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  </channel><item rdf:about="https://chrishedges.substack.com/p/a-discussion-on-the-new-novel-palaces">
    <title>A Discussion on the New Novel 'Palaces of the Crow' (with Ray Nayler) | The Chris Hedges Report</title>
    <dc:date>2026-05-23T05:19:01+00:00</dc:date>
    <link>https://chrishedges.substack.com/p/a-discussion-on-the-new-novel-palaces</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["In his new book, “Palaces of the Crow,” Ray Nayler examines human nature through the lens of caring and community amidst the often hidden horrors of World War II."

...

"“We tell the stories that perpetuate the narrative or the myth we want, and we erase the others,” Chris Hedges states in this interview with Ray Nayler about his new book, “Palaces of the Crow,” which centers around four teenagers from varying backgrounds who struggle to survive during World War II. The war, Nayler says, fundamentally reshaped the world geopolitically, technologically and socially in ways that have profoundly impacted the environment in which we live today. Critical lessons from that moment in time are being lost, with media and governments covering up the deep and long-lasting wounds inflicted upon tens of millions of people. Nayler says that “We can’t move away from that time period before understanding it.”

During World War II people were trapped in unimaginably horrible circumstances and were forced to make difficult, and at times self-sacrificial, decisions. The story of the “ways in which people came together to protect their neighbors, to protect family members, to protect friends, to protect strangers” is rarely told, Nayler says.

In Nayler’s novel, crows play an essential role in the story. Like humans, crows are social animals. He describes the crows’ niche as the flock and the flock as a type of organism whose niche is the forest, much like the human’s niche is society and our society’s niche is the world. Contrary to their typical association with death and destruction, Nayler utilizes them as “a symbol of cooperation and group living and non-violence.” From this viewpoint, one sees that human connection, cooperation, nonviolence and mutual aid are fundamental to survival.

The theme of connection, “a primal sense of togetherness,” is central to the story of the four teenagers thrown together under hostile conditions. This connection allows people, and other animals, to find common ground and get along despite their different cultures. Civilization, which Nayler portrays as “being inside a painted box and trying to ignore what’s out there,” is an obstacle to connection that prevents us from recognizing reality. We erase the reality that humans are social, nonviolent, interconnected and caring beings at our own peril."

...

"Ray Nayler: Well, in a way, this book for me is a kind of response to a certain way of seeing human nature, right? I was very surprised when I found out that William Golding’s “Lord of the Flies” was based on a real event. That there really was a group of shipwrecked boys who survived for a long time on an island alone. They all went to a boarding school, right? And their teachers were not with them, so they were forced to form a society on this island and cooperate and find some way through. The difference between the book and reality is that in reality, nobody died. The boys divided the chores up between themselves, set up housekeeping, and lived very peacefully on that island together in a state of mutual aid and cooperation.

But that’s not the story that gets told in Lord of the Flies, of course. The story that gets told in Lord of the Flies is one of the strong against the weak, and this sort of perverted miniature version of the society that William Golding perceived us as living in in his day. Golding responds to that criticism in an interesting way and, at the contemporary moment when he wrote the Lord of the Flies, he says, “Well this is not a story about those boys. This is a story about British schoolboys and how they would form a society on an island.” And I take that point, but at the time, I think, there’s so many books that are written about people destroying one another in times of adversity. And one of the things that’s forgotten about World War II, for example, is that probably most of the people involved in World War II tried to protect both themselves and other people around them. And many, many people in World War II actually sacrificed their lives to protect other people, knowingly gave their lives up in order to shield other people from oppression. And that’s a story that we don’t talk about, I think, enough about the ways in which people came together to protect their neighbors, to protect family members, to protect friends, to protect strangers."

...

"Chris Hedges: I know from your wonderful book about the octopus that you probably didn’t make up anything about these crows. But set against this horror, and it is a horror that these four teenagers are attempting to hide from and survive through, is our relationship to the animal, to animals, in this particular case, crows. And one of the things I found interesting is that they kind of live in this underground shelter that had been previously occupied by a veteran of World War I and a hermit who had been very, very kind to the flocks of crows in the forest. And it raises that question of whether there was some kind of reciprocity. But I want you to talk about the use of crows that are a constant theme in the book. And at the end, I won’t spoil it, but I mean, there becomes a decision by one of them, I mean, to risk their life to save the crows that are trying to save her.

Ray Nayler: I think Corvids are fascinating. And crows, in particular, but other Corvids like ravens and rooks. One of the things that’s really interesting about them for me is that within the space that humans create, this very damaged space, urban spaces and suburban spaces and all of the spaces in which we’ve sort of invaded nature to some extent, many animals have been destroyed by that movement into nature by human beings. Crows, on the other hand, are one of the groups of animals whose numbers have increased along with humans and who seem very suited to taking advantage of our damaged liminal spaces.

I think we have a strong association with crows and negativity, right? We see their call as a sign sometimes of death, right? They’re associated with disease and war and all of these other things, but I think precisely because when humankind has gone into battle, historically crows have been there to take advantage of the food that we leave behind for them on the battlefield, right? And so, crows are creative and intelligent creatures themselves, of course. And these crows in this book are sort of an extension just of the tool use and intelligence that crows have. And crows are also an animal that has a direct weaving relationship with human beings. They’ve been with us as a symbol, probably throughout our entire history. We’ve, I think, learned a lot from them. And they learn from us. They watch us do things and imitate us. They exchange gifts with us. They remember our faces. They’ve clearly evolved alongside us for a long time.

I was on the beach with my daughter, and we were tide pooling and we were sort of standing there looking at some things. And I saw the crows come down off of the sea cliffs and start gleaning from the tide pools. And I asked the ranger what the crows were doing there because you don’t usually see crows right at the seashore. They’re usually driven away by gulls. And the ranger said, “Well, there was a student group here. There were children. It was a kindergarten group. And the crows know that when the children come through the tide pools, they’re not very careful about where they put their feet and they kill a lot of small animals and snails and things. And so, the crows watch from the forest above the beach, and they wait for children to come through the tide pools and then they go and they pick up what the children have left behind.” And I thought, that’s such a good summation of what much of the crow-human relationship has been historically. We make a mess. The crows take advantage.

But there’s also in the book, mutual care that emerges between the humans and the crows. And this is something that we see with human-animal relationships. And you see it with crows. People who treat injured birds, especially the more intelligent species like Corvids, will often find that they’ve gained a lifelong friend, right? And that bird will introduce them to other birds from their flock and soon they have a relationship with a whole group of birds. And so that thread of care that proceeds from the man who takes care of some crows and is kind to them, and then the children who come along and need help and the crows give it to them, and then later in the book, what the adults will do for the crows. All of that is for me a way of showing how care can move through species, through generations and build some kind of a system of care, right? Grow and grow, if it’s given that space to grow."

...

"Ray Nayler: You know, again, crows are an interesting species. They can be cruel. They can seem cruel to us. They certainly have these famous moments of having trials of other crows and for whatever reason deciding to kill one of their number and it’s completely unclear to us from the outside. No biologist can tell you why this happens, what has been done, because we don’t understand what their culture is and what the violation might have been. But crows show concern for one another, for the injured, for the weak, and they will protect a wounded crow. They will protect a fledgling fallen from the nest against predation. Crows will band together to drive off predators, even when those predators are not a direct threat to them. They will do it just for the sake of other crows, of other members of their group. And they risk their lives to do this. Driving a hawk off is a dangerous activity and it puts one at risk. And so, to do that as a crow, not for the sake of oneself, but for the sake of the flock, really shows the sort of mentality that exists. And I use that word in that exact sense of mentation and a sort of vision of the world or a picture of the world. In the crows’ picture of the world, it is worth risking one’s life for the other virtually at all times.

Chris Hedges: Well, in the book, they risk their lives for the children.

Ray Nayler: Yes. And I think that the implication is that in some way they’ve been able to extend this care out to the children because they have formed a relationship with one of them, Neriya, who has for many seasons been playing with them and interacting with them and building a kind of friendship with them. And so, on that foundation and on the foundation of the relationship that they had with this man before, they have a reason to extend that care to an interspecies level."

[Direct link to video:
https://www.youtube.com/watch?v=hjZ35_Rin3U

"(0:00) Intro  
(2:25) Why WWII? 
(4:21) Clash of totalitarians 
(6:13) The four characters 
(10:19) The symbology of crows 
(15:58) Karma and resurrection 
(19:46) Kropotkin’s naturalism 
(25:04) The complexity of crows
(27:53) Transgenerational communication 
(30:59) Rootlessness and evil 
(33:03) Human-animal communication 
(38:55) The myth of childhood 
(44:05) The forgotten history of WWII
(51:21) Trauma of veterans 
(52:11) Outro"]]]></description>
<dc:subject>raynayler chrishedges war poland wwii ww2 crows corvids humannature humans human caring community fiction literature togetherness interconnected interconnectedness ussr nazigermany germany cooperation nonviolence mutualaid survival peterkropotkin totalitarianism williamgolding rootlessness evil trauma childhood human-animalrelations human-animalrelationships 2026 lordoftheflies danielberrigan faith birds siberia morethanhuman multispecies krasnovodsk resurrection manchuria turkmenistan leesandlin hitler adolfhitler society civilization children communication interspecies relationships thomasnagel experience perception pathology donaltrump hannaharendt karma poverty nourishment scarcity abundance socialism equality writing howwewrite reading howweread legacy death generations culture learning howwelearn inscription individualism extraction extractiveindividualism environment corporations corporatism disconnection history interdependence sesnes sensory waysofknowing blindness sound sensing senses modernity huma</dc:subject>
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<item rdf:about="https://www.frontporchrepublic.com/2026/04/from-the-editor-local-culture-8-1/">
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    <dc:creator>robertogreco</dc:creator><description><![CDATA["Nostalgia, properly speaking, is homesickness. In its etymologically precise sense it is a longing not for a time but for a place."]]></description>
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<item rdf:about="https://thinkpieces-review.co.uk/2025/02/21/of-media-multiplicities-and-monsters/">
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    <dc:date>2026-04-26T07:59:17+00:00</dc:date>
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    <dc:creator>robertogreco</dc:creator><description><![CDATA["What is the city and how do we map it? Its multiplicities, polyphony and chaos? Not in cartographic terms, from above, but from the ground up – walking it, thinking it, writing it? Like the many European writers, artists, philosophers who came to London over the centuries and wrote about it, who wrote themselves into the city’s memory and who, in return, were shaped (written upon?) by the city. Who makes the city? Uta Staiger critically and playfully maps an answer to these questions, wandering and meandering, physically and philosophically, taking us with her."]]></description>
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<item rdf:about="https://www.youtube.com/watch?v=brrGT5kIhqY">
    <title>M.R. O'Connor - Wayfinding: The Science and Mystery of How Humans Navigate the World - YouTube</title>
    <dc:date>2026-04-09T23:39:07+00:00</dc:date>
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    <dc:creator>robertogreco</dc:creator><description><![CDATA["M.R. O’Connor is a graduate of Columbia University’s Graduate School of Journalism who writes about the politics and ethics of science, technology and conservation. She is the author of two acclaimed books about the cutting edges of contemporary scientific research, with a third on the way. Her first book, Resurrection Science: Conservation, De-Extinction and the Precarious Future of Wild Things (St. Martin’s Press, 2015) and was one of Library Journal and Amazon’s Best Books of The Year. Her second book, Wayfinding: The Science and Mystery of How Humans Navigate the World (St. Martin’s Press, 2019) is an exploration of navigation traditions, neuroscience and the diversity of human relationships to space, time and memory. Its writing was supported by the Alfred P. Sloan’s Program for the Public Understanding of Science, Technology & Economics. About the book, Kirkus Reviews writes that “O'Connor talked to just the right people in just the right places, and her narrative is a marvel of storytelling”; Nature explains that “[O’Connor walks the labyrinth of the brain’s time-and-space-mapping hippocampus. And, on the road, she meets astrophysicists, anthropologists and traditional wayfinders — such as Bill Yidumduma Harney of Australia’s Wardaman culture, who steers by thousands of memorized stars”; and Science notes that “O’Connor’s coverage of the cognitive map theory… is deep and broad.” She is currently writing a book called Ignition (Bold Type Books) on fire ecology and prescribed burning, for which she became certified as a wildland firefighter.

Her work has appeared online in The Atavist, Slate, Foreign Policy, The New Yorker, Nautilus, UnDark and Harper’s. A pair of recent essays for The New Yorker include “A Day in the Life of a Tree” and “Dirt Road America,” a feature piece about Sam Correro, who has spent decades stitching together maps of continuous pathways of dirt roads across the United States. In 2008/2009, O’Connor served as a reporter for The Sunday Times, an English-language newspaper in Colombo, Sri Lanka. Her investigative reporting on topics like disappearances in Sri Lanka’s civil war, global agriculture trade in Haiti, and American development enterprises in Afghanistan have been funded by institutions such as the Pulitzer Center on Crisis Reporting, The Phillips Foundation and The Nation Institute’s Investigative Fund. For a long time, she made her bread and butter as a stringer covering crime, courts and breaking news in New York City for publications such as The Wall Street Journal and New York Post, and covered the criminal justice beat for the online investigative site The New York World. She is. She lives in Brooklyn, NY with her partner, the screenwriter Bryan Parker, and their two sons.

Sponsored by the College of Science, Technology, Engineering and Mathematics, the Department of Psychology, the School of Communication and the Honors Program."]]></description>
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    <dc:date>2026-04-09T21:11:33+00:00</dc:date>
    <link>https://www.koozarch.com/interviews/searching-affective-land-madeyoulook-kang-seung-lee-on-memory-and-mapping</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Landscapes are loaded, rife with multilayered memories, narratives and resonances both visible and unseen. In this conversation, hosted on occasion of The dead don't go until we do exhibition at Talbot Rice Gallery, Korean artist Kang Seung Lee shares the particular perceptions of queer lives in space, while MADEYOULOOK — a Johannesburg-based collaborative practice between Molemo Moiloa and Nare Mokgotho — observe and excavate intimacies found in the Black experience of the everyday."]]></description>
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<item rdf:about="https://orionmagazine.org/article/an-aroma-most-beguiling/">
    <title>An Aroma Most Beguiling - Orion Magazine</title>
    <dc:date>2026-04-05T06:06:57+00:00</dc:date>
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    <dc:creator>robertogreco</dc:creator><description><![CDATA["On flowers, perfume, and the science of smell"]]></description>
<dc:subject>smell scent science flowers perfume davidgeorgehaskell 2026 subconscience humans brain conciousness culture biology aromas senses sensory multisensory perfumes plants memories memory ecology</dc:subject>
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<item rdf:about="https://lagomor.ph/2024/07/they-dont-make-it-like-they-used-to/">
    <title>They Don't Make It like They Used To - Lagomorph</title>
    <dc:date>2025-12-31T07:11:00+00:00</dc:date>
    <link>https://lagomor.ph/2024/07/they-dont-make-it-like-they-used-to/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Nostalgia for the past has supplanted our yearnings for the future, becoming the default marketing tool for corporations. Instead of asking ‘what’s new?’, they ask ‘what have we done before that you liked?’. This trend transcends marketing tactics, reflecting a destabilizing era of remakes and reboots. Crucially, nostalgia is a finite resource, and its exhaustion bears unknown consequences.

Jean Baudrillard’s notions of simulacra and simulation offer a valuable framework for understanding this phenomenon. In the post-postmodern era, the line between reality and representation has blurred into hyperreality, where simulations precede and replace the real.

Constructed Nostalgia depletes this finite resource, erasing authentic memories and replacing them with inferior copies. Consequently, our recollections are overwritten by simulacra, leaving us with inauthentic memories devoid of the original’s substance.

***

Authentic Nostalgia

To understand this phenomenon, it is essential to distinguish between authentic and constructed nostalgia. Authentic nostalgia arises from genuine personal experiences and emotional connections to the past. In contrast, constructed nostalgia is manufactured, designed to evoke a sentimental response without the underlying connection. It creates a feeling that one should be nostalgic, even if the specific reasons for that nostalgia are unclear.

Constructed Nostalgia is a Xerox of a Xerox. It starts with something you genuinely remember and feel fondness for, then revises it. This sanitized and engineered version of the past creates a sense of familiarity and longing without the authentic emotional foundation. For example, the resurgence of 1980s-themed products and media is predominantly consumed by much younger people rather than those who lived through that decade. Twenty-first-century teenagers listen to cassette tapes and records, feeling an inexplicable sense of home despite having no direct experience with these mediums.

***

Stages of Simulacrum

Baudrillard’s stages of simulacra elucidate this phenomenon further. Initially, a nostalgic product is created as a faithful reproduction—consider Commodore 64 clones, for example. These products aim to replicate the original experience closely, preserving the essence and integrity of the original, and maintaining a strong connection to authentic nostalgia. However, as these products become pervasive and are altered for modern tastes, they transform into distorted representations (second order simulacra). Remastered video games with updated graphics and controls, while retaining the essence of the original, introduce modern elements that alter the authentic experience, thereby introducing a layer of inauthenticity.

The third order of simulacra involves copies that pretend to be real but are fundamentally different from the original. The NES Classic, a modern version of the original Nintendo Entertainment System with pre-loaded games and new features, presents itself as an authentic revival but is essentially a different product. In this stage, the distinction between the original and the copy becomes blurry, creating a hyperreal experience where the simulation takes precedence over the original.

Finally, the fourth order of simulacra represents copies with no relation to any reality whatsoever. Modern devices designed to look vintage but equipped with entirely new technology fall into this category. These products evoke a sense of nostalgia through aesthetics alone, without any genuine link to past experiences. At this stage, the nostalgic product is a pure simulacrum, serving as a standalone object of nostalgia without any connection to the authentic past.

The progression of these stages illustrate how the commodification of nostalgia is an ouroborus - you can’t help but erode the ground your standing on. This process of transforming authentic memories into commodified products ultimately results in a loss of genuine cultural and personal history. We replace the warm feelings of authentic nostalgia with it’s sugar-free version, lacking depth and authenticity.

The more we engage with these feelings, the more they’re overwritten.

***


Psychological Impact of Constructed Nostalgia

The psychological impact of constructed nostalgia extends beyond mere consumer behavior, influencing how we perceive and recall our past. As constructed nostalgia becomes the prevalent form, it begins to distort our memories and affect our well-being in profound ways.

When individuals repeatedly engage with nostalgic products that simulate the past, their authentic memories begin to fade, replaced by the sanitized versions sold to them. This phenomenon is known as “retroactive interference,” where new information interferes with the ability to recall old information accurately. For instance, someone playing a remastered version of a childhood game may find their memories of the original game becoming hazy, replaced by the updated experience. This not only affects personal memories but also shapes the collective cultural memory, as we begin to remember the past through the lens of these reconstructions.

The malleability of these feelings has profound emotional consequences. Simulated warmth and familiarity do not stand up to the real thing. The realization that one’s nostalgia is constructed can lead to feelings of disconnection and dissatisfaction. When individuals recognize that their nostalgic feelings are based on inauthentic experiences, it creates a sense of loss that extends beyond the media or products they interact with. This recognition seems to drive a cycle where people seek out more nostalgic connections in an attempt to recapture the original emotions, further cannibalizing their opportunities to experience genuine nostalgia.

The broader implications of this phenomenon are significant. We struggle to form a coherent sense of self when our memories are constantly overwritten by constructed experiences. This constant overwriting detracts from the formation of a stable personal identity. Culturally, our reliance on constructed nostalgia leads to a homogenized view of the past, where diverse and authentic childhood experiences are overshadowed by a dominant, sanitized narrative. This homogenization not only distorts our understanding of history but also diminishes the richness and variety of cultural memory.

***

We Can’t Go Back

Once this process of photo-copying and overwriting begins, we reach a point of no return. The original emotions tied to our authentic memories are replaced by their engineered versions. The broken wheel of constructed nostalgia ensures these genuine feelings are lost forever.

Consider a child who watches Ghostbusters in the 1980s and cherishes the film as part of their childhood. As an adult, they participate in the new sequels - a second stage simulacrum - but their own child, even if they watch the original first before the sequels, understand the film as “Dad’s thing”, since they can’t have the emotional connection to the time and place of the original film. They can only feel the simulacrum, the modernized version, without the cultural and emotional context.

With time, this means that nostalgia for the property gets burned up entirely. Dad gets frustrated with the retrobait no longer doing anything for him emotionally. Daughter never really felt a connection with it at all. Corporation moves on and starts constructing nostalgia for something else.

What we are witnessing is the creation of a feedback loop, where each generation’s history is undermined from the foundation upwards. Future generations, growing up with sequels and remakes, are nostalgic for a simulacrum—a copy without an original. This manufactured sentimentality lacks the depth of authentic emotional connections.

Before the post postmodern, history was rewritten by the victors. Now it is continually revised by those who profit from it. This commodification of nostalgia transforms our cultural history into a mass-produced disposable product. We slide through the tree of history, turning branches into walking sticks, and reduce it to a superficial, fragmented cultural memory.

***

Historical Events and Nostalgic Overwriting

By continuously engaging with these simulations, we risk erasing the genuine emotional connections that form the foundation of our personal and collective identities. As a result, the more we indulge in constructed nostalgia, the more we lose touch with the authentic experiences that once defined us.

The Summer of Love in 1967, celebrated as a time of peace, love, and cultural revolution, is a prime example of this phenomenon. The reality of the period was far more nuanced, marked by rampant racism, drug abuse, and clashes with police and the state. Nostalgic portrayals often delete these aspects, focusing instead on the era’s vibrant aesthetics and countercultural symbols.

Fashion and media not only reshape our cultural history of the Summer of Love by selling tie-dye shirts and bell-bottom jeans—they burn the historical context entirely. If listening to a Beatles record represents first-order nostalgia, then Temu flower-power jeans are a fourth-order simulacrum. As authentic nostalgia is consumed, subsequent generations fundamentally misunderstand past events. This sanitization permanently erases the struggles and achievements of our history, affecting contemporary social and political movements by oversimplifying and misinterpreting lessons from the past.

Moreover, our reliance on these nostalgic narratives stifles critical engagement with our own humanity. When the past is primarily remembered through constructed nostalgia, the complexities and true nature of our lives become reduced. The potential for meaningful reflection and growth is hindered, leaving us with an unstable foundation upon which to build our understanding of history and identity.

The long-term consequences of relying on constructed nostalgia are profound. As we continue to replace authentic memories with sanitized versions, we risk losing the ability to learn from history. This not only impoverishes our cultural heritage but also weakens our capacity to address contemporary issues with the depth and nuance they require. By embracing a more critical engagement with the past, we can preserve the richness of our collective experiences and foster a more informed and empathetic society. It is essential to recognize the difference between genuine nostalgia and its commodified counterparts, ensuring that our memories and histories remain grounded in reality rather than in superficial reconstructions.

***


Identity Formation and Attachment to Childhood Media

As constructed nostalgia replaces authentic memories, individuals struggle to form a coherent sense of self. We chase connections to our history, and not finding it, attach ourselves to our media instead. This phenomenon is particularly evident in the intense devotion a section of modern adults display towards the media of their childhood, such as the fervent fandoms surrounding franchises like Star Wars, Disney, or Marvel.

The attachment to childhood media often stems from a longing for the simplicity and comfort of the past. Constructed nostalgia plays a crucial role in this attachment by continuously repackaging and marketing these media franchises in ways that evoke sentimental feelings. As a result, adults find themselves clinging to these cultural touchstones, which provide a sense of stability in a world that, due to our reliance on overwritten memories, feels unfamiliar and ever-changing.

This reliance on media for identify formation has significant social implications. On an individual level, obsession with childhood nostalgia leads to a superficial sense of self, anchored in consumer culture rather then true authentic personal experiences. These “Disney-Adults” who define themselves through their fandoms are beyond the point of developing an independent identity, nor do they want to; Their self-concept is entirely influenced by the shifting trends and narratives of manufactured nostalgia, making it difficult to cultivate a stable and nuanced sense of self.

Baudrillard critiqued Disneyland as a prime example of hyperreality—a place where the lines between reality and fantasy are blurred. He argued that Disneyland exists to conceal the fact that it is the “real” America, or rather, a sanitized and idealized version of it. In Baudrillard’s view, Disneyland is not just a theme park; it is a simulation that represents the larger cultural tendency to replace the real with the hyperreal.

If this is the case, then Disney-Adults are the first class citizens of this “real” America, and exist only as expats in material reality. Simulated Nostalgia is their first language before english, more comforting and comprehensible then the material world.

This intense emotional investment in childhood media often leads to exclusionary and defensive behavior. A notable example is the vitriol directed at properties like the new Star Wars films and Captain Marvel. While sexism against female leads was certainly a factor, it overlooks a larger issue—the fear among fans that their identity, deeply intertwined with these media franchises, is being threatened by new adaptations and interpretations. These changes deviate from what they nostalgically cherish, prompting a backlash fueled by a perceived loss of the familiar elements that define their sense of self.

This pattern of defensiveness and exclusionary behavior is not limited to media fandoms; it extends into our larger cultural interactions, particularly in current politics. Constructed nostalgia plays a significant role in shaping political identities and behaviors, as individuals cling to idealized versions of the past that align with their beliefs and values. Political movements often invoke a “golden age” narrative, appealing to voters’ nostalgic longing for a perceived better time. This strategy capitalizes on constructed memories, glossing over the complexities and challenges of the past to create a compelling, yet simplistic, vision of history.

The rise of populist movements globally can be seen as a manifestation of this phenomenon. Leaders and political figures frequently evoke nostalgic imagery to rally support, promising a return to the values and prosperity of a bygone era. This rhetoric resonates deeply with those who feel disconnected from the present and yearn for the familiarity of the past; Moreover, the reliance on constructed nostalgia in politics can lead to polarized and inflexible viewpoints. Just as fans of media franchises react defensively to changes, political adherents reject new ideas and policies that challenge their nostalgic ideals.

The long-term consequences of relying on constructed nostaliga for identity formation will be profound. As individuals and societies become increasingly defined by their media consumption, the ability to engage critically with the past and present is compromised. The only option left is to burn it all down.

***

Oops, We’re Doing an Accelerationism

There is no turning back. It’s impossible to deny Constructed Nostalgia. As long as someone, somewhere, says “Remember this?” the process of its transformation begins, regardless of intent. The speed of resource extraction only increases as profit is discovered.

We can, however, accelerate its consumption until the economy of nostalgia self-destructs; revel in our history like dogs in mud. Burning through our nostalgic resources, we may reach a point where the past is entirely exhausted. This accelerationism proposes that we push this cycle to its logical extreme: by fully embracing the artificiality of Constructed Nostalgia, we expedite its collapse.

In this scenario, the relentless pursuit of monetizable history consumes all historical connections, stripping them of meaning until only the simulacra of all our feelings remain. With nothing left to feel nostalgia for, we are forced to confront the present in all its complexity. By exhausting the past, we free ourselves from its perpetual re-creation, and construct an authentic engagement with the now.

This would be a new cultural paradigm. In this landscape, individuals and societies would be forced to restructure around genuine, unmediated experiences - a world without history.

The only way out is through. Hasten the demise, and clear the path for an authentic future. Burn all of history until all that’s left to monetize and feel is the now - forge a new relationship with time and memory; grounded in the present, free from the distortion feel of commodified sentimentality.

This is why I’m watching the new Fallout TV show on loop. I’m an accelerationist.

***

References

Baudrillard, J. (1983). Simulations. Semiotext(E), Cop.

C, B. (2024, May 17). Diagnosing Lore-Brain. Brennan Words. https://brennanwords.ca/2024/05/diagnosing-lore-brain/

This Exists. (2024, July 4). CRT gaming and the trap of retrobait. YouTube. https://youtube.com/watch?v=vpuomqq6W9A "]]></description>
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    <title>Fauxstalgia: When the Internet Misses a Past That Never Existed</title>
    <dc:date>2025-12-31T07:06:41+00:00</dc:date>
    <link>https://www.lifeblogs.org/entertainment/fauxstalgia-when-the-internet-misses-a-past-that-never-existed.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["In the age of infinite scroll, nostalgia has become a marketing tool, a mood, and a meme. But the nostalgia flooding our feeds today isn’t about the past — it’s about the idea of it. This phenomenon, often called fauxstalgia, describes a longing for a time we never truly experienced. It’s the yearning for ‘simpler’ eras conjured through TikTok filters, vaporwave aesthetics, and AI-generated memories of 1980s summers we never had.

Fauxstalgia thrives in an internet culture obsessed with reboots, retro filters, and analog vibes. It’s comfort content — emotional escapism packaged as vintage fantasy. But beneath the sepia tones lies a fascinating question: why do we long for the unreal? And what does it mean when the internet manufactures collective memories?

This post explores how fauxstalgia works, who profits from it, and how we can engage with nostalgia consciously — not as a digital dream, but as a mirror for the anxieties of the present.

***

The Rise of Fauxstalgia in Digital Culture

The Internet’s Love Affair with the Past

From 8-bit graphics to lo-fi beats, digital spaces are saturated with simulated nostalgia. Social platforms, particularly TikTok, YouTube, and Instagram, recycle retro aesthetics — VHS filters, film grain, vintage fonts — to evoke emotions of innocence and comfort. These aesthetics aren’t authentic representations of the past; they’re aestheticized versions of it, stripped of complexity and hardship. The “good old days” are reconstructed for emotional impact, not historical accuracy.

Nostalgia Without Memory

Unlike traditional nostalgia, which comes from personal experience, fauxstalgia is borrowed emotion. A Gen Z user might romanticize the 1990s — floppy disks, MTV, mall culture — despite never having lived through it. This secondhand nostalgia is shaped by digital fragments: curated playlists, pixel art, and AI-enhanced footage that makes the past look better than it ever was. It’s a simulation of memory, a synthetic longing that feels real precisely because it’s shared collectively online.

Why We Crave the Simulated Past

Fauxstalgia offers emotional safety in uncertain times. As technology accelerates and the future feels unstable, the past becomes a psychological refuge. Online, nostalgia functions as an escape hatch — a pause button in an overwhelming digital world. But when that nostalgia is artificial, it reveals not our love for history, but our discomfort with the present.

***

Aesthetic Time Travel: The Digital Reconstruction of Memory

The Role of Aesthetics in Manufactured Memory

Every filter, soundtrack, and visual edit contributes to a sensory illusion of the past. Apps like Instagram and VSCO transform reality into a retro dreamscape, making even a 2025 selfie look like a Polaroid from 1979. These images aren’t about authenticity — they’re about emotional tone. The past becomes a brand aesthetic, a texture applied to modern life to make it feel meaningful.

The Rise of “Core” Culture

Online trends like “Y2K core,” “cottagecore,” and “90s core” illustrate how nostalgia has evolved into a taxonomy of moods. Each aesthetic reconstructs a version of the past designed for comfort: a stylized fantasy free of historical messiness. The 90s are remembered not for their inequality or turmoil, but for chunky sneakers and bright windbreakers. These selective memories flatten complexity into aesthetic pleasure, where emotion matters more than truth.

The Algorithmic Memory Machine

Algorithms play a crucial role in sustaining fauxstalgia. They learn which content evokes engagement — a pixelated filter, an old TV ad remix — and amplify it endlessly. The more users respond emotionally, the more nostalgia content gets pushed. In effect, platforms automate the past, creating an endless loop where yesterday is always trending.

***

The Commerce of Comfort: How Brands Sell Fauxstalgia



Marketing Through Memory

Brands have long understood the power of nostalgia, but the digital era has refined it into an art form. From Netflix’s retro series like Stranger Things to Pepsi’s 90s-style logos, companies resurrect cultural touchstones to trigger emotional loyalty. Fauxstalgia allows brands to connect emotionally even with audiences too young to remember the original eras they reference. It’s not about memory — it’s about mood.

The Resale of the Past

Products once considered obsolete — vinyl records, film cameras, typewriters — are being rebranded as lifestyle artifacts. The past is no longer gone; it’s re-merchandised. Online thrift platforms and retro subscription boxes sell experiences of authenticity in a world dominated by digital copies. This commodification of the past gives nostalgia a price tag, turning emotional connection into consumption.

The Ethics of Manufactured Memory

While fauxstalgia can feel harmless, it raises questions about authenticity and manipulation. When brands engineer longing for a past that never existed, they also shape how we interpret history. A glossy, corporate version of the 80s or 90s hides economic and social realities. By selling us curated comfort, companies risk erasing the complexity of real memory — and our ability to learn from it.

***

The Psychology of Fauxstalgia: Longing for an Unlived Life

Emotional Displacement and Digital Escapism

Fauxstalgia reflects a deeper psychological tension: the desire to escape modern disconnection. The internet offers boundless connection but limited intimacy. The idealized past, whether it’s a synthwave sunset or an imagined 2000s summer, becomes a symbol of simplicity. It’s not the past we miss — it’s the feeling of belonging and presence that modern digital life often lacks.

Collective Yearning in the Age of Uncertainty

Sociologists suggest that nostalgia spikes during cultural instability. Economic precarity, environmental anxiety, and information overload drive people toward emotional retreat. The collective longing for the “before times” — even invented ones — offers a sense of shared mourning. Fauxstalgia becomes both a symptom and a salve for collective unease, a digital campfire where users gather to remember what never was.

Memory, Authenticity, and Emotional Simulation

Fauxstalgia tricks the brain. Research shows that emotionally charged imagery can create false memories — we believe we’ve experienced things we’ve only seen or imagined. Online, constant exposure to curated “vintage” content reinforces these sensations, blurring the line between history and fantasy. The internet doesn’t just preserve memories; it fabricates them.

***

When Nostalgia Becomes a Loop: The Future That Keeps Looking Back

The Death of Newness

Fauxstalgia has created a culture of recycling rather than innovation. Music samples old tracks, fashion rehashes old silhouettes, and films reboot existing franchises. The obsession with the past has made cultural originality rare. We’re stuck in a feedback loop of remix culture — consuming the familiar endlessly while craving novelty we no longer trust.

The Emotional Cost of Endless Remakes

Living in constant nostalgia can dull our ability to experience the present. When every image and sound references something older, we risk emotional stagnation. Fauxstalgia offers comfort, but also a kind of cultural paralysis — a refusal to imagine new futures. The past becomes not a lesson, but a lullaby that keeps us from waking up.

Reimagining the Future Through Real Memory

Breaking free from fauxstalgia doesn’t mean rejecting nostalgia altogether. Authentic nostalgia — grounded in personal memory and reflection — can inspire creativity and healing. The key is awareness: recognizing when nostalgia is being sold back to us and choosing to engage with it critically. To move forward, we must reclaim memory as a tool for meaning, not marketing."]]></description>
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    <title>Simulated Nostalgia: The Banality of the Future | Sleepcore - YouTube</title>
    <dc:date>2025-12-31T07:06:12+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=58X4opy8vrw</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Sleepcore looks at the banality of the future in this new collection of simulated nostalgia!"]]></description>
<dc:subject>sleepcore simulatednostalgia nostalgia 2024 psychology memory memories fauxstalgia</dc:subject>
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<item rdf:about="https://www.youtube.com/watch?v=7BziqzWKFUg">
    <title>Nostalgia: F91W - YouTube</title>
    <dc:date>2025-12-31T06:45:13+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=7BziqzWKFUg</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Nostalgia - let's explore it!!

1990s Nostalgia: "Simulated Nostalgia: The Banality of the Future | Sleepcore"
https://www.youtube.com/watch?v=58X4opy8vrw 

Nostalgia on Wikipedia:
https://en.wikipedia.org/wiki/Casio_F-91W

Watch and Bullion:
https://watchandbullion.com/casio-f-91w-review/

Watches of MadMen:
https://www.hodinkee.com/articles/in-depth-the-watches-of-mad-men-season-five-courtesy-of-the

Fauxstalgia:
https://www.lifeblogs.org/entertainment/fauxstalgia-when-the-internet-misses-a-past-that-never-existed.html

Depleting Real Nostalgia:
https://lagomor.ph/2024/07/they-dont-make-it-like-they-used-to/ "]]></description>
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    <title>The Yale Review | Dan Fox: “What Happened When I Began to Speak Welsh”</title>
    <dc:date>2025-12-30T20:28:24+00:00</dc:date>
    <link>https://yalereview.org/article/dan-fox-learning-welsh</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["By learning my family's language, I hoped to join their conversation."]]></description>
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    <title>He Erased Memory in Mice. Then Thought About Erasing His Own</title>
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<item rdf:about="https://theluckman.org/gallery/a-tender-excavation/">
    <title>A Tender Excavation – The Luckman</title>
    <dc:date>2025-10-31T21:23:25+00:00</dc:date>
    <link>https://theluckman.org/gallery/a-tender-excavation/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["A Tender Excavation approaches research-based artistic practices through propositions of alternative histories, bringing together a group of artists that work with historical and familial photographic archives as a point of departure to construct new narratives and elicit transformation. Artists featured in the exhibition include Zeynep Abes, Susu Attar, Jamil Baldwin, Mely Barragán, Artemisa Clark, Arleene Correa Valencia, Mercedes Dorame, Prima Jalichandra-Sakuntabhai, Leah King, Tarrah Krajnak, Heesoo Kwon, Ann Le, Arlene Mejorado, Star Montana, and Camille Wong.

The title of the exhibition borrows a description of Arlene Mejorado’s practice as “an act of care, via a tender excavation of objects, anecdotes, and memories simultaneously.” A Tender Excavation centers identities that have been systematically excluded from mainstream narratives and representations of not only American art but of representing an “American” identity. A Tender Excavation features mainly US-based artists who represent Afro-Latinx, African American, Chinese American, Gabrielino/Tongva Nation, Korean American, Iraqi American, Latinx, Mexican, Mexican American, Peruvian American, Thai, Turkish American, and Vietnamese American intersecting identities, among others. For these artists, whose backgrounds are connected to diasporic experiences of discrimination, displacement, erasure, exclusion, slavery, and systemic violence, the practice of piecing together history through memory and counter-narrative is an act of transformation and healing. The works selected for the exhibition depart from personal, familial, or historical photographic archives which ultimately are recontextualized through installation, collage, painting, film, video, sculpture, or mixed media, reimagining and reconnecting lost fragments to speak about personal and collective resilience, constructing new possibilities for an interconnected futurity."]]></description>
<dc:subject>art archives zeynepabes susuattar jamilbaldwin melybarragán artemisaclark arleenecorreavalencia mercedesdorame primajalichandra-sakuntabhai leahking tarrahkrajnak heesookwon annle arlenemejorado starmontana camillewong 2025 photography families diaspora discrimination displacement erasure exclusion slavery systemicviolence identity immigration migration migrants us care caring excavation objects anecdotes memory memories narrative representation</dc:subject>
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<item rdf:about="https://oaklandgardenclub.substack.com/p/the-memory-clerk">
    <title>The Memory Clerk - by Alexis Madrigal - oakland garden club</title>
    <dc:date>2025-08-29T22:57:12+00:00</dc:date>
    <link>https://oaklandgardenclub.substack.com/p/the-memory-clerk</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Next Friday, I’m doing a little thing at Fort Mason we’re calling The Memory Clerk. [https://fortmason.org/event/alexis-madrigal-the-memory-clerk/ ]

For a day, I’m going to be posted up inside the Gateway Pavilion filing your memories of Fort Mason. We can record audio. You can write your memories down. You can bring me pictures. I’ll create a of Bill of Lading (see below) and make sure that Transynaptic Consolidated Lines gets your memory cargoes where they need to go.

It’s part of a project I’m working on about the 50th Anniversary of the Fort Mason Center for Arts and Culture, which is one of the most improbable and remarkable institutions we’ve got. You can come on Friday from noon to 10pm and share an idea with me. Or if you really want to get into the performance art mood of it all, sign up for a slot late that night. If you don’t, it will just be me and the ghosts, which is also fine. They have memories, too, I bet.

I’ve found Fort Mason a fascinating subject for our times. How did this organization turn a vast amount of vacant space into a thriving culture focused on art and ecology? This is kind of the task of our era in Bay Area cities, no? And here we have this shining example of it, right there in one of the most beautiful points of the whole Bay.

Of course, Fort Mason is historically important in regular old American history because it was the Port of Embarkation for the Navy during the first two thirds of the 20th century, a time in which our country fought a lot of wars across the Pacific. Through a complex process, Fort Mason became part of the Golden Gate National Recreation Area, and was given the mission of fostering arts in the city. That led it to host a vast number of playwrights, artists, musicians, restauranteurs, filmmakers, writers, radio folks, and so many more. And it’s those people and the memories of their work that I’m trying to capture here, first and foremost.

That said, Fort Mason is a place in which many other things have happened, too. People get engaged there. They swim under the pylons. They meet at the Interval. Their father takes them to Greens for a special occasion. They go to eat a quiet lunch on a bench looking out at the water. I want those memories, too.

So, September 5th into the 6th… Come out. If you don’t think you can make it, you can still leave me a memory to file. Try this little voice recorder. [https://www.speakpipe.com/FortMasonMemories ] Or send me an email. I’ll get you a receipt soon."

[See also:
https://fortmason.org/event/alexis-madrigal-the-memory-clerk/

"San Francisco Bay Area Journalist, Author To Spend 24 Hours “Filing”
Fort Mason Memories (and Chasing Ghosts) In Gateway Pavilion Performance
One-day project collects community stories as research for upcoming book
on the 50th anniversary of Fort Mason Center for Arts & Culture

 In a unique blend of performance art, oral history, and historical research, KQED’s Alexis Madrigal transforms into “The Memory Clerk” for 24 hours, beginning Friday, September 5, 2025, stationed in Fort Mason Center for Arts & Culture’s historic Gateway Pavilion, to collect and catalog five decades of memories from one of San Francisco’s most beloved cultural spaces.

To schedule a 15-minute session with Madrigal to discuss memories, please visit this Calendly link. Walk-in hours (no need to schedule) are available on Friday, September 5, 2025, from Noon to 10:00 p.m.

From noon Friday – dovetailing with the Fort Mason Night Market from 5:00 p.m. to 10:00 p.m. – to noon Saturday, Madrigal conducts short oral history interviews and accepts online submissions of memories from anyone who has experienced Fort Mason Center for Arts & Culture since its 1977 creation. The project serves as immersive research for a forthcoming book commemorating the center’s 50th anniversary and its role as an arts and cultural hub home to events as varied as the premiere of Sam Shepard’s Pulitzer Prize-winning play, the People’s Republic of China’s first trade show in the U.S. in 1980, the debut of Windows 98, Macy’s popular Passport fashion shows, and the NAMES Project AIDS Memorial Quilt, among thousands of others.

“I want to record and absorb as many memories as I can,” Madrigal explains, “from children who came to casting calls here to people who trained for radio jobs in these buildings to people who found themselves talking all night with a friend in the parking lot on some night in 2005.”

 The Gateway Pavilion, one of the historic buildings that once served as part of the U.S. Army’s Port of Embarkation, provides a fitting backdrop for the memory collection. Just as the clerks at Fort Mason kept tabs for the longshoremen on what needed to go where and ensured nothing important was lost, Madrigal’s performance, as well as the name of the project, hopes to record the people’s memory of the site.

A Model For Transforming Public Space

Fort Mason Center was one of the first sites to transform a closed-down military installation into a vibrant cultural hub, offering a national model in the reuse and adaptation of vacant public spaces. Since the mid-1970s, it has housed theaters, art galleries, museums, and community organizations, as well as hosted hundreds of thousands of events and cultural moments, becoming an integral part of San Francisco’s arts and cultural landscape.

“Looking around at San Francisco and the Bay more broadly, we need to understand how and why Fort Mason has worked so well, what led to its creation, and how the model could be extended elsewhere,” Madrigal notes.

“The Memory Clerk” project aims to capture not just official history, but the lived experiences that have made Fort Mason a cherished community space – the informal conversations, chance encounters, and quiet moments that happen between the scheduled events.

“Fort Mason’s buildings have seen so many things,” Madrigal reflects. “I am hoping the walls can still talk.”

 Mike Buhler, President and CEO at Fort Mason Center for Arts & Culture, welcomes the project: “Fort Mason has been a sanctuary for artists and audiences for five decades, and so many of our most meaningful moments happen in the spaces between performances – in conversations after shows, chance encounters in the hallways, and the quiet magic that occurs when creative people gather. Alexis’ “Memory Clerk” project captures something essential about what makes this place special: it’s not just the official programming, but the countless personal stories that have unfolded within these historic walls.”

 Event Details:

    When: Noon Friday, September 5, 2025, to noon Saturday, September 6, 2025
    Where: Gateway Pavilion, Fort Mason Center for Arts and Culture, San Francisco
    What: Live oral history collection and online memory submission
    Who: Open to the public – anyone with Fort Mason Center memories from the 1970s onward is welcome

Community members who cannot visit in person – submit memories online at memories@FortMason.org. 

About the Book: The forthcoming book by Madrigal explores the 50-year history of Fort Mason Center for Arts & Culture, examining how a former military installation became one of San Francisco’s most important cultural destinations. Madrigal is a journalist who hosts KQED Radio’s Forum, and author of a new book, The Pacific Circuit: A Globalized Account of the Battle for the Soul of an American City, examining the logistical revolution that began in Oakland and has transformed urban America.

Free Admission"]

]]></description>
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<item rdf:about="https://www.beyondthedial.com/post/the-power-of-right-now-why-i-wear-a-watch-while-motorcycling/">
    <title>Opinion The Power of Right Now: Why I Wear A Watch While Motorcycling - BEYOND THE DIAL</title>
    <dc:date>2025-07-24T20:31:49+00:00</dc:date>
    <link>https://www.beyondthedial.com/post/the-power-of-right-now-why-i-wear-a-watch-while-motorcycling/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["As I escape time’s shackles, my watch keeps track of the time on my behalf. In this way, my watch is a fine companion, a trusty sidekick, and a friend.

For over 30 years I’ve ridden motorcycles to quiet my mind. On a really good ride the deep silence of speed engulfs me, the edges of my being dissolve, and linear time gives way to Eternity, The Oneness, The Right Now. Experiencing The Right Now has been one of very few solaces from my rather relentless worrying about the future and regretting the past, both hallmarks of the clinically bummed brain obsessing over linear time.

Clinical research is emerging that supports my thesis that motorcycling – and really any kinetic experience that requires heightened balance and focus – can have measurable mental health benefits. Today we see kinesthetic therapies emerging that favor movement (rather than talking) as a path to downgrading traumas and reducing depression. At age 50, l now consider my misspent youth skiing, skateboarding, cycling, surfing and so on as an effective – perhaps life-saving – self-medication regimen. Without those risky endeavors to delivered me into The Right Now, I’d have likely wound up addicted and dangerously depressed, as too many of my dear friends have.

As such, My Ducati is a mental health machine. Leaning Bianca (my Supersport S) and now Rosie (my Panigale V2) into a turn at “spirited” speeds leaves no room for rumination; the result is a much quieter mind, better chemical balances in the old noggin, and the lasting effects of wiring up new neural pathways. All of this is good for me.

What’s The Watch Got To Do With It?

I adore the philosophical weirdness of experiencing gaps in the flow of linear time while my watch carries on recording how long I’ve been “out there.” My watch and I set off on the same objective journey, but I escape time while my watch does nothing but measure it. By suggesting that my watch has a subjective experience, I’m indulging in anthropomorphism. I don’t believe my watch actually has a consciousness, but I think it all the time. I also talk to my Ducati, Rosebud, with whom I’ve developed a rather sensual relationship. To hide these somewhat embarrassing anthropomorphic thoughts, however, would be to hide what brings my watches to life when I ride.

By anthropomorphizing my watches, I give them personalities, and by giving them personalities I transform them into something truly relatable: imaginary friends. I don’t name my watches, as I do my motorcycles, but I do tend to speak to my watches using nicknames. “What’s up Rollie?” I might mutter while strapping on my Datejust. “Hey Bre Bre,” I’ve said while picking up my Bremont Diver. And I have called my Nomos “Norman” from time to time. It’s really only by assigning my watches human personalities that I come to truly bond with them.

I’ve been assigning consciousness to my watches since I was around 7-years-old and received my Timex Boys Diver. Kids definitely anthropomorphize their toys and other objects, and I did this with my Timex, which accompanied me on long solo outings on Lake Erie where I often (and somewhat purposefully) lost track of time. I talked to the watch. It was my friend and my partner in adventure.

The irony of my childhood Timex is that my father meant for it to help me keep track of time, yet eventually I seemed to lose track of time more easily while wearing the watch precisely because it would do the timekeeping while I blissfully tuned out linear time and indulged The Right Now. I distinctly remember feeling less worried about being home late (and getting grounded) because the watch was keeping track for me, but being less vigilant meant I’d forget to check the watch. Getting me anywhere on time was a hopeless endeavor.

Today, at age 50, I strap on a watch, get on the Ducati, and head out into The Right Now just as I did as a kid. I leave worry and regret behind as I unite my body and mind to navigate twisting roads at spirited speeds. As I exit time’s shackles, my watch keeps track of the time on my behalf. In this way, my watch is a fine companion, a trusty sidekick, and a friend. At the end of a spirited ride, I feel that I, Bianca, and my watch have buzz-cuddled on oxytocin, blissed-out on delayed serotonin and dopamine re-uptake, and enjoyed the rush and flush of adrenaline. We stand tall after our rides, refreshed, clear-headed, and ready for life.

Whatever The Opposite of Nostalgia Is

My bond with my watch while motorcycling is not forged through nostalgic memory-making but through repeated indulgences of The Right Now. It’s entirely an inward experience, psychedelic even. Riding has become so subjective, so personal, that I have come to believe that the machines that accompany me on these risk-taking adventures are the only ones who can truly know what I experience on the bike. I trust my Ducati to get me through the corners with elan, and I trust my watch to take care of linear time for me while I get swept into The Right Now and reap the ensuing mental health benefits of racing down a twisty road. This is how I bond with my watches, as partners in adventures that quite literally maintain my sanity."]]></description>
<dc:subject>time timekeeping watches motorcycles immersion attention 2020 nostalgia motorsycling experience kinetic embodiment bodies nomos nomosclub timex memory memories ducati children childhood lakeeri companionship companions anthropomorphization anthropomorphism naming names presence eternity balance focus brain psychology lineartime mentalhealth allenfarmelo watchcanon</dc:subject>
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<item rdf:about="https://kabk.github.io/go-theses-23-alessandro-lucarini/">
    <title>Childhood lunches are the roots of Ambient Music</title>
    <dc:date>2025-05-26T19:12:06+00:00</dc:date>
    <link>https://kabk.github.io/go-theses-23-alessandro-lucarini/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["With our camcorders and mobile phones, we often prefer to capture moments of everyday life that we want to remember, usually good memories. We tend to leave out of the frame those traumas and experiences we would rather forget. Often, however, even the memories we decide not to frame are suffocated by the distortion and romanticization that the nostalgia filter automatically activates in our minds, no longer allowing us to understand what is or is not real.

This thesis analyses the concept of nostalgia and its use in four different film, investigating how it is used as a tool to express the aesthetics and poetics of this experience. Through understanding nostalgia and the power of it, I use this experience as a tool to analyse and describe the archive of videos shot by my parents between 1994 and 2001. I translate then this analyses in text-collages through the use of the literary cut-up technique, used it by the Dadaist in the 20s and William S. Burroughs in the 50s. I narrated, cutted, and pasted together in a random (but conscious) way to describe, questioning, and investigate memories; recreating an aesthetic that is at times tangible and at times ethereal, at times attractive and at times disturbing, recreating the hidden side of these memories and what the video camera cannot see but can perceive.
paperline

It all started a few days before I left Berlin to return to Den Haag. During one of the sessions with my psychologist, I explained to her how I missed that city and home even before I left and about the good German experience I had had. After a few minutes of monologue, my psychologist asks me if I remember what I was telling her a few weeks earlier when we started the sessions. I tell her that I don't remember what but I only remember my emotional state. I almost deny that I had bad memories in Berlin and still perhaps do. She offers to read me the notes she took during the first sessions. I tell her that I don’t want to hear them again but slowly as the talk continues these missing pieces come out of my mind without any permission, almost as if this barrier I have created for myself has stopped working.

Nostalgia is an experience that has always been present in my life, in my way of thinking and in my way of creating even though I may never have realized in which way and how much it affected me. I am a person who tends to look at the past with melancholy, often distorting what remains of the memories I have. I don’t want to sound dramatic but sometimes I wonder what is true about my past and what is not. I don’t mean as if nothing ever happened, but how my perception of that moment is distorted by this mental filter that allows me to romanticize it. I was almost surprised at the earlier stage of this thesis when I realize that I never investigated, analysed, or researched the true (whatever that means) or academic meaning of nostalgia before. Like when you do something so naturally that you are not aware of its presence, as it simply exists.

Starting from the roots and the feeling of researching such natural experience, I found interesting thoughts from the historian Karin Johannisson1 in Nostalgia: The History of an Emotion. She argues about the importance of naming an emotion to be able to explore and analyze it almost like a medical diagnosis, and that our identification of this emotion, in our case nostalgia, changes according to the times, thus in the current use of the term, and that the semantic process is important in deriving meaning to match our feelings. I’m thinking about a famous quote from François de La Rochefoucauld that says that there are people who would never have fallen in love if they had never heard of love. Human has always tended to want to give an explanation for everything. For example, German sociologist Arnold Gehlen2 said that the concept of 'home’ can be defined as an invention of man, who is the only member of the animal world who does not have the ability to survive in his own environment. Instead of trusting his own natural instincts, he puts his trust in institutions such as the state or the family. 

The same goes for nostalgia, an experience rather than an emotion. I like to think of the idea of the 'discovery' of nostalgia. It was initially defined as a medical condition. Johannes Hofer3 created the term nostalgia in 1688, nostos (return home) + algia (longing), a word already sorts of nostalgic in its composition for the use of Greek words. Hofer wanted to give a name to the feeling of anxiety and depression that Swisse mercenaries sent away from their country felt. The distance from home and family. I wonder if animals suffer from homesickness. Sometimes I think of the flies that sneak into buses in route and when they come out, they find themselves in different places.

The theorist Svetlana Boym4 added centuries later that nostalgia does not only refer to a place but also to time, and that time does not only refer to objective time such as historical time but also to personal and subjective time such as childhood. We have slowly moved from treating nostalgia as a medical condition to a philosophical and psychological one. We certainly cannot define nostalgia with one word, in the cultures of the world there are several different ways of defining this personal and objective feeling at the same time. Boym, in her book Nostalgia and its discontents divides nostalgia into two different categories: restorative and reflective nostalgia. These types of nostalgia represent two different ways of approaching the past.

Restorative nostalgia is more focused on the concept of home and its reconstruction. It looks at the past as tradition and a return to its origins. We can observe this phenomenon and understand the existence of two sides of the same almost paradoxical coin. On one hand, it is based on the sense of loss of a community by offering a sense of belonging and unity of the individual within this group. On the other hand, this sense of cohesion can be dragged along by a much deeper sense of belonging that can result in ethnic/cultural/national ideology, and the creation of an imaginary enemy that wants to attack our traditions, our past, from which one must inevitably defend oneself to protect one's community. In recent decades, we can find various examples in different political parties around the world that have leveraged using this sense of nostalgia as the workhorse of their election campaigns and received excellent results in most cases because it is more direct to convey and to be understood and perceived by the citizens.

Reflective nostalgia, on the other hand, favours an aesthetic of the past that concerns a more individual and historical time, embracing in a more philosophical sense, thinking about the passage of time. Instead, the recreation of the lost home or the protection from its slow ruin, or its renovation, the place is just observed while all of this is happening. As Boym writes, after quoting Marcel Proust and the flow of memories that a small gesture or object can trigger:

"It is this memorable literary fugue, then, that matters, not the return home."

As we have come to understand reflective nostalgia explores a more subjective and almost private world that can lead to very interesting results and discussions when approached or used through mediums such as philosophy or different art forms, never having a common and tangible final form, as we appeal to personal and more ethereal feelings. In the art world, nostalgia is a theme that has been addressed through different mediums and in different centuries, and perhaps in a way, this is one of those feelings that allows art to survive.

The Neoclassicist current, that developed around the middle of the 18th century is precisely based on a fascination with the past, although on reflection I would liken this current more to a type of restorative nostalgia, as it is closer to the search for a sense of belonging in the classical world. Interest in the ancient world had been reborn after the discoveries of Pompeii and Herculaneum, which marked the century. What distinguished this artistic style was an adherence to and return to the principles of classical art, they wanted to revive the principles of harmony, proportion, and balance that had been the pillar of Greek and Roman art.

If we are thinking about nostalgia in art and in contemporary times, we can find many examples in the cinematography field. Movies, short movies or videos are the tools with which this experience is best and most fully translated, through the use of specific shots, lighting effects, and the soundtrack. In more recent times we can find different movies that are using this nostalgic filter as a main tool to show and tell stories, in most of these cases nostalgia is the silent character (sometimes the main silent character) that is speaking without actually speak.

One example is Federico Fellini's film Amarcord (1973). Already from the title we understand that the film is based on the director's memories of his youth in a town that only from the dialect we can tell is located in Romagna. "Amarcord" in fact comes from the Romagnolo dialect “A M’ARCORD”, in Italian “Mi ricordo”, “I remember”. The emphasis is going to the first “A” in the title, like a sigh at the beginning of the telling of a story dear to the narrator. The film slowly fades between the hues of the seasons and the color of the town's bricks and the beautiful soundtrack from Nino Rota, narrating different moments in the director's life during the ‘30s. Characters and events are distorted between the director's memories, faces more like Commedia dell'Arte masks than real people. As Fellini's town is very close to mine and the dialect is the same, I always tend to be a little moved every time I watch this film. It remindes of my aunt’s stories of picturesque characters, too absurd to seem real, their stories and their nicknames.

[image: "[Fig 1.] Scene from Amarcord (1973), Federico Fellini."]

Another example of nostalgia in the world of filmmaking and closer to our decades is the Netflix series Stranger Things. The whole series is a true celebration of the 1980s, in almost every aspect. Let's think for instance of the first sequence of the main character having an adventure playing the role-game Dungeons and Dragons. Think about the clothes the children wear, the soundtrack, the terror of the Cold War between the US and the Soviet Union that forms the background and is never directly addressed, or the different genres that the series itself represents i.e. a big mix of sci-fi, mystery, horror and fantasy movies.

[image: "[Fig 2.] Scene from Stranger Things (2016 - present), The Duffer brothers."]

In some cases, we can even find a sense of nostalgia in films that were not conceived with this narrative purpose but which we tend to look at from this perspective. Take for instance the muted movie L'Arrivée d'un train à La Ciotat (1896) by Auguste and Louis Lumière. Although the original purpose of the film was to experiment with a new technique, in recent years our attention has slowly shifted from analyzing the medium used to analyzing what is shown to us. Probably also due to the various re-shares of the video on YouTube and the addition of music in the background. Although the film does not have a specific plot, it shows a scene of everyday life without main actors but with a multiplicity of events happening simultaneously, almost like a painting by Pieter Bruegel the Elder. The filmmakers are unconsciously documenting a way of life that is now far removed from our present.

This sequence makes us think about the passage of time and the distance from the present to a simpler world.

[image: "[Fig 3.] L’Arrivée d’un train en gare de La Ciotat (1896), Auguste and Louis Lumière."]

The movie Aftersun (2022) by Charlotte Wells resonates a lot with me in the use of nostalgia and the themes that she is exploring. In this movie nostalgia and memories are per se analysed, and not just used as tools, which was the case in the movies previously mentioned. The filmmaker investigates the relationship between a father and a daughter during a holiday at a resort in Turkey in the 1990s. The film is told from the child's point of view, mixing clean scenes with the movie camera and glitchy scenes of the camcorder that were used in the 1990s. Nostalgia in this case is not only used as an aesthetic but also as an analysis of the relationship the protagonist has with her father. Scenes are shown sometimes briefly and sometimes more extensively, making us slowly discover two sides of their relationship that often match and sometimes repel, showing us new sides of their relationship, or different sides of her father. Charlotte Wells's skill lies in never explicitly telling us what is going on, so we find ourselves trying to understand and analyse the situations, finding ourselves in the same shoes as the daughter trying to remember her father and her relationship with him, all of which continues to be opaque with a few flashes of reality, but we don't know if it is the “real” reality.

I got very emotional watching this film perhaps because I empathized with the main character and this careful analysis of her past and her relationship with her parent. In Aftersun we find a non-linearity in the narrative. The only linearity we find, and on which the film rests, is the beginning with the daughter's arrival in Turkey and the end with her departure. Inside, between the beginning and the end, we are shown several scenes that could almost survive on their own, like short films.

[image: "[Fig 4.] Scene from Aftersun(2022), Charlotte Wells."]

Like the main character in this movie, in the last months I spent hours watching videos from my family archive shot from my parents between 1994 and 2001, trying to understand what my life was like, and how it is and was the relationship with my family and my parents, the relationship with my home and the space around me.

The narrative approach Charlotte Wells uses in Aftersun has been an inspiration for the research I have been doing for the past few months, its non-linearity, the perceived and the unperceived. I recently approached a literary technique called cut-up, in which I found many similarities in the narrative used by the director. The cut-up technique is a literary method in which a text is cut into fragments and rearranged to create a casual new composition of text, initially tried by the Dadaists in the 1920s and made popular again with William S. Burroughs in the 1950s and 1960s. The cut-up has been used as a means to explore the semantic and sound potential of words, creating new associations and meanings through random assembly. This technique can lead to surprising and unexpected results that might not be achievable with a traditional approach to writing, explore and create a non-linear and sperimental way of producing and exploring the unconscious mind.

In my text collage, like in Aftersun, the coherent narrative and the emotions are break apart and leave the reader with a sense of disorientation and ambiguity. The personal and the objective are both involved, this allowed to explore the memories and feelings in a non-linear, associative way that reflects the personal and unique perspective of the reader, and disrupt their sense of time and space.

It was interesting to experiment with the use of the cut-up technique. I had similar results that a film could give, recreating a kind of 'nostalgia video filter', translating my videos that have a certain visual power, like the films mentioned above, into a collage-text full of images and emotions. I found it liberating being able to play with the perception of the past and the present, decomposing the narrative structure of what I was writing I slowly let go of these sometimes contradictory fragments of my memories and experiences, leading me to reflect on my relationship with the past, my family and myself. These videos manage to give a clear shape to these vague memories of my childhood. I'm thinking that sometimes we have the physical memory but it’s always difficult to think what was on our mind back then. Watching these videos has a strange effect on me. It's almost like watching a TV show, everyone is an actor who occasionally appears and disappears with cameos. My parents never appear together, one of them in turns always holds the camera. I am not watching myself; I am watching an actor impersonating myself. I live this life a thousand times.

There is a scene in which my father touches my ears, nose, and mouth. When I watch it, I try to close my eyes and try to recreate that feeling, I try to imagine my dad's big rough hands, I try to imagine the texture of my skin, I try to think about still wearing that round face with features yet to be defined. I have tried to narrate my memories trying to get to the bottom of my analysis and that of my surroundings even though my perception of certain memories will probably change as time goes by and new relics from the past will probably emerge from my head.

Like a never-ending story.

I’ll just let myself be carried away again by the swinging of this white sea and the memories will continue to flow like a flux, mingling.

[image: "[Fig 5.] Footage from Lucarini/Montanari Video Archive."]

[image: "cut-up cut-up cut-up paperline"]

Sources

1 Johannisson, Karin. “Nostalgia: The History of an Emotion.” Bonnier Essar, 2001.

2 Gehlen, Arnold. Man, His Nature and Place in the World. New York: Columbia University Press, 1988.

3 Johannes “Medical Dissertation on Nostalgia or Homesickness” (1688). Trans. Carolyn Kiser Anspach. Institute of the History of Medicine Bulletin 2 (1934): 376-91.

4 Svetlana Boym. “Nostalgia and Its Discontents.” The Hedgehog review, vol. 9 (2007): 1527-967.

Thesis written by Alessandro Lucarini
Thesis supervisor: Dirk Vis
Website supervisors: Thomas Buxo, François Girard-Meunier, Leonardo Almeida

Royal Academy of Art - The Hague, Graphic Design
February 2023."]]></description>
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    <title>Forgotten: Searching for Palestine’s Hidden Places and Lost Memorials, by Raja Shehadeh, Penny Johnson (2025) - Profile Books</title>
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    <link>https://profilebooks.com/work/forgotten/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["From two leading writers and thinkers on Palestine: a profound meditation on memory and what we choose to memorialise

"Shehadeh's books are like beacons held up against the darkness" Observer

"A heartbreaking, hopeful look at how Palestinian culture endures" Irish Times

Forgotten is a search for hidden or neglected memorials and places in historic Palestine - now Israel and the Occupied Palestinian Territories - and what they might tell us about the land and the people who live on our small slip of earth between the Mediterranean Sea and the Jordan River.

From ancient city ruins to the Nabi 'Ukkasha mosque and tomb, acclaimed writers and researchers Raja Shehadeh and Penny Johnson ask: what has been memorialised, and what lies unseen, abandoned or erased - and why? Whether standing on a high cliff overlooking Lebanon or at the lowest land-based elevation on earth at the Dead Sea, they explore lost connections in a fragmented land.

In elegiac, elegant prose, Shehadeh and Johnson grapple not only with questions of Israeli resistance to acknowledging the Nakba - the 1948 catastrophe for Palestinians - but also with the complicated history of Palestinian commemoration today."

[via:

"Forgotten: Searching for Palestine’s Hidden Places and Lost Memorials
Husband and wife duo Raja Shehadeh and Penny Johnson write about the secrets that persist in historic Palestine's 'politicised' architecture"
https://www.middleeasteye.net/discover/forgotten-searching-palestines-hidden-places-and-lost-memorials ]]]></description>
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    <title>Use Your Tools - It's Never Just A Watch – Watches of Espionage</title>
    <dc:date>2025-05-16T00:11:58+00:00</dc:date>
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    <dc:creator>robertogreco</dc:creator><description><![CDATA["When a timepiece comes off the production line in Switzerland, Japan, or even China, its inherent value is the sum of its parts combined with the intangibles of brand equity. At that point, it is “just a watch.” It’s no different from any other Seamaster, GMT-Master, Alpinist, or Duro. When the timepiece finally makes it onto the wrist of an end user, the real story begins.

“Use Your Tools” is our ethos, but I want to take a step back and explain what this really means to us. Yes, it’s about using your watches as tools: tools of intelligence, operations, and to keep time. But more importantly, it’s our core belief that a relationship can be developed with seemingly inanimate objects through shared experience, a phenomenon that particularly applies to watches. In our community, watches are valued for their mechanical and aesthetic properties, but their real value is derived from the experiences they embody. They are, or can be, talismans of a life well lived.

It's Never Just A Watch

The reality is, many of the stories we tell aren't about watches; they are about people. Whether the watch is an “expensive” Rolex or a “cheap” Seiko is insignificant. We often tell stories of “great men,” like Special Forces legend Billy Waugh and his Rolex GMT or the British Special Boat Service wearing a custom Omega Seamaster; however, the watches themselves are just the vector to the human element. And you don’t have to be an Army Special-Forces-Navy-SEAL-TK-supercommando to embrace our ethos. When a watch is gifted from a father to a son and worn for decades for graduations, weddings, and the birth of children, it is no longer just a watch; it is a part of his identity. That is “Use Your Tools.”

Leaving A Pregnant Wife To Grab A Rolex GMT? Chirpers Gon Chirp

In October 2022, friend of W.O.E. Tony Traina wrote an article about a collector who left his pregnant wife in the car to run back into the house to grab his Rolex GMT-Master II while she was in labor. The ruthless internet mob of watch dorks was quick to chirp and attack the subject of the article, Tony, and Hodinkee from the comfort of their moms’ basements. Hodinkee even went as far as to remove the social media post and lock down comments on the article.

And I get it, if you don’t subscribe to our belief that watches are about personal relationships and shared experiences, the whole scene does sound ridiculous (Mrs. W.O.E. would agree). That said, I identify with this mindset. I remember the watch I was wearing for the birth of my children just as clearly as the one I was wearing on a helicopter in Afghanistan. The weathered timepieces are physical representations of those emotions, moments, and milestones. Besides, the average labor lasts 12 to 24 hours. Was he really in all that much of a rush? (I’m kidding… kind of.)

Watches As Male Expression - You Don’t Have To Be A Secret Squirrel

I would go as far as to say that the mindset of the soon to be father was not that far off from the Navy SEAL who decided to wear his prized Rolex Submariner on the raid that killed Osama bin Laden or the former Canadian JTF2 operator who wears his Tudor Pelagos “Unit Watch” while performing on stage as a musician in his next chapter of life. For these men, and for us, it is never “just a watch.” Watches are a reminder of our journey, our accomplishments, and our community.

While “Use Your Tools” applies to men and women, our audience is overwhelmingly male. The marketing departments of Swiss brands are desperate to acquire female customers but face stiff competition from the range of jewelry that many women appreciate, typically including earrings, necklaces, and bracelets. Despite my best efforts to recruit Mrs. W.O.E. to our ranks, she remains lukewarm on watches.

In stark contrast, men have traditionally had more limited forms of self-expression through physical goods worn on their bodies. We don’t judge men who opt for belly button piercings or gold chain necklaces, but for many, a watch is the only “expensive” item they will purchase and wear for decades. There are some parallels with cars, firearms, and other collectables, but a watch is attached to your body, serving as a passive observer for good times and bad.

Overcoming Grief

I recently found myself in a crowded church, mourning the loss of a dear friend, taken from us way too early in life. As I glanced around the nave, I observed grieving parents, a strong but devastated husband, and children too young to fully realize their mother was gone. To distract myself from the searing pain and tears welling up in my eyes, I stared at my watch, the second hand slowly sweeping across the dial. The name on the dial doesn’t matter. At that point, the watch became a vessel for memory, pain, and presence. That experience will forever bind me to that watch.

Watch Collecting CIA Officer

When I was at CIA, I did not consider myself a watch collector. I had a handful of watches I had accumulated over the years, and I appreciated them for their physical and mechanical attributes, but I did not collect them. I did not take wrist shots to send to my internet friends or spend hours poring over obscure watch forums. I enjoyed the watches, but my interest was surface-level. The kids would have called me a “casual”.

Since starting W.O.E., my passion for watches has evolved into more of a collector mindset, seeking out specific historical references and spending my free time researching stories of watches in the intelligence and SpecOps communities. While the joy I derive from timepieces is great, in many ways I envy my past self. I was a purist with the mindset of a “one watch” collector.

Comparison Is The Thief Of Joy

The happiest watch collector in the world is the man with one watch. He wakes up in the morning, dutifully straps on his Seiko Turtle, Rolex Submariner, Omega Seamaster, or whatever else. He does not stop to admire his watch throughout the day, he only looks at it to check the time. He doesn’t have social media and has never heard of Watches of Espionage. The watch is a tool and an extension of his persona. He doesn’t know it, but his watch is also a family heirloom, bearing the scars of decades of constant wear. It’s his companion through the journey of life, resolutely positioned on his wrist for the peaks and valleys.

In the era of social media, we have an insatiable appetite for more, always looking for that next purchase to satisfy a perceived material need. It is tempting to feel inadequate when you see glimpses of other people’s watch collections. I have passed through this valley of envy and still feel it when I see some collections, but what I am jealous of is the one watch man, the man I used to be.

The Man Makes The Watch

To the uninitiated, this whole premise of W.O.E. may seem materialistic, but it's not. A watch’s monetary value is the least interesting aspect. If your takeaway is that you need a Rolex to be a cool guy, you’re missing the point. We believe the man makes the watch, not the other way around.  

A badass wearing a Hublot is still a badass, just as a dweeb wearing a Rolex MilSub is still just a dweeb. It’s about who you are and what you do, not the watch you’re wearing on your wrist."]]></description>
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<item rdf:about="https://www.theverge.com/games-review/664363/despelote-review-ps5-xbox-pc">
    <title>Despelote is a picture-perfect portrait of childhood obsession | The Verge</title>
    <dc:date>2025-05-10T18:27:07+00:00</dc:date>
    <link>https://www.theverge.com/games-review/664363/despelote-review-ps5-xbox-pc</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["﻿A short, dreamlike game about soccer and memories."]]></description>
<dc:subject>games videogames childhood despelote ecuador gaming soccer futbol football sports play memories memory quito 2024 juliáncordero sebastiánvalbuena 2025</dc:subject>
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<item rdf:about="https://www.youtube.com/watch?v=iIjuTqNioYc">
    <title>Orhan Pamuk Interview: Do Not Hope for Continuity | Louisiana Channel - YouTube</title>
    <dc:date>2024-12-24T20:29:44+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=iIjuTqNioYc</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["“I ran away, but I returned, and I will continue to tell its story. It’s natural that I write about it because this is the best place I know.” Watch Nobel Prize-winning novelist Orhan Pamuk in this interview about his relationship with Istanbul – now and then.

“We are living at the edge of Europe with aspirations to be modern and European.” Pamuk, who has spent his whole life in Istanbul, feels that it is a privilege to have witnessed how the city has grown in the span of a lifetime. However, he didn’t become conscious of being a so-called ‘Istanbul-writer’ before he was around 45 years old. Being born into a Westernized middle-class family, he initially wrote mainly about that class, but slowly more and more of the city and its inhabitants have found their way into his books. Nevertheless, Pamuk is clear that he does not embellish the city: “It’s like my body. It’s like our families. Our relationship. What’s given to us by God. My history. I don’t glamorize it.”

On the subject of the melancholy that seems to run through his books, Pamuk explains that he cares about decaying, colonial buildings as it reminds him of the Istanbul of his early days, and goes on to comment on the wisdom that he’s gained from the city: “What I’ve learned in 65 years is: Don’t hope for continuity, don’t naively hope that your memories will be preserved and people will be worshipping, caring or paying attention. Just learn that in the end everything will be washed away. If you learn not to aspire too much, resignation helps.”

Orhan Pamuk (b. 1952) is Turkey’s best selling novelist and the recipient of the 2006 Nobel Prize in Literature. Pamuk is the author of several novels including ‘The White Castle’ (1990), ‘The Black Book’ (1994), ‘My Name is Red’ (2001), ‘Snow’ (2004), ‘The Museum of Innocence’ (2009), ‘Strangeness in My Mind’ (2015) and ‘The Red-Haired Woman’ (2016). He is also the recipient of numerous other prestigious literary awards such as the 2002 Prix du Meilleur Livre Étranger and the 2003 International Dublin Literary Award. For more see: https://www.orhanpamuk.net/

Orhan Pamuk was interviewed by Marc-Christoph Wagner at the Louisiana Museum of Modern Art, Denmark in May 2017.

Camera: Jakob Solbakken and Rasmus Quistgaard
Edited by: Klaus Elmer
Produced by: Marc-Christoph Wagner
Copyright: Louisiana Channel, Louisiana Museum of Modern Art, 2017"]]></description>
<dc:subject>orhanpamuk continuity 2017 istanbul writing howwewrite storytelling cities time memory memories nostalgia place history melancholy care caring attention worship ottomanempire urban urbanism decay streetscapes interiors landscape change anthropology childhood culture books türkiye turkey</dc:subject>
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<item rdf:about="https://www.youtube.com/watch?v=v3vmCpimA-g">
    <title>Writer Orhan Pamuk Presenting the Museum of Innocence | Louisiana Channel - YouTube</title>
    <dc:date>2024-12-24T19:08:07+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=v3vmCpimA-g</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["“A tribute to the unimportant daily life objects and their valuable meaning for our memory and connection with time lost.” Nobel laureate Orhan Pamuk delves into the deeply personal and intricate world of his Museum of Innocence, both the novel he published in 2008 and the museum he opened in Istanbul in 2012. 

Blurring the lines between fiction and reality, Nobel laureate Orhan Pamuk shows us around his Museum of Innocence in Istanbul. It is a physical manifestation of his protagonist Kemal’s unfulfilled love and longing, embodied in everyday objects meticulously collected and a personal reflection of life in Istanbul in the late 20th century.

Orhan Pamuk originally wanted to be a painter but failed, he says. Instead, at the age of mid-forties, he realized that he “wanted to create an artwork combined with literature, and this is my first attempt at combining the two."
Pamuk began collecting everyday objects for the museum and writing the novel at the same time, the objects inspired the novel and vice versa: “It's not that I had a collection, then I thought about a home for my collection. I collected and wrote and wrote and collected.” 

When planning the museum, Orhan Pamuk wanted the visitors who had not read the novel to “have a sense of the quality of the surface of the objects, the texture of life of Istanbul between 1970s and early 2000s, and also the visual atmosphere of Istanbul.” Pamuk did not write for six months but was busy composing one by one glass vitrines, boxes, and units in the manner of Joseph Cornell, Robert Rauschenberg, and Juan Gris: “This museum is based on the things that this generation of surrealistic artists developed with the concept of ready-mades.” 

Throughout the interview, Pamuk reveals his lifelong fascination with objects as vessels of memory and nostalgia. “Objects have the power to trigger our memories,” he notes, comparing his work to Marcel Proust’s exploration of involuntary memory. He believes that even the smallest items have the power to transport us back in time: “A movie ticket found in a jacket can be the only reason you remember the film 20 years later”, Pamuk reflects, highlighting the profound relationship between memory and material objects.

At the museum, Orhan Pamuk’s manifesto for museums is written as he believes, he says, that museums “should not be a safe or heaven for precious things only. The museum should honor the objects of daily. Museums should not only dramatize the history of a nation, or a group, or a gender, or a Chinese army but should also go and explore the dramas of individual beings.” Pamuk argues that “the future of museums should be inside our own personal homes.” 

Orhan Pamuk concludes: “I am inviting you to a new artificial space which will envelop you and will make you ask questions about being, time, remembering attachment, love, jealousy, anger, and these objects are there to generate these things or make you ask these questions about your life”.

Orhan Pamuk, born in Istanbul in 1952, is one of Turkey's most acclaimed writers. Known for novels like My Name is Red, Snow, and Istanbul: Memories and the City, his work examines themes of identity, memory, and the cultural tensions between East and West. In 2006, Pamuk received the Nobel Prize in Literature for his contributions to world literature.

Orhan Pamuk was interviewed by Christian Lund in Istanbul in September 2024. 

Camera: Rasmus Quistgaard 
Edited by Roxanne Bagheshirin Lærkesen 
Produced by Christian Lund 
Copyright: Louisiana Channel, Louisiana Museum of Modern Art, 2024 "]]></description>
<dc:subject>orhanpamuk collections collecting objects museums museumofinnocence istanbul 2024 memory josephcornell robertrauschenberg juangris marcelproust proust memories everyday writing howwewrite time ottomanempire clocks watches surrealism art literature visualarts readymade homes life living emotions love anger place space türkiye turkey</dc:subject>
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<item rdf:about="https://emergencemagazine.org/interview/memory-praise-and-spirit/">
    <title>Memory, Praise, and Spirit – A Talk by Emmanuel Vaughan-Lee</title>
    <dc:date>2024-08-30T17:24:24+00:00</dc:date>
    <link>https://emergencemagazine.org/interview/memory-praise-and-spirit/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Prayer and praise is a radical act. It can be revolutionary as long as we don’t limit it. It benefits the whole and our individual contribution can help heal the divide between spirit and matter."

...

"In this keynote talk given at a conference on spiritual ecology and peace building at St. Ethelburga’s Centre for Reconciliation and Peace in London, Emmanuel Vaughan-Lee speaks about how spiritual ecology is not only a framework for navigating the crises we face, but is a memory of living in kinship with the Earth. Turning towards praise and prayer in their myriad forms as pathways to remembering our spiritual connection with the living world, Emmanuel calls us to reawaken this relationship, sweep the dust of our forgetfulness, and hold the Earth in our hearts with love."]]></description>
<dc:subject>prayer praise memory emmanuelvaughan-lee 2024 spirituality forgetfulness memories love reconciliation peace kinship</dc:subject>
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<item rdf:about="https://psyche.co/films/for-a-chinese-tea-master-each-sip-is-a-rich-expression-of-memory">
    <title>Her scents of pu er | Psyche Films</title>
    <dc:date>2024-08-30T17:18:10+00:00</dc:date>
    <link>https://psyche.co/films/for-a-chinese-tea-master-each-sip-is-a-rich-expression-of-memory</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["For a Chinese tea master, each sip is a rich expression of memory
For Yu Hui Tseng, drinking tea isn’t simply a daily habit or a cultural norm, but a spiritual practice at the very core of her being. A Chinese tea master, Tseng describes flavours with a rich, refined specificity. She finds aromas that evoke ‘an old trunk where clothes are stored with camphor’ or ‘bricks after a summer storm’. Each sip is imbued with a swirl of intermingling memories – of the life of the tea, and her own.

In Her Scents of Pu Er, the Paris-based filmmaker Anna-Claria Ostasenko Bogdanoff visits Maître Tseng in the tea cellar beneath her salon, Maison des Trois Thés (House of the Three Teas) in Paris. With the ageing vintages stacked ceiling-high behind her, Maître Tseng describes how each tea, like a person, expresses its own rich, evolving story, and how a once-unfashionable tea, pu er (or pu-erh), became her passion. Like her subject, Ostasenko Bogdanoff luxuriates in detail, assembling a beautifully shot sequence that weaves scenes from the elegantly adorned Maison des Trois Thés with images that conjure up the complex smells that Maître Tseng describes. The resulting film forms is its own intoxicating sensory experience, evoking the power of aromas and tastes to launch us into the past and to places as yet unknown."

[Direct link to video:
https://vimeo.com/900211313 ]]]></description>
<dc:subject>food drink memory tea senses sensory film yuhuitseng anna-clariaostasenkobogdanoff maîtretseng smell taste allthesenses video memories nostalgia transcendence experience</dc:subject>
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<item rdf:about="https://psyche.co/ideas/its-not-just-youths-happy-memories-that-have-a-special-weight">
    <title>It’s not just youth’s happy memories that have a special weight | Psyche Ideas</title>
    <dc:date>2024-08-30T17:11:53+00:00</dc:date>
    <link>https://psyche.co/ideas/its-not-just-youths-happy-memories-that-have-a-special-weight</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Mixed in with the highly memorable rites of growing up are more troubling highlights. But these, too, can have enduring value"
]]></description>
<dc:subject>memory memories children childhood happiness 2024 michelleleichtman davidpillemer nostalgia emotions life living adolescence adulthood sociology psychology joy çağlayanözdemir</dc:subject>
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<item rdf:about="https://despelote.game/">
    <title>Despelote. Un juego de Julián Cordero y Sebastián Valbuena.</title>
    <dc:date>2024-08-27T20:46:17+00:00</dc:date>
    <link>https://despelote.game/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Un juego de Julián Cordero y Sebastián Valbuena. Coming 2024 to PlayStation, Xbox, and PC. Charming 3D and 2D slice-of-life adventure about childhood and the magical grip fútbol held over the people of Quito Ecuador in 2001, as the nation came the closest to qualifying for the World Cup.

...

Despelote is a soccer game about people.

Get immersed in the streets and parks of Quito through the eyes and ears of eight year old Julián.

Dribble, pass and shoot your soccer ball around town, and see what happens when you kick it someone's way. Feel the city change as Ecuador comes closer than ever to qualifying for the World Cup."

[See also:
https://www.youtube.com/watch?v=sVTn7ns7jmU
"espelote is now set to kickoff in early 2025! Enjoy a new trailer for this wonderful slice-of-life adventure. 

A game by Julián Cordero and Sebastián Valbuena. Produced by Gabe Cuzzillo, with sound design by Ian Berman. Programming by Niall Tessier-Lavigne. Presented by Panic. Coming Early 2025 to PS5, PS4, Xbox, and PC. [also on Steam]"

https://www.youtube.com/watch?v=EF8qGI3f7Rk

https://www.youtube.com/watch?v=aPVNSAFGrI4

"Developer Julián Cordero, artist and musician Sebastián Valbuena, and producer and developer Gabe Cuzillo sit down to chat about the making of Despelote, and update us on the release of this wonderful slice-of-life adventure!"]]]></description>
<dc:subject>games gaming videogames futbol soccer ecuador quito 2024 juliáncordero sebastiánvalbuena despelote childhood football sports play memories memory</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:cf85b013b285/</dc:identifier>
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<item rdf:about="https://www.youtube.com/watch?v=gPSSg3sO4RI">
    <title>Reyna Tropical Explores Diasporic Identity on 'Malegría' - YouTube</title>
    <dc:date>2024-06-04T21:26:47+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=gPSSg3sO4RI</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Fabi Reyna is a Portland-based guitarist and songwriter and is also the founder of She Shreds Media, which is dedicated to empowering women and non-binary guitarists and bassists. Reyna is now out with a new album under her artist name, Reyna Tropical. The album is called 'Malegria.'


KEXP’s Albina Cabrera caught up with Reyna to learn more about the inspiration behind the album, how it explores the Latinx diaspora and identity, and about Reyna’s musical partner, Nectali "Sumohair" Díaz, who passed away during the making of the album."]]></description>
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<item rdf:about="https://www.noemamag.com/traveling-at-the-speed-of-the-soul/">
    <title>Traveling At The Speed Of The Soul - NOEMA</title>
    <dc:date>2024-04-30T04:20:34+00:00</dc:date>
    <link>https://www.noemamag.com/traveling-at-the-speed-of-the-soul/</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>time travel cultureshock reversecultureshock 2024 nickhunt departure initiation return journeys memory memories pilgrimages destination destinations walking</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:398c52448460/</dc:identifier>
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</item>
<item rdf:about="https://wild-memory-radio.wetransfer.com/">
    <title>Wild Memory Radio | A journey through the memories of creatives</title>
    <dc:date>2024-04-10T01:32:10+00:00</dc:date>
    <link>https://wild-memory-radio.wetransfer.com/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Wild Memory Radio is a project by WePresent by WeTransfer, in collaboration with Seb Emina. It can be thought of as a kind of gallery, except rather than objects or artworks it contains memories. Each of these memories belongs to a leading creative, cultural or artistic figure, and each is about a place: a specific location that changed that person in some way, or had a lasting impact on their work.

The project was conceived at a time when travel was impossible, when the notion of a “sense of place” had become imbued with unusual poignancy. It is released at the dawn of an era when having memories, especially those embodied in a real location, is a point of distinction between human minds and their algorithmic equivalents, such as the systems used to make AI art. Yet those models have a habit of making images that are strangely memory-like—highly specific in some ways and eerily vague in others—a contrast Wild Memory Radio alludes to through its use of DALL-E imagery to create approximations of the locations and memories described."

"Alexis Taylor
Parkland Walk, London
02:47

Ali Banisadr
House in Tehran
02:36

Andrew Bird
Parking garage at the Fine Arts Building, Chicago
02:41

Athi-Patra Ruga
The Lovedale Press in Alice, South Africa
01:54

Caleb Azumah Nelson
Sea, near Andalusia
03:53

Carlo Rovelli
Beach at Condofuri, Italy
02:10

Devendra Banhart
Health food store, Caracas, Venezuela
01:38

Francesca Hayward
Mirror at the Royal Opera House, London
02:46

Gilbert & George
The Market Cafe in Spitalfields, London
02:36

Gruff Rhys
Unit in the Morgan Arcade, Cardiff
01:25

Hans Ulrich Obrist
Café de Flore, Paris
02:24

Himali Singh Soin
Post office, Antarctica
02:46

Igor Furtado
Processions in Belem, Brazil
02:47

Ishion Hutchinson
Library behind Lady Musgrave Market, Jamaica
03:52

Jimbo Mathus
Sack 'n Save parking lot, Starkville, Mississippi
03:42

Johny Pitts
Wing Takanawa West shopping mall, Tokyo
03:05

Kaitlin Chan
Bench in Treviso, Italy
02:49

Katerina Jebb
Hospital trolley bed, Paris
01:10

Kayo Chingonyi
Dance floor at a nightclub, Sheffield
01:52

Laurie Anderson
Kitchen of an Amish farmhouse
02:54

Leanne Shapton
Field in Mississauga, Toronto
01:54

Lisa Taddeo
Attic in Topanga Canyon
01:45

Louise Chen
Central bus terminal, Luxembourg
03:40

Nadya Tolokonnikova
Lenfilm Studio, Saint Petersburg
03:23

Olgaç Bozalp
Ancient city of Petra
02:02

Rick Owens
Condo in the Lido
02:30

Ryan Gander
Garage in Chester, England
02:51

Sabine Mirlesse
Eldfell, an Icelandic volcano
02:16

Warren Ellis
Rubbish dump in Ballarat, Australia
01:24

Yuri Suzuki
Nightclub beneath London Bridge Station
02:07""]]></description>
<dc:subject>place memory storytelling location sebemina wetransfer wepresent memories yurisuzuki sabinemirlesse ryangander rickowens olgaçbozalp nadyatolokonnikova louisechen lisataddeo leanneshapton laurieanderson kayochingonyi katerinajebb kaitlinchan johnnypitts jimbomathus ishionhutchinson igorfurtado himalisinghsoin hansulrichobrist gruffrhys gilbertandgeorge francescahayward devendrabanhart carlorovelli calebazumahnelson athi-patraruga andrewbirdalibanisadr alexistaylor warrenellis dall-e quantumtheory quantumphysics quantummechanics</dc:subject>
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<item rdf:about="https://www.kqed.org/forum/2010101904491/berkeley-perfumer-mandy-aftel-on-the-curious-and-wondrous-world-of-fragrance">
    <title>Berkeley Perfumer Mandy Aftel on the 'Curious and Wondrous World of Fragrance' | KQED</title>
    <dc:date>2024-02-28T04:13:21+00:00</dc:date>
    <link>https://www.kqed.org/forum/2010101904491/berkeley-perfumer-mandy-aftel-on-the-curious-and-wondrous-world-of-fragrance</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["“You don’t just smell an aroma; you fall into it,” writes artisan perfumer Mandy Aftel. And entering her exquisite small museum, the Aftel Archive of Curious Scents, tucked into a backyard in Berkeley, is to fall into an ancient, mysterious world. Amid centuries-old books, bottles and curios are natural fragrances that come from the secretions of civets and the bowels of sperm whales, as well as from resins, rare flowers, roots and so much more. We talk to Aftel about her collection, the art of building a fragrance, and her new book, “The Museum of Scent: Exploring the Curious and Wondrous World of Fragrance”.

Guests:

Mandy Aftel, artisan perfumer and founder, Aftelier Perfumes and the Aftel Archive of Curious Scents in Berkeley; author, "The Museum of Scent: Exploring the Curious and Wondrous World of Fragrance""]]></description>
<dc:subject>smell smells scents mandyaftel alexismadrigal berkeley museums togo perfumes fragrances senses memory allthesenses memories 2024 fragrance scent perfume bayarea archives</dc:subject>
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<item rdf:about="https://www.thenewatlantis.com/publications/in-your-face">
    <title>In Your Face — The New Atlantis</title>
    <dc:date>2024-02-10T21:02:01+00:00</dc:date>
    <link>https://www.thenewatlantis.com/publications/in-your-face</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Apple’s friction eliminators want to get under your skin."

...

"‘Here’s My Face’

The promise of a true mind–body interface is to make the use of digital tools truly effortless. I would be lying if I said that I have never, when using a digital device, felt the seductive inklings of a smooth, frictionless experience. The Vision Pro promises to bring us closer to that. In Apple’s announcement video, the actors gesture gracefully and precisely in mid-air, navigating between virtual apps. Can this device, or future ones, deliver on the promise of effortlessness?

There are limits to what any device can do. The stubborn constraints of the body — its natural course from youth to old age, its limited attention span and mental plasticity, its recurring need for sleep and food, the imprecisions of hands and fingers and eye movements — are the ultimate problem for friction-eliminators. No matter how close to our bodies a device gets, it won’t be close enough to rule out these inconveniences entirely. But this way of putting it suggests that our bodies themselves are the problem, that eliminating friction would mean eliminating our bodies.

We seem only happy enough to be partners in the abolition of the body. Consider again the trend in now broadly accepted body modifications that presaged the Apple Vision Pro and that may offer ingress to the implants of the future. It is a trend that affects how all of us view ourselves and each other. Are any of us really happy with our body and its stubborn limitations? The technologies available to us for modifying our bodies help to warp the ideas we have in our heads about what other people want to see in our bodies, identities, personalities, voices, and minds.

And as the fleshly reality of our bodies drifts apart from the smooth, effortless digital image of ourselves, our concept of what our bodily self ought to be changes, too. This body dysmorphia leaves us dissatisfied with merely using post-processing filters to alter the photos and videos we take and share of ourselves. We may want to bake the filters in, to make the impossible proportions, pore sizes, skin tones, musculature, voices, posture, fat distributions, and facial structures we see every day permanent. We search out invasive surgical techniques, tricks of lighting and angle, tucks, pinches, snips, and stretches, pills and chemicals and dietary hacks, that mold us into what we think others desire of us. Failing these bodily remedies, we might instead seek relief in the digital world.

Once the tools are available, a quiet retreat from reality is all too easy to take advantage of. Consider how some people found solace in the physical retreat of wearing a face mask, even after the public health justifications for masks faded along with Covid deaths. A New York Times piece in March 2022 reported on a group of teenagers, one of whom made a heartbreaking admission:

<blockquote>Ultimately, Belle, 16, and her friends decided to keep their masks on for now, “not because of their views on the pandemic, mostly because of their views on themselves and how they think people are going to judge them,” Belle said. “Only seeing half of someone’s face for two years straight and then completely opening up to them, like, ‘Oh, here’s my face’ — you know, it’s a lot.”</blockquote>

Restoring the Body

Most of us do not have a strong enough sense of the indispensability of the body to resist having yet another layer of ourselves peeled away and a device put on us instead. Most of us already have devices too close to us, and our digital persona feels too real, and too far from our physical life, to resist the closing circle of each new epochal device. We need to get comfortable in our own skin again. To do this, we need courage and optimism.

We need courage because our bodies are unavoidably fragile, aging, and imperfect, constantly in need of care, maintenance, resources, and rest. That’s true of every single one of our bodies. Many have additional strikes against them: disease, chronic pain, injury, or chemical or hormonal imbalance. To be human is to have courage in the face of these impediments; it is impossible to go on living without some measure of courage.

We must also be optimistic. The body’s physical reality is better than the alien reality of the digital world. All of us are more beautiful than the most beautiful AI-generated model, because we are real and it is not. Digital technology is only useful insofar as it has a good effect here in the real world we all live in. We can order our technologies toward the flourishing of the body and of reality. We can make the device a useful instrument, realizing that it is dispensable, whereas our bodies are not.

The Apple Vision Pro wants to be your new eyes. But why are we so keen to replace our real ones? What is so lacking in them? Or what is so lacking in the physical world our eyes perceive that it must be “augmented” with the digital? Is there a positive vision of human flourishing on offer here? Digital-device culture is an experiment on a colossal scale, the results of which we have tried to measure in IPOs, quarterly growth rates, engagement metrics, and daily active users, not in human flourishing. But that is where we are incurring the real costs.

At the end of its announcement video, Apple calls the Vision Pro “a powerful way to relive our memories, a profound new way to be together.” Thinking of virtual experiences as powerful and profound is only possible in a world where our memories and our being together have been so impoverished by the substitutionary effects of device culture that we require high-tech scaffolding to experience power and profundity. There is much better on offer, if we don’t mind the clunky interface of the real world."

[via:
https://theconvivialsociety.substack.com/p/vision-con ]]]></description>
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    <title>Packing My Library - Believer Magazine</title>
    <dc:date>2024-01-29T04:27:35+00:00</dc:date>
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<item rdf:about="https://www.theatlantic.com/podcasts/how-to-build-a-happy-life/">
    <title>How to Keep Time - The Atlantic [bookmarking for Season 5, &quot;How to Keep Time&quot; - this podcast covered other topics before that.]</title>
    <dc:date>2024-01-23T05:11:04+00:00</dc:date>
    <link>https://www.theatlantic.com/podcasts/how-to-build-a-happy-life/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[Direct link to Season 5:
https://www.theatlantic.com/podcasts/how-to-build-a-happy-life/?season=5 ]

"A series exploring our complex relationship with the clock"

...

"About How to Keep Time

On this season of How to Keep Time, co-hosts Becca Rashid and Ian Bogost explore our relationship with time and how to reclaim it. Why is it so important to be productive? Why can it feel like there’s never enough time in a day? Why are so many of us conditioned to believe that being more productive makes us better people?

Produced by Becca Rashid. Co-hosted by Becca Rashid and Ian Bogost. Editing by Jocelyn Frank. Fact-check by Ena Alvarado. Engineering by Rob Smerciak. The executive producer of Audio is Claudine Ebeid; the managing editor of Audio is Andrea Valdez."


[Transcripts:

Episode 1
"How to Keep Time: Try Wasting It
How to Waste Time: Wasting time could be the best way to use it.
In a culture obsessed with productivity, what would it mean to commit to letting it go?"
https://www.theatlantic.com/podcasts/archive/2023/12/how-to-waste-time/676187/

"Co-hosts Becca Rashid and Ian Bogost explore our relationship with time and how to reclaim it. Why is it so important to be productive? Why can it feel like there’s never enough time in a day? Why are so many of us conditioned to believe that being more productive makes us better people? [includes interview with Oliver Burkeman]"

Episode 2
"How to Keep Time: Look Busy
If time is a luxury, why don’t we flaunt it?"
https://www.theatlantic.com/podcasts/archive/2023/12/how-to-look-busy/676195/

"Many of us complain about being too busy—and about not having enough time to do the things we really want to do. But has busyness become an excuse for our inability to focus on what matters?

According to Neeru Paharia, a marketing professor at Arizona State University, time is a sort of luxury good—the more of it you have, the more valuable you are. But her research also revealed that, for many Americans, having less time and being busy can be a status symbol for others to notice. And when it comes to the signals we create for ourselves, sociologist Melissa Mazmanian reveals a few myths that may be keeping us from living the lives we want with the meaningful connections we crave."

Episode 3
"How to Leave Work Time at Work: Time to Break Up With Your 9-to-5
Sometimes workplace culture requires you to leave the rest of your life at the door. What if there are better ways to structure time?"
https://www.theatlantic.com/podcasts/archive/2023/12/how-to-leave-work-time-at-work/676196/

"Before laptops allowed us to take the office home and smartphones could light up with notifications at any hour, work time and “life” time had clearer boundaries. Today, work is not done exclusively in the workplace, and that makes it harder to leave work at work.

Co-hosts Becca Rashid and Ian Bogost examine the habits that shrink our available time, and Ignacio Sánchez Prado, a professor of Latin American Studies at Washington University in St. Louis, offers his reflections on American culture and shares suggestions for how to use the time we do have, for life."

Episode 4
"How to Rest. What Is Rest, Anyway?
There’s a difference between leisure and laziness."
https://www.theatlantic.com/podcasts/archive/2024/01/how-to-rest/676197/

"Between making time for work, family, friends, exercise, chores, shopping—the list goes on and on—it can feel like a huge accomplishment to just take a few minutes to read a book or watch TV before bed. All that busyness can lead to poor sleep quality when we finally do get to put our head down.

How does our relationship with rest affect our ability to gain real benefits from it? And how can we use our free time to rest in a culture that often moralizes rest as laziness? Alex Soojung-Kim Pang, the author of several books on rest and director of global programs at 4 Day Week Global, explains what rest is and how anyone can start doing it more effectively."

Episode 5
"Time-Management Tips From the Universe
It could help to examine the cosmos."
https://www.theatlantic.com/podcasts/archive/2024/01/time-management-tips-from-the-universe/676199/ 

"Time can feel like a subjective experience—different at different points in our lives. It’s also a real, measurable thing. The universe may be too big to fully comprehend, but what we do know could help inform the ways we approach our understanding of ourselves, our purpose, and our time.

Theoretical physicist and black-hole expert Janna Levin explains how the science of time can inspire new thinking and fresh perspectives on a much larger scale."

Episode 6
"Can We Keep Time?
Do photos, social posts, and diaries actually help us remember better?
https://www.theatlantic.com/podcasts/archive/2024/01/can-we-keep-time/676198/

It can be tough to face our own mortality. Keeping diaries, posting to social media, and taking photos are all tools that can help to minimize the discomfort that comes with realizing we have limited time on Earth. But how exactly does documenting our lives impact how we live and remember them?

In this episode, diarist and author Sarah Manguso reflects on the benefits and limitations of keeping track of time, and Charan Ranganath, a professor of psychology and researcher at the UC Davis Center for Neuroscience, discusses what research reveals about how memories work and how we can better keep time."]]]></description>
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<item rdf:about="https://www.youtube.com/watch?v=NrjFE_Rd2OQ">
    <title>Carlo Rovelli: The nature of time - YouTube</title>
    <dc:date>2023-10-09T03:15:18+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=NrjFE_Rd2OQ</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["We all experience time passing, but why? Carlo Rovelli reveals why time is more complex than intuition suggests; it may not exist at all."]]></description>
<dc:subject>carlorovelli time physics 2020 neuroscience science life living suffering buddhism memory memories quantumtheory quantumphysics quantummechanics</dc:subject>
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<item rdf:about="https://www.youtube.com/watch?v=wNdJOX_hk58">
    <title>If I were President w/ Dr. Cornel West - YouTube</title>
    <dc:date>2023-07-22T21:12:09+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=wNdJOX_hk58</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Dr. Cornel West is a prolific author, professor, preacher, and activist.  He is running for US President in 2024. We ask Dr. West how his campaign challenges the brutalities of settler colonialism while also lifting the spirits of people in struggle.

Learn more about his campaign here
https://www.cornelwest24.org/ "]]></description>
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</item>
<item rdf:about="https://www.youtube.com/watch?v=0pcIIOds2DM">
    <title>growth - YouTube</title>
    <dc:date>2023-06-19T01:25:50+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=0pcIIOds2DM</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["to violet, i hope you see this someday and think your papa is really cool. or maybe just a huge dork. either one’s fine with me."]]></description>
<dc:subject>joeyyee parents parenting howwewrite video children childhood growth memory memories photography writing recording</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:e5c55c7c3219/</dc:identifier>
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</item>
<item rdf:about="https://www.growbyginkgo.com/2023/03/14/theres-nothing-unnatural-about-a-computer/">
    <title>There's Nothing Unnatural About a Computer</title>
    <dc:date>2023-05-03T16:57:32+00:00</dc:date>
    <link>https://www.growbyginkgo.com/2023/03/14/theres-nothing-unnatural-about-a-computer/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["James Bridle’s Ways of Being wants us to take a fresh look at nature’s intelligence"

...

"I don’t think there is such a thing as an artificial intelligence. There are multiple intelligences, many ways of doing intelligence. What I envisage to be more useful and interesting than artificial intelligence as we currently conceive of it—which is this incredibly reduced version of human intelligence— is something more distributed, more widely empowered, and more diverse than singular intelligence would allow for. It’s actually a conversation between multiple intelligences, focused on some narrow goals. I have a new, very long-term, very nascent project I’m calling Server Farm. And the vision of Server Farm is to create a setting in which multiple intelligences could work on a problem together. Those intelligences would be drawn from all different kinds of life. That could include computers, but it could also include fungi and plants and animals in some kind of information-sharing processing arrangement. The point is that it would involve more than one kind of thinking, happening in dialogue and relationship with each other."

...

"Well, the way that I think about it is that intelligence is relational. It’s not something that exists within bodies, but between them. Or between beings, or between awarenesses, or between beings and things, between beings and places. I wouldn’t even necessarily restrict it to bodies. But intelligence without relationships — I don’t think I could really understand what that is."

...

"I remember going to the British Library many years ago. I got an amazing behind-the-scenes tour, it’s completely incredible: the building goes down, probably more stories than they say, underground, and it has these vast robotic systems for moving artifacts around. It’s this incredible grounded spaceship for preserving stuff. But that preservation isn’t just putting stuff in cold rooms. It’s also an incredibly active process. You’ve got all of these studios where they’re doing preservation work. In one room, you will have someone prizing open 10th century books or X-raying ancient papyri to try and pull the information back up off the page, out of this rotting medium. And in the next room, you’ve got someone who’s working on piecing together shellac discs, the very first audio recording tools. And in the next one, you’ve got someone who’s trying to get something off a Mac that’s 10 years old. I remember walking around this place and having this real vision of all culture, all human knowledge, all human experience, piled on a huge conveyor belt moving inexorably towards the fire. And the whole work is just constantly shoving that stuff away from the fire in any way that we can. And that’s not just the work of librarians, or even artists and cultural workers. It’s really what we all do all the time in trying to preserve and transmit knowledge. 

But what’s also crucial about that is that every time you do it, you’re enacting it. It’s not just about portaging dead media, or frozen ideas from the past. It’s about finding what their place is in the present. How they are useful in the current moment. That enacting becomes possible when you’re doing the work of understanding and listening and transmitting. Because that’s where it always happens. The knowledge is in the telling of it. It’s true of everything. I don’t like falling back on Indigenous knowledge as an example — the “magic native” trope — but it’s much clearer in non-Western cultures, I think. In Australian Aboriginal storytelling these things have a direct relationship to the lived landscape. They’re survival tools of the present. I think all knowledge is that. We can and do use these things — processing knowledge over time. That’s how we get on. And we’ll continue to get on."

...

"Sustained observation is wonderful. But it’s also a survival tool, because it allows you to react specifically to new situations. And that’s really the key. We are facing situations that are novel to humanity. But all organisms, at some point, face situations that are novel, and the ones that survive are the ones that have the broadest range of experience to draw on to find new solutions, and the broadest diversity of experiences."

...

"But one key part of what I say about that particular vision of the internet of animals, allowing us to work towards a shared planet, is also that we get the hell out of quite large areas. That includes data and monitoring — when we know what we need to know, we stop. We erase the data and we erase our presence and we move ourselves away from the center in every way that we can. I think it’s a bit too easy to get caught up in the very, very real problems with doing some of this stuff, when we’re already doing it at such a hideously large industrial scale that not trying to do it better seems to be a slightly foolish barrier to going forward. We have this power and we’re already misusing it. I’m no fan of massive geoengineering schemes, but we are already doing massive geoengineering schemes. That’s what 300 years of burning fossil fuels is."]]></description>
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<item rdf:about="https://podcasts.apple.com/us/podcast/beyond-horology-podcast/id1549388407?i=1000538216849">
    <title>Beyond Horology Podcast: Why We Collect Watches with guest psychiatrist Erik Nilzèn 🇸🇪 on Apple Podcasts</title>
    <dc:date>2022-11-20T00:28:12+00:00</dc:date>
    <link>https://podcasts.apple.com/us/podcast/beyond-horology-podcast/id1549388407?i=1000538216849</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["In this episode Niko talks watches, addiction and number of reasons why we get so deep in the watch collecting hobby with psychiatrists and fellow watch nerd Erik Nilzèn.
Visit Doing Time Blog here: www.doingtime.se/

Visit Erik’s Instagram here:
https://www.instagram.com/doktornsklockor/

We welcome your rating on Apple Podcast, as well as your feedback, questions and recommendations via DM on our Instagram!
https://instagram.com/beyondhorologypodcast"

[Also here:

https://www.listennotes.com/podcasts/beyond-horology/why-we-collect-watches-with-43tidTps-J5/

https://open.spotify.com/episode/2jmUfEM65bZAPlw7l5QizH

https://anchor.fm/beyond-horology/episodes/Why-We-Collect-Watches-with-guest-psychiatrist-Erik-Nilzn-e18ka72 ]]]></description>
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<item rdf:about="https://futuress.org/magazine/yemanja-the-whitewashed-orisha/">
    <title>Yemanjá, the Whitewashed Orisha</title>
    <dc:date>2021-12-24T17:15:11+00:00</dc:date>
    <link>https://futuress.org/magazine/yemanja-the-whitewashed-orisha/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Unpacking Brazilian diasporic memories and aspects of structural racism through an iconographic analysis."

...

“The replacement of the images comes alongside the erasure of Yoruba and Kikongo terminologies from their vocabulary, ultimately performing the colonial attempt to reach European Spiritism’s “purity.””

...

“We need to contest the fairness of this process because it was not accidental; it was well calculated in order to support a very specific political project. Who benefited from it, and who was deprived of their own history?”
]]></description>
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<item rdf:about="https://www.thenewatlantis.com/publications/the-analog-city-and-the-digital-city">
    <title>The Analog City and the Digital City — The New Atlantis</title>
    <dc:date>2020-11-08T23:13:43+00:00</dc:date>
    <link>https://www.thenewatlantis.com/publications/the-analog-city-and-the-digital-city</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["One way to understand our moment is to recognize that digital technology is reconfiguring the nature of the self that enters into the political arena, even as it restructures the arena itself. The contrast between those who mainly inhabit the Digital City and those who still primarily inhabit the Analog City becomes increasingly stark. Simple appeals to conventions and solutions grounded in the Analog City now ring hollow. The old virtues and ideals, as well as the institutions they sustained, have lost their purchase on the imagination. They have lost their “self-evident” character. Like the early moderns, our reigning world picture has shattered and we are casting about for new ways of building consensus, new ways of coping with the challenges of pluralism, new ways of ordering society toward the common good. At the moment, however, it appears that digital media tends toward political and epistemic fragmentation, not consensus, and toward the implausibility of any substantive account of the common good. In other words, it may be that things will get worse before they get better.

In a 1982 talk on the cultural and political consequences of computation, Ivan Illich issued a warning that is even more urgent today:

<blockquote>The machine-like behavior of people chained to electronics constitutes a degradation of their well-being and of their dignity which, for most people in the long run, becomes intolerable. Observations of the sickening effect of programmed environments show that people in them become indolent, impotent, narcissistic and apolitical. The political process breaks down, because people cease to be able to govern themselves; they demand to be managed.</blockquote>

We have focused on how digital media transforms the subjective experience of individuals. The political corollary is that it enables and empowers regimes of algorithmic governance, predictive analytics, and social credit. The profound erosion of trust in the Digital City leaves a vacuum, and we look to our tools to fill it. We seem set upon interlocking trajectories: of ever greater swaths of the human experience being computationally managed, and of intractable human subjects increasingly breaking down or revolting against these conditions.

From another vantage point, however, we might see this as a hopeful moment, full of promise and opportunity. Another path also seems possible. Freed from certain unsustainable illusions about the nature of the self and the world, we may now be called back to reckon with reality in a new, more chastened and more responsible manner. It is possible that the Promethean aspirations that characterized the modern self and modern society may now yield to a more sober assessment of the limits within which genuine human flourishing might occur. It is possible, too, that we may learn once again the necessity of virtues, public and private — that we will no longer, as T. S. Eliot put it, be “dreaming of systems so perfect that no one will need to be good.”"]]></description>
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<item rdf:about="https://www.archdaily.com/946090/designers-and-planners-take-note-peoples-fondest-memories-rarely-involve-technology">
    <title>Designers and Planners Take Note: People’s Fondest Memories Rarely Involve Technology | ArchDaily</title>
    <dc:date>2020-09-06T15:20:57+00:00</dc:date>
    <link>https://www.archdaily.com/946090/designers-and-planners-take-note-peoples-fondest-memories-rarely-involve-technology</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[original post: https://commonedge.org/designers-and-planners-take-note-peoples-fondest-memories-rarely-involve-technology/ ]

“As planners who regularly engage everyday citizens in the planning process, we like to start by having people build their favorite childhood memories with found objects. Most often, these memories are joy-infused tales of the out-of-doors, nature, friends, family, exploration, freedom. Rarely do these memories have much to do with technology, shopping, driving, watching television, and so many of the other things that seem to clutter up our daily lives. But then again, these are folks who have known a world that has been—at least for part of their lives—screen- and smartphone-free. 

Occasionally, an older workshop participant will say, “I’m really worried about the younger generations—that their only childhood memories will be from their phones and iPads.” One woman went so far as to say we would have to change the workshop format for young people altogether, as their memories would eventually all be the same: screens, video games, social media.

But is this true? What do young people who’ve grown up in a screen-filled world build for their favorite childhood memories? 

Recently, before shelter-in-place, we went to Soka University of America (SUA), in Aliso Viejo, California, United States, to lead an interactive model-building workshop for an undergraduate urban planning class consisting of students aged 19 to 23. Course creator and professor Deike Peters explained that the class aims to not only “let students who are primed and prepped loose on prime planning content” but also introduce them to “the actual experience of the practice of urban planning.” Thus Peters had invited us in to not simply show students one way of conducting community outreach and visioning, but also to engage those students in that process itself. Through this process, we unexpectedly gained a window into how these young people see and understand their lives in an internet-soaked world.

After giving a bit of background about what urban planners and designers do, we set off an international group of students (hailing from Switzerland, Ethiopia, Nepal, Japan, and the U.S., to name a few) to mine their memories and make them come to life through the found objects they picked out of a massive pile of, well, junk, at the front of the room. 

One workshop participant was Rodas Bekele, originally from Addis Ababa, Ethiopia, and currently a junior at SUA, who is pursuing an environmental studies degree with a focus on urban planning. In sifting through the found objects on the front table in the classroom to figure out what to build for her memory, Bekele came upon fake yellow flowers—“very similar to the flowers we would pick out for New Year’s Eve and the season,” she said—and they become the grist for her model-building.

After taking about five minutes to build their models, Bekele and her classmates had a chance to share both their models and accompanying memories. As each student spoke, a picture began to emerge of shared and recurring themes that, more often than not, transcended national identity and biography. 

“There used to be open fields where I lived—now it’s basically suburbia,” Bekele said of her model. “And there used to be a bunch of flowers there. So my memory was of my family, my mom and my sister. We would go to the yellow flowers and pick them. We would bring a soccer ball and just play around in the mud, pick flowers, rest up a little bit. That’s the memory I was trying to recreate. The soccer ball on the side and the yellow flowers.” 

Another student, Eiji Toda, of Osaka, Japan, described how he became interested in urban planning after going from intensely urban but walkable and socially connected Osaka to Orange County and living at SUA, a beautiful campus but one that is completely inaccessible to public transit, a walk to a town center, or to a broader community.

For the model of his favorite childhood memory, Toda built something very much in contrast to his everyday reality at SUA: a local bus station in Osaka and the streets connecting to it. While the station was the focal point of the model, its presence he highlighted because it served as a springboard for experiencing a wider world. And for him, part of that wider world was the feeling of his senses opening up. 

“The station is surrounded by a lot of trees, and actually the boulevard right there has a lot of big oak trees,” he said of the trees depicted in his model. “In the summer, there are lots of cicadas in the trees, and they are really loud, and that kind of soundscape is involved in the place. I could really feel the cycle of the seasons there. I would go to school every day, regardless of the season—rain, winter—so I was able to see the changes in the trees, and the changes in temperature and humidity.”

 Discovery, freedom, nature, sights, sounds, family, friends, our senses awakened: all recurring themes within not just Toda’s and Bekele’s memories and models, but within all of the students’ memories and models. These are, in fact, essentially the same memories and models of older participants in our workshops as well. 

When we relay stories like Bekele’s and Toda’s to planners and inquiring minds, the reaction is most often along the lines of, “Well, that was then, this is now.” In other words, regardless of these memories, the cities these students want to live in now must certainly be awash in technology.

To follow the exercise on building their favorite childhood memory, we had the students do just that: work in small groups to build their ideal cities. We set no parameters for what they were to build other than that we wanted them to build the cities they would like to live in. The groups by and large contained cultural cross-sections of students, and each group was able to return to the table in the front to mine the pile of found objects for elements for their new cities. 

Subina Tapaliya, who grew up in Piple, Nepal, and her teammates Kazumi Takaishi and Yu Fujiwara, both from Japan, pulled from their experiences back home and in Aliso Viejo, to create a hybrid city that addressed needs lacking in each. “I built schools and hospitals in the model because back in my hometown, we did not have those facilities, and we suffered,” said Tapaliya of their model. “But we also built in public transportation, because here in Aliso Viejo there is none. You need a car.” 

To the mix of transportation and social infrastructure, the group also added in bike lanes and green spaces for gathering, elements Tapaliya wished existed in her actual physical environment. “I realized that if there were bike paths, or more accessible public transit in Aliso Viejo, maybe I would be out and about more.” 

Toda’s group—all from Japan—built a Japanese-style shopping street but made clear that an exact urban neighborhood equivalent did not exist in the U.S. “It’s a type of space that’s not really present here,” said Toda, “so I wanted to reconstruct that, and also deconstruct it—to figure out what made it work.”

To those ends, his group built a train station, a shopping street, and the neighborhood that extends out from that core. “Alongside the shopping street, there are parks and schools, and all the things that you need. We tried to put in leaves, so you could feel the transitions across the seasons,” said Toda. While the train and shopping infrastructure could constitute “technology,” no one in his team built in WiFi, or phone-charging stations, or any overt displays of technology that have become hallmarks of 21st century life. 

In fact, after we had the teams report back on what they had built for their ideal cities, we asked them to pull out not simply recurring themes from the models—walkability, nature, outdoor activities, proximity, no parking, weekends and relaxation—but also those elements everyone distinctly omitted from their models. To everyone’s surprise, what they subconsciously omitted were so many elements that seem to be so intertwined with their everyday lives today: cars, technology, homework, money, television, and freestanding buildings sitting within seas of parking lots. When we pointed out that no one had built WiFi or phone-charging stations, either, several students said, “Oh, my god, we didn’t.” 

Of course, it could be argued that things like WiFi and outlets for charging phones are so ubiquitous in these students’ lives that they just assumed it was a given these elements would be in their ideal cities. But is this so? When we asked Toda to reflect after the workshop on why his group hadn’t built technology into their city, he took a minute to ponder the question and replied, “We reconstructured our city based on our own memories, and less on something we have been exposed to now.” Yet in reflecting further, he realized his group had equally pulled from their experiences of modern-day Japan.

“The basis of the city should be the environment: the people, the environment, the sounds,” he said, “and the technology can enhance parts of it, but in Japan technology is not a central part of the city. For example, we have an app that helps us navigate the transportation system, but it’s not the main part of my transportation experience, but an aide that lets me explore that world.” 

Bekele had a similar response. “After the first exercise, I was in the mentality of ‘fun stuff, memories, family, togetherness,’” she said, “and I think that’s what we truly value, and we carried that over when we designed the group community, this feel-good place. So technology didn’t really come up because if we’re going to come together, we’re going to talk to people rather than thinking about charging our phones, and WiFi.”

When she reflected further—in particular on what her group did not build—she homed in on physical connectivity as a core element of their ideal city. “Our model city wasn’t very car-based, and I think that’s an important part. I’ve seen the highways in the U.S. and how huge they are, and how there is no one on the street walking,” she said. “So, looking at our model, things were close together, they were human-scaled. You could walk to certain places, or bike to certain places.”

And as for technology itself? Bekele saw a role for it, but, like Toda, saw it as a tool for enhancing one’s life but not life itself. “I feel like that other stuff, other than accessing your maps [app] and going places, that stuff comes second to being with other people,” said Bekele.

Since the SOKA workshop, we have led many more workshops, with a range of ages (including kindergarteners), and 99% of their memories have been in line with all the recurring themes of the SOKA students. Sure, one student recently built playing Minecraft at home, and another, a third-grader in Los Angeles, announced that he would be building a video game system for his favorite activity in the city. Yet when he built his activity, he ended up building a park. “I said I was going to build a video game system, but I built a park instead. I don’t know why!” he exclaimed, incredulous but also thrilled at the discovery.

It seems that when push comes to shove, what we value most—both way back when and now—are not the digital pursuits that occupy much of our time and attention, but rather the things that provide us a sense of comfort, belonging, joy. Things that offer up opportunity for discovery and exploration—of the physical and natural world. 

So where does that leave all of us, then, when our everyday infrastructure and frameworks for our lives neither reflect so many of our core values nor allow us to live out those values in meaningful ways? When it comes to young people, whose lives are increasingly dominated by programmed activities and little in the way of downtime and opportunities for boredom-induced discovery—the joys of a wandering mind—our observations reveal a true need for providing hands-on learning within and outside the classroom, and increased time for simply doing, well, whatever: ambling about, building a snow fort, gluing fake jewels onto wooden blocks, playing capture the flag down at the park, lying down and thinking while staring up through a tree.

Not only has no student ever built playing on a smartphone or tablet as their favorite childhood memory, no student has ever built going to soccer practice, an elaborately planned birthday, getting presents, or a debate tournament. What little simple, unprogrammed downtime they do have nowadays, that’s where their favorite memories are still created and found.”]]></description>
<dc:subject>soka sua sokauniversityofamerica 2020 architecture design technology deikepeters urbanplanning jamesrojas johnkamp vassilyorgov cities alisoviejo memory memories nostalgia togetherness cars discovery exploration trains buses mobility downtime boredom learning howeelearn informal informallearning freedom liberation urbanism planning urban</dc:subject>
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<item rdf:about="https://www.theverge.com/2020/8/14/21366568/i-am-dead-game-preview-switch-pc-steam-annapurna-interactive">
    <title>I Am Dead is a cute, charming game about being a curious ghost - The Verge</title>
    <dc:date>2020-08-15T01:13:21+00:00</dc:date>
    <link>https://www.theverge.com/2020/8/14/21366568/i-am-dead-game-preview-switch-pc-steam-annapurna-interactive</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[embedded video: https://www.youtube.com/watch?v=RvcOYP47xT0

see also: https://www.dualshockers.com/i-am-dead-preview/ ]]]></description>
<dc:subject>videogames games gaming ghosts memory hohokum iamdead dickhogg rickyhaggett memories objects meaning edg srg toplay</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
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<item rdf:about="https://www.youtube.com/watch?v=4tf7T2TySG0">
    <title>Anab Jain | Imagining What the Future Looks Like | SkollWF 2019 - YouTube</title>
    <dc:date>2020-01-09T21:35:40+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=4tf7T2TySG0</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Anab Jain, Co-Founder and Director of Superflux, presented an imagined future as both a cautionary tale and a provocation for the possible. “Bring the future close enough to feel,” she urged the gathering. “Together we can find the tools to transform our greatest challenges into our greatest triumphs.”

Anab Jain is a filmmaker, designer and futurist. She creates worlds, stories and tools that provoke and inspire us to engage with the precarity of our rapidly changing world. Following an extensive career in the design and foresight industry, working for some of the world’s biggest organisations such as Microsoft and Nokia, she co-founded Superflux, an experimental design, foresight and technology studio in London, UK. Alongside her practice, Anab is Professor and Programme Leader for Design Investigations at the University of Applied Arts in Vienna. Over the last 15 years, 

Anab has gained international recognition for her work and commentary on design, innovation, emerging technologies and complex futures. She is the recipient of the Award of Excellence ICSID, UNESCO Digital Arts Award, and Grand Prix Geneva Human Rights Festival, as well as awards from Apple and the UK Government’s Innovation Department. Her work has been exhibited at MoMA New York, V&A Museum, Science Gallery Dublin, National Museum of China, Vitra Design Museum, and Tate Modern. Anab has delivered talks and keynotes at several conferences including TED, MIT Media Lab and MOMA’s first design summit ‘Knotty Objects’, PICNIC, NEXT, WCIT2010, LIFT, SIGGRAPH, Global Design Forum, EPIC, Design Engaged and FuturEverything. 

About the Skoll World Forum:
Each year, nearly 1,000 of the world’s most influential social entrepreneurs, key thought leaders, and strategic partners gather at the University of Oxford’s Saïd Business School to exchange ideas, solutions, and information. The Skoll World Forum on Social Entrepreneurship is the premier international platform for advancing entrepreneurial approaches and solutions to the world’s most pressing problems."]]></description>
<dc:subject>anabjain 2019 superflux future futurism designfiction speculativefiction speculativedesign design futures fiction 1984 georgeorwell fakenews politics donaldtrump storytelling reality perception narrative sensemaking weaksignals emotions memory memories antiicipation nearfuture experience simulation simulations ethnography anthropology emergingtechnologies complexity makingsense</dc:subject>
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<item rdf:about="https://www.theparisreview.org/blog/2019/09/03/the-brief-idyll-of-late-90s-wong-kar-wai/">
    <title>The Brief Idyll of Late-Nineties Wong Kar-Wai</title>
    <dc:date>2019-09-09T19:56:59+00:00</dc:date>
    <link>https://www.theparisreview.org/blog/2019/09/03/the-brief-idyll-of-late-90s-wong-kar-wai/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["In the summer of 1997 I was living in London, trying to figure out what to do with my life. I’d left college and had been in the city for a year, trying, like so many other twentysomethings, to write a novel. I’d given myself a year, but as the chapters took shape so did a curious tension about the way my life was playing out. Part of me was exhilarated and determined: I was writing about a country and people—my people—that did not exist in the pages of formal literature; I was exploring sexual and emotional boundaries, forming relationships with people who seemed mostly wrong for me, but whose unsuitability seemed so right; I was starting, I thought, to untangle the various strands of my cultural identity: Chinese, Malaysian, and above all, what it meant to be foreign, an outsider.

But the increasing clarity of all this was troubled by a growing unsettledness: I had imagined that the act of writing my country and people into existence would make me feel closer to them, but instead I felt more distant. The physical separation between me and my family in Malaysia, which had, up to then, been a source of liberation, now created a deep anxiety. All of a sudden I saw the huge gulf between the person I had been and the one I now was. In the space of just five or six years, university education had given me a different view of life, a different appreciation of its choices. My tastes had evolved, the way I used language had changed—not just in terms of syntax and grammar but the very fact that standard English was now my daily language, rather than the rich mixture of Malay, Cantonese, Mandarin, and Malaysian slang that I had used exclusively until the age of eighteen. I was writing about the place I was from, about the people I loved (and hated), but felt a million miles from them.

All around me, the world seemed to be repositioning itself in ways that seemed to mirror this exciting/confusing tension within me. Britain was in the grip of Cool Britannia fever, and London—multicultural, newly confident after the Labour Party’s victory in the elections—seemed to be the most exciting place on the planet, a city where minority groups of all kinds suddenly found their voice and artistic expression flourished alongside capitalism. On the other side of the world, where my family and friends lived, however, the 1997 Asian Financial Crisis had just erupted, bringing the previously buoyant economies of Southeast Asia to their knees. On the phone with my parents, I heard news of one friend after another who’d lost their job or business. A new anxiety lurked in the voices of all those I spoke to in Malaysia and elsewhere in the region: an unspoken fear of civil unrest, of anti-Chinese violence that inhabited the passages of our histories in times of crisis. These fears were not unfounded: less than a year later, in Jakarta, where my father worked at the time, widespread anti-Chinese riots led to the murders of over a thousand people and hundreds of incidents of rape and burning of Chinese-owned property and businesses. Stay where you are, don’t come back, various friends cautioned.

On TV, I watched the handover of Hong Kong to China after one hundred years of British colonial rule, a transition that felt at once thrilling and scary: the passing of a country from one regime to another, with no one able to predict how the future would pan out. My sister, who had recently moved to Hong Kong to find work, decided that it would change nothing for her, and that she would stay.

I sank deeper into the world of my novel. I sought refuge in a place where I was in control—but even there, things weren’t working out. My characters were all divorced from their surroundings, trying to figure out how to live in a world on the cusp of change. They fell in love with all the wrong people. They didn’t belong to the country they lived in. I wanted the novel to be an antidote to the confusion around me but it wanted to be part of that mess. I was exhausted by it and by the end of that year, abandoned the manuscript.

It was exactly at that time that Wong Kar-Wai’s Happy Together found its way into the art house movie theaters of Europe. That summer he had won the Best Director prize at Cannes for the film—the first non-Japanese Asian to do so—and I’d seen the movie posters in magazines: Tony Leung and Leslie Cheung sitting dreamily in the back of a car, their faces bathed in a hypnotic yellow light. I’d grown up with these actors, iconic figures in Asian pop culture. I’d seen all their movies, and like so many of my contemporaries, knew the words to all the Leslie Cheung songs, which still take up several gigabytes of memory on my iPhone. I’d seen and swooned over Wong Kar-Wai’s previous films, Chungking Express and Fallen Angels, as well as a curious early work called Days of Being Wild, set partly in the Philippines and also starring Leslie Cheung. I thought I knew what to expect from Happy Together. It turned out that I had no idea at all.

It’s impossible to describe the intense rush of blood to the head that I felt on seeing these two leading actors—young, handsome, but somehow old beyond their years—in the opening scene. They are in a small bed in a boarding house in Buenos Aires. They are far from home, wondering what to do with their lives, how to make their relationship work again. Within seconds they are making love—a boyish tussle with playful ass-slapping that morphs quickly into the kind of rough, quick sex that usually happens between strangers, not long-term partners.

It was the end of the twentieth century; I had watched countless European movies where explicit sex was so much a part of the moviemaking vocabulary that it had long since lost the ability to shock me. But the people in this film were not random French or German actors, they were familiar figures of my childhood, spitting into their hands to lubricate their fucking.

The two men are partners in a turbulent relationship with extreme highs and lows. They travel to Argentina—as far away from home as possible—to try and salvage what they can of their love. Their dream is to travel to see the Iguaçu Falls, a journey which takes on totemic qualities as the movie progresses and their relationship once again falters. They break up. Tony Leung takes a lousy job as a doorman at a tango bar; Leslie Cheung—promiscuous, volatile—becomes a sort of rent boy, though the precise nature of his relationships with other men is never clearly defined. (Over the years I’ve developed a resistance to remembering the characters’ names, wanting, I guess, to imagine that Tony Leung and Leslie Cheung were actually in a relationship.) Leslie drifts in and out of Tony Leung’s life, sometimes bringing his tricks to the bar where Tony works. From time to time they appear ready to get back together again, but they always miss their chance to connect—often in a literal sense, for example when one goes looking for the other, but goes into one door just as the other emerges from an adjacent one.

Their relationship is a series of missed connections, but it is more tragic than two people simply being in the wrong frame of mind at the wrong time. It is impossible for the men to achieve intimacy because they are unable to carve out their place in the world—neither in Buenos Aires nor in Hong Kong, which is referred to often but never in comforting or nostalgic terms. Their new city is not welcoming, and neither is their home country. The same set of problems they escaped from home to avoid follow them to this strange foreign place. The Buenos Aires they inhabit is at once real and unreal, sometimes gritty, other times so dreamy it seems like an imagined city. The mesmerizing visuals that Christopher Doyle created for that film (and would carry into Wong Kar-Wai’s future works) make us feel as if the characters are floating through the city, incapable of affixing themselves to it.

Late in the film, a major new character is introduced—an innocent, uncomplicated young man from Taiwan played by Chang Chen, who works in the Chinese restaurant where Tony Leung has found employment. They form a close friendship, one that seems nourishing and stable. But Tony Leung is still preoccupied by Leslie Cheung, even though they are no longer together. Does Chang Chen feel more for Tony Leung than mere friendship? Almost certainly, he does. He goes to Ushuaia, the farthest point of the Americas, but Tony Leung chooses to remain in Buenos Aires. Those missed connections again: that impossibility, for Tony Leung at least, to figure out how he truly feels because he is too far from home, cut off from his points of reference. That intense separation should have brought him objectivity; he should have gained clarity of thought and emotion. Instead his feelings remain trapped in a place he wants to leave behind, but is unable to forget.

In the closing scenes, Tony Leung finally manages to leave Buenos Aires and travels not to Hong Kong but Taipei. He goes to the night market where Chang Chen’s family runs a food store. Chang Chen isn’t there, he is still traveling the world. “I finally understood how he could be happy running around so free,” Tony Leung says in his low, sad, matter-of-fact voice-over. “It’s because he has a place he can always return to.”

When I think of that period in 1997, when I couldn’t walk down the street or fall asleep without seeing Tony and Leslie dancing the tango in a squalid kitchen, or hearing Caetano Veloso’s featherlight voice hovering over ravishing images of the Iguaçu Falls—I can’t help but think that we were in a short era of innocence before the complicated decades that lay ahead. The Hong Kong that Wong Kar-Wai refers to in that movie no longer exists. The film’s original title is 春光乍洩, which means the first emergence of spring sunshine—or, more idiomatically, a glimpse of something intimate. But perhaps it refers also to that brief moment of openness and acceptance, when our vulnerability was allowed to be a natural part of our world, only to give way once again to an era of victimization,  divisiveness, and ever-narrowing boundaries."]]></description>
<dc:subject>wongkar-wai tashaw film memories memory place belonging home 1990s 1997 2019 youth identity storytelling unsettledness separation malaysia education highered highereducation langauge english malay cantonese mandarin chinese malaysian change innocence london capitalism jakarta southeastasia hongkong china tonyleung lesliecheung chunkingexpress happytogether fallenangels daysofbeingwild buenosaires relationships intimacy families connection nostalgia comfort cities taiwan changchen taipei vulnerability openness acceptance victimization divisiveness learning</dc:subject>
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<item rdf:about="https://www.instagram.com/p/Bt_4W0oHyDm/">
    <title>Jeff Sharlet en Instagram: “Wednesday night I worked on my father’s obituary. Thursday, in class, I pulled up on the projector this photograph, “Hyeres, France, 1932,”…”</title>
    <dc:date>2019-02-19T01:05:25+00:00</dc:date>
    <link>https://www.instagram.com/p/Bt_4W0oHyDm/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Wednesday night I worked on my father’s obituary. Thursday, in class, I pulled up on the projector this photograph, “Hyeres, France, 1932,” by Henri Cartier-Bresson. We’d read a book called H is for Hawk, by Helen MacDonald, a memoir of her grief for her late father. He was a photographer. It was he who taught her how to look, to have the patience to see what Cartier-Bresson called a “decisive moment.” “Your eye must see a composition or an expression that life itself offers you,” wrote Cartier-Bresson, “and you must know with intuition when to click the camera. The moment! Once you miss it, it is gone forever.” // Because I was tired, because before I knew my father would die I had assigned this book about grieving a father—because for some reason I had assigned, across two courses, three books about lost fathers—I mentioned my own writing assignment of the previous evening. An obituary. I told my students the book we had just read was an obituary. An obituary, I said, should not be a recitation of facts; rather, a remembrance of decisive moments. Click. // He’s 18, in a campus movie theater with his football teammates. On screen: subtitles. The movie is French, Cocteau’s Orpheus. Bob Sharlet has never “read” a movie before. He has never, he thinks, really read at all. Now he’ll never stop reading again. // Christmas, 1991, Cairo, at a vegetable stand, seeing on a little tv at the back of the stand the Soviet flag being lowered, the end of the U.S.S.R., to which he had devoted his scholarly life—his life—and realizing, suddenly, that now he could read about anything. // A month ago Saturday.We’ve told him his prognosis—terminal, soon. He’d said he’d sleep an hour. Now he lifts his sleeping mask. He opens his eyes. “Okay,” he says. // Today, sifting through his boxes of photographs, I found this postcard. Blank. He kept it for the picture. The picture I taught Thursday. // I imagine—as I think my father imagined—Cartier-Bresson descending the stairs, noticing the rail, the steps, the curve. Stopping, stepping back. He thinks he’s waiting for a walker. Then comes the bicycle, circles and triangles and spokes. Click. And then it’s gone, forever."]]></description>
<dc:subject>jeffsharlet writing reading howwewrite life living howweread 2019 bobshartlet photography bricolage moments death henricartier-bresson teaching howweteach intution memory memories change decisivemoments</dc:subject>
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<item rdf:about="https://books.substack.com/p/diary-octavio-solis-saturdays-in-jurez">
    <title>Diary: Octavio Solis, Saturdays in Juárez</title>
    <dc:date>2019-01-09T00:11:43+00:00</dc:date>
    <link>https://books.substack.com/p/diary-octavio-solis-saturdays-in-jurez</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Playwright Octavio Solis grew up just a few miles from the Mexican border in El Paso, Texas. Join him as he remembers his Saturday visits with his family to neighboring Juárez."]]></description>
<dc:subject>border borders elpaso texas juárez mexico us octaviosolis memories memory 2018</dc:subject>
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<item rdf:about="https://www.instagram.com/p/BmL784CHIlP/">
    <title>Jacob Sam-La Rose en Instagram: “Decluttering. These are the keepers. I harbour a fantasy of my future kids being fascinated with these in the same way I raided my mother’s…”</title>
    <dc:date>2018-08-10T00:07:29+00:00</dc:date>
    <link>https://www.instagram.com/p/BmL784CHIlP/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Decluttering. These are the keepers. I harbour a fantasy of my future kids being fascinated with these in the same way I raided my mother’s record collection. Not just for the music itself, but the cover design, the appeal of the tangible object... In a digital world, it’s good to have analog anchors..."

[Commented: "Oh, those spacial, ambient, tactile, smell, taste, and sound memories that come from the places where we are raised. Swoon. I just tracked down a book about whales that was in our house as a child. I’d been referencing it for years without remembering the name (The Whale), but recalling so many details of its contents and the situations I was in while pouring over the book. The confines of small-ish collections encourage repeated reencounters that just don’t come as easily in the near infinite expanse of YouTube, Spotify, etc. Maybe this is why I have been so keen to create my on digital collections, something that I can move around in over and over again?"]

[See also: https://www.instagram.com/p/BmL5xv5HcOo/]]]></description>
<dc:subject>jacobsam-larose 2018 decluttering memory space sound music collections senses mariekondo taste smell sounds place finite curation tangible tactile analog digital books childhood memories</dc:subject>
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<item rdf:about="https://kottke.org/18/05/old-memories-accidentally-trapped-in-amber-by-our-digital-devices">
    <title>Old memories, accidentally trapped in amber by our digital devices</title>
    <dc:date>2018-05-19T20:10:42+00:00</dc:date>
    <link>https://kottke.org/18/05/old-memories-accidentally-trapped-in-amber-by-our-digital-devices</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Part of what humans use technology for is to better remember the past. We scroll back through photos on our phones and on Instagram & Flickr — “that was Fourth of July 5 years ago, so fun!” — and apps like Swarm, Timehop, and Facebook surface old locations, photos, and tweets for us on the regular. But sometimes, we run into the good old days in unexpected places on our digital devices.

Designer and typographer Marcin Wichary started a thread on Twitter yesterday about “UIs that accidentally amass memories” with the initial example of the “Preferred Networks” listing of all the wifi networks his computer had ever joined, “unexpected reminders of business trips, vacations, accidental detours, once frequented and now closed cafés”.

[image: screeshot of macOS wi-fi panel]

Several other people chimed in with their own examples…the Bluetooth pairings list, the Reminders app, the list of alarms, saved places in mapping apps, AIM/iChat status message log, chat apps not used for years, the Gmail drafts folder, etc.

John Bull noted that his list of former addresses on Amazon is “a massive walk down memory line of my old jobs and places of residence”. I just looked at mine and I’ve got addresses in there from almost 20 years ago.

Steven Richie suggested the Weather app on iOS:

<blockquote>I usually like to add the city I will be travelling to ahead of time to get a sense of what it will be like when we get there.</blockquote>

I do this too but am pretty good about culling my cities list. Still, there are a couple places I keep around even though I haven’t been to them in awhile…a self-nudge for future travel desires perhaps.

Kotori switched back to an old OS via a years-old backup and found “a post-breakup message that came on the day i switched phones”:

<blockquote>thought i moved on but so many whatifs flashed in my head when i read it. what if i never got a new phone. what if they messaged me a few minutes earlier. what if we used a chat that did backups differently</blockquote>

Similarly, Richard fired up Google Maps on an old phone and was briefly transported through time and space:

<blockquote>On a similar note to both of these, a while ago I switched back to my old Nokia N95 after my iPhone died. Fired up Google Maps, and for a brief moment, it marked my location as at a remote crossroads in NZ where I’d last had it open, lost on a road trip at least a decade before.</blockquote>

Matt Sephton runs into old friends when he plays Nintendo:

<blockquote>Every time my friends and I play Nintendo WiiU/Wii/3DS games we see a lot of our old Mii avatars. Some are 10 years old and of a time. Amongst them is a friend who passed away a few years back. It’s always so good to see him. It’s as if he’s still playing the games with us.</blockquote>

For better or worse, machines never forget those who aren’t with us anymore. Dan Noyes’ Gmail holds a reminder of his late wife:

<blockquote>Whenever I open Gmail I see the last message that my late wife sent me via Google chat in 2014. It’s her standard “pssst” greeting for me: “aye aye”. I leave it unread lest it disappears.</blockquote>

It’s a wonderful thread…read the whole thing. [https://twitter.com/mwichary/status/996056615928266752 ]

I encounter these nostalgia bombs every once in awhile too. I closed dozens of tabs the other day on Chrome for iOS; I don’t use it very often, so some of them dated back to more than a year ago. I have bookmarks on browsers I no longer use on my iMac that are more than 10 years old. A MacOS folder I dump temporary images & files into has stuff going back years. Everyone I know stopped using apps like Path and Peach, so when I open them, I see messages from years ago right at the top like they were just posted, trapped in amber.

My personal go-to cache of unexpected memories is Messages on iOS. Scrolling all the way down to the bottom of the list, I can find messages from numbers I haven’t communicated with since a month or two after I got my first iPhone in 2007.

[image: screenshot of Messages in iOS]

There and elsewhere in the listing are friends I’m no longer in touch with, business lunches that went nowhere, old flames, messages from people I don’t even remember, arriving Lyfts in unknown cities, old landlords, completely contextless messages from old numbers (“I am so drunk!!!!” from a friend’s wife I didn’t know that well?!), old babysitters, a bunch of messages from friends texting to be let into our building for a holiday party, playdate arrangements w/ the parents of my kids’ long-forgotten friends (which Ella was that?!), and old group texts with current friends left to languish for years. From one of these group texts, I was just reminded that my 3-year-old daughter liked to make cocktails:

[screenshot]

Just like Sally Draper! Speaking of Mad Men, Don’s correct: nostalgia is a potent thing, so I’ve got to stop poking around my phone and get back to work.

Update: I had forgotten this great example about a ghost driver in an old Xbox racing game.

<blockquote>Well, when i was 4, my dad bought a trusty XBox. you know, the first, ruggedy, blocky one from 2001. we had tons and tons and tons of fun playing all kinds of games together — until he died, when i was just 6.

i couldnt touch that console for 10 years.

but once i did, i noticed something.

we used to play a racing game, Rally Sports Challenge. actually pretty awesome for the time it came.

and once i started meddling around… i found a GHOST.</blockquote>

See also this story about Animal Crossing. (via @ironicsans/status/996445080943808512)"]]></description>
<dc:subject>digital memory memories 2018 jasonkottke kottke traces animalcrossing videogames games gaming flickr wifi marcinwichary death relationships obsolescence gmail googlhangouts googlechat iphone ios nostalgia xbox nintendo messages communication googlemaps place time chrome mac osx</dc:subject>
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<item rdf:about="https://www.youtube.com/watch?v=yOYd_IAPIe0">
    <title>Love is the Message: An Evening with Arthur Jafa - YouTube</title>
    <dc:date>2018-04-06T16:37:21+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=yOYd_IAPIe0</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Artist, director, and award-wining cinematographer Arthur Jafa has spent three decades creating dynamic, multidisciplinary work that challenges cultural identity and race politics with the power of music and film.

On the eve of the opening of “The Message: New Media Works,” and for the first time in a public forum, Jafa was joined by renowned jazz musician Steve Coleman to discuss the intersections of their practices over the last 30 years. Coleman is among a selection of musicians participating in Listening Session, an experimental performance series presented in conjunction with Jafa’s Serpentine Gallery exhibition, “A Series of Utterly Improbable, Yet Extraordinary Renditions.”

Jafa’s seminal video work “Love is the Message, The Message is Death,” is on view in “The Message,” Nov. 18, 2017- April 22, 2018.

Surprise performance by Kokayi"]]></description>
<dc:subject>arthurjafa art film cinematography 2018 race music filmmaking stevecoleman jazz wildworldofsports wildkingdom mutualofomaha'swildkingdom memory memories practice work labor</dc:subject>
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<item rdf:about="https://psmag.com/magazine/the-touch-of-madness-mental-health-schizophrenia">
    <title>The Touch of Madness - Pacific Standard</title>
    <dc:date>2017-10-16T03:40:15+00:00</dc:date>
    <link>https://psmag.com/magazine/the-touch-of-madness-mental-health-schizophrenia</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["So Jones grew alarmed when, soon after starting at DePaul in the fall of 2007, at age 27, she began having trouble retaining things she had just read. She also struggled to memorize the new characters she was learning in her advanced Chinese class. She had experienced milder versions of these cognitive and memory blips a couple times before, most recently as she’d finished her undergraduate studies earlier that year. These new mental glitches were worse. She would study and draw the new logograms one night, then come up short when she tried to draw them again the next morning.

These failures felt vaguely neurological. As if her synapses had clogged. She initially blamed them on the sleepless, near-manic excitement of finally being where she wanted to be. She had wished for exactly this, serious philosophy and nothing but, for half her life. Now her mind seemed to be failing. Words started to look strange. She began experiencing "inarticulable atmospheric changes," as she put it—not hallucinations, really, but alterations of temporality, spatiality, depth perception, kinesthetics. Shimmerings in reality's fabric. Sidewalks would feel soft and porous. Audio and visual input would fall out of sync, creating a lag between the movement of a speaker's lips and the words' arrival at Jones' ears. Something was off.

"You look at your hand," as she described it to me later, holding hers up and examining it front and back, "and it looks the same as always. But it's not. It's yours—but it's not. Nothing has changed"—she let her hand drop to her knee—"yet it's different. And that's what gets you. There's nothing to notice; but you can't help but notice."

Another time she found herself staring at the stone wall of a building on campus and realizing that the wall's thick stone possessed two contradictory states. She recognized that the wall was immovable and that, if she punched it, she'd break her hand. Yet she also perceived that the stone was merely a constellation of atomic particles so tenuously bound that, if she blew on it, it would come apart. She experienced this viscerally. She felt the emptiness within the stone.

Initially she found these anomalies less threatening than weird. But as they intensified, the gap between what she was perceiving and what she could understand rationally generated an unbearable cognitive dissonance. How could something feel so wrong but she couldn't say what? She had read up the wazoo about perception, phenomenology, subjectivity, consciousness. She of all people should be able to articulate what she was experiencing. Yet she could not. "Language had betrayed me," she says. "There was nothing you could point to and say, 'This looks different about the world.' There were no terms. I had no fucking idea."

Too much space was opening within and around and below her. She worried she was going mad. She had seen what madness looked like from the outside. When Jones was in her teens, one of her close relatives, an adult she'd always seen frequently, and whom we'll call Alex for privacy reasons, had in early middle age fallen into a state of almost relentless schizophrenia. It transformed Alex from a warm, caring, and open person who was fully engaged with the world into somebody who was isolated from it—somebody who seemed remote, behaved in confusing and alarming ways, and periodically required hospitalization. Jones now started to worry this might be happening to her."

…

"Reading philosophy helped Jones think. It helped order the disorderly. Yet later, in college, she lit up when she discovered the writers who laid the philosophical foundation for late 20-century critical psychiatry and madness studies: Michel Foucault, for instance, who wrote about how Western culture, by medicalizing madness, brands the mad as strangers to human nature. Foucault described both the process and the alienating effect of this exclusion-by-definition, or "othering," as it soon came to be known, and how the mad were cut out and cast away, flung into pits of despair and confusion, leaving ghosts of their presence behind.

To Jones, philosophy, not medicine, best explained the reverberations from the madness that had touched her family: the disappearance of the ex-husband; the alienation of Alex, who at times seemed "there but not there," unreachable. Jones today describes the madness in and around her family as a koan, a puzzle that teaches by its resistance to solution, and which forces upon her the question of how to speak for those who may not be able to speak for themselves.

Jones has since made a larger version of this question—of how we think of and treat the mad, and why in the West we usually shunt them aside—her life's work. Most of this work radiates from a single idea: Culture shapes the experience, expression, and outcome of madness. The idea is not that culture makes one mad. It's that culture profoundly influences every aspect about how madness develops and expresses itself, from its onset to its full-blown state, from how the afflicted experience it to how others respond to it, whether it destroys you or leaves you whole.

This idea is not original to Jones. It rose from the observation, first made at least a century ago and well-documented now, that Western cultures tend to send the afflicted into a downward spiral rarely seen in less modernized cultures. Schizophrenia actually has a poorer prognosis for people in the West than for those in less urbanized, non-Eurocentric societies. When the director of the World Health Organization's mental-health unit, Shekhar Saxena, was asked last year where he'd prefer to be if he were diagnosed with schizophrenia, he said for big cities he'd prefer a city in Ethiopia or Sri Lanka, like Colombo or Addis Ababa, rather than New York or London, because in the former he could expect to be seen as a productive if eccentric citizen rather than a reject and an outcast.

Over the past 25 years or so, the study of culture's effect on schizophrenia has received increasing attention from philosophers, historians, psychiatrists, anthropologists, and epidemiologists, and it is now edging into the mainstream. In the past five years, Nev Jones has made herself one of this view's most forceful proponents and one of the most effective advocates for changing how Western culture and psychiatry respond to people with psychosis. While still a graduate student at DePaul she founded three different groups to help students with psychosis continue their studies. After graduating in 2014, she expanded her reach first into the highest halls of academe, as a scholar at Stanford University, and then into policy, working with state and private agencies in California and elsewhere on programs for people with psychosis, and with federal agencies to produce toolkits for universities, students, and families about dealing with psychosis emerging during college or graduate study. Now in a new position as an assistant professor at the University of South Florida, she continues to examine—and ask the rest of us to see—how culture shapes madness.

In the United States, the culture's initial reaction to a person's first psychotic episode, embedded most officially in a medical system that sees psychosis and schizophrenia as essentially biological, tends to cut the person off instantly from friends, social networks, work, and their sense of identity. This harm can be greatly reduced, however, when a person's first care comes from the kind of comprehensive, early intervention programs, or EIPs, that Jones works on. These programs emphasize truly early intervention, rather than the usual months-long lag between first symptoms and any help; high, sustained levels of social, educational, and vocational support; and building on the person's experience, ambitions, and strengths to keep them as functional and engaged as possible. Compared to treatment as usual, EIPs lead to markedly better outcomes across the board, create more independence, and seem to create far less trauma for patients and their family and social circles."

…

"Once his eye was caught, Kraepelin started seeing culture's effects everywhere. In his native Germany, for instance, schizophrenic Saxons were more likely to kill themselves than were Bavarians, who were, in turn, more apt to do violence to others. In a 1925 trip to North America, Kraepelin found that Native Americans with schizophrenia, like Indonesians, didn't build in their heads the elaborate delusional worlds that schizophrenic Europeans did, and hallucinated less.

Kraepelin died in 1926, before he could publish a scholarly version of those findings. Late in his life, he embraced some widely held but horrific ideas about scientific racism and eugenics. Yet he had clearly seen that culture exerted a powerful, even fundamental, effect on the intensity, nature, and duration of symptoms in schizophrenia, and in bipolar disorder and depression. He urged psychiatrists to explore just how culture created such changes.

Even today, few in medicine have heeded this call. Anthropologists, on the other hand, have answered it vigorously over the last couple of decades. To a cultural anthropologist, culture includes the things most of us would expect—movies, music, literature, law, tools, technologies, institutions, and traditions. It also includes a society's predominant ideas, values, stories, interpretations, beliefs, symbols, and framings—everything from how we should dress, greet one another, and prepare and eat food, to what it means to be insane. Madness, in other words, is just one more thing about which a culture constructs and applies ideas that guide thought and behavior.

But what connects these layers of culture to something so seemingly internal as a person's state of mind? The biocultural anthropologist Daniel Lende says that it helps here to think of culture as a series of concentric circles surrounding each of us. For simplicity's sake, let's keep it to two circles around a core, with each circle embedding and expressing many of the larger culture's dominant ideas and values—in this case, about what it means to be mad.

The outermost circle consists of a culture's most tangible, recognizable institutions, practices, concepts, and social structures. This is the realm of government, universities, clinics; of laws about sanity and responsibility; of medical practices, standards, and diagnostic categories; of depictions of the mad in art or literature (Ophelia, Norman Bates) or history (Lizzie Borden, Rasputin, Jared Loughner); of the batshit-crazy assortment of slang we use to refer to madness—cracked, cuckoo, psycho, schizo, nutso, unmoored, unhinged, demented, mad as a hatter, off one's box, loopy. Virtually everyone interacts with this outer layer of culture. It so thoroughly encapsulates our experience that we can easily forget it's there.

The next, closer circle of culture is our social world—the friends, family, classmates, fellow workers, and neighbors whose lives rub against ours day-to-day. In Lende's circular schema of cultural influence, it's this closer social layer that most intimately and powerfully transmits to us the ideas, values, and opinions of the wider culture around us, while establishing a sort of customized subculture as well. Through this layer especially we observe, assess, and, in turn, influence the culture around us.

Finally, and most intimately and crucially, a central premise of psychiatric anthropology is that we connect to both these layers of culture primarily through individual interactions. The anthropologist Edward Sapir was one of the first to note this. "The true locus of culture," he wrote in 1932, "is in the interactions of specific individuals"—specifically via "the world of meanings which each ... of these individuals may unconsciously abstract for himself from his participation in these interactions."

In a more expansive view, such interactions, defined broadly, are the base currency of cultural exchange: a long conversation between friends; a joke told and laughed at (or not); an eight-year-old watching Psycho; a teenager reading Virginia Woolf; a colleague who belittles someone you admire; a friend who won't meet your eye. Such interactions don't merely express and transmit culture. By constantly filtering, evaluating, and tweaking culture, they create it. Likewise, we sense and evaluate culture, and our places in it, in every social exchange that we take part in, witness, or hear of.

By this view, when people in mental distress are shunned and relegated to a class of others needing care away from the rest of us, they are pushed outside of culture precisely when they need it most. They may seem utterly detached from reality. But they will keenly comprehend their exile.

This is portrayed vividly in a memoir written by a man of Kraepelin's time, Daniel Paul Schreber. Schreber's career as a prominent German judge ended when, in 1884, he went mad at the age of 42. His renowned Memoirs of My Nervous Illness, written during a remission and published in 1903, describes with astounding lucidity damned near every torment that schizophrenia can bring. Of these, Schreber's worst agony was clearly the isolation his treatment forced on him. At the asylum he was placed in (the same sort Kraepelin visited to refine his view of dementia praecox), Schreber was miserable and spoke little. He writes that, while hospitalized there, he was "completely cut off from the outside world, without any contact with my family," "forsaken," "left to rot."

The completeness of this alienation helps explain the anthropologist's fascination with schizophrenia. Schizophrenia is where culture—Western culture, anyway—disintegrates."

…

"In the weeks after Erfani rescued Jones from the restaurant steps, Jones, aided by Erfani, resumed her search for help. This was a fraught venture, because, in much of the Western world, an initial medical visit often accelerates a first episode. A 2013 review, for instance, found that a first hospitalization often caused psychotic patients distress rivaling that caused by the symptoms that drove them to the hospital. The care could wreak as much havoc as the ailment.

Irene Hurford, a psychiatrist and psychosis-response expert at the University of Pennsylvania, says it's easy to see why. The initial admission to an emergency room or hospital, she says, is far too often traumatic. Many ERs, overwhelmed to start with and facing patients long distressed and long neglected, routinely resort to physical and chemical restraints. Many staff, reflecting the culture around them, see first-episode psychosis as a gate to doom—and convey that to the patients. "They are told all sorts of nonsense," Hurford says. "'You'll be on medicine the rest of your life. You have to accept you have a brain illness.'" In reality, early symptoms of schizophrenia may indicate anything from a one-time event to the beginning of either an occasional episodic struggle or something deep and chronic. It runs the gamut. This is why best practice, as one 2001 study puts it, involves not a rush to judgment but "an embracing of diagnostic uncertainty.”

Yet many patients encounter not uncertainty but a view of schizophrenia as biologically hard-wired and inevitably progressive—"the terminal cancer of mental health," as Richard Noll described the conventional wisdom from Kraepelin's time, in his book American Madness: The Rise and Fall of Dementia Praecox. In patients, this view encourages hopelessness and despair; in friends, acquaintances, and family, a rush to the exits. In the West, the mere word schizophrenia can be enough to make people feel crazy and alone.

By contrast, multiple lines of research find schizophrenia is less crippling in developing countries. This is partly because, in many of these countries, people are likely to attribute madness not to a broken brain but to more normalized disturbances, such as temporary infestations of bad spirits. In his book Crazy Like Us: The Globalization of the American Psyche, Ethan Watters describes how, in Zanzibar, schizophrenia is seen as an unusually intense inhabitation of spirits, and psychotic episodes as passing phenomena. In one household Watters came to know well, a woman with schizophrenia, Kimwana, was allowed to drift back and forth from illness to relative health without much monitoring or comment by the rest of the family. Because her swings from psychosis to wellness and back were not treated as the disappearance and return of her "self," as is common in the West, Kimwana, Watters writes, "felt little pressure to self-identify as someone with a permanent mental illness."

Kimwana's case resembles some of those that Kraepelin saw in Indonesia in the 1920s. In 1967, the transcultural psychiatrist Wolfgang Pfeiffer followed Kraepelin's tracks there and found the same thing. In Indonesia, as the comparative psychiatry scholar Wolfgang Jilek later described, Pfeiffer found that "hallucinations ... were accepted by the tradition-directed patient with equanimity and not reflected upon with delusional elaboration. Chronic residual states were well integrated into traditional society." Madness was still madness. But when accepted as something that would pass, it often did.

Jones, hunting for help in 2008, desperately needed a place that would view madness that way. Like most patients in America, she found it hard to find.

The first place she visited with Erfani was a large hospital emergency room. Jones recalls the visit with a darker tone than Erfani does, but both agree the visit did not go well. As Jones remembers it, a nurse took the two of them into an exam room, spent most of her time querying Erfani, as if Jones' own account would be useless—"as if I wasn't there," Jones says—and when she finished and grabbed the doorknob to fetch a doctor, turned to Erfani and said: "I'm not the one who makes the diagnoses. But I can tell you right now, having seen a lot of these people, I think she's a schizo." She concluded by saying, "You should have taken her right to Cook County"—presumably because Cook County's hospital treated the indigent and had a locked ward. To Jones the whole thing felt like a dramatization of Foucault's warning about medicine branding and outcasting the mad. The two friends waited until the nurse was down the hall, then slipped out of the building."

…

"What this meant, however, was that, as Jones spiraled into crisis, almost no one other than Jones' therapist and psychiatrist knew what to do—and neither of them had any clout on campus. Thus culture took its course.

In retrospect it's clear that, in the weeks running up to her phone call with Holland, Jones had entered the doomed space described by Erving Goffman in his classic 1963 study, Stigma: Notes on the Management of Spoiled Identity:

<blockquote>The more there is about the individual that deviates in an undesirable direction from what might have been expected to be true of him, the more he is obliged to volunteer information about himself, even though the cost to him of candor may have increased proportionally.</blockquote>

What candor had Jones offered that cost her so dear? Jones, searching through the dimness of memory, has come to believe that the simplest, most likely explanation for her being barred from campus is that one particular hallucination she confessed to one person, or perhaps two or three people, got badly misunderstood."

…

"Although Jones' exile lasted but a week or two, this brief banishment, she would later record, "set in motion a chain of events that were to forever change my life, perhaps as profoundly as the 'diagnosis' of schizophrenia itself." It released a set of forces that no one understood and no one knew how to stop. And it may have done so not because Jones actually threatened violence, but because the culture around her was so ready to equate psychosis with violence that her diagnosis made her a threat. One of the questions here that comes quickest to mind—what did Jones do to provoke such a reaction?—may be a red herring. Her mere passage into psychosis may have been enough to provoke expulsion.

When Jones returned to campus after 10 days or so, she says, virtually none of her fellow students and few of the faculty would even look at her. As her classmates pulled back, Jones withdrew further. "She was just kind of gone," says Kieran Aarons, a fellow philosophy graduate student who had also known Jones as a fellow undergraduate in Oregon. "She wasn't disrupting anything, or having outbursts. But she was very clearly not in the room."

In the weeks after her return, Jones became estranged not just from Chanter but from the rest of the circle of classmates who'd formed around Chanter. She eventually lost even Erfani, with whom she hasn't talked since. Because it pained Jones to see her professors, she studied their schedules so she could time her entrances and exits from the building so as to avoid them. When that wasn't good enough, she would enter a bathroom and lock herself in a stall for long periods of time, unable to face anyone. People noticed this too.

At this point she started having disturbingly vivid visions of killing herself. She felt utterly crushed, helpless, and alone."

…

"If her exile two Aprils before had thrown Jones down a well, she now collapsed at its bottom and lay drowning. She could not think. Could not read. Could not tell who was real and who was not, what was actually happening and what she was imagining. Could not tell whether such distinctions even mattered. When she looked people in the eyes, she felt them enter her mind and read all her thoughts. She felt both formless and isolated, selfless and alone, borderless, "as if erased." For one period many days long, possibly weeks, she surrendered completely to her demons and delusions. "I didn't even get out of bed," she said later. "And when I say I didn't get out of bed, I mean I did not get out of bed. There were days I could not summon the energy, or perhaps the will, to walk from the bed to the bathroom."

In retrospect, she says, she surrendered to a dynamic she had examined in one of the last philosophy papers she managed to finish, written when things were unraveling the spring before. Fifty years earlier, the British psychotherapist Donald Winnicott had proposed that the elaborate delusional worlds that typify schizophrenia in Western cultures are not arbitrary structures of a broken, schizophrenic mind, but a complex set of mental fortifications the person builds to protect herself against the real world, which she worries will seize and lock her away because she is insane. It's madness as an Escherian stairway to hell.

Years later, Jones would find this vision a credible explanation of her own descent into madness. For a year or more after her expulsion, she often stayed in her head's delusional worlds not because she had lost her mind, but because her mind felt safer in delusion than in her ruined reality.

"Everything is on fire, in flames, burning," she wrote in her diary. "My thoughts are everywhere ... a cloud, a pack of birds, a pack of wolves.""]]></description>
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<item rdf:about="http://www.longviewoneducation.org/you-have-a-new-memory/">
    <title>You Have a New Memory - Long View on Education</title>
    <dc:date>2017-10-14T21:18:22+00:00</dc:date>
    <link>http://www.longviewoneducation.org/you-have-a-new-memory/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Last night I nearly cleaned out my social media presence on Instagram as I’ve used it about 6 times in two years. More generally, I want to pull back on any social media that isn’t adding to my life (yeah, Facebook, I’m talking about you). Is there anything worth staying on Instagram for? I know students use it to show off the photographic techniques they learn in their digital photography class. When I scrolled through to see what photos have been posted from the location of our school, I was caught by a very striking image that represents a view out of a classroom.

One of the most striking things about Instagram is how students engage with it (likes) way more than they do our school Twitter stream. I care about where their engagement happens since in the last two days of learning conferences, many students told me that they got their news through Snapchat. But neither Instagram nor Snapchat are where I have the interactions that I value.

This poses a serious challenge for teaching media literacy, but also for teaching the more traditional forms of text. With my Grade 9s, we have been reading and crafting memoirs. How does their construction of ephemeral memoirs on Snapchat and curated collections of memories on Instagram shape both how they write and see themselves?

Even though I understand how Snapchat works, I will never understand what it’s like to feel the draw of streaks or notifications. And with Instagram, I’m well past a point where I’m drawn to construct images that vie for hundreds of likes. I’m simply not shaped by these medias in the same way.

Beyond different medias, students really carry around different devices than I do, even though they may both be called iPhones. Few of them read the news on it or need to sift through work emails. But in both cases, these devices form the pathway to a public presentation of self, which is something that I struggle with on many levels. I’m happy to be out here in public intellectual mode sharing and criticizing ideas, and to reflect on my teaching and share what my students are doing, and to occasionally put out parts of my personal life, but I resent the way that platforms work to combine all of those roles into one public individual.

Just this morning, I received the most bizarre notification from my Apple Photos: “You Have a New Memory”. So, even in the relatively private space between my stored photos and my screen, algorithms give birth to new things I need to be made aware of. Notified. How I go about opting out of social media now seems like an easier challenge than figuring out how I withdraw from the asocial nudges that emerge from my own archives."]]></description>
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<item rdf:about="https://www.nytimes.com/2017/06/13/magazine/getting-others-right.html">
    <title>Getting Others Right - The New York Times</title>
    <dc:date>2017-06-14T02:34:30+00:00</dc:date>
    <link>https://www.nytimes.com/2017/06/13/magazine/getting-others-right.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["A woman holds a little dog in the crook of her arm. Her sleeveless open-necked top is richly patterned. She wears lipstick, earrings, a bangle. The dog, a puppy perhaps, is both alert and relaxed, looking directly at the camera, just as the woman does. The photograph has such an informal mood, such disarming warmth, that we might suppose it had been made recently, were it not in antique-looking black and white. It’s wonderful when an old picture lets us in like this, obliterating the distance between its then and our now.

The woman in this photograph was named Trecil Poolaw Unap, and the photographer was her brother, Horace Poolaw. They were Kiowa, born and raised in Oklahoma. Horace Poolaw made the photograph in 1928, near the beginning of a career in which he went on to become an avid photographer of Native American life. His photographs, some of which he sold at fairs, often came with a stamp: “A Poolaw Photo, Pictures by an Indian, Horace M. Poolaw, Anadarko, Okla.” It was clear that he wanted to assert that these were pictures with a particular point of view.

Compare the portrait by Poolaw with a few made in the same decade by the most famous photographer of Native Americans, Edward S. Curtis. Curtis’s portraits look different because they were intended for publication in “The North American Indian,” a hugely expensive and intricate photographic undertaking that occupied him for decades. The project was championed by Theodore Roosevelt and financially supported by J.P. Morgan. There’s a portrait of a Hupa woman wearing fur and beads, another of an elderly Cheyenne man in a feathered headdress, yet another of a female Hupa shaman. The lined faces and stoic expressions of these sitters, as well as their “traditional” regalia, announce them as types. They are in keeping with the hope Curtis expressed in the General Introduction to his project: “Rather than being designed for mere embellishment, the photographs are each an illustration of an Indian character or of some vital phase in his existence.”

There’s no denying the meticulous beauty of Curtis’s pictures (and there are thousands of them: The project, published between 1907 and 1930, ran to 20 volumes). But his approach, as laid out in his introduction, was precisely the opposite of Horace Poolaw’s, and it shows: When we look at Trecil Poolaw Unap with her dog, with her ironic smile, we don’t think of her as an “illustration of an Indian character,” nor do we surmise that she is caught in some “vital phase” of her existence. A certain ease and immediacy sets her apart from the beautiful but frozen characters that populate Curtis’s work.

The case of Edward S. Curtis is complex. He was no dilettante: He made serious ethnographic studies of indigenous communities, from the Piegan of the Great Plains to the Kwakiutl of Vancouver Island. And in the 1920s in New Mexico, he became involved in political initiatives that sought to defend Native Americans against government control. But the general tenor of his work idealized Native Americans in the name of preserving vanishing ways of life. He was not above removing, through later photographic manipulation, an offending clock from a carefully arranged scene. Curtis, a knowledgeable and determined man, knew exactly how he liked his Indians.

Horace Poolaw, in contrast, made pictures that were great in their testimonial simplicity and democracy of vision; a relaxed group of Kiowa and Cherokee deacons in slacks and jackets, his son Jerry on leave from Navy duty in his sailor’s uniform and a feathered headdress. Curtis, meanwhile, was inclined to invent scenarios, expunging inconvenient details in order to emphasize a concept of primitivism. One photographer thus gave us lively pictures of life as it was being lived, and the other, at much greater cost and with much more ambition, ended up delivering stilted images of dubious value. Is the lesson here that the truth of a given community can only be delivered by an insider?

A century on, the conundrum remains. There are now many Native American photographers doing outstanding work, bringing to their seeing all the advantages of insider knowledge. Brian Adams is an Inuit photographer of Inuit culture, with a body of work characterized by inquisitiveness and joy. Some of the most rousing photographs of the Standing Rock protests were taken by Josué Rivas, who is Mexica, and Camille Seaman, of the Shinnecock tribe.

But for outsiders to any culture, the situation remains tricky. Take the British photographer Jimmy Nelson, whose “Before They Pass Away” was published as a lush large-format coffee table book in 2013 and has since become ubiquitous in bookstores around the world. “Before They Pass Away” is made explicitly in homage to Edward S. Curtis, whom Nelson often cites as a hero. It proceeds from the same idea as Curtis’s: that certain peoples, on the verge of disappearing, must be captured in illustrative, archetypal photographs. “Before They Pass Away” is accordingly full of postcard-pretty images of the Mursi in Ethiopia, the Huaorani in Ecuador, the Dani in Indonesia. The sitters look out mutely from Nelson’s ark, and scant concession is made to the fact of their contemporaneity. They occasionally tote guns, but do they use boat engines or watch television? If they have any mobile phones, they’re hidden away. What we get, instead, is feathers, fur, cowrie shells, leaves and lots of body paint.

Like Curtis — but without Curtis’s ethnographic rigor — Nelson places his subjects in a permanent anthropological past, erasing their present material and political realities. He is sentimental about those he photographs and often proclaims their beauty, but having invested himself so deeply in the idea of their “disappearance,” he is unable to believe that they are not going anywhere, that they are simply adapting to the modern world. No wonder he is flummoxed by the various tribal leaders who have protested the inaccuracy of his pictures.

What a relief it is then to consider a markedly different project, by the American photographer Daniella Zalcman. In 2016, she published “Signs of Your Identity,” a book featuring First Nations Canadians. But by her own admission, she had a false start. For a month in 2014, Zalcman (who, I should mention, was an acquaintance of mine in college, though I only recently re-encountered her through her work) photographed indigenous Canadians who were struggling with substance abuse and H.I.V. The images she came away with, she thought, risked further stigmatizing the community. When she returned the following year, she began to explore a different story, one that was urgent but that also allowed her to focus on individual experience.

That project was about indigenous people who had been forced to attend Canada’s Indian Residential Schools during the 19th century (the last of which closed only in 1996). Young children were taken from their families and placed in these institutions to enforce their assimilation into mainstream Canadian culture. Indigenous languages were suppressed, and physical and sexual assaults were common. Zalcman interviewed several dozen people, of varying ages, who had spent time in these schools and were haunted by their memories.

Zalcman’s challenge was how to make these memories visible. Her solution, as old-fashioned as it was elegant, was to make double exposures, joining two instants into one by overlaying images of places with portraits of people. She presented these double exposures with written fragments of her interviews with the sitters. Looking at the doubled images, you imagine that the mind of the person pictured is literally occupied by space on which it is overlaid: the decrepit school buildings, the grass where a demolished school once stood. But you also sense that this could be you, that these images are not a report on tribal peculiarities but on the workings of human memory. Uncertain about her right to shape the story, Zalcman lets the subjects speak for themselves. This hesitancy is productive: She manages to accomplish quietly forceful reportage from material that could easily have been sensationalized.

Sympathy is often not enough. It can be condescending. But taking on the identity of others, appropriating what is theirs, is invasive and frequently violent. I have heard appropriation defended on the grounds that we have a responsibility to tell one another’s stories and must be free to do so. This is a seductive but flawed argument. The responsibility toward other people’s stories is real and inescapable, but that doesn’t mean that appropriation is the way to satisfy that responsibility. In fact, the opposite is true: Telling the stories in which we are complicit outsiders has to be done with imagination and skepticism. It might require us not to give up our freedom, but to prioritize justice over freedom. It is not about taking something that belongs to someone else and making it serve you but rather about recognizing that history is brutal and unfinished and finding some way, within that recognition, to serve the dispossessed.

Photography is particularly treacherous when it comes to righting wrongs, because it is so good at recording appearances. Capturing how things look fools us into thinking that we’ve captured their truth. But appearance is bare fact. Combined with intuition, scrupulous context and moral intelligence, it has a chance to become truth. Unalloyed, it is worse than nothing."]]></description>
<dc:subject>tejucole photography 2017 ethnography othering time memory appropriation edwardcurtis horacepoolaw nativeamericans jimmynelson sympathy daniellazalcman storytelling condescension context dispossession identity complexity memories</dc:subject>
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    <title>Time is Part of the Work: An Interview with Agnes Varda — Bright Wall/Dark Room</title>
    <dc:date>2017-04-15T06:10:15+00:00</dc:date>
    <link>http://brightwalldarkroom.com/issue-46/2017/4/5/an-interview-with-agnes-varda</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["For a while she sold DVDs of her movies to visitors from around the world through the window, living out a daydream, she says, of being a shopkeeper."

…

"I like to reconciliate black and white and color, the past and the present, the digital and the authentic. It’s like trying to make everything simple for me. It’s not ‘that time’ or ‘this time’. It’s mixing time and technique.”"

…

"This is a recurring idea in her work, that beyond the representational space of a film frame, an edit, a single image, a gallery space, there is an outside world only implied or imagined or rendered as unknown history."

…

"All images are questions. if you look at everything, a painting, an image, you can question… The way you look at it, what it brings to your mind, if it reminds you of something. My god. It does something. You could get that from one image, and there are so many. So you have to choose.

A snapshot is a real mystery. Because you do them in the street somewhere and really each time when I look at them I say who are they? From where are they coming? Why are they together? Maybe they hate each other, maybe they love each other. It’s even - in a magazine when they show all these things about war, about peace, about people in the streets, even you see them in demonstrations, I am always questioning: who are they?"

…

[Q: "A lot of the art you’re making asks the viewer’s imagination to be a participant…"]

"Well I ask people to participate, because an image you know… If you close the light, and you all go out, an image is nothing. It’s nothing. If nobody looks at an image it’s a dead piece of paper.

One viewer is enough. Somebody looks at the image, one viewer is enough. Two or three is fine. A thousand is, you know, in a film if you run the film in an empty theater, it’s nothing. But one spectator is enough."

…

[Q: "So what about our modern culture of photographs and videos? Last night at your art opening everyone was taking photos constantly of everything."]

"Well that’s interesting, cause you know when I was young it meant something to have a camera. It changed so much that now not only people start to have cheap cameras, but they all have smartphones and people do photos all the time. And it’s interesting because most, when they do selfies, they want to prove to themselves they were there.

It’s interesting because it’s saying “I need proof in my life”. When I am traveling, or I meet someone, people say “can I take a picture with you” like this [she mimes standing next to her and making a selfie]. And it has been studied by sociologists and historians because it’s something very new in civilization, that not only images are everywhere and easy to make, but we want to have memories of ourselves. So people do that.

When at the time, when I was young, people would bring a child to a photographer. And the child would be on a shiny pedestal, and the baby lying on its belly, or sitting, very posed, and it was an act, you know?

I even made a short film about it called Ydessa. And at the time, in Germany, before the war, they would always take a teddy bear with them and go into the studio with the teddy bear. The child or the couple would pose. It was like an art that would last for their whole life, they would have a photo. But the questions in this film are everywhere eight years later.

It’s very democratic in a way but still, some people now think of photos differently. And a lot of people are on Instagram and they put a lot of images, beautiful images, private images. They're beautiful. I look at a lot of Instagram pictures of people I don’t know. And I say, “Oooh he went there and did that, or she did this?” A woman that I knew, but I lost for years, and suddenly there are images of Mexico - she must have been traveling there. She’s in Mexico! Oh! And then she is back.

So it’s like in a way it becomes transparent. Like you leave information about yourself. Like all this Twitter and Facebook. Do you use them?"

…

"Sometimes I think in a selfish way, you know, we cannot grab all the misery and carry it in our bags.

Sometimes I feel we have to do what I feel I have to do as an artist. To do things. Maybe sharing with people. Sharing emotion, sharing information. But, I am just, too… I cannot change the world. I can only change some relation between some people in the cinema. It’s a very modest work. Touching very few people. I mean it’s, we have no possibility to do much more than the very modest work of artists. That’s the way I feel."

…

"I like to make films about people who aren’t spoken about.

What I think is because I know… The way you are involved in what’s happening in the world is relative. Because I cannot make a change about the desires of millions of people that want to move.

I’ve been hurt, in the heart, just by watching these images when they are on a boat and they die in the ocean and sometimes they are saved. But we cannot save them. We cannot go and take another boat and save three people and give them food and bring them home.

So we are assisting as a terrible spectacle all the hunger and migration in the world.

So I say, as artists, you can only do what we know how to do, which includes friendship, sharing, transmission."

…

"I have a formula: I switched from old filmmaker to young visual artist. Because people want definition. You are this or that. And I like to feel that I’m everything. I’ve had three lives: as a photographer, a filmmaker, and as a visual artist.

I am in time. I’m old. I’ve been crossing time for years. I love the idea that even with a bad memory I can pick something which is years ago or someone I met years ago and I am here, and I enjoy it."

…

[Q: "I ask her one final question: In all your work as a photographer, as a filmmaker, as an artist, what have you come to discover is the difference between media and memory?"]

"I don’t know, because you can see in your own life and use your memory to remember what you have. That’s not my point. My point is to get a piece of the past and bring it into my life of today.

So I don’t have the feeling that I wish to tell you my memories. I’ve done that in some of my films. What I do now, is always: make it alive now. I’ve been loving the seaside since I’m young. And it’s set where I did my first film, La Pointe Courte. By bringing the sea into a new medium, into the art world, it makes it alive. It’s not my past. I don’t care so much. I’ve been through a lot of things in my life. What I love is to make the now and here very important. That’s how I stand life.

It’s sharing what I do with people. My work is to propose, to propose the notion, to propose surprises, my view. That’s life. That’s what we call… The artist."]]></description>
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<item rdf:about="http://www.bbc.co.uk/programmes/b082qynq">
    <title>BBC Four - John Berger: The Art of Looking</title>
    <dc:date>2017-01-02T21:49:29+00:00</dc:date>
    <link>http://www.bbc.co.uk/programmes/b082qynq</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[video currently available on YouTube: https://www.youtube.com/watch?v=e3VhbsXk9Ds ]

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

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

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

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

Realised as a portrait in works and collaborations, this creative documentary takes a different approach to biography, with John Berger leading in his favourite role of the storyteller."]]></description>
<dc:subject>2016 johnberger documentary towatch simonmcburney michaeldibb johnchristie selçukdemiral jeanmohr katyaberger yvesberger waysofseeing seeing looking noticing biography storytelling skepticism photography rebellion writing howwewrite collaboration canon conspirators rebels friendship community migration motorcycles presence being living life interestedness interested painting art history france belonging place labor home identity work peasants craft craftsmanship aesthetics design vision cataracts sight teaching howweteach attention focus agriculture memory memories shit pigs humans animals childhood perception freedom independence storytellers travelers nomads trickster dead death meaning meaningmaking companionship listening discovery understanding sfsh srg books publishing television tv communication engagement certainly uncertainty</dc:subject>
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    <title>Will Self: Are humans evolving beyond the need to tell stories? | Books | The Guardian</title>
    <dc:date>2016-11-26T09:50:40+00:00</dc:date>
    <link>https://www.theguardian.com/books/2016/nov/25/will-self-humans-evolving-need-stories</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Neuroscientists who insist technology is changing our brains may have it wrong. What if we are switching from books to digital entertainment because of a change in our need to communicate?"

…

"A few years ago I gave a lecture in Oxford that was reprinted in the Guardian under the heading: “The novel is dead (this time it’s for real)”. In it I argued that the novel was losing its cultural centrality due to the digitisation of print: we are entering a new era, one with a radically different form of knowledge technology, and while those of us who have what Marshal McLuhan termed “Gutenberg minds” may find it hard to comprehend – such was our sense of the solidity of the literary world – without the necessity for the physical book itself, there’s no clear requirement for the art forms it gave rise to. I never actually argued that the novel was dead, nor that narrative itself was imperilled, yet whenever I discuss these matters with bookish folk they all exclaim: “But we need stories – people will always need stories.” As if that were an end to the matter.

Non-coincidentally, in line with this shift from print to digital there’s been an increase in the number of scientific studies of narrative forms and our cognitive responses to them. There’s a nice symmetry here: just as the technology arrives to convert the actual into the virtual, so other technologies arise, making it possible for us to look inside the brain and see its actual response to the virtual worlds we fabulate and confabulate. In truth, I find much of this research – which marries arty anxiety with techno-assuredness – to be self-serving, reflecting an ability to win the grants available for modish interdisciplinary studies, rather than some new physical paradigm with which to explain highly complex mental phenomena. Really, neuroscience has taken on the sexy mantle once draped round the shoulders of genetics. A few years ago, each day seemed to bring forth a new gene for this or that. Such “discoveries” rested on a very simplistic view of how the DNA of the human genotype is expressed in us poor, individual phenotypes – and I suspect many of the current discoveries, which link alterations in our highly plastic brains to cognitive functions we can observe using sophisticated equipment, will prove to be equally ill-founded.

The neuroscientist Susan Greenfield has been prominent in arguing that our new digital lives are profoundly altering the structure of our brains. This is undoubtedly the case – but then all human activities impact upon the individual brain as they’re happening; this by no means implies a permanent alteration, let alone a heritable one. After all, so far as we can tell the gross neural anatomy of the human has remained unchanged for hundreds of millennia, while the age of bi-directional digital media only properly dates – in my view – from the inception of wireless broadband in the early 2000s, hardly enough time for natural selection to get to work on the adaptive advantages of … tweeting. Nevertheless, pioneering studies have long since shown that licensed London cab drivers, who’ve completed the exhaustive “Knowledge” (which consists of memorising every street and notable building within a six mile radius of Charing Cross), have considerably enlarged posterior hippocampi.

This is the part of brain concerned with way-finding, but it’s also strongly implicated in memory formation; neuroscientists are now discovering that at the cognitive level all three abilities – memory, location, and narration – are intimately bound up. This, too, is hardly surprising: key for humans, throughout their long pre-history as hunter-gatherers, has been the ability to find food, remember where food is and tell the others about it. It’s strange, of course, to think of Pride and Prejudice or Ulysses as simply elaborations upon our biologically determined inclination to give people directions – but then it’s perhaps stranger still to realise that sustained use of satellite navigation, combined with absorbing all our narrative requirements in pictorial rather written form, may transform us into miserable and disoriented amnesiacs.

When he lectured on literature in the 1950s, Vladimir Nabokov would draw a map on the blackboard at the beginning of each session, depicting, for example, the floor plan of Austen’s Mansfield Park, or the “two ways” of Proust’s Combray. What Nabokov seems to have understood intuitively is what neuroscience is now proving: reading fiction enables a deeply memorable engagement with our sense of space and place. What the master was perhaps less aware of – because, as yet, this phenomenon was inchoate – was that throughout the 20th century the editing techniques employed in Hollywood films were being increasingly refined. This is the so-called “tyranny of film”: editing methods that compel our attention, rather than leaving us free to absorb the narrative in our own way. Anyone now in middle age will have an intuitive understanding of this: shots are shorter nowadays, and almost all transitions are effected by crosscutting, whereby two ongoing scenes are intercut in order to force upon the viewer the idea of their synchrony. It’s in large part this tyranny that makes contemporary films something of a headache for older viewers, to whom they can seem like a hypnotic swirl of action.

It will come as no surprise to Gutenberg minds to learn that reading is a better means of forming memory than watching films, as is listening to afternoon drama on Radio 4. This is the so-called “visualisation hypothesis” that proposes that people – and children in particular – find it harder not only to remember film as against spoken or written narratives, but also to come up with novel responses to them, because the amount of information they’re given, together with its determinate nature, forecloses imaginative response.

Almost all contemporary parents – and especially those of us who class themselves as “readers” – have engaged in the Great Battle of Screen: attempting to limit our children’s consumption of films, videos, computer games and phone-based social media. We feel intuitively that it can’t be doing our kids any good – they seem mentally distracted as well as physically fidgety: unable to concentrate as they often look from one handheld screen to a second freestanding one, alternating between tweezering some images on a touchscreen and manipulating others using a remote control. Far from admonishing my younger children to “read the classics” – an utterly forlorn hope – I often find myself simply wishing they’d put their phones down long enough to have their attention compelled by the film we’re watching.

If we take seriously the conclusions of these recent neuroscientific studies, one fact is indisputable: whatever the figures for books sales (either in print or digital form), reading for pleasure has been in serious decline for over a decade. That this form of narrative absorption (if you’ll forgive the coinage) is closely correlated with high attainment and wellbeing may tell us nothing about the underlying causation, but the studies do demonstrate that the suite of cognitive aptitudes needed to decipher text and turn it into living, breathing, visible and tangible worlds seem to wither away once we stop turning the pages and start goggling at virtual tales.

Of course, the sidelining of reading narrative (and along with it the semi-retirement of all those narrative forms we love) is small potatoes compared with the loss of our capacity for episodic memory: would we be quite so quick to post those fantastic holiday photographs on Facebook if we knew that in so doing we’d imperil our ability to recall unaided our walk along the perfect crescent of sand, and our first ecstatic kiss? You might’ve thought that as a novelist who depends on fully attuned Gutenberg minds to read his increasingly complex and confusing texts I’d be dismayed by this craven new couch-based world; and, as a novelist, I am.

I began writing my books on a manual typewriter at around the same time wireless broadband became ubiquitous, sensing it was inimical not only to the act of writing, but that of reading as well: a novel should be a self-contained and self-explanatory world (at least, that’s how the form has evolved), and it needs to be created in the same cognitive mode as it’s consumed: the writer hunkering down into his own episodic memories, and using his own canonical knowledge, while imagining all the things he’s describing, rather than Googling them to see what someone else thinks they look like. I also sense the decline in committed reading among the young that these studies claim: true, the number of those who’ve ever been inclined “to get up in the morning in the fullness of youth”, as Nietzsche so eloquently put it, “and open a book” has always been small; but then it’s worth recalling the sting in the tail of his remark: “now that’s what I call vicious”.

And there is something vicious about all that book learning, especially when it had to be done by rote. There’s something vicious as well about the baby boomer generation, which, not content to dominate the cultural landscape, also demands that everyone younger than us survey it in the same way. For the past five years I’ve been working on a trilogy of novels that aim to map the connections between technological change, warfare and human psychopathology, so obviously I’m attempting to respond to the zeitgeist using this increasingly obsolete art form. My view is that we’re deluded if we think new technologies come into existence because of clearly defined human objectives – let alone benevolent ones – and it’s this that should shape our response to them. No, the history of the 20th century – and now the 21st – is replete with examples of technologies that were developed purely in order to facilitate the killing of people at a distance, of which the internet is only the most egregious example. Our era is also replete with the mental illnesses occasioned by such technologies – sometimes I think our obsession with viewing violent and horrific imagery is some sort of collective post-traumatic stress disorder.

So, it may be that our instinctive desire to kill at a distance is a stronger determinant of our cognitive abilities than our need to tell other humans where the food is. Which would certainly explain why poring over a facsimile of Shakespeare’s first folio is being supplanted by first-person shooters. I’ve referred throughout this piece to Gutenberg minds, and I do indeed believe that each successive knowledge technology brings with it a different form of human being. It’s worrying that our young seem distracted and often depressed, and sad for those of us who have invested so much of our belief and our effort in print technology, that it – and the modes of being associated with it – appear to be in decline. But it may be the case that our children are in the larval stage of a new form of human being, one which no longer depends on their ability to tell the others where the food is. Why? Because, of course, they know where it is already, due to the absolute fluidity and ubiquity of bi-directional digital media. Indeed, there may not be any need to tell the others where the food is in the future, because in an important sense there are no others.

The so-called “singularity” proposed by tech gurus, whereby humans hybridise with machine intelligence, and form a new genotype, subject to evolution by natural selection, may not begin with a cosmic bang; rather, the whimpering of our children as they shoot at their virtual enemies, or are defriended, may be the signal that it’s begun already. Richard Brautigan, the great hippy writer, envisaged a “cybernetic meadow” in which “mammals and computers live together in mutually programmed harmony”. It sounds to me an awful lot like our own current state of storytelling, without, of course, the need for anyone to read poetry, which is the form within which Brautigan did his visualising, and we received his rather optimistic vision."]]></description>
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<item rdf:about="http://artmuseumteaching.com/2015/06/29/older-adults-programming-for-people-with-dementia/">
    <title>Older Adults &amp; Programming for People with Dementia | Art Museum Teaching</title>
    <dc:date>2015-06-30T05:48:37+00:00</dc:date>
    <link>http://artmuseumteaching.com/2015/06/29/older-adults-programming-for-people-with-dementia/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The Museum of Photographic Arts, in San Diego, CA offers two notable programming initiatives for people with memory loss, and what I find most interesting is their approach to both engagement and assessment. The first program, Seniors Exploring Photography, Identity and Appreciation (SEPIA) promotes “art-based dialog and opportunities to create photographic images.” While it is designed for all seniors, MOPA has adapted the program for people with cognitive impairments, who make up about a quarter of the program’s audience, according to MOPA Lifespan Learning Coordinator Kevin Linde. The program is not too technical, offers choices, and provides experiences not focused on the participants’ memory loss.

The second MOPA offering is in partnership with the Shiley-Marcos Alzheimer’s Disease Research Center at the University of California, San Diego, and three other museums in Balboa Park. The Memories at the Museum program, modeled after the Museum of Modern Art’s Meet Me at MoMA, focuses on conversation and interaction while engaging with art. Participants with mild-to-moderate Alzheimer’s can stimulate their verbal and visual abilities by discussing artwork in a comforting environment with their care partner.

So how do we know we are successful in our programs for people with memory loss? As I mentioned, assessing “learning outcomes,” as they are usually identified by museum educators, is not really helpful or appropriate for people with memory loss. Instead, MOPA focuses on measuring participant engagement, health, well-being, and positive feelings.

For instance, in March, MOPA piloted a four-week album-making course, My Life Through the Lens, based on the SEPIA program with the Shiley-Marcos Research Center. They blended together evaluative tools from the SEPIA program and those developed by Shiley-Marcos. A program evaluation survey posed multiple-choice plus open-ended questions and program participants could self identify as a caregiver or person with memory loss. Questions such as “what effect did the program have on your mood?” and “what effect did the program have on your relationship with your family member or friend?” helped MOPA understand the affective impact of the program. Kevin shared the survey results with me and I was pleased to learn that a number of participants felt the program had helped to increase their feelings of togetherness, closeness, and strengthening relationship bonds between the person with memory loss and the care partner.

I find it particularly exciting that the affective benchmarks developed for MOPA’s memory loss programs are being incorporated into the museum’s assessment of programs for all visitors. When I asked Kevin about this, he shared that the programs for seniors inspired MOPA to take a look at what works across the board in the museum and focus on the overall visitor experience.

What if all museums measured their success by visitor engagement, happiness, and health in addition specific learning outcomes? Kevin says that MOPA continues to focus on improving its evaluation and understanding the impact of the programs beyond the one or two hours when the visitor is at the museum. It is critically important to include the caregiver in both the programming and the evaluation. While working with other museums is helpful, partnering with social service organizations and non-traditional partners (such the Alzheimer’s Association and local universities) is also vitally important to serving growing older adult audiences with memory challenges."]]></description>
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<item rdf:about="https://gfbertini.wordpress.com/2015/06/12/cultural-mapping-visualizing-cultural-resources/">
    <title>Cultural Mapping – Visualizing Cultural Resources | Learning Change</title>
    <dc:date>2015-06-14T01:09:47+00:00</dc:date>
    <link>https://gfbertini.wordpress.com/2015/06/12/cultural-mapping-visualizing-cultural-resources/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Cultural mapping is an innovative tool used for gathering information about the cultural landscape and the cultural panorama in local communities. Through this process, cultural elements are recorded – the tangibles like galleries, craft industries, distinctive landmarks, and local events  as well as the intangibles like memories, personal histories, attitudes and values. How cultural mapping is carried out has everything to do with who is doing the mapping and why. What kind of information the organizations collect and how they use the information depends on what is the need for the mapping. Needs can range from defining local culture, identifying gaps and overlaps in cultural activities and practices, to making the case for investing in the community‘s cultural development."]]></description>
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<item rdf:about="http://judgmentalobserver.com/2012/03/07/the-wonder-years-involuntary-memory-and-mourning/">
    <title>THE WONDER YEARS, Involuntary Memory, and Mourning | judgmental observer</title>
    <dc:date>2015-04-06T18:30:44+00:00</dc:date>
    <link>http://judgmentalobserver.com/2012/03/07/the-wonder-years-involuntary-memory-and-mourning/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["This scene was just one of many that has resonated with me in new ways since I began rewatching The Wonder Years, some 24 years after it first aired. This experience has resulted in a doubled viewing position. On the one hand, I am watching as a 35-year-old and so the historical and cultural touchstones that I missed when I was 12 (the changing meaning of the suburbs in America in the 1960s; the anti-war movement; the students protests of 1968; The Feminine Mystique) are suddenly visible and significant. But at the same time, as I watch, I am still watching as a 12 year old."]]></description>
<dc:subject>thewonderyears memory nostalgia childhood parents 2015 amandaannklein television tv proust memories mourning age aging relationships via:jslr marcelproust</dc:subject>
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<item rdf:about="http://fredrikdeboer.com/2015/03/26/one-after-another/">
    <title>one after another | Fredrik deBoer</title>
    <dc:date>2015-03-28T03:12:37+00:00</dc:date>
    <link>http://fredrikdeboer.com/2015/03/26/one-after-another/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["I have two memories tonight, both from Wilbert Snow School, my childhood school, my childhood home.

In the first, it was a typical day on the blacktop, which means it could have been pretty much any grade, K-5. In those days the school was an actual campus; there was a main building with the office, the cafe, the auditorium, and the gym. Then there were a half-dozen or so satellite buildings, called units, which housed one grade apiece, plus an extra subject area room– art, music, so on. We called those specials. It was a campus, an elementary school campus. You had your classroom and across the hall was the other class in your same grade. In winter you’d load up  your gear and trudge over to the other building for your special. It was all surrounded by forest, and on one thin side of the woods, the housing project that abutted my childhood house. In the back, there was a stretch of woods that George Washington was known to have once crossed through, and Mr. Shearer, my grumpy old Republican 5th grade teacher who I loved so dearly, walked us through and told us about it. There was a birch tree and you could pull off a switch and suck the end and taste the birch. I loved it, so much. Awhile after I left they tore it all down and built a one-building version. Efficiency. Anyway.

We were on the blacktop and one of the other boys, I’m thinking Kevin Hickman but I don’t really remember, accidentally kicked a playground ball deep into the woods by the blacktop. So he ran in to get it. It seemed like he was in there for ages, and then there was this shout of glee, and he came barreling out pushing a very different ball, a far larger one, a giant earth ball. It was literally taller than he was, but otherwise looked identical to the dull red playground balls we always had, and as he emerged the look of pure joy on his face was impossible, and every other kid let out this absolutely brilliant scream to see a ball that big, and we all ran to touch it. To this day I don’t know how it could have happened that the ball could have been lost in the woods– how could you just forget about a ball that large? — or how long it might have been out there, or how it stayed perfectly inflated for however long it was. But It doesn’t really matter. To this day, the feeling of communal exultation, that pure, unexpected joy, the look on his face as he tore out from the woods, and the fact that I can remember the look on his face but not whose face it was, these things are indelible, things I will remember forever.

And then the para came over and yelled at us and took the ball away.

The second memory is just a feeling. It was the day of my 5th grade graduation, the last day at Snow School. After that I would be sent to the weird, one-grade quasi-middle school in my hometown, Keigwin, and after that, the fresh hell that was Woodrow Wilson Middle School. The memory is just being at school on that day and suddenly realizing, with Snow over, that time was passing. I mean it in just that sense, not as something deeper or more symbolic. It wasn’t that I suddenly contemplated myself aging or growing up or, even worse, my mortality. Nothing so vulgar. I just suddenly realized that time was passing in a way that I never had before, that you left school eventually, and that things would be different instead of the same. It was profound and moving and frightening.

Now it seems as if the situation is quite the opposite; I feel that I can sense myself aging but not moving, that nothing passes but time, that there is nowhere for anything to go but for my life to pass grudgingly from year to year."]]></description>
<dc:subject>memory time 2015 childhood memories emotions feelings joy perception school play balls profundity freddiedeboer schools</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:15581f30e504/</dc:identifier>
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<item rdf:about="http://thehairpin.com/2015/03/fun-palace">
    <title>Fun Palace | The Hairpin</title>
    <dc:date>2015-03-18T07:10:19+00:00</dc:date>
    <link>http://thehairpin.com/2015/03/fun-palace</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Back then, time, as it still does and always will, passed both far too quickly and in an agonizing trickle. Too soon my pitted paradise was tarred over. My mother wouldn't let me play on the lot a few doors down after she was forced to make a trip to the hardware store for turpentine; on my last afternoon in the basement-to-be, I was pulling my subjects through the black stuff that construction workers had spread around the dirt to insulate the clean concrete they would soon pour onto the earth. My hands and arms were covered in the half-set sticky goo that smelled, to me, like dragon's breath. It affixed little pebbles into my palms and I had a hard time climbing up and out. It was the first time I needed someone to rescue me from my own imagination. After she pulled me from the pit, my mom tried to pick the tiny rocks out of my hands, and couldn't. She soaked my hands in a dish of turpentine. (The memory came flooding back, equally irrepressible and insignificant, 15 years later when I experienced my first ever professional manicure.)"

[via: "One of my faves, @emilymkeeler, with a lovely mini-memoir of youth and testing out ways of being. http://thehairpin.com/2015/03/fun-palace …"
https://twitter.com/navalang/status/578044802895212544 ]]]></description>
<dc:subject>childhood play exploration 2015 emilykeeler being identity roleplaying memory memories children adolescence youth</dc:subject>
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<item rdf:about="https://medium.com/message/networks-without-networks-7644933a3100">
    <title>The Sixth Stage of Grief is Retro-Computing — The Message — Medium</title>
    <dc:date>2014-11-05T06:11:58+00:00</dc:date>
    <link>https://medium.com/message/networks-without-networks-7644933a3100</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Imagine having, in your confused adolescence, the friendship of an older, avuncular man who is into computers, a world-traveling photographer who would occasionally head out to, like, videotape the Dalai Lama for a few weeks, then come back and and listen to every word you said while you sat on his porch. A generous, kind person who spoke openly about love and faith and treated people with respect."

…

"A year after the Amiga showed up—I was 13—my life started to go backwards. Not forever, just for a while. My dad left, money was tight. My clothes were the ones my dad left behind, old blouse-like Oxfords in the days of Hobie Cat surfwear. I was already big and weird, and now I was something else. I think my slide perplexed my peers; if anything they bullied me less. I heard them murmuring as I wandered down the hall.

I was a ghost and I had haunts: I vanished into the computer. I had that box of BBS floppies. One after another I’d insert them into the computer and examine every file, thousands of files all told. That was how I pieced together the world. Second-hand books and BBS disks and trips to the library. I felt very alone but I’ve since learned that it was a normal American childhood, one millions of people experienced.

Often—how often I don’t remember—I’d go over to Tom’s. I’d share my techniques for rotating text in Deluxe Paint, show him what I’d gleaned from my disks. He always had a few spare computers around for generating title sequences in videos, and later for editing, and he’d let me practice with his videocameras. And he would listen to me.

Like I said: Avuncular. He wasn’t a father figure. Or a mother figure. He was just a kind ear when I needed as many kind ears as I could find. I don’t remember what I said; I just remember being heard. That’s the secret to building a network. People want to be heard. God, life, history, science, books, computers. The regular conversations of anxious kids. His students would show up, impossibly sophisticated 19-year-old men and women, and I’d listen to them talk as the sun went down. For years. A world passed over that porch and I got to watch and participate even though I was still a boy.

I constantly apologized for being there, for being so young and probably annoying, and people would just laugh at me. But no one put me in my place. People touched me, hugged me, told me about books to read and movies to watch. I was not a ghost.

When I graduated from high school I went by to sit on the porch and Tom gave me a little brown teddy bear. You need to remember, he said, to be a kid. To stay in touch with that part of yourself.

I did not do this."

…

"Technology is What We Share

Technology is what we share. I don’t mean “we share the experience of technology.” I mean: By my lights, people very often share technologies with each other when they talk. Strategies. Ideas for living our lives. We do it all the time. Parenting email lists share strategies about breastfeeding and bedtime. Quotes from the Dalai Lama. We talk neckties, etiquette, and Minecraft, and tell stories that give us guidance as to how to live. A tremendous part of daily life regards the exchange of technologies. We are good at it. It’s so simple as to be invisible. Can I borrow your scissors? Do you want tickets? I know guacamole is extra. The world of technology isn’t separate from regular life. It’s made to seem that way because of, well…capitalism. Tribal dynamics. Territoriality. Because there is a need to sell technology, to package it, to recoup the terrible investment. So it becomes this thing that is separate from culture. A product.

I went looking for the teddy bear that Tom had given me, the reminder to be a child sometimes, and found it atop a bookshelf. When I pulled it down I was surprised to find that it was in a tiny diaper.

I stood there, ridiculous, a 40-year-old man with a diapered 22-year-old teddy bear in my hand. It stared back at me with root-beer eyes.

This is what I remembered right then: That before my wife got pregnant we had been trying for kids for years without success. We had considered giving up.

That was when I said to my wife: If we do not have children, we will move somewhere where there is a porch. The children who need love will find the porch. They will know how to find it. We will be as much parents as we want to be.

And when she got pregnant with twins we needed the right-sized doll to rehearse diapering. I went and found that bear in an old box.

I was handed that toy, sitting on Tom’s porch, in 1992. A person offering another person a piece of advice. Life passed through that object as well, through the teddy bear as much as through the operating systems of yore.

Now that I have children I can see how tuned they are to the world. Living crystals tuned to all manner of frequencies. And how urgently they need to be heard. They look up and they say, look at me. And I put my phone away.

And when they go to bed, protesting and screaming, I go to mess with my computers, my old weird imaginary emulated computers. System after system. I open up these time capsules and look at the thousands of old applications, millions of dollars of software, but now it can be downloaded in a few minutes and takes up a tiny portion of a hard drive. It’s all comically antiquated.

When you read histories of technology, whether of successes or failures, you sense the yearning of people who want to get back into those rooms for a minute, back to solving the old problems. How should a window open? How should the mouse look? What will people want to do, when we give them these machines? Who wouldn’t want to go back 20 years—to drive again into the office, to sit before the whiteboard in a beanbag chair, in a place of warmth and clarity, and give it another try?

Such a strange way to say goodbye. So here I am. Imaginary disks whirring and screens blinking as I visit my old haunts. Wandering through lost computer worlds for an hour or two, taking screenshots like a tourist. Shutting one virtual machine down with a sigh, then starting up another one. But while these machines run, I am a kid. A boy on a porch, back among his friends."]]></description>
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<item rdf:about="http://io9.com/we-are-all-living-among-the-dead-1646333767">
    <title>We Are All Living Among the Dead</title>
    <dc:date>2014-10-15T00:00:00+00:00</dc:date>
    <link>http://io9.com/we-are-all-living-among-the-dead-1646333767</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["My father loved high-end stereo equipment. After he died, I kept seeing one of his old radio tuners from the 1980s in my mind. For my whole life, I'd been listening to his broadcasts — but now, when I moved the knob to tune the station frequency, there was nothing. The signal had ended. But I kept trying to tune it anyway, wanting to hear him apologize, or say he loved me, or list the ingredients in what he was cooking for dinner. There is only static, though. Static forever.

I think our fantasies of zombies and ghosts are ways of explaining this feeling, this sense that the dead are still out there broadcasting and walking around. Just because someone has died doesn't mean they don't continue to shape our lives.

Will was an electronics geek and environmentalist, who combined these passions to create a large intentional community in California called Regen Co-op. Many Co-op members worked with Will at the small business he ran, which helps people transition to solar energy and electric cars. Here is a classic moment with Will, doing a how-to about creating a car charging station in Sausalito, CA: [video]

It's thanks to Will that I have an unholy number of solar panels on my roof and a strange assortment of LEDs in pretty much every light socket in my house. At his funeral, which was packed with colleagues and friends and activist co-conspirators, I heard many people talk about how Will would live on — not just in their hearts, but in their electrical wiring and energy systems. Will changed our infrastructure. He is dead, but he is still here, in the power I send back to the grid on sunny days.

But how can we bear to live among the dead? I think this is also a question posed by ghost stories, which are usually full of pain and horror. How do we cope with all the missing people, the fantasies we have of them, when there's work to be done and people still living all around us? I wish the answer were as simple as burning the ghost's bones with a pinch of salt, after hanging out with the Winchester brothers on Supernatural. If only it were as easy to dispatch my sadness as it is to shoot a zombie straight through the eyes.

Sure, there are comforting rituals and the slow erosion of pain with the passage of time. That's not enough. I think the only thing to be done is to admit that the dead live with you forever, and to find some way to make room for them — while still leaving plenty of space for the people who have survived with you. I carry my dad's wallet with me every day, with his old teacher's union card in it. And right now, I am sitting under an LED light that Will installed. These are just small material things, but they represent a lot more than that.

They are my promises to the dead that I will survive, and I will take them with me into the future. I will make their jokes for them; I will cook the recipes they taught me; I will fight to save the Earth alongside their ghosts. This is about keeping up the good fight for all of humanity, but it's also about the little struggles just to stay hopeful after a sad year. So I will take their memories out to see Guardians of the Galaxy, and I'll invite all you survivors to come along too. Those of us who remember the dead are all the dead have left; and that is why we honor them by sticking together, by staying alive together, so that every haunting becomes a possible future.

Hey you, out there — please stay alive with me. There are no zombies to fight. We only have each other."]]></description>
<dc:subject>death memory memories time immortality ghosts 2014 annaleenewitz mourning</dc:subject>
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<item rdf:about="http://gizmodo.com/youre-wrong-about-voicemail-1645667990/+laceydonohue">
    <title>You're Wrong About Voicemail</title>
    <dc:date>2014-10-14T23:48:37+00:00</dc:date>
    <link>http://gizmodo.com/youre-wrong-about-voicemail-1645667990/+laceydonohue</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Right after my dad died, my phone started ringing and it didn't stop for about a month. I could text but I couldn't really talk on the phone. You can only say thank you so many times before you start to feel insincere. But people wanted to talk to me. And people left me voicemails.

I didn't listen to them immediately. But they were there as a de facto comfort when I needed some. Unlike Snapchat, or whatever ephemeral technology we're obsessed with for five minutes, my voicemails didn't disappear after one listen. I mean, you actually have to really want to delete a voicemail to get rid of it, or it'll fester away in your deleted folder forever. They're indelible that way.

At the time, the messages were as much for me as it was for the person leaving the message, too. People don't always know what to say in sensitive situations, death chief among them. But folks will just keep talking when no one's there to prompt them.

People also say things in a voicemail that they won't say in person. It gives you the ability to ramble without response, and for all the times you've listened to an uninterrupted stream of consciousness left in a voicemail, hoping for someone to get to the point, you actually realize it's wonderful. People don't know what to say in sensitive situations, like talking to a friend whose dad recently died. But left to their own devices on a voicemail, they'll find their way to the right words.

This isn't meant to be sad! Defending voicemail isn't just about grief or coping. I'll admit this big life-changing event made me realize voicemail's value to me. But it has a broader worth. Voicemail is a default archive of your life. You would miss it if it were gone!

I have voicemails I've saved for years on my phone. I have a few I loved so much I uploaded to SoundCloud so there's no chance I'll delete them. One time, my roommate called me pretending to be my dog. Saved it. I have a college friend who teaches shop in mid-Missouri who will call me and tell me stories about the weird things his students say and do. Save lots of those. There's also the occasional drunk dial. I love a good drunk dial. If you're not the one doing the dialing, and if it's not a message from an ex you'd rather not hear from (hats off to iOS 8 number-blocking), a drunk voicemail is a beautiful thing. People are great. People are funny. They're even more of both when they've hammered. Two minutes' worth of word vomit someone left on your phone under the influence is a funny thing to wake up to. It's ok to laugh at someone else's shame every once in a while.

Here's another universal truth: Sometimes, it's just good to hear someone's voice. Email is great, texting is fine, but it takes effort to pick up the phone. Typing and talking have an inverse relationship: as it's gotten easier to write your feelings, it's gotten more difficult to speak them. Even if your feelings are just "I was calling to say hello." That means something.

There's also tradition. Not to be sappy, but I can't think about voicemails without bringing the whole thing back to my dad once more. The dude had a goddamn calendar full of people he would call on their birthdays. From what I've learned in the past couple of months, it numbered in the hundreds. If he knew your birthday, he would call you on it and sing happy birthday. He had what I would call a church choir voice. Which is to say, not great, but he would belt it out nonetheless. If you picked up, he'd sing your ear off. If you screened, he'd sing it to your voicemail."]]></description>
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<item rdf:about="http://hilariousbookbinder.blogspot.com/2014/09/death-and-afterlife.html">
    <title>An Emphatic Umph: Death and the Afterlife</title>
    <dc:date>2014-10-05T07:25:29+00:00</dc:date>
    <link>http://hilariousbookbinder.blogspot.com/2014/09/death-and-afterlife.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The other day, I was spending time with a friend and every time I chuckled, she'd say, That's your brother! That's his laugh! Think about what an insane thing that is to say. I wasn't quite sure I knew what she meant at that juncture but I do know the experience of being possessed by my brother. Usually, I feel it when I'm holding forth. Oh, lord, when I was teaching, I'd be mid-lecture when all I could hear, all I could feel, was my brother spouting — sprouting — up through my mouth, a kind of  Ouija board.

My brother lives in Manila, in the Philippines. But he also lives right here — in me, as me, with me, at least a little. My sister is dead and she, too, lives right here — in me, as me, with me. Death, the Philippines, across town, it doesn't matte: our possession of and by other people transcends time and space, transcends body and ego. This can, of course, be to our dismay. I have familial forces working in me that I'd like to dispel. In fact, in order not to be a total asshole of a father — the key word here being total — I have to wrestle, stifle, and muffle the paternal voices that live in me, that live as me, that haunt me all the time. 

We live with ghosts. This is not some supernatural thing, some mystical claim. Events are not discrete. When something happens, it doesn't just begin then end. It continues to happen more or less. This is called, amongst other things, memory. Memory is not a card catalog of snapshots. Memory is the presence of the past, here and now. It's my tying my shoe, craving rice noodles for dinner, knowing the way to my son's school. It's also the smell of my childhood house; it's falling into a pile of dog shit at the ever sad PS 165 playground and then my five year old ass being asked to strip for a bath by the Jamaican nanny I could never understand; it's the wide, radiant, true smile of my sister as well as her confused, sad, skinny face days before she died; it's the daily screaming of my parents that still echoes in my skull. It's everything that's ever happened to me and is still happening to me, right here, right now.  

We are events, each of us. We continue just as the things that happen to us continue. Sure, they seem done and gone but they — but we — persist in various ways, as echoes and sentiments, as shadows and gestures, as scars and dreams."]]></description>
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<item rdf:about="http://www.aaronland.info/weblog/2014/09/11/brand/#dconstruct">
    <title>[this is aaronland] personal brand as the non-state actor of influence</title>
    <dc:date>2014-09-20T22:06:28+00:00</dc:date>
    <link>http://www.aaronland.info/weblog/2014/09/11/brand/#dconstruct</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[audio version: https://huffduffer.com/dConstruct/178671 ]

"Access and access at the time of your own choosing is a subtle but important distinction and if we are talking about the opportunity of the Network itself, it is this.

Imagine a world in which access to an exchange of culture required we all have to gather around our computers at the same time in order to read Maciej's latest blog post. Some of us can and if you asked I would tell you it sucked.

When television was the only opporunity we had to gather together outside of and to imagine a world larger than our immediate surroundings we managed to craft genuinely meaningful experiences from it. It would be wrong to suggest otherwise but it would equally wrong to ignore how quickly we opted for the alternative modes – opportunities – that the web provided.

I think that should tell us something and that it is perhaps a quality of the Network being overlooked and perhaps being lost entirely as we devote more and more time and infrastructure in an effort to going viral.

Because we are not all, or will not always be, the kinds of people seeking an audience of many. What the web made possible – at a scale never seen before – was the ability for a individual to discover their so-called community of five. In time. It was the ability for one person to project their voice and for it to echo out across the Network long enough for someone else to find it. It gave us the ability to warm up to an idea, to return to it.

That access to recall is what makes the Network special to me. That is the opporunity which has been granted to us which we would be wrong to confuse with success or even discoverability. We all suffer from degrees of not-in-my-lifetime-itis but that is a kind of deviant behaviour we have already perfected so maybe we should not apply its metrics to the Network, for everyone's benefit.

As has been mentioned I work at a museum. As part of the museum's re-opening in December we are building, from scratch, a custom NFC-enabled stylus which we will give to every vistor upon entry. The stylus (or pen) will allow you to manipulate objects on interactive tables as well as to sketch and design your own creations. That is, literally, what the pointy end of the stylus is for.

The other end is used to touch an object label and record the ID of the object associated with it. That's it. Objects are stored on the pen as you wander around the museum and are then transferred back to the museum during or at the end of your visit and are available for retrieval via a unique shortcode assigned to every visit.

If you buy a ticket online and we know who you are then all the items you've collected or created should already be accessible via your museum account waiting for you by the time you get home or even by the time you get your phone out on the way to the subway. (If you don't already have an account then the visit is considered anonymous and that's just fine, too.)

The use of the pen to collect objects has a couple of objectives:

1. To simply do what people have always wanted to be able to in museums and been forced to accomplish themselves: To remember what you saw during your visit. People take pictures of wall labels, I think, not because they really want to but because there is no other mechanism for recall.

2. To get out of the way; to be intensely quiet and polite. The pen will likely enjoy a certain amount of time in the spotlight but my hope is that it will be successful enough that, when that attention fades, it might simply be taken for granted. To be a necessary technology in the service of memory, that dissolves in to normalcy, rather than being something you need to pay attention to or have an experience with.

3. To give people the confidence to believe that they don't necessarily need to do anything with the things they collect in the moment. To have the confidence to believe that we will keep the things they collect during their visit safe for a time when they will once again be relevant to them. For a person to see the history of one visit in association with all their other visits.

The pen itself is a fairly sophisticated piece of technology because it turns out that taking the conceptually simple act of bookmarking objects in real-life and making it simple in hardware and software is still actually hard. We are not doing this simply for the sake of the challenge but because it provides a way for the museum itself to live with the Network. In these ways we are trying to assert patience. We are, after all, a museum and our only purpose is to play the long game.

I totally didn't say that last paragraph on stage. I should have, though. Instead I talked a little bit about oh yeah, that which is a photo-sharing website which lets you upload a photo and then doesn't let you see it for a year. I talked about it as an experiment in a kind of enforced patience with the Network. I also talked about it an exercise in trying to build a tool that could operate without the adult supervision of my time or money (or much of it, anyway) such that it not be subject to the anxieties of being immediately successful. This, it seems to me, is the work ahead of us. It is not about oh yeah, that or any particular class of applications but about understanding why we are doing this at all and building things to those ends."

If you haven't read Thomas Piketty's Capital in the 21st Century I would recommend you do. One of the things that makes the book so powerful is that Piketty has been able to shape an argument through the rigorous use of historical data across a number of countries. The data is incomplete in historical terms: The data for the UK is only available from about the 1840s onwards, for the US data becomes available in the 1920s and so on. The one country where the data is available in a comprehensive manner is France. Because they went to the trouble of collecting it. One of the first acts of the state following the French Revolution was to perform an audit of and to continue collecting reliable estimations of wealth and property.

It is that diligence in record-keeping which made it possible for Piketty to illustrate his point in fact rather than intuition. On the web we have been given a similar opportunity to project our stories outwards in the future; to demonstrate a richer past to the present that will follow this one. It is unlikely that it will or even should yield the same fact-based analysis as Piketty's book. That is not the point. The point is that if we subscribe to a point world view that values a multiplicity of stories and understands that history is nuanced across experience and which recognizes that the ability to look backwards as much as forwards is where opportunity lies then we would do well to remember that many of those aspirations are afforded by the Network and in particular the web.

Those qualities are not inherent in the Network no more than access to opportunity guarantees success. They require care and consideration and if it seems like the Network has turned a bit poison we might do well to recognize that maybe we have also been negligent in our expectations, both of the Network and of ourselves.

Damn... you can almost see me exploding in to a TED-sized supernova of emotive jazz-hands at this point. As above, I did not in fact say this while on stage. I tried to say something like it, though, because I think it's true.

One refrain I hear a lot these days is that it's all gotten too hard. That the effort required to create something on the Network and effort to ensure its longevity has morphed in to something far beyonds the means of the individual. I am always struck by these comments not because I think we ought to be leveraging-the-fuck out of the latest, greatest advances in application framework or hosting solutions but for the simple reason that:

We managed to build a lot of cool shit on the back of 56Kb modems. We built a lot of cool shit – including entire communities – on top of a technical infrastructure that is a pale shadow of what we have available to us today. We know how to do this.

It is important to remember that the strength of the web is in its simplicity but in that simplicity – a Network of patient documents – is the opportunity far fewer of us enjoyed before it existed. The opportunity to project one's voice and to posit an argument which might have even a little more weight, or permanance, in the universe than shouting in the wind which is all most people have ever enjoyed. The opportunity to be part of an historical dialog because having an opinion is not de-facto over-sharing.

It is important to remember that the Network has given us the opportunity of a different measure of success."]]></description>
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<item rdf:about="http://www.joannemcneil.com/improving-reality/">
    <title>Improving Reality | Joanne McNeil</title>
    <dc:date>2014-09-05T03:55:28+00:00</dc:date>
    <link>http://www.joannemcneil.com/improving-reality/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["My talk was concerned with the strangely malleable qualities of time.

What if a digital photograph taken several years from now looks exactly like an image taken today? Digital content appears with minimal visual language distinguishing yesterday from tomorrow and today. Now habits have emerged in which we communicate with the past and even mistake it for the present. Is time itself something mutable on the web, available to us to reimagine and remix?"

…

"Google privileges the relevant over the new — and our search habits on the web work the same. Why might I have guessed that after sitting there abandoned for thirty years, it would be gone just as I had the chance to see it? I made the mistake the people using that Haiti image had done — confused the past for the present.

I went out anyway, to see for myself, see the place in context, see if there was anything left. I stood there looking at my iPhone with Google Earth satellites telling me I should be in the middle of this fantastic place. But I was only standing in the pieces of what used to be.

The web has changed the way we think of time. We see examples of contemporary culture remixing the past, present, and future in celebrity holograms, instagram filters, WW2 in real time tweets.

We can communicate with the past online. Here you see, on an actress’s IMDB page. This conversation went on from 2007 to just recently. Who knows how long people will discuss “does she have a boyfriend or husband?” Until she’s in a confirmed committed relationship? Until she dies? Until the end of IMDB? We’ve never had anything like this before. Messages in the bottle or bathroom graffiti never had a lifespan, accessibility, and community like this.

The mutability of time as its represented online isn’t a cause for alarm. It’s something we can play with, have a little fun —

Early last year, I logged in Friendster after many years of leaving it inactive. And it occurred to me…all these photos of me were old, my favorite movies, books, nothing related to the way I am today. Most of these “friends” I’d lost touch with long ago….it was all frozen in time from the last time I used it, about 2006.

And I began to wish there were a rewind button. That I could look at its first iteration. What I was like when I signed up for the service, my favorite books, my friends then.

So, for a laugh, I created a brand new profile. One as I would have created it a decade before. And I asked my friends — my new friends — to come join me there. These are people I didn’t know then. I got to share my history in an unusual way — show what I used to be like. I would post status updates complaining about my job as a waitress or bragging about reading Ursula LeGuin….]]></description>
<dc:subject>via:litherland 2012 joannemcneil time change internet web profiles avatars friendster photography digital images memory memories reality storytelling howwechange identity mallealility future past present</dc:subject>
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<item rdf:about="http://archivepublic.wordpress.com/texts/arjun-appadurai/">
    <title>Arjun Appadurai | archive public</title>
    <dc:date>2014-09-02T23:36:29+00:00</dc:date>
    <link>http://archivepublic.wordpress.com/texts/arjun-appadurai/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Archive and Aspiration

Social memory remains a mystery to most of us. True, there has been much excellent work by psychologists, neurologists and other sorts of critics about the workings of collective memory. Yet, there is a deep gap between our understandings of the externalities of memory and its internalities. This is a kind of Cartesian gap too, this time not between mind and body but between the biochemistry of memory and its social locations and functions. The arrival of the electronic archive, with its non-hierarchical, digital and para-human characteristics, sometimes seems to have widened this gap, since there is no easy way to get from the neural maps implied in most visions of biological memory and the social maps referred to in such wonderful images as Pierre Nora’s image of the ‘places of memory’. This gap between the neural locus of memory and its social location creates a variety of challenges for different fields and disciplines.

Memory and the Archive

In the humanist imagination, the archive is no more than a social tool for the work of collective memory. It is a neutral, or even ethically benign, tool which is the product of a deliberate effort to secure the most significant portions of what Maurice Halbwachs called ‘the prestige of the past’. Its quintessential expression is the document, a graphic trace, usually a written text, whose accidental survival has been reinforced by the protection offered to it by the archive. In this sense the archive is an empty box, a place, a site or an institution, whose special role is the guardianship of the document. Over time, the idea of the document has been broadened to include artifacts, monuments, products, even whole neighborhoods and cities. UNESCO’s longstanding mission to conserve important monuments as tributes to human heritage is, in fact, a product of this ethical view of the archive as a container or body, animated by something less visible – usually the spirit of a people, the people, or humanity in general."

…

"Thus, we should begin to see all documentation as intervention, and all archiving as part of some sort of collective project. Rather than being the tomb of the trace, the archive is more frequently the product of the anticipation of collective memory. Thus the archive is itself an aspiration rather than a recollection. This deep function of the archive has been obscured by that officializing mentality, closely connected to the governmentalities of the nation-state, which rests on seeing the archive as the tomb of the accidental trace, rather than as the material site of the collective will to remember."

[via: https://twitter.com/tchoi8/status/506940967694663682 ]]]></description>
<dc:subject>archives archiving imagination memory collectivism humanism humanities arjunappadurai foucault migration aspiration memorygaps desire memories socialmemory arjenmulder michelfoucault</dc:subject>
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<item rdf:about="http://aeon.co/magazine/being-human/where-do-childrens-earliest-memories-go/">
    <title>Where do children’s earliest memories go? – Kristin Ohlson – Aeon</title>
    <dc:date>2014-07-30T18:47:57+00:00</dc:date>
    <link>http://aeon.co/magazine/being-human/where-do-childrens-earliest-memories-go/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The great forgetting: Our first three years are usually a blur and we don’t remember much before age seven. What are we hiding from ourselves?"

…

"In addition, young children have a tenuous grip on chronology. They are years from mastering clocks and calendars, and thus have a hard time nailing an event to a specific time and place. They also don’t have the vocabulary to describe an event, and without that vocabulary, they can’t create the kind of causal narrative that Peterson found at the root of a solid memory. And they don’t have a greatly elaborated sense of self, which would encourage them to hoard and reconsider chunks of experience as part of a growing life-narrative.

Frail as they are, children’s memories are then susceptible to a process called shredding. In our early years, we create a storm of new neurons in a part of the hippocampus called the dentate gyrus and continue to form them throughout the rest of our lives, although not at nearly the same rate. A recent study by the neuroscientists Paul Frankland and Sheena Josselyn of the Hospital for Sick Children in Toronto suggests that this process, called neurogenesis, can actually create forgetting by disrupting the circuits for existing memories.

Our memories can become distorted by other people’s memories of the same event or by new information, especially when that new information is so similar to information already in storage. For instance, you meet someone and remember their name, but later meet a second person with a similar name, and become confused about the name of the first person. We can also lose our memories when the synapses that connect neurons decay from disuse. ‘If you never use that memory, those synapses can be recruited for something different,’ Bauer told me.

Memories are less vulnerable to shredding and disruptions as the child grows up. Most of the solid memories that we carry into the rest of our lives are formed during what’s called ‘the reminiscence bump’, from ages 15 to 30, when we invest a lot of energy in examining everything to try to figure out who we are. The events, culture and people of that time remain with us and can even overshadow the features of our ageing present, according to Bauer. The movies were the best back then, and so was the music, and the fashion, and the political leaders, and the friendships, and the romances. And so on."

…

"And we are not the sum of our memories, or at least, not entirely. We are also the story we construct about ourselves, our personal narrative that interprets and assigns meaning to the things we do remember and the things other people tell us about ourselves. Research by the Northwestern University psychologist Dan McAdams, author of The Redemptive Self (2005), suggests that these narratives guide our behaviour and help chart our path into the future. Especially lucky are those of us with redemptive stories, in which we find good fortune even in past adversity.

So our stories are not bald facts etched on stone tablets. They are narratives that move and morph, and that’s the underpinning to much of talk therapy. And here is one uplifting aspect of ageing: our stories of self get better. ‘For whatever reason, we tend to accentuate the positive things more as we age,’ McAdams told me. ‘We have a greater willingness or motivation to see the world in brighter terms. We develop a positivity bias regarding our memories.’"]]></description>
<dc:subject>memory children memories cognition time kristinohlson neurogenesis shredding chronology experience paulfrankland sheenajosselyn 2014 identity storytelling danmcadams psychology</dc:subject>
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<item rdf:about="http://www.nytimes.com/2014/07/13/opinion/sunday/the-afterlife.html">
    <title>The Afterlife - NYTimes.com</title>
    <dc:date>2014-07-15T21:04:32+00:00</dc:date>
    <link>http://www.nytimes.com/2014/07/13/opinion/sunday/the-afterlife.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["A few months after David’s death, my wife and I attended a gathering of grieving parents who spoke lovingly of their lost ones, and then of the knowledge that their child was now at Jesus’ side. There was a light in their faces. I envied them their resurrection, and did not return.

Have I no more than these solicitations, these invitations, these letters delivered late? I do. I have memories. I have places where I feel both his closeness and his distance. And I have the all-too-brief visitations allowed in dreams. For the nonbeliever I’ve become, it is what passes for an afterlife."]]></description>
<dc:subject>via:lukeneff belief tedgup parenting distance memory memories closeness afterlife 2014</dc:subject>
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