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<item rdf:about="https://aeon.co/videos/ai-isnt-merely-bad-at-writing-it-does-not-and-cannot-write">
    <title>AI isn’t merely bad at writing. It does not and cannot write | Aeon Videos</title>
    <dc:date>2026-02-20T05:40:29+00:00</dc:date>
    <link>https://aeon.co/videos/ai-isnt-merely-bad-at-writing-it-does-not-and-cannot-write</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["‘Why did you write it?’

As an English professor, the YouTube video essayist known as ‘josh (with parentheses)’ has, over the past few years, witnessed a faculty-wide panic about students using large language models (LLMs) to plagiarise assignments. The experience inspired him to create this sprawling video essay on the meaning of LLMs – what they can do and, more to the point, what they can’t. To him, this includes the very act of writing itself, which he contends, borrowing the words of Stephen King, requires a ‘meeting of the minds’. The entertaining and insightful piece spans the poetry of Gertrude Stein and contemporary ‘brainrot’ videos, all while he prods at ChatGPT and his friends. Travelling to some surprising places, he generates an unusually perceptive meditation on what might, at first glance, seem like a near-exhausted topic."

[direct link to video:

"You are a better writer than AI. (Yes, you.)"
https://www.youtube.com/watch?v=V5wLQ-8eyQI

"As an English professor, I hear people at every level talking constantly about the use of AI in writing, but nobody seems to be talking about the thing that matters most: AI cannot write. Writing has language, and writing has communication, but the communication does not live inside the language. This is a video essay about what writing is. Meetings of the mind with Stephen King, Gertrude Stein, Lewberger, Max Teeth, CyberGrapeUK, and others--but by necessity not with ChatGPT.

Recorded on a Macbook Pro using OBS and a little bit of editing trickery. If you look at the timestamps on the files you can probably deduce that when I say "two weeks ago" I mean about four months ago."]]]></description>
<dc:subject>ai artificialintelligence llms chatgpt writing howwewrite videoessays gertrudestein stephenking teaching howweteach edtech technology maxteeth language communication policy joshwithparenthesis modernism ernesthemingway fscottfitzgerald sinclairlewis thorntonwilder jamesjoyce ezrapound nonsense poetry poems decoding keatonpatti lingusitics meaning meaningmaking understanding titosantana autocomplete linguistics tenderbuttons connection human humanism humans openai literature humanexperience consciousness perception experience subjectivity humansubjectivity plagiarism mashups recombinance remixing milesdavis lcdsoundsystem media mediamixing kleptones dangermouse macglocky cubism lasmeninas picasso velázquez recombination variation thinking howwethink education humanunderstanding criticalthinking context confusion playfulness 2025 notice turingtest personhood senses sensoryperception feeling feelings logic algortihms victorhugo lesmisérables damienowens onelsaymore brainrot intention conversation barbaraeh</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:906a8da3152e/</dc:identifier>
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<item rdf:about="https://www.wallpaper.com/architecture/residential/the-kappe-house-ray-kappe-for-sale-pacific-palisades">
    <title>The Kappe House by Ray Kappe is for sale in Los Angeles | Wallpaper*</title>
    <dc:date>2026-02-18T07:20:14+00:00</dc:date>
    <link>https://www.wallpaper.com/architecture/residential/the-kappe-house-ray-kappe-for-sale-pacific-palisades</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The architect Ray Kappe completed his own house in 1967. Owned by the Kappe family until 2025, the Pacific Palisades residence has now gone on the market for the first time. We take a tour"]]></description>
<dc:subject>raykappe architecture modernism midcenturymodernism design losangeles 1967 2026 pacificpalisades realestate 2025</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
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<item rdf:about="https://hedgehogreview.com/web-features/thr/posts/the-devils-citadel-extended">
    <title>The Devils’ Citadel Extended | THR Web Features | Web Features | The Hedgehog Review</title>
    <dc:date>2026-02-16T04:43:11+00:00</dc:date>
    <link>https://hedgehogreview.com/web-features/thr/posts/the-devils-citadel-extended</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Must mechanization be a blind agent of change?"

[See also:

"The Devils’ Citadel
A documentary of the Industrial Revolution in the words of its contemporaries."
https://hedgehogreview.com/web-features/thr/posts/the-devils-citadel ]]]></description>
<dc:subject>2025 alanjacobs humphreyjennings industrialrevolution sigfriedgiedion johnruskin paulkennedy hughkenner modernism technology alanturing claudeshannon</dc:subject>
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<item rdf:about="https://architizer.com/blog/practice/materials/new-film-behind-richard-neutras-windshield-house/">
    <title>A Missing Piece of Modernism: Uncovering the Dramatic Story of Richard Neutra’s Lost Windshield House - Architizer Journal</title>
    <dc:date>2026-02-16T01:24:46+00:00</dc:date>
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    <dc:creator>robertogreco</dc:creator><description><![CDATA["Elissa Brown’s directorial debut film, “Windshield: A Vanished Vision,” is an intimate look into her grandparents’ collaboration with modernist architect Richard Neutra."]]></description>
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<item rdf:about="https://www.the1916company.com/blog/time-reconsidered-why-the-universal-geneve-ferrovie-dello-stato-is-the-railroad-watch-to-rule-them-all.html">
    <title>Time Reconsidered: Why the Universal Genève Ferrovie dello Stato Is The Railroad Watch To Rule Them All</title>
    <dc:date>2026-02-10T07:04:39+00:00</dc:date>
    <link>https://www.the1916company.com/blog/time-reconsidered-why-the-universal-geneve-ferrovie-dello-stato-is-the-railroad-watch-to-rule-them-all.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The story of the Universal Genève FS—and why the most meaningful watches are the ones that carry history, not status."

...

"I don’t believe in grail watches. I believe in lists. My list is a future collection, a mental inventory of watches I admire, covet, obsess over, and, in many cases, will probably never own. Every now and then, something on that list stops me cold.

That happened again recently, when a watch I first added sometime around 2015 resurfaced and demanded attention: the Universal Genève Ferrovie dello Stato, better known simply as the UG FS.

[image: "Mark 2 Dial. Image: Fratello Watches."]

I’ve added this watch to more eBay and Chrono24 carts than I care to admit. I’ve talked myself into it, out of it, and back into it again. And yet, despite all of that familiarity, I realized I’d never really reconsidered it. That makes it the perfect watch to kick off this year’s Time Reconsidered series.

I’ve never hidden my affection for Universal Genève. Like many collectors, I’m eagerly awaiting the brand’s long-anticipated revival under the guidance of Breitling and Georges Kern. But the FS isn’t the Universal Genève most people picture first. It isn’t a Nina Rindt. It isn’t a Tri-Compax. It certainly isn’t a Polerouter. Those watches deserve every ounce of praise they get.

The watch is generally still attainable, with most models just shy of the $1K price tag. In a vintage UG landscape where quality pieces have become increasingly untouchable, the FS stands out not as a consolation prize, but as a reminder of what watch collecting is supposed to be about.

History, Railways, Time, And A New Italy

[image: "In the early 1930s, Bologna San Ruffillo emerged as one of the more modern stops along the newly inaugurated Direttissima line between Bologna and Florence. Unlike many small stations of the era, it was built with raised, fully paved platforms, sheltered canopies, and a dedicated pedestrian underpass—amenities that signaled a quiet leap forward in everyday railway infrastructure. Image: Wikipedia Commons."]

To understand the FS, you have to start with railroads. And to understand railroads, you have to understand time.

The story of modern timekeeping cannot be told without trains. Railroads didn’t just shrink distance; they forced the world to agree on what “now” actually meant. Time zones exist because trains needed them. Schedules demanded synchronization. Local noon stopped being practical the moment steel tracks connected cities moving at unprecedented speed.

Universal Genève was far from alone in producing watches for railroad service. In the United States, brands like Hamilton and the Ball Watch Company were the true standard-bearers, supplying timepieces that met strict railroad certification requirements. These watches were engineered for demanding conditions, with features such as magnetic protection, improved shock resistance, and highly legible dials designed to be read at a glance, even in poor light. It wouldn’t be until later that Omega entered the conversation, applying the same functional principles to the Railmaster as rail-adjacent needs evolved beyond the American system.

Long before Universal Genève existed as a brand, its roots were already intertwined with Italy — and with the language of railways. Trademark records show that in October 1893, a rail-themed mark featuring a wagon and the word Ferrovia was registered in Le Locle by P. Baillod-Houriet. That same mark was formally transferred in 1894 to Descombes & Perret, the firm that would soon operate under the “Universal Watch” name, and again in 1897 to Perret & Berthoud.

[image]

By 1901, the lineage had evolved further, with Perret & Berthoud registering Cronometro per Ferrovie for watches and watch components. These early trademarks do not point to an official supply contract with the Italian State Railways, but they do reveal something more subtle and just as important: from its very beginnings, Universal’s predecessor firms were deliberately positioning themselves within the Italian market using railway imagery and nomenclature, aligning precision timekeeping with the symbolism and prestige of rail transport decades before the famous FS wristwatches would appear.

[image]

During the Fascist era, the Italian watchmaker Perseo held exclusive rights to supply watches to Ferrovie dello Stato employees. That changed in the postwar period. By the 1950s, as Italy rebuilt itself, the railway began offering workers a choice: pocket watch or wristwatch, multiple suppliers, personal preference within a professional framework.

This is when Universal Genève entered the picture. Already respected for its chronographs and complicated watches, UG became one of the approved suppliers for Ferrovie dello Stato employees. What emerged was not a marketing exercise, but a true employee watch — issued for work, built for purpose, and worn daily.

In that sense, the FS is something like the grandfather of the watches collectors love to talk about today: Pan Am–signed GMTs, Domino’s Rolexes, corporate-issued Omegas. Before any of that became romanticized, the FS existed quietly on the wrists of working Italians, keeping trains on time and on track.

In Italy, railroads carried even greater symbolic weight. They represented unity, progress, and national identity — sometimes exploited, sometimes earned. Under Fascism, the rail system became a tool of propaganda. By the end of World War II, it was also in ruins.

What followed was one of the most important transformations in Italy’s modern history. The Ferrovie dello Stato was rebuilt almost from scratch. New lines were laid. Electrification expanded. The groundwork for high-speed rail was established. What had once been a symbol of authoritarian spectacle was reimagined as something else entirely: a marker of renewal, mobility, and possibility.

Railway workers became part of that story. They weren’t just employees — they were stewards of movement, stability, and modern life. In many ways, they came to represent freedom and prosperity in motion. And the watches they wore mattered.

The Universal Genève FS

[image: "The cleanest Mark 1 dial you will ever see. Image: MarktheTime."

The Universal Genève Ferrovie dello Stato was produced across three distinct series between the mid-1960s and the mid-1970s, a relatively short window that nevertheless captures a period of rapid aesthetic and industrial change. While the cases, dials, and proportions evolved, the core brief from the Italian State Railway remained remarkably consistent: a highly legible wristwatch, modestly sized by modern standards, with a clean white dial, Arabic numerals, and a subsidiary seconds display at six o’clock.

Across all three iterations, the FS was powered by Universal Genève’s manually wound caliber 64 (which is eerily similar to the Omega 30T2RG). It’s a no-nonsense movement, which is the nicest way to describe a mechanical movement that is non-hacking, non-chronometer rated, but reliable, slim, and generally easy to service.

Every example was engraved on the caseback with “FS” along with a unique serial number. Unlike many military or employee-issued watches where production figures are speculative at best, the sequential numbering here allows for educated estimates. In total, roughly 82,000 Universal Genève FS wristwatches appear to have been produced between 1964 and 1975, with the vast majority belonging to the second series.
First Series (circa 1964–1966)

The earliest FS, and still the one I find myself chasing most often, is the First Series. These watches feature a 34mm case with white enamel dial, that gets, dare I say it, creamy with age. When scouring online for these, pay special attention to the enamel dials as many are in poor condition.

The Arabic numerals are stamped from the reverse of the dial, creating raised forms that are then filled in dark paint, offering excellent contrast and depth. The small seconds register at six o’clock has radially printed numerals, which just looks really good. Look closely and you’ll spot another tell: the “6” in 60 is wide open, a small detail that has become a shorthand for identifying early examples.

Many collectors, myself included, seek out the Mark I for its faceted case, slightly smaller size, and radial subdial layout. Produced only for a brief period, the First Series is significantly rarer than what followed, and finding one in strong, original condition has become increasingly difficult.

Second Series (circa 1969–1974)

[image: "Mark 2 Dial. Image: Fratello Watches."]

The Second Series marks the most substantial visual shift in the FS lineage, and also accounts for nearly 70 percent of total production. Here, Universal Genève moved to a larger 36mm cushion-shaped case with broader proportions and 19mm lug spacing, aligning more closely with late-1960s design trends.

Despite the new case, much of the dial DNA remains intact. The white enamel dial returns, as do the stamped Arabic numerals. On the sub-seconds register, the numerals are now printed straight rather than radially, the “6” in 60 is tightened up, and no longer fully open, though not entirely closed either.

Third Series (circa 1974–1975)

The Third Series represents the final chapter of the FS story — and the most visually distinct. The cushion case remains, but the dial takes a sharp turn. Gone is the enamel; in its place is a silver dial with a more modern, utilitarian feel.

The typography shifts as well. The sub-seconds register features smaller, straighter printing with concentric circles, and the Arabic numerals appear to be applied rather than stamped. Below six o’clock, the dial now reads simply “Swiss,” replacing the earlier “Swiss Made.” It’s a quieter, more restrained execution.

Production numbers for the Third Series are exceedingly small. Based on known serial ranges, as few as 1,500 examples may have been made, all toward the very end of Universal Genève’s involvement with the FS program.

A Note for Anyone Looking: Correct crowns across all series remain a point of debate, but evidence suggests that a signed Universal Genève crown bearing a capital “U” is appropriate. As with much vintage collecting, originality here is part documentation, part informed consensus.

Why This One Matters to Me

When I look at the watches on my list, the ones I want and the ones I admire, it is hard not to notice how disconnected many of them really are. Some are aspirational in the most obvious way. We see Steve McQueen, James Dean, James Bond. We see our boss’s gold watch and imagine what it might say about us if it were on our wrist instead. None of that is wrong. We all use objects, watches included, to project identity, to borrow a little meaning, a little confidence, a little cool.

[image: "Two Mark 2 dials. Image: Omega Forums"]

The Universal Genève FS is undeniably cool, but not in a way that tries to impress. It is not going to upend horological history, and it does not pretend to be some revelatory act of design. What it does instead is something far rarer. It connects.

Universal Genève was one of the first vintage brands I encountered in the earliest, most formative years of my collecting. Long before I understood movements or production numbers, I wanted a UG. That desire never faded, only my ability to act on it did. The FS, in many ways, feels like the most honest expression of that early fascination.

And while it was not made in Italy, its roots are inseparable from it. This watch represents a moment of rebuilding, of forward motion, of life after authoritarianism. It was worn by railway workers, people like those in my own family, who quite literally kept the country moving. There is something quietly powerful about wearing a watch that stands in opposition to the regime my grandparents fled, transformed instead into a symbol of work, dignity, and progress.

Italy will always have a place in my heart. Not just because of heritage, but because of memory. A babymoon spent driving through the Dolomites and hiking along impossibly blue alpine lakes. A best friend’s wedding on the Grand Canal in Venice. Family trips to Florence. Moments measured not just in minutes, but in motion, always on trains, always between places, always headed somewhere new.

To wear a Universal Genève FS is to carry all of that on my wrist. A piece of personal history intertwined with a broader one. A watch tied to the railroads that reshaped how we organize, understand, and experience time itself.

And that, to me, is what watch collecting is really about. It’s not about trophies or speculation, but stories that move with you and matter because they are yours."]]></description>
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    <title>Amateurs!: How We Built Internet Culture and Why it Matters | Verso Books</title>
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    <link>https://www.versobooks.com/products/2862-amateurs</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[reviewed by James Gleick here:
https://www.nybooks.com/articles/2025/12/04/how-the-web-was-lost-internet-this-is-for-everyone/
https://archive.ph/ETmEP ]

"The story of how you created internet culture and why it matters

Since the nineties, platforms have invited users to create in return for connection. From blogs to vlogs, tweets to memes: for the first time in history, making art became the fundamental form of communication.

What started as fun soon became currency, something vital to finding friends, work, and love. Then, as ‘meatspace’ job security eroded, online creativity became work itself. Now an internet presence is no longer optional, platforms increasingly charge users. Whatever it is we’re creating online, it isn’t amateur anymore. But is it art?

In this scintillating philosophical history of the internet, Joanna Walsh, author of Girl Online, examines how and why creativity became the price of digital existence.

Reviews

"Walsh’s Amateurs! catalogues how our online creative efforts have created and discarded garish styles — and how everyone wants to profit off of them...[Amateurs! is] dizzying in scope, perceptive even when it gets caught up in nonsense, swerving rapidly from Fredric Jameson to KnowYourMeme.com." —Ethan Beck,  The Washington Post

"[Walsh's] interpretations are fresh and insightful, like when she pinpoints Tumblr users’ love of “cursed images” of red-eyed people and animals—a common effect in amateur flash photography—as evincing a “nostalgia for the failed." —Publishers Weekly

"Amateurs! is a eulogy and a manifesto for the internet revolution that came and went before our eyes, on our screens, beneath our fingertips: the revolution of the amateur." —Helena Aeberli,  Los Angeles Review of Books

"Amateurs! is like the internet in its juxtaposition of the high (as in high theory) and the low (as in LOLcats). Sometimes this evokes the textual tension of a meme, an enjoyable friction between content and form, the zeugmatic yoking of disparate terms as in the Google-search-derived flarf poetry that flourished in the 2000s, the free association of a blog, the discord of a social media feed, ideas “hyperlinked” together, the self-conscious lack of rigor made into its own methodology."" —Katie Kadue,  Bookforum

"Bubbling over with pithy and accessible aperçus, Amateurs! is a snappy guide to the new aesthetics of online culture and the end of professionalization. Walsh surveys the deskilling that results from the fusion of unpaid labour and self-branding: from dumb memes to Instagram influencers, from Wikicore aesthetics to the trash essay, culminating in the talent bypass that is AI. She offers catchy terms for thinking through the revision of authorship and creativity (decuperation and unrealism, anyone?) – delivered with a keen sense of history and a spiky feminist attitude and that never lapses into the curmudgeonly.'" —Claire Bishop, author of Disordered Attention

"Joanna Walsh finds exactly the right concept (if also, as she notes, a paradoxically retro as well as definitionally mimetic one, on the cusp of becoming indistinguishable from its historical opposite) for totalizing that seemingly untotalizable, endlessly self-dehistoricizing thing which is the Internet as aesthetic phenomenon. This is a stunning feat." —Sianne Ngai, George M. Pullman Professor of English and the College, University of Chicago

"A bold, thoughtful and beautifully lyrical exploration of how amateur creativity shaped the internet" —Rachel O’Dwyer, author of Tokens

"Amateurs! makes the case that platforms inviting us to create art as a means of communications became traps. Arguing that internet amateurism is “an aesthetic revolution as big as modernism,” Walsh traces both how it allows for greater activism and solidarity, while also creating the conditions for exploitation: AI resource guzzling, alt-right brain rot, and the brutal inequities of neoliberal economic extraction." —Lit Hub’s Most Anticipated Books of 2025

"From the author of <i>Girl Online</i>, a new manifesto building on the hyperdeveloped internet society of the twenty-first century. Amateurs builds on Time magazine’s 2006 assertion that ‘you’ are the person of the year — the stragglers and marginalized communities that ultimately build the internet’s biggest trends and rhythms." —OurCulture, Most Anticipated Books of Fall 2025

"Joanna Walsh, whose blend of savagely astute analytical thinking and quality narrative chops never fails to enlighten, inform and provoke, whatever her choice of subject may be." —Stu Hennigan,  The Bookseller

"An insightful exploration...[Walsh's] amateurs were liable to use the word aesthetic with particular pleasure and self-consciousness. She celebrates the aesthetic they created, and mourns it, and celebrates it again." —James Gleick,  The New York Review of Books"]]></description>
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    <title>We Used to Read Things in This Country | Noah McCormack</title>
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    <dc:date>2025-10-14T01:31:35+00:00</dc:date>
    <link>https://aeon.co/essays/generative-ai-has-access-to-a-small-slice-of-human-knowledge</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Huge swathes of human knowledge are missing from the internet. By definition, generative AI is shockingly ignorant too"

[also here:

"What AI doesn’t know: we could be creating a global ‘knowledge collapse’

As GenAI becomes the primary way to find information, local and traditional wisdom is being lost. And we are only beginning to realise what we’re missing"
https://www.theguardian.com/news/2025/nov/18/what-ai-doesnt-know-global-knowledge-collapse ]]]></description>
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<item rdf:about="https://www.youtube.com/watch?v=LCjaX0NlQNw">
    <title>CITY LIGHTS LIVE! Chris Carlsson celebrate the 2nd Edition of &quot;Hidden San Francisco&quot; - YouTube</title>
    <dc:date>2025-10-03T04:42:12+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=LCjaX0NlQNw</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["City Lights and Shaping San Francisco celebrate the 2nd Edition of

Hidden San Francisco: A Guide to Lost Landscapes, Unsung Heroes, and Radical Histories
by Chris Carlsson
published by Pluto Press

Purchase the book at this link:
https://citylights.com/hidden-san-francisco-gt-lost-landscape

Hidden San Francisco is a guidebook like no other. Structured around the four major themes of ecology, labour, transit and dissent, Chris Carlsson peels back the layers of the city’s history to reveal a storied past: behind old walls and gleaming glass facades lurk former industries, secret music and poetry venues, forgotten terrorist bombings, and much more. Carlsson also delves into the Bay Area’s long prehistory, examining the region’s geography and the lives of its indigenous inhabitants before the 1849 Gold Rush changed everything.

This second edition includes new tours on the wild and natural parts of San Francisco that most tourists never visit, from Glen Canyon to Sutro Forest, as well as a new themed walk on the Summer of Love. There is also a new introduction examining the devastating impact of the pandemic, as well as a mini-history of tech in the city, from the Gold Rush to AI.

Chris Carlsson is a San Francisco historian and award-winning tour guide. He directs ‘Shaping San Francisco’ – an impressive archive of local history, and co-founded the urban cycling movement Critical Mass in 1992. He is the author of four books, including novels and histories about the city. He has lived in San Francisco since 1978. To learn more about Chris’ work visit his website: https://nowtopians.com/

This event was originally broadcast on Thursday, July 24, 2025.

Made possible by support from the City Lights Foundation."]]></description>
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<item rdf:about="https://www.sfchronicle.com/opinion/openforum/article/vaillancourt-fountain-embarcadero-san-francisco-20886339.php">
    <title>Save the Vaillancourt Fountain — and SF’s modernist history</title>
    <dc:date>2025-09-06T20:48:21+00:00</dc:date>
    <link>https://www.sfchronicle.com/opinion/openforum/article/vaillancourt-fountain-embarcadero-san-francisco-20886339.php</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Demolition of the fountain would sever a living link to San Francisco’s modernist history"

...

"San Francisco officials seem intent on destroying the Vaillancourt Fountain — one of its architectural and artistic treasures. 

As he intended, Armand Vaillancourt’s Brutalist fountain has always provoked debate. To destroy it, however, would be to obliterate the last truly insurgent modernist voice left in the Embarcadero Plaza complex.

The fountain, the plaza and the Embarcadero Center were built in an era when San Francisco optimistically invested in challenging its residents through novel spaces and provocative artworks. Landscape architect Lawrence Halprin is widely considered one of the 20th century’s most daring choreographers of civic life, creating spaces for dynamic art that could spark wonder and play. He and Vaillancourt didn’t design for passive spectators. They built a civic stage that demanded movement and curiosity. In an era when many Americans fled the city for the suburbs, Embarcadero Plaza and the fountain were a brash plea for urban cosmopolitanism.

While some canonical works of modernist landscape architecture are cherished and preserved — like Thomas Church’s 1948 Donnell Gardens in Sonoma County or the souriant granite plaza and fountains that lead to Mies van der Rohe and Philip Johnson’s 1958 Seagram Building in New York — urban public works like Embarcadero Plaza have remained controversial. 

Embarcadero Plaza is Donnell’s urban cousin, a truly public space unlike corporate plazas on Park Avenue. Ours is in brusque concrete and brick, unlike the polished granite of privatized public space, defined by dynamic diagonals instead of a Miesian grid, a radically democratic city park in contrast to Donnell’s private backyard. Also anchored by a pool, Vaillancourt’s fountain blasts with Brutalist vim — massive concrete tubes jutting upward, like a kinetic portrait of the city itself in rushing water and bas-relief abstraction. 

For decades, even when the Embarcadero freeway thundered overhead, the plaza thrived as a site of collective gathering, skateboarding, sunbathing and open-ended play. Never static, it has always been a democratic platform, a lasting testament to San Francisco’s distinct urbanity.

The plaza may seem underused today, but the fault does not lie with us. As a regular user who grew up seeing the plaza and its unique fountain in iconic skateboarding videos, I visit the plaza often, on foot and four wheels, and I am never alone.

On any given day, people cross the plaza, pausing in front of the now-empty and fenced-off fountain, and take pictures. People still sunbathe on the steps, with the warm glow of sunlight reflecting off the red bricks of Halprin’s plaza.

Yes, over time, the plaza has indeed been neglected, but it is not blighted: Having weathered half a century of heavy use, it now feels more like a medieval piazza, whose rough-hewn beauty may be under-recognized today. The blame belongs to city agencies and corporate landlords who allowed it to decay, not to the public who continue to use it.

Demolition of the fountain would sever a living link to San Francisco’s modernist history and would obliterate one of the last intact collaborations between world-class art and landscape architecture. The result would likely replace a singular civic work with yet another bland, consultant-designed and over-engineered patch of grass that could not possibly compete with the attractions of the Ferry Building across the Embarcadero. 

The lazy, oft-repeated claim that the fountain “worked” only as a backdrop to the Embarcadero freeway is not only philistine but patently untrue. Halprin and Vaillancourt always intended the fountain to stand on its own, as both plaza and proscenium. It continues to be seen from all sides, even with the new fences that went up this spring, blocking access to the viewing platforms.

Phil Ginsburg, general manager of the San Francisco Recreation and Park Department, has made a career of ramming through big, privatized projects on parkland with minimal public process. Under the previous mayoralty, this tactic would be seen as scandalous, but in this giddy moment of the city’s supposed rebirth under our new developer-friendly Mayor Daniel Lurie, such sketchy gambits are ignored. The plan of selling off public park space to private developers under the guise of “revitalization” is not only cynical — it should be illegal.

In August, the Recreation and Parks Department formally requested the San Francisco Arts Commission’s approval to deaccession (translation: demolish) the Vaillancourt Fountain. While Ginsburg’s letter was shared with select reporters, it was not released to the public in what seems like the department’s strategy of tactical opacity. Independent assessments obtained by the press, the Cultural Landscape Foundation and Docomomo US/NOCA make clear that the fountain is repairable and even eligible for the National Register of Historic Places and California Register of Historical Resources. As an eligible historic resource, the fountain would have additional protections and review processes through the California Environmental Quality Act, something that has been omitted from the public conversation.

Yet the Recreation and Park Department has distorted these findings to manufacture a case for removal. In its own letter, the department dismisses the fountain not as art but as a “design constraint,” a particularly banal term for destroying public art.

The issue isn’t about nostalgia for skateboarders, art lovers and others. It’s about stewardship. Because the city has categorically neglected its responsibility to maintain the fountain, the public risks suffering its loss."]]></description>
<dc:subject>tedbarrow skating skateboarding 2025 sanfrancisco architecture history modernism embarcadero lawrencehalprin armandvaillancourt brutalism daniellurie philginsburg development</dc:subject>
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<item rdf:about="https://placesjournal.org/article/unbuilding-gender/">
    <title>Unbuilding Gender</title>
    <dc:date>2025-08-19T05:14:44+00:00</dc:date>
    <link>https://placesjournal.org/article/unbuilding-gender/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Trans* Anarchitectures In and Beyond the Work of Gordon Matta-Clark"]]></description>
<dc:subject>jackhalberstam gordonmatta-clark architecture anarchitecture 2018 transgender activism gender gendertheory queer yvelariscohen trans carolinevaneck paulpreciado audrelorde saraahmed buckminsterfuller lecorbusier lucascrawford walterbenjamin teresadelauretis stefanoharney fredmoten joséestabanmuñoz robertstoller kevinmumford stephenwalker douglascrimp jonathanweinberg karenabarad giakourlas christinacrosby francesrichard evahayward athinaangelopoulou joelsanders susanstryker boychild nyc realestate capitalism sexuality cassils namuelvason lgbtq emilyroysdon davidwojmarowicz éricalliez alvinbaltrop herbertmarcuse micheldecerteau incarceration pamelalee gentrification 1972 1974 laurieanderson richardlandry modernism soho absence silence invisibility landscape landscapes anarchy anarchism bodies removal fredherko ernstbloch femininity hudsonnriver homophobia collapse abandonment cruising embodiment representation aesthetics access transphobia 1973 normativity building unbuilding feminism louisebourgeois</dc:subject>
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<item rdf:about="https://www.youtube.com/watch?v=IfjtP2QVsOQ">
    <title>Political Islam’s 120-year story - from anti-colonial struggle to now | John Esposito | UNAPOLOGETIC - YouTube</title>
    <dc:date>2025-08-10T21:26:20+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=IfjtP2QVsOQ</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["In this episode of UNAPOLOGETIC Professor John Esposito — one of the world’s foremost scholars on political Islam — unpacks 120 years of modern Islamic movements. From Afghani and Abdu’s 19th-century reformist vision, through Hassan al-Banna and Maududi’s activism, to Sayyid Qutb’s radical turn, we trace the intellectual and political forces that shaped the Muslim world. We explore the Iranian Revolution, the Afghan war, democratic Islamists, authoritarian crackdowns, and how the West’s perceptions of Islamism were forged. This is a masterclass in the history, ideas, and global impact of political Islam.

UNAPOLOGETIC is hosted by Ashfaaq Carim

Chapters
 0:00 – Intro & episode setup
 2:33 – Esposito’s unlikely journey
 5:41 – Immersion in Muslim scholarship
 10:14 – Plan: 120 years’ history
 12:14 – Afghani & Abdu’s vision
 15:45 – Islam as civilization & faith
 18:09 – Abdu’s modernist reform ideas
 22:02 – Anti-colonial political Islam roots
 23:54 – Al-Banna & Maududi emerge
 26:44 – Movements spread transnationally
 30:58 – Ideas spread without media
 33:15 – Critique of elites & clerics
 38:58 – Sayyid Qutb’s radical turn
 43:39 – America through Qutb’s eyes
 47:14 – Nasser’s crackdown & prisons
 50:33 – Cross-pollination of movements
 52:47 – Iranian revolution reshapes politics
 55:03 – Authoritarianism fuels radicalisation
 57:12 – Gradualists vs violent factions
 1:04:05 – Revolution’s impact on perceptions
 1:09:58 – Shah, hostage crisis, US errors
 1:18:22 – Afghan jihad to al-Qaeda
 1:27:05 – Democratic Islamists in power
 1:35:48 – Post-Cold War Islamism shifts
 1:40:19 – 9/11 & war on terror
 1:49:15 – Arab Spring & Brotherhood
 1:53:32 – Egypt’s coup & repression
 2:02:08 – Islamism, democracy & inclusion
 2:07:39 – Misrepresentation in Western discourse
 2:12:22 – Closing reflections & lessons"]]></description>
<dc:subject>johnesposito ashfaaqcarim 2025 islam history politics politicalislam anticolonialism modernism iran transnationality iranianrevolution revoution society muslims democracy arabspring brotherhood islamicbrotherghood sayyidqutb 9/11 egypt repression us afghanistan movements civilization faith muslimbrotherhood abula'lamaududi muhammad'abduh jamalal-dinal-afghani afghani abdu abduh pakistan 'abduh maulanamaududi india panislamism turkey modernity 1960s 1970s malaysia indonesia transnationalism islamism wwi ww1 authoritarianism radicalization 20thcentury sudan syria jamaat-e-islami jamaat uk jihad britishempire imperialism france corruption elites religion islamicmovements activism worship hassanal-banna maududi al-banna west europe science technology printing writing publishing ottomanempire westernization secularism culture economics materialism coldwar palestine israel russia secularnationalism osamabinladen ayatollahkhomeini necmettinerbakan receptayyiperdoğan erdoğan isis al-qaeda neocolonialism mohamma</dc:subject>
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<item rdf:about="https://www.hodinkee.com/articles/inside-the-design-afraid-minimalism">
    <title>Inside The Design: Why Are Watch Dials So Busy? - Hodinkee</title>
    <dc:date>2025-07-27T05:16:47+00:00</dc:date>
    <link>https://www.hodinkee.com/articles/inside-the-design-afraid-minimalism</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Across the design world, minimalism equates to luxury. In the watch world, it's the opposite."]]></description>
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<item rdf:about="https://architecture-history.org/schools/SUPERMODERNISM.html">
    <title>SUPERMODERNISM</title>
    <dc:date>2025-07-27T02:34:01+00:00</dc:date>
    <link>https://architecture-history.org/schools/SUPERMODERNISM.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Critic and historian Hans Ibelings—borrowing from anthropologist Marc Augé—uses the term “supermodernism” (also called “hypermodernism”) to describe a style of architecture emerging in the 1990s, characterized by structures that are often airy, minimalist or monolithic, and transparent or translucent and that use an abundance of glass. Although supermodern structures exploit technological innovation, they are generally visually and symbolically simple, with clean lines, a minimalist style, and neutral materials.

Theoretically, Ibelings situates supermodernism in relation to Postmodernism and Deconstructivism and in conjunction with some of the aims of modernism. Ibelings noticed common tendencies in several architectural books published in the mid-1990s: Terence Riley’s Light Construction (1995), Rodolfo Machado and Rodolphe el-Khoury’s Monolithic Architecture (1995), Vittorio Savi and Josep Ma Montaner’s Less Is More: Minimalism in Architecture and the Other Arts (1996), and Daniela Colfrancescchi’s Architettura in superfice; Materiali, figure e technologie delle nuove facciate urbane (1995). The almost simultaneous publication of these texts describing a similar aesthetic led Ibelings to condense formal and theoretical tendencies into a description of a coherent architectural style.

Contributors to this style include contemporary international architectural firms such as Rem Koolhaas’s Office of Metropolitan Architecture (OMA), Jean Nouvel, Dominique Perrault, Herzog and De Meuron, and Iñaki Abelos and Juan Herreros. Noteworthy examples of supermodernist architecture include Jean Nouvel’s beautifully transparent Cartier Foundation for Contemporary Art and Head Office of Cartier France (1991–94) in Paris as well as his design for the Tour sans Fin (1989), a glass-topped tower to be built in Paris’s La Défense. Also significant are Dominque Perrault’s new home for the Bibliothèque Nationale (1989–96) in Paris as well as her Hotel Industriel Berlier (1985– 90) in Paris and Koolhaas and OMA’s Educatorium (1997), a multipurpose building designed for Utrecht University in the Netherlands.

Supermodernism is a phenomenological architecture, an architecture that appeals to the experience of place rather than to ideas or symbols. Although postmodernist and deconstructivist approaches to architecture often appeal to intellectual and historical relationships among forms, supermodernism suggested a shift toward (perhaps even a return to) the formal qualities of space and the visual and tactile sensations that accompany them. According to Ibelings, the emphasis on space and place rather than on form (or style as an end it itself) contradicts one of the main tenets of postmodern architecture—that a particular building is an often-contradictory composite of symbols or signs that carry cultural and linguistic meanings. Supermodern architecture rejects the desire or need to decode symbols and instead appeals to a range of physical as well as psychological qualities perceived through the experience of the forms. Supermodern buildings reflect neither the history of architecture nor extraarchitectural ideas.

The supermodern structure in part appeals to universal concerns (a stronghold of modernist ideology of the earlier part of the century). This emphasis on universality reflects the current interest in globalization, which Ibelings links to homogenization and commodification in art and architecture. Global homogenization has generated a rash of chain stores, internationally recognized products, and expressionless, nondescript architecture in world cities that resemble one another as well as architecture that is no longer built by local architects in local styles.

Linked to globalization is the development of what Augé calls “nonspace.” Nonspaces are spaces that “cannot be defined as relational, or historical, or concerned with identity” (Augé, 1995). Rather than social centers where communities gather for collective activity, nonspaces function as common places where groups of people come together yet experience the space separate from others. The current built environment is, according to Augé's somewhat relativist reading, meaningless. However, meaningless space arises as a reaction to three kinds of abundance: an abundance of space, an abundance of signs, and an abundance of individualism. The plethora of nonspaces creates what Augé calls the supermodern condition, an obvious reference to French philosopher Jean-Francois Lyotard’s 1979 seminal study La condition postmoderne: rapport sur le savoir (The Postmodern Condition: A Report on Knowledge).

Because globalization has increased world travel to a phenomenal extent, the airport perhaps functions as the quintessential nonplace, although supermarkets, hotels, and oversized malls could be added to this list. Ibelings argues that the airport structure has evolved into a universal type he describes as “an exposed steel construction (a space-frame or gigantic trusses), a marked preference for vaulted roofs, a colour palette of grey, white, pale blue and light green and, above all, acres and acres of glass” (1998). Examples of this design include Kansai International Airport Terminal, Osaka (Renzo Piano Building Workshop, 1988–1994); Hong Kong International Airport, Hong Kong, Chek Lap Kok (Foster and Partners, 1992–98); Stansted Airport, Essex, England (Foster and Partners, 1981–91); and Europier, Heathrow Airport, London (Richard Rogers Partnership, 1992–95). Functionally, the contemporary airport encompasses services such as shopping in addition to a means of travel, and further serves as an economic center for the surrounding area, a trend that reflects the transition of the symbolic city center to the periphery.

Supermodernism maintains particular traditions of modernism; namely, an aesthetic of neutrality, minimalism, and abstraction. Yet supermodernist architects seek expressivity; buildings are intended to be as autonomous and obviously separate from their surroundings; as contemporary and new, reflecting the present; as technically innovative; and finally, as a clean slate, an intended break from the past. Nonetheless, contemporary critics and stress the need to not only examine these qualities but to locate them within our contemporary global experience.

LINDA M. STEER

Sennott R.S. Encyclopedia of twentieth century architecture, Vol.3 (P-Z).  Fitzroy Dearborn., 2005."]]></description>
<dc:subject>supermodernism modernism globalization 1990s marcaugé handiberlings 1998 architecture design lindasteer neutrality minimalism abstraction buildings airports travel jeanfrançoislyotard nonspaces art homogenization deconstruction deconstructivism terenceriley rodolfomachado rodolpheel-khoury vittoriosavi josepmamontaner danielacolfrancescchi herzoganddemeuron dominiqueperrault jeannouvel oma remkoolhaas juanherreros iñakiabelos space place form commodificaiton neoliberalism nonspace</dc:subject>
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<item rdf:about="https://robbreport.com/style/watch-collector/neo-vintage-watch-postmodernism-1235821244/">
    <title>How Postmodernism Saved the Mechanical Watch Industry in the 1980s</title>
    <dc:date>2025-07-27T00:56:58+00:00</dc:date>
    <link>https://robbreport.com/style/watch-collector/neo-vintage-watch-postmodernism-1235821244/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Watches from the 1980s and '90s are not as easy to understand as one might imagine."

...

"Why would a watch collector need or want to understand the notoriously vague and confusing concept of postmodernism?

One answer is that watchmaking went through “a postmodern moment” starting in the 1980s, and many of those “postmodern watches” are now collectible vintage and neo-vintage timepieces. A neo-vintage watch is roughly 20 to 40 years old, and a vintage watch is older than 40 years. The current market data shows neo-vintage watches to be very good value, especially from Rolex, Patek Philippe, and Audemars Piguet.

Another reason for a watch collector to understand postmodernism is to gain insight into the artistic moment in which these collectibles emerged. Just as one can better understand and appreciate a watch from the 1920s by knowing about the Art Deco movement, or a watch from the 1930s by understanding the Bauhaus school’s ethos, or a 1950s watch by knowing about mid-century modernism, one can better understand watches from the 1980s and ’90s by knowing something about the postmodernism.

And more specifically, it’s reasonable to assert that postmodernism saved the Swiss mechanical watch industry in the 1980s. As we shall see, the creative freedom that postmodernism bestowed on watch designers in the early 1980s became the force behind the mechanical watch revival of the 1980s and ’90s.

What Is Postmodernism?

To understand postmodernism, we must first understand modernism. In the late 1800s, the Western world industrialized, secularized, urbanized, and democratized radically. In response, modern philosophy, art, literature, politics, architecture, psychology, and so on emphasized individuality, subjectivity, mechanization, technology, and novel social structures. By the early 20th century these concerns were broadly expressed through abstraction, absurdism, and surrealism in the arts, as well as through stripped-down design aesthetics as seen in unadorned concrete buildings, sleek automobiles, and even straight-forward watches like the Patek Philippe Calatrava reference 96 of 1932, the quintessential “modern watch” thought by many to have been inspired by the Bauhaus school.

[image: "Patek Philippe Salmon Dial: This Patek Philippe Calatrava with a salmon dial dates to the 1990s, but is a nearly exact replicaa of the reference 96 from the 1930s. This makes it a quintessential postmodern watch."]
Phillips

Modernism clung to two ideas that postmodernism would reject: 1. that human history follows a linear, progressive, forward trajectory, and 2. that universal truths fueled that trajectory. In rejecting those two core ideas, postmodern art and design representatively broke with linear historical progress by embracing pastiche (art that imitates a much older style), and it broke with universal truths by embracing collage (art that mashes seemingly unrelated forms together to deconstruct clear meaning). Pastiche and collage will remain our focus here.

Italian theorist and author Umberto Eco has written that, “Postmodernism is an all-purpose term, which can be applied to many—perhaps too many—things.” While postmodernism is, indeed, a very confusing and vague concept in its broad applications, narrowing our focus onto the mechanical watch revival of the 1980s and ’90s provides a surprisingly clear case study of postmodern design.

Quartz Was Modern. The Mechanical Watch Revival Was Postmodern.

When Seiko released the quartz Astron watch in 1969, the Swiss mechanical watch industry fell into what we now call the Quartz Crisis. As many as 500 individual watch-related businesses are thought to have gone out of business in Switzerland during the 1970s. Quartz watches were eventually quite cheap, and they “democratized” high precision timekeeping. Quartz watches were modern in that they appeared to be an inevitable step in the linear progress of modern timekeeping technology.

But in the early 1980s, something unexpected happened in the watch world, and it wasn’t the SWATCH. It was a cadre of mechanical watch companies that insisted that the mechanical watch was not just an anachronism for stuffy elites but a relevant artform.

[image: "Blancpains dating to the early 1990s. These watches exhibit the refinement and style of watches from the 1940s, and helped revive Switzerland's mechanical watch industry. Blancpain watches dating to the early 1990s. These watches exhibit the refinement and style of watches from the 1940s, and spurred the mechanical watch revivial."]

At the 1983 edition of Baselworld, Jean-Claude Biver, now the world’s most famous horological CEO, relaunched Blancpain, a storied watch brand which had gone out of business during the Quartz Crisis. Blancpain’s new slogan was, “Since 1735 there has never been a quartz Blancpain watch. And there never will be.” Under Biver’s visionary leadership, Blancpain embodied the postmodern impulse toward pastiche, offering traditionally styled mechanical watches that unabashedly broke entirely with the linear march of progress suggested by quartz watches.

In lock step with this anachronistic impulse, in 1989 Vacheron Constantin launched its Historiques collection at Baselworld. Until then, Vacheron had always marched straight forward, updating its collection (however subtly), offering the latest styles (however conservatively). But the 1990s saw Vacheron Constantin recreating watches of the 1920s and 30s. In 1989, Patek Philippe released the decidedly antique-looking reference 3960, a 33 mm Calatrava with old-school lugs, Breguet numerals, and enamel dial, and a hunter case—each of these antique features helping make this watch a work of pastiche.

[image: "The author's 1990 Vacheron Constantin Historiques in platinum is the very first watch that the brand released "from the back catalog.""]

We could go on with examples of postmodern pastiche watches from the 1980s and ’90s, but suffice to say that when you see small dress watches from the 1980s and 1990s that look like they’re from the early 20th century (and there are a lot of them), you’re looking at one type of postmodern watch.

The Avant-Garde Mashups of the 1980s and ’90s

The postmodern impulse toward collage was embodied in another type of watch that emerged in the 1980s and 90s, notably from Alain Silberstein and Ulysse Nardin. These watches took an avant-garde approach, pushing together visual and mechanical forms that no one had seen together before. Notably, these watchmakers were vocal about the mechanical watch revival, and they aligned themselves with Biver and others who were forging new paths for Swiss mechanical watchmaking.

[image: "Silberstein's designs echoed Kandinski paintings, Bauhaus aesthetics, while mashing up odd materials into complicated mechanical watches. This one dates to the 2000s."]

Silberstein was trained in design in Paris during the 1960s and 70s by a professor who had been a student in the Bauhaus. This direct lineage tied Silberstein to a modern design focused on primary colors and basic shapes as well as abstract, collage-like forms as evidenced in Kandinsky’s paintings. But, crucially, Silberstein was mashing these modern ideas together during the 1980s and ’90s within the largely conservative and functional form of the wrist watch. It was a bizarre impulse, really. (Silberstein designed for other brands on contracts that required non-disclosure, and yet it’s almost impossible not to see his influence on SWATCH, which cast a broad postmodern tone for watches during the 1980s and ’90s).

Another maverick in postmodern watchmaking was Rolf Schnyder, who was heading up Ulysse Nardin through the 1990s. This decade saw wild experimentation with mechanical forms that were exposed on the dial in ways that—though familiar to us today—shocked collectors at the time. This avant-garde work of Ulysse Nardin culminated in 2001’s Freak, a watch that Schnyder and watchmaker Ludwig Oechslin conceived of together. With “no hands, no dial, no crown,” as the brand likes to brag today, the Freak brought together the technical prowess of the Vatican clocks Oechslin had restored, a modernist affection for machinery, the postmodern impulse to invert interiors (e.g., 1977’s Centre Pompidou in Paris), and a futuristic sensibility that managed to evoke 21st-century space travel before the century began.

[image: "The Ulysse Nardin Freak of 2001 embodies the avant-garde impulses of postmodern collage and irreverance."]

The Postmodern Impulse in 21st-Century Watchmaking

From an art-and-design perspective, it’s fair to say that we are still in the postmodern moment. Since the 1980s, we’ve grown so accustomed to pastiche and mashups that we hardly notice the constant irreverence toward linear time (everything is retro-styled, referential, or sampled) and toward universal truths (relativism and alt-facts prevail). We live in a thoroughly postmodern world. Aesthetics that once shocked us—and even seemed violent toward modernism—are banal today. From music to fashion to interior design, we mashup breezily, as if we’re tossing a light cultural salad to nourish us while we scroll the anarchy of social media.

We are so engaged in postmodernism that it can be easy to miss it in today’s watches. That impulse is more readily evident in the creations of, say, MB&F or Greubel Forsey, which draw on Silberstein’s and Ulysse Nardin’s avant-gardism, but what about that impulse as it emerges in more staid brands, such as Patek Philippe?

[image: "Given the numerous design antecedents mashed up in the Patek Philippe 5226g, it is difficult to think of it as anything other than quintessentially postmodern."]

I recently wrote that the Patek Philippe Calatrava reference 3226g was the greatest watch of the 21st century (so far, anyways), and I want to return to this timepiece, as it is surprisingly—indeed, stealthily—postmodern. I offer this analysis for no other reason than to help train our eyes on the postmodern impulses that make up so much of watchmaking since the 1980s, and because pretty much every watch brand other than Rolex is mashing up in a breezy retro-chic fashion that can, at times, be a bit difficult to get our heads around as we attempt to appreciate what these design departments are doing.

So, the curious case of the 5226g leads us to see how postmodernism has opened the door to free design mashups, but this watch uniquely uses both pastiche and collage to create something decidedly 21st-century in nature. The overall colorway is taken from a rare 1930s Calatrava Reference 96 called the Nightwatchman. The lugs derive from the 1960s 3448 perpetual calendar. The dial is derived from a 1970s camera body. The hobnail pattern along the case band is from a 1970s 3520 bezel. The numbers and hands are borrowed from the current 5172G. This 5226g is a masterful mashup that is entirely irreverent to the notion of linear progress. It is, in essence and despite the rather mundane first-impression it gives off, entirely postmodern.

So What?

Understanding this much about postmodernism and watches may do nothing to increase their value—then again, who knows, given the persuasive nature of elevated cocktail party conversation. But rather than merely offering up an intellectual take on neo-vintage watches, I hope to introduce into the dialogue of watch collectors a clearer sense of what it is we are looking at as a whole generation of interesting watches begin to find their way to antique status, onto the auction block, and into our collections. If nothing else, I hope this little digression into postmodernism provides a modicum of insight the next time you look down at your wrist for the time."]]></description>
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    <title>The McMansionization of the White House, or: Regional Car Dealership Rococo: a treatise | Patreon</title>
    <dc:date>2025-05-09T23:36:11+00:00</dc:date>
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    <dc:creator>robertogreco</dc:creator><description><![CDATA["If you, like me, were putzing around on social media last night, you perhaps saw this post in which data journalist John Keegan claims to have found the original source from which Trump ordered the ridiculous gold-painted faux Rococo slop currently hot glued onto every visible surface of the oval office. In a separate blog, Keegan convincingly compared close ups of the Trump appliques with a set of polyurethane offerings listed by Chinese wholesaler AliBaba.*

The responses to this discovery were unsurprisingly gleeful: tariffs for thee but not for me! So much for a “trade war” with CHAYNAH etc. However, as we all know, hypocrisy does not work on Trump and his ilk; if anything, they bask in it like pigs in shit and leave the rest of us huffing the fumes. Beyond hypocrisy, for years the common interpretation of Trump’s longstanding romance with 18th century gilded kitsch has been that, Trump, like other practitioners of so-called “Dictator Chic” (most of whom, like Saddam Hussein, have since been deposed) wishes to fashion himself in the style of the late Bourbon kings who ruled tyrannically and absolutely over their immiserated French populaces. But this ressentiment towards democracy is only a psychological analysis, albeit with aesthetic undertones. For our purposes it is much more useful to consider what Trump is both communicating with this architectural hatchet job as well as its various precedents, most of which come later in history than one would think.

In my last McMansion Hell post, I deployed the phrase “Regional Car Dealership Rococo” (henceforth RCDR) as a joke, but I think it works well as a broader idea. We can define RCDR as the ad hoc revival of 18th century ornamentation that arose, perhaps inevitably, during a period of skyrocketing income inequality coupled with consolidated global supply chains that brought down the cost of architectural materials. Culturally, it is a weed in Postmodernism’s garden bed.

I use the term Rococo here as a catch-all, because that is how the practitioners of RCDR themselves see it, if they consider it in the first place. A victim of a long-standing anti-intellectualism, at some point, these details all just became one “classical” “ornament.” Technically speaking, RCDR is a hodgepodge of Late Baroque, Rocaille, and Rococo as well as their revivals. I choose to use Rococo instead of these other styles because, being associated with a pre-revolutionary opulence, it is more politicized.

[image]

If we want to get educational about it, the foam piecework in Trump’s office is technically called a margent – which is a strip of leaf and/or flower forms hanging downwards, in this case from a shell motif. Last night, I spent hours with various tomes and anthologies of ornamentation and could not find this specific form, though I am not a scholar of 18th century architecture, and such granular details are outside my wheelhouse. It is very possible that it’s completely made up by the manufacturer. I can say, however, that these particular margents are more Late Baroque than Rococo. Although they are florid in nature, they lack the asymmetry that typically defines Rococo ornament.

That Trump rotates these margents 90 degrees to have them work more as, I don’t know, scrolls or festoons is indicative of the RCDR imperative that ornament does not exist in service to some historical or architectural fidelity, but as a simple commodity to be used as one sees fit. It communicates architectural meaning shallowly through pastiche and juxtaposition, rather like a sticker book. This does not mean, however, that it shouldn’t be taken seriously as an object of architectural study.

Rococo and its Discontents

[image: "Commode decoration by Charles Cressent (1745–1749), Metropolitan Museum. CC0."]

Let’s start at the beginning. Though it’s not my favorite style, the reputation of Rococo architecture suffers, I think, from its various afterlives. The use of the term in the 19th century, for example, is similar to how I’ve used it casually in the past: to denote something that is busy and overly ornamented. Originally devised by the French in the early 18th century, Rococo was a reaction to the heavy-handed classicism of the Louis XIV style, characterized by looming, imposing pediments and strict geometries. Bereft of mythical and antique motifs, Rococo was considered lighter and more frivolous than its predecessor. It is best remembered for its pastel colors, its introduction of the exotic, especially chinoiserie, and its use of scrolls on pediments and bandwork. The originator of the rockwork and fake grottos that would become even more popular in the 19th century (including in the castles of our King Ludwig II), Rococo expressed the beginning of what would emerge more fully in Romanticism: a longing for an idealized natural world that was becoming increasingly encroached upon by industry and urbanization.

The French Revolution swept away the original Rococo movement along with many of the despots who proliferated it. However Rococo’s death was short-lived, a premature conclusion. History has repeatedly shown that an architectural style is one of the hardest cultural life forms to kill off. As the Bourbon kings returned to power in the wake of Napoleonic rule, they brought their style with them as means of cementing soft political power. From then on, Rococo revivalism became a fixture of French nationalism. (Perhaps more important to our contemporary analysis is that the Bourbon Restoration was also a period of illiberal protectionism characterized by, you guessed it, high ariffs.)

Even after the July Revolution, this revival lingered for most of the 19th century, and sometimes even merged syncretically with the Romantic movement. Here it was inevitably a bourgeois reaction to not only the Revolution itself, but to emerging changes in society, technology and labor relations, all of which would result in major crises by the middle of the century. This ruling class nostalgia for times of absolute domination over the populace and its use as a conservative, if not nationalistic and imperialist signifier is a defining characteristic of Rococo Revivalism in all its forms, including RCDR.

In its Second Empire (1830-1848) iteration, the nouveau riche of the petit bourgeoisie gravitated in particular towards Rococo decorative arts as a way of legitimating their newly-obtained wealth and prestige, to say to the old aristocrats: we’re not so different, you and me. However, this bourgeois aesthetic pact with the Rococo was a Faustian one. The same techniques of mass production that made the bourgeoisie rich also made the style more accessible than ever, thereby diluting its power.

Early mass production techniques from Britain, such as the steam press, allowed Rococo motifs to be imprinted on thinner sheets of silver – no need for the hassle of silversmithing. Later, industrial mills churned out wooden balustrades and scrollwork at an unthinkable pace. Suddenly, the style of extreme ornamentation had fallen prey to mechanical reproduction. In the process, the original works of Rococo decorative arts, paradoxically, would only become more valuable, as they now retained what Walter Benjamin called “the aura” – i.e. the special, reified thingness imbued in an original work which has since been endlessly copied.

[image: "Photograph of a Rococo Revival parlor in the Metropolitan Museum of Art. CC0."]

Architecture, however, retained its aureatic power for longer, at least if we understand mechanical reproduction as a function of labor. Mature capitalism resulted in the transformation of both architecture and its labor into commodities. This, however, was a gradual process. While replicas of Rococo architectural ornament were commonplace, these replicas still required a certain type of craft labor (shoehorned, of course, into its new capitalist strata.) This was the labor of the stonemason or the carpenter, and even though it would later be armed with tools that sped up production, this labor was still put to use for the creation of a new, albeit aesthetically derivative building. In other words, ornament was widely reproduced from an “original” (and always has been in architecture since at least the Renaissance) but, at this stage, only partially mechanized.

While revivals aspired to creative deviations from a pre-existing aesthetic whole, they soon gave way to something else: eclecticism. Owing in part to the expansion of architectural vocabularies through the parasitic twins of colonialism and archaeology, eclecticism – in which this newly liberated piecemeal ornament could be detached from its original historical contexts and used to create new forms – dominated the mid-late 19th century. The disconnection of ornament from its whole and accelerated advancements in architectural fabrication gradually blurred the line between details and their respective origins, especially for laypeople.  

While bourgeois architects like Charles Garnier explored this mixing of classical ornament through movements such as Beaux-Arts, capitalism didn’t sleep. By the 1890s, vernacular buildings – company housing, industrial sheds etc. -- were mass produced wholesale in factories and assembled by day laborers. This marked the beginning of rapid deskilling in architectural production. Even the term vernacular, once denoting the common buildings that sprung up in response to local material and environmental conditions, became permanently attached to the manufactured buildings that spread indiscriminately across the landscape.

The development of early modernism in the late 19th century finally put the nail in the Rococo coffin, though the style would continue to play a conservative role in France until the late 1930s. Neoclassical revivals regularly popped up contra modernism in the Greek Revival pediments and county courthouses of the world, but fully gilded Rococo would not emerge again for a good forty or fifty years, and when it did, it wasn’t in the realm of high architecture. For the first time in its existence, the locus of the Rococo shifted away from Europe in favor of that capital of kitsch, the United States.

**
Hollywood Days

[image: "Scan from Daydream Houses of Los Angeles."]

Regional Car Dealership Rococo owes its primary loyalty not to King Louis but to Hollywood, where it found a home at midcentury. Hollywood, imbued with the artifice of set design and a very real glamour, was the dominant distributor of cheap spatial reproduction and ersatz images of the past. This was, you must remember, the era that spawned Disneyland, an institution that somehow managed to distill the kitsch of Neuschwanstein castle into something even more saccharine.

By the time Rococo hit the West Coast, the material processes of the 19th century were all but complete. Architecture, even in its most customized forms, became, at heart, an assemblage of commodities. Modernism employed stonemasons primarily in Carrera, for the purposes of making floors and wall panels, not columns, corbels, and pediments, and that’s only if said architects wanted to spend the money. Usually, they didn’t – or couldn’t. By the 1950s, concrete, millwork, stamped metal, and later polyurethane and other foams and plastics, would all be employed in the making and remaking of ornamentation.

The British architectural historian of Postmodernism, Charles Jencks, made several studies of California’s vernacular architecture in the 1970s. His small books for Rizzoli frequently explore the storybook cottages and New Formalist (in appearance only) entablatures that would later give rise to important McMansion elements like the oversized transom window above the front door. Jencks’ analytical penchant was for ever more granular taxonomies, a precedent for our internet-driven predilection for labeling everything an “aesthetic” – albeit with less and less intellectual rigor as the years go by.

In Bizarre Architecture Jencks called Hollywood’s panorama of cheap stylized castles, colonnades, and hobbit holes “fantasy eclecticism” – a mix of ticky-tacky make believe with the existing eclectic pantheon of architectural subjects --  all built with mass produced materials. His somewhat obscure book Daydream Houses of Los Angeles, provides more detail for the residential realm. It is also the original inspiration for this blog. In it, Jencks labels the most ridiculous examples with clever barbs like “topiary fascist” and “predatory mansard.” (I can only aspire to be this funny.)

Of these houses he writes more seriously: “As a type the Movie Star House displays two very definite aspects: power, as signified in a massive and conventionally bland front (like a provincial city hall) and a rambling, spread out informality (like a relaxed Texan with his boots off and his limbs spread akimbo over sofa, stool and coffee table.)” He continues: “Every star’s house has some equivalent to [a] screen rumpus room, where past triumphs are relived and the golden memories are kept alive. They bear some iconographic relation to the cemetery at Forest Lawn and the Movieland Wax Museum, being a quintessential attempt at earthly immortality.”

Trump, we must remember, was, in addition to being a developer, a product of this same showbusiness, for which he has seemingly endless nostalgia. This is, after all, the man who wished to replace the Kennedy Center’s programming with reruns of Cats. (He also has surprisingly developed takes on musical theater, a fact Adorno would have loved.) It’s not just Trump, though, who holds this sentiment. In the basements of many of the country’s McMansions, we will find this same movie room concept regurgitated by a population who did not make any movies but whose joyful memories are irrevocably linked with passive consumption, and who attempt to remake in situ the more contemporary sticky, exurban movieplexes they, as antisocial creatures, wish to petulantly control for themselves. In both cases, this is an architectural culture shaped entirely by mediation.

[image: "By Allan warren - Own work, CC BY-SA 3.0, https://commons.wikimedia.org/w/index.php?curid=10976476"]

The primary text of midcentury Rococo was, of course, the Liberace mansion in Las Vegas. I don’t have time to get into the biography of Liberace, who was decidedly a 20th century phenomenon incomprehensible to my generation, a kind of grindset kitsch pianist whose offerings mostly clog up space in flea market record bins. It is worth mentioning, however, that he was staunchly pro-capitalism and had an extraordinary fascination with both theming as a concept (think a piano-shaped swimming pool, which he invented) and with anything that could communicate luxury, extravagance, wealth, and frivolity. His Vegas abode, built in 1962, is, like many famous people’s houses from the time, a closely guarded mansard on the outside – except this time peppered with filigree scrolls and goofy cherubs. The interior is a pearl within an architectural clam – and it is pearlescent. With its mirrored walls, sunken columned bathtub (the contemporary version of the Rococo grotto), fake Sistine chapel ceiling (there’s our Baroque), and crystal chandeliers, the Liberace mansion is a Rosetta Stone for not only RCDR but the worst McMansions of the early 80s.

Postmodern Malaise

Jencks makes an important point about houses like these, which is that many of them began their lives as more architectural (read: modernist) offerings that were later modified with cheap ornament to conform to changing tastes in the late 60s and early 70s – tastes that were on the vanguard of what would eventually be called Postmodernism. It’s no coincidence that they, as well as the city of Las Vegas as an institution, would be the primary source materials for Robert Venturi and Denise Scott Brown’s famous theory-manifesto, Learning From Las Vegas.

I’ve written about this elsewhere, but I’ll just paraphrase myself by saying that for better or for worse (and often both!) this important book was both spirited and populist in nature. It explored the increasingly dire contradictions between form and function in what is often called Late Modernism, while pointing out that architects, in their pursuit of perfection and control had long ignored the desires of everyday people. In this respect, the language of vernacular rather than academic architecture could thus serve as a new avenue for creativity. In their words: “Main Street was almost alright.”

By now, all the parts were in place for Regional Car Dealership Rococo to proliferate widely. Beyond architectural populism, Postmodernism saw the inevitable synthesis of, well, a lot of concurrent phenomena emerging in art and culture, such as excessive mediation (tv brain), juxtaposition as a compositional tool, and pastiche. It was backed by a rich and extensive theoretical literature, some of which is more readable than others. However, an undercurrent of anti-intellectualism also ran deep in Postmodernism, especially in its later years. And there is no world in which RCDR gives a shit about A Thousand Plateaus or what a “simulacrum” is (even though it is itself a simulacrum: a copy for which no original exists.)

What began with ironical, historically informed, and largely ludic explorations of mixing old architectural elements with new methods of fabrication (think giant, cartoonish columns; simplified but oversized pediments; those neon-besotted displays at the mall) Postmodernism eventually either lost the (formal) plot or transformed into a culture war that lives on to this day regarding the primacy of traditional architecture over modern. The Postmodern Classicism of Leon Krier and Robert AM Stern fame was architecture’s last revival movement and it has never truly left us.

These debates transpired at a time when making traditional architecture without the now-depleted natural materials or craft labor was and remains a largely farcical endeavor. Doing so is either extravagantly expensive or ends up somewhere squarely on the McMansion spectrum. RCDR circumvented this problem simply because it wasn’t thinking of architecture as any kind of meaningful cohesive cultural or even aesthetic program but as a casual expression of personal taste, a desire to communicate what are, if we’re being honest, pretty simple desires. Then, as now, it was traditionalism sold off-label.

[image: "Chair by Robert Venturi and Denise Scott Brown for Knoll, Milwaukee Art Museum. By Sailko - Own work, CC BY 3.0, https://commons.wikimedia.org/w/index.php?curid=63469461"]

By the time of Late Postmodernism (the late 80s or early 90s), one could sense a kind of ideological desperation in projects like Prince Charles’ goofy yet sad pseudo-Georgian town of Poundbury or Celebration, Florida, a kind of Disney company town but for the consumer side that posed the question: what if a theme park resort were a model for urban planning? Such a concept could only come from an flailing movement so subsumed by corporations, culture warring and media consumption it forgot that cities existed at all before Le Corbusier, all while retaining the old master’s distaste for organic urban life and democratic planning. It lives on to this day in the unvanquishable meme of “people like Disney World because they want walkable urbanism.”

At any rate, an unintended side-effect of Postmodernism was the semantic saturation of architectural ornament writ large, the spamming of the same imagery until it lost its distinction and historical meaning. In this respect, it is an acceleration of the eclecticist project. Commodified and sold first in catalogs like its 19th century predecessors, then online, Baroque became Rocaille became Rococo became Liberace became Dictator Chic. Beyond semantics, RCDR would not materially exist without the innovations of the plastic age and its resultant escalation of both pollution and fossil fuel production, or without the cheap labor and global supply chains that grant both Trump’s margents and the McMansion itself their (temporal rather than stylistic) immediacy. Within three months, the Oval Office was transformed from its more routine Biden iteration into a cathedral of gilded junk, all for the low, low price of $1 to $5. But most importantly, more than anything else, RCDR would not exist without the explosion of income inequality spanning from the 1970s to our current oligarchal predicament. It was this minting of new millionaires and billionaires that stimulated the old bourgeois demand for such imagery of wealth, albeit desiccated, at scales not seen since the dawn of capitalism itself.

It is a common misconception that the goal of Trump and other McMansion peddlers is to replicate in any way an architectural style from the past with any kind of fidelity, or that the true comedy lies in how badly this fails. In fact, there’s nothing funny about any of this, though the juxtaposition of extremely cheap commodities with the intention to communicate having lots of money is decidedly ironic. Trump’s margents are an architectural representation of the world he inherited in the 20th and 21st century, as much as the world he wishes to make: a world of paternalism and rule by mob, kingly, sure, but also a world of cheap artifice fabricated in miserable conditions soon to be imported from neoliberalism’s imperialist proving grounds into the domicile, with us footing the tariffs. In short, and to our detriment, Regional Car Dealership Rococo is underwritten by a politics as impoverishing as its imagery.

----

*(The comments, however, dispute this comparison, offering instead a different posting from a Vietnamese wholesaler. I find this proposal somewhat unconvincing on a logistical rather than architectural basis, as a site such as Alibaba would be much easier and seamless to order from. The truth is probably in the middle – a similar listing we haven’t yet uncovered.)"]]></description>
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<item rdf:about="https://techwontsave.us/episode/275_the_roots_of_elon_musks_war_on_empathy_w_julia_carrie_wong">
    <title>The Roots of Elon Musk’s War On Empathy with Julia Carrie Wong - Episodes - Tech Won’t Save Us</title>
    <dc:date>2025-05-09T01:55:48+00:00</dc:date>
    <link>https://techwontsave.us/episode/275_the_roots_of_elon_musks_war_on_empathy_w_julia_carrie_wong</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Paris Marx is joined by Julia Carrie Wong to discuss Elon Musk’s recent opposition to empathy, how it comes out of the Christian right, and the relationship it has to previous discussions of longtermism."

[See also:

"Loathe thy neighbor: Elon Musk and the Christian right are waging war on empathy
Trump’s actions are irreconcilable with Christian compassion. But an unholy alliance seeks to cast empathy as a parasitic plague"
https://www.theguardian.com/us-news/ng-interactive/2025/apr/08/empathy-sin-christian-right-musk-trump ]]]></description>
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<item rdf:about="https://www.newyorker.com/magazine/2025/04/14/in-praise-of-floods-james-c-scott-book-review">
    <title>James C. Scott’s “In Praise of Floods,” Reviewed | The New Yorker</title>
    <dc:date>2025-04-20T22:00:23+00:00</dc:date>
    <link>https://www.newyorker.com/magazine/2025/04/14/in-praise-of-floods-james-c-scott-book-review</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["James C. Scott and the Art of Resistance
The late political scientist enjoined readers to look for opposition to authoritarian states not in revolutionary vanguards but in acts of quiet disobedience."

...

"“Seeing Like a State” was published in 1998, after the collapse of the Soviet Union and the decline of socialism, and after the United States had lost its taste for New Deal-style economic planning. Perhaps as a result, the book appeared more conservative than Scott meant it to be. The political scientist Francis Fukuyama gave it an approving notice in Foreign Affairs, and, a year after it was published, the head of the libertarian Cato Institute invited Scott to address its annual convention, much to his dismay. Many on the left concurred with their libertarian colleagues that Scott had made, however inadvertently, a pro-market case against state power. In a review, the liberal economist Brad DeLong noted the striking similarities in argument between Scott’s brief against planning and the libertarian Austrian economist Friedrich Hayek’s praise of the “spontaneous order” of market economies. Scott, unlike Hayek, was an avowed skeptic of free markets; in “Seeing Like a State,” he had argued, albeit briefly, that “market-driven standardization” was susceptible to many of the flaws of modern social engineering. But his critics on the left weren’t wrong to compare his arguments to Hayek’s: so intently and thoroughly did Scott make his case against the modern state that, once you’ve read “Seeing Like a State,” it’s difficult to imagine the virtue of any state action, even of the incremental and meliorist variety. After such knowledge, what forgiveness?

Years later, it’s possible to look at Scott’s book less as an isolated broadside against the state and more as a way of seeing, through extreme examples, the extent to which planning ignores local knowledge at its peril. Still, even in those instances, Scott offers equivocal lessons. When it comes to contemporary debates on how best to solve our nationwide housing crisis, for instance, he can be read as an ally to movements attempting to protect neighborhoods against large-scale development. He asks planners to “prefer wherever possible to take a small step, stand back, observe, and then plan the next small move.” He makes special pleas for “context and particularity.” At the same time, he asks to make room for “human inventiveness” and “surprises,” which might suggest removing constraints to development—for example, restrictive zoning—that stifle initiative and drive. If you need room to build, better for the state to get out of the way. Both stances are conceivable within the capacious framework of the book, and that is perhaps why radicals and conservatives alike have found support for their arguments in its pages.

“Seeing Like a State” offers an even more complex (or blurry) lens through which to view the climate crisis. Scott’s study of how states reordered the natural world to generate maximum revenue may help to explain our own landscapes of fracking pads and pipelines. But it’s difficult to extract from the book a coherent strategy to fight climate change. To avoid the worst of the devastation from rising global temperatures will undoubtedly require not just state action but multistate coöperation on an unprecedented scale. Governments may need to override city and country alike to produce solar arrays and wind farms, shut down coal- and gas-fired power plants, unearth minerals for large-scale battery storage, and retrofit millions of houses, offices, and schools with electric cooling and heating systems. With Scott in mind, it’s possible to hope that states engaged in this collective project will overcome the blindness of the past. Still, if they—and we—are to succeed, Scott’s advice that planners pause before making their “next small move” will likely be discarded.

It’s an irony of Scott’s career that, though he pleaded for respecting local knowledge, his own writing began to take on imperial proportions in the later decades of his life. The last major works that he published before his death, “The Art of Not Being Governed” and “Against the Grain,” both cover centuries of history, confidently summing up many shelves’ worth of research and surveying wide tracts of geography. Scott examines how ancient states formed around sedentary agricultural practices—growing rice in medieval Southeast Asia, and wheat in ancient Mesopotamia—not because such farming had any intrinsic or inevitable value but because it was an important step in creating a “legible” and “manageable” state. Outside the rice “padi-state” and “grain states,” in Scott’s view, intrepid rebels engaged in more mobile, nomadic forms of agriculture, trying to escape taxation and forced labor.

Scott saw each step in the civilizing process, from farming cereals to working on an assembly line, as a loss of complexity, a diminishing of the “great diversity of natural rhythms” to which our ancestors were attuned. “It is no exaggeration to say,” he writes, before arguably risking just such an exaggeration, “that hunting and foraging are, in terms of complexity, as different from cereal-grain farming as cereal-grain farming is, in turn, removed from repetitive work on a modern assembly line. Each step represents a substantial narrowing of focus and a simplification of tasks.” From this perspective, a civilization’s collapse, rather than something to be lamented, might be experienced, at least by those at the edge of a state, as “an emancipation.” Scott acknowledged that so-called dark ages offer “fewer important digs for archaeologists, fewer records and texts for historians, and fewer trinkets—large and small—to fill museum exhibits.” But he argued that “such ‘vacant’ periods represented a bolt for freedom by many state subjects and an improvement in human welfare.” Anarchic social orders erect no monuments, and leave no ruins to be bleached over the centuries in the desert sand. Instead they offer alternative visions of how society might have developed had states not formed, concentrating manpower and crops, homogenizing landscapes, and taming rivers.

Some critics have called Scott a romantic, in part for seeming to indulge the lawlessness of non-state peoples. In “Against the Grain” and “The Art of Not Being Governed,” there is an ineluctable charisma to the frontier nomads, with their state-repelling egalitarianism and their sense of freedom. “In Praise of Floods” extends the forms of resistance Scott celebrates to nonhuman subjects. Laboring to evoke the sheer variety of what gets lost when rivers are subjugated by humans, he devotes a questionable chapter to ventriloquizing the voices of riverine animals—mollusks, river dolphins, snow carp, Asian hairy-nosed otters—speaking out against human intervention. But his work, even at its most tendentious, speaks uncannily to our current political mood of gnawing anxiety, fleeting optimism, and partial resignation over the future of the human project. To read Scott is to feel the fatalistic sense that civilization may have been botched from the beginning. But it is also to be hopeful—that what seems to be a runaway ecological crisis and a global drift toward authoritarianism contains within it the potential for political transformation, if you look closely enough.

At Scott’s memorial service, last October, organizers handed out tote bags with the slogan “Become Ungovernable.” Disobedience was, in certain respects, the watchword of all his work. In “Two Cheers for Anarchism,” a short book published in 2012, he testifies, like a latter-day Henry David Thoreau, to insubordination as an animating principle of all social change. He describes the desertion of Confederate soldiers during the Civil War as potentially a key factor in the overthrow of slavery, and even lauds the Vietnam War-era practice of “fragging,” in which infantrymen supposedly used live grenades to eliminate their commanding officers. Authoritarianism, in Scott’s view, dies this way: not through “revolutionary vanguards or rioting mobs” but through “the silent, dogged resistance, withdrawal, and truculence of millions of ordinary people.” Just as “millions of anthozoan polyps create, willy-nilly, a coral reef,” he writes, “so do thousands upon thousands of acts of insubordination and evasion create an economic or political barrier reef of their own.” "]]></description>
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<item rdf:about="https://blog.ayjay.org/on-humanism-the-big-picture/">
    <title>on humanism: the big picture – The Homebound Symphony</title>
    <dc:date>2025-04-18T07:00:36+00:00</dc:date>
    <link>https://blog.ayjay.org/on-humanism-the-big-picture/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The word “humanist” has several meanings, but they tend to fall within two broad camps. (There are other, more specialized, meanings, but we won’t deal with them here.)

The first holds that “man is the measure of all things,” and that there is no God, or at least no God to whom we owe worship and obedience. This is the sort of thing preachers denounce when they speak of “secular humanism.”

The second sees humanism as a project – moral, intellectual, artistic – to restore, improve, and perhaps even perfect the human species. To usher us into our true and noble inheritance.

The first camp is not compatible with Christianity, but I would argue that the second camp pursues a project of which Christianity is the proper fulfillment. Christianity is the true humanism because Jesus Christ as man is what humanity ought to be, and by his death and resurrection he makes it possible for that “ought” to become “is.” Augustine: “As God, he is the goal; as man, he is the way“ (City of God XI.2).

The decline of Christianity in the West and its replacement as a key motive agent of society by liberalism entailed the exchange of a thick description of the human for an exceptionally thin one. Under liberalism, the human becomes the one who chooses its own way, and the role of society, including the political realm, becomes the facilitation of each human’s choice. This account is thin because it’s so simple, but the simplicity has certain virtues: in the light of liberalism’s one principle it becomes obvious, to many anyway, that the racist and sexist structures of the traditional social order are unjust and must be abandoned or at least seriously reformed. And this has been done, albeit inconsistently and imperfectly.

But as the thinness of liberalism’s anthropology – what Charles Taylor called the “Is That All There Is?” problem (A Secular Age, Chapter 8) – became more evident, alternatives with a thicker (if often also a coarser) account of human life began to emerge. And most of these are antiliberal and therefore antihumanist – because, remember, liberalism is a humanism, if an inadequate one. The various illiberalisms, on the Right and on the Left alike, have no room for the concept of the human.

Pause for what I hope will be a useful analogy: Back when I was devoting a good bit of my energy to cultivating ecumenical endeavors among small-o orthodox Christians, I discovered that there are some Roman Catholics for whom “non-catholic Christian” is a functional concept and some for whom it definitely is not, for whom the distinction between Catholic and non-Catholic is the only one that matters. The former might be willing to pursue ecumenical endeavors; the latter would not see the point. If I had pressed any people in that second group, they probably would have acknowledged that there are non-catholic Christians, but the fact was not relevant to them. It did not function as a concept in their ordering of the world. It cut no ice.

Something similar may be said of the illiberalisms of the Left and Right: they would probably acknowledge the existence of the category of the human, but not its relevance. They order the world by three categories: Us, Allies, and Enemies – that last being populated largely by the Repugnant Cultural Other. Thus in the assaults on liberalism humanism is also eviscerated.

In addition to those of the Right and the Left, there is one other antihumanism at work in the modern era, and that is the antihumanism of Capital: the reduction of men and women to machine, parts, instruments of commerce, either as Tools or as Targets. The great critic of Capital is usually thought to be Marx, but Marx’s response to the rise of a thoroughly dehumanizing industrial capitalism with an equally antihumanist account of the world has divided — so he and Engels say in The Communist Manifesto — between the Oppressors and the Oppressed. There’s no room in this analysis for the human. No, the great humanist critic of Capital is John Ruskin, who in The Stones of Venice and elsewhere denounced Taylorism before Frederick Winslow Taylor was even a gleam in his father’s eye.

Whether the antihumanism of modern Capital is a covert repudiation of liberalism or its natural and inevitable culmination is a question I don’t feel obliged to answer here.

But in any case, as the various illiberalisms and antihumanisms have risen and risen in power, we’ve seen various attempts to restrain and subdue those forces. Three such attempts are:

1. The reassertion of the liberal version of humanism as a secular alternative to the various illiberalisms and Christianity alike, all of which are seen as “extremist” and “intolerant.” (See Karl Popper, and, quite recently, Alexandre Lefebvre.)

2. The assertion of the vague colorless construct of “Judeo-Christian values” as the protector and guarantor of liberalism – liberalism’s Daddy, as it were.

3. The assertion of a robustly Christian anthropology as the only viable alternative to all antihumanisms. (This movement, in the intellectual realm as opposed to the populist realm in which Billy Graham and the larger evangelical movement largely operated, is the subject of my book The Year of Our Lord 1943.)

As the “humanism” tag on this blog suggests, I have thought quite a lot about these matters, and the one Great Conundrum for me continues to be this: Is the renewal of humanism a prerequisite for the renewal of Christianity – or the other way around? That is, does an embrace of humanism make Christianity more plausible, or must one become a Christian – one who believes that all humans are (a) made in the image of God and (b) ”fallen into sin, and become subject to evil and death” (BCP) – before the concept of the human becomes a living and vibrant one?

Beats me.

What I do feel sure of, though, is this: While there are great predecessors to the rearticulation of the human, like Ruskin, vast cultural energies were devoted to resisting antihumanism only in the middle third of the 20th century – basically the period from Lang’s Metropolis to Kubrick’s 2001. (I use cinema to establish those boundaries because cinema is the essential art form of this period, and the one most consistently occupied, if often in a subterranean sort of way, with “the question of humanism.” Even Cat People concerns the human and the nonhuman Other. But you could tell a similar story via any of the other arts. I could describe this as the period between Brave New World and Philip K. Dick, or between early-career George Orwell and early-career Joan Didion, or between Shostakovich’s Fifth Symphony and Revolver.)

In the latter third of the 20th century, several forces combined to suppress the influence of humanism, and since then the antihumanists have been largely triumphant. But that is why I devote my attention to the artists and intellectuals of the mid–20th century: They were the last generations to really fight back. I’m speaking generally, of course: we have humanist artists today, though not so many that you’d notice. Today, most people in the West and in other parts of the world as well have won the victory over themselves: They love their antihuman Big Brothers. So on this blog and elsewhere I will keep turning to those figures of the middle of the previous century for lessons in resistance, lessons in courage, lessons in hope."]]></description>
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[longer version here:
https://thewalrus.ca/ai-hype/ ]]]></description>
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    <title>The French modernists loathed and loved the mass media of their day | Aeon Essays</title>
    <dc:date>2025-01-20T03:25:15+00:00</dc:date>
    <link>https://aeon.co/essays/the-french-modernists-loathed-and-loved-the-mass-media-of-their-day</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["How French modernists from Proust to Mallarmé were alarmed and inspired by the voracious dynamism of the newspaper world"]]></description>
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<item rdf:about="https://www.latercera.com/culto/2019/09/05/nicanor-parra-por-si-mismo/">
    <title>Nicanor Parra por sí mismo: &quot;No es el origen lo que cuenta sino el espíritu&quot; - La Tercera</title>
    <dc:date>2025-01-03T06:53:43+00:00</dc:date>
    <link>https://www.latercera.com/culto/2019/09/05/nicanor-parra-por-si-mismo/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["En 1978 Nicanor Parra se dejó entrevista por Cristián Huneeus. Habían trabajado en el Departamento de Estudios Humanísticos de la Escuela de Ingeniería de la Universidad de Chile y solían reunirse para discutir sobre poesía y otros asuntos. Lo siguiente son las impresiones que entregó el antipoeta sobre temas como el modernismo, taoísmo y antipoesía."

...

"
Yo no creo que el modernismo sea un movimiento propio. No es un movimiento latinoamericano. Es un movimiento europeo. El maestro de Darío, el maestro máximo del modernismo, es Verlaine. Verlaine es la martingala del modernismo.

*

En realidad el modernismo no es una cosa muy fácil de definir. Durante mucho tiempo no supe qué demonios era. Lefebvre me ayudó a salir del paso con su Introducción a la modernidad. Me lo encontré un día por arte de birlibirloque. Lo leí. Para Lefebvre los creadores de la modernidad a mediados del siglo pasado serían Marx y Baudelaire. El problema entonces no es tan solo un problema literario, es un problema absolutamente fundamental: según Lefebvre, a mediados del siglo XIX, el hombre europeo se dio cuenta de un nuevo malestar, de una frustración social, una frustración personal. ¿Cómo resolverla? Para Baudelaire, mediante una martingala de tipo literario que se llama alquimia verbal. Durante algunos segundos, mientras dura la lectura del poema, el sujeto recupera su identidad perdida. De manera que la función del poeta consistiría en encontrar aquellas configuraciones de palabras que son las más aptas para la recuperación de la identidad perdida. Como ves, Baudelaire ofrece una solución de tipo individualista, enfoca el problema desde el punto de vista personal. En cambio Marx, que parte del mismo supuesto –del sentimiento que él llama de enajenación, de alienación–, propone otra salida. La culpa está en la sociedad, y mientras esta no se modifique el hombre no va a recuperar su identidad perdida, seguirá siendo un alienado. El método que propone es la acción revolucionaria. Ahí tenemos los dos grandes proyectos el siglo XIX, como los llama Lefebvre. Cuando se habla de modernismo yo diría que hay que referirse simultáneamente a las dos cosas.

*

Aunque evidentemente enunciado tanto por Baudelaire como por Marx, el problema se viene arrastrando desde que el mundo es mundo. Y pienso en este momento en la Biblia, o pienso en Lao Tsé. Vivimos un mundo en que hay bien y mal, en que algunas cosas son lindas, otras son feas, hay frío y calor, luz y sombra. Según Lao Tsé, ese ya es el infierno, y el hombre capaz de distinguir entre el bien y el mal ya es un hombre dividido, un hombre alienado, enajenado. Es un hombre expulsado del paraíso terrenal, el único lugar donde no hay conflicto. De modo que el sentimiento de frustración no es característico del siglo XIX y no es privativo de Europa. Los dos grandes proyectos del XIX, dicho sea de paso, y según el propio Lefebvre, han fracasado rotundamente.

*

La fórmula literaria específica del modernismo está escrita por Verlaine: "De la musique avant toute chose". Esta idea es central, de la musique avant toute chose. El enunciado es muy importante. Deja consecuencias muy fáciles de enunciar de inmediato: la música, de acuerdo con el postulado de la alquimia verbal, debe desempeñar una función poéticamente hipnótica. Se trata de anestesiar al sujeto, de sacarlo del conflicto por el tiempo que dura la lectura del poema, de manera que en último término esta poesía pasa a ser una especie de estupefaciente, es decir, de droga.

*

A mí me parece que lo que se juega es una cosa mucho más primaria, que es simplemente la recuperación de la unidad del espíritu. De lo que se trata es de hacer desaparecer el dolor. Esa es la función de la droga, la función de un estupefaciente. Desaparece el dolor y solamente queda un espíritu en consonancia con el cosmos. No hay choque, no hay difusión, no hay contrarios, no hay opuestos, esa es la finalidad. Además, en la cocinería del modernismo, piensa en el propio Darío, la droga de hecho y el alcohol estuvieron en primerísimo lugar. O sea, no se trata de llegar al mundo de lo real, sino que de fugarse hacia la realidad metafísica última. Yo no sé si esto pueda llamarse una visión de las ideas.

*

Conduce en último término al nerudismo. Todo el ideal modernista culmina, magníficamente por otra parte, en la poesía de Neruda, especialmente en Residencia en la Tierra. Pero ha quedado pendiente la cuestión social, cuestión que no se puede tocar con la herramienta del modernismo literario, para nada. Se vuelve a tocar, en cambio, bajo la fórmula de los hippies. Los hippies son tipos que no se conforman con la solución de la cuestión social.

*

Lo que ocurre en Europa después del fracaso de la musique avant toute chose es que se busca otro alucinógeno. El surrealismo y todos los demás "ismos" no son más que derivados del modernismo. No hay nada nuevo allí desde el punto de vista filosófico: siempre se trata de recuperar la identidad perdida por la unidad del espíritu y los surrealistas tratan de recuperarla en el sueño o en la imagen onírica.

*

Marxistas en lo que se refiere a la cuestión social, pero surrealistas en la cuestión personal, y sin lograr una síntesis. Conviene subrayar la separación de estas dos cuestiones, creo yo. Es raro encontrar la síntesis. Pero se produce una especie de síntesis en los escritores rusos, en Dostoyevski, en los escritores de protesta social.

*

Específicamente en Chile, un Pezoa Véliz. Es un hombre que cree en la palabra, un hombre que no se propone la acción revolucionaria como salida. Elige la palabra, no la palabra estupefaciente, sino que la palabra liberadora.

*

A comienzos de siglo se empieza a plantear un sentido de la literatura comprometida. Esta sería la integración de los dos planteamientos que se vienen repitiendo en esta conversación. La palabra, no al servicio de un mundo ahistórico, sino al servicio del mundo histórico. No al servicio de un conflicto personal sino al servicio de la colectividad. El escritor recupera su identidad personal mediante una acción para todos.

*

Hemos descrito el problema social. Es el problema de la injusticia. Aquí hay amos y esclavos o, para usar un lenguaje más ortodoxo, hay explotadores y explotados; ahí está la fractura. Se trata, entonces, de contribuir a la solución del problema.

*

Llevando a la gente a tomar conciencia del problema. El modernismo no sirve para este paso de concientización, no sirve por su carácter de alucinógeno, la palabra modernista es una palabra hipnótica. Opera como por arte de magia sobre el sujeto. En cambio lo que pretende la literatura comprometida, lo que pretende un Pezoa Véliz, es exactamente lo contrario, concientizar en vez de hipnotizar. Desgraciadamente, Pezoa tuvo una gran falla: murió joven y no pudo llevar adelante su proyecto. Pero lo poco y nada que dejó es realmente ejemplar.

*

El cabeza de serie desde el punto de vista literario era Pezoa. Ya alrededor del año 1900 se dijo que Pezoa era el poeta más grande que había producido el país. Pero aclaremos el problema de fondo, no podemos decir que Pezoa se haya llevado el secreto a la tumba ni que haya sido su único poseedor. Veamos lo que ocurrió en otras partes, en un lugar llamado Argentina. Ahí el problema se resolvió en un ciento por ciento, incluso al margen del modernismo. En Argentina, en el año 1871, se publicó el Martín Fierro. El Martín Fierro es una solución. Es una literatura comprometida y al mismo tiempo es una literatura trascendente. Ese tipo canta, está feliz, y al mismo tiempo se están diciendo las cosas pertinentes.

*

No es el origen lo que cuenta sino el espíritu.

*

Quisiera decir un poco más sobre la antipoesía; quisiera decir que esta justificación a posteriori no proviene del análisis que acabamos de formular nosotros, o sea, a partir del modernismo. El pensamiento de Lao Tsé ilumina mucho mejor el camino de antipoesía en el siguiente sentido: la antipoesía no es otra cosa que la poesía de los contrarios, en la antipoesía tiene cabida simultáneamente lo bello y lo feo, el humillado y el aplaudido, la luz y la sombra; el sujeto no se pone a priori de parte de nada, lo que interesa es integrar a los contrarios. O sea que en la antipoesía, y perdón por la recomendación, lo que hay en último término es la conjunción del yin y el yang. El nacimiento dialéctico de la antipoesía estaría en el reconocimiento dialéctico de la naturaleza. Yo creo que ahí está la gracia y ahí está la fuerza de la antipoesía.

*

Yo creo que Lihn es un poeta que parte de los postulados antipoéticos y que desarrolla a su manera la teoría. Lo importante de una teoría es que esté en expansión y no se venga al suelo. Yo estoy encantado con el trabajo de Enrique, que en alguna forma opera en un espacio antipoético pero que él se encarga de extender y de prolongar a su manera.

*

Yo creo que un poeta que no se sitúa en este punto de intersección a que hacíamos referencia entre el problema personal y el problema colectivo es un poeta que retrocede no más, que vuelve a ser un poeta modernista. Estamos llenos de jóvenes poetas modernistas y por lo tanto menores y fuera de foco. Los problemas de la humanidad y la cultura actual son otros."]]></description>
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<item rdf:about="https://charliewhiskeytango.notion.site/Good-Times-1046bbea5ebd80a29fa1f0705e3a60bc">
    <title>Good Times</title>
    <dc:date>2024-10-19T04:35:44+00:00</dc:date>
    <link>https://charliewhiskeytango.notion.site/Good-Times-1046bbea5ebd80a29fa1f0705e3a60bc</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Many months ago, Matthias J Barker wrote to us with a prompt…. 

## Make a Superlocal watch.

We hand’t considered it, so we let that thought simmer in our heads for a bit. What would a watch version of Superlocal do differently from the clock version? A few messy sketches and a few months later, we got an opportunity to explore this idea further with the generous help of [Apossible](https://apossible.com/). With their funding, we ran a 2 week at-home residency to explore this idea.

We sketched, discussed and brainstormed. Many conversations later, we landed on this…

In this moment in history and in our global industrialized world, time is a form of power and currency. We spend time, we take time, waste time, kill time, buy time, find time, invest time, share time, steal moments, etc.

> “In mature capitalist society all time must be consumed, marketed, put to use; it is offensive for the labour force merely to ‘pass the time.’” -E.P. Thompson

> “Time, as we have known it in the West, is not merely a neutral measure but an instrument of power, a tool for the domination of one group by another.” -Johannes Fabian

We are not as busy as we think or say we are. We feel busy, but we are not busy all the time. We feel busy because we feel the pressure of time through our timekeeping devices. Time feels constrained and scarce when we have devices constantly counting down and reminding us of our next obligation.

The reality is we can’t ignore our clocks. They’re useful and beautiful. Timekeeping is this universal language that we all agreed to use to coordinate life. But there are slivers, maybe even chunks of time in our day when we can ignore the clock. We’ve become accustomed to spending these special periods scrolling on screens and catching up with messages. 

## We want to help you ignore the clock.

We work so hard to minimize unproductive time, we’ve forgotten that there are times in our day when the clock has no power over us. We can freely ignore it and have a good time.

When the work day is over, or when the kids come home from school, or when we’ve finished our todo list, or in between meetings, or **when we just know that now is a good time…**

## Let’s decide in that moment, it’s time to have a good time.

Good time is time well spent. A chunk of time that’s free for you to get lost in time. 

Do nothing. Do something. Read a book. Go for a walk. Meditate. Make something. Breath. Notice things. Focus on something. Take a break. Go on vacation even if it’s only until 1pm. If you can look back and think… ya! I had a good time! Then that’s it.

## Soooooo. Where’s the watch?

We’re working on a prototype, but it’s going to take some time to design and build. And we want to be very deliberate about taking our time. We want to make sure we make this thing the right way. We want it to be something good for the world. And every good thing comes with some bad things. We want to understand the bad things too.  Anyways… It’s going to be a while.

In the meantime, we made an iOS shortcut that kind of does what we imagine the watch might do.

It’s a simple shortcut that puts your phone in “do not disturb” mode and starts a timer that you set to the next time you need know the time. When the timer runs out,  your phone will beep-boop-beep and removes “do not disturb” mode.

You can spend that window of time however you want, freely ignoring the clock and notifications. But when it’s time to return to clock-world, the timer will let you know and you can return to being a full member of our ultra productive global industrial society again.

## Let’s be super productive about having a good time

When you launch the shortcut, it will ask…

1. Good Time Session until what time?
2. Enter the time you want to end your session.

that’s it.

It’s that simple. The belief is that if we intentionally set a chunk of time to be a good time, we can have a good time. It’s different from scheduling time in your calendar for fun things (do that too!). This is an acknowledgement, that from this moment until sometime later when I need to know the time or pick up my phone for whatever reason, I am going to have a GOOD TIME.

# Get Good Times here → https://www.icloud.com/shortcuts/b74925c6243a419289ac8f66b0b5e6cf

### Pro Tips:

Add the shortcut to your Home Screen

Customize your wallpaper to something distinct for “do not disturb” mode (so it’s really easy to tell if you’re in that mode or not)

### Some things we’ve considered…

- Adding an alert for the half way point of the session timer
- Some way to log your Good Time sessions
- Building this as an app
- Building this as an NFC device to start a session with a tap
- Disabling (almost) all apps for the duration of the session.]]></description>
<dc:subject>cw&amp;t time watches 2024 matthiasbarker clocks timekeeping life living presence ios shortcuts attention goodtime applications modernity modernism f-91w taylorlevy che-weiwang solidstatewatch casio</dc:subject>
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</item>
<item rdf:about="https://daily.jstor.org/verbatim-fredric-jameson/">
    <title>Verbatim: Fredric Jameson - JSTOR Daily</title>
    <dc:date>2024-10-15T20:16:59+00:00</dc:date>
    <link>https://daily.jstor.org/verbatim-fredric-jameson/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Marxist cultural critic Fredric Jameson offered a philosophy of late capitalism that gave us a language for talking about globalization and the end of modernism."

]]></description>
<dc:subject>fredricjameson 2024 marxism globalization modernism postmodernism philosophy latecapitalism capitalism latestagecapitalism</dc:subject>
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<dc:identifier>https://pinboard.in/u:robertogreco/b:b2947ccdfb24/</dc:identifier>
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</item>
<item rdf:about="https://worksinprogress.co/issue/the-beauty-of-concrete/">
    <title>The beauty of concrete - Works in Progress</title>
    <dc:date>2024-08-13T16:01:57+00:00</dc:date>
    <link>https://worksinprogress.co/issue/the-beauty-of-concrete/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Why are buildings today simple and austere, while buildings of the past were ornate and elaborately ornamented? The answer is not the cost of labor."
]]></description>
<dc:subject>samuelhughes 2024 architecture construction labor design ornamentation buildings concrete manufacturing modernity sculpture carving modernism</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:4c019bf8fc5b/</dc:identifier>
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<item rdf:about="https://www.newyorker.com/magazine/2024/05/06/the-battle-for-attention">
    <title>The Battle for Attention | The New Yorker</title>
    <dc:date>2024-06-04T17:03:42+00:00</dc:date>
    <link>https://www.newyorker.com/magazine/2024/05/06/the-battle-for-attention</link>
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</item>
<item rdf:about="https://jackforster.substack.com/p/on-brutalism">
    <title>On Brutalism - by Jack Forster - Split Seconds</title>
    <dc:date>2024-06-02T22:12:19+00:00</dc:date>
    <link>https://jackforster.substack.com/p/on-brutalism</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[if I were willing to create a Substack account, I'd point to these:
https://22designstudio.net/pages/4d-concrete-watch-44 ]]]></description>
<dc:subject>jackforster brutalism architecture watches design audemarspiguet philtoledano lecorbusier brasilia chandigarh cities urban urbanism standardization urbanplanning witoldrybczynski radiantcity paris judgedredd marcelbreur fascism modernism modernity whitney grandseiko asymmetry girard-perregaux rolex rolexkingmidas ochsundjunior lucaturin watchmaking philliptoledano ludwigoechslin</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
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</item>
<item rdf:about="https://www.thefitzwilliam.com/p/turning-back-the-economic-clock">
    <title>Turning Back the Economic Clock</title>
    <dc:date>2024-03-24T18:27:18+00:00</dc:date>
    <link>https://www.thefitzwilliam.com/p/turning-back-the-economic-clock</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["In Bram Stoker’s novel Dracula, published in 1897, Count Dracula is not only a bloodthirsty killer, but an existential threat to modernism and progress. Contemporary readers of the novel could not help but shiver when Dracula landed at Whitby, England to turn victims into vampires and to turn the economic clock backwards, bringing superstition and an antiquated mentality to Great Britain. 

To the economic historian, the biggest danger of Dracula is his potential disruption of civil timekeeping systems, which would undermine railway safety, mail, contracts, and modern commerce generally. Great Britain’s economic prosperity was becoming increasingly dependent on international standards, such as the global adoption of Greenwich Mean Time and the Universal Day. Dracula, whose powers are governed by the sun and the moon rather than clocks and calendars, threatens to destabilise social coordination. If he gained power, he would bring down the economy.

Bram Stoker was born in Dublin on November 8, 1847, the third of seven children born to civil servant Abraham Stoker and Charlotte Mathilda Blake Thornley. Their eldest son, Sir Thornley Stoker, was a noted surgeon and President of the Royal Academy of Medicine in Ireland. The less academically inclined Bram Stoker, after graduating with a B.A. and M.A. from Trinity College Dublin, was able to secure a day job as a civil servant, with the help of his father. This job allowed him to go to the theatre at night, writing reviews for the Evening Mail. Most biographers skip over Stoker’s time as a court clerk but the experience is key to understanding the deep knowledge he had of time policy and its attendant frustrations. A pressing concern after the establishment of Greenwich Mean Time was settling legal time in local jurisdictions. Should courts use GMT or local time? The matter was partially settled in 1858, when legal time was set as a matter of local time, which differed from town to town. Matters were somewhat simplified in 1880, when Dublin Mean Time (kept at Dunsink Observatory) was set as the legal time for all of Ireland at 25 minutes and 21 seconds behind Greenwich Mean Time. This was fine for Ireland but perpetually confusing for anyone venturing outside its borders. Dublin Mean Time remained a growing irritation for travellers, the telegraph system, and the railroads. Still, it lasted until after the 1916 Easter Rising, when the Time Act aligned Irish Time with Greenwich Mean Time, despite political opposition.

Dracula emerges at a moment when Stoker had been travelling around Great Britain widely, living in London (since 1878) and Aberdeenshire, Scotland, as well as journeying around the world. He increasingly saw that an international agreement on time was essential for economic progress."

...

"For Irish readers, Stoker was making a well-understood point: it was crucial to get on board with Greenwich Mean Time. He was not alone in seeing Irish time confusion as a source of literary inspiration. In James Joyce’s Ulysses, famously set in Dublin on June 16, 1904, Leopold Boom, in Chapter 8, “Laestrygonians,” contemplates time passing and the discrepancy between London time and Dublin time: “Now that I come to think of it that ball falls at Greenwich time. It’s the clock is worked by an electric wire from Dunsink.” Bloom has to spend time calculating the difference between 1:00, when the ball drops, and the local time kept by clocks. Perhaps literature was the only positive effect Stoker saw as emerging from temporal confusion and frustration."

...

"Dracula is a rich and layered book that has attracted a great deal of scholarship. The inclusion of many themes relating to economics and social organisation in the novel was clear to its original readers, and was commented upon at the time. The threat that Dracula represents has variously been interpreted as feminism, homosexuality, colonialism, and even capitalism. It was not hard to convince Tyler Cowen of Bram Stoker’s interest in progress. Stoker’s fascination with timekeeping is part of his progress mindset. The creation of internationally agreed-upon standards for weights, measures, and time is absolutely critical for modern civilisation, and it was not a foregone conclusion. Dracula warned Ireland – and the rest of the world – of the mischief that arises from disjunctions in time."]]></description>
<dc:subject>bramstoker time economics 2022 1897 hollisrobbins uk history feminism homosexuality colonialism capitalism tylercowen progress timekeeping coordination jonathanharker vanhelsing williamwilkinson dracula modernism mail rail railways ireland standards standardization ulysses jamesjoyce measurement universality civilization</dc:subject>
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<item rdf:about="https://daily.jstor.org/jose-garcia-villa-an-american-poet-ahead-of-his-time/">
    <title>José Garcia Villa, an American Poet Ahead of His Time - JSTOR Daily</title>
    <dc:date>2024-03-04T21:24:21+00:00</dc:date>
    <link>https://daily.jstor.org/jose-garcia-villa-an-american-poet-ahead-of-his-time/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["While Villa’s otherness created an opening for his work in the US, American critics ultimately held both his modernism and his nationality against him."

]]></description>
<dc:subject>joségarciavilla poetry us nationality timothyyu hmaleow mariannemoore modernism poems otherness form structure filipinos elizabethbishop tennesseewilliams eecummings emilydickinson gerardmanleyhopkins williamblake style writing racism race orientalism</dc:subject>
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<item rdf:about="https://theconvivialsociety.substack.com/p/the-art-of-living">
    <title>The Art of Living - by L. M. Sacasas</title>
    <dc:date>2024-03-01T20:55:02+00:00</dc:date>
    <link>https://theconvivialsociety.substack.com/p/the-art-of-living</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["A thought for your consideration on a Friday afternoon:

The art of living, like any other art, is the art of learning to work creatively within the constraints of the medium.

I would not claim to be an artist, of life or of any other medium. But this thought came to mind recently as I washed dishes and mulled over some of Wendell Berry’s work, which I’d just been reading.

I’m drawn to the idea of an art of living much more so than to the compulsive search for life hacks, regimens of self-improvement, or self-optimization schemes. These too often feel like a doubling down on the insistence that we can always do more if only we apply the right technique. They also suggest that the path to happiness involves the discovery of a set of methods which I might readily apply to my work, my relationships, my health, etc. independently of any virtues I might need to cultivate or vices I ought to correct. They draw my attention to what more I might do and what more I might have rather than who I might become.

An art, on the other hand, presupposes limits and invites the artist to work with and within those limits.1 These limits, inherent to the medium itself, can be disregarded, but then you would not have art. The limits of the medium are precisely what call forth the creative effort. They are what create the conditions that make art possible.

Thinking in terms of an art of living also invites me to consider how I might need to change in order to practice it well. It suggests not a set of methods which demand nothing of me, but a set of practices or skills which I must cultivate and whose cultivation changes me in the process. These skills enable me not only to produce something, but also to see the possibilities latent within the medium and to imaginatively draw these out—not to make a demand, but to perceive and respond to an invitation.

By way of contrast, the ideal of limitlessness consumption serves the modern economy quite well, but it does not serve the person well at all.2 This ideal imparts to us all a spirit of scarcity that darkens our experience: not enough time, not enough attention, not enough capacity to care. But upon what does this spirit feed? It feeds, in part, on the temptation to live as if there were no limits to what I am able to do: the tasks I can accomplish, the things I can care about, the information I can consume, etc.

We are formed by the structures of modern society to be insatiable consumers of an increasing range of commodified things and experiences and services. There is no art in this, because the tacit assumption that we must buy into along the way is that there is no limit to what we can consume.

But if the constraints of a medium of art appear self-evident—the canvas is only so large, the instrument plays only a certain range of notes—what are the limits of the medium on which the art of life plays. Indeed, what exactly is the medium in view?

This post is meant to be suggestive rather than prescriptive, so I hesitate to answer that question in definitive fashion (as if I could). Rather, I’ll simply tell you how I thought about the matter.

Perhaps because I had Berry on my mind and had recently written about his distinction between those who wish to live as creatures and those who wish to live as machines, I thought of our embodied condition as the medium of the art of living. The stuff of life is our bones and flesh. We may be more than bone and flesh, but we are not less.

The constraints of the medium, then, are the constraints of our embodiment, or at least that is my proposition to you. And these are, in part, the constraints of place and time. I can only be here now, and I can be here now only for so long, which means there are only so many things to which I can meaningfully attend at length and at depth. I may choose to accept this reality and respond creatively to it, or I can resist it and seek to transcend it and embrace every tool that promises to help me do so.

However, to pursue the art of life is, again in part, to learn to perceive the possibilities latent in the here and now rather than to submit to the temptation of digitally-abetted telepresence or to defer our “real” living to another more propitious time that never quite arrives.

To practice the art of living is to learn to see not what we wish were before us but what is, in fact, there, but also what it can be. What can this encounter with the stranger be? What can be made of this moment I am given? It is, fundamentally, a matter of learning to draw out the fullness latent in our encounters with the world, rather than perpetually skimming the surface of our experience. But to practice this art we must first accept and even celebrate the limits of our embodiment, the right and proper medium of our living. In doing so, we might be surprised by what can be made out of the stuff of life."]]></description>
<dc:subject>lmsacasas 2024 wendellberry hartmutrosa slow small artleisure leisurearts everyday life living bodies attention embodiment society modernism consumerism consumption commodification capitalism practice limits self-improvement lifehacks self-optimization quantifiedself technique happiness limitations creativity art economics experience information control uncontrollability hereandnow presence place time</dc:subject>
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<item rdf:about="https://www.youtube.com/watch?v=Gkwj5HCmNIY">
    <title>Visions Not Previously Seen: The Groundbreaking Design Work of Barbara Stauffacher Solomon | Adobe - YouTube</title>
    <dc:date>2024-01-23T00:52:38+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=Gkwj5HCmNIY</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Barbara “Bobbie” Stauffacher Solomon is a very big deal, but you wouldn’t know it from talking to her. Mixing Swiss graphic design principles with West Coast Pop art stylings, Bobbie essentially created supergraphics, and in doing so shaped the history of design. Adobe Create is proud to bring you a documentary short film about her work and life."]]></description>
<dc:subject>2018 barbarastauffachersolomon film documentary art design graphics graphicdesign sanfrancisco searanch modernism architecture supergraphics history popart california installation</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
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<item rdf:about="https://www.youtube.com/watch?v=TINTORcvnfg">
    <title>Young Woo | Birdcage House, 1959 | 3433 Shernoll Pl, Sherman Oaks CA 91403 - YouTube</title>
    <dc:date>2024-01-04T17:35:15+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=TINTORcvnfg</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["One of three "Birdcage House" designs by architect Young Woo, AIA.  This post and beam delight, built in 1959 features three bedrooms and two bathrooms within 1,788sf of living space and located on a cul-de-sac, providing privacy in the hills of Sherman Oaks, just north of Mulholland Dr.

This pool home retains many original midcentury modern features and includes a spa-like pool with outdoor entertaining areas.  

Young Woo is one of my most cherished architects with a handful of work across Los Angeles."]]></description>
<dc:subject>losangeles 1959 architecture youngwoo design modernism midcenturymodern midcentury shermanoaks</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:65473fb81212/</dc:identifier>
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<item rdf:about="https://www.vogue.com.au/vogue-living/interiors/garcia-house-john-lautner/image-gallery/18e66b506cc2545d7100ae4403d8e77e">
    <title>Garcia House: John Lautner’s modernist Los Angeles home renovated - Vogue Australia</title>
    <dc:date>2024-01-04T17:34:21+00:00</dc:date>
    <link>https://www.vogue.com.au/vogue-living/interiors/garcia-house-john-lautner/image-gallery/18e66b506cc2545d7100ae4403d8e77e</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[See also:
https://en.wikipedia.org/wiki/Garcia_House_(Los_Angeles,_California)

https://www.youtube.com/watch?v=_-YPy3YZ1RI ]]]></description>
<dc:subject>johnlautner losangeles architecture 2021 1962 modernism garciahouse russellgarcia marmolradzinger darrenbrown design interiors</dc:subject>
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<item rdf:about="https://www.youtube.com/watch?v=GGU2WjvnfRw">
    <title>ReVIEWING 14: The Weavers of BMC - Featured Presentation with Julie J. Thomson and Michael Beggs - YouTube</title>
    <dc:date>2023-12-10T06:38:00+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=GGU2WjvnfRw</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The 14th Annual ReVIEWING Black Mountain College International Conference celebrated the opening of the museum’s exhibition "Weaving at Black Mountain College: Anni Albers, Trude Guermonprez, and Their Students," curated by Michael Beggs and Julie J. Thomson. In this Featured Presentation, the curators present the stories of many of the BMC weavers included in the exhibition.

About the exhibition:

Weaving at Black Mountain College: Anni Albers, Trude Guermonprez, and Their Students is the first exhibition devoted to textile practices at Black Mountain College (BMC). Celebrating 90 years since the college’s founding, the exhibition reveals how weaving was a more significant part of BMC’s legendary art and design curriculum than previously assumed.

Featured works include objects from the BMCM+AC’s permanent collection, as well as loans from institutional and private collections, including the families of BMC weavers. Many of the objects to be shown have either never been publicly exhibited, or never been shown in the context of BMC. The exhibition also features work by selected contemporary artists whose work connects to the legacies of the BMC weavers: Kay Sekimachi, Jen Bervin, Porfirio Gutiérrez, Susie Taylor, and Bana Haffar.

Learn more:
https://www.blackmountaincollege.org/weaving/ "

[See also:

"A Conversation with Porfirio Gutierrez"
https://www.youtube.com/watch?v=9CaofPMfzA4 ]]]></description>
<dc:subject>bmc blackmountaincollege 2023 weaving kaysekimachi jenbervin porfiriogutiérrez susietaylor banahaffar annialbers trudeguermonprez josefalbers michaelbeggs juliethompson education transdisciplinary looms photography design craft art modernism paulguermonprez elseeegensteiner lorekaddenlindenfeld marilynbauer donwight joanpotterloveless rayjohnson donpage claudestoller janeslatermarquis robertrauschenberg ruthasawa bmcm+ac</dc:subject>
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</item>
<item rdf:about="https://joycesociety.com/events/event-two-tywj6">
    <title>“James Joyce and Watch Technology,” Katherine Ebury, University of Sheffield — James Joyce Society</title>
    <dc:date>2023-11-02T17:48:28+00:00</dc:date>
    <link>https://joycesociety.com/events/event-two-tywj6</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Across his career, as my past work and that of other critics such as Andrej Duszenko, Keith Booker, David Ben-Merre, Jeff Drouin and Ruben Borg has shown, Joyce frequently included reflections on a changing landscape of time in response to Einstein’s ‘new physics’. However, while there has been important recent research touching on this topic, as in my wider survey of work in modernist studies, no critic has yet fully centred the watch as a technological index of Joyce’s attitudes to time. In this essay, I will look at three specific examples of Joyce’s concern with watch technology, located in the relationship of timepiece and character; firstly, I will discuss Bertha’s wristwatch in Joyce’s play Exiles (1918), followed by Bloom’s pocket watch in Ulysses (1922) and, finally, HCE’s time piece in Finnegans Wake. Each of these watches evidence Joyce’s complex feelings about connections between embodiment, sexuality and technology.


Dr Katherine Ebury is Senior Lecturer in Modern Literature at the University of Sheffield. She is the author of Modernism and Cosmology: Absurd Lights (2014) and of Modern Literature and the Death Penalty, 1890-1950 (2021) and the editor of Joyce's Nonfiction Writing: Outside His Jurisfiction (2018). She has written articles and chapters on topics including modernism, science and technology, representations of law and justice, and animal studies."]]></description>
<dc:subject>2021 jamesjoyce katherineebury watches technology science modernism literature andrejduszenko keithbooker davidben-merre jeffdrouin rubenborg time timepieces finneganswake ulysses pocketwatches</dc:subject>
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</item>
<item rdf:about="https://www.printmag.com/daily-heller/the-daily-heller-i-lost-my-heart-at-olivetti-on-fifth-avenue/">
    <title>The Daily Heller: I Lost My Heart at Olivetti on Fifth Avenue – PRINT Magazine</title>
    <dc:date>2023-06-26T20:04:16+00:00</dc:date>
    <link>https://www.printmag.com/daily-heller/the-daily-heller-i-lost-my-heart-at-olivetti-on-fifth-avenue/</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>2023 olivetti stevenheller typewriters machines showrooms nyc retail modernism</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:a561d5ef0e8d/</dc:identifier>
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</item>
<item rdf:about="https://palainco.com/discover/item/olivetti-typewriter-flagship-store-italy-lamps/">
    <title>The world would be more beautiful if we were still using an Olivetti typewriter (Part 1) - Palainco</title>
    <dc:date>2023-06-26T20:02:52+00:00</dc:date>
    <link>https://palainco.com/discover/item/olivetti-typewriter-flagship-store-italy-lamps/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[Part 2
https://palainco.com/discover/item/olivetti-typewriter-flagship-store-abroad-lamps/ ]

[via:
https://www.printmag.com/daily-heller/the-daily-heller-i-lost-my-heart-at-olivetti-on-fifth-avenue/ ]]]></description>
<dc:subject>olivetti typewriters showrooms carloscarpa architecture design machines retail modernism</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:3a3e1529ff94/</dc:identifier>
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</item>
<item rdf:about="https://theconvivialsociety.substack.com/p/apocalyptic-ai">
    <title>Apocalyptic AI - by L. M. Sacasas - The Convivial Society</title>
    <dc:date>2023-04-08T03:22:40+00:00</dc:date>
    <link>https://theconvivialsociety.substack.com/p/apocalyptic-ai</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Ordinarily, you would find a rather traditional essay below. What you have here is a sub-genre of the Convivial Society which I’ve taken to labeling “Fragments,” a loosely structured list of associated quotations, reflections, and provocations. I’m drawn to this form because it reflects the provisional and associative nature of thinking. It also reflects the way fragments of thought, often surfaced from another time, can gather around a problem to illuminate its contours, disclose its depths, and perhaps even reveal lines of actions. Such fragments, in any case, may be all we have to work with. I also appreciate the fact that the form invites rather than forecloses further thought."

...

4. The late David Noble’s The Religion of Technology: The Divinity of Man and the Spirit of Invention, first published in 1997, is a book that I turn to often. Noble was adamant about the sense in which readers should understand the phrase “religion of technology.” “Modern technology and modern faith are neither complements nor opposites,” Noble argued, “nor do they represent succeeding stages of human development. They are merged, and always have been, the technological enterprise being, at the same time, an essentially religious endeavor.”

“This is not meant in a merely metaphorical sense,” he goes on to explain, “to suggest that technology is similar to religion in that it evokes religious emotions of omnipotence, devotion, and awe, or that it has become a new (secular) religion in and of itself, with its own clerical caste, arcane rituals, and articles of faith.” On the contrary, Noble insisted that “it is meant literally and historically, to indicate that modern technology and religion have evolved together and that, as a result, the technological enterprise has been and remains suffused with religious belief.”

One of the chapters in Noble’s account is about artificial intelligence and artificial life. Here are a few selections from that chapter, beginning with Noble’s summary of his findings:

- “At first the effort to design a thinking machine was aimed at merely replicating human thought. But almost at once sights were raised, with the hope of mechanically surpassing human thought by creating a ‘super intelligence,’ beyond human capabilities. Then the prospect of an immortal mind able to teach itself new tricks gave rise to the vision of new artificial species which would supersede Homo sapiens altogether. Totally freed from the human body, the human person, and the human species, the immortal mind could evolve independently into ever higher forms of artificial life, reunited at last with its origin, the mind of God.”

- “[Marvin] Minsky described the human brain as nothing more than a ‘meat machine’ and regarded the body, that ‘bloody mess of organic matter,’ as a ‘teleoperator for the brain.’ Both, he insisted, were eminently replaceable by machinery. What is important about life, Minsky argued, is ‘mind,’ which he defined in terms of ‘structure and subroutines’—that is, programming.”

- “[Daniel] Crevier recounts the discussion of such a possibility that began to surface on the AI grapevine in the 1980s, in particular the idea of ‘downloading’ the mind into a machine, the transfer of the human mind to an ‘artificial neural net’ through the ‘eventual replacement of brain cells by electronic circuits and identical input-output functions.’”

- “If intelligent machines were viewed as vehicles of human transcendence and immortality, they were also understood as having lives of their own and an ultimate destiny beyond human experience. In the eyes of AI visionaries, mind machines represented the next step in evolution, a new species, Machina sapiens, which would rival and ultimately supersede Homo sapiens as the most intelligent beings in creation. ‘I want to make a machine that will be proud of me,’ Danny Hillis proclaimed, acknowledging the superiority of his creation. ‘I guess I’m not overly perturbed by the prospects that there might be something better than us that might replace us … We’ve got a lot of bugs, sorts of bugs of left over history back from when we were animals. And I see no reason to believe that we’re the end of the chain and I think better than us is possible.’” [The most striking part of this was the phrase “from when we were animals.” The past tense is telling.]

- “‘The enterprise is a god-like one,’ AI enthusiast Pamela McCorduck observed. ‘The invention—the finding within—of gods represents our reach for the transcendent … ‘Our speculation ends in a supercivilization,’ [Hans Moravec] prophesied, ‘the synthesis of all solar system life, constantly improving and extending itself, spreading outward from the sun, converting non-life into mind … This process might convert the entire universe into an extended thinking entity ... the thinking universe … an eternity of pure cerebration.’”

- “‘The manifest destiny of mankind is to pass the torch of life and intelligence on to the computer,’ [Rudy] Rucker proclaimed.”2

5. The Enlightenment did not, as it turns out, vanquish Religion, driving it far from the pure realms of Science and Technology. In fact, to the degree that the radical Enlightenment’s assault on religious faith was successful, it empowered the religion of technology. To put this another way, the Enlightenment—and, yes, we are painting with broad strokes here—did not do away with the notions of Providence, Heaven, and Grace. Rather, the Enlightenment re-framed these as Progress, Utopia, and Technology respectively. If heaven had been understood as a transcendent goal achieved with the aid of divine grace within the context of the providentially ordered unfolding of human history, it became a Utopian vision, a heaven on earth, achieved by the ministrations Science and Technology within the context of Progress, an inexorable force driving history toward its Utopian consummation.

6. It is also important to be a bit more specific, and to classify the religion of technology more precisely as a Christian heresy. It is in Western Christianity that Noble found the roots of the religion of technology, and it is in the context of post-Christian world that it has presently flourished.

It is Christian insofar as its aspirations that are like those nurtured by the Christian faith, such as the conscious persistence of a soul after the death of the body. Noble cites Daniel Crevier, who referencing the “Judeo-Christian tradition” suggested that “religious beliefs, and particularly the belief in survival after death, are not incompatible with the idea that the mind emerges from physical phenomena.” This is noted on the way to explaining that a machine-based material support could be found for the mind, which leads Noble to quip. “Christ was resurrected in a new body; why not a machine?” Reporting on his study of the famed Santa Fe Institute in Santa Fe, New Mexico, anthropologist Stefan Helmreich observed, “Judeo-Christian stories of the creation and maintenance of the world haunted my informants’ discussions of why computers might be ‘worlds’ or ‘universes,’ …. a tradition that includes stories from the Old and New Testaments (stories of creation and salvation).”

It is a heresy insofar as it departs from traditional Christian teaching regarding the givenness of human nature, the moral dimensions of humanity’s brokenness, the gracious agency of God in the salvation of humanity, and the resurrection of the body, to name a few. Having said as much, it would seem that one could perhaps conceive of the religion of technology as an imaginative account of how God might fulfill purposes that were initially revealed in incidental, pre-scientific garb. In other words, we might frame the religion of technology not so much as a Christian heresy, but rather as (post-)Christian fan-fiction, an elaborate imagining of how the hopes articulated by the Christian faith will materialize as a consequence of human ingenuity in the absence of divine action.3

...

9. [...]

Another way to think about this is to recognize that modernity derived its cultural power and energy from an unstable ideological compound. The constituent elements of this compound were, on the one hand, a liberal commitment to the individual human person and, on the other, a drive to transcend the perceived deficiencies (later simply the inherent limits) of the human condition. Alternatively, we might also describe the unstable compound as mixture of the promise an unfettered individual will realizing its desires coupled to a system which ultimately demands that human desires be managed, predicted, and channeled to serve the ends of a market economy.

Fears about AI signal the decomposition of the ideological compound. The two constituent elements can no longer be synthesized. The resulting system demands or threatens the elimination of the human person. But this must not be understood ultimately as the risk of the appearance of a new, alien super-intelligence. Rather, it must be understood as the culmination of a longstanding trajectory. The default eschatology of technological modernity has always been the eclipse of the human person, and this is because its model of the human person was dominated by the image of a disincarnate mind exerting rational control over the material world. Now, as it turns out, those most enthralled by this model of the human being grow increasingly anxious about the prospect of a man-made disincarnate mind overthrowing the human race as it pursues its own rationally optimized goals."]]></description>
<dc:subject>lmsacasas modernism modernity 2023 luddism ai artificialintelligence humans humanism markets capitalism leevinsel technology katecrawford criticism ezraklein robertoppenheimer davidnoble technosolutionism faith religion progress efficiency enlightenment science scientism utopia progressivism christianity danielcrevier stefanhelmreich melvynhill hannaharendt wendellberry ecosystems environment copmuters copmuting gkchesterson rationalism rationality economics power energy humancondition humanity hansjonas howwewrite howwethink form marvinminsky dannyhillis pamelamccorduck hansmoravec rudyrucker secularism politics labor culture capital oppenheimer jrobertoppenheimer luddites</dc:subject>
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<item rdf:about="https://srslywrong.com/podcast/270-the-future-is-degrowth-w-aaron-vansintjan/">
    <title>270 – The Future is Degrowth (w/ Aaron Vansintjan) – srsly wrong</title>
    <dc:date>2023-01-15T20:19:08+00:00</dc:date>
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    <dc:creator>robertogreco</dc:creator><description><![CDATA["The ideology of infinite economic growth destroys the ecological foundations of human life, produces alienating ways of living and working, gives rise to undemocratic productive forces and techniques, and mismeasures our lives, standing in the way of well-being and equality of all."

[See also:

"The Future Is Degrowth: A Guide to a World beyond Capitalism, by Matthias Schmelzer, Aaron Vansintjan, and Andrea Vetter"
https://www.versobooks.com/books/3989-the-future-is-degrowth ]]]></description>
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<item rdf:about="https://thedigradio.com/podcast/modern-housing-w-gail-radford/">
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https://www.youtube.com/watch?v=cpfaFUyur7g ]]]></description>
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    <title>Self-taught Designer Marguerita Mergentime Literally Brought Modernism to the Table in America – Eye on Design</title>
    <dc:date>2022-06-04T17:54:23+00:00</dc:date>
    <link>https://eyeondesign.aiga.org/self-taught-designer-marguerita-mergentime-literally-brought-modernism-to-the-table-in-america/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["People once flocked to see her typographic textiles and bought her work by the armload—so why don’t you know who she is?"]]></description>
<dc:subject>margueritamergentime design modernism 2022 madeleinemorley typography graphicdesign textiles autodidacts autodidactism</dc:subject>
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<item rdf:about="https://placesjournal.org/article/discovering-irvine/">
    <title>Discovering Irvine</title>
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    <link>https://placesjournal.org/article/discovering-irvine/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The midcentury master plan of Irvine, California, was not so much a radical alternative to suburban design as a boldly rationalized refinement."]]></description>
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<item rdf:about="https://theconvivialsociety.substack.com/p/the-human-built-world-is-not-built">
    <title>The Human-Built World Is Not Built For Humans - by L. M. Sacasas - The Convivial Society</title>
    <dc:date>2021-11-12T08:23:09+00:00</dc:date>
    <link>https://theconvivialsociety.substack.com/p/the-human-built-world-is-not-built</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[““I believe that a desirable future depends on our deliberately choosing a life of action over a life of consumption, on our engendering a life style which will enable us to be spontaneous, independent, yet related to each other, rather than maintaining a life style which only allows us to make and unmake, produce and consume—a style of life which is merely a way station on the road to the depletion and pollution of the environment.”

— Ivan Illich, Tools for Conviviality

*******

Welcome to the Convivial Society, a newsletter about technology and culture. It’s been a been a while since the last installment. I worked on an essay for some time, but ultimately it did not come together quite the way I had hoped. Instead, I’m going to take three ideas in that unwieldy draft and spin them out as a series of relatively brief reflections that I’ll send out in the coming days. This is the first. Also, I’m including some reading recommendations with each of these. I hope you find them helpful.

*******

A few days ago, a story was circulating about how the infrastructure bill, which was recently passed by the House of Representatives, included funding for research on beacons to be worn by cyclists and pedestrians to make them legible to autonomous vehicles. A story in Forbes noted that the bill “formalizes the acceptance of so-called ‘vehicle to everything’ (V2X) technology that, on the face of it, promises enhanced safety on the roads for pedestrians and cyclists.”

Each time I’ve read something about how we will all have to wear sensors to survive the envisioned future transportation environment, a particular paragraph from Illich’s Deschooling Society has come to mind: “Contemporary man,” Illich wrote, “attempts to create the world in his image, to build a totally man-made environment, and then discovers that he can do so only on the condition of constantly remaking himself to fit it.”

Illich wrote these words in the early 1970s, long before beacons to keep cyclists and pedestrians safe from autonomous vehicles would become a policy priority. But the pattern was already evident. In the same essay, Illich told the following anecdote:

<blockquote>I know a Mexican village through which not more than a dozen cars drive each day. A Mexican was playing dominoes on the new hard-surface road in front of his house — where he had probably played and sat since his youth. A car sped through and killed him. The tourist who reported the event to me was deeply upset, and yet he said: “The man had it coming to him.”</blockquote>

The assumption in the tourist’s statement is clear and brutal: it is the responsibility of humans to adapt to their technical milieu. For the sake of a development he likely neither needed or desired, this man’s environment was transformed so as to render it hostile to him, but it is somehow his fault for failing to promptly adapt himself to the new reality. As Illich notes, there’s not even an air of the tragic in the tourist’s claim. One can imagine some not-too-distant future when a cyclist is struck and killed by an autonomous vehicle and an observer declares, “Well, she wasn’t even wearing her beacon, so she had it coming to her.”

As I thought about Illich’s anecdote, my own parental anxiety to convey to my children the importance of minding the cars around them at all times appeared in a new light. When one remembers that it has not always been necessary to carefully train a child, with ritualistic precision, just so that they can walk about without fear of mortal injury, then the whole thing takes on a rather absurd and malicious character.

Once you see this dynamic in one set of circumstances, you start to see it again and again. In innumerable ways we bend ourselves to fit the pattern of a techno-economic order that exists for its own sake and not for ours. As another example, consider Illich’s observations in 2000 about what is required of those who would pursue a successful career:

<blockquote>Modern citizens who want to pursue a successful career face a situation that is without clear boundaries or limits, and this prevents them from recognizing an alternative to their self-directed ‘lifelong learning and decision-making.’ Their comings and goings, their progress and well-being, their flourishing and ruination depend on their adaptation to diverse systems. In particular, they have to learn to function and compete in symbiosis with current economic conditions. A tolerant acceptance of these conditions is no longer enough. One has to learn to identify with them. In the mills of the new economy, where positioning is all, the grit is supposed to grind itself so fine that it becomes grease for the gears.</blockquote>

Or consider Shannon Mattern’s observation that “our phones seem to be contrived for circadian contradiction.” A reminder that our own technologically induced patterns of restlessness can be profoundly unhealthy. Our phones, after all, function as an interface between us and a vast network of communication and commerce: in practice, do they principally serve our interests or those of the network?

As the ways that we are schooled for life in a system that in significant ways runs counter to our own interests and well-being become more apparent, then Illich’s more radical claims begin to sound plausible if not altogether sensible.

In Tools for Conviviality, for example, we encounter this stark summation of Illich’s view of industrial society:

<blockquote>Increasing manipulation of man becomes necessary to overcome the resistance of his vital equilibrium to the dynamic of growing industries; it takes the form of educational, medical, and administrative therapies. Education turns out competitive consumers; medicine keeps them alive in the engineered environment they have come to require; bureaucracy reflects the necessity of exercising social control over people to do meaningless work. The parallel increase in the cost of the defense of new levels of privilege through military, police, and insurance measures reflects the fact that in a consumer society there are inevitably two kinds of slaves: the prisoners of addiction and the prisoners of envy.</blockquote>

Maybe this comes off as rather extreme. After all, Illich is arguing that the modern world, circa 1974 at least, is fundamentally hostile to human well-being and that some of its most vaunted institutions were basically coping and conditioning mechanisms.

Jacques Ellul, with passing reference to learning how to navigate street traffic, argues similarly:

<blockquote>“At the same time, one should not forget the fact that human beings are themselves already modified by the technical phenomenon […] Their whole education is oriented toward adaptation to the conditions of technique (learning how to cross streets at traffic lights) and their instruction is destined to prepare them for entrance into some technical employment. Human beings are psychologically modified by consumption, by technical work, by news, by television, by leisure activities (currently, the proliferation of computer games), etc., all of which are techniques. In other words, it must not be forgotten that it is this very humanity which has been pre-adapted to and modified by technique that is supposed to master and reorient technique. It is obvious that this will not be able to be done with any independence.”</blockquote>

But this is why I read writers like Illich and Ellul, and why I encourage others to do the same: for the sake of a thoroughgoing critique that will make me think more deeply, and uncomfortably, about our situation and my own acquiescence and complicity. I find that my vision tends to be too narrowly focused on surface-level symptoms. And it is too easy to take refuge in the thought that a few tweaks here and a little regulation there will make all things well, or at least significantly better. Meanwhile, nothing quite changes. Then along comes someone like Illich or Ellul claiming that maybe the whole modern techno-social order, whatever its relative merits, is broken and malignant. That the roots of our problems run much deeper than we had assumed. That we are, in truth, doing it all wrong and should revisit some of our most fundamental assumptions. You may not, in the end, agree with their conclusions, but seriously considering their perspectives should at least help us to ask better, more fundamental questions about the human-built world, or, perhaps more importantly, about the beliefs, values, and interests that shape it.

What Illich and Ellul would have us consider is that the human-built world is not, in fact, built for humans. And, of course, this is to say nothing of what the human-built world has meant for the non-human world. What’s more, it may be paradoxically the case that the human-built world will prove finally inhospitable to human beings precisely to the degree that it was built for humans without regard for humanity’s continuity with the other animals and the world we inhabit together.”]]></description>
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<item rdf:about="https://fotac.gsd.harvard.edu/listen/vishaan-chakrabarti/">
    <title>Vishaan Chakrabarti – Future of the American City – An initiative of the Harvard University Graduate School of Design</title>
    <dc:date>2021-10-21T16:55:03+00:00</dc:date>
    <link>https://fotac.gsd.harvard.edu/listen/vishaan-chakrabarti/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[“Vishaan Chakrabarti is an architect, urbanist, and founder of the Practice for Architecture and Urbanism (PAU). He joins Charles Waldheim to discuss his recent work and practice.”]]></description>
<dc:subject>vishaanchakrabarti 2021 cities urban urbanism architecture place belonging liminalspaces liminal inbetween betweenness immigrants codeswitching immigration experts expertise nyc cars publictransit covid-19 coronavirus pandemic suburbs countryside us bikes biking suburbia pau kolkata calcutta amsterdam charleswaldheim modernism ucberkeley ucb cal inbetweenness between liminality</dc:subject>
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<item rdf:about="https://theconvivialsociety.substack.com/p/notes-from-the-metaverse">
    <title>Notes From the Metaverse - by L. M. Sacasas - The Convivial Society</title>
    <dc:date>2021-09-05T21:16:59+00:00</dc:date>
    <link>https://theconvivialsociety.substack.com/p/notes-from-the-metaverse</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[“place, commerce, boundaries, and the commons”

…

“As Ivan Illich once put it, “Existence in a society that has become a system finds the senses useless precisely because of the very instruments designed for their extension.”

“[O]ur human and earthly limits, properly understood,” Wendell Berry has argued, “are not confinements but rather inducements to formal elaboration and elegance, to fullness of relationship and meaning. Perhaps our most serious cultural loss in recent centuries is the knowledge that some things, though limited, are inexhaustible. For example, an ecosystem, even that of a working forest or farm, so long as it remains ecologically intact, is inexhaustible. A small place, as I know from my own experience, can provide opportunities of work and learning, and a fund of beauty, solace, and pleasure — in addition to its difficulties — that cannot be exhausted in a lifetime or in generations.”

8. Drew Austin described the metaverse this way: “a more regimented simulacrum of public space where a wider range of interactions are easier to monetize—a virtual environment in which we’ll finally have digital walls where we can hang our NFTs, and where we can rub elbows with Marvel’s embodied IP.” He quotes Wendy Liu, who, considering a short definition of metaverse, quipped, “virtual reality with unskippable ads.” Rob Horning’s analysis appears in Austin’s short essay, too: “Facebook would also like to secure the ability to prevent people from any right to absence … The metaverse is fundamentally a place you will be forced to be.”

9. One way of telling the story of modernity would be to describe how commerce colonized more and more of our world and our experience by overcoming the technical and cultural limits that stood in its way. Aspects of the world now appear to us framed by the implicit challenge: Commercialize this. This is hardly a novel observation, I grant. But it is worth noting how digital technology has shaped and been shaped by this dynamic.”

…

“It is true that the sharp line between work and home is a relatively recent development. For most of human history, where we worked and where we lived were by and large one and the same. So, in historical perspective, the neat separation between work and home that characterized modern, industrialized societies during the past century (although barely that) may ultimately appear as an abberation. It may seem, then, that digital technologies have retrieved an older form of life.

This is an example of a pattern worth noting. Whereas the modernity proceeded by differentiating, fragmenting, and specializing on the model of the machine, the digital age is marked by connection and entanglement. McLuhan opened Understanding Media with observations along these lines. “The restructuring of human work and association was shaped by the technique of fragmentation that is the essence of machine technology,” McLuhan argued. So in the modern, industrial world dominated by print, itself a mechanization of the word and a proto-industrial technology, seemingly neat distinctions and separations were the order of the day.3 Private life was sequestered from public spaces, work was clearly distinguished from home, reason and emotions were distinct, as were mind and body, nature and the human, fact and value, etc. First under the aegis of electronic and then digital media, these sharp lines were harder if not impossible to sustain.

But you never go back. What has happened cannot be undone. Digital media does not make whole what had been broken apart. It’s rather more like having the pieces thrown into a pile together. Work from home is not a return to agrarian modes of relatively autonomous subsistence. For most people, it is a job and a boss that are being introduced into the rhythms of home life, in which children, as has been widely recognized, are not meaningfully integrated but rather appear chiefly as logistical problems to be solved. What will be needed, in my view, is a new way of thinking about work altogether, not merely a migration of old jobs into new settings. And it may be that we get there, and that digital technologies will play a key role in making it happen. But the metaverse as it is presently being packaged is, from this vantage point, a tool that is already obsolete, centered as it is on a virtual simulations of traditional office work.”

…

“What if we saw attention in the same way that we saw air or water, as a valuable resource that we hold in common? Perhaps, if we could envision an ‘attentional commons,’ then we could figure out how to protect it.””

…

“13. In The Human Condition, Hannah Arendt explained how common sense had once been understood not as banal notions that were commonly held, but as the work of all of our senses working in tandem to perceive a world held in common with others. “Only the experience of sharing a common human world with others who look at it from different perspectives,” she wrote, “can enable us to see reality in the round and to develop a shared common sense.”

She also warned that “a noticeable decrease in common sense in any given community and a noticeable increase in superstition and gullibility are therefore almost infallible signs of alienation from the world,” and, thus, the seedbed of totalitarianism.

So, to put this another way, the metaverse would do for common sense, as Arendt understands it, what enclosure did to the commons. Having our perception of the world increasingly mediated by proprietary technologies that immerse us in ever more sophisticated realms of digital simulacra is a way of surrendering the experience of a shared reality with others.

14. It was recently suggested to me, in a discussion about embodiment and perception, that the phrase “come back to your senses” seemed rather loaded with significance As with the idea of “common sense,” we’ve taken coming back to your senses to mean something vaguely intellectual. But what if we took it literally? What if staying sane meant doing a better job of anchoring our experience to our senses?

Or, as Illich put it in lines I’ve cited here on more than one occasion, “Therefore, it appears to me that we cannot neglect the disciplined recovery, an asceticism, of a sensual praxis in a society of technogenic mirages. This reclaiming of the senses, this promptitude to obey experience […] seems to me to be the fundamental condition for renouncing that technique which sets up a definitive obstacle to friendship.””]]></description>
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<item rdf:about="https://flatjournal.com/work/design-thinking-is-rebrand-for-white-supremacy/">
    <title>Design Thinking is a Rebrand for White Supremacy - Flat Journal</title>
    <dc:date>2021-03-28T19:22:26+00:00</dc:date>
    <link>https://flatjournal.com/work/design-thinking-is-rebrand-for-white-supremacy/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[“The reality is that designers simply aren’t best suited to tackle all the deep-rooted systemic challenges that we have ordained ourselves to solve. For all the jargonistic gravity that revolves around being “empathetic” in the design process, perhaps the correct approach is simply to take a step back, remove oneself from the conversation, and acknowledge the original caretakers of the space we occupy.

While it is clear that Design Thinking mirrors the dangerous patterns of Modernism, it is equally crucial if not pressingly urgent to recognize that the two simply aren’t evolutions of each other or radical deviants from the historical context they exist in. At the end of the day, both Modernism and Design Thinking are byproducts of white supremacist capitalism that maintain its operations through a thinly veiled promise for visionary change. No matter how progressive a designer’s politics may be, unless overthrown we are all complicit in the unabated maintenance of capitalism. Unless we decolonize design through a radical shift towards alternative practices, we continue to lose sight of the margins and watch the process of design being weaponized, neglecting those barred from its gates.

It is in this that our urgent call as designers ultimately is to accept the responsibility of design not as a tool for oppressive capitalist exploitation or cultural hegemony but instead challenge the status quo in an effort to uplift the communities which it targets and decolonize the practice to prevent such a reemerging from happening in the future. In this call to action, our efforts towards an equitable society begin with maintaining this criticality of our industry and relentlessly continue providing the radical alternatives to white supremacist capitalism which might liberate us from this cycle of oppression.”

[See also:
https://www.are.na/darin-buzon/design-thinking-is-a-rebrand-for-white-supremacy ]

[also posted here: https://dabuzon.medium.com/design-thinking-is-a-rebrand-for-white-supremacy-b3d31aa55831 ]]]></description>
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<item rdf:about="https://soundcloud.com/eetheducationesearcher/the-sociology-of-education-policy-stephen-ball">
    <title>The sociology of education policy (Stephen Ball) by Meet The Education Researcher</title>
    <dc:date>2020-10-07T05:39:22+00:00</dc:date>
    <link>https://soundcloud.com/eetheducationesearcher/the-sociology-of-education-policy-stephen-ball</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[““Sociology of education has devoted itself to saving, reforming, improving, perfecting the school … I now believe that it is a doomed enterprise. The school is an irredeemable institution”.

Prof. Stephen Ball (IOE London) is one of the world’s most eminent education researchers – a leading voice in the sociology of education, and a founding name in the area of policy sociology.

We talk about everything from Foucault to the state of pandemic education. We also discus Stephen’s recent provocative writing on the need for education researchers to ‘break their addiction’ to trying to improve schools and schooling.”

…

“For a great majority of my career, I was a redemptive sociologist. I saw, at some level, my role being to save education from the deleterious impacts of neoliberalism or the forces of regression… In a way, I neglected to think about what education is in itself irrespective of those iterations or influences or nuances. I’ve come to realize belatedly that, in fact, really the problem is the school. And the school, for many of us, to a great extent, is education. Sociology has devoted itself to saving, reforming, improving, effecting the school. I now believe that that’s a doomed enterprise. It’s an irredeemable institution. The problem is the institution of school.

And as part of that, we’ve also neglected the fact that sociology of education came into being in relation to school as one of the technologies of government which were aimed at civilizing, in particular, the working class urban population that emerged in the 19th and 20th century. But we distance ourselves from that and see ourselves as having a separate position over and against the school, whereas in fact we have been and continue to be profoundly implicated and imbricated in the maintenance of the school as an institution. So, it’s a form of self-critique, if you like.”

…

“We have to break out addiction to the school as the primary vehicle or meaning for education. We also have to dispense with the architecture that then constructs the school. If you look at most criticism they are related to the idea or based on the idea that we’ve the wrong curricula, we’ve got the wrong pedagogy, and we’ve got the wrong forms assessment, and if we get them right, then everything will be all right. And so what I’m saying is actually the problem is pedagogy, curriculum, and assessment in themselves. So, the first move has to be to create a space in which it’s possible to think about education without reconstructing it on the basis of the architecture that constructs it as a modernist institution. 

I realize that’s an enormously difficult thing to think about and I’ve had some fascinating conversations with people as a result of the paper. And it has been intriguing to see how deeply wedded people are, even, if you like, radicals are wedded to the school. So many of the conversations are littered with “yes, but…” “yes, but we need the school”… “yes, but the school does this”… “yes, but the school is fundamental to the opportunities of working class children.” And moving beyond that is the challenge, moving beyond the “yes, buts” to actually  think openly about doing things in a way that starts from somewhere else.”

[See also:

"The errors of redemptive sociology or giving up on hope and despair" by Stephen J. Ball (2020)
https://www.tandfonline.com/doi/abs/10.1080/01425692.2020.1755230 ]]]></description>
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</item>
<item rdf:about="https://hkw.de/en/app/mediathek/project/164147-education-shock">
    <title>Education Shock | HKW Mediathek</title>
    <dc:date>2020-09-29T18:28:16+00:00</dc:date>
    <link>https://hkw.de/en/app/mediathek/project/164147-education-shock</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[“Education Shock revisits the decades following the “shock” of the “Sputnik crisis” when the sphere of education expanded on a global scale. As the exhibition and its accompanying publication demonstrate, the rethinking and replanning of learning environments – due to demographics, technology, the Cold War and the social movements culminating in 1968 – permanently changed the educational sphere.”

Evan Calder Williams: Flexible Cages: Securitization and Revolt Within and Beyond Educational Architectures

Catherine Burke: Colin Ward and Anarchist Educational Concepts of the 1960s and ’70s: “We make the road by walking.”

Oliver Sukrow: Black Box Education? Cybernetics, Architecture and Learning in 1960s GDR

Sabine Bitter, Helmut Weber: Educational Modernism: Performing Archives of Learning

Francesco Zuddas: Against the Campus, or the Life and Passion of Università-Territorio

Tom Holert: Introduction | Campus Utopianism and its Discontents

Discussion: Campus Utopianism and its Discontents
With Sabine Bitter, Helmut Weber, Francesco Zuddas, moderated by Tom Holert English original 

Tom Holert: Introduction | Anarchy and Control

Discussion: Cybernetics and Standardized Building Types: Socialist Educational Architectures and their Export
With Oliver Sukrow, Dina Dorothea Falbe, Elke Beyer, moderated by Tom Holert English original 

Tom Holert: Introduction | Cybernetics and Standardized Building Types. Socialist Educational Architectures and Their Export

Elke Beyer: Soviet Campus Exports

Discussion: Anarchy and Control
With Catherine Burke, Evan Calder Williams, moderated by Tom Holert

Dina Dorothea Falbe: Local Specifics: Variations of the GDR-Type School Building

Filipa César: Militant Education: “Pilot Schools” and “Jungle Schools” in Guinea and Guinea-Bissau around 1970

Elke Beyer: Introduction | School-Building: Between Decolonization and Development Policy

Anselm Franke, Tom Holert, Marleen Schröder: Introduction | Education Shock

Monika Mattes: “School of excellence,” “learning factory” or “cozy corner”? West German Comprehensive Schools as Sites of Pedagogic Knowledge Production in the 1960s and ’70s 

Sónia Vaz Borges: Militant Education: “Pilot Schools” and “Jungle Schools” in Guinea and Guinea-Bissau around 1970

Ola Uduku: Postcolonial School Building in West Africa in the 1960s

Discussion: Childhood and Education, Experimentalized (German)
With Mark Terkessidis, Gregor Harbusch, Monika Mattes, moderated by Tom Holert 

Tom Holert: Introduction | Exhibition Design

Gregor Harbusch: Experimental Spaces: Ludwig Leo’s School Designs

Mark Terkessidis: Rooms-to-Play: Examples of Spatial Production of Space for and with Children around 1970

Discussion: School-Building: Between Decolonization and Development Policy
With Filipa César, Ola Uduku, Sónia Vaz Borges, moderated by Elke Beyer

Tom Holert: Introduction | Childhood and Education, Experimentalized”]]></description>
<dc:subject>education schools architecture evancalderwilliams design learning unschooling deschooling colinward catherineburke oliversukrow cybernetics francescozuddas sabinebitter helmutweber modernism archives utopia utopianism tomholert standardization schooling children elkebeyer sovietunion anarchy anarchism control filipacésar guinea guinea-bissau monikamattes sóniavazborges olauduku postcolonialism decolonization policy pedagogy howweteach howwelearn markterkessidis gregorharbusch</dc:subject>
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<item rdf:about="https://soundcloud.com/emolinsky/solarpunk-the-future">
    <title>Solarpunk The Future by Imaginary Worlds | Free Listening on SoundCloud</title>
    <dc:date>2020-04-22T18:44:37+00:00</dc:date>
    <link>https://soundcloud.com/emolinsky/solarpunk-the-future</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Cyberpunk was cool. Steampunk was hip. Get ready for Solarpunk. This new emerging genre of art and fiction imagines a future where DIY environmental sustainability dictates the design of everything from skyscraper farms to homemade fashion. The writer Adam Flynn, magazine editors Scot and Jane Noel, writer Sarena Ulibarri, and game designer Keisha Howard discuss how we can create the future we want by inspiring people with science fiction, and why being anti-dystopia doesn’t mean they believe in utopias."]]></description>
<dc:subject>solarpunk 2020 utopia diy janenoel scotnoel sarenaulibarri future futurism steampunk cyberpunk kimstanleyrobinson keishahoward fashion covid-19 coronavirus history aesthetics modernism fiction speculativefiction sciencefiction genres art adamflynn ericmolinsky architecture design multispecies morethanhuman solar environment sustainability</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
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<item rdf:about="https://www.versobooks.com/blogs/4624-michael-sorkin-1948-2020">
    <title>Verso: Michael Sorkin, 1948-2020: Mike Davis pays tribute to architect and critic Michael Sorkin, who has died aged 71 of complications caused by Covid-19.</title>
    <dc:date>2020-03-28T02:38:44+00:00</dc:date>
    <link>https://www.versobooks.com/blogs/4624-michael-sorkin-1948-2020</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Michael Sorkin died today of coronavirus in an overcrowded hospital and it is a shattering loss. If some people consider me an ‘urban theorist’ it’s only because in 1992 Michael conscripted me to write a chapter in his volume ‘Variations in a Theme Park.’ His ideas have had an immense influence in shaping my own. He was by any measure the most important radical theorist of city life and architecture in the last half century. New Yorkers old enough to have been Village Voice readers in the 1980s when he was the paper’s architecture critic will never forget the war he waged against mega-developers and urban rapists like Donald Trump. Or how in Whitmanesque prose he weekly sang the ballad of New York’s unruly, democratic streets. At a time when postmodernists were throwing dirt over the corpse of the twentieth century, Michael was resurrecting the socialist dreams and libertarian utopias that were the original soul of architectural modernism. When the peoples’ city was under attack he was inevitably the first to march to the sound of the guns. And then … his devilish glee, his kindness, his soaring imagination, his 50,000 volts of creative energy…. I’m drowning my keyboard in tears. Michael, you rat, why did you go when we need you most?"]]></description>
<dc:subject>michaelsorkin mikedavis 2020 nyc architecture criticism socialism libertarianism utopia modernism cities urban urbanism urbantheory covid-19 coronavirus</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
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<item rdf:about="https://www.cca.qc.ca/en/events/71562/octobering">
    <title>Octobering</title>
    <dc:date>2020-01-28T06:50:38+00:00</dc:date>
    <link>https://www.cca.qc.ca/en/events/71562/octobering</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["After the Russian Revolution, the new Bolshevik government conceived a system of socialist rituals and civic ceremonies to encourage a new and modernist culture. For example, instead of baptism, babies were “octobered” and given names like Electrifikatsia (Electrification) to represent the values of the new society.

Rituals and ceremonies—through special images, gestures, objects, and spaces—have always guided and continue to reinforce our social values. They impact our emotions and shape how we see the world. In this workshop, we will investigate the values that present-day rituals reinforce and we will challenge them.

We will start by renaming ourselves with an Octobering ceremony. Then we’ll invent a new ritual or anti-celebration for the kind of world we want to live in. Where should it take place? What kinds of tools are needed? And what architecture?

Join us to prototype rituals and ceremonies for a new world."]]></description>
<dc:subject>octobering names naming prototyping ritual rituals ceremonies ceremony celebration modernism culture baptism celebrations socialvalues</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:8dacc9f91115/</dc:identifier>
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<item rdf:about="http://hackeducation.com/2019/11/28/ed-tech-agitprop">
    <title>Ed-Tech Agitprop</title>
    <dc:date>2019-11-29T01:35:01+00:00</dc:date>
    <link>http://hackeducation.com/2019/11/28/ed-tech-agitprop</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Is technology changing faster than it's ever changed before? It might feel like it is. Futurists might tell you it is. But many historians would disagree. Robert Gordon, for example, has argued that economic growth began in the late 19th century and took off in the early 20th century with the invention of "electricity, the internal combustion engine, the telephone, chemicals and plastics, and the diffusion to every urban household of clear running water and waste removal." Rapid technological change -- faster than ever before. But he argues that the growth from new technologies slowed by the 1970s. New technologies -- even new digital technologies -- he contends, are incremental changes rather than whole-scale alterations to society we saw a century ago. Many new digital technologies, Gordon argues, are consumer technologies, and these will not -- despite all the stories we hear -- necessarily restructure our world. Perhaps we're compelled to buy a new iPhone every year, but that doesn't mean that technology is changing faster than it's ever changed before. That just means we're trapped by Apple's planned obsolescence.

As historian Jill Lepore writes, "Futurists foretell inevitable outcomes by conjuring up inevitable pasts. People who are in the business of selling predictions need to present the past as predictable -- the ground truth, the test case. Machines are more predictable than people, and in histories written by futurists the machines just keep coming; depicting their march as unstoppable certifies the futurists' predictions. But machines don't just keep coming. They are funded, invented, built, sold, bought, and used by people who could just as easily not fund, invent, build, sell, buy, and use them. Machines don't drive history; people do. History is not a smart car."


We should want a future of human dignity and thriving and justice and security and care -- for everyone. Education is a core part of that. But dignity, thriving, justice, and care are rarely the focus of how we frame "the future of learning" or "the future of work." Robots will never care for us. Unbridled techno-solution will never offer justice. Lifelong learning isn't thriving when it is a symptom of economic precarity, of instability, of a disinvestment in the public good.

When the futures we hear predicted on stages like this turn so casually towards the dystopian, towards an embrace of the machine, towards an embrace of efficiency and inequality and fear -- and certainly that's the trajectory I feel that we are on with the narratives underpinning so much of ed-tech agitprop -- then we have failed. This is a massive failure of our politics, for sure, but it is also a massive failure of imagination. Do better."]]></description>
<dc:subject>2019 audreywatters edtech agitprop dystopia technology storytelling propaganda pressreleases capitalism neoliberalism benjamindoxtdator economics education learning highered highereducation johnseelybrown davos worldeconomicforum power money motivation purpose howwelearn relationships howweteach schools schooling disruption robots productivity futurism robertgordon change history jilllepore security justice society socialjustice technosolutionism californianideology work labor future machines modernism</dc:subject>
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<item rdf:about="https://www.instagram.com/p/ByLFEzUDHWF/">
    <title>Black Mountain College Museum en Instagram: “&quot;Civilization seems in general to estrange men from materials, from materials in their original form. The process of shaping these is so…”</title>
    <dc:date>2019-06-03T00:33:44+00:00</dc:date>
    <link>https://www.instagram.com/p/ByLFEzUDHWF/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[""Civilization seems in general to estrange men from materials, from materials in their original form. The process of shaping these is so divided into separate steps that one person is rarely involved in the whole course of manufacture, often knowing only the finished product. But if we want to get from materials the sense of directness, the adventure of being close to the stuff the world is made of, we have to go back to the material itself, to its original state, and from there on partake in its stages of change." - Anni Albers (Black Mountain College Bulletin. Series 1, No. 5. Anni Albers, Work With Material, November 1938)⠀
⠀
Emerging in the aftermath of WWI and revolting against the consumerism of the Industrial Revolution, the Bauhaus was based upon the philosophy that good design, intentional design, the melding of function and art, can change the world. The quote above, from Anni Albers' essay "Work With Material," showcases how materials play a role in this philosophy - which travelled with the Alberses to BMC. A new, modern approach offered the promise of reconnecting with not only the things we use and surround ourselves with, but with our own humanity.⠀
⠀
BAUHAUS 100 and Materials, Sounds + Black Mountain College come together to tell the story of how modern approaches to design, art and craft reconnected us with the materials our world is made of. This philosophy has inspired artists and craftspeople to continue investigating the potential of these materials. We look forward to opening these two exhibition next Friday, June 7th and hope you'll join us for opening weekend (more info through the link in our bio). [http://www.blackmountaincollege.org/material-sound/ ]"
⠀
Image: Student Bill Reed's hands at the loom, Black Mountain College, ca. 1938–42. Photograph by Claude Stoller. @albers_foundation"]]></description>
<dc:subject>annilbers craft making slow small process bmc blackmountaincollege materials manufacturing modernism consumerism bauhuas design art artmaking</dc:subject>
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<item rdf:about="https://www.kcet.org/shows/artbound/episodes/masters-of-modern-design-the-art-of-the-japanese-american-experience">
    <title>Masters of Modern Design: The Art of the Japanese American Experience | KCET</title>
    <dc:date>2019-05-01T20:41:07+00:00</dc:date>
    <link>https://www.kcet.org/shows/artbound/episodes/masters-of-modern-design-the-art-of-the-japanese-american-experience</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["From the iconic typeface of “The Godfather” book cover to Herman Miller’s Noguchi table, the influence of Japanese American artists and designers in postwar American art and design is unparalleled. While this second generation of Japanese American artists have been celebrated in various publications and exhibitions with their iconic work, less-discussed is how the World War II incarceration — a period of intense discrimination and hardship — has also had a powerful effect on the lives of artists such as Ruth Asawa, George Nakashima, Isamu Noguchi, S. Neil Fujita and Gyo Obata."

[via: https://twitter.com/LangeAlexandra/status/1123656364839067648 ]

[See also: https://www.curbed.com/2017/1/31/14445484/japanese-designers-wwii-internment ]]]></description>
<dc:subject>towatch ruthasawa georgenakashima isamunoguchi sneilfujita gyoobata 2019 alexandralange design history japanese-americans art modernism internment incarceration wii ww2 wwii worldwarii worldwar2</dc:subject>
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<item rdf:about="https://99percentinvisible.org/episode/froebels-gifts/">
    <title>Froebel's Gifts - 99% Invisible</title>
    <dc:date>2019-05-01T20:17:27+00:00</dc:date>
    <link>https://99percentinvisible.org/episode/froebels-gifts/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["I the late 1700s, a young man named Friedrich Froebel was on track to become an architect when a friend convinced him to pursue a path toward education instead. And in changing course, Froebel arguably ended up having more influence on the world of architecture and design than any single architect — all because Friedrich Froebel created kindergarten. If you’ve ever looked at a piece of abstract art or Modernist architecture and thought “my kindergartener could have made that,” well, that may be more true than you realize."]]></description>
<dc:subject>froebel foebelgifts kindergarten education design toys play friedrichfroebel modernism normanbrosterman tamarzinguer alexandralange 2019 learning friedrichfröbel</dc:subject>
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<item rdf:about="https://www.wordswithoutborders.org/dispatches/article/tarsila-do-amaral-translating-modernism-in-brazil-elisa-wouk-almino">
    <title>Tarsila do Amaral: Translating Modernism in Brazil - Words Without Borders</title>
    <dc:date>2019-01-27T20:33:31+00:00</dc:date>
    <link>https://www.wordswithoutborders.org/dispatches/article/tarsila-do-amaral-translating-modernism-in-brazil-elisa-wouk-almino</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[It seems the role of the translator is not so different from that of a curator. Just as a translator will often introduce a new text, a curator of an exhibition might present something entirely new, which is certainly the case with the Museum of Modern Art’s exhibition of work by Tarsila do Amaral. Entitled “Tarsila do Amaral: Inventing Modern Art in Brazil,” it is the first US show devoted exclusively to the Brazilian artist.

A curator, like a translator, acts not only as a mediator but also as an interpreter—another curator, another translator, would tell a slightly different story. When I asked MoMA curator Stephanie D’Alessandro what narrative she and her colleague Luis Pérez-Oramas set out to tell, she admitted it was “a hard story to write.” Their ultimate goal was to engage audiences who were both familiar and completely unfamiliar with Tarsila; to do justice to her legacy while also making her story accessible.]]></description>
<dc:subject>tarsiladoamaral translation brazil brasil modernism art curation 2018 elisaoukalmino srg</dc:subject>
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<item rdf:about="https://medium.com/@bryan/very-slow-movie-player-499f76c48b62">
    <title>Very Slow Movie Player – Bryan Boyer – Medium</title>
    <dc:date>2018-12-29T20:29:43+00:00</dc:date>
    <link>https://medium.com/@bryan/very-slow-movie-player-499f76c48b62</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Walking around Brasília some years ago I had the distinct feeling that I was doing it “wrong” because, of course, I was. The center of Brasilía is organized along the Exio Monumental, featuring an array of government and other important buildings that form a long spine. This is a place designed to be “read” at the speed of a vehicle, so taking in Brasília by foot is like watching a movie in slow motion. It turns out, both can be rewarding in unexpected ways.

With a little bit of patience, the details of both reveal unexpected and delightful moments. In Brasília, pedestrians are rewarded with an opportunity to discover the subtle variations between what look to be mega-scaled buildings. Rhythmic reflections and shadows bring surfaces to life under the tropical sunlight in beautiful and nuanced ways. Just don’t forget to put on sunscreen, because the distances are intended to be enjoyed from the comfort of a motor vehicle.

On the other hand, watching movies in slow-mo is not something that I’ve had experience with outside of seeing the occasional Bill Viola installation. Until, that is, I started to tinker with ePaper components and Javascript in the depth of Michigan winter, looking for a way to celebrate slowness.

Can a film be consumed at the speed of reading a book? Yes, just as a car city can be enjoyed on foot. Slowing things down to an extreme measure creates room for appreciation of the object, as in Brasília, but the prolonged duration also starts to shift the relationship between object, viewer, and context. A film watched at 1/3,600th of the original speed is not a very slow movie, it’s a hazy timepiece. A Very Slow Movie Player (VSMP) doesn’t tell you the time; it helps you see yourself against the smear of time.

I’ve described VSMP in more detail below, but watch this video [https://vimeo.com/307806967 ] explains it more readily."]]></description>
<dc:subject>bryanboyer slow film brasilia modernism urban urbanism raspberrypi class diy movies billviola vsmp cars travel movement time moments brasília</dc:subject>
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</item>
<item rdf:about="https://www.e-flux.com/architecture/overgrowth/">
    <title>Overgrowth - e-flux</title>
    <dc:date>2018-11-25T23:04:31+00:00</dc:date>
    <link>https://www.e-flux.com/architecture/overgrowth/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Architects and urban practitioners, toiling daily at the coalface of economic expansion, are complicit in the perpetuation of growth. Yet they are also in a unique position to contribute towards a move away from it. As the drivers of growth begin to reveal their inadequacies for sustaining life, we must imagine alternative societal structures that do not incentivize unsustainable resource and energy use, and do not perpetuate inequality. Working on the frontline of capitalism, it is through architecture and urban practice that alternative values, systems, and logics can be manifest in built form and inherited by generations to come.

Editors
Nick Axel
Matthew Dalziel
Phineas Harper
Nikolaus Hirsch
Cecilie Sachs Olsen
Maria Smith

Overgrowth is a collaboration between e-flux Architecture and the Oslo Architecture Triennale within the context of its 2019 edition."

[See also: https://www.e-flux.com/architecture/overgrowth/221902/editorial/ ]

[including:

Ateya Khorakiwala: "Architecture's Scaffolds"
https://www.e-flux.com/architecture/overgrowth/221616/architecture-s-scaffolds/

<blockquote>The metaphor of grassroots is apt here. Bamboo is a grass, a rhizomatic plant system that easily tends towards becoming an invasive species in its capacity to spread without seed and fruit. Given the new incursions of the global sustainability regime into third world forests to procure a material aestheticized as eco-friendly, what would it take for the state to render this ubiquitous material into a value added and replicable commodity? On one hand, scaffolding offers the site of forming and performing the subjectivity of the unskilled laborer—if not in making the scaffolding, then certainly in using it. Bamboo poles for scaffolding remain raw commodities, without scope for much value addition; a saturated marketplace where it can only be replaced by steel as building projects increase in complexity. On the other hand, bamboo produces both the cottage industry out of a forest-dwelling subject, on the margins of the state, occupying space into which this market can expand.

Bamboo is a material in flux—what it signifies is not transferable from one scale to another, or from one time to another. In that sense, bamboo challenges how we see the history of materials. In addition to its foundational architectural function as scaffolding, it acts as a metaphorical scaffolding as well: it signifies whatever its wielders might want it to, be it tradition, poverty, sustainability, or a new form of eco-chic luxury. Bamboo acts more as a scaffolding for meaning than a material with physical properties of flexibility and strength. Scaffolding, both materially and metaphorically, is a site of politics; a space that opens up and disappears, one that requires much skill in making.</blockquote>

Edgar Pieterse: "Incorporation and Expulsion"
https://www.e-flux.com/architecture/overgrowth/221603/incorporation-and-expulsion/

<blockquote>However, what is even more important is that these radically localized processes will very quickly demand spatial, planning, and design literacy among urban households and their associations. The public pedagogic work involved in nurturing such literacies, always amidst action, requires a further institutional layer that connects intermediary organizations with grassroots formations. For example, NGOs and applied urban research centers with knowledge from different sites (within a city and across the global South) can provide support to foster these organizational literacies without diminishing the autonomy and leadership of grassroots movements. Intermediary organizations are also well placed to mediate between grassroots associations, public officers, private sector interests, and whoever else impinge on the functioning of a neighborhood. Thinking with the example of Lighthouse suggests that we can think of forms of collective economic practice that connect with the urban imperatives of securing household wellbeing whilst expanding various categories of opportunity. The transformative potential is staggering when one considers the speed with which digital money systems and productive efficiencies have taken off across East Africa during the past five years or so.

There is unprecedented opportunity today to delink the imperatives of just urban planning from conventional tropes about economic modernization that tend to produce acontextual technocracy. We should, therefore, focus our creative energies on defining new forms of collective life, economy, wellbeing, invention, and care. This may even prove a worthwhile approach to re-signify “growth.” Beyond narrow economism there is a vast canvas to populate with alternative meanings: signifiers linked to practices that bring us back to the beauty of discovery, learning, questioning, debate, dissensus, experimentation, strategic consensus, and most importantly, the courage to do and feel things differently.</blockquote>

Ingerid Helsing Almaas: "No app for that"
https://www.e-flux.com/architecture/overgrowth/221609/no-app-for-that/

<blockquote>Conventionally, urban growth is seen in terms of different geometries of expansion. Recent decades have also focused on making existing cities denser, but even this is thought of as a process of addition, inscribed in the conventional idea of growth as a linear process of investments and profits. But the slow process of becoming and disappearance is also a form of growth. Growth as slow and diverse accretion and shedding, layering, gradual loss or restoration; cyclical rather than linear or expansive. Processes driven by opportunity and vision, but also by irritation, by lack, by disappointment. In a city, you see these cyclical processes of accretion and disruption everywhere. We just haven’t worked out how to make them work for us. Instead, we go on expecting stability and predictability; a city with a final, finished form.</blockquote>

Peter Buchanan: "Reweaving Webs of Relationships"
https://www.e-flux.com/architecture/overgrowth/221630/reweaving-webs-of-relationships/

Helena Mattsson and Catharina Gabrielsson: "Pockets and Folds"
https://www.e-flux.com/architecture/overgrowth/221607/pockets-and-folds/

<blockquote>Moments of deregulations are moments when an ideology of incessant growth takes over all sectors of life and politics. Returning to those moments allows us to inquire into other ways of organizing life and architecture while remaining within the sphere of the possible. Through acts of remembrance, we have the opportunity to rewrite the present through the past whereby the pockets and folds of non-markets established in the earlier welfare state come into view as worlds of a new becoming. These pockets carry the potential for new political imaginaries where ideas of degrowth reorganize the very essence of the architectural assemblage and its social impacts. These landscapes of possibilities are constructed through desires of collective spending—dépense—rather than through the grotesque ideas of the wooden brain.</blockquote>

Angelos Varvarousis and Penny Koutrolikou: "Degrowth and the City"
https://www.e-flux.com/architecture/overgrowth/221623/degrowth-and-the-city/

<blockquote>The idea of city of degrowth does not attempt to homogenize, but rather focus on inclusiveness. Heterogeneity and plurality are not contrary to the values of equity, living together and effective sharing of the resources. Difference and plurality are inherent and essential for cities and therefore diverse spatial and social articulations are intrinsic in the production of a city of degrowth. They are also vital for the way such an idea of a city could be governed; possibly through local institutions and assemblies that try to combine forms of direct and delegative democracy.</blockquote> ]]]></description>
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