, Shonda Rhimes writes about her daily, hours-long struggle as a teenage to make her hair look like Whitney Houston's. Curling irons, hair spray, and hours of frustration accompanied her attempts to make her hair looks like Whitney's. Then one day, years late, as a full-grown adult, Shonda is sitting at a hair salon and overhears a conversation between stylists. It turns out that, all along, Whitney's hair was a wig. Rhimes uses the story to illustrate the importance of accepting that working moms don't "do it all"; they all seek and hire great household help. But we shouldn't pass too swiftly over the hair story on the way to the childcare takeaway.

When magazines present hair pieces, weaves, wigs, and chemical treatments without any further clarification, they perpetrate a lie to black girls and women. Listen, no shade on extensions, lacefronts, sew-ins, or any other choices celebs and the rest of us make to look great. But magazines should not be reproducing another generation of teenage Shondas wasting precious hours trying to curl their hair into a wig.

This does not mean that every time a fashion magazine wants to include a black woman in a beauty spread on fall styles, or the new bob, or the hottest color trends, that it needs to include a humorless recitation of Willie Morrow's 400 Years Without a Comb to illustrate adequate understanding of black hair history. Cause damn. It does mean some ways of seeing black hair are just more woke than others.

When Lemonade turned the world upside for a few days, it offered an indirect opportunity to reckon with all the instances in which this issue has been elided. Elle.com published "The Complete Breakdown of Beyoncé's Hair Look's from Lemonade." We even had input from her stylist Kim Kimble. Nailed it.

Sure, but let me draw your attention to this piece on the same topic by Bustle.com. They too reviewed all the badass hairstyles of Lemonade. But they one-upped our wokeness by telling readers why these styles matter. They put the beauty in context, giving it history and social meaning. Ours … solid. This one … lit.

To be fair, Bustle.com is an online publication founded just a few years ago. Its origins rest in a vastly different context than Elle.com, a site attached to a magazine first published in France in 1945. Which brings me to lesson number 4; legacy fashion magazines do not have a reservoir of goodwill with black women, and this deficit heightens the potential tensions in moments like this.

Lesson 4: Legacy Fashion Magazines do not have a reservoir of goodwill with black women

It is hardly a secret that the fashion world is whiter than an Academy Awards after party. The evidence is everywhere from runways to brand ad campaigns to fashion week to yes, fashion magazines .

But all of these (important) tallies can overshadow another point: More impactful than the absence of black and brown faces on runways and covers are the representational fails that occurring when black and brown editorial voices are not present in decision-making spaces. For decades the mainstream beauty and fashion industry—an industry made familiar to most of us through the women's magazines we buy on our local newsstands—has engaged in everything from the total erasure of black faces to the use of blackface. And yes, in the past decade some of these publications have openly, purposefully, and visibly, worked to alter these practices and improve both the substance and style of representation in their pages. I genuinely believe ELLE and Elle.com to be leaders in this area. I believe the people I work with and the magazine and website we create together are substantive, valuable, and diverse, if imperfect. I also believe that we inherited a legacy of brutally racist cultural practices. We are working to stitch a fabric of trust with our readers, but that fabric remains frayed by that legacy. We must be accountable to that legacy. We cannot pretend it does not exist, especially if we reproduce it, even inadvertently.

A personal note

I've been writing, working, and thinking with the team at Elle.com since March. In those months Kerry Washington, Beyoncé, Leslie Jones, and now FKA twigs have appeared on the cover of the magazine. The site has published my testimony to the Congressional Caucus on Black Girls and Women, given me a place to highlight the work of Girls for Gender Equity, and allowed me space to convene the voices of Japanese American women reflecting on the presidential visit to Hiroshima. All this and free lipstick samples. Listen, I am in heaven. When I saw the August cover it felt like the first real test of my new gig. Was the honeymoon over?

I got a call asking if I would be willing to write a piece for the site. I could write what I liked, from my own editorial perspective, even if it was critical. Yep. Let's do it. The team also asked if I would sit down to chat with Robbie Myers the editor-in-chief of ELLE. This was no Devil Wears Prada Act 1, Scene 2, when awkward Andy stumbles into Miranda Priestly office. Robbie and I talked about race, culture, gender, and the world of magazine publishing for more than an hour. I wasn't there to scold, and she wasn't there to apologize, but for me it was a radically different workplace experience to simply be heard and taken seriously on issues of race and representation."]]></description>
<dc:subject>race magazines fashion melissaharris-perry 2016 hair fkatwigs becky elle perception racism gender beyoncé lemonade</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:17a0e7afdd32/</dc:identifier>
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<item rdf:about="http://kazoomagazine.com/">
    <title>Kazoo Magazine - A print magazine for girls that inspires them to be smart, strong, fierce, and, above all, true to themselves.</title>
    <dc:date>2016-07-16T03:52:27+00:00</dc:date>
    <link>http://kazoomagazine.com/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Kazoo is a new kind of quarterly print magazine for girls, ages 5 to 10—one that inspires them to be strong, smart, fierce and, above all, true to themselves.

Hi, my name is Erin Bried, and I’m the founder of Kazoo. Last spring, my 5-year-old daughter and I were looking for a cool magazine to read together, and when we couldn’t find one we loved, we decided to make our own. (Having spent nearly two decades as a writer and editor at the glossiest publications in the country, I knew we could do it, too.)

So, in April, we launched a Kickstarter with hopes that other people would also be as interested in a magazine that doesn’t tell girls how to look or act, but instead inspires them to be strong, smart, fierce and, above all, true to themselves. It turns out, we weren’t alone in our quest to do better by our daughters. Within 30 days, Kazoo became the most successful journalism campaign in crowdfunding history.

There’s no other magazine like Kazoo. All of our stories are either developed or inspired by top female artists, explorers, scientists, chefs, athletes, activists, writers and others. Regular features include: science experiments; comics; art projects; recipes; interviews with inspiring women from Olympic athletes to astronauts; and fun activities, like secret codes, jokes, mazes, search-and-finds and more.

Kazoo’s first issue, printed in Vermont on 100% recycled paper, will debut in Summer 2016. We hope you’ll join our merry little band, and help us make some noise.

xo,
Erin"]]></description>
<dc:subject>magazines girls classideas erinbried</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:c697d86bff44/</dc:identifier>
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</item>
<item rdf:about="http://www.niemanlab.org/collection/little-magazines/">
    <title>Little Magazines » Collections » Nieman Journalism Lab » Pushing to the Future of Journalism</title>
    <dc:date>2015-12-22T23:05:24+00:00</dc:date>
    <link>http://www.niemanlab.org/collection/little-magazines/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[“LITTLE MAGAZINES

Little magazines gone digital: How the late-adapting literary press has made its way in the web age

They punch above their weight in reach and influence. What’s it like to run a little online magazine in 2014?”

http://www.niemanlab.org/2014/09/little-magazines-gone-digital-how-the-late-adapting-literary-press-has-made-its-way-in-the-web-age/ ]]]></description>
<dc:subject>magazines publishing n+1 jacobin thebaffler thenewinquiry lapham'squarterly 2014</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:b196d297c541/</dc:identifier>
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</item>
<item rdf:about="http://hopesandfears.com/">
    <title>Hopes &amp; Fears</title>
    <dc:date>2015-12-08T07:07:57+00:00</dc:date>
    <link>http://hopesandfears.com/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Hopes&Fears is an online publication exploring life and culture through thematic, visually-oriented international coverage and commentary."

[See also: "Hopes&Fears wants to shine a light on the lesser-known corners of the modern urban experience"
http://www.niemanlab.org/2015/12/hopesfears-wants-to-shine-a-light-on-the-lesser-known-corners-of-the-modern-urban-experience/

"“We’re trying to tell stories of communities you probably don’t even notice. We’re trying to think more along the lines of cities than countries. When you think about a city itself, it offers way more possibilities to describe actual human lives,” Hopes&Fears publisher Vasily Esmanov said. “We’re trying to create a nice, classically built magazine around that, online.”

“I wouldn’t say there are any topics we avoid or are especially drawn to,” the site’s editor-in-chief Marina Galperina said. “We just want to understand things people care about across all industries, all subcultures. If we want to pursue a subject, we will pursue it in depth.”

Since February, Hopes&Fears’s editorial mission has become more clear, Galperina and Esmanov told me. It’s moved away from blogs, for instance, and makes a point of using only original content. There are more specific stories about neighborhoods and communities in New York City, since most of the site’s resources and freelancers are based there.

The site’s distinctive name dates back to the founders’ native Russia. In 2005, Esmanov, a photographer and blogger there, was running a street style blog that later evolved into a full-blown digital media company, Look at Media, which he co-founded with Katya Bazilevskaya and Alex Amyotov. Within Russia, the sites under the Look at Media umbrella are fairly popular, racking up around 6.5 million Russian visitors a month. In 2013, the group created the site Hopes&Fears, devoted, literally, to the hopes and fears of entrepreneurs.

The following year, they shut the site down — “Russia was not really in an entrepreneurial mood anymore,” Esmanov said — but kept the URL. After several months of nothing there, Hopes&Fears in its current form took over the original domain.

At the moment, Look At Media funds Hopes&Fears, but there are plans to raise some venture funding and sell advertising.

“We’ve been really good with advertising in Moscow, and I think it’s going to be similar here, and the market is obviously way bigger,” Esmanov said. His group, he said, found success in Russia, but had always wanted to do something for a more global audience.

The site’s visual identity stems in part from its close relationship with Native Grid, a publishing platform that was initially built for the sites within the Look at Media network, and which currently powers Hopes&Fears. Native Grid has also since begun to sell its tools to outside clients: A.J. Daulerio’s relaunched Ratter.com, for instance, runs on the platform.

“We had this amazing opportunity to use this very high-end technology behind our stories to make them look the way they do. That technology has really enabled us to do what we do now,” Esmanov said.

All Hopes&Fears stories are fully illustrated, painstakingly laid out, and rely on only original artwork and photography, whether created in-house or commissioned.

At the moment, Hopes&Fears publishes three to four stories a day, but it’s aiming to hit seven or more stories daily. Given the heavy production load for each story (and the fact that many stories are closer to 2,000 words long), that publication schedule is quite a feat for the small staff — the masthead lists 14 people. Most stories are written by freelancers.

Esmanov pointed me to one story exploring the making and makeup of various jihadi lifestyle magazines, which features excerpts of full-page spreads from the magazines. Another story, on how new words enter into American Sign Language, includes original videos of people demonstrating signs.

Galperina highlighted another story in which the Hopes&Fears team biked down 13 miles down the length of Broadway in New York with a typography expert, and then created small profiles for 26 different typefaces found along the route, detailing the histories and significance of each.

The emphasis on highlighting lesser-known wonders of the world reminds me a little of the travel and discovery site Atlas Obscura (headed up by former Slate editor David Plotz). That site still attracts a large percentage of readers (more than 50 percent) in the coveted 18- to 34-year-old demographic, without any of the overt millennial targeting that sites like Mic, Vocativ, or Ozy go for.

Hopes&Fears is also striking a chord with readers in that age group: its core audience is between the ages of 25 and 35, and is 60 percent male and 40 percent female, according to Esmanov. Current monthly average traffic is now around 450,000 unique visitors and growing, with the bulk of the visitors coming from cities like New York, Los Angeles, Chicago, and Austin. The average reader spends around three and a half minutes on the site — “people do read the long stuff.”

“I don’t like to gender our audience, and I never think of our content for any particular person with particular tastes,” Galperina said. “For me, what’s most important is depth. We’re pretty confident about the relationship we’ve formed with our freelancers, and readers’ response to our stories.”

As it grows, Hopes&Fears will need to expand its network of freelancers. Galperina and Esmanov also talk about forming small teams in other cities, to dig even more into issues beyond New York. So far, the site has avoided writing about broadly covered news topics like the 2016 campaign, but it will include a little more news coverage moving forward. The team is still tinkering with the best editorial strategy for that type of coverage.

“Vasily brought us a neon sign that’s hanging in our office right now that says, ‘No Bullshit,'” Galperina said. “And that’s what we try for.”" ]

]]></description>
<dc:subject>via:tealtan magazines hopes&amp;fears 2015 urban urbanism subcultures marinagalperina vasilyesmanov nativegrid travel</dc:subject>
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</item>
<item rdf:about="https://atavistinsider.atavist.com/goodbye-native-mobile-apps">
    <title>Goodbye, Native Mobile Apps</title>
    <dc:date>2015-09-26T02:20:52+00:00</dc:date>
    <link>https://atavistinsider.atavist.com/goodbye-native-mobile-apps</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Why Atavist is betting on the web"

…

"Now, after nearly five years and 51 stories in The Atavist Magazine—plus tens of thousands of publishers and individuals producing  their own stories on the Atavist platform—we’re discontinuing our native mobile apps."

…

"Ultimately, whatever small slice of attention we were gaining by having our app on some people’s home screens was outweighed by the technical, business, and design considerations that had piled up against it."

…

"Meanwhile, we’ve been able to find our readers on their devices— exactly how we’d hoped to when we started out, except in mobile browsers instead of in our app."]]></description>
<dc:subject>webapps mobile design web webdev apps evanratliff jeffersonrabb theatavist publishing epublishing html5 javascript magazines howweread nativeweb webdesign</dc:subject>
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</item>
<item rdf:about="http://www.cicadamag.com/">
    <title>Cicada Magazine - www.CicadaMag.com - Inspiring a Passion for Reading and Creative Expression in Teens and Young Adults</title>
    <dc:date>2015-09-06T04:17:31+00:00</dc:date>
    <link>http://www.cicadamag.com/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["YA literary mag, publishing really cool art and writing by teens and non-teens"

https://twitter.com/CicadaMagazine]]></description>
<dc:subject>magazines youngadult ya publishing srg</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:6f85a2002ced/</dc:identifier>
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</item>
<item rdf:about="http://www.theatlantic.com/international/archive/2015/04/the-atlantic-unbound/391116/">
    <title>The Atlantic Redesigns TheAtlantic.com - The Atlantic</title>
    <dc:date>2015-04-22T04:02:54+00:00</dc:date>
    <link>http://www.theatlantic.com/international/archive/2015/04/the-atlantic-unbound/391116/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["We've redesigned TheAtlantic.com. What do you think?

From the beginning of the project, we've had the fundamental question in mind of what this site is—which is to say, both what it's become (as regular readers know, a lot's changed here over time) and what we want it to be. Is it the website of a magazine? Is it a news site? Is it, as James Franco possibly once suggested, a blog?

The answers, we recognized, are all in one way or another yes. But we figured we'd try a thought experiment: What if we described TheAtlantic.com as a direct, dynamic, digital extension of our core identity in journalism—as a real-time magazine?

That seemed to us both authentic and aspirational: an idea that captured what The Atlantic has been doing in new media for years and a framework that could bring the right focus to rebuilding TheAtlantic.com now.

So here's what we did:

We created a site that makes a new priority of visual presentation, that offers a cleaner reading experience across digital devices, and that gives us the flexibility we need, both in our articles and on our homepage, to join the speed and urgency of the web with the noise-cutting and impact that have always been central to The Atlantic's ambitions.

The new homepage is composed of full-width modules each representing either one big story or a constellation of connected stories. We can move these modules up or down the page, allowing us, among other freedoms, alternately to lead with the urgency of our news coverage or the impact of a big feature, according to the needs of the moment.

It also allows us to give full play to the same urgency and impact beyond the top of the page. As you return to the site, you'll find different homepage modules in different orders with different kinds of stories in different combinations. What you won't find, we hope, is the impression of diminishing importance as you scroll down.

Neither should you find yourself disoriented. So rather than placing stories arbitrarily adjacent to one another, we're using each of these modules to display a single story or a group of stories that are in some way related. This approach is inspired by the emergent logics of scrolling and swiping in mobile media: The vertical axis of the homepage represents a logic of exploration (scrolling); the horizontal axis, a logic of connection (swiping). A good magazine should, after all, help us keep our bearings.

Our new article pages are likewise more visually engaging and flexible. We're using larger images, and better image integration, with a fuller range of options for bigger feature stories, as well as more controlled templates for quicker hits, which we'll sometimes need as The Atlantic moves fast in trying to make sense of a rapidly changing world.

We've thought about the logics of exploration and connection on the article pages too: Next to our stories (horizontally), you'll find links to related articles; below the stories (vertically), you'll find links to normally unrelated articles, or for that matter photo essays or videos, currently popular on the site.

Maybe most conspicuously, across TheAtlantic.com, we've replaced our old nameplate and navigation bar with a simple new flag bearing our logo, options to subscribe or search the site, and an expandable menu. This treatment is influenced by the way the logo is set on our monthly covers; the minimalistic integration of the subscription, search, and navigation functions is based both on extensive user testing and our guiding dedication to keeping signals high, and noise low, around our brand and our work.

Oh, and the typefaces are new. Hawk-eyed readers will recognize the display and text fonts, both Lyon, as the same ones we use in print."]]></description>
<dc:subject>theatlantic digital 2015 publications magazines news jounalism webdev design presentation flexibility typography fonts urgency impact reading howweread blogs jjgould webdesign</dc:subject>
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</item>
<item rdf:about="http://www.hackcircus.com/">
    <title>Hack Circus</title>
    <dc:date>2015-03-26T08:38:37+00:00</dc:date>
    <link>http://www.hackcircus.com/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Hack Circus is about fantasy technology and everyday magic

Invention doesn’t have to be useful. Hack Circus is an artistic collective dedicated to celebrating the entertaining and engaging side of inventive thought, whether that manifests physically with wires and batteries, or conceptually in artistic or philosophical ways – as long as it makes us smile.

There's a lot of great virtual stuff out there, but we make things that can be enjoyed in the physical world; strange, unsettling things that shouldn't work in our commercial society – including a quarterly magazine and a live show, but also interactive art objects, prints, experiences, workshops and media.

So far, Hack Circus has addressed questions like:

• How do you know you’re not just a brain in a jar?
• What do particle physicists know about ghosts?
• How do you communicate with the distant future?
• How do you write about time travel so it makes sense?
• Why do some people think the Universe is a hologram?

You can read about the quarterly Hack Circus events here and on the blog and watch videos of them on our YouTube channel. Each issue is launched at an event, and each Hack Circus is themed. The first event and magazine were all about TIME and the second were about REALITY. At the September 2014 event, a large team of us collaborated on an immersive experience, and we sent 50 people into space. 

Sign up to our newsletter for brief monthly updates, new issue previews etc. Check out our Purpose page to find out why we do all this. Our feet are in the real world, but our head's in the clouds.

The magazine and events are launched in December, March, June and September and locations change each time. It's a travelling circus.

Hack Circus doesn’t take itself too seriously. We value entertainment, invention and imagination. We believe some things are inherently interesting – and those are the things we’ll feature.

There is also an occasional podcast with its own subjects and guests. The theme tune is by Joseph Thorpe from Sheffield. Check out Joe's band or email him.

Hack Circus is designed and produced in Yorkshire and you can buy it in some shops here. It’s printed by Pressision in Leeds and designed by Matthew Keen and James Rogers in Sheffield, with additional illustrations from Matt Harrison Clough.

The Ringmaster is Leila Johnston: journalist, maker, and creator of numerous art/entertainment/tech mash-ups.

Hack Circus is a registered Trademark (2014)."

[via: https://twitter.com/revdancatt/status/580028847891992577 ]]]></description>
<dc:subject>magazines hackcircus science education art magic technology everyday</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
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<item rdf:about="http://chimurengachronic.co.za/">
    <title>The Chimurenga Chronic | now-now, a pan African gazette - in print quarterly and online</title>
    <dc:date>2015-03-25T23:07:42+00:00</dc:date>
    <link>http://chimurengachronic.co.za/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[via: “What If Maps Were Made By Africans For Their Own Use? | Chimurenga’s New Issue is a Must Read”

http://brittlepaper.com/2015/03/maps-africans-chimurenga/ 

"CNN calls Chimurenga Chronic “Africa’s answer to the New Yorker.”

But the truth is the New Yorker has nothing on the Cape Town-based magazine. Chimurenga Chronic is edgy and experimental in a way that the New Yorker could never be.

The reason for this is simple. When you set out to capture the complexities of Africa’s contemporary moment, you have no choice but to be boundary-pushing.

The pan-African spirit of the magazine is channeled through some of the most beautifully provocative writings on African art, culture, and politics.

Every issue of Chimurenga Chronic is curated to retool the language and images we use when we think about Africa. But the latest issue on maps and cartography is particularly so.

It begins with a question: “what if maps were made by Africans for their own use, to understand and make visible their own realities or imaginaries?”

You dont’ have to know too much about the history of imperialism to know how heated and controversial the issue of maps, especially as it relates to the African continent, has been. Maps are not bad in themselves. They let us abstract space so that we can better imagine it. Maps are like mirrors that reflect to us the spaces we inhabit. That’s why whoever maps out a space has control over how space is perceived and how this perception enables us to make the world we live in.

What Chimurenga does is try to figure out what Africa looks like when it is mapped by Africans for Africans and not by powerful imperial powers for their own interests."]]]></description>
<dc:subject>africa maps mapping cartography magazines chimurengachronic</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
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<item rdf:about="http://www.scottcarney.com/2015/01/feature-story-market-cap-writer-wants-think/">
    <title>How much are words worth? - scottcarney.com</title>
    <dc:date>2015-01-09T22:36:28+00:00</dc:date>
    <link>http://www.scottcarney.com/2015/01/feature-story-market-cap-writer-wants-think/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["After ten minutes listing the average number of features in each magazine multiplied by the number of issues annually we had a number: 800. On average these stories would run at about 3000 words and pay $1.50 per word.  It was only a ball-park estimate of the overall freelance writing market cap. But it was also a rather depressing one.  Let me put this in bold so it stands out on the page.

 

The total market for long form journalism in major magazines in America is approximately $3.6 million.  To put it another way: the collective body of writers earned less than Butch Jones, a relatively unknown college football coach, earned in a single year. 
 

$3.6 million. That’s it. And the math gets even more depressing. If we assume that writers should earn the average middle class salary of $50,000 a year, then there’s only enough money in that pot to keep 72 writers fully employed.  And, of course, those writers would have to pen approximately 11 well thought out and investigated features per year–something that both my friend and I knew was almost impossible.


Now, it could be that our estimate was a little low. But even if you double it–a number that is almost certainly far and above the size of the actual feature market, then we are collectively still barely scraping above $7 million paid out by magazines in word rates every year. According to Small Business Chronicle, the overall magazine publishing industry generates a total revenue of $35-40 billion a year. While that number includes lots of publications that are not in our sample, it does give at least some sense OF how small a slice of the pie writers actually earn.

 

Another way to figure out what the total publishing industry is worth is to check out the advertising rates that mainstream magazines publish on their websites. Take Wired, for example – not to pick on them, but because they are a representative of the some of the best journalism that exists in the country today. According to its media kit, a single page of advertising sells for $141,680. (And that’s not even the top of the market. A full page ad in GQ sells for more than $180,000). Multiply that by the number of full page ads in a single issue of Wired (about 30) and you get about $4.6 million in gross revenues per issue of the magazine.

 

Think about that for a second.  A single issue of one major American magazine generates more gross revenue than what the entire magazine industry pays out in word rates over an entire year. If you figure that Wired spends about $30,000 on words in any given issue then a little more back of the envelope math says that words account for only 0.6% of the magazine’s revenue.

 

As a writer, this state of affairs horrifies me. I feel strongly that writers contribute more than just 0.6% of value to the overall magazine industry. Yes, magazines have a host of expenses–printing, distributing, editing, fact checking, office overhead and marketing all have a cost. But there is also something deeply sick in how little writers’ work is actually valued by the industry."]]></description>
<dc:subject>journalism writing pay compensation media magazines longform 2014 scottcarney publishing 2015</dc:subject>
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<item rdf:about="https://worksthatwork.com/">
    <title>Works That Work — Magazine of Unexpected Creativity</title>
    <dc:date>2015-01-09T08:31:45+00:00</dc:date>
    <link>https://worksthatwork.com/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Works That Work Works That Work is an international magazine for the curious mind, intending to surprise its readers with a rich mix of diverse subjects connected by the theme of unexpected creativity that improved our lives. We publish original, in-depth essays and stories on subjects connected with design, presenting projects that challenge and change the way you perceive them. Perhaps most importantly, we hope to publish articles that make great dinner stories to tell your friends."

…

[Distribution: https://worksthatwork.com/distribution/ 
and https://vimeo.com/59732766

"Works That Work wants to examine often ignored areas of design. In the spirit of this aim, we also intend to bypass traditional distribution networks which typically take the largest part of the cover price, as well as control where the publication will be sold and at what price. Instead we would like to deepen our relationships with our readers, and make them partners in this enterprise. We call this social distribution. Read also about our Readers’ club."]]]></description>
<dc:subject>design inspiration magazines typography everyday via:anne creativity art worksthatwork</dc:subject>
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<item rdf:about="http://vestoj.com/issues/issue-five-on-slowness/">
    <title>Issue Five: On Slowness | vestoj</title>
    <dc:date>2015-01-09T07:32:04+00:00</dc:date>
    <link>http://vestoj.com/issues/issue-five-on-slowness/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["In Slowness Milan Kundera, the Czech writer, remarks that ‘there is a secret bond between slowness and memory, between speed and forgetting’. In the fashion system this bond seems to take on a particularly poignant meaning, with the degree of velocity often appearing directly proportional to the time it takes to forget a style that just moments ago it seemed we could not live without.

The speed of change is a growing complaint about fashion, both amongst those whose livelihoods depend on it, and amongst those who observe these ceaseless shifts from afar. Grumbles about a ubiqui­tous acceleration are nothing new however; in fact, the grievance we appear to harbour against velocity is as old as modernity itself. Back then the machines that increasingly replaced the human hand aroused fear and trepidation; today our attitudes reflect much the same ambivalence towards the revolutions of time. It seems we always regard our own time as simultaneously the most progressive and the most relentlessly accelerated. The modernist project, however, firmly rooted the relationship between progress and speed, and in so doing also forever altered our notion of time. A universal temporal framework, with time zones, seasonal changes and accurate clocks, was constructed with the help of new technology, and the previous more subjective understanding of time had to make way for expedience and the hustle of modern life. With a more synchronised understanding of time, the future also became easier to grasp and, by extension, to control. For a future that can be measured in terms of the knowable present, is a malle­able future, a future that can be shaped according to our will.

With the advent of modernity, past, present and future came to be understood as a linear evolution, and the ‘temporal architecture’ that philosopher Krzysztof Pomian refers to in L’Ordre du Temps turned into an implicit and integral part of the experience of being modern. Sharing the same chronology is tantamount to sharing a similar basic understanding of the world, but we must not forget that time is a social construct. The sociologist Norbert Elias and the philosopher Michel Foucault have both argued that the modern ‘discipli­nary society’ attains its power by the establishment and inter­nalisation of set structures of time, and chrono­politics are consequently a potent tool for domination. In other words, those who arrive first, win.

In terms of fashion, the depre­ciation of the past in favour of the present is what keeps the wheels of the system turning. Fashion aims to always be ‘of the moment’, but to do so it has to disown its own past. The seasonal changes in fashion that we today are so familiar with, are an old fabrication. As early as the seven­teenth century, Paris fashion was organised according to the seasons in order to further French trade and economy. A more regimented system came into being in the early twentieth century when haute couture shows in Paris became organised into biannual fashion weeks, signalling for creators as well as consumers of fashion that the old had to make way for the new.

Fashion scholar Aurélie Van de Peer has written about ‘the temporal anchorage of fashion’ and points out the relationship between the termi­nology of time and the degree of fashionability of a garment. The aesthetic judgments we make on ‘out-of-date’ fashion tend to be strong, and terms like ‘passé’ and ‘old-fashioned’ are often used as potent tools for ridicule and scorn, symbolising as they do, a past that is no longer relevant. Similarly, idioms like ‘modern’ and ‘of the moment’ are employed to evoke the present, the moment that in fashion terms is the most desirable. We know of course that, as Elizabeth Wilson writes in Adorned in Dreams, ‘the “now” of fashion is nostalgia in the making’ – perhaps this is why a disingenuous term like ‘timeless’ has such cachet in fashion circles. But no matter how much we try and convince ourselves that eternal style is possible, in fashion the past is forever haunting the present. Fashion depends on perpetual movement – onwards, forwards – and in so doing, it must renounce its own history. In the vernacular of fashion, the most stinging insult that can be levelled at anyone is belonging to a past no longer relevant; derisively aiming this judgment at a rival is a way of establishing your own superiority. To be passé signals the demise of a fashion professional.

The politics of time are a sign­ificant device for separation; it creates a purposeful schism between those who dominate and those who are dominated, between us and the Other. As the sociologist Hartmut Rosa has pointed out, the ones who lead are, as a general rule, those who under­stand speed. In fashion, as in everyday life, temporal strategies like keeping someone waiting, changing the rhythm or jumping the gun are often cause for strife, as anyone who has ever waited for a show to begin, had their idea copied and produced faster by a competitor or been compelled to endure an interminable presentation by an important patron can attest.

The philosopher Paul Virilio talks of a ‘rushing standstill’, which seems to describe contemporary culture well. The cult of speed can sometimes feel overwhelming, but in the cracks of the system, a slower, more reflective pace is gaining traction. Whereas Virilio’s phrase appears aimed at a heedless velocity that despite its speed will forever return you to your starting point, slowness by contrast allows you to advance at a pace that encourages contemplation and observation. To be slow is far from remaining static; instead, slowness is a temporal notion that prioritises the journey over the destination. In this world of instant gratification we sometimes forget that speed is not a virtue in itself, nor is it to be confused with success or efficiency or happiness or accomplishment.

So, allow yourself to be idle, to dwell a moment, to delay and iterate. Use your hands to make something a machine could make much faster. Look for the beauty in the impermanent, the imperfect and the incomplete. Take your time. Because, as the writer Rebecca Solnit once so succinctly put it, ‘Time always wins; our victories are only delays; but delays are sweet, and a delay can last a whole lifetime’."]]></description>
<dc:subject>slow slowness magazines vestoj fashion rebeccasolnit milankundera krzysztofpomian norbertelias michelfoucault aurélievandepeer elizabethwilson hartmutrosa paulvirilio idleness time speed process foucault</dc:subject>
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<item rdf:about="https://archive.org/details/omni-magazine">
    <title>OMNI Magazine Collection : Free Texts : Download &amp; Streaming : Internet Archive</title>
    <dc:date>2015-01-01T18:07:11+00:00</dc:date>
    <link>https://archive.org/details/omni-magazine</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>omni omnimagazine scifi magazines sciencefiction science history archives</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:c4464a885982/</dc:identifier>
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<item rdf:about="http://www.memoriachilena.cl/602/w3-channel.html">
    <title>#10añosMCH - Memoria Chilena, Biblioteca Nacional de Chile</title>
    <dc:date>2014-08-15T17:42:05+00:00</dc:date>
    <link>http://www.memoriachilena.cl/602/w3-channel.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[By format: http://www.memoriachilena.cl/602/w3-propertyname-567.html
revistas: http://www.memoriachilena.cl/602/w3-propertyvalue-147129.html 
fotografía: http://www.memoriachilena.cl/602/w3-propertyvalue-147096.html
mapas: http://www.memoriachilena.cl/602/w3-propertyvalue-147100.html ]

[By Date: http://www.memoriachilena.cl/602/w3-propertyname-559.html ]

[By place: http://www.memoriachilena.cl/602/w3-propertyname-520.html ]

[By theme: http://www.memoriachilena.cl/602/w3-propertyname-557.html ]

[Special categories: http://www.memoriachilena.cl/602/w3-propertyname-553.html ]

[via: http://monoskop.org/Magazines ]]]></description>
<dc:subject>archives chile libraries documents magazines photography</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:bb9d45a2b949/</dc:identifier>
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</item>
<item rdf:about="http://craigmod.com/journal/subcompact_publishing/">
    <title>Subcompact Publishing — by Craig Mod</title>
    <dc:date>2014-04-24T17:38:10+00:00</dc:date>
    <link>http://craigmod.com/journal/subcompact_publishing/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["A Subcompact Manifesto

Subcompact Publishing tools are first and foremost straightforward.

They require few to no instructions.

They are easily understood on first blush.

The editorial and design decisions around them react to digital as a distribution and consumption space.

They are the result of dumping our publishing related technology on a table and asking ourselves — what are the core tools we can build with all this stuff?

They are, as it were, little N360s.

I propose Subcompact Publishing tools and editorial ethos begin (but not end) with the following qualities:

• Small issue sizes (3-7 articles / issue)
• Small file sizes
• Digital-aware subscription prices
• Fluid publishing schedule
• Scroll (don’t paginate)
• Clear navigation
• HTML(ish) based
• Touching the open web

Many of these qualities play off one another. Let’s look at them in detail.

Small issue sizes
I’ve written quite a bit about creating a sense of ‘edge’ in digital space. One of the easiest and most intuitive ways to do so is to limit the amount of data you present to the user.12

It’s much more difficult for someone to intuit the breadth of a digital magazine containing twenty articles than a digital magazine containing, for example, five. By keeping article number low this also helps decrease file size and simplify navigation.

Small file size
Speed is grossly undervalued in much of today’s software — digital magazines inclusive. Speed (and with it a fluid and joyful user experience) should be the thing you absolutely optimize for once you have a minimum viable product.

One way to bake speed into a publishing product is to keep issue file sizes as small as possible. This happens naturally when you limit the number of articles per issue.

Reasonable subscription prices
Ideally, digital subscription prices should reflect the cost of doing business as a digitally indigenous product, not the cost of protecting print subscriptions. This is yet another advantage digital-first publications have — unlike print publications transitioning to digital, there is no legacy infrastructure to subsidize during this transition.

Fluid publishing schedule
With smaller issue sizes comes more fluid publishing schedules. Again, to create a strong sense of edge and understanding, the goal isn’t to publish ten articles a day, but rather to publish just a few high-quality articles with a predictable looseness. Depending on the type of content you’re publishing, days can feel too granular, and months require the payload to be too large. Weeks feel just about right in digital.

Scroll (for now)
When I originally presented these ideas at the Books in Browsers conference in 2012, the dismissal of pagination was by far the most contentious point. I don’t mean to imply all pagination is bad. Remember — we’re outlining the very core of Subcompact Publishing. Anything extraneous or overly complex should be excised.

I’ve spent the last two and half years deconstructing scrolling and pagination on tablets and smartphones. If your content is formless, then you might be able to paginate with minimal effort. Although, probably not.

Certain kinds of pagination increase the complexity of an application by orders of magnitude. The engineering efforts required to produce beautiful, simple, indigenous, consistent — and fast — pagination are simply too high to belong in the subcompact space.

Furthermore, when you remove pagination, you vastly simplify navigation and thereby simplify users’ mental models around content.

No pagination is vastly superior to pagination done poorly.

Clear navigation
Navigation should be consistent and effortless. Subcompact Publishing applications don’t require complex how-to pages or tutorials. You shouldn’t have to hire a famous actor to show readers how to use the app with his nose. Much like a printed magazine or book, the interaction should be intuitive, effortless, and grounding. The user should never feel lost.

By limiting the number of articles per issue, and by removing pagination, many of the routes leading to complex navigation are also removed.

HTML(ish) based
When I say HTML I also mean EPUB or MOBI or any other format with an HTML pedigree. HTML has indisputably emerged as the future format for all text (and perhaps also interactive) content. By constraining Subcompact Publishing systems to HTML we bake portability and future-proofness into the platforms. We also minimize engineering efforts because most all computing devices come with high-quality HTML rendering engines built in.

Open web
Simply: whatever content is published on a tablet should have a corresponding, touchable home on the open web.

Content without a public address is non-existent in the eyes of all the inter-operable sharing mechanisms that together bind the web."]]></description>
<dc:subject>publishing epublishing magazines themagazine writing digital design 2012 digitalpublishing html html5 matter joshuabenton touch mobilephone ios iphone ipad skeuomorphs openweb scrolling pagination navigation tablets claytonchristensen davidskok jamesallsworth marcoarment craigmod</dc:subject>
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</item>
<item rdf:about="http://www.eastofborneo.org/">
    <title>East of Borneo</title>
    <dc:date>2014-02-27T06:29:47+00:00</dc:date>
    <link>http://www.eastofborneo.org/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["East of Borneo is an online magazine of contemporary art, and its history, as considered from Los Angeles. 

It marks the convergence of two distinct lines of thought: What is the nature, and the future, of art magazines? And how might we give form to the many histories of art in Los Angeles, one that is generative and productive rather than merely descriptive?

We publish original essays, artist profiles and interviews alongside a growing "collaborative archive" of videos, images and historical texts added by our editors and readers, highlighting unexpected connections and encouraging new lines of thought. The introduction of East of Borneo Books and our debut title, Piecing Together Los Angeles: An Esther McCoy Reader, sees the extension of our mission into print. In the coming years, the imprint and magazine will continue to draw new attention to the best writing on the visual culture of Los Angeles."

[See also: http://curatingla.com/2014/02/26/unforgetting-la-3-build-a-better-online-history-of-art-in-southern-california/ ]

[See also:  http://blogs.walkerart.org/design/2014/08/05/icas-excursus-interview-with-the-alex-klein-and-mark-owens/
and http://excursus.icaphila.org/ ]]]></description>
<dc:subject>art culture losangeles via:jonhall magazines publishing artbooks artistsbooks</dc:subject>
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</item>
<item rdf:about="http://www.dezeen.com/2013/07/19/alec-dudson-interview-intern-magazine/">
    <title>Young people can't work for free says Intern magazine's Alec Dudson</title>
    <dc:date>2013-07-22T16:45:32+00:00</dc:date>
    <link>http://www.dezeen.com/2013/07/19/alec-dudson-interview-intern-magazine/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Intern magazine aims to showcase work from talented creatives currently interning in the creative industry, and raise debate on the culture of internships. Manchester-based Dudson told Dezeen: "Our intention is to empower interns through the publication.""

Kickstarter: http://www.kickstarter.com/projects/819444313/intern-magazine ]]]></description>
<dc:subject>interns internships creativity design kickstarter magazines</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:81d91001e419/</dc:identifier>
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</item>
<item rdf:about="http://www.flickr.com/photos/helsinkidesignlab/sets/72157634016919446/">
    <title>SDO 1968 - a set on Flickr</title>
    <dc:date>2013-06-11T08:46:54+00:00</dc:date>
    <link>http://www.flickr.com/photos/helsinkidesignlab/sets/72157634016919446/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["A magazine published around the time of HDL 1968."]]></description>
<dc:subject>designstrategy design buckminsterfuller 1968 helsinkidesignlab scandinavia scandinaviandesingstudentsorganization magazines victorpapanek</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:f791f15789f5/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:1968"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:helsinkidesignlab"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:scandinavia"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:magazines"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:victorpapanek"/>
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</item>
<item rdf:about="http://www.conceptlab.com/criticalmaking/">
    <title>Critical Making - Hertz</title>
    <dc:date>2013-03-28T20:58:42+00:00</dc:date>
    <link>http://www.conceptlab.com/criticalmaking/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Critical Making is a handmade book project by Garnet Hertz that explores how hands-on productive work ‐ making ‐ can supplement and extend critical reflection on technology and society. It works to blend and extend the fields of design, contemporary art, DIY/craft and technological development. It also can be thought of as an appeal to the electronic DIY maker movement to be critically engaged with culture, history and society: after learning to use a 3D printer, making an LED blink or using an Arduino, then what?

The publication has 70 contributors ‐ primarily from contemporary art and academia ‐ and its 352 pages are bound in ten pocket-sized zine-like volumes. The project takes the topic of DIY culture literally by printing an edition of 300 copies on a hacked photocopier with booklets that were manually folded, stapled and cut. Academic publishing is at a point in history where it deserves to be questioned, and this project proposes that a small-scale run on a photocopier by one person can have more impact than an academic monograph from a major university press.

The 300 finished copies were primarily given away for free to project contributors, individuals and institutions important to them. Some of the handmade copies were traded for reviews, photographs, videos, lectures and were given to library archives. As of February 2013, approximately twenty hardcopies exist, and the project is exploring wider distribution formats that challenge the medium of academic publishing."

[See also: http://we-make-money-not-art.com/archives/2013/01/critical-making.php
http://theengineinstitute.org/critical-making-a-crowdsource-zine
http://www.viddler.com/v/d2de65a2?secret=103681001 ]]]></description>
<dc:subject>art books criticism magazines criticalmaking making garnethertz via:ablerism diyculture glvo openstudioproject academia arduino learning technology society makerculture</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:ab7e29bd3e9e/</dc:identifier>
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</item>
<item rdf:about="http://www.veneermagazine.com/">
    <title>(Ve)</title>
    <dc:date>2013-02-22T19:49:24+00:00</dc:date>
    <link>http://www.veneermagazine.com/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[Veneer Magazine]]></description>
<dc:subject>magazines art glvo publishing</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:c1eeeee4c0d6/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:art"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:glvo"/>
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</item>
<item rdf:about="http://electricliterature.com/">
    <title>Electric Literature</title>
    <dc:date>2013-02-09T00:05:45+00:00</dc:date>
    <link>http://electricliterature.com/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["MISSION
Electric Literature’s mission is to guide writers and readers through a rapidly evolving publishing landscape. By embracing new technologies and mixed media, collaborating with other publishers, and engaging the literary community online and in-person, Electric Literature aims to support writers while broadening the audience of literary fiction, and ensure that literature remains a vibrant presence in popular culture.

HISTORY
Founded by Andy Hunter and Scott Lindenbaum as a quarterly journal in 2009, Electric Literature launched the first fiction magazine on the iPhone and iPad, and was described by the Washington Post as a “refreshingly bold act of optimism.” The eponymous quarterly anthology paid new and emerging writers and published their work to every viable format, including paper, and was the first to use twitter as a serious literary medium by tweeting an entire short story (Rick Moody’s “Some Contemporary Characters,” Electric Literature no. 3)."]]></description>
<dc:subject>fiction literature magazines journals toread ebooks reading technology andyhunter scottlindebaum iphone ios ipad</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:50a84925eb27/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:magazines"/>
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</item>
<item rdf:about="http://www.gq.com/food-travel/restaurants-and-bars/201107/ferran-adria-exit-interview-el-bulli">
    <title>Exit Interview with El Bulli's Ferran Adria: Restaurants + Bars: GQ</title>
    <dc:date>2012-11-27T11:58:06+00:00</dc:date>
    <link>http://www.gq.com/food-travel/restaurants-and-bars/201107/ferran-adria-exit-interview-el-bulli</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["My parents have always allowed me to explore and express myself. I never fought much with my parents. We had a great relationship. They gave me space to be myself. Being given space by my parents was really important for my creativity to develop, and it allowed us to have a great relationship."

"good friends, when they see something wrong, they let you know"

"It's hard for me to find the time to read a book. I'm more of a magazine person, mostly monthly magazines. I read magazines like they were books."

""I don't have a favorite cooking tool. In the kitchen, I always have my pencil and notebook in my hand. I cook more theoretically than I do practically. My job is creative, and in the kitchen, the biggest part of my creativity is theoretical.

The pencil has a symbolic meaning for me. The type of person who carries a pencil around is the type of person who's open to change. Someone who walks around with a pen isn't; he's the opposite. I always have a pencil with me, to the point where it forms a part of me. I write a lot during the day.""

"Airport waiting rooms are a place where I can be relaxed. I like spaces, spaces where I can be calm and think. I like airplanes, too, for the tranquility. If I'm on the beach, I'll read a book. I also love the movies. Sometimes I go see three movies in a row. It's one of those places where nobody bothers you."

"I'm not a materialist, I don't care for things… I live a simple life. The only luxuries I have in my life are travel and food."]]></description>
<dc:subject>elbulli restaurants practice theory airports adaptability change via:litherland chefs cooking howwework magazines reading friendship simplicity cv parenting creativity tools pencils materialism interviews 2011 ferranadrià</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:dc0538d4b267/</dc:identifier>
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</item>
<item rdf:about="http://snarkmarket.com/2012/7997">
    <title>A whole magazine of this, please « Snarkmarket</title>
    <dc:date>2012-09-20T07:21:37+00:00</dc:date>
    <link>http://snarkmarket.com/2012/7997</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Seriously, imagine this magazine. (And when I say “magazine” I obviously mean “website.”) It would be so different from anything that’s out there today. It wouldn’t be people trying to convince you of things. (This is the usual mode of, say, The New York Review of Books—although props to them for publishing Nagel on Plantinga.) Nor would it be people ironically infiltrating different belief systems. (This is the mode of a lot of narrative journalism today, and it’s super entertaining! You know: “I spent six weeks hanging out with these crazy people and here’s what I saw.”) It would be… brains at work. Call it The Grappler. An engine of empathy. I don’t know. It would probably have a readership of 300 people but maybe that’s okay."

[Alexis Madrigal comment: "All hail that which does not scale! All hail that which does not scale!"]]]></description>
<dc:subject>saulwurman intimacy small scale externalization debate belief thomasnagel longnow alanjacobs ianbogost www.www wwwconference intellectualexcercises understanding writing ideas magazines comments snarkmarket 2012 thegrappler perspective empathy robinsloan</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:2d38249b705a/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:comments"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:snarkmarket"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:2012"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:thegrappler"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:perspective"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:empathy"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:robinsloan"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://savory.io/">
    <title>Savory | The new platform for digital publishing</title>
    <dc:date>2012-09-10T16:57:43+00:00</dc:date>
    <link>http://savory.io/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["NOW writers, editors, and publishers have a new tool to design and publish narrative content on the web.

Savory™ provides app-like designs for publications, and an on-line content management system to build them.

Powered by Treesaver®, the adaptive HTML technology, Savory lays out content onto pages that fit any size screen. Desktops, laptops, tablets and phone. Any device that has a browser.

Savory is an upgrade from blog hosting services. It's made for multiple stories or chapters. And publishers can produce editions whenever they want—and add updates any time.

Sign up for for the Charter Rate, only $49 (€49) a month."]]></description>
<dc:subject>browser browsers savory newspapers magazines books html adaptivehtml web copenhagen epublishing epub3 epub design publishing html5 digitalpublishing epubs</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:ef538057dced/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:browser"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:browsers"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:savory"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:newspapers"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:magazines"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:books"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:html"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:adaptivehtml"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:web"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:copenhagen"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:epublishing"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:epub3"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:epub"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:design"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:publishing"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:html5"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:digitalpublishing"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:epubs"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://www.newyorker.com/online/blogs/culture/2012/08/the-end-of-nintendo-power-magazine.html">
    <title>The End of Nintendo Power Magazine : The New Yorker</title>
    <dc:date>2012-09-04T05:19:13+00:00</dc:date>
    <link>http://www.newyorker.com/online/blogs/culture/2012/08/the-end-of-nintendo-power-magazine.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["In hindsight, reading so extensively about video games without owning is like poring over Rolling Stone without owning a record player. But there was a practical purpose: one of Nintendo Power’s great draws were its walk-throughs: step-by-step guides to beating especially difficult sections of games. I read the walk-throughs so that I would not embarrass myself when invited to play Nintendo by friends with cooler parents, or when a babysitter snuck a Nintendo console into the house under my parents’ noses, swearing my brother and I to secrecy, in the (correct) belief that the presence of the games would make her job much easier. My parents were not pleased when my grandmother purchased a Nintendo 64 in the hopes of luring us to her house more frequently. Suddenly we spent a lot more time with her, and by the time I reached high school, my parents gave in and let me and my brother buy our first Nintendo."]]></description>
<dc:subject>reeveswiedeman youth kids boys reading 2012 nintendopower gaming games magazines nintendo</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:20678c1242c1/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:reeveswiedeman"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:nintendopower"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:gaming"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:games"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:magazines"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:nintendo"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://www.moma.org/interactives/exhibitions/2012/millenniummagazines/">
    <title>MoMA.org | Millennium Magazines</title>
    <dc:date>2012-07-19T03:30:21+00:00</dc:date>
    <link>http://www.moma.org/interactives/exhibitions/2012/millenniummagazines/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[Throughout the twentieth century, innovations in international avant-garde visual arts and design were often first expressed in the informal context of a magazine or journal. This exhibition, drawn from the holdings of The Museum of Modern Art Library, follows this practice into the twenty-first century, exploring the various ways in which contemporary artists and designers use the magazine as an experimental space.

The works on view, all published since 2000, represent a broad array of international titles—from community newspapers to image- only photography magazines to conceptual design projects. These publications illustrate a diverse range of image-making, editing, design, printing, and distribution practices. There are connections to the past lineage of artists’ magazines and the little architecture and design magazines of the twentieth century, as well as unique applications of new image-editing and printing methods. Assembled here, these contemporary magazines provide a firsthand view of the latest practices in art and design in print and represent MoMA Library’s sustained effort to document and collect this medium."]]></description>
<dc:subject>it'snicethat insituteforsocialhypocrisy infopool exhibitions hotandcold hunterandcrook hereandthere thehappyhypocrite graphic gagarin foerster fillip faund faqnp fashionfashion fabrikzeitung theexhibitionist theexcuse espous elsie elk ledictateur derdiedas dearreader daddy correspondencia copenhagenfreeuniversity conveyormagazine condiment clubdonny chimurenga charley capricious cabinet bidoun apartamento davidsenior rachaelmorrison moma art zines magazines</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:59e91200e8e0/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:infopool"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:exhibitions"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:hunterandcrook"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:hereandthere"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:thehappyhypocrite"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:graphic"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:gagarin"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:conveyormagazine"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:condiment"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:cabinet"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:bidoun"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:apartamento"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:davidsenior"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:rachaelmorrison"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:moma"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:art"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:zines"/>
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</item>
<item rdf:about="http://www.0-100editions.net/">
    <title>main page : 0-100 Editions</title>
    <dc:date>2012-07-19T02:41:51+00:00</dc:date>
    <link>http://www.0-100editions.net/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["0_100 focus on contemporary photograph. Each issue is a sort of collective vision about a theme we ask to submit for. The final result is a selection of the pictures and photographers we love more in a small format without text and comments (just a legenda for the credits - even the theme is hidden at the end). 0_100 is quarterly printed in Milan, in a strictly limited edition of 100 copies, each numbered."]]></description>
<dc:subject>art books zines magazines photography</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:e6d0f6bec924/</dc:identifier>
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</item>
<item rdf:about="http://slavin.tumblr.com/post/19454245869/psfk-and-russell-davies-on-making-a-magazine">
    <title>PSFK and Russell Davies on making a magazine: - Fresser.</title>
    <dc:date>2012-03-17T22:16:12+00:00</dc:date>
    <link>http://slavin.tumblr.com/post/19454245869/psfk-and-russell-davies-on-making-a-magazine</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["PSFK: What could we do to keep the paper interactive? For example, do we add QR codes to allow people to ‘see more’ (such as an accompanying video)?

RD: Why make it interactive? The world’s not short of interactive things. Just make it good at what it is.

PSFK: And how can me make it a social experience? What could we do to add a meta-layer above the printed page which allows likeminded readers to connect around content?

RD: As above."]]></description>
<dc:subject>reading social socialexperience cruftavoidance qrcodes paper purpose interactivity 2012 magazines russelldavies</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:142fb54a2c17/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:cruftavoidance"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:2012"/>
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</item>
<item rdf:about="http://online.wsj.com/article/SB10001424052970204542404577157290201608630.html?mod=WSJ_Magazine_LEFTSecondStories">
    <title>Made Better in Japan - WSJ.com</title>
    <dc:date>2012-02-20T06:54:10+00:00</dc:date>
    <link>http://online.wsj.com/article/SB10001424052970204542404577157290201608630.html?mod=WSJ_Magazine_LEFTSecondStories</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["For decades, Japan simply imported the wares of foreign cultures, but recession has led to invention. The country has begun creating the finest American denim, French cuisine and Italian espresso in the world. Now is the time to visit."

"During the robust economy of the '80s, Japan's exports ruled, and the country would import the best that money could buy from the rest of the globe, including Italian chefs and French sommeliers. Which made Japan an haute bourgeoisie heaven where luxury manufacturers from the West expected skyrocketing sales forever.

But now 20-plus years of recession have killed that dream. Louis Vuitton sales are plummeting, and magnums of Dom Pérignon are no longer being uncorked at a furious pace. That doesn't mean the Japanese have turned away from the world. They've just started approaching it on their own terms, venturing abroad and returning home with increasingly more international tastes and much higher standards…"

[See also Stateside: http://www.nytimes.com/2012/02/19/magazine/adam-davidson-craft-business.html ]]]></description>
<dc:subject>daikisuzuki engineeredgarments hyperspecialization hospitality hotels apprenticeships tiny small quintessence shuzokishida restaurants kansai tokyo hitoshitsujimoto realmccoy's nylon magazines jeans craft coffee denim detail perfection food fashion lifestyle economics luxury japan scale</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:8bccc79bfac7/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:food"/>
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</item>
<item rdf:about="http://www.niemanlab.org/2012/01/david-skok-aggregation-is-deep-in-journalisms-dna/">
    <title>David Skok: Aggregation is deep in journalism’s DNA » Nieman Journalism Lab</title>
    <dc:date>2012-01-29T05:31:40+00:00</dc:date>
    <link>http://www.niemanlab.org/2012/01/david-skok-aggregation-is-deep-in-journalisms-dna/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Henry Luce’s Time started as a full-fledged aggregator almost 89 years ago.

A quick visit to the library confirmed his statements. Sure enough, all 29 pages of the black and white weekly — its signature red-border cover not yet developed — were packed with advertisements and aggregation. This wasn’t just rewrites of the week’s news; it was rip-and-read copy from the day’s major publications — The Atlantic Monthly, The Christian Science Monitor, and the New York World, to name a few."

"Because new-market disruptions initially attract those that aren’t traditional consumers of The New York Times or the Wall Street Journal, these incumbent organizations feel little pain or threat. So they stay the course on content, competing on “quality” against these new-market disruptors."

"We’ve been here before. The question is not, how aggregation is ruining journalism, but how traditional journalism will respond to the aggregation."]]></description>
<dc:subject>via:allentan nothingnewunderthesun newmedia magazines news huffingtonpost buzzfeed 1923 davidskok disruption history timemagazine 2012 florilegium curation journalism aggregation</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:a04f5d971518/</dc:identifier>
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</item>
<item rdf:about="http://www.fulltable.com/VTS/index2.htm">
    <title>Dr. Chris Mullen, The Visual Telling of Stories, illustration, design, film, narrative sequences, magazines, books, prints etc</title>
    <dc:date>2012-01-29T02:39:03+00:00</dc:date>
    <link>http://www.fulltable.com/VTS/index2.htm</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["A lyrical encyclopedia of visual proportions…Rugged design in opposition to elegance…It's bigger than you could ever think—just explore—no clues from me…big letter and no fancy-dan embroidery—on opposition to the fey…"

"This site records a range of material dedicated to the study of the Visual Narrative. The original site, intended by me for part-time students and other interested parties was closed down by the University of Brighton in 2004. I was subsequently denied access to the original images most of which, however, were in my own collection. I have developed the site on a daily basis thereafter. It remains exclusively educational and is in constant use. Many thanks to those in the UK and beyond who shared my irritation at events. Contact me on chris@fulltable.com "
]]></description>
<dc:subject>writing stories narrativesequences magazines film treasure susia philbeard rebeccamarywilson hypertext ruthrix janecouldrey clarestrand grammercypark petruccelli jackiebatey jaynewilson dickbriel chrismullen america visual visualcodes advertising comics classideas tcsnmy srg edg glossary reference books images visualization wcydwt art design illustration storytelling via:litherland narrative</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:3d5ed53c54ce/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:writing"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:magazines"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:film"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:treasure"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:susia"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:philbeard"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:ruthrix"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:clarestrand"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:grammercypark"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:visualcodes"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:advertising"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:comics"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:tcsnmy"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:reference"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:images"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:wcydwt"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:art"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:illustration"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:via:litherland"/>
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</item>
<item rdf:about="http://www.mammothschool.com/">
    <title>Mammoth School | Knee High Media Japan</title>
    <dc:date>2011-09-19T07:38:25+00:00</dc:date>
    <link>http://www.mammothschool.com/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[From Google Translate:<br />
<br />
"School and Mammoth, Mammoth's proposed concept for children continue to lead the future. Magazine, WEB, be linked to events, and explores a new STANDARD for education. These are the basic principles of a mammoth school. Learn from both parents and children, to disseminate the ideas that we will foster a rich opportunity.<br />
(1) PLAY to LEARN what there is to learn to play inside.<br />
(2) HANDS on LEARNING lead to a deeper understanding of experience to stimulate the mind and body.<br />
(3) GREEN LEARNING connection with the earth, learn how to live eco-friendly.<br />
(4) BILINGUAL CONVERSATION create an environment to learn from each other adult and children."<br />
<br />
[See also Knee High Media: http://www.khmj.com/contact ]<br />
<br />
[via: http://a-small-lab.com/projects/look-a-round ]]]></description>
<dc:subject>design children education japan tokyo magazines glvo bilingual green learning environment handsonlearning play</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:deae3eb9d363/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:design"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:children"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:education"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:japan"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:tokyo"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:magazines"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:glvo"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:bilingual"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:handsonlearning"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:play"/>
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</item>
<item rdf:about="http://cargocollective.com/coffeemakescreative/1736030/VOID">
    <title>VOID - coffeemakescreative</title>
    <dc:date>2011-07-17T03:15:32+00:00</dc:date>
    <link>http://cargocollective.com/coffeemakescreative/1736030/VOID</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["VOID is a conceptional processing magazine for the iPad. It is aimed to bring coding closer to designers, with focus on enhanced user integration and personalization with a strong visual approach.

The magazine app features sections where the reader is able to explore projects, learn about other processing artists, manipulate source code live inside the app and immediately see the changes highlighted in the code. <br />
Users can save their modified versions of a sketch, screenshots or short videos to a custom dropbox folder that is linked to the app. It is also possible to share this data via facebook, twitter and email."

[via: http://prostheticknowledge.tumblr.com/post/7703358274/void-interactive-ipad-magazine-for-processing ]]]></description>
<dc:subject>processing ipad magazines</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:213c2544ba2f/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:processing"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:ipad"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:magazines"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://www2.mcsweeneys.net/luckypeach">
    <title>McSweeney’s: Lucky Peach</title>
    <dc:date>2011-06-13T03:56:57+00:00</dc:date>
    <link>http://www2.mcsweeneys.net/luckypeach</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Lucky Peach is a new journal of food writing, published on a quarterly basis by McSweeney’s.

It is a creation of David Chang, the James Beard Award–winning chef behind the Momofuku restaurants in New York, writer Peter Meehan, and Zero Point Zero Production—producers of the Emmy Award–winning Anthony Bourdain: No Reservations.

Each issue will explore a single topic through a mélange of travelogue, essays, art, photography, interviews, rants, and, of course, recipes. The journal will be full color and perfect bound, with an eye toward exploring new recipe designs. The aim of Lucky Peach is to create a publication that appeals to diehard foodies as well as fans of good writing and art in general.

The journal will be released shortly after the launch of its sister project—an iPad app produced by Zero Point Zero that will feature more than two hours of videos, plus recipes, art, and essays."]]></description>
<dc:subject>culture food ipad cooking recipes davidchang momofuku mcsweeneys magazines quarterly</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:e02910323732/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:food"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:ipad"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:davidchang"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:momofuku"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:mcsweeneys"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:magazines"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:quarterly"/>
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</item>
<item rdf:about="http://www.fastcompany.com/1753557/sassy-20-social-media-catches-up-with-jane-pratt-at-xojanecom">
    <title>Sassy 2.0: Social Media Catches Up With Jane Pratt At xoJane.com | Fast Company</title>
    <dc:date>2011-06-01T18:56:50+00:00</dc:date>
    <link>http://www.fastcompany.com/1753557/sassy-20-social-media-catches-up-with-jane-pratt-at-xojanecom</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Jane Pratt, founding editor of Sassy, was social media before social media existed. Today she’s launching xoJane.com, her answer to Sassy for a constantly connected generation.

Sassy, the cool girl’s anti-glossy--whose winking, edgy-for-a-teen-mag coverlines (Long-Distance Romance: Sucky Or Not?; Do You Need Armpit Hair To Be a Feminist?) could easily be Twitterbait 20 years later--created the voice that informed a thousand snark-filled blogs. It put readers on a first-name basis with editors (who didn’t use surnames in their bylines), and writers crafted features and advice based on personal experience rather than the ruling of “experts” in beauty, fashion, or sex. For Pratt, the personal and the social were intuitive well before the technology was there to implement those ideas fully."]]></description>
<dc:subject>janepratt 2011 magazines sassy socialmedia xojane girls srg classideas</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:dde680ae3788/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:sassy"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:xojane"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:girls"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:srg"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:classideas"/>
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</item>
<item rdf:about="http://www.theatlantic.com/life/archive/2011/04/the-most-beautiful-magazine-you-probably-havent-heard-of/237718/">
    <title>The Most Beautiful Magazine You Probably Haven't Heard Of - Steven Heller - Life - The Atlantic</title>
    <dc:date>2011-05-01T21:10:42+00:00</dc:date>
    <link>http://www.theatlantic.com/life/archive/2011/04/the-most-beautiful-magazine-you-probably-havent-heard-of/237718/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Tod Lippy is the best magazine art director and cover designer who was never trained for the job. And he's more—editor, curator, filmmaker. What he does so well is conceive and publish, and design, his own magazine, on his own terms for his own pleasure, and under his own steam. Esopus magazine started in 2003 and is now up to issue number 16. It is a foundation-funded, advertising-free, art, literature, and culture bi-annual that employs the most ambitious special printing effects being done today—and each issue also contains a music CD, which Lippy produces.

Esopus is more than the proverbial labor of love. It stands along with Dave Eggers' McSweeney's for its driving cultural significance. But what I am most interested in are the covers."]]></description>
<dc:subject>art magazines design graphicdesign graphics literature toread todlippy onemanshows artdirection culture 2011 music sound</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:f7f13563298c/</dc:identifier>
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</item>
<item rdf:about="http://theridejournal.com/index.html">
    <title>The Ride Journal</title>
    <dc:date>2011-04-20T23:51:40+00:00</dc:date>
    <link>http://theridejournal.com/index.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The fact that you’ve made it here shows that you love bikes and are looking for something different to the other magazines and journals out there. That’s good because that’s what The Ride has been created to be.

Born, as all good things are, out of a conversation over Mexican food and Pacifico beers, The Ride is an all encompassing read. We know that most people who share our obsession with bikes don’t want to be pigeon-holed as roadies, freeriders, track racers, BMXers, XC riders or even commuters. They are just riders. So we wanted to create something for them, and also for us. Something that crosses both cycling and international borders.

The idea was to create a journal of personal stories. Bikes have changed people’s lives in so many ways and we wanted to gather a small selection of these tales. We didn’t want to give reviews or race reports, we wanted to get under the skin and expose the passion that flows through riders veins."]]></description>
<dc:subject>biking cycling magazines online illustration storytelling photography bikes</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:3dc03b8c1e8d/</dc:identifier>
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<item rdf:about="http://www.guardian.co.uk/theobserver/2006/sep/10/observermagazine">
    <title>Gaby Wood meets David Remnick, the New Yorker's big-brained editor | From the Observer | The Observer</title>
    <dc:date>2011-04-11T17:33:35+00:00</dc:date>
    <link>http://www.guardian.co.uk/theobserver/2006/sep/10/observermagazine</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["You might say that what looks at first like common sense is David Remnick’s most winning eccentricity."

[via: http://tumble77.com/post/4526059297/you-might-say-that-what-looks-at-first-like-common ]]]></description>
<dc:subject>journalism media magazines davidremnick standingout risk eccentricity risktaking cv notforeveryone commonsense 2011 boldness tcsnmy lcproject unschooling deschooling howwework thenewyorker</dc:subject>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:tcsnmy"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:unschooling"/>
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</item>
<item rdf:about="http://mrgan.tumblr.com/post/4460556800/what-its-like-to-share-an-article-from-one-of-these">
    <title>What it’s like to share an article from one of these iPad magazines - Neven Mrgan's tumbl</title>
    <dc:date>2011-04-09T20:53:40+00:00</dc:date>
    <link>http://mrgan.tumblr.com/post/4460556800/what-its-like-to-share-an-article-from-one-of-these</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Alright, let me find this bad boy. For some reason* I can’t search this app so let me simply swipe my way through every page of every issue until I see the article I mentioned. I appreciate your patience. Ok here it is. Hey also for some reason* I can’t directly email this or select it to send it to you, so let’s do this right. You ready?"]]></description>
<dc:subject>snark ipad magazines sharing twostepsback frustration reading ebooks digital analogbeatsdigital broken 2011 nevenmrgan</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:16b9c0a3823d/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:sharing"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:twostepsback"/>
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</item>
<item rdf:about="http://okido.co.uk/">
    <title>Okido</title>
    <dc:date>2011-03-14T07:52:37+00:00</dc:date>
    <link>http://okido.co.uk/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["OKIDO is an art and science magazine for children aged 2-7 years-old. OKIDO magazine is educational and fun. Stimulating science ideas through art, play and experimentation.

Messy Monster, Squirrel Boy, Yoga Monkey and Zim Zam Zoom among others fire the imagination, stir curiosity and inspire inventiveness by engaging children in lively scientific inquiry and arts activities.

The current OKIDO January 2011 is about Robots!

Past issues have included the subject of Living Things and Biodiversity, body noises, babies, heart and blood, emotions and feelings, the Moon, senses, muscles, germs, microscopic things, the brain, dreams, food, digestion, growing, day and night..."]]></description>
<dc:subject>children science education magazines art via:caterina okido tcsnmy play experimentation</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:9b128d3f1dd6/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:education"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:magazines"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:art"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:via:caterina"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:okido"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:tcsnmy"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:play"/>
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</item>
<item rdf:about="http://www.kickerstudio.com/blog/2011/02/the-behavior-of-magazines/">
    <title>Kicker Studio: The Behavior of Magazines</title>
    <dc:date>2011-02-26T22:11:10+00:00</dc:date>
    <link>http://www.kickerstudio.com/blog/2011/02/the-behavior-of-magazines/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["[with] Digital magazines … I should be able to do all those things I do with my current magazines, only better, faster, and with way more ease. … instantly tag, share/email, bookmark, rip out and organize my tear sheets … look only at the things I’ve saved, regardless of their source. … magazines are appealing because they are curated. The fact that the reader can rely on a trusted advisor (read: editor) to compile and deliver information on a given topic is a relief. They don’t have to go out and gather the sources, someone else did. Also, they like to see content presented in an orchestrated order. This method of delivery is innately satisfying. Additionally, readers appreciate that the content is not going to change from when they first sit down to read the magazine til they finally finish with it. The fact that in our rapidly-moving society something stays inert is reassuring and comfortable. People rely on magazines as an opportunity to tune out, as Bonnier calls it “Quiet mode.”]]></description>
<dc:subject>sharing publishing via:preoccupations magazines 2011 kicker bonnier functionality reading howwework attention content commonplacebooks</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:7c7e99d74898/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:2011"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:howwework"/>
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</item>
<item rdf:about="http://www.conditionsmagazine.com/">
    <title>Conditions magazine</title>
    <dc:date>2011-01-25T05:55:26+00:00</dc:date>
    <link>http://www.conditionsmagazine.com/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["CONDITIONS, is a new Scandinavian magazine focusing on the conditions of architecture and Urbanism. Presenting new perspectives, in the way of conceiving and analyzing designs, works and theory for architecture.In opposition to ignorance and superficiality this magazine is conceived in order to search for knowledge and predicaments of our continuously evolving society. It is organized in a fluctuating network of agents reflecting the present globalized state of a dynamic society, economics, politics and culture which are the motivators of architecture. Through a play of thoughts in an open ended forum, predefined “facts” will be unsecured and constantly reinvented. The forum will gather the architect, client, politician and the public, a communion of ideas creating conditions for evolution."]]></description>
<dc:subject>architecture urbanism urban media magazines design scandinavia theory society politics culture norway</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:718557ddf763/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:urbanism"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:media"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:scandinavia"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:theory"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:society"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:politics"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:norway"/>
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</item>
<item rdf:about="http://www.youtube.com/watch?v=DzRe87HgmbA">
    <title>YouTube - UMBRALES_GARVO [Gabriel Garvo]</title>
    <dc:date>2010-11-27T19:30:25+00:00</dc:date>
    <link>http://www.youtube.com/watch?v=DzRe87HgmbA</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>illustration grietagarvo gabrielgarvo chile art drawing umbrales fititui magazines zines glvo design</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:514b77052624/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:drawing"/>
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</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://www.thestylerookie.com/2010/11/its-happening.html">
    <title>style rookie: it's happening.</title>
    <dc:date>2010-11-14T06:19:18+00:00</dc:date>
    <link>http://www.thestylerookie.com/2010/11/its-happening.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["You guys may know how I feel about Sassy. You also may know that I've been babbling about how I think our generation should get one, too. Jane Pratt, founding editor and then EIC of Sassy, also became aware, and emailed me, and we've met a couple times, and it looks like we're going to start a magazine for an audience of wallflowerly teenage girls."]]></description>
<dc:subject>girls magazines sassy classideas toshare fashion</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:0d0dbb372b23/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:sassy"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:classideas"/>
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<item rdf:about="http://snarkmarket.com/2010/6394">
    <title>Blogger, Reporter, Author « Snarkmarket [One of three Snarkmarket posts on Marc Ambinder's &quot;I Am a Blogger No Longer&quot;, links to them all here: http://snarkmarket.com/2010/6396]</title>
    <dc:date>2010-11-10T15:46:31+00:00</dc:date>
    <link>http://snarkmarket.com/2010/6394</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["So far, we have lived in a world where most the bloggers who have been successful have done so by being authors — by being taken seriously as distinct voices and personalities with particular obsessions and expertise about the world. And that colors — I won’t say distorts, but I almost mean that — our perception of what blogging is.<br />
<br />
There are plenty of professional bloggers who don’t have that. (I read tech blogs every day, and couldn’t name you a single person who writes for Engadget right now.) They might conform to a different stereotype about bloggers. But that’s okay. I really did write snarky things about obscure gadgets in my basement while wearing pajama pants this morning. But I don’t act, write, think, or dress like that every day."]]></description>
<dc:subject>blogging journalism timcarmody snarkmarket blogs marcambinder authors athorship writing writers identity voice publishing newspapers magazines</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:fa9c5a5086e2/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:timcarmody"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:athorship"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:writing"/>
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</item>
<item rdf:about="http://www.wired.com/beyond_the_beyond/2010/10/flipboard/">
    <title>Flipboard | Beyond The Beyond</title>
    <dc:date>2010-11-02T03:55:05+00:00</dc:date>
    <link>http://www.wired.com/beyond_the_beyond/2010/10/flipboard/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["I wonder how long it will take Flipboard to realize that people don’t want to read content generated by their own social network. Because obviously it would make vastly more sense to read the content generated by someone else’s social network, some aspirational figure whom you aspire to become, like, say, Steve Jobs or Lady Gaga.

*Why not send me her Flipboard? Why not sell me that? By subscription. Then it’s magazines all over again. What fun! Of course, you destabilized the publishing industry totally and put everybody out of work, but what the heck, they were just hanging out mooching on Facebook and Freecycle anyway… Think of it as a giant and involuntary retraining class."]]></description>
<dc:subject>brucesterling darkeuphoria ipad flipboard magazines sociality socialnetworks aspirationalnetworks reading</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:ed47c049be23/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:flipboard"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:magazines"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:sociality"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:aspirationalnetworks"/>
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</item>
<item rdf:about="http://www.afterall.org/home/">
    <title>Afterall</title>
    <dc:date>2010-10-31T23:23:13+00:00</dc:date>
    <link>http://www.afterall.org/home/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Afterall is a research and publishing organisation based in London. Founded in 1998 by Charles Esche and Mark Lewis at Central Saint Martins College of Art and Design, University of the Arts London, Afterall focuses on contemporary art and its relation to a wider artistic, theoretical and social context."]]></description>
<dc:subject>art magazines theory conceptualart culture journals afterall books london arts context socialcontext</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:9a0c76c6484c/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:theory"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:conceptualart"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:afterall"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:london"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:arts"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:context"/>
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</item>
<item rdf:about="http://www.foxfire.org/">
    <title>The Foxfire Fund, Inc.</title>
    <dc:date>2010-10-23T23:05:39+00:00</dc:date>
    <link>http://www.foxfire.org/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Foxfire (The Foxfire Fund, Inc.) is a not-for-profit, educational and literary organization based in Rabun County, Georgia. Founded in 1966, Foxfire's learner-centered, community-based educational approach is advocated through both a regional demonstration site (The Foxfire Museum & Heritage Center) grounded in the Southern Appalachian culture that gave rise to Foxfire, and a national program of teacher training and support (the Foxfire Approach to Teaching and Learning) that promotes a sense of place and appreciation of local people, community, and culture as essential educational tools."

[See also: http://foxfire.schoolwires.com/ ]]]></description>
<dc:subject>foxfire folklore learner-centered simplicity anthropology art books gardening georgia culture diy education environment homesteading history teaching sustainability appalachia unschooling deschooling magazines learning studentdirected student-centered tcsnmy lcproject schools eliotwigginton</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:30d9d80c7c1e/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:learner-centered"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:simplicity"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:anthropology"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:art"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:books"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:gardening"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:georgia"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:culture"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:diy"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:environment"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:homesteading"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:history"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:teaching"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:sustainability"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:appalachia"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:unschooling"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:deschooling"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:magazines"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:learning"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:studentdirected"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:student-centered"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:tcsnmy"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:lcproject"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:schools"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:eliotwigginton"/>
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</item>
<item rdf:about="http://en.wikipedia.org/wiki/Foxfire_(magazine)">
    <title>Foxfire (magazine) - Wikipedia [&quot;began as a quarterly American magazine written and published by students at Rabun Gap-Nacoochee School, a secondary education institution located in the U.S. state of Georgia, since 1966&quot;]</title>
    <dc:date>2010-10-23T22:57:16+00:00</dc:date>
    <link>http://en.wikipedia.org/wiki/Foxfire_(magazine)</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Despite a series of setbacks involving founder Wigginton during the 1990's, Foxfire continues to train educators in its constructivist  methods, which supposes that students must construct meaning for themselves, rather than having to simply memorize information a teacher deems important. In essence, Foxfire and other constructivist approaches to teaching say that by constructing their own meaning, establishing relationships, and seeing the connection of what they do in the classroom to "the real world," students are better able to learn. As a result of shifting tides in the educational system, Rabun County High School no longer classifies the Foxfire class as an English class, but rather as a business class, and students are no longer as involved at the museum as they once were."]]></description>
<dc:subject>foxfire constructivism learning teaching magazines tcsnmy publishing education schools eliotwigginton unschooling deschooling</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:d7811638de21/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:tcsnmy"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:deschooling"/>
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</item>
<item rdf:about="http://www.losowsky.com/magtastic/2010/stranded-on-sale/">
    <title>Stranded takes off · Magtastic Blogsplosion</title>
    <dc:date>2010-09-18T18:59:40+00:00</dc:date>
    <link>http://www.losowsky.com/magtastic/2010/stranded-on-sale/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["A few months ago, when a volcano erupted and I was stuck in Dublin, I said this: "This is an open call to designers, writers, photographers, illustrators, art directors and anyone else who is stranded by the ash cloud, and would like something to do."

If there’s one thing my ol’ ma taught me, it’s that when life gives you volcanoes, make magazines. And so we shall.

I’m nothing if not a man of my word, thus Stranded magazine is now on sale. The concept, commissioning and editing are all me; the design is all Matt McArthur, who was stranded in New York. We’ve yet to meet or even speak on the phone, but we worked together marvellously thanks to the wonders of modern gin communication.

As for the words and images.. they’re courtesy of more than fifty fantastically talented people I’ve never met, all of whom were similarly stuck and mercifully, I presume, as bored as I was in trying not to spend any money while stuck somewhere unexpected."]]></description>
<dc:subject>magazines magcloud iceland stranded 2010 volcano</dc:subject>
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