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  </channel><item rdf:about="https://theconvivialsociety.substack.com/p/feeding-on-illusions">
    <title>Feeding on Illusions - by L. M. Sacasas</title>
    <dc:date>2026-07-08T05:46:28+00:00</dc:date>
    <link>https://theconvivialsociety.substack.com/p/feeding-on-illusions</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>lmssacasas mandybrown ursulakleguin ursulaleguin 2026 ai artificialintelligence hannaharendt generativeai humannaess human friendship community process howwewrite chatgpt calligraphy friction matthewbattles genai</dc:subject>
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<item rdf:about="https://matthewbattles.substack.com/p/a-prayer-for-limits">
    <title>A Prayer for Limits - by Matthew Battles</title>
    <dc:date>2026-07-03T07:04:10+00:00</dc:date>
    <link>https://matthewbattles.substack.com/p/a-prayer-for-limits</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["I’ve found myself stretched and challenged by Pope Leo’s encyclical, Magnifica humanitas [https://www.vatican.va/content/leo-xiv/en/encyclicals/documents/20260515-magnifica-humanitas.html ], which has helped to reset the public conversation about the perils of AI (perils that exist in the present, coarsening and riving us at every touchpoint). And beyond the horse-race punditry of so much of the media response, I’ve been grateful for nourishing commentary both appreciative and critical. Some thoughtful critics have pointed out how the encyclical blunts its effect in taking up some of the more shopworn tropes of tech criticism—in particular, the pale nostrum that tech is somehow “neutral.” For all the idolatrous evangelism of Silicon Valley, millions of users are turning to the bot not as oracle but as assistant—as a “tool,” anodyne and frictionless, with which to offload much of their mundane decision-making. Writing at the Hedgehog Review [https://hedgehogreview.com/web-features/thr/posts/should-the-lion-lie-down-with-the-electric-lamb ], Antón Barba-Kay incisively describes the serpentine infiltration of the technocratic paradigm with its framework of “habitual incentives that, once internalized, become practically imperative.”

In the same spirit, Mike Sacasas describes how the technocratic framework of utility, which poses problems of alignment and impact as mere matters of habit and skill, misses the extent to which technology is not a tool but an environment [https://theconvivialsociety.substack.com/p/your-ai-is-not-a-tool ]. Following Marshall McLuhan’s observation that tech works to “alter sense ratios or patterns of perception steadily and without any resistance,” Sacasas suggests that we might best understand AI as “a denial of service attack on the human psyche.” I find this framing resonant—and to be sure, there’s much in the encyclical that unpicks this pattern as well.

I want to say that Magnifica Humanitas does its most important work not where it seeks to apprehend technology, but where it reminds us of all that we bring to our encounter with it—and all that we risk losing to it. Again and again the encyclical steps back from a speculative and theoretical encounter with technology and its perils to express, enumerate, and celebrate the richness of being human. This homiletic thread struck me especially while listening to Matthew Sitman and Sam Adler-Bell’s recent, glorious conversation with Jack Hanson on their podcast, Know Your Enemy [https://dissentmagazine.org/online_articles/know-your-enemy-pope-leo-xiv-magnifica-humanitas/ ]. I was moved by their recital of paragraphs 119 and 120 of the encyclical, where Leo voices the beauty and grace of our limits—the very limits of knowledge and the body which technocracy seeks to abolish. I will quote from them here:

<blockquote>Our relationship with life seems to be in crisis today. Everything that appears as a “limit” — incapacity, illness, old age, suffering, vulnerability — tends to be seen primarily as a defect to be corrected, rather than as a reality through which our humanity matures and opens itself to relationship. And yet we must remember that humanity flourishes not despite limitations, but often through them….

    It is precisely within our limitations that the following find a place: compassion, as well as a sincere concern for the needs of others; a generosity that can emerge even in the midst of darkness and failure; spiritual experience and the worship of God…. Mysteriously, it is precisely in such moments that we can discover a new wisdom, tangibly experience the closeness of others and encounter the presence of the Lord.</blockquote>

I found myself wanting not merely to assent to these words, but to pray with them. It was a curious and inexorable feeling. I have not made a practice of composing and sharing prayers; but a spiritual confidante whose fellowship I trust has encouraged me to share this one. And so here is a prayer for our limits, offered not for intercession or supplication but in adoration:

It is through your love, O Lord, that we learn to love our limits, 
which give force to our compassion
and shape to the fear we feel for others in their need; 
which nurture our generosity even as we fall and fail; 
which frame and enfold our measures of adoration. 
Confronted as we shall be by rejection, 
grieving as we must at the loss of all we hold dear, 
quaking as we do in the face of our failures, 
may we gather our wits, sense your nearness, 
and come to rest in the embrace of our entanglement.

We suffer from these limits and we learn from them. 
Without them, we would cease yearning even for love. 
To love, to learn, and to desire is to wound and be wounded. 
What a gift it is to be drawn into your woundedness, 
into this adventure of failure and freedom, disappointment and dream. 
In you, we affirm the tragedy and splendor and glorious mystery 
of being your body together; with you, we choose the human."]]></description>
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    <title>Matthew Battles</title>
    <dc:date>2026-04-22T03:59:37+00:00</dc:date>
    <link>https://mbattles.micro.blog/2026/04/21/iris-murdoch-our-ability-to.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Iris Murdoch: “Our ability to act well ‘when the time comes’ depends partly, perhaps largely, upon the quality of our habitual objects of attention.”

Beyond cognitive surrender, I wonder about a kind of moral surrender in turning over to chatbots innumerable tiny, everyday moments of discernment"]]></description>
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<item rdf:about="https://matthewbattles.substack.com/p/for-want-of-a-story">
    <title>For want of a story - by Matthew Battles</title>
    <dc:date>2025-12-24T06:40:59+00:00</dc:date>
    <link>https://matthewbattles.substack.com/p/for-want-of-a-story</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["In the violence of our moment, can the pattern of trust hold?"

...

"As the recent semester drew to a close, I found myself wondering, what is the pattern of the college class? What is its compact, its qualities; what world does it come from or constitute? My friend S. and I have been discussing “pattern languages,” the concept of which comes from the work of architect Christopher Alexander, who developed this understanding of the “timeless way of building” with collaborators Sara Ishikawa, Murray Silverstein, and others at Berkeley’s Center for Environmental Structure in the 1970s. Interestingly, there isn’t a “classroom” pattern per se in their 1977 book, A Pattern Language, though such education-related patterns as NETWORK OF LEARNING and SHOPFRONT SCHOOLS are proposed there. Though they feel as though they preexist, that they are not invented but discovered, patterns are less archetypes than aspirations. Open, porous, and radically accessible, so many of them seem to assume relations of trust as a deep resource.

But what of the class itself—that “social institution – workgroup” (patterns 80–86) in which we find ourselves, twelve or twenty or ninety or two hundred students and an instructor, thrown together into this space of expectation, this envelope of institutional mandate, normative hierarchy, and hope for the future, which is the university? Increasingly, I’m aware how little of what happens here, how little of what it means or will come to mean, is determined by that envelope: by the role of higher education in society, say, or the importance of accrued expertise, or the promise of potential.

The writer Paul Elie defines pilgrimage as “a journey taken in light of a story.” To call a class a journey feels shopworn; to call it a pilgrimage, however enlivens it, I think. As pilgrims, we thirteen or thirty-three or ninety-nine go forth in search of the story we will share. Success in the classroom, I’m coming to understand, isn’t a “journey” with the institution as the ship, but is bound up with the discovery of our shared story. Though the story exists before we coax it into presence, this crucially is a beginning and not an end.

The idea of a shared story has fallen on hard times, however. Scandalized by master narratives, we have sought after a seeming lightness in jettisoning the weight of story, falling back on that normative envelope—the “we believe in” of class, college, science, truth; of institution, and order, and rubric. Under the sign of the journey, the class becomes less a pilgrimage than the concourse of some shadowy station, all of us bustling toward our private trains, our own special destinations—a grade, a degree, a job, a like, an evaluation.

The story is patient, however; it waits at the edges of those shadows; it asks only for trust in its discovery. Trust is the pilgrim’s path: trust that sustenance will be offered along the way; trust that one’s fellow pilgrims will teach us and fortify us; trust that we have a guide who recognize the pattern of the way well enough to know its marks even in a changed land. Often the teacher will be this guide, though sometimes someone else from the fellowship will stand and say, just here, I know the way. Their ferocity, their fiat, depends on the trust, however. We all depend on it.

In class, this constellation of trust, this shelter, is the pattern we follow, the habit in which we attire ourselves. The coming-together is ephemeral, and yet it’s the nature of the pattern, and of the stories in light of which we venture forth, to linger long after our fellowship comes to its formal end.

The pattern of the class—the coming together, the rustle of papers, the settle and the setting forth—nurtures this trust, frames it and enfolds it. The pattern is no guarantee, though it will hold the trust with so much more intimacy and strength than any institutional envelope. For we must give ourselves to trust. It is in the nature of the gift.

The story we seek was here before the blossoming of the trust. But if the story is to be found or coaxed forth, this flowering happens before the story may be found. We might have glimpses of the story, the way a pilgrim’s shadow pinioned in the mist will feel like a fellow traveler; the way a deer will browse slowly ahead on the path, attentive even in its disinterest, in its being before and beyond us. Long before the story is caught or drawn close, however, the trust must bloom. And the one who would be silent finds strength of voice; and the one who would speak first finds the silence and helps to hold it open.

When trust trembles on a knife’s edge and the story keeps its distance, there is a dusky chill of enormity in the air. As pilgrims, we ply the edge of that uncertainty, the abyss of it. And sometimes, as we have been told, the abyss looks back; sometimes, the abyss finds its own dark ferocity. In this transit, so much depends on the silent one; the silent one carries such a weight. And we begin to wonder—will the silent one break? Is it in the nature of this silent one to break?

For my class and me this term, the pattern held; the speaker and the silent one came together to carry and to compensate, and the story stole forth and fed from our hands. And yet we were reminded how fragile, how vulnerable, the pattern remains. In the advent of this vulnerability, I felt keenly how the trust has been failed again and again in our time. And I felt the pressure of that failure take the form of fear.

S. reminds me how little we rely in patterns, now, with the modern injunction to make it new giving rise to the existential injunction to find one’s own story. We’re all stumbling through the dusky station, it’s near to midnight, and the last trains are leaving without us. And yet I think it in the nature of the pattern to do its work even in the ruins; that out of the pattern’s matrix, the primordium of the story may open and unfurl and offer itself as gift. We must accept the gift, however, if the pattern is to hold, if its language is to persist. And in trust, S. suggests, in its conjugation of courage and humility, we may find a doorway open to virtue as well.

So the gift is received in trust, a trust that is no mere given, no contrivance of doors and keycards, of who gets in and who is kept out. It’s something we make and hold together. I don’t think that even violence can destroy the pattern. But it makes living into the trust of it ever harder. For the story again and again is uprooted and cast aside. And it is there that violence grows, not in the broken envelope, but in the disturbed soil where the story once grew."]]></description>
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    <title>Promises to the past - by Matthew Battles</title>
    <dc:date>2025-04-09T22:02:57+00:00</dc:date>
    <link>https://matthewbattles.substack.com/p/promises-to-the-past</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Tenderness and survival in nightingale time"

...

"A few days ago, I was trying to introduce my students to Michel Foucault’s idea of the heterotopia, of a place where other times and places meet. I’d recently been riveted by something John Berger says in a late interview about tenderness as the “refusal to judge.” This tenderness, he suggests, flowers from the way we ackowledge and attend to the dead, the manner in which we invite them into our lives. In the process of working out what he means by this, he returns to a story that he told many times in books and interviews, of his father’s experience in the trenches of the Great War. Berger comes to the realization that his life, his very existence, is rooted in those trenches, in the horrors of the war and his father’s survival. And not only in that survival—not only in the bare-life fact that had his father not survived, he would never have lived. No, beyond this, the recognition that his life, himself in his own possibility, had accompanied his father through the war. And what is life—what are we as individuals, really—but the magnificence of our possibility?

Berger explores this condition of life before life most urgently and intimately in a poem, “Self-portrait 1914–18.” “It seems now that I was so near to that war,” Berger begins; “I was born eight years after it ended.” And yet he was there—amid the “Very Light and shrapnel/On duck boards/Among limbs without bodies.” In light of flares and the charnel misery of the trenches, he was his father’s “groundless hope of survival.” And he concludes that “Before I could see/Before I could cry out/Before I could go hungry/I was the world fit for heroes to live in.”

After reading his poem, Berger invokes the country people of southern France among whom he lived the last decades of his life; among them, “it is a completely accepted fact that they live with the dead, that the dead are here, that they will be the dead, and that the dead are there … to help them die.” This relation with the dead is very different from a mere sense of the presence of the past, he suggests, with the susceptibility to nostalgia this breeds.

And so in the poem we have the sense of this grim soldier, smeared with mud, bleeding, hungry, cradling in his kit the very future world—and even more, that future reaching back to him with tenderness, with the refusal to judge. Though to say “reaching back” is wrong—for the future was there with him under the flares, amid the mustard gas. “To speak of the promise of poetry would be misleading,” Berger writes elsewhere, “for a promise projects into the future, and it is precisely the coexistence of future, present, and past that poetry proposes. A promise that applied to the present and past as well as the future can better be called an assurance.”

So I shared the Berger interview with my students, and then we looked at another film, about the British folk singer Sam Lee going into the woods at night to sing with nightingales. The birds have sung this way for millions of years, Lee says; we’ve evolved listening to them. As “one of the few night birds who will sing consistently,” Lee suggests, they are “midwives and sires to us as language and song carriers. And to think that in the million years plus that humans have been evolving, that in my lifetime I might hear the last nightingale—that’s incomprehensible.” And so Lee seeks the music in music’s very possibility, which is the nightingale. “I’ve learned to be in their presence while holding the concept of catastrophe,” he says, “as well as adoration.”

I shared Lee’s film about the nightingales in class because I wanted to talk about how art can turn a place into a portal to other times and places, to other possibilities. That always, already, we were alive in the dark among the leaves in the notes the nightingale sings. To sing with nightingales in the night of now is to do something more than establish a fleeting interspecies encounter—it’s to recognize that encounter as originary and ongoing.

As Lee spoke about the millions of years nightingales sang before us, and the enormity of their possible loss, I realized that he and Berger were saying the same thing: that both past and future are present, and that we owe our tenderness to both, not as mere possibilities, but as companions, as kin. For Berger, the dead are present, and to live with the presence of the dead is to give ourselves to time with tenderness. Tenderness for a father-to-be cowering in a bunker; tenderness for the long-ago birds hurtling north to sing their hearts to the night. Tenderness for the dead, whose time is our time, and tenderness for this nightingale time, too.

And now, I think of the past to which I am present. My father’s maternal grandfather came to this country in 1909, settled on the south side of Chicago, raised a family. When I was diagnosed with a BRCA-related cancer in 2020, I turned to genealogy in hopes of understanding how the gene had found its way to me. In the records of a ship that left Liverpool and landed in New York in 1909, I found my great-grandfather’s name with the text “race: Hebrew / language: Russian” entered into the manifest. Now, my siblings and I were raised as midwestern methodists with little knowledge of our father’s family. Dad (who died from complications of his own BRCA-related cancer in 2010) never mentioned his grandfather’s ancestry. We don’t know whether he knew about it; it never came up in family conversations, although the connection between Ashkenazic ancestry and certain BRCA deletions was understood when his cancer appeared.

Berger looks back and finds that he was a world “fit for heroes to live in.” What world were my siblings and I for our great-grandfather? Before I could see or go hungry, was I a refuge or a getaway, an emancipation or an escape? This world of midwestern methodism, of cancers and forgetting, for whom was it a fit future?

Any answer breaks the heart.

What tenderness do I owe this ancestor? What assurance can I offer, what promise can I make? These questions land with special force now, as those who pledge themselves to imagined pasts set out to destroy the promises of generations—to erase the possibility of such promises—to crush tenderness, including this tenderness of the living for the dead, wherever they find it. What can we do but pledge our tenderness for the dispossessed, for the neighbor, the student, the refugee; tenderness for our fearful ones, the ones now in flight? What can we do but offer this tenderness for the nightingale, too? To name what we can name, to embrace it with our language and our voice? To offer this assurance, to hold past, present, and future as tenderly as we can; for they—nightingales, heroes, escapees, the dispossessed—also are ourselves.

It might seem a strange leap from songbird conservation to the mysteries of long-dead ancestors. But I think there is an ecology of ancestry at work here, tracing its line from Berger through Lee, across no-man’s land and the Pale of Settlement, through the eons that midwife music and meaning. Just as these worlds were alive in the millions of years of nightingale time, so do untold possible worlds lie within our world—within ourselves. To these dead and not-yet-dead, what assurance can we give?

Catastrophe; adoration. Berger:

<blockquote>Tenderness is first of all I suppose—first of all one has to begin with the fact, which everyone has always known until recently, that life is full of pain—not only pain—but it has a lot of pain, and tenderness is in part a response to that. But it is also something else. It seems to me that it is a refusal to judge. It seems to me that actions have to be judged with an incredible rigor and all the time declared. There is so much that has to be judged, so much that has to be denounced, and also so much that has to be praised. But not people. I do not think that we have the right of any final judgment of anybody. And tenderness is in a way an expression of that refusal to judge.</blockquote>

I hear a song in these words, or a chant, which is to say, a prayer. For rigor when it comes to actions; for song as the tenderness of language."]]></description>
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    <title>Full of trees and changing leaves - by Matthew Battles</title>
    <dc:date>2025-03-11T06:25:57+00:00</dc:date>
    <link>https://matthewbattles.substack.com/p/full-of-trees-and-changing-leaves</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Mimicry as memory"]]></description>
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    <title>Grief is a cave in the middle of the sky</title>
    <dc:date>2025-02-09T06:22:33+00:00</dc:date>
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    <dc:creator>robertogreco</dc:creator><description><![CDATA["Thoreau and the art of losing"]]></description>
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    <title>The Memory of a Horse - by Matthew Battles</title>
    <dc:date>2024-03-05T17:03:23+00:00</dc:date>
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    <dc:creator>robertogreco</dc:creator><description><![CDATA["Beyond the enigma of an ancient site, the enduring intimacy of care"]]></description>
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</item>
<item rdf:about="https://vimeo.com/490442667">
    <title>From Sea to Seen: a metaLAB conversation with A. Kendra Greene on Vimeo</title>
    <dc:date>2023-03-28T23:44:33+00:00</dc:date>
    <link>https://vimeo.com/490442667</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["With a population roughly that of St. Louis, Iceland boasts 265 museums: museums of driftwood; museums of birds; museums of sorcery and sea monsters. Here, metaLAB’s Matthew Battles joins a conversation with author A. Kendra Greene, whose lively, wise book explores the collections of this long-isolated, tourist-buffeted nation. At metaLAB, we’re fascinated with & flummoxed by museums large and small. As they assemble objects into networks, they tell stories of power and authority in digital and material worlds. We turn to Greene in hopes of learning how the qualities of memory and trauma, fascination and fear, become bound up in objects on display.

The book is The Museum of Whales You Will Never See: and Other Excursions to Iceland’s Most Unusual Museums (Penguin 2020). A. Kendra Greene (https://www.penguinrandomhouse.com/authors/2201389/a-kendra-greene/ ) is a writer and artist who has worked at the Museum of Contemporary Photography, the Chicago History Museum, the University of Iowa Museum of Natural History, and the Dallas Museum of Art, where she was a writer in residence. She has an MFA in nonfiction and a graduate certificate in book arts from the University of Iowa and has been the recipient of a Fulbright grant, a Jacob K. Javits Fellowship, and a Harvard Library Innovation Lab Fellowship. She lives in Dallas, Texas, where she is a visiting assistant professor at the University of Texas, a guest artist at Nasher Sculpture Center, and an associate editor at Southwest Review."

[See also:
https://www.penguinrandomhouse.com/books/617712/the-museum-of-whales-you-will-never-see-by-a-kendra-greene/ ]]]></description>
<dc:subject>iceland museums 2020 culture geography language akendragreene matthewbattles</dc:subject>
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</item>
<item rdf:about="https://anthropostures.substack.com/p/corn-soot-womans-lament">
    <title>Corn Soot Woman's Lament - by Matthew Battles - Anthropostures</title>
    <dc:date>2021-11-07T22:06:02+00:00</dc:date>
    <link>https://anthropostures.substack.com/p/corn-soot-womans-lament</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["One of the women heard somebody crying. She said, “Listen, somebody is crying.” Just then the door opened and Corn Soot Woman came in crying. She said, “Nobody likes me to be with the corn ... I am fat but nobody has any use for me”…. The head woman of the society said, “Don’t ever separate her from the good corn. She is fat ; that is why she is what she is. She is the mother of the corn soot and you must put her in with the good corn whenever you shell it, in order that that too may be fat, as she is.” —from Tales of the Cochiti Indians, Ruth Benedict, Bureau of American Ethnology Report 98 (1931).*

I recently walked awhile with a friend whose child is undergoing radiation therapy for a rare brain cancer. We were talking about cooking, because my friend is a terrific and curious cook, and so that’s what we often talk about. Some diets seem to make radiation therapy more effective, and so his family has been experimenting with menus that balance calories from fat, protein, and carbohydrates in ways that are very different from modern norms. These diets often are described as lacking the full spectrum of crucial nutrients, and our talk turned to ancient foodways that addressed these deficiencies in creative and delicious ways.

One of the ancient dietary complexes we talked about was the maize-based regime of Pre-Columbian North America. Western understanding of these diets often emphasizes the nutritive “deficiency” of corn—in which certain nutrients, particularly niacin and essential amino acids, are not biochemically available—as a problem to be fixed. The best-known fix is the process of nixtamalization, in which corn is cooked or soaked in alkaline water, resulting in hominy and masa.

Nixtamalization probably originated in Guatemala and southern Mexico some four thousand years ago, when people began boiling corn with heated limestone rocks. Beans, domesticated later, also provide crucial amino acids (they also fix nitrogen in the soil, helping the corn plants to grow). These nutrients can be derived from meat, too. But there also is a common fungal parasite, known as corn smut or corn soot, which is able to fix the amino acids in maize. Corn smut is damaging in many ways—it blocks the cornstalk’s synthesis of chlorophyll, and diminishes crop yields—and it’s treated as an agricultural pest in modern, industrial-scale corn agriculture. But its fruiting bodies, or mushrooms, which erupt from ripe corn ears as blackened, swollen galls, are known as the delicacy huitlacoche in Mexico, and are widely available in many canned and dried forms.

Corn smut likely met some of corn’s nutritional deficiencies before bean culture was adopted across North America—in particular, among the ancestors of latter-day Puebloan peoples of the Four Corners region more than two millennia ago, before beans came into their diets. The people of this time—known to archaeologists as the Basketmaker II culture, whose ways predated the Anasazi in the Four Corners region—kept turkeys, but used them chiefly for feathers, not meat. Evidence from the Turkey Pen ruin, near Cedar Mesa in Bears Ears National Monument, show that up to 80 percent of their calories came from corn.

Corn-related forms of malnutrition like pellagra and kwashiorkor, often associated with so-called “primitive” conditions and lack of development, are much more frequently the result of famine conditions brought about by the politics and economics of modernity. Pellagra, in particular, a scourge in the American South in the early 20th century, was brought on by modernity: a combination of the industrial processing of cornmeal, which reduced its nutritive value; the intensification of cotton agriculture, which excluded many food crops from production; and the programmatic immiseration of rural people south of the Ohio River.

The nutritive effect of nixtamalization was not scientifically understood until the 1970s. So much of the scientific analysis of foodways uses frameworks of diet and deficiency. It might not be bad dietary science, but it doesn’t make much sense as history, as culture. The story of Corn Soot Woman, taken from the traditions of Cochiti Pueblo*, offers a very different logic for understanding lack and loss in foodways. Don’t shut her out. She makes the good corn fat. The ingenuity of myth is every bit as rich, but it begins not in deficiency, but community. For all its proliferative success, modern agriculture is deaf to Corn Soot Woman’s cry.

It’s also astonishing that, for all our human biochemical ingenuity bound up in human foodways, fungi so often turn out to have found the way first. My friend’s child wouldn’t benefit from huitlacoche consumption, alas—in fact, they’re trying to reduce the amount of lysine in his diet. But on our walk, I think, we were trying to ask what might be crying out for inclusion—how the pantry is a place for kin-making.

*Cochiti Pueblo, a community near the latter-day city of Albuquerque, is the current and ancestral home of the Kʾúutìimʾé people, whose stories were collected by Franz Boas and Ruth Benedict in the early 1920s. You can donate to the Keres Children’s Learning Center, which is supporting Cochiti Pueblo families in maintaining, strengthening, and revitalizing their heritage language of Keres."]]></description>
<dc:subject>matthewbattles 2021 diet culture science scientism agriculture maiz corn plants multispecies morethanhuman indigeneity indigenous huitlacoche mexico cornsoot fungi nutrition food biochemistry biology interdependence kinship kinmaking myth ingenuity deficiency</dc:subject>
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<item rdf:about="https://anthropostures.substack.com/p/the-ever-given-matter-out-of-place">
    <title>The Ever Given: matter out of place - Anthropostures</title>
    <dc:date>2021-03-30T02:26:21+00:00</dc:date>
    <link>https://anthropostures.substack.com/p/the-ever-given-matter-out-of-place</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Here, this morning, the matter out of place in my room seems much humbler and less consequential. And yet—of what is it comprised? Lost hair and shed skin, my own and that of my beloved companions, human and nonhuman; pollen, in search of new life, blown in on Spring winds; ground bits of our tools and materials, food and drink. When do coffee grounds become dirt? Somewhere along the way from cracking the lid of the jar to putting the sodden filter in the compost bin, grounds escape, go vagrant, scatter across the tile. I think of the care put into the coffee trees, the ferment of the beans, the long transit over oceans. Matter seems always out of place, and yet it’s also always just where it needs to be."]]></description>
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</item>
<item rdf:about="https://anthropostures.substack.com/p/a-crown-for-the-tiger-king">
    <title>A crown for the tiger king - Anthropostures</title>
    <dc:date>2020-04-13T21:36:11+00:00</dc:date>
    <link>https://anthropostures.substack.com/p/a-crown-for-the-tiger-king</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[“In the short story “Blue Tigers,” Jorge Luis Borges gives us a Scottish adventurer seeking a legendary cat he’s only seen in dreams; in the jungle, he finds no feline but only a trove of small stones, smoothly identical, in the dreamt-of hue. They prove uncountable: no matter how carefully he divides and inventories the stones, each tallying results in a different sum. He becomes infected with a perilous obsession for these mysterious tokens, relieved only when he gives the stones to a beggar in Lahore. “I do not yet know what your gift to me is,” the beggar tells him, “but mine to you is an awesome one. You may keep your days and nights, and keep wisdom, habits, the world.”

***

One of the stranger stories of the coronavirus pandemic: last week, Nadia, a four-year-old Malayan tiger living in the Bronx Zoo, tested positive for COVID-19. Though several other cats in the zoo were showing signs of respiratory disease, Nadia was the only one tested, as the procedure requires general anesthesia; we can be sure it’s no simple matter taking a nasal swab from a tiger.

I remember learning the term as an adolescent taking a veterinary-science project in 4H: Zoonosis. The word, for animal-human disease transmission, struck me with a kind of magical power, as if it named an older, eldritch form of unhealth; syllabling some of the horror of hybridity, of metamorphosis; its -nosis (an archaic term for “disease,” from the Greek) seeming a species of gnosis as well.

Practitioners of implacable violence, living in the remotest habitats, tigers would seem to make unlikely icons for social distancing. Word of the tiger Nadia’s affliction arrived at the peak of popularity for Tiger King, the controversial documentary series from Netflix, however. Coronavirus’s housebound audiences thus were primed with vivid awareness of the strange ways humans seek intimacy with predatory cats—in particular, the peculiarly American way of glamorizing tigers, which places emphasis on cuddling with cubs, whose cozy neoteny is only enhanced by the promise of sheer size, strength, and ferocity to come.

Joe Exotic’s petting zoo for predators seems a kind of decadent departure from deeper traditions of doing tiger in Asia, where the bodies of cats are transformed into products conferring power and virility. Such products, from pelts and teeth to “invigoration liquor” made from boiled-down bones, long have circulated between the villages and cities. These often are produced at the craft level, with groups of families coming together to acquire a tiger, butchering and communally processing its body into commodities for gifting, local sale, or personal use. Today, however, these practices merge with the shadowy economies of modern Asia, through markets and supply chains, the wetwork of global capital. In 2017, a wildly popular YouTube video, showing a group of tigers chasing a drone in the snow, was revealed to index the industrialization of tiger products, in large “tiger farms” like Harbin Siberian Tiger Park, in Heilongjiang province, where the video was made.

In The Art of Not Being Governed, anthropologist James C. Scott examines the status of forest-dwelling peoples of southeast Asia. Hmong, Karen, and other groups traditionally have been understood as ancestral to the great civilizations of the river valleys. Scott advances an arresting alternative: to see small-scale societies not as survivors from a primordial past, but as those who walk away from city-states with their taxation and conscription—and yes, their epidemics. Scott uses the name “Zomia” for this discontiguous realm of forested uplands, scattered across seven modern Asian nations, where marginalized people have practiced a “primitivity” that is actually a precarious, deliberate statelessness.

Zomia is the tiger’s realm also—and the tiger’s freedom, like that of village-living folk, is both glamorized and exploited by those who live in cities. We might think the “wet markets,” reported as sources of pandemic zoonosis, in light of Zomia, as places where the ancient and uneasy rivalry of forest and city mingle in ideological and biological entanglement.

Like the beguiling glamor of Borges’s blue stones, the abstract and fungible properties of commodities hide mysteries—of blood and bone, of tissues that merge in kinship, of bodies whose borders are specious.

Although zoonotic disease equally can mean transmission from human to animal, the latter case is often called “reverse zoonosis”—as if disease properly flows upward, a chthonic corruption infiltrating through the roots of the tree of life. The binary syntax here, however, reveals a semantic problem with the whole notion of zoonosis. For viruses, there is no strict separation of human and animal. We make a multispecies cosmos; species are worlds that viruses colonize and inhabit. But really, I don’t know what a species is; lately, I’ve begun to think it might best be thought of as all those creatures without whom there can be no you.

I wonder if, in some deep sense, viruses don’t hold the key to the mystery of species: that cherished borders and barriers are brittle, specious, and that acknowledging entanglement is the only way to win a livable world.”]]></description>
<dc:subject>2020 matthewbattles tigers multispecies morethanhuman tigerking joeexotic us asia hmong karen jamescscott statelessness nomads forests nomadism animals wildlife zoos entanglement omelas borges writing freedom legibility illegibility zoonosis borders barrieres species cities urban urbanism kinship</dc:subject>
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</item>
<item rdf:about="http://metalab.harvard.edu/publishing/">
    <title>Publishing | metaLAB (at) Harvard</title>
    <dc:date>2014-10-02T00:26:26+00:00</dc:date>
    <link>http://metalab.harvard.edu/publishing/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["metaLAB is committed to developing and experimenting with new models of scholarly and cultural communication. Its publishing projects involve partnerships with university presses, museums, libraries, and archives, and explore the boundaries of both print plus and post-print publishing. Print plus refers to innovative intertwinings between digital and printed artifacts; post-print to purely digital/multimedia models of dissemination.

There are four main areas of publishing that we are currently exploring:

◉ alternate futures for the scholarly book (the metaLABprojects series)
◉ multichannel publishing (ludic variations on the metaLABprojects series books)
◉ iterative and instant publishing (print as process, not as product)
◉ digital publishing (natively digital publishing experiments)

***

Beautiful Data Publications

These publications serve as entry points to engagement with both the material and the modes of inquiry that shaped the Beautiful Data workshop. With the intention of “open-sourcing” the elements and processes that came out of the workshop, these publications complement the material available on this website, offering routes for exploration of this material that are meant to be applicable in diverse contexts. We hope that you will activate whatever elements seem useful to you, fostering the continuing evolution of Beautiful Data.

◉ The field guide documents the concepts and flows of information that came out of the Beautiful Data workshop, linking critical discussion with invitations to experimentation and making. Using a range of modes, including case studies, maps, activities, and prototypes (and linking to online documentation of these elements), the guide aims to serve as a resource, providing various entry points into the dialogue surrounding Beautiful Data and promoting further experimentation around this material.

◉ The prototyping game provides a set of raw materials for remixing and rethinking the ways in which we design experiences with objects. This playful framework, drawn from institutional missions and contexts, offers springboards for discussion, ideation, and project development.

◉ The provocation cards, drawn from the work of participants in Beautiful Data’s weekend workshop component, provide prompts for adventures in museums, lightly provoking users to engage with these spaces in new and generative ways.

***

metaLABprojects Series

Developed with our partner, Harvard University Press, the series provides a platform for emerging currents of experimental scholarship, documenting key moments in the history of networked culture, and promoting critical thinking about the future of institutions of learning. The volumes’ eclectic, improvisatory, idea-driven style advances the proposition that design is not merely ornamental, but a means of inquiry in its own right. Accessibly priced and provocatively designed, the series invites readers to take part in reimagining print-based scholarship for the digital age. The first three books in the series are:

Matthew Battles, Jeffrey T. Schnapp, The Library Beyond the Book

Johanna Drucker, Graphesis – Visual Forms of Knowledge Production

Todd Presner, David Shepherd, Yoh Kawano, HyperCities – Thick Mapping in the Digital Humanities

The “provocations” strewn throughout The Library Beyond the Book may also be found in playing card deck form:

***

sandBOX

Inspired by mid-twentieth century experimental publications like Aspen Magazine, metaLAB is planning a “documentary in a box” project that will serve as a lab archive, time capsule, and collection of remixable provocations in material form. The publication, with sandBOX for its working title, will consist of a set of objects—maps, field guides, card decks, lego sets, and sundry unnameables that breach the analog/digital divide—delivered to its audience in a box. Under the editorial direction of metaLAB fellow Maggie Gram, sandBOX will eventuate through an iterative cascade of publishing phenomena beginning in early 2015."]]></description>
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    <title>Matthew Battles: Going Feral on the Net: the Qualities of Survival in a Wild, Wired World on Vimeo</title>
    <dc:date>2014-06-24T05:47:37+00:00</dc:date>
    <link>https://vimeo.com/42418349</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["How do we balance the empowering possibilities of the networked public sphere with the dark, unsettling, and even dangerous energies of cyberspace? Matthew Battles blends a deep-historical perspective on the internet with storytelling that reaches into its weird, uncanny depths. It’s a hybrid approach, reflecting the web’s way of landing us in a feral state—the predicament of a domestic creature forced to live by its imperfectly-rekindled instincts in a world where it is never entirely at home. The feral is a metaphor—and maybe more than just a metaphor—for thriving in cyberspace, a habitat that changes too rapidly for anyone truly to be native. This talk will weave critical and reflective discussion of online experience with a short story from Battles’ new collection, The Sovereignties of Invention."]]></description>
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    <title>The Library Beyond The Book - Jeffrey Schnapp - YouTube</title>
    <dc:date>2014-05-01T03:37:07+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=c_l45lGeFRE</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Harvard Prof. Jeffrey Schnapp on redundancy between digital and analogue formats, physically assembled communities, and multiple types of libraries"]]></description>
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<item rdf:about="http://www.slate.com/articles/life/design/2014/04/the_future_of_the_library_how_they_ll_evolve_for_the_digital_age.html">
    <title>The future of the library: How they’ll evolve for the digital age.</title>
    <dc:date>2014-05-01T03:33:35+00:00</dc:date>
    <link>http://www.slate.com/articles/life/design/2014/04/the_future_of_the_library_how_they_ll_evolve_for_the_digital_age.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Across the United States, librarians have been experimenting with ways of expanding on this newly elaborated mission—for instance, by opening so-called “maker spaces” in annexes and areas where bookshelves have been cleared out. A throwback to the mechanic’s library of the 19th century, maker spaces collect old and new technologies, from sewing machines to 3-D printers, and encourage patrons to develop and share skills that cannot be practiced over the Internet. 

For those who might look askance at the prospect of their library morphing into a bookless social club for gearheads and gadget nerds, a group of young arts-oriented librarians have formed the Library as Incubator Project to promote a different, though by no means incompatible, vision of “third place.” On its website, the Library as Incubator Project highlights library programs from around the country that involve displaying, facilitating, or disseminating art, often by and for the local community. Favorite projects include the Local Music Project at the Iowa City Public Library, where librarians lease recordings from local artists and offer them online to cardholders for free, and the Brooklyn Art Library’s Sketchbook Project, a traveling bookmobile that accumulates donated 32-page sketchbooks from both professional and amateur artists and displays them around the country. It’s easy to imagine how a local institution built on these sorts of programs could continue to serve as hospital of the soul and theme park of the imagination long after all the paper books have been cleared away.

Both maker spaces and Library as Incubator–style art programs engage library patrons to produce their own content. Also in this vein, some wealthier libraries have begun hosting self-publishing and print-on-demand technologies like the Espresso Book Machine. If basic Internet access is no longer anything to write home about, it’s notable that the cutting-edge technologies that libraries can boast of providing on-site access to are used more for creating and less for passive, traditional library activities like reading and watching.

On a broader scale, the recently-launched Digital Public Library of America, operating out of the Boston Public Library, is building a nationwide digital collection of historical materials sourced everywhere from libraries and private collections to family photo albums and boxes of old letters in the attic. According to founder Dan Cohen, the DPLA’s ambition is to work with local libraries to collect materials and perhaps eventually to present them at touch-screens designed to help patrons explore the history of their specific communities. “We love the idea of making a connection between the digital and physical realm,” Cohen says.

…

Patching the gaps of the fraying social safety net with shelter, bathrooms, and other very basic services for people in crisis is not part of the original mission of public libraries. It can detract from other services, particularly those aimed at children. Perhaps for this reason, a library in Orange County, Calif., recently instituted a napping and odor ban.

However, public libraries have long served a progressive, interventionist agenda, putting knowledge directly into the hands of the poor, the immigrant, and those historically excluded from certain educational institutions. If no better resources can be cobbled together, isn’t it against the spirit of the library to turn away a person in need? It remains to be seen how this commitment will affect middle-class willingness to fund public libraries.

Outside of the publicly financed system, the library-as-intervention model thrives in fringy endeavors like books-to-prisons projects, the Occupy Wall Street library, or the Little Free Library’s outdoor book-sharing boxes. It’s a good time to operate one of these outsider libraries, which are particularly well positioned to make use of the vast detritus of unwanted paper books currently washing up every day at Goodwill stores and recycling centers. 

It remains uncertain exactly what will happen to the New York Public Library’s Main Branch in the renovations already underway. Supposedly forthcoming is a plan that will preserve the Snead stacks as part of a new circulating library, allowing patrons to see and experience the historic stack design, which has been off-limits to visitors up until now. This plan should satisfy preservationists, if not scholars hoping to keep the research collection intact. If it carries the day, the stacks will have survived less as a functional element of city infrastructure and more as a museum curiosity for tablet-toting patrons of the future.

But perhaps it’s in the model of the museum that nostalgic and futurist visions of libraries converge. Just as families have begun to visit NC State’s campus to gawk at the book-fetching robots, so tourists of the coming decades might plan trips to 42nd Street to walk the venerable stacks that once served as intellectual aquifer to a great city in its era of cultural blossoming.

…

These days, of course, cathedrals aren’t in much better shape than libraries. To maintain a monumental institution in the middle of a community requires patronage, in both the financial and civic engagement senses. If the people want emerging technologies more than they want books, libraries have to respond to that, even if it means closing up shop and moving entirely online.

Matthew Battles, who since publishing his history of libraries has become a principal at Harvard’s forward-looking metaLAB, believes that the future of libraries must be decided not by nostalgic scholars or librarians hoping to save their jobs, but in conversation with communities. “Librarians, scholars, policy makers all have to be part of that dialogue, but it must embrace a civic context, not the institutional context,” he says. “If you do that, having spent a lot of time in libraries and meetings with library administration, you end up in this conversation of how do you save the library. People say, ‘We know we have to change, but we don’t know how.’ There’s a death spiral in that dialogue.”]]></description>
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<item rdf:about="http://matthewbattles.tumblr.com/post/72977669629/social-media-surely-change-identity-performance">
    <title>Urge of the Letter: Social media surely change identity performance....</title>
    <dc:date>2014-01-12T05:26:27+00:00</dc:date>
    <link>http://matthewbattles.tumblr.com/post/72977669629/social-media-surely-change-identity-performance</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Often, the critique of device dependence in connected life today turns on forms of etiquette that emerge or change in the context of technology. Sherry Turkle is perhaps the best-known and most grounded of such critics—and yet I often find myself wondering whether she gets the moral and psychological import of such social forms precisely backward. “I talk to young people about etiquette when they go out to dinner,” she writes in a recent op-ed, “and they explain to me that when in a group of, say, seven, they make sure that at least three people are ‘heads up’ in the ‘talking’ conversation at any one time.” For Turkle, this is evidence of how “[t]echnology doesn’t just do things for us. It does things to us, changing not just what we do but who we are.” But isn’t this evidence instead of our social malleability and adaptability, our capacity for incorporating devices and signals into new modes of address? And as Jurgenson points out in the quote above, it isn’t as though devices arrived in the midst of a sociable utopia of autonomous persons engaged in exchanges of authenticity—for we humans always have deployed rituals and discursive forms to discipline, mediate, and construct social selves.

On the other hand, I’m reminded of Bruce Sterling’s observations about disconnection, in which device-independence becomes a kind of luxury practice akin to boutique poultry farming and meditation retreats—an indulgence of those wealthy enough to afford assistance in human form, or can avoid those dependencies of work, social, and civic life that increasingly require us to maintain our tech-mediated connectivity. Devices can make us susceptible to surveillance and control in insidious and comprehensive ways. It’s important to remember, however, that such control is not a thing technology does to us out of some inherent hegemonic impulse, but the result of choices we make about its design and use."]]></description>
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<item rdf:about="http://jeffreyschnapp.com/the-library-beyond-the-book/">
    <title>The Library Beyond the Book</title>
    <dc:date>2013-10-18T05:36:08+00:00</dc:date>
    <link>http://jeffreyschnapp.com/the-library-beyond-the-book/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["My colleague Matthew Battles and I recently completed the lead book in the new metaLABprojects series that will be launched by Harvard University Press in the spring of 2014. Under the title of The Library Beyond the Book, it reflects on what libraries have been in the past from a broad cultural anthropological and architectonic standpoint in order to speculate on what they will become in the future: hybrid places that intermingle books and ebooks, analog and digital formats, paper and pixels.

Throughout history, Matthew and I argue, libraries have been sites for new media, new technical demands, and new cultural forms, that have encompassed an array of typologies that build into future scenarios for the library after the book. These scenarios include:

• the Mausoleum—a place to commemorate and commune the dead

• the Cloister–a refuge for reflection, meditation and contemplation in shared solitude [Neocloister]

• the Database—a container for information that is classified, accessible, controllable, infinitely expansible

• the sort of Warehouse where the willy-nilly proliferation of documents and stuff is rendered navigable thanks to computational supports and machine eyes [The Accumulibrary]

• a Material Epistemology, where collocations and consanguinities among different kinds of knowledge are proposed, experimented with and affirmed [The Programmable Library]

• and a series of Libraries of the Here and Now untethered to collections, from Mobile Vectors to Civic Spaces (where public ties are forged and affirmed) to freestanding Reading Rooms as spontaneous, popular, insurrectionary responses to closed and controlled versions of all of the above.
 
Such library types have been mixed and matched in the past, and we argue that remix remains the most plausible future scenario.

Here are some sample layouts from the volume (yet to be finalized), developed by the series art director, Daniele Ledda, and his team at XY communications."]]></description>
<dc:subject>jeffreyschnapp matthewbattles books libraries metalab metalabprojects neocloister accumulibrary hereandnow danieleledda hybridplaces future databases containers</dc:subject>
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<item rdf:about="https://medium.com/5-viridian-years/1cfd5f3d3887">
    <title>The Past Will Not Be Flat — 5 Viridian Years — Medium</title>
    <dc:date>2013-10-16T21:37:34+00:00</dc:date>
    <link>https://medium.com/5-viridian-years/1cfd5f3d3887</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The network that was supposed to abolish space ended up moving to abolish time instead. Although we once dreamt of cyberspace as a frictionless grid, the network we ended up with needs the x, y, z of realspace. It reminds us of it constantly; it wants to reside in the spaces we inhabit, rather than the other way round. Space is the network’s chief uncanny affordance, lending it a kind of cultural potential energy, a latency of meaning.

When I was young, I had a newspaper route. One morning while walking and flipping the folded papers onto porches, I had a sudden realization that the road I walked along was connected to every other road. There was only the one big road, really—a single surface to comprehend a continent.

What struck me with special force, however, was the authority of time over that space. Leaning down to place a palm on the asphalt that morning, feeling its cool and the bite of its grit, I touched that single surface—and yet its remotest parts remained absolutely alienated from me by sheer walls of time. I can’t get there from here—not without time’s transforming consent.

This time-bounded webwork of roadway is very nearly the opposite kind of network from the one we call the internet. Of course, time plays its role online. Information flows in arteries, where it remains subject everywhere to materiality—indeed it thrives on that materiality, that texture of flow and impedance. That we don’t see it thusly—even when the page-load wheel appears with its spinning memento mori—is merely a trick of ideology. No, we find that everywhere we look, the internet makes light of time. Time is the internet’s too-cheap-to-meter cultural resource, and it’s only just begun burning through it, generating a storm of atemporal media traces that pile up before us as our wings beat furiously."

…

"Elsewhere in “On the Concept of History,” Benjamin acknowledges that an event is not historic by nature, but instead “becomes this, posthumously, through eventualities which may be separated from it by millennia.” Acknowledging this, the historian “ceases to permit the consequences of eventualities to run through the fingers like the beads of a rosary,” preferring to record “the constellation in which his own epoch comes into contact with that of an earlier one.” The past isn’t one damn thing after another, but a constellation — a network. It’s only through the interface of this network, Benjamin seems to be saying, that we are rendered a sense of the “here-and-now” — a moment, “in which splinters of messianic time are shot through.”

Finally (but never finally), this: history is not another country, not the not-even-past, not even that which we are condemned to repeat. History is everywhere, rather; you’re soaking in it. And yet we’re not angels: our faces are turned away, and we’re trailing history in our wakes. Each wake swerves as it unfolds; they swerve in groups, as nations and populations and assemblages yet unknown (but already in potential). And at every scale — from the single missed mixed message to whole constellations of the here-and-now — history, as it escapes from the box a trace at a time, is precisely this multiple and individual.

Meanwhile at every second, Benjamin concludes, the future offers “the narrow gate, through which the Messiah could enter.”"]]></description>
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<item rdf:about="http://slopeintercept.org/">
    <title>slope: intercept // A Search for Ramps and Elevations Everywhere</title>
    <dc:date>2013-05-21T19:40:22+00:00</dc:date>
    <link>http://slopeintercept.org/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["It might seem counterintuitive—it doesn’t even move, after all—but its very structure affords an operative effect of force, allowing you to elevate and transfer an object you can’t lift with brute strength. It’s an elegance of physics.

In mechanical engineering, a ramp is an inclined plane, a flat surface that sits at an angle for raising and lowering a load. The inclined plane joins the pulley, the wheel-and-axle, the lever, the wedge, and the screw to create the historical pantheon of simple machines; they’re the core structures that give mechanical advantage. They transform energy, which is why they’re the building blocks of compound machines, of all sophisticated engineering."]]></description>
<dc:subject>ramps machines physics art engineering 2013 elevations architecture access accessibility mobility visibility matthewbattles inclinedplanes accelerations diminutives transversals vantages sarahendren</dc:subject>
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<item rdf:about="https://vimeo.com/30956239">
    <title>Libraries &amp; Occupations on Vimeo</title>
    <dc:date>2013-05-09T18:50:13+00:00</dc:date>
    <link>https://vimeo.com/30956239</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["A history talk comparing the libraries of today's Occupation movements in Wall Street and elsewhere to the reading rooms of the Chartist movement of 19th-century Britain."]]></description>
<dc:subject>matthewbattles ows occupywallstreet libraries history 2012 chartists readingrooms progressivism</dc:subject>
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<item rdf:about="http://www.aeonmagazine.com/nature-and-cosmos/matthew-battles-museum-pieces/">
    <title>Matthew Battles – What is a specimen</title>
    <dc:date>2013-05-06T16:05:11+00:00</dc:date>
    <link>http://www.aeonmagazine.com/nature-and-cosmos/matthew-battles-museum-pieces/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[alternate link: https://aeon.co/essays/a-museum-s-cabinet-of-curiosities-is-also-a-chamber-of-secrets ]

“The little ivory characters are examples of tupilaq, a genre of carved critter widespread among the Inuit and other peoples of the far north. The tupilaq that live outside of museum time, outside of gallery time, are evil spirits called into being by a shaman for the purpose of making mischief. They carry curses to rivals and enemies. Made from bone and fur and other materials, the tupilaq are powerful magic — and dangerous for those who wield them, for if discovered, their powers turn back on their users unless an immediate public confession is made. Secrecy and darkness are the native habitat of the tupilaq; they lose their power when exposed to the sociable light.”

…

“Objects arrive webbed in connections, and hoard their most intimate gestures and relations in unreachable treasure-houses. A collected object is a kind of vessel, freighted with an irredeemable record of acts and things, inaccessible worlds of sense and event, a tissue of phenomenal dark matter caught up in time’s obliterative machinery.”

…

“Forged in an organismic manufactory, tooled by genes (it’s symbols all the way down), a tooth takes its place for a time in a network of perception and action: catching the piercing resonance of whale song bounding in the deep canyons — testing and metering the shifting temperatures of Arctic air — tearing and gripping the trauma-tautened flesh of smolt salmon.”

…

“I want a museum with the modesty to realise that the objects of its interest do not take their sole, true, or final form beneath its gaze. As seen by science, objects withdraw their auras — burning coronas that connect sense and experience to the deep past — and when the galleries and museums are in ruins, they will expose new banners to time’s unfolding.”

…

“Upon leaving the dermestid room, you had to stand in the airlock and brush down your clothes. There was an aroma of putrefaction in the room, but it was faint — you got used to it. The sound, however, was oppressive. The place hummed with a static song of tens of thousands of beetle grubs, hairy and grey, all chewing at sinew and dried muscle.”

…

“Although to call the specimens dead does not sound quite right. For the specimens had transcended or exceeded death, had passed beyond its dominion by means of a process that arrested, ostensibly in perpetuity, their participation in the carbon cycle, the wheel of disarticulation and recombination, that is life on earth.”

…

“An act of predation subsumes and reincorporates phenomenal animal affordances; the scientific sacraments of collecting and accessioning, by contrast, call forth abstract and motive truths, just as the expertise of the shaman reveals and directs the powers of the tupilaq spirits.”

…

“Only later, upon its post-mortem discovery, was this dead creature turned into data. Now roughly preserved and enshrined in the Smithsonian, the dead insect serves as holotype for the computer bug. Like the tupilaq, computer bugs are ungovernable spirits evoked by a kind of transubstantiation. As the uncanny architecture of the computer unfolded itself in Harvard’s labs, the bug found its way not only into the machine’s works but into a new role as an object in our midst — a role that took its place among the object’s other histories and meanings, its penumbra of qualities.

This patterned assemblage of purposes, roles, and given characteristics, this accidental and ephemeral fate, I want to call by the name habit. An effigy, an insect, an animal’s measured, pinned-out pelt — we have our ways of domesticating these objects, of bringing them to ground, fixing them in amber or in print. The precise practices vary with what habits we bring to bear (from science to shamanism) and the collections they inhabit. And here is a clue — for dwelling in the word ‘inhabit’ is ‘habit’ itself. What if the habits in question are not ours, but those of the objects themselves?

A habit is not only a way of acting, but also a costume of a kind. Some objects — books, dice, celery stalks, lens caps — have deeply ingrained habits, while others — seashells and stars, perhaps, but also bottlecaps, icicles, and plastic six-pack yokes twirling in the mid-ocean gyre — wear their habits more lightly. And some objects take on the habit of naphtha and indelible ink, of cotton wool and alum, of cabinet drawer and taxonomic order.

The word ‘habit’ catches for me a sense of the shoddy assortment of qualities that knits an object into the fabric of things, weaving into one whole its social roles, the cultural codes it keys, and its whence-and-whither entanglements with deep time.”

…

“After a long moment, the bat fled in a blur, disappearing into Chicago’s booming late-autumn breeze. It disappeared into the invisible cabinet of its unmeasured curiosity, its habit secreted in the wind.”

[Previously: http://hilobrow.com/2013/01/29/resistant-objects/ ]]]></description>
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<item rdf:about="http://hilobrow.com/2013/01/29/resistant-objects/">
    <title>Resistant Objects | HiLobrow</title>
    <dc:date>2013-01-30T22:37:08+00:00</dc:date>
    <link>http://hilobrow.com/2013/01/29/resistant-objects/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[“What I’m trying to do is understand how things come to take their place—especially in museums and collections—as embodiments of knowledge, artifacts out of time and nature, and objects provoking curiosity and wonder, how they become objectified. And just as much as Foucault long ago pointed out, neither the natural nor the human sciences exist until “nature” and “the human” take their modern form as such, I’m eager to imagine a science that employs enough modesty to realize that the objects of its interest do not take their sole, true, or final form beneath its gaze. Even under the light of science, objects withdraw their auras, that dark matter reaching back into deep time; and when the museums are in ruins, they will expose new banners to unfolding time. I think Tamen would agree with me here—the tupilaq are players in a luminous, long-durée ecology in which paintings and pelts, sculptures and scarab beetles, clay pots and crania take equal part.”

[Expanded here:
http://www.aeonmagazine.com/nature-and-cosmos/matthew-battles-museum-pieces/
https://aeon.co/essays/a-museum-s-cabinet-of-curiosities-is-also-a-chamber-of-secrets ]]]></description>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:auras"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:resistantobjects"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:ebay"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:tupilaq"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:lowellgeorge"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:corbis"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:interpretation"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:interpretableobjects"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:figurines"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:sculpture"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:sociability"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:northwestterritories"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:migueltamen"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:michelfoucault"/>
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</item>
<item rdf:about="http://metalab.harvard.edu/2012/07/paper-machines/">
    <title>Paper Machines | metaLAB (at) Harvard</title>
    <dc:date>2012-07-19T04:27:25+00:00</dc:date>
    <link>http://metalab.harvard.edu/2012/07/paper-machines/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["I have had the good fortune to work at metaLAB this summer on an open-source tool for text analysis and visualization in the digital humanities. This effort, funded through the Google Summer of Code, is taking place under the tutelage of metaLAB’s own Matthew Battles and the historian and Harvard Junior Fellow Jo Guldi, who will be joining Brown University’s faculty in the fall.

Jo’s project is one of remarkable scope: to chart the history of land reform across the globe, making use of texts and archival data spanning more than a century. The spatial, temporal, and intellectual diffusion of land reform can already be traced in outline, thanks in large part to the scholars and archivists of prior generations who have assembled numerous bibliographies, archives, monographs and glossaries in their attempts to come to grips with the myriad outputs of “paper machines”: colonial administrations, government ministries, NGOs, utopian social movements, academic institutions, and other producers of texts dealing with land and its (re)distribution. But to look both more broadly at and more deeply into the data we have, to find the subtle patterns at unfathomable scales that are the digital humanities’ raison d’être, it is necessary to build new tools that can leverage the best extant algorithms in service of our human powers of perception and intuition."]]></description>
<dc:subject>papermachines data global landreform history digitalhumanities datavis chrisjohnson-roberson matthewbattles metalab joguldi summerofcode</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:fa8806489eee/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:data"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:global"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:landreform"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:history"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:digitalhumanities"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:datavis"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:chrisjohnson-roberson"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:matthewbattles"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:metalab"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:joguldi"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:summerofcode"/>
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</item>
<item rdf:about="http://metalab.harvard.edu/2012/04/but-it-moves-the-new-aesthetic-emergent-virtual-taste/">
    <title>But it moves: the New Aesthetic &amp; emergent virtual taste | metaLAB (at) Harvard</title>
    <dc:date>2012-04-12T18:11:38+00:00</dc:date>
    <link>http://metalab.harvard.edu/2012/04/but-it-moves-the-new-aesthetic-emergent-virtual-taste/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["It’s not totally unreasonable to suppose that *something* is going on in nature, that its constituent objects have some kind of motivation, even if they’re composed of mere chemical gradients or pressure differentials or quantum states. The computer opens up a special case because we made it, and yet it manifests itself in all kinds of ways that seem like a nature—another nature—a little nature, perhaps. There is a strong sense that with computers and their networks, something is going on in there, something emergent and radically other, which nonetheless does begin to infiltrate our edges."

"I don’t think the New Aesthetic is heralding the approach of the Singularity’s event horizon, where computers will vault into consciousness and begin writing a sui-generis literature that drops fully formed from the brow of Stanislaw Lem. The New Aesthetic is making a much humbler move: pointing out these feral phenomena erupting into our midst and saying, but they move."]]></description>
<dc:subject>galileo jgballard berg metalab theory technology 2012 jamesbridle brucesterling matthewbattles newaesthetic thenewaesthetic</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:f0d4f1019223/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:jgballard"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:berg"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:metalab"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:theory"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:technology"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:2012"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:jamesbridle"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:brucesterling"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:matthewbattles"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:newaesthetic"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:thenewaesthetic"/>
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</item>
<item rdf:about="http://metalab.harvard.edu/2012/02/twitter-nprs-morning-edition-and-dreams-of-flatland/">
    <title>Twitter, NPR’s Morning Edition, and Dreams of Flatland | metaLAB (at) Harvard</title>
    <dc:date>2012-02-22T07:24:12+00:00</dc:date>
    <link>http://metalab.harvard.edu/2012/02/twitter-nprs-morning-edition-and-dreams-of-flatland/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["“Wellman is finding that Twitter isn’t flat,” Vidantam says—as if Tom Friedman’s chimerical “flatness” (the analytic value of which has proven to be nil) is the only possible quality of transformative political agency.

In last year’s revolutions, it wasn’t flatness that gave social media its power. It was its hyperlocality, its novel blending of intimate communities and witness at a distance.

Other work in which Wellman is involved argues for the richness of real-world community life that gets instantiated in Twitter. In a paper called “Imagining Twitter as an Imagined Community,” Wellman & his coauthors find that Twitter networks are “the basis for a real community, even though Twitter was not designed to support the development of online communities. There they conclude that “studying Twitter is useful for understanding how people use new communication technologies to form new social connections and maintain existing ones.”

Here’s the thing: Twitter is part of the “real world.”"]]></description>
<dc:subject>networks hyperlocal flatness connections place language nationality borders barrywellman shankarvidantam andycarvin tejucole communitites thomasfriedman worldisflat 2012 matthewbattles community twitter sociology socialmedia geography horizontality horizontalidad</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:3fef5de451aa/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:flatness"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:connections"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:place"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:language"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:nationality"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:borders"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:barrywellman"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:shankarvidantam"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:andycarvin"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:tejucole"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:thomasfriedman"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:worldisflat"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:2012"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:matthewbattles"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:community"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:twitter"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:sociology"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:socialmedia"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:geography"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:horizontality"/>
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</item>
<item rdf:about="http://www.niemanlab.org/2012/01/matthew-battles-it-doesnt-take-cupertino-to-make-textbooks-interactive/">
    <title>Matthew Battles: It doesn’t take Cupertino to make textbooks interactive » Nieman Journalism Lab</title>
    <dc:date>2012-01-21T06:46:16+00:00</dc:date>
    <link>http://www.niemanlab.org/2012/01/matthew-battles-it-doesnt-take-cupertino-to-make-textbooks-interactive/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Schiller made a sentimental play to this constituency, opening his presentation with a series of excerpted interviews in which teachers sang the sad litany of challenges they face: cratering budgets, overcrowded classrooms, unprepared, disengaged students. The argument that Apple — founded by dropouts and autodidacts — is fundamentally motivated to change this set of conditions is as ludicrous as the notion that the company could ever hope actually to do any such thing…

We can never count Apple out — the company’s visions have an implacable way of turning into givens — but the future is undoubtedly more complex. There will still be overcrowded classrooms, overworked teachers, and shrinking budgets in an education world animated by Apple. But I prefer to think of teachers and students finding ways to hack knowledge and make their own beautiful stories to envisioning ranks of studens spellbound by magical tablets."]]></description>
<dc:subject>ibooksauthor ibooks technology schooliness rubrics standardization autodidacts pearson timcarmody matthewbattles publishing tablets knwoledgebowl knowledge interactive textbooks books schools learning storytelling teaching education 2012 ipad apple autodidactism</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:9201ed240c97/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:schooliness"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:rubrics"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:standardization"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:autodidacts"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:pearson"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:timcarmody"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:matthewbattles"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:knwoledgebowl"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:books"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:schools"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:learning"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:storytelling"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:teaching"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:education"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:2012"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:ipad"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:apple"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:autodidactism"/>
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</item>
<item rdf:about="http://metalab.harvard.edu/2012/01/going-dark-sopa-wikipedia-and-expressive-absence/">
    <title>Going dark: SOPA, Wikipedia, and expressive absence | metaLAB (at) Harvard</title>
    <dc:date>2012-01-18T03:14:27+00:00</dc:date>
    <link>http://metalab.harvard.edu/2012/01/going-dark-sopa-wikipedia-and-expressive-absence/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The occupations rejuvenated an embodied rhetoric of people in places, a fundamental politics of presence; the impending darkness of Wikipedia (in which the online encyclopedia will be joined by a growing cohort of Internet actors, including the Berkman-born Global Voices project) manifests a complimentary absence.

Occupy rediscovered the politically-compelling qualities of place; in going dark, Wikipedia strives to remind us that while the Internet may exist in virtual space, it has fast become a very real place."]]></description>
<dc:subject>matthewbattles place space protest pipa wikipedia expressiveabsence presence 2011 ows 2012 sopa</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:ace09db27390/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:space"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:protest"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:pipa"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:wikipedia"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:2011"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:ows"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:2012"/>
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</item>
<item rdf:about="http://hilobrow.com/2011/09/16/the-call-of-the-feral/">
    <title>The Call of the Feral | HiLobrow</title>
    <dc:date>2011-09-19T07:22:59+00:00</dc:date>
    <link>http://hilobrow.com/2011/09/16/the-call-of-the-feral/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Like weeds, we grow in disturbed soil, subsiding between progress and collapse. And yet the very qualities of the feral, qualities that condition our thriving — anonymity, wariness, curiosity — have a way of shading imperceptibly into liabilities.…In London’s Wild we find much that is glowering and judgmental —a gospel of the strong — an exaltation of the primordial qualities of the Law.

The feral, by contrast, is the quality of having no qualities…

we should presume that the feral will only gain in importance in years to come. For as power evades the work of politics, infiltrating the circuits that connect consciousness to consciousness; as the planet urbanizes, filling up with walls to hem us in; as the climate tilts inexorably under the deranging influence of that preeminent domesticated species, Homo sapiens; all creatures must learn to cultivate the feral qualities."

[See also: http://hilobrow.com/tag/feral-muse/ ]]]></description>
<dc:subject>matthewbattles feral anarchism anarchy literature jacklondon animals deschooling consciousness zizek anonymity 4chan wariness curiosity callofthewild tovejansson dhlawrence zygmuntbauman jeanstafford refugees liquidtimes thetruedeiver themountainlion thefox progress collapse wilderness wild</dc:subject>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:anarchism"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:4chan"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:wariness"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:curiosity"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:callofthewild"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:tovejansson"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:dhlawrence"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:zygmuntbauman"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:jeanstafford"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:refugees"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:liquidtimes"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:thetruedeiver"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:themountainlion"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:thefox"/>
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</item>
<item rdf:about="http://www.ablersite.org/2011/02/whats-wrong-with-prosthetics-porn-part-i/">
    <title>what’s wrong with “prosthetics porn”? (part I) | Abler.</title>
    <dc:date>2011-03-07T04:05:21+00:00</dc:date>
    <link>http://www.ablersite.org/2011/02/whats-wrong-with-prosthetics-porn-part-i/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Which brings me to consider a question someone asked me after a lecture I gave last year: Is it preferable to design adaptive devices that are elegantly designed to be camouflaged (think hearing-aid jewelry), or beautiful & conspicuous, like the legs above? &, with Wallace in mind, should we ethically aim more design research toward near-future applications, rather than wildly speculative gear that may never see the light of day?

Well—yes. To quote Maile Meloy: Both ways is the only way I want it.

I think our energy can go in all these directions, provided we’re reflective enough. I’ve already affirmed the inherent value in playful experimentation. But the bigger challenge is to make extensive machinery that is truly extensive, truly outward in its posture. I think design matters crucially to these questions, because design for disability has the opportunity to critique the weakness of all personal technologies: its tendency to hermetically seal its user from engaging…"]]></description>
<dc:subject>interdependence design prosthetics prostheticsporn sarahendren abler architecture disabilities aesthetics bespokeinnovations matthewbattles aimeemullins objects mailemeloy hearing-aids jewelry disability</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:097d7c93526c/</dc:identifier>
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<item rdf:about="http://www.niemanlab.org/2010/06/reading-isnt-just-a-monkish-pursuit-matthew-battles-on-the-shallows/">
    <title>Reading isn’t just a monkish pursuit: Matthew Battles on “The Shallows” » Nieman Journalism Lab</title>
    <dc:date>2010-07-03T23:27:08+00:00</dc:date>
    <link>http://www.niemanlab.org/2010/06/reading-isnt-just-a-monkish-pursuit-matthew-battles-on-the-shallows/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["In ecosystems like the Gulf of Mexico, the shallows are crucial. They’re the nurseries, where larval creatures feed and grow in relative safety, liminal zones where salt and sweet water mix, where light meets muck, where life learns to contend with extremes. The Internet, in this somewhat dubious metaphor, is no blowout — it’s a flourishing new zone in the ecosystem of reading and writing. And with the petrochemical horror in the Gulf growing daily, we’re learning that the shallows, too, need their champions." [via: http://snarkmarket.com/2010/5790]
]]></description>
<dc:subject>matthewbattles books culture internet reading thought nicholascarr clayshirky social writing cv howwework howwelearn learning conversation gutenberg complexity history journalism philosophy ideas</dc:subject>
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<item rdf:about="http://mbattles.posterous.com/shirkys-surplus">
    <title>shirky's surplus - library ad infinitum</title>
    <dc:date>2010-07-03T22:45:51+00:00</dc:date>
    <link>http://mbattles.posterous.com/shirkys-surplus</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Cognitive Surplus is about a specific kind of free time: not the Hundred-Acre-Wood or the endless summer, but the stock of leisure hours produced by modernity, and the rise of technologies that make it possible to spend that time in engaging ways. And yet the notion of free time itself should be suspicious to us, shouldn't it? "Free time" is something born of an industrial economics of time, a commoditized temporality. Leisure is a boon granted by the system—a perk, a benny. Compensation. And as long as it helps us recharge our batteries and never keeps us from being productive, high-performance workers, free time isn't free... I'm still excited by Shirky's idea. But I want to bring Carr's highbrow concern for the vital uses of cognition, contemplation, and communication to bear upon it. The technologies Shirky celebrates present us with a choice: do we use them as the means of liberation, or as Skinner boxes to while away the off-hours?"

[Also available here: http://www.niemanlab.org/2010/06/not-all-free-time-is-created-equal-battles-on-cognitive-surplus/ ]]]></description>
<dc:subject>cognitivesurplus clayshirky via:preoccupations matthewbattles nicholascarr herbertmarcuse leisure modernity technology recharging productivity freedom cognition contemplation communication 2010</dc:subject>
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<item rdf:about="http://snarkmarket.com/2009/3145">
    <title>Snarkmarket: Constellations of Intelligence</title>
    <dc:date>2009-08-01T04:06:20+00:00</dc:date>
    <link>http://snarkmarket.com/2009/3145</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[something now wrong at that link, so use this one:
http://snarkmarket.com/blog/snarkives/new_liberal_arts/ ]

“Ultimately, I think some blending of the academy and the social web is inevitable, but it’s a genuine dilemma which one will ultimately remake the other after its own matrix. Ultimately, I would bet on the web, and here’s why.

For one thing, it’s not a head-to-head but a three-way competition. The base of the university is still probably wash after wash of traditional intellectual culture - medievalism, humanism, the Enlightenment. But that’s been increasingly uprooted by first state and then corporate bureaucracies. The ethos of digital culture is actually more sympathetic to traditional humanism than corporate office suite. But the technology and economic possibilities of digital culture can also peel away the more futurist-thinking of the capitalist side.

The real clincher, though, is writing. If writers and students and researchers and administrators at universities begin to port their assumptions about how all of these things work into the classroom and the academic conference, then it’ll be a relentless wave. Within a generation, nothing will look the same. (Nothing will be wiped out, either - universities, as the archives of the world, retain everything, like the unconscious.)”


]]></description>
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