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    <title>The End of the English Major | The New Yorker</title>
    <dc:date>2023-03-12T19:35:14+00:00</dc:date>
    <link>https://www.newyorker.com/magazine/2023/03/06/the-end-of-the-english-major</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Enrollment in the humanities is in free fall at colleges around the country. What happened?"

...

"Some scholars observe that, in classrooms today, the initial gesture of criticism can seem to carry more prestige than the long pursuit of understanding. One literature professor and critic at Harvard—not old or white or male—noticed that it had become more publicly rewarding for students to critique something as “problematic” than to grapple with what the problems might be; they seemed to have found that merely naming concerns had more value, in today’s cultural marketplace, than curiosity about what underlay them. This clay-pigeon approach to inquiry struck her as a devaluation of all that criticism—and art—can do.

Others, though, suggest that the humanities’ loss of cultural capital has been hastened by the path of humanities scholarship itself. One theory is that the critical practices have become too specialized."

...

"Students pick up on the emphasis. At the point when, in 1996, the university opened a refurbished humanities building, humanities enrollment was rising; now a new mandate is clear. “Harvard is spending a huge amount of money on the engineering school,” a sophomore mechanical-engineering major said at dinner in the dorms one evening. It was curry night in Pforzheimer House, and a dozen students were chatting at a long table, finishing their meals. “Mark Zuckerberg just gave another half billion dollars for an A.I. and natural-intelligence research institute, and they added new professorships. The money at Harvard—and a lot of other universities, too—is disproportionately going into stem.” According to the Harvard Crimson, which conducts an annual survey, more than sixty per cent of the members of the class of 2020 planning to enter the workforce were going into tech, finance, or consulting.

“I think that the presence of big tech and consulting firms on campus is a big part of people’s perception that you can’t get a job in the humanities,” Hana, a senior in integrative biology, chimed in at the table. “Google, Facebook, Deloitte, B.C.G. . . .” She shrugged in exasperation. “They just have access to our campus in a really pervasive way!” The first time she was buttonholed by a consulting firm was freshman year.

And the humanities’ desperate efforts to compete, Hana added, merely ceded the terms. “I remember being excited about taking a Folklore & Mythology class,” she said. “But the people in the department were marketing it, saying, ‘Oh, well, you know, consulting is just ‘telling a story’—and we have people who study Folk & Myth going into . . . consulting!”"

...

"One idea about the national enrollment problem is that it’s actually a counting problem: students haven’t so much left the building as come in through another door. Adjacent fields aren’t included in humanities tallies, and some of them are booming. Harvard’s history-of-science department has seen a fifty-per-cent increase in its majors in the past five years. The humanities creature who recites Cavafy at parties might fade away, but students are still getting their vitamins. There’s a lot of ethics in bioethics, after all."

...

"A side effect of A.S.U.’s remote-learning boom has been improvement in its humanities numbers. On paper, the number of English majors at A.S.U. has grown, even as the number of students in English classrooms has dropped. Several professors insisted to me that they really, truly felt no preference for online or on-site students—but that they did notice a difference in the demographics of who showed up onscreen.

“These are people in their thirties and forties who have been stay-at-home parents, or they work. And they are committed to the humanities—they have an idea about the value of liberal-arts education,” Ayanna Thompson, the A.S.U. English professor, told me. Partly, it was a cohort thing, given that the older students represent the views of older generations. But it was also a matter of life experience. The university has a partnership with Starbucks, which pays for its baristas to earn bachelor’s degrees online (a recruitment tool for the coffee company and a revenue source for the school), and what someone who has been in the grind of life wants to learn most isn’t necessarily linear algebra.

“Personally, I love my English major, and it really bums me out when ninety per cent of the people I talk to have input that’s negative!” McKenna Nelson, who enrolled remotely at A.S.U. while working at a Starbucks in Southern California, said. “I don’t think life should revolve around money—I’d rather go to work happy.” (She wants to teach.)"

...

"And yet the blissful English students whom I talked to—there were many—surprised me with their indifference to the things that grownups higher in the food chain said they wanted. Ashley Kim, a junior, had been an intended economics major with a falling-asleep-in-class problem. When she kept emerging happy and alert from Tara Menon’s 9 a.m. City Fictions course, she switched to English. “It isn’t just people trying to learn something to get a job,” she explained.

Jeffrey Kwan, a physics and mathematics major down the hall from Kim, takes one English class a semester. “I get so much out of English because it’s the professor telling you what they thought about the work, as opposed to skills you have to learn,” he said. But he would never major in it, he told me, because he felt underqualified. “I try to figure out when to insert myself into the discussion.”

Kim concurred. “When I first joined the English department, I felt seen, but I also felt, Maybe I don’t belong,” she said. She’d gone to a magnet public school in New Jersey and felt a step behind the sanguine private-school kids in knowing how to perform her interest in the classroom.

That kind of sorting is often invisible at first. “It definitely is a very specific community in the humanities,” Rebecca Cadenhead, an upperclassman from Westchester County, told me. “People in this group are usually from the Northeast, are usually upper middle class, are usually white, honestly, and are a certain way.” That way had a fashion element: chunky statement shoes (Doc Martens, Blundstones), baggy trousers (mostly Carhartt), and vintage sweaters. “There are many people of color and many low-income people in the humanities, but in general it’s people with that vibe, and we all know each other.”

Cadenhead started out in applied mathematics—she’d been urged toward science in high school—but ended up a philosophy major, adding African American studies for fear that “the philosophy department would not have as many nonwhite thinkers.” Yet she worried that her path remained illegible outside the Blundstone circle. And, for students of color, it seemed to her, the weight of being judged less academic for studying the humanities was multiplied. “Sometimes I have a concern that when people are encountering me they might assume that I’m here because of affirmative action,” she said. “A lot of people of color here at least initially gravitate towards the sciences, because they think they’ll be perceived as more intelligent if they do.”

Hearing students and teachers discuss their accommodations to the new order of things reminded me of the gag in which Charlie Chaplin and a bellhop chase each other endlessly through a revolving door. Everyone agrees that the long arc of higher education must bend toward openness and democratization. And universities, in an imperfect but forward-inching way, are achieving the dream. In 1985, twenty per cent of Harvard students identified as members of a minority ethnicity (a record then); now it’s more than fifty per cent. The number of entering students who are in the first generation in their families to attend college has risen to nearly twenty per cent. International enrollment has climbed. At A.S.U., you can be a barista in rural Alabama and get part-time access to a first-rate education for cheap. The way in which diversity of experience is understood to enrich study, and in which diverse study is understood to enrich society, is a product of work done in the humanities. Harvard and A.S.U. professors to whom I spoke took pride in their institutions’ democratizing feats.

It is only slightly awkward, then, that this opening of the field has nudged educational incentives away from humanities study. The students whom universities most seek are the ones likeliest to require immediate conversion of their degrees into life change. They need the socioeconomic elevator that college promised them. And they need it the instant they lose institutional support."

...

"It also happens that low-access or first-generation college students are likeliest to be underrepresented in, and nudged toward, stem fields. If they do wander into a humanities course when they arrive, they can feel—like Kim—that the milieu is red-shifted away from them. A telling data point here is one of the most seemingly promising. Humanities enrollment is down among bachelor’s, master’s, and doctoral students, but it is increasing among students seeking two-year associate’s degrees. And it is increasing among high-school students taking A.P. courses. High schoolers, in fact, now take over twenty per cent more humanities A.P. tests than tests in stem every year. The loss of humanities numbers isn’t happening in the collegiate pipeline, in other words. It is happening when these students walk through the university gates.

Robert Townsend, the co-director of the Humanities Indicators, attributed the drop-off to acceleration tracks themselves—another tool designed to help low-access students. Smart humanities-oriented kids are taking the A.P.s, or studying English or history at community college, so, by the time they make it to four-year colleges, they’ve placed out of humanities requirements: classes in which students often fall in love with the field. In that way, too, students whom the universities are keenest to recruit are pre-sorted away from the humanities. And, for global students, the incentives are more acute.

Sazi Bongwe, a Harvard freshman from Johannesburg, collaborated with three friends in high school during the pandemic on a magazine called Ukuzibuza. On arriving in Cambridge, he had to consider that the F1 visa, for international students, allows for a stay of a year in the U.S. after graduation—except for majors in a stem field, in which case one year of grace becomes three. Bongwe had come to Harvard with thoughts of a humanities major. But, like several international students with whom I spoke, he worried that the choice would be naïve."

...

"In previous eras, these pressures were counterbalanced by investment in the culture of the humanities. Now universities increasingly depend on the markets and their short-term goals. In Harvard Square one afternoon, I met Saul Glist, a tall history-and-literature major. Glist had been drawn toward his field, he said, because in his humanities classes he felt less like a student absorbing information and more like a young thinker. If he didn’t keep seeing statistics about the humanities crisis, he’d never have known it existed, he told me.

“I think it’s really a question of what the university is investing in,” Glist said. “When you’re telling touring students, ‘This is our shiny new building that is the jewel of our expanding campus,’ and are making no visible investments in the humanities, that creates a narrative.” He believed that universities were all too happy to accept plummeting humanities enrollments, because the story of decline created its own vortex—one that drew away duties that the university, in its present pursuit of growth and revenue, might prefer not to deal with.

Some have resigned themselves. “The age of Anglophilia is over,” one late-career English professor told me. “It’s like thinking back to when Latin was the center of the world—the memorization of lines and competing with your friends at Oxford and Eton in quips.” The great age of the novel had served a cloistered, highly regionalized readership, but that, too, had changed. “I don’t think reading novels is now the only way to have a broad experience of the varieties of human nature or the ethical problems that people face,” he said.

But Glist resisted the narrative of diminishment. “The question we should be asking is not whether the humanities have any role in our society or the university in fifty or a hundred years!” he exclaimed. “It’s what do investments in the humanities look like—and what kind of ideal future can we imagine?”"]]></description>
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<item rdf:about="http://metalab.harvard.edu/publishing/">
    <title>Publishing | metaLAB (at) Harvard</title>
    <dc:date>2014-10-02T00:26:26+00:00</dc:date>
    <link>http://metalab.harvard.edu/publishing/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["metaLAB is committed to developing and experimenting with new models of scholarly and cultural communication. Its publishing projects involve partnerships with university presses, museums, libraries, and archives, and explore the boundaries of both print plus and post-print publishing. Print plus refers to innovative intertwinings between digital and printed artifacts; post-print to purely digital/multimedia models of dissemination.

There are four main areas of publishing that we are currently exploring:

◉ alternate futures for the scholarly book (the metaLABprojects series)
◉ multichannel publishing (ludic variations on the metaLABprojects series books)
◉ iterative and instant publishing (print as process, not as product)
◉ digital publishing (natively digital publishing experiments)

***

Beautiful Data Publications

These publications serve as entry points to engagement with both the material and the modes of inquiry that shaped the Beautiful Data workshop. With the intention of “open-sourcing” the elements and processes that came out of the workshop, these publications complement the material available on this website, offering routes for exploration of this material that are meant to be applicable in diverse contexts. We hope that you will activate whatever elements seem useful to you, fostering the continuing evolution of Beautiful Data.

◉ The field guide documents the concepts and flows of information that came out of the Beautiful Data workshop, linking critical discussion with invitations to experimentation and making. Using a range of modes, including case studies, maps, activities, and prototypes (and linking to online documentation of these elements), the guide aims to serve as a resource, providing various entry points into the dialogue surrounding Beautiful Data and promoting further experimentation around this material.

◉ The prototyping game provides a set of raw materials for remixing and rethinking the ways in which we design experiences with objects. This playful framework, drawn from institutional missions and contexts, offers springboards for discussion, ideation, and project development.

◉ The provocation cards, drawn from the work of participants in Beautiful Data’s weekend workshop component, provide prompts for adventures in museums, lightly provoking users to engage with these spaces in new and generative ways.

***

metaLABprojects Series

Developed with our partner, Harvard University Press, the series provides a platform for emerging currents of experimental scholarship, documenting key moments in the history of networked culture, and promoting critical thinking about the future of institutions of learning. The volumes’ eclectic, improvisatory, idea-driven style advances the proposition that design is not merely ornamental, but a means of inquiry in its own right. Accessibly priced and provocatively designed, the series invites readers to take part in reimagining print-based scholarship for the digital age. The first three books in the series are:

Matthew Battles, Jeffrey T. Schnapp, The Library Beyond the Book

Johanna Drucker, Graphesis – Visual Forms of Knowledge Production

Todd Presner, David Shepherd, Yoh Kawano, HyperCities – Thick Mapping in the Digital Humanities

The “provocations” strewn throughout The Library Beyond the Book may also be found in playing card deck form:

***

sandBOX

Inspired by mid-twentieth century experimental publications like Aspen Magazine, metaLAB is planning a “documentary in a box” project that will serve as a lab archive, time capsule, and collection of remixable provocations in material form. The publication, with sandBOX for its working title, will consist of a set of objects—maps, field guides, card decks, lego sets, and sundry unnameables that breach the analog/digital divide—delivered to its audience in a box. Under the editorial direction of metaLAB fellow Maggie Gram, sandBOX will eventuate through an iterative cascade of publishing phenomena beginning in early 2015."]]></description>
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    <title>Sensate Journal Front Page » Sensate Journal</title>
    <dc:date>2014-03-11T04:56:10+00:00</dc:date>
    <link>http://sensatejournal.com/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["A Journal for Experiments in Critical Media Practice"

…

"Welcome to Sensate, a peer-reviewed, open-access, media-based journal for the creation, presentation, and critique of innovative projects in the arts, humanities, and sciences.

Our mission is to provide a scholarly and artistic forum for experiments in critical media practices that expand academic discourse by taking us beyond the margins of the printed page. Fundamental to this expansion is a re-imagining of what constitutes a work of scholarship or art. To that end, Sensate accepts and encourages non-traditional submissions such as audiovisual ethnographic research, multimedia mash-ups, experiments in media archaeology, time-based media, participatory media projects, or digitized collections of archival media, artifacts, or maps. Sensate accepts submissions of finished projects, proposals, and reviews of works (monographs, films, exhibitions, etc).

As an issueless journal, Sensate avoids the rigid structures of chronology and provides readers with the opportunity to explore the content in networked and associative ways, offering a rich, intuitive experience. Users can sort the content by clicking on the media icons, selecting one of our Special Collections (curated by Guest Editors), or through advanced search queries.

Sensate uses Zeega, an interactive storytelling platform, to provide a unique tool for non-linear, open-source, multi-media publishing. Zeega allows contributors to seamlessly integrate audio, video, text, and maps from across the Internet, and will be made available to the public in August, 2012. Sign up here for updates and to receive a Zeega account. Projects, proposals, and reviews that do not use Zeega are also welcome and encouraged.

All works featured in Sensate are published under a Creative Commons 3.0 Attribution license. For more information on licensing and copyright, please see our Terms of Use.

The staff of Sensate would like to express our sincere appreciation for the support and guidance provided to us by our colleagues at the Berkman Center for the Internet and Society, The Film Study Center, metaLAB@Harvard, the Sensory Ethnography Lab, as well as our associates at Zeega. Thank You!"

[via: http://designculturelab.org/2014/03/07/on-dogs-and-design-ethnography/
Example: http://sensatejournal.com/2011/12/malavika-reddy-and-taylor-lowe-story-of-story-of-tongdaeng/ ]]]></description>
<dc:subject>sensoryethnographylab newmedia anthropology glvo classideas metalab zeega sensate berkmancenter criticalmedia multimedia digitalhumanities storytelling arts humanities sciences associative howwethink thinking communication</dc:subject>
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<item rdf:about="http://jeffreyschnapp.com/the-library-beyond-the-book/">
    <title>The Library Beyond the Book</title>
    <dc:date>2013-10-18T05:36:08+00:00</dc:date>
    <link>http://jeffreyschnapp.com/the-library-beyond-the-book/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["My colleague Matthew Battles and I recently completed the lead book in the new metaLABprojects series that will be launched by Harvard University Press in the spring of 2014. Under the title of The Library Beyond the Book, it reflects on what libraries have been in the past from a broad cultural anthropological and architectonic standpoint in order to speculate on what they will become in the future: hybrid places that intermingle books and ebooks, analog and digital formats, paper and pixels.

Throughout history, Matthew and I argue, libraries have been sites for new media, new technical demands, and new cultural forms, that have encompassed an array of typologies that build into future scenarios for the library after the book. These scenarios include:

• the Mausoleum—a place to commemorate and commune the dead

• the Cloister–a refuge for reflection, meditation and contemplation in shared solitude [Neocloister]

• the Database—a container for information that is classified, accessible, controllable, infinitely expansible

• the sort of Warehouse where the willy-nilly proliferation of documents and stuff is rendered navigable thanks to computational supports and machine eyes [The Accumulibrary]

• a Material Epistemology, where collocations and consanguinities among different kinds of knowledge are proposed, experimented with and affirmed [The Programmable Library]

• and a series of Libraries of the Here and Now untethered to collections, from Mobile Vectors to Civic Spaces (where public ties are forged and affirmed) to freestanding Reading Rooms as spontaneous, popular, insurrectionary responses to closed and controlled versions of all of the above.
 
Such library types have been mixed and matched in the past, and we argue that remix remains the most plausible future scenario.

Here are some sample layouts from the volume (yet to be finalized), developed by the series art director, Daniele Ledda, and his team at XY communications."]]></description>
<dc:subject>jeffreyschnapp matthewbattles books libraries metalab metalabprojects neocloister accumulibrary hereandnow danieleledda hybridplaces future databases containers</dc:subject>
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<item rdf:about="http://metalab.harvard.edu/2012/07/paper-machines/">
    <title>Paper Machines | metaLAB (at) Harvard</title>
    <dc:date>2012-07-19T04:27:25+00:00</dc:date>
    <link>http://metalab.harvard.edu/2012/07/paper-machines/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["I have had the good fortune to work at metaLAB this summer on an open-source tool for text analysis and visualization in the digital humanities. This effort, funded through the Google Summer of Code, is taking place under the tutelage of metaLAB’s own Matthew Battles and the historian and Harvard Junior Fellow Jo Guldi, who will be joining Brown University’s faculty in the fall.

Jo’s project is one of remarkable scope: to chart the history of land reform across the globe, making use of texts and archival data spanning more than a century. The spatial, temporal, and intellectual diffusion of land reform can already be traced in outline, thanks in large part to the scholars and archivists of prior generations who have assembled numerous bibliographies, archives, monographs and glossaries in their attempts to come to grips with the myriad outputs of “paper machines”: colonial administrations, government ministries, NGOs, utopian social movements, academic institutions, and other producers of texts dealing with land and its (re)distribution. But to look both more broadly at and more deeply into the data we have, to find the subtle patterns at unfathomable scales that are the digital humanities’ raison d’être, it is necessary to build new tools that can leverage the best extant algorithms in service of our human powers of perception and intuition."]]></description>
<dc:subject>papermachines data global landreform history digitalhumanities datavis chrisjohnson-roberson matthewbattles metalab joguldi summerofcode</dc:subject>
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<item rdf:about="http://harvardmagazine.com/2012/06/library-test-kitchen-videos">
    <title>Videos of student projects from Jeffrey Schnapp's &quot;Library Test Kitchen&quot; course | Harvard Magazine</title>
    <dc:date>2012-07-01T08:34:51+00:00</dc:date>
    <link>http://harvardmagazine.com/2012/06/library-test-kitchen-videos</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Below, watch videos on several of the projects, including a Neo-Carrel sleeping chair created by Graduate School of Design student Vera Baranova; a WiFi cold spot; and Biblio, a “library friend” that scans books, tracks and shares research, and even makes bibliographic recommendations for further study (both projects created by Ben Brady, M.Arch ’12)."

[See also: http://harvardmagazine.com/2012/07/library-test-kitchen ]]]></description>
<dc:subject>jeffreyschnapp prototyping furniture 2012 library libraries harvard metalab librarytestkitchen</dc:subject>
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</item>
<item rdf:about="http://metalab.harvard.edu/2012/04/but-it-moves-the-new-aesthetic-emergent-virtual-taste/">
    <title>But it moves: the New Aesthetic &amp; emergent virtual taste | metaLAB (at) Harvard</title>
    <dc:date>2012-04-12T18:11:38+00:00</dc:date>
    <link>http://metalab.harvard.edu/2012/04/but-it-moves-the-new-aesthetic-emergent-virtual-taste/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["It’s not totally unreasonable to suppose that *something* is going on in nature, that its constituent objects have some kind of motivation, even if they’re composed of mere chemical gradients or pressure differentials or quantum states. The computer opens up a special case because we made it, and yet it manifests itself in all kinds of ways that seem like a nature—another nature—a little nature, perhaps. There is a strong sense that with computers and their networks, something is going on in there, something emergent and radically other, which nonetheless does begin to infiltrate our edges."

"I don’t think the New Aesthetic is heralding the approach of the Singularity’s event horizon, where computers will vault into consciousness and begin writing a sui-generis literature that drops fully formed from the brow of Stanislaw Lem. The New Aesthetic is making a much humbler move: pointing out these feral phenomena erupting into our midst and saying, but they move."]]></description>
<dc:subject>galileo jgballard berg metalab theory technology 2012 jamesbridle brucesterling matthewbattles newaesthetic thenewaesthetic</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:f0d4f1019223/</dc:identifier>
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</item>
<item rdf:about="http://metalab.harvard.edu/2012/02/cooking-up-some-dishes-in-the-library-test-kitchen/">
    <title>Cooking up some dishes in the Library Test Kitchen | metaLAB (at) Harvard</title>
    <dc:date>2012-02-22T07:29:38+00:00</dc:date>
    <link>http://metalab.harvard.edu/2012/02/cooking-up-some-dishes-in-the-library-test-kitchen/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Bibliotheca II, alias “son of Bibliotheca” (last semester’s seminar/studio jointly run by Jeffrey Schnapp & John Palfrey), has now been launched with the help of Ann Whiteside (chief librarian at the Loeb Design Library), Jeff Goldenson (Law Library Innovation Lab), and Ben Brady (GSD). Otherwise known as The Library Test Kitchen or the “library rapid prototyping lab,” it’s being generously funded by the Harvard Library Lab. Questions of every kind are on the table regarding the future of libraries from signage to furniture, policies to experiences. The point is to build stuff: to translate “ah-ha” insights into actual devices, to fabricate the next new online/offline appliance (or at least a plausible iteration of such an appliance). Once these exist, we plan to deploy & test them in partner libraries, such as the Loeb Design, Widener & Fine Arts Libraries, that allocate portions of their public space to experimentation. We’ll be posting our progress to www.librarytestkitchen.org ."]]></description>
<dc:subject>harvardlibrarylab loebdesignlibrary harvard librarytestkitchen benbrady jeffgoldenson annwhiteside johnpalfrey jeffreyschnapp 2012 library future libraries metalab</dc:subject>
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<item rdf:about="http://www.youtube.com/watch?v=7C9kgLDxCS4">
    <title>Adam Greenfield on Connected Things &amp; Civic Responsibilities in the Networked City - YouTube</title>
    <dc:date>2012-02-12T05:59:37+00:00</dc:date>
    <link>http://www.youtube.com/watch?v=7C9kgLDxCS4</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Adam Greenfield of Urbanscale, LLC discusses the many technologies used to collect and convey information around public spaces, and the ethical issues underlying them, as well as a proposal for how technologies could be better harnessed for the public good. Jeffrey Schnapp of the Metalab moderates.

The Hyperpublic symposium brings together computer scientists, ethnographers, architects, historians, artists and legal scholars to discuss how design influences privacy and public space, how it shapes and is shaped by human behavior and experience, and how it can cultivate norms such as tolerance and diversity."]]></description>
<dc:subject>publicgood hyperpublic urbanism urban ethics metalab tolerance behavior human publicspace privacy internetofthings connectedthings cities civicresponsibilities networkedcities berkmancenter civics 2011 urbanscale jeffjarvis adamgreenfield spimes iot publicgoods</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:5b3c008c01c9/</dc:identifier>
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