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    <title>Museum of the Palestinian People – Museum of the Palestinian People</title>
    <dc:date>2026-06-25T09:39:17+00:00</dc:date>
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    <dc:creator>robertogreco</dc:creator><dc:subject>palestine museums washingtondc</dc:subject>
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<item rdf:about="https://placesjournal.org/article/museums-and-megastructures-lucas-academy-lacma-los-angeles/?cn-reloaded=1">
    <title>Museums and Megastructures</title>
    <dc:date>2026-06-25T08:56:04+00:00</dc:date>
    <link>https://placesjournal.org/article/museums-and-megastructures-lucas-academy-lacma-los-angeles/?cn-reloaded=1</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["A trio of new museums in Los Angeles hovers between architecture and urbanism, and between art and entertainment."]]></description>
<dc:subject>losangeles museums architecture art entertainment urbanism joeday lacma academymuseumofmotionpictures lucasmuseum lucasmuseumofnarrativeart academymuseum geffengalleries gettycenter moca hammermuseum broadmuseum peterzumthor clementgreenberg renzopiano mayansong mad frankgehry disneyconcerthall zahahadid aliyevcenter expositionpark wilshireboulevard sanaa reynerbanham kunsthaus graz petercook colinfournier archigram remkoolhaas davidgeffen georgelucas publicspace mikedavis 2026</dc:subject>
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    <title>When art dares us to break a cardinal museum rule | Aeon Videos</title>
    <dc:date>2026-06-12T09:33:22+00:00</dc:date>
    <link>https://aeon.co/videos/when-artworks-dare-audiences-to-break-a-cardinal-museum-rule</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["One of the cardinal rules of museum-going is that art should be enjoyed from a comfortable distance and never touched. However, in the 1960s, a cohort of artists began inviting audiences to interact with, and thus alter, their works. This included the Japanese artist Yoko Ono, whose Painting to Be Stepped On (1960-61) was, as the title explicitly states, designed to be trampled.

In this instalment of the Art and the Senses short documentary series from the Museum of Modern Art (MoMA) in New York City, which interrogates how we encounter art beyond sight, Ono’s participatory piece becomes a lens through which to explore the inherent tension between artists, museums and audiences when touch is invited. Featuring interviews with museum curators and scenes from MoMA’s long-running touch tours, where educators guide visitors with visual impairments through works by feel, the film prompts viewers to consider: if art is a form of communication, what does touch allow us to say to one another?"

[direct link to video:

"“Don’t Touch the Art?” How Yoko Ono Challenged a Museum Taboo"
https://www.youtube.com/watch?v=A-4o_syR3Ew

"Of all the senses, touch is the biggest taboo in a museum. But what if allowing touch is the only way to truly experience the work?

In our latest episode of Art and the Senses, we follow two stories. The first shows how Yoko Ono challenged the rules of art in her "Painting to Be Stepped On" (1960), a piece of canvas laid on the floor, asking viewers to touch it. The second takes us on a “touch tour,” a long-running Access program at MoMA in which educators lead visitors who are blind or have low vision through the galleries to experience works through touch, a sense that shapes perception, memory, and emotional connection.

Hear from Ono, John Lennon, curators, conservators, artists, and museum educators as they explore one of the most powerful and charged senses. As Connor Monahan, Ono’s studio director says, “Touch is something that creates connection, and connection creates communication, and communication is what people need to create peace.”"]]]></description>
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<item rdf:about="https://pablohelguera.substack.com/p/building-strange-oases">
    <title>Building Strange Oases - Beautiful Eccentrics</title>
    <dc:date>2026-06-05T05:34:51+00:00</dc:date>
    <link>https://pablohelguera.substack.com/p/building-strange-oases</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["What we often call creativity, innovation, research, or artistic practice may be understood as socially sanctioned forms of play. The adult does not stop playing; the adult learns to disguise play under other names.

This realization has important implications for participatory art. Too often, participatory projects assume that they must teach participants something entirely new. But perhaps the task is subtler. Perhaps the role of participatory art is not to introduce play into people’s lives but to reveal forms of play that are already present there.

In this sense, participatory art resembles the Platonic concept of anamnesis: the idea that learning is not the acquisition of new knowledge but the recollection of something we already possess. The teacher does not deposit knowledge into the student. Rather, the teacher creates the conditions through which the student recognizes something that was already latent within them.

The same may be true of participation. A successful participatory artwork does not force people into unfamiliar territory. It helps them become conscious of capacities they already exercise every day: imagining alternatives, inhabiting different perspectives, negotiating rules, collaborating with others, and navigating uncertainty. The artwork becomes a mirror in which participants encounter forms of knowledge they already possess but rarely have the opportunity to see.

I sometimes wonder whether the growing interest in participation, interactivity, social practice, and collaborative forms of art reflects a broader condition of contemporary life. We spend much of our time being evaluated, measured, categorized, and asked to justify our actions through tangible outcomes. Under such conditions, spaces in which exploration can occur without immediate consequence become increasingly rare.

What artists often create, consciously or unconsciously, are temporary refuges from these pressures. Not escapes from reality, but suspensions of some of reality’s demands. Spaces in which people can momentarily set aside the need to be correct, efficient, productive, or certain.

The most successful participatory works are rarely those that ask people to do something entirely unfamiliar. Rather, they offer recognizable frameworks—stores, libraries, classrooms, games, celebrations, performances, archives, playgrounds. We know how to inhabit these forms. The artist’s task is not to invent a world from nothing but to subtly reorganize a familiar one.

Play grants us permission. Permission to imagine alternatives. Permission to experiment without certainty. Permission to occupy different roles. Permission to ask “what if?” Permission, for a moment, to stop performing adulthood and to engage with the world through curiosity rather than obligation.

In this sense, the artistic oasis is not a place where we become children again. It is a place where we remember capacities that adulthood has taught us to conceal.

That, I believe, is the deepest promise of participatory art. Not that it teaches us something we did not know, but that it helps us recognize something we have known all along.

Perhaps that is why Pessoa’s garden continues to resonate. It was never simply a place from childhood. It was a reminder that somewhere within ordinary life there remains a territory governed by different rules. We enter it briefly, and then return. But for a moment, play is its master."]]></description>
<dc:subject>pablohelguera art play 2026 participation participatory interactive interaction uncertainty socialpracticeart collaboration life society exploration permission adulthood children childhood reseacrh innovation johanhuizenga homoludens playgrounds rules dwwinnicott jeromebruner psychology education action improvisation experimentation hypotheticals entertainment federicodamorais marianpedrosa eugenfink fernadopessoa álvarodecampos intelligence joy museums thinking howwethink freedom agency artwork</dc:subject>
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<item rdf:about="https://www.youtube.com/watch?v=mc4s1qu8IP8">
    <title>Françoise Vergès: The world is made through struggle - YouTube</title>
    <dc:date>2026-05-31T00:36:05+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=mc4s1qu8IP8</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["In this episode, I sit down with the incredible Françoise Vergès. We had a beautiful conversation about how the politics of Réunion has animated her life's work,  how she was brought up in the struggle alongside the revolutionaries in her family, about her time in Algeria and Paris, decolonial feminisms (of course!), and the centrality of psychic life to our ongoing fight against fascism and oppressive systems. We honestly talked about so so much more, so I am excited for you to hear it! It was such an honor to sit down with a sister-comrade who has shaped so much of my thinking and political orientation to scholarship.

Françoise Vergès is a political theorist, curator and writer. She writes on the racist fabrication of premature death, decolonial feminism, the impossible decolonization of the western museum, climate disaster and antiracist, anticapitalist politics of vital needs. She works with artists and curates, since 2015, public performances with artists and activists. She is currently working on a film about anti colonial struggles in Reunion Island through her parents’ personal archives and her own.

For more information and on and links to Françoise's powerful work, see her website: https://francoiseverges.com/

This is the passage I read from Françoise's landmark A Decolonial Feminism (Pluto, 2019):

"I used a familiar fruit, the banana, to shed light on a number of analogies and elective affinities: the banana's dispersion from New Guinea to the rest of the world, the banana and slavery, the banana and US imperialism (banana republics), the banana and agribusiness (pesticides, insecticides--the chlordecone scandal in the Antilles), the banana and working conditions (the plantation regimes, sexual violence, repression), the banana and the environment (monocultures, pilluted water and land), the banana and sexuality (Josephine Baker), the banana and branding (Banana Republic), the banana and racism (when did the association of bananas and Negrophobia begin?), the banana and science (researching the 'perfect' banana), the banana and consumption (bringing bananas into the home, suggesting recipes), the banana and rituals for ancestors, and the banana and contemporary art. The method is simple: starting from one element to uncover a political, economic, cultural, and social ecosystem in order to avoid segmentation that the Western social-sciece method has imposed." p. 21-22"

[via:

"Palestine, Playing Fields; Perfidy! The False Capitalist Narrative Running (Puns😎) Throughout!" (this is the part that references college football (plays a clip from here: https://www.youtube.com/watch?v=RHDhdavY-u8 ) and is part of full show: https://www.youtube.com/live/2rHMi1MXILs )
https://www.youtube.com/watch?v=PaUkUZ-X-_o

which points to

"🍌The Banana Method as Psychic Militancy!"
https://www.youtube.com/watch?v=kGNrqiLdKfQ

which points to

"Revolution Is Mental Health! ft Lara Sheehi"
https://www.youtube.com/live/PGnGalaE4Go ]
]]></description>
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<item rdf:about="https://www.youtube.com/watch?v=CbXu9J970sE">
    <title>Nobel Prize-winner Orhan Pamuk on why museum are like novels - YouTube</title>
    <dc:date>2026-05-05T20:25:08+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=CbXu9J970sE</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Novelist Orhan Pamuk reflects on the intertwined creation of his book ’The Museum of Innocence’ and the real-life museum it inspired in Istanbul, Turkey, offering a meditation on memory, objects, and storytelling.

Pamuk describes the project as a singular artistic vision conceived long before its completion: “I conceived and thought about the whole project, a novel operating as a museum… telling the same story with objects.” The novel follows a man consumed by love for a distant relative, who begins collecting everyday items connected to her after their relationship ends. Over decades, these objects form the basis of a museum—one that Pamuk later brought into existence in Istanbul, opening its doors in 2011.

Far from being an afterthought, the museum was envisioned alongside the novel as a parallel narrative form. “The relationship between the museum and the novel would be such that the novel would operate as a sort of an annotated catalogue of the museum,” he explains. The physical space now contains 82 vitrines, each corresponding to a chapter in the book, filled with objects that “the characters use, talk about.”

Pamuk emphasises that the museum's power lies not in the intrinsic value of its items but in their arrangement and context. “Anything—a cigarette butt, a ticket or just only a simple tissue we just throw away—if put on a pedestal… suddenly it gets a new aura, a new meaning.” Through careful composition, ordinary objects become vessels of narrative and emotion.

The conversation broadens to Pamuk’s literary career and his evolving relationship with politics. Initially committed to being “an old-fashioned romantic writer,” he found his work increasingly shaped by political expectations as his international reputation grew. “My romantic imagination… was interrupted by crude Turkish politics,” he says, noting that public attention brought legal challenges and personal risk. While he resists being defined as a political writer, he acknowledges that novels like ’Snow’ and ’Nights of Plague’ engage with political themes, particularly nationalism.

Returning to the idea of museums, Pamuk draws a philosophical parallel: “Museums are places where time is transformed to space.” He adds, “In that sense, museums are very much like novels that we get lost in them.” Both forms, he suggests, rely on accumulation, detail, and structure to create immersive worlds that reshape how we experience time and memory.

Orhan Pamuk was interviewed by Malou Wedel Bruun at the Admiral Hotel in Copenhagen in February 2024.

Camera: Jakob Solbakken
Edit: Signe Boe Pedersen
Produced by Christian Lund
Copyright: Louisiana Channel, Louisiana Museum of Modern Art, 2026."]]></description>
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<item rdf:about="https://www.inventorypress.com/product/living-to-learn-art-education-for-the-common-good">
    <title>Living to Learn: Art &amp; Education for the Common Good, edited by Noah Simblist — Inventory Press</title>
    <dc:date>2026-05-05T04:24:34+00:00</dc:date>
    <link>https://www.inventorypress.com/product/living-to-learn-art-education-for-the-common-good</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["How can alternative organizations and traditional institutions learn from one another? How have exhibition platforms created space for artists to generate learning environments? How have these practices changed assumptions about art institutions and artistic production? How can we think about the economic, ecological, and institutional sustainability of all of these practices?

Living to Learn, edited by Noah Simblist of Virginia Commonwealth University, presents the work of over seventy artists, curators, collectives, and scholars who address contemporary art as a site of learning in the twenty-first century. Building on earlier histories of education as civic service for the common good, it focuses on the last twenty-five years while exploring the future of art education as a practice unfolding both in and beyond school. The book’s case studies reveal how innovations in education have a dynamic relationship with artistic practice, alternative arts organizations, universities, museums, and biennials."]]></description>
<dc:subject>art education arteducation openstudioproject lcproject 2026 noahsimblist ecology economics sustainability learning howwelearn life living civilservice alternative altgdp museums universities colleges highered highereducation biennials</dc:subject>
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<item rdf:about="https://journal.voca.network/unhoused-murals/">
    <title>VoCA Journal Unhoused Murals</title>
    <dc:date>2026-04-06T21:00:44+00:00</dc:date>
    <link>https://journal.voca.network/unhoused-murals/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The Museo a Cielo Abierto de Valparaíso (MaCA) is a collection of twenty murals and a mosaic, conceived in 1991 by Chilean painter, architect, and academic Francisco Méndez, and born from a mural workshop de la Universidad Católica de Valparaíso. Through an agreement with the Municipality, this initiative enabled the artistic transformation of public spaces in Valparaíso, Chile, and was inaugurated in 1992."]]></description>
<dc:subject>valparaíso murals art 2026 magdalenadardelcoronado 1992 franciscoméndez pucv publicspace museums maca andreagiunta pedagogy</dc:subject>
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    <title>A Museum's Sublime Hallucinations</title>
    <dc:date>2026-03-08T22:04:33+00:00</dc:date>
    <link>https://newsletter.dancohen.org/archive/a-museums-sublime-hallucinations/</link>
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    <title>Exploratorium by Jon Boorstin - YouTube</title>
    <dc:date>2026-03-05T21:59:19+00:00</dc:date>
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    <dc:creator>robertogreco</dc:creator><description><![CDATA["Jon Boorstin's 1974 film, Exploratorium, was nominated for the Academy Award for Documentary Short Subject. This film explores the museum through imagery and sound, without a narrative voice-over."

[via:
https://aeon.co/videos/museum-goers-toy-with-reality-in-this-oscar-nominated-short

"San Francisco’s Exploratorium was founded in 1969 by the US particle physicist and teacher Frank Oppenheimer, the brother of J Robert Oppenheimer. The museum continues to operate today, with more than 1,000 interactive exhibits at the nexus of technology, science and art. In this Oscar-nominated, observational short documentary from 1974, the US director Jon Boorstin captures visitors, young and old, as they explore sound, light and perception through the museum’s many hands-on experiences. Through exquisite cinematography and editing, Boorstin transforms a second-hand journey through the museum into a ceaselessly captivating and reality-bending encounter in its own right."]]]></description>
<dc:subject>jonboorstin 1074 documentary exploratorium sanfrancisco museums</dc:subject>
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<item rdf:about="https://www.roborantreview.com/reviews/a-tale-of-two-first-thursdays">
    <title>A Tale Of Two First Thursdays — Roborant Review</title>
    <dc:date>2026-02-16T04:08:22+00:00</dc:date>
    <link>https://www.roborantreview.com/reviews/a-tale-of-two-first-thursdays</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Perspectives: A series authored by art world professionals on the state of the arts."

...

"Before proceeding, I should interject that I have no intention of villainizing anyone at the TLCBD—since we opened our space they have been incredibly helpful and supportive of us every step of the way, and generally do a lot of important work in the neighborhood. Everyone I’ve met who works for them also, in their own way, genuinely cares for the Tenderloin and wants to see it thrive. I also understand that, especially in our current economic climate, organizations like the TLCBD need to take whatever funding they can get—public or private—and selectiveness is not a luxury everyone can always afford to exercise in the nonprofit sector. That being said, it has become apparent I have some major philosophical differences with them regarding what our neighborhood needs right now, and it’s my opinion that it isn’t a sleek makeover aimed at transforming it into a trendy and up-and-coming place to live. We’ve all seen what similar initiatives have done in neighborhoods like Bushwick in Brooklyn, and Boyle Heights in Los Angeles—and they almost exclusively result in erased cultures, higher rents, and ultimately displacement. 

All opinions aside, however, the move to bring that same money—and the same people behind DFT—into our neighborhood to manufacture this rebranding was something more than an ideological difference at this point—it was personal. If watching this cabal of billionaires and their money usurp the First Thursdays wasn’t hard enough, not being able to speak up or do anything about it for two years has given the umbrage I’ve carried plenty of time to ferment. This was, not to mention, compounded by the recognition of the greater motives at play—to further transform San Francisco into a playground for the ultra-wealthy along with their ensuing urban development and unchecked tech experimentation (e.g., Waymo). Offers to bolster and fold the First Thursday Art Walk into this “Larkin Street Revival” program struck me as a textbook example of Art Washing—because, of course, if efforts to “revive” and gentrify a commercial corridor are underway, what better place to start than with a monthly art walk?

Beginning on January 1st, 2026, the First Thursday Art Walk officially found itself without funding once again—and admittedly of my own volition this time. The TLCBD offered to try to find additional funding that did not come from Chris Larsen’s $5 million donation, but I decided that the affiliation, even if only by proxy, was too strong, and I was thus resolute in cutting my ties with them. I did, however, acknowledge that while I was the steward and the main organizer, I did not start nor own the Art Walk. It was a community event, and the community ought to decide what was best for it. If the community chose to take Chris Larsen’s money, I would not stand in their way—however, neither I nor my gallery would have any part in it. On January 27th, I called a meeting that brought together a congress of those of whom I considered the most active participants of the Art Walk—those who regularly organized events each month and had some level of investment in the growth of the First Thursdays. The objective was to educate everyone on the situation, share opinions, and discuss whether they as a whole wanted to accept this money, and if not, then what to do in the interim until alternative sources of funding were found. 

Among the dozen or so small business owners and representatives present, the consensus on whether to take the money was generally divided. A few people wholeheartedly stood behind my decision, while a few others were quite vocal in their beliefs that the money could benefit the community. Most, however, acknowledged both the pros and cons equally and expressed little more than indecision. One of the biggest arguments for accepting it was that the money was going to be allocated to the neighborhood anyway, and as the pre-existing small businesses here, we should be the ones to receive it and put it to use. An understandable perspective, but one that, for me at least, begins to break down in light of the increasingly exposed designs underway in the reshaping of our city to fit the wants and needs of a select few at the cost of many. And if we believe these billionaires are inherently unethical, along with their constant bypassing of democracy through “charity,” the question remains: how can we accept their contributions without incurring the moral and existential toll? 

While no conclusion was reached at the meeting, more or less everything was laid out on the table, and it was decided that the matter of accepting Chris Larsen’s money would be put to a vote in the coming weeks. This would give everyone time to do their own research and come to their own conclusions before making a final judgment. The Art Walk now sits in limbo, and the future of its governance rests in the hands of its most devoted participants. 

Go To Hell With Your Money, Bastards

Of all of my favorite pieces of dusty, twentieth-century art history lore, one of the perhaps most inspiring is the response of Danish artist and thinker Asger Jorn (co-founder of the COBRA group and Situationist International) to receiving the Guggenheim International Award in 1964. The esteemed award, which included a $2,500 prize, was promptly rejected by Jorn who, via telegram, immediately responded with “Go to hell with your money, bastard,” and a demand that public confirmation of his refused participation be made. In a day-and-age when selling out is not only increasingly acceptable, but the active goal of many artists and institutions, the sentiment of Jorn’s telegram rings for me now louder than ever. 

While the term “art washing” itself is relatively new, the practice has existed in many forms over the course of not just decades, but centuries. As early as the Renaissance, the aristocracy has used art to both launder any number of their own misdoings and as attempts to share credit for the achievements of greater minds than their own. Jorn most certainly saw past this veil, just as many now collectively recognize the sly employment of artists, muralists, galleries, and subcultures as tools for real estate speculation and development. Given such understanding, I would think the choice to not accept money from the likes of Chris Larsen, Daniel Lurie, or the Civic Joy Fund should be an easy one. 

The unfortunate reality, however, is that the reigning narrative of modern-day San Francisco just may no longer be one of conviction, compassion, and standing up to power that it has historically been touted for. That narrative has been replaced by one defined by mass surveillance, hostile anti-houseless architecture, and the full embodiment of our century’s tech-entrepreneurial response to Manifest Destiny. And the remaining pockets of genuine culture and community that exist here seem under constant threat themselves of either co-option, exploitation, or eventual displacement. For those of us who are still clutching onto some vision of the San Francisco we fell in love with however many years ago, the choice is now ours as to whom we align ourselves with. 

I know a lot of people view the Civic Joy Fund and their donors and affiliates as some sort of vital and even necessary force in the resuscitating of our city and in helping it to thrive. Others, like myself, see it as yet another arm of the technocratic billionaire class’s crushing stranglehold on the soul of San Francisco, but all the more nefarious in its masquerading as culture, equity, and inclusion. It is of my humble opinion that a city is not “thriving” when a small group of the ultra-wealthy are having to bankroll endless free street concerts and activations to try to make the city more fun for exactly the same class of people who helped decimate it in the first place—especially when those activations are co-opted and at the expense of pre-existing traditions like the Tenderloin & Lower Polk Art Walk. 

A city thrives when working-class families, individuals, and artists can afford to live in it and aren’t constantly suffocated by rent, rising costs of living, and the looming fear of eviction. A city thrives when workers, students, and small businesses are supported both by infrastructure and by demographics of people who not only inherit the city but are actively interested and engaged with it. San Francisco’s problem for too long has been pandering to an industry of people who are generally detached—and whose only incentives for living here lie in the close proximity to their tech jobs and the convenience of being able to order a near-infinite variety of meals from DoorDash while they isolate in the safety and comfort of their condos and can only be lured out with enormous (and free) block parties. 

As I write this, the corporate street fair known as DFT, about which I’ve hitherto been prohibited from speaking, continues to rage on at the start of each month, along with the endless other events and activations they’re trying to use to invigorate San Francisco and, in turn, preserve the investments of the city’s wealthiest shareholders. Meanwhile, the future of the First Thursday Art Walk—or at very least my involvement in it—is precarious. These recent events have led me to do some deep introspection about whether a gallery like ours, and a monthly art walk, can even exist at all in a neighborhood like the Tenderloin without, in some way—if even inadvertently—feeding the cycles of gentrification, no matter how intent we’ve become on resisting them. Looking back, I question whether my endeavors to work with the city at all have been the right idea, and whether my efforts would have matured better had they remained in spite of, rather than in collaboration with, these institutions shaped by conflicting incentives and entrenched in the power structures that govern San Francisco. 

Documenting this all has also prompted me to do some serious ruminating on not only my own complicity, but that of artists and galleries in general within these extractive economic systems we’re immersed in. Unless one keeps the creative work they do entirely divorced from commerce—and I praise the few that do—there is no practical way to vet every transaction that helps uphold our practices. As the adage goes, there is no ethical consumption under capitalism. This raises the question: when, and where do we then draw the line? For me, I’ve concluded it’s when my work risks being weaponized, either directly or indirectly, to perpetuate harm or promote the agendas of those I stand in moral opposition to. Witnessing what has happened in San Francisco over the past few years, I’ve grown to understand how challenging it can be for artists to evade such agendas, as they often arrive disguised as much-needed patronage and support, and prey on a financially vulnerable class of people. But that does not excuse us from having to ask ourselves these hard questions, and with what’s happening in our city, the time to be asking them is now.  

The closure of Moth Belly Gallery at this point may be all but imminent, but I’d much prefer that over having our legacy tainted by any affiliation to the rampant sterilization of this city and the billionaire money propelling it. Besides, five years is a long time to have run a space like ours, and it would be in line with the ephemeral nature of DIY, artist-run galleries to clock out around this time. If that means getting a regular job again, all the better—as I’m at a point where I’d rather do that than continue to be constantly beholden to the interests of others when it comes to the things that I cherish. And if that also entails the true end of my now 23-year tenure as a resident of San Francisco, I also accept that fate, and am thankful for having at least caught a short glimpse of the marvelous city San Francisco once was before being devoured by the mass corporatization of the twenty-first century."]]></description>
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<item rdf:about="https://aeon.co/videos/theres-a-gentle-artistry-to-a-museum-taxidermists-craft">
    <title>There’s a gentle artistry to a museum taxidermist’s craft | Aeon Videos</title>
    <dc:date>2026-01-20T05:34:06+00:00</dc:date>
    <link>https://aeon.co/videos/theres-a-gentle-artistry-to-a-museum-taxidermists-craft</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["This short captures Tim Bovard, the staff taxidermist for the Natural History Museum of Los Angeles County, as he reflects on over five decades spent perfecting his craft. Sparked by a childhood fascination with the museum’s dioramas that never faded, Bovard has devoted his career to shaping what he calls the ‘illusion of life’ – a process that requires both scientific precision and imaginative interpretation. Moving between his workshop, where he’s preparing a European starling for display, and the museum’s galleries, Bovard considers how these dioramas can help shape the public’s understanding of the nonhuman animal world. His reflections resonate deeply at a time when many people have limited contact with wildlife, and many of the species depicted in these displays are disappearing at alarming rates."]]></description>
<dc:subject>timbovard taxidermy naturalhistorymuseum museums naturalhistory 2026 morethanhuman nature animals losanageles craft dioramas nonhuman display wildlife</dc:subject>
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<item rdf:about="https://www.sanfranciscoisdead.com/">
    <title>San Francisco is Dead</title>
    <dc:date>2026-01-13T03:38:39+00:00</dc:date>
    <link>https://www.sanfranciscoisdead.com/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Nothing is happening in San Francisco. All the artists are dead. There are no books being made here. The world’s best bookstores are not here. There are no readings, no music venues, no art galleries, no libraries, no orchestras, no museums, no festivals that involve pianos in botanical flower gardens, and no food. There are definitely not poetry readings or theaters or handmade modernist saunas with views of the Golden Gate Bridge. There is absolutely no culture. Don’t even think about moving, or even visiting, here. It’s really terrible. If you do come, you will regret it. If you already live here, like we do, our sincere condolences.

“San Francisco Is Dead” is a free event calendar compiled by the editors of McSweeney’s, an independent nonprofit publishing house based in San Francisco. McSweeney’s publishes three magazines (McSweeney’s Quarterly, The Believer, Illustoria), a daily humor website, and an intrepid list of distinctive books of many genres. You can buy all of these things from our online store. You can also support us today by making a donation."

[via:

"San Francisco: Dead and loving it
A new listings site from McSweeney’s doesn’t quite prove that nothing ever happens in this city"
https://sf.gazetteer.co/san-francisco-dead-and-loving-it
https://archive.ph/Ahcg2 ]]]></description>
<dc:subject>sanfrancisco mcsweenys events libraries bookstores calendars humor music museums festivals books</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:72bdde01c007/</dc:identifier>
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<item rdf:about="https://www.youtube.com/watch?v=rt6wn74gmEY">
    <title>Extreme Beachcombing - YouTube</title>
    <dc:date>2025-12-15T16:57:17+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=rt6wn74gmEY</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[""Mankind's trash is one man's treasure."

EXTREME BEACHCOMBING is an intimate portrait of retired plumber John Anderson and his 46-year obsession with collecting manmade objects that wash up on the obscure beaches of the Pacific Northwest. Narrated entirely by John himself, this poetic and philosophical documentary short includes images, items, and stories from his one-of-a-kind Beachcombing Museum in Forks, Washington, culminating in a raw, firsthand look at what he calls "extreme beachcombing."

This is a HELP I'M ON FIRE production. Video made by Ryan Pinkard and Christian Klintholm"]]></description>
<dc:subject>beachcombing beaches forks washingtonstate olympicpeninsula 2024 collections collecting museums garbage trash johnanderson ryanpinkard christianklintholm</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
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<item rdf:about="https://placesjournal.org/article/extralibrary-loan-making-civic-infrastructure/">
    <title>Extralibrary Loan: Making the Civic Infrastructure We Need</title>
    <dc:date>2025-11-02T20:52:41+00:00</dc:date>
    <link>https://placesjournal.org/article/extralibrary-loan-making-civic-infrastructure/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Amid a war on public knowledge, libraries are pushing outward, enlarging the commons through new configurations of civic and creative life."

...

"We don’t need fancy, new buildings to create civic synergies or build community news networks. But thinking spatially and programmatically can help us imagine what’s possible, which partners should be invited in, how the logistics of sharing are structured, what spaces of exception and refuge will be carved out. We should think, too, about topologies of fortification: how these allied institutions and partnered programs can be more deeply rooted in their communities, and, through their entanglement and embeddedness, less vulnerable to isolated attack. Banding together, they demonstrate the value of civic adjacencies. And scaling up — to an urban or regional-logistical scale — they form new networks of solidarity: improvisatory extra-institutional loans, systems of sharing, fugitive infrastructures, shadow libraries, joint trusts, collective practices of hope, expansive undercommons necessary in this dark era."]]></description>
<dc:subject>shannonmattern 2025 libraries journalism place infrastructure civics creativity knowledge publicknowledge kellyjensen bookriot lukesutherland susanorlean heatherchaplin us jousrnalism whatsapp information social terryparrisjr maga ala librarians hannawiemer donaldtrump socialarchitecture everylibrary wisdom resources politics media newdeal forums johnstudebaker wpa makewith kateharlow mediaecosystems hanifabdurraqib engagement privacy integrity sustainability surveillance extraction distraction monetization collections ai artificialintelligence inevitability solidarity bannedbooks newsrooms mediacommons commons katherinevictoriacoffield seattle sandiego nyc brooklyn ballard missoula montana museums nypl undercommons collectives mutualaid resistance refusal trusts</dc:subject>
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<item rdf:about="https://pablohelguera.substack.com/p/when-pilgrimage-becomes-form">
    <title>When Pilgrimage Becomes Form - Beautiful Eccentrics</title>
    <dc:date>2025-10-18T06:09:52+00:00</dc:date>
    <link>https://pablohelguera.substack.com/p/when-pilgrimage-becomes-form</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["On peripatetic practices."

...

"I started walking intently, as the writer Lori Waxman calls it, sometime during the pandemic in 2020. The pandemic forced us to radically limit our mobility to the most immediate surroundings. During that period my mind reverted to my childhood, when I was not allowed to leave the house unattended and was dependent of an adult to go beyond a few blocks. Stores and restaurants were closed, and even some public parks; no public transportation was available nor taxicabs. For many of us New Yorkers without a car, the only way to rebel against that imprisonment was to go out and walk through our neighborhoods. The activity became not only a form of exercise, but an attempt to improve our mental health.

Over the past five years this practice has deepened for me, leading to three realizations:


1. Movement and knowledge are inseparable; the act of going toward something generates its own kind of understanding.
2. Art is pilgrimage, and pilgrimage itself is a form of art.
3. Getting lost is not failure but a necessary and undervalued condition.

To survive as human beings requires the ability to move. Our earliest ancestors, 300,000 years ago, depended on hunting and gathering. Immediately, we can understand that this process of gathering is itself a form of learning—whether in a nomadic or sedentary community. The hunter or gatherer requires knowledge of the landscape, ecological systems, and the resources of their environment. What they observe must be shared and transmitted to their community, making this process of gathering an eminently social act.

Movement also connects to another kind of knowledge: spiritual knowledge—the knowledge of the pilgrim. As is well known, the principal reason that pilgrims walk the Camino de Santiago is spiritual, since the lessons gained suggest that difficulties and setbacks must be confronted rather than avoided.

But pilgrimage is not only an act of spiritual realization—it is also an act of knowledge. This is manifest in the Baroque period, ironically in the work of a Hieronimite nun who never traveled outside of the New Spain. I am referring to Sor Juana Inés de la Cruz’s masterpiece, Primero Sueño. In that poem, the narrator imagines her soul rising from her body while dreaming, at which time she is able to capture the totality of divine and human knowledge. But, it being a dream, this knowledge is also an illusion, and she wakes up with that realization.

In art, the way walking has been domesticated, if you will, is by turning it into an act of spiritual/touristic pilgrimage to specific sites.

The museum, often seen as a mausoleum, in other contexts becomes a kind of sanctuary or altar. The experience of visiting an artwork is a hybrid of tourism and spiritual pilgrimage.

Artworks in museums often undergo a double consecration. First, they become commodities, circulating through systems of value until they are enshrined as priceless treasures. Second, once housed in institutions, they acquire the aura of relics: objects to which we make pilgrimages. To stand before the Mona Lisa, for instance, is less an act of aesthetic contemplation than a ritualized performance — waiting in line, jockeying for a glimpse, documenting the encounter with a smartphone. As Benjamin suggested, the museum amplifies aura by staging artworks as sacred presences, and as Carol Duncan has argued, the visit itself functions as a civilizing ritual. Yet in the society of the spectacle (Debord), this ritual is commodified: tourism, ticket sales, and the circulation of selfies transform reverence into revenue. The museum pilgrimage becomes indistinguishable from a consumer experience, a sacred encounter repackaged as leisure.

It was precisely against this cycle of idolatry and fetishism that process-based art emerged. In Happenings, Kaprow shifted attention away from the object and toward the event; performance artists made the body itself the medium; land artists inscribed gestures into the landscape rather than onto a canvas. What mattered was not the relic but the act — the lived moment of participation, risk, or movement.

Walking as an art form crystallizes this ethos. Richard Long’s A Line Made by Walking (1967) turned the most ordinary of actions into a sculptural trace, reimagining the artwork as a fleeting imprint in the landscape. Hamish Fulton built an entire practice on the motto “no walk, no work,” treating walking itself as both medium and message, where the journey is the art. Francis Alÿs, in works such as The Collector (1991) or The Green Line (2004), extended walking into poetic and political registers, where the act of moving through urban space becomes a way of narrating history and conflict. Unlike the pilgrimage to the museum shrine, these works propose a pilgrimage without object: not a journey toward a sacred relic, but toward oneself. To walk as art is to recognize that the sacred lies not in commodities enshrined behind glass, but in the embodied act of moving through the world, where every step is both process and reflection, both artwork and awakening.

In other words: in museums, artworks often become sacred relics. We line up to see them, as if on pilgrimage — think of the Mona Lisa. But this pilgrimage is commodified: ticket sales, gift shops, selfies. The ritual of reverence is packaged as leisure.

Process-based art broke away from that cycle and shifted value from the object to the act. What mattered was the gesture, the event, the body in time.

My own practice has been guided by this spirit. For me, walking is also learning. It is not centered on an object, but it generates many forms: documentation, markers, narratives. The School of Panamerican Unrest was one such walk — a journey from Alaska to Tierra del Fuego, where each stop became a classroom, each encounter a lesson. The project was less about reaching an end point than about creating a living archive of dialogues across the Americas.

So when I walk, I walk to learn. The artwork is not a relic to be enshrined, but a process of exchange — a story that unfolds with every step.

Whenever I think of the act of getting lost, I often think about the Calzada del niño perdido (lost child Causeway) in Mexico City, a street whose name stems from a colonial-era story about an anonymous boy who got lost and was later murdered. The street is today part of the modern-era Eje Central Lázaro Cárdenas in downtown Mexico City.

While getting lost is often associated with anxiety and tragedy, being lost does not constitute failure. On the contrary, it can be the point. As we know, the Situationists sought it intentionally and celebrated it as the dérive—drifting through the city without direction, letting the streets themselves guide you. To lose the map is to let go of habit, to break from the familiar circuits of daily life.

Displacement, whether intentional or accidental, is deeply generative. When we are out of place, we see differently. The city rearranges itself. Our assumptions are unsettled. Suddenly, a side street, a fragment of conversation, a corner café becomes a revelation.

For me, this has always been central: walking is not about efficiency, it is about discovery. To be displaced is to be invited into new ways of perceiving, to reframe perspective and re-examine reality. It is in those moments of disorientation that the real work of art—and of learning—emerges. So walking also means accepting disorientation. Displacement—whether by design or accident—is productive: it unsettles our habits, shifts our perspective, and opens us to what we would otherwise overlook.

To walk, to learn, even to lose our way: these are not detours from art, but the very conditions for it. In displacement we reframe reality; in drifting we encounter the world anew.

For the artist, in particular being lost, more than constituting failure, is condition. To be dislocated, to stand at the margins, is to step into the role of outsider. Walking is our most direct instrument for this task, the line we draw across the world to register where we are and who we are becoming. Each step is a cartography of reality, a way of sketching our fragile bond with place and time.

And it is in the unease of this dislocation — the vertigo of not quite belonging — that some of the most meaningful works of art are made. For to be out of place is also to see differently, to sense more sharply, to discover what the familiar conceals. Walking teaches us that the shrine is not ahead of us, waiting in a temple or a museum. The shrine is the path itself, the movement, the detour, the drift. It is the moment of being lost, and the act of finding anew.

The peripatetic tradition—from Aristotle to Sor Juana, from psychogeography to contemporary art—reminds us that learning and creating are acts in motion.

I close with one last but important note:

In Maurice Maeterlinck’s The Blue Bird, two children set out on a long journey to find happiness. They travel through strange lands—of memory, of night, of the future itself. And when they return, after all that wandering, they realize the blue bird was at home the whole time.

Walking, too, is this kind of quest. We walk not just to get somewhere, but to lose ourselves, to dislocate ourselves, to let the world rearrange itself before our eyes. And yet, at the end, what we discover is not some distant treasure. It is the nearness of what was already here.

The lesson of The Blue Bird is not that the journey was unnecessary. It is that the journey was the only way to truly see what home means. To walk is to go outward in order to return inward. To walk is to trace, step by step, the cartography of belonging. All these distances I walk daily (21,000 daily steps, or 10 miles), that search of happiness of sorts, this long pilgrimage, I have come to realize, is nothing other than an effort to come back to myself. The bird we seek is not distant; it waits quietly at home. The pilgrimage is the form, and the form is the return."]]></description>
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    <title>Partita for Ghost Ladder and Insect Eyes</title>
    <dc:date>2025-10-18T05:48:48+00:00</dc:date>
    <link>https://pablohelguera.substack.com/p/partita-for-ghost-ladder-and-insect</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Using artistic means for non-artistic ends."

...

"A

In 2005, I was invited by the members of the Mexican collective Laboratorio 060 (then composed of Javier Toscano, Daniela Wolf, Lourdes Morales, and Gabriella Gómez-Mont) to participate in a site-specific project that brought together international artists and the community of Frontera Corozal, Chiapas — a small town on the border between Mexico and Guatemala, along the Usumacinta River, deep in the Lacandon jungle.

B

I often think of the late Marjorie Perloff, whose brilliance I had the privilege to witness firsthand and whose book Wittgenstein’s Ladder has long served as a quiet compass. In that remarkable study, she demonstrated how the philosophy of language could illuminate the strangeness and beauty of poetic form — how the scaffolding of thought might itself be art.

Lately I have been preoccupied with a reversal of Wittgenstein’s metaphor. In the realm of art, contrary to his suggestion, we cannot throw the ladder away. The ladder — the process, the experience, the unfolding of thought and action — is not a means to an end but the very substance of the work. Yet our museums and markets, fixated on the permanence of the object, continue to discard the ladder, mistaking its residue for the work itself.

A

The Frontera project, about which I have written elsewhere, was among the first socially engaged art initiatives in Mexico and profoundly shaped my thinking about audience engagement. Some of the artists included in the project were Aníbal López, Bubu Negrón, Miguel Ventura, and many others.

The project’s interventions ranged from public works to provocative performances that generated puzzlement in the community. At times I think they saw us as a group of crazy tourists that were doing eccentric rituals, but at the same time we connected with them in ways that transcended language and our respective universes. I spent time with Chol children in a grade school, Primaria Torres Bodet, where the students wrote their own short stories (in Chol).

The project was, in every sense, complex — impossible to summarize here — but one challenge stands out: how to convey the story of what had happened in Frontera to those who had not been there. After a number of years, the collective eventually produced a documentary, but even the documentary does not manage to fully convey the intricacies of the project.

Writing workshop with students at the Escuela Primaria Federal Bilingüe Jaime Torres Bodet, Frontera Corozal, Chiapas, 2006 (Javier Toscano on the right side of the photo).

B

Wittgenstein viewed language as a ladder to be discarded once understanding had been reached. The art world, perhaps unwittingly, absorbed this idea by fetishizing the finished object. Museums and markets celebrate completed things rather than fulfilled intentions — as if the endpoint of artistic labor were a permanent object rather than a temporary state of comprehension.

The most meaningful artistic processes I have witnessed do not culminate in the object but move through it: the object becomes a prop, a marker, a trace of an encounter. To throw away the ladder, in this sense, is to discard the very work we seek to understand.

This misunderstanding — the elevation of the remnant over the realization — has shadowed much of modern and contemporary art. The avant-garde already attempted to dissolve the boundary between means and ends: Kaprow’s happenings, Lygia Clark’s relational objects, and Tania Bruguera’s arte útil all sought to locate meaning in acts rather than artifacts. Yet the museum, compelled by its custodial logic, continues to frame these works through the detritus they left behind. It behaves like Wittgenstein’s reader who climbs the ladder and then displays it in a vitrine — forgetting that its purpose was to enable ascent, not to be preserved as an object of study.

This institutional tendency betrays a deeper epistemological discomfort: the anxiety that, without the object, we lose our coordinates of value, authorship, and permanence. Against that anxiety, the task of both pedagogy and art may be to learn how to dwell within process — to recognize that the fleeting, dialogical, or collective experience is not a prelude to the work but its fullest form of existence.

A

In 2008, when I had the chance to invite Laboratorio 060 to exhibit in New York, at the CUE Foundation, and they sought to present an anthology of their past projects, the question of how to present Frontera Corozal returned. Javier Toscano proposed something radical in its simplicity: to have a person stationed in the gallery at all times, a living storyteller who would narrate aspects of the project — to embody what could never be contained in images or video. Financial limitations made it impossible, but the idea stayed with me. It remains, to my mind, one of the most eloquent metaphors for what museums and educators must learn to do: to animate the absent process, to make visible the invisible scaffolding of art through presence and narration.

Often I think that this is precisely what educators already do, albeit without formal acknowledgment: we serve as living interpreters of what the artwork cannot say for itself.

B

Perhaps what requires closer attention is not our misunderstanding of the ladder but our fear of letting it go. The art object is not merely an aesthetic artifact; it is a kind of security blanket. It reassures collectors of possession, scholars of focus, museums of purpose. The object anchors the otherwise unstable realm of artistic process, providing a surface upon which value and authorship can be inscribed. Without it, the canon loses its stage set, the archive its evidence, and the institution its promise of permanence.

Artists are not innocent in this arrangement. During creation, our attention belongs to the immediacy of process — the question, the exchange, the experiment. Yet, with time, the temptation to translate the ephemeral into consecrated form becomes irresistible. Photographs, certificates, relics of social projects: these become the tokens that secure our place in the narrative we once sought to unsettle. Thus, we too sustain the system that mistakes the ladder for the ascent, allowing documentation to stand in for the experience itself.

The question, then, is twofold. First: how might artists resist the gravitational pull that turns inquiry into artifact, action into documentation, and experiment into inventory? Can an artwork exist as a process of knowing that refuses to collapse into ownership yet sustains itself socially and economically? Perhaps the task is not to destroy the object but to destabilize it — to transform it from relic to relay, from residue to condition.

Second: the greater challenge may fall upon the institutions built to enshrine artists. Museums, designed to protect objects, must now tell the stories of works that resist objecthood. They must narrate gestures meant to vanish and teach audiences to encounter art that exists more in time than in space. Doing so requires an epistemological shift: from the museum as a container of artifacts to the museum as a mediator of processes.

This might mean collecting protocols rather than things, treating exhibitions as rehearsals rather than finales, and valuing the interpretive labor of the public as part of the work’s afterlife. Preservation may sometimes take the form of facilitation rather than possession. The true continuity of art may lie not in its objects but in its capacity to generate renewed forms of experience across time.

Museum education, I believe, holds a unique key to this dilemma. If curatorial practice is bound to the object, education is bound to the encounter. Through interpretation, activation, and conversation, educators can reveal what I call the museum’s ghost ladders — the vanished structures of process and inquiry that once supported the finished work but now haunt its display.

A

I remember one night in the Lacandon jungle during the Frontera project, sitting on a porch after dinner as waves of sound—cicadas, crickets, and other unseen creatures—rose and fell around us. The air was thick with humidity and the layered chorus of the forest. At one point, I noticed a large tarantula near my feet and instinctively recoiled, startling myself. The locals burst into laughter at my reaction, assuring me that these spiders were entirely harmless. The conversation then turned to the presence of all living beings around us that we were not aware about. A local then suggested I place a flashlight beside my temple and point it toward the trees, an area that was absolutely pitch dark. When I did, thousands of tiny glimmers blinked back — the reflections of innumerable insects’ eyes hidden in the dark.

That image returns to me whenever I think about the unseen processes that underlie the artworks we display: the invisible ladders that structure the visible world.

Fugue

James Joyce once wrote in Ulysses: “What is a ghost? One who has faded into impalpability through death, through absence, through change of manners.”

The processes of art, too, sometimes fade into a kind of impalpability — through institutional habit, curatorial absence, and changing manners of art-making. Yet their eyes still shimmer in the dark.

To recognize them is to acknowledge that the work of art is never finished, that the ladder remains even when unseen. Our task, as artists and educators, is to sensitize others to their presence — to make them glimpse, if only for a moment, those innumerable ghost ladders watching us climb, gleaming like the eyes of the jungle, reminding us that art itself is the act of ascent."]]></description>
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    <title>One Way to Shake Up Museum Curation? Hand the Keys to the Kids. - The New York Times</title>
    <dc:date>2025-10-15T23:03:12+00:00</dc:date>
    <link>https://www.nytimes.com/2025/10/15/arts/design/museum-curation-children-teenagers.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["As U.S. institutions reimagine their programming, some are adopting a new approach: recruiting young people to organize their shows."]]></description>
<dc:subject>museums children youth 2025 raymarkrinaldi art</dc:subject>
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<item rdf:about="https://anarchive.fo.am/silver/jacquard_mistake/">
    <title>The Jacquard Mistake — anarchive</title>
    <dc:date>2025-09-11T20:30:47+00:00</dc:date>
    <link>https://anarchive.fo.am/silver/jacquard_mistake/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Concerning certain adjustments to the counterweights, and what was lost. Or: a ghost story about looms."

[See also:
https://fo.am/blog/2025/09/10/weave-code-hammer/

""The Jacquard Mistake" haunts a Yorkshire textile museum, where phantom adjustments reveal weaving's lost responsiveness. Chalk marks on beams, counterweights that respond to the weather – a ghost story about the technologies we didn't choose."

https://anarchive.fo.am/silver/backwards_to_the_ground/
https://anarchive.fo.am/silver/from_scratch/ ]]]></description>
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<item rdf:about="https://missionlocal.org/2025/07/curating-art-at-san-francisco-airport/">
    <title>Want to tour the SFO Museum? Just email, and you’ll get one-on-one treatment.  - Mission Local</title>
    <dc:date>2025-07-30T03:15:59+00:00</dc:date>
    <link>https://missionlocal.org/2025/07/curating-art-at-san-francisco-airport/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The Art of Engaging Millions at San Francisco International Airport"]]></description>
<dc:subject>sfo museums airports sanfrancisco art danielazitlalysndoval 2025 danielcalderon</dc:subject>
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<item rdf:about="https://www.hodinkee.com/articles/scenes-from-the-swatch-museum">
    <title>Dispatch: Scenes From The Swatch Museum - Hodinkee</title>
    <dc:date>2025-07-11T18:56:32+00:00</dc:date>
    <link>https://www.hodinkee.com/articles/scenes-from-the-swatch-museum</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["A look inside the plastic treasure trove."]]></description>
<dc:subject>2025 swatch tantanwang museums watches geneva biel switzerland</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:9192dc833a59/</dc:identifier>
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<item rdf:about="https://www.404media.co/ai-scraping-bots-are-breaking-open-libraries-archives-and-museums/">
    <title>AI Scraping Bots Are Breaking Open Libraries, Archives, and Museums</title>
    <dc:date>2025-06-20T16:31:15+00:00</dc:date>
    <link>https://www.404media.co/ai-scraping-bots-are-breaking-open-libraries-archives-and-museums/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[""This is a moment where that community feels collectively under threat and isn't sure what the process is for solving the problem.”"]]></description>
<dc:subject>libraries archives museums openweb datascraping bots ai artificialintelligence emanuelmaiberg 2024 internet web online</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
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<item rdf:about="https://futuress.org/stories/feeling-the-museum/">
    <title>Feeling the Museum: Towards Multi-sensory Mediation</title>
    <dc:date>2025-04-16T01:01:09+00:00</dc:date>
    <link>https://futuress.org/stories/feeling-the-museum/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["How dominant practices rooted in ableism exclude tactile knowledge and Blind perception in museums."]]></description>
<dc:subject>museums senses tactile access accessibility disabilities disability blind perception liliankorner 2025 design vision visuallyimpaired sight discrimination art juhanipallasmaa knowledge marginalization injustice disabilityjustice accessriders</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
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<item rdf:about="https://www.ianwelsh.net/philistines-philistines-everywhere/">
    <title>Philistines, Philistines Everywhere – Ian Welsh</title>
    <dc:date>2025-04-12T22:19:55+00:00</dc:date>
    <link>https://www.ianwelsh.net/philistines-philistines-everywhere/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["It seems like the highest fruits of civilization are the target:
<blockquote>President Trump on Friday signed an executive order that aims to eliminate seven federal agencies, including ones that focus on media, libraries, museums and ending homelessness…

…The president targeted the U.S. Agency for Global Media, which is the parent company of Voice of America (VOA), as well as the Woodrow Wilson International Center for Scholars in the Smithsonian Institution and the Institute of Museum and Library Services, an agency that supports libraries, archives and museums in every state.

He also dismantled the United States Interagency Council on Homelessness, which aims to prevent and end homelessness in the U.S… (and more) (my emphasis)</blockquote>

Libraries, museums, art galleries, and open universities (they all used to be, now they’re all closed) are what justify humanity: they are our glory, the pinnacle of human grace. It’s art and culture and creativity and imagination that, along with care, make humanity worth shit.

(It should go without saying that the amount of money spent on libraries, archives and museums is a rounding error on Federal expenditures.)

Care is the other thing that makes humans more than a bunch of brutal, murderous, rapist, cruel chimps. Universal health care, hospices, housing for the poor, food for the hungry: these are what redeem humans, that make us more than a waste of skin.

Art and hospitals justify humanity. Caring for animals makes us more than beasts. I have no idea why some people want to be a bunch of murderous fucking chimpanzees, where the strong rule of the weak, and everything but power and money is denigrated.

If you’ve never experienced real pain, go visit a burn ward or a psych hospital. Our bodies make us vulnerable to horror. In face of that horror, it is art, learning and caring for others that make the world more than just Hell.

The people who laugh at prisoners being raped, who think that prisons should be about hurting prisoners, who think torture is acceptable, that mass murder of civilians is acceptable, become what they hate. Rapists by proxy, torturers by proxy.

This doesn’t mean turning the other cheek. By all means we should defend ourselves from monsters. But in so doing we must not, ourselves, become monsters.

To defund libraries, museums, archives (where our history is stored) and help for the homeless is to be a beast: less than an animal, since most social animals do care for each other. Libraries and public art galleries, in particular, are a ladder up and a solace. A place where anyone can go and experience the flower of human imagination, leave this world aside for a time and enter the worlds of creation. The internet is not a substitute, we can not be sure that the free resources here will remain free, and there is something extra to the physical presence of art and writing.

Trump is a Philistine, and so are most of his supporters. The ideals of civilization, the highest expressions, are care and art."]]></description>
<dc:subject>civilization libraries museums art universities colleges education highereducation highered academia culture humanity humanities care caring donaldtrump policy funding society 2025 government governance archives memory history internet web writing experience imagination</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
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<item rdf:about="https://www.youtube.com/watch?v=QUdtXxzBVG0">
    <title>CLIR Climate Resiliency Webinar. Session 5: Placed Base Planning - YouTube</title>
    <dc:date>2025-04-11T20:52:31+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=QUdtXxzBVG0</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Culture bearers, stewards, librarians, archivists, and museum professionals play a vital role in preserving history, memory, and culture for local and regional communities. The impacts of climate change make preserving cultural heritage more challenging for the heritage and arts sectors. Assessing risk and long-term effects based on data, as well as cross-sector network building, is critical to strengthening community resilience at both the local and regional levels. Participants in this workshop will learn how to use online tools to interpret climate data at the local and regional level to understand the risks for long-term impacts of climate change. Participants will also learn how to gain situational awareness at the local and state levels by identifying climate-related planning and policy documents created by governmental entities. With climate data and knowledge of existing plans and policies, participants should feel more confident in understanding community resilience and how to tap into support networks and identify those concerned and experienced in addressing climate change."]]></description>
<dc:subject>2025 jenniferwaxman archives archiving libraries librarians climate climatechange environment globalwarming museums via:todrobbins history memory culture knowledge risk riskassement awareness policy planning</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
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<item rdf:about="https://2ndbreakfast.audreywatters.com/friday-2/">
    <title>No Future in Our Dreaming</title>
    <dc:date>2025-04-04T16:53:23+00:00</dc:date>
    <link>https://2ndbreakfast.audreywatters.com/friday-2/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["It's been another very dark week, hasn't it. Not even Cory Booker's act of elocutionary endurance could shake me out of the gloom.

It's a personal gloom, no doubt – this week marked the five year anniversary of the last time I saw Isaiah. It was early in the pandemic, the first week or so of "social distancing." So we didn't even hug goodbye.

It's hard to shake that feeling of being unmoored when the future you imagined yourself, your children is ripped away. Trump has already done that once to that country. Even though I suffered the most unimaginable loss during his first presidency, there are ways in which this time around, it almost feels worse. Or at least, it's one thing to be stoic and resilient about your own grief and loss; it's something else to witness the destruction of democracy.

And it's something else to see so much complacency, so much complicity, to see smart people embrace the notion that we're going to AI our way out of this mess.

The Washington Post's Philip Bump asked a number of political scientists and historians what America might look like a decade from now. Placing today's political events on longer time frame is imperative for any discussions we might have about education, of course. Because, despite all the talk about speed and efficiency by ed-tech entrepreneurs, students will spend years and years and years in school. The decisions that the Trump Administration makes now – defunding scientific research and higher education, for example, and dismantling civil rights protections – will have long term consequences for even the youngest of today's students, for their future, for the future of civil society.

The respondents in Bump's informal survey all posit a decline in democracy and a rise in authoritarianism, no surprise, with Georgetown University's Thomas Zimmer specifically pointing to the "tech right fever dream of anarcho-capitalist feudalism" and the role it might play in shaping American autocracy.

The "tech right fever dream of anarcho-capitalist feudalism" is inseparable from artificial intelligence. To embrace AI is eschatological: to surrender to a promise of algorithmic assurances, to fuel a techno-imperialist information utopia, to engineer a post-human paradise, and – this one is within reach, to be sure – to automate democracy's undoing.

[image: screenshot of a Marc Andreessen tweet reading: "" - screenshot is captioned: "We are ruled by the stupidest people, churning out policies and pronouncements from their stupid text-prediction machine

Education journalist Jennifer Berkshire urges us to do better at "connecting the dots." "I often have the feeling when reading the journalists who cover education that they’re reporting from inside a paper bag," she writes. "In other words, it’s impossible to make sense of the ‘why’ of what’s happening if you’re not listening to the larger stories that Trump et al are telling about the world they want to recreate."

We might wonder, for example, why on earth Trump would shutter the Institute of Museum and Library Services, the largest source of federal funding for libraries. Its budget is pretty insubstantial after all – $290 million last year, money spent mostly on database systems and collections management. Of course, any supposed cost-savings for taxpayers isn't really the point of any of the DOGE endeavors. In this case, an attack on libraries is tied to the right-wing belief that libraries are "woke" – the incredible danger posed by Drag Queen Story Hour. Trump supporters are clearly committed to censorship and are actively engaged in book-banning initiatives. But libraries are more than books. They have also become a key "safety net" in many communities, where the poor and homeless can access social services. So that too is a reason they must go.

Dismantling the nation's library and museum system – "restoring truth and sanity to American history" as Trump's recent Executive Order put it – is a demand for ideological compliance, to be sure, an attempt to diminish our ability to think and read and write and critique and learn. Connect the dots, as Berkshire urges us, to the privatization of information and educational resources, to technological solutionism, to the capacity for an algorithmic, centralized control of content.

The attack on higher education is an attempt to shape ideology too. But it also underscores the right-wing's belief that the "wrong people" are getting college degrees – Black people, Brown people, immigrants, women. As Berkshire argues, the latter is particularly central to white supremacist and eugenicist concerns about "shrinking birth rates," something Elon Musk frequently whines about. The Heritage Foundation, for its part, has suggested that changes to education policy might increase the "married birth rate," arguing that "Expensive and misguided government interventions in education are, whether intended or not, pushing young people away from getting married and starting families—to the long-term detriment of American society.” These "government interventions" include things like financial aid, BA requirements for teachers, and subsidized childcare programs – now being eradicated at the federal and state level – that, as they see it, lure women into college and then into the workforce and away from the maternity ward.

(Related, in Wired: "Far-Right Influencers Are Hosting a $10K-per-Person Matchmaking Weekend to Repopulate the Earth")

The privatization of public education – both K-12 and higher education – has long been the goal of neoliberal reformers and philanthropists, and technology companies have been happy to help. Indeed, many of the core capacities of these institutions have already been outsourced – course management, registration, communications, online offerings, and so on. Deals with AI companies – more on that below – can now fulfill the long-promised automation of instruction as well.

The Trump Administration's policies in and around and beyond education, as Berkshire points out, are explicitly pro-management and anti-labor – the elimination of collective bargaining rights of federal workers echoes the elimination of these rights in red states. It's a "bosses on top" mentality, as John Ganz has described it, which insists that “the authority and power of certain people is the natural order, unquestionable, good.” Efforts to undo DEI are not simply attacks on the diversity of the workforce, they're an attack on civil rights and labor rights broadly held. And efforts to undermine public education aren't simply an attack on teachers' rights as workers, but on children's rights not to work – as legislators in Florida, for example, are seeking to end child labor protections.

AI is all part of these strategies of displacement and control.

It's impossible not to read the threat of AI as a threat against workers, a threat that cannot be disentangled from either Trump's explicit executive orders or the generalized anti-union stance of Silicon Valley.

(It's worth remembering too: it's never simply a question of what computers can and cannot do, but about whose interests computers are built to serve. That is to say, robots are not going to take away your job; your boss is.)

Among those whose interests are best served by this push for artificial intelligence, other than "your boss": the fossil fuel industry. According to The Guardian, the industry (one of the main backers of right-wing think tanks, it's worth noting) is thrilled with this turn of events, as pressures to move to alternative energy sources have largely dissipated. The industry bankrolls oligarchs like Trump, and it's paying off. "Energy Transfer, the oil and gas transport company behind the Dakota Access pipeline, has received requests to power 70 new data centers," The Guardian reports, "a 75% rise since Trump took office."

We cannot simply put the environmental consequences of AI and big data to the side – this weird rhetorical move that I notice lots of people doing. We must – sorry to belabor Berkshire's point here – connect the dots: AI, the petroleum industry, Russia, misinformation, autocracy, war, the end of the world.

(Related: Amy Westervelt on "What the Technofascists and Religious Fanatics Have in Common: End Days Theology.")"]]></description>
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<item rdf:about="https://www.youtube.com/watch?v=7X0FZKNJl-8">
    <title>Book Launch: Ariella Aïsha Azoulay's &quot;The Jewelers of the Ummah ...&quot; - YouTube</title>
    <dc:date>2025-03-14T05:30:36+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=7X0FZKNJl-8</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The Jewelers of the Ummah: A Potential History of the Jewish Muslim World by أريئيلا عائشة أزولاي  Ariella Aïsha Azoulay is a powerful revisitation of those who were omitted from the story of Africa, as colonisation marks the continent’s extant borders. Prof Azoulay argues for the reclamation of indigenous worlds and for efforts to remake the world by unlearning imperialism. The Jewelers of the Ummah: A Potential History of the Jewish Muslim World offers poignant personal-political practice for those who are questioning how to connect the work of artmaking, everyday relations and ancestral knowing to the ongoing urgencies of anticolonial worldbuilding.

VIAD’s RADICAL | OTHERS, in collaboration with Verso Books, are honoured to present an online book launch to bring Azoulay’s critical questioning, worldbuilding and yearning project into proximity with other anticolonial thinkers and artmakers. In correspondence with Prof Jennifer Bajorek, Prof Alexandra Kokoli and Prof Emery Kalema, Azoulay reflects on the art of writing letters as an anti-imperial text along with the art of jewellery-making as a reclamation of ancestral knowledges about the Jewish Muslim world. In the book, Azoulay documents working with her hands to drill precise openings into metals and weave patterns by threading connections. Making jewels, as her Jewish Muslim artisan ancestors would have made in precolonial Algeria, Azoulay accesses knowledge that is passed down without the hierarchy of text.

Azoulay writes,
"In these letters, we refuse to comply with the termination of the Jewish Muslim world, a refusal that, we learn, is more luminous than the imperial orb that eclipsed that world and made everything to bring it to an end. In company, we don’t have to start from scratch. As their vivid memories of this world are made mine, I don’t have to unearth this world, but to inhabit it." [1]

At this special book launch, guests are invited as fellow seekers to draw connections with their varying practices of making and to ask themselves, as Azoulay does, how this form of worldbuilding may aid the work toward a liberated Palestine.

Read more on the VIAD website here: https://www.viad.co.za/ariella-asha-azoulay-book-launch 
 
[1]  Ariella Aïsha Azoulay, The Jewelers of the Ummah: A Potential History of the Jewish Muslim World. (Verso Books, 2024), page 13"

[from:
https://www.viad.co.za/ariella-asha-azoulay-book-launch

"Excerpt from the book[1]

From ‘Letter 4 to Frantz Fanon. “With all my being, I refuse to accept this amputation”’

Dear Frantz,

I’m neither a psychiatrist nor a psychoanalyst, but I can say with confidence that my father suffered from colonial trauma and a colonial disorder. He felt foreign to his environment, totally alienated. And even though this kind of disorder must have been very common among Algerian Jews, there was nowhere he could go to take advantage of what you describe as the “the medical technique that aims to enable man no longer to be a stranger to his environment.” No therapeutic or psychiatric initiative in Algeria offered Algerian Jews a way to recognize or articulate their colonial disorder. They suffered from their colonial subjection as indigenous Algerians, their transformation into French citizens in 1870, the revocation of their French citizenship under Vichy, the anti-Jewish laws in the Maghreb, and the restoration of French citizenship after World War II—the latter, granted as if France had not confiscated Jewish property, deported young Jews to concentration camps in the Maghreb, and, in France, sent 75,000 Jews to their death (among them 3,000 Algerians living in France). The infamous Crémieux Decree granting newly colonized Algerian Jews French citizenship was not the end of their colonization but its continuation in a different form.

Without recourse to the medical techniques of which you wrote so eloquently, and with his alienation impacting all areas of his life, my father attempted to leave the toxic colonial environment of Algeria three times in less than a decade—in 1943, 1946, and 1949. The first time was when he was held in the Bedeau internment and forced labor camp; he suspected that volunteering for the French forces and going to war would be better than staying in Algeria. Given the unresolved status of the Jews after the official end of the Vichy government in Algeria, he did not know exactly what volunteering for this army as a Jew would mean, but he went anyway. The second time he tried to leave was upon his return from service in World War II. I assume that, like many other colonized people who fought for France, including you, he quickly realized that the promise of freedom and victory over fascism was a broken one, since the racial regime under which he lived had not been defeated with the fall of the Axis powers. He then decided to move to France, but after barely a year in Paris, he returned home to Oran.

Reading “The ‘North African Syndrome’” (1952), which you wrote based on your observations of North Africans’ experiences in France in the same years when my father left for France, helped me figure out what may have provoked his quick return to Algeria. You quote a certain Léon Mugniery, who in 1952 submitted a doctoral thesis in medicine to the university in Lyon. In his thesis, Mugniery denounces the French government’s “too hasty” mistake of granting French citizenship and equal rights to Algerians working in France “based on sentimental and political reasons, rather than on the fact of the social and intellectual evolution of a race having a civilization that is at times refined but still primitive in its social, family and sanitary behavior.” Even as you critique Mugniery’s imperial stance, you do not ask yourself, “Who were these Algerians that Mugniery speaks of?” You assume they are Arabs, and that all Arabs are Muslims. However, the majority of Algerians with French citizenship who lived in France following World War II were not Muslims. The ruling of March 7, 1944, ascribed French citizenship only to “deserving” Algerians: “those having received decorations, civil servants, etc.” Algerian Jews had been legally considered citizens since 1870, and they migrated in small numbers to France in the first half of the twentieth century.

For racists like Mugniery, Algerians were Algerians, irrespective of their faith or citizenship status. The common racist idioms you quote—“Why don’t they stay where they belong?”—are indicative of a world where Mugniery could be licensed to heal people. And the trouble, as you say it, lies here: “They have been told they were French. They learned it in school. In the street. In the barracks … Now they are told in no uncertain terms that they are in ‘our’ country. That if they don’t like it, all they have to do is go back to their Casbah.” This is probably the drama my father also went through during his one-year stay in Paris. This is the core of the Algerian Jew’s disorder—and that of Algerians in general—their (self-)ascribed Frenchness exceeded the status assigned to them, so much so that their performance of Frenchness was often experienced by French settlers of Algeria as an insult, and by the French in France as an invasion.

In a biography she wrote about you, Alice Cherki, who, as you know, studied psychiatry in Algeria before she worked with you, shared her memory of how a French psychiatrist-in-training responded when he read the names of the students displayed at the entrance of the medicine school in Algiers: “Benmiloud, Benghezal, Benaïssa, Chibane, Aït Challal, Boudjellal … we are being invaded by Arabs. To say nothing of the Jews who consider themselves at home everywhere and anywhere they please.” Since the very beginning of Algeria’s colonization, the French were obsessed with planning to expel Algeria’s Jews. This, in a way, turned the Jews of Algeria into captives of the settlers’ goodwill, for despite all the settler-colonial violence, the French settlers offered Algeria’s Jews protection from the even more vicious early plans of other Frenchmen (for example, plans to deport them or to water “the tree of freedom with the blood of the Jews”). As one of the Jewish protagonists in Olivia Elkaim’s semi-autobiographical novel says, “We are so happy to be French that, from now on, we have become their guests. We are no longer at home. And they’re going to do whatever it takes to kick us out.” It is not a coincidence that with Algeria’s independence, France’s early plans came to fruition and the Jews were forced to depart from Algeria. (The French had to leave too; alas for them that they could not enjoy the realization of their dream, an Algeria free of Jews.)

It didn’t occur to me to ask my father about his experience in France during that year in 1946. What might it have meant for him to be so unwelcome, knowing that deportation could be as real a possibility for him as it was for his paternal uncle and aunt, who had been deported by the French to Auschwitz? What I regret most is not being able to awaken the anticolonial interlocutor within him, who, in my decolonial imagination, should have existed along with his anarchic spirit. If someone like you could have helped him understand his distress, he might have acquired this consciousness, especially as his father, who died in 1943 and could not be there for him when he came back to Algeria, had been an anarcho-communist.

Instead, my father had to be torn by the contradictions of colonialism, assimilation, and conversion, numb to the inherited pain of exile ingrained in those who were forced to leave their country and become converted Frenchmen. My father dissociated himself from the memory of the forced conversion to Frenchness, even though he still retained some remnants of its harm, transmitted from his parents and his parents’ parents. He was not given an anticolonial education that could have helped him account for his experience. And, similar to other North African men you describe in your essay, he had a hostile attitude toward his painful past: “It is as though it is an effort for him to go back to where he no longer is. The past for him is a burning past. What he hopes is that he will never suffer again, never again be face to face with that past … He does not understand that anyone should wish to impose on him, even by way of memory, the pain that is already gone.” All his life my father suffered from chronic headaches; the condition lasted until he died. It was exactly as you describe: “The patient is not immediately relieved, but he does not go back to the same doctor, nor to the same dispensary.” No one could help him. After he tried physicians, he switched to pharmacologists, and he even consulted pharmaceutical companies and research centers. In one response he received from a research center in Montreal, I could see how desperate he had been to receive a supply of a hard-to-obtain drug.

The third time my father tried to leave Algeria was in 1949. A Zionist advertisement in the newspaper called upon Jews to volunteer for one year of military service to defend “the Jews” in Palestine, whom the ads depicted as under an “existential threat.” With all the disinformation about the establishment of the state of Israel, I don’t think my father could grasp the deceptive nature of this advertisement, which concealed the colonial reality in Palestine. Nor could he conceive of how the Zionists were akin to the French colonizers, waging war to conquer Palestine and to destroy centuries-old conviviality between Arabs and Jews. The advertisement was deliberately written to make Jews like him, who had fought against the Nazis, see the war in Palestine as a sequel to World War II, the next place where Jews were under genocidal attack. My father had a return ticket, but toward the end of his year in Palestine, he met the woman who became my mother and decided to stay. If he hadn’t met my mother, he probably would have continued as planned to Canada; as he told me once, “I would not return to Oran at any price.” He did not even mention France as an option. In your 1956 resignation letter from your position as a Chief of Staff at the Blida-Joinville Psychiatric Hospital, you wrote: “I owe it to myself to affirm that the Arab, permanently an alien in his own country, lives in a state of absolute depersonalization.” It is not clear to me how much you understood that this Arab that you were talking about was not necessarily Muslim but could be Jewish too.

[1] Ariella Aïsha Azoulay. The Jewelers of the Ummah: A Potential History of the Jewish Muslim World. Verso Books: London, 2024. Pp 90-93.
\
Ariella Aïsha Azoulay

Ariella Aïsha Azoulay teaches at Brown University political theory from an anti-colonial perspective, using photography, craft and jewelry to study onto-epistemological violence perpetrated through institutions and technologies like museums, archives and nation states. Potential history and unlearning imperialism, developed in her previous book Potential History: Unlearning Imperialism  (Verso Books, 2019) are key concepts and an approach that she has developed over more than a decade, concepts having far-reaching implications for the fields of political theory, archival formations, museum and photography studies, as she shows in her two recent books The Jewelers of the ummah – Potential History of The Jewish Muslim World (Verso 2024) and Collaboration – A Potential History of Photography (co-edited with W. Ewald, S. Meiselas, L. Raiford, L. Wexler, T&H, 2023). A new edition of her 2012 book recently came out: Civil Imagination: The Political Ontology of Photography (Verso Books, 2024). Azoulay also published The Civil Contract of Photography (Zone Books, 2008) and From Palestine to Israel: A Photographic Record of Destruction and State Formation, 1947–1950 (Pluto Press, 2011). Azoulay is also a film essayist, and independent curator. Among her films: The world like a jewel in the hand – Unlearning Imperial Plunder II (2023), Un-documented: Unlearning Imperial Plunder I (2019) and Civil Alliances, Palestine, 47–48 (2012). Among her exhibitions: Errata (Fundació Antoni Tàpies, Barcelona, 2019; HKW, Berlin, 2020), and The Natural History of Rape (Berlin Biennale, 2022). "]]]></description>
<dc:subject>2025 algeria jewelers jewelery colonization colonialism northafrica muslimworld judaism jenniferbajorek alexandrakokoli emerykalema craft artisans frantzfanon revolution resistance decolonization correspondence form belonging identity ethniccleansing genocide zionism israel palestine gaza imperialism plunder revolt letters howwewrite academicfatigue crimes writing scholarship academia hannaharendt sylviawynter ariellaaïshaazoulay ummah maghreb archives jewelry france postcolonialism musilims africa muslimjews berbers berberjews algerianjews anticolonialism religion taxonomy taxonomies making unlearning ethnicity race middleeast borders butchery food ww2 wwii holocaust auschwitz art artmaking letterwriting creativity strategies history memory sound language arabic hebrew song oral aural voice sensorium racism museums silver ancestors gender anarchism communism socialism conviviality muslims islam nondumisolwazimsimanga metals knowledge knowledgetransmission prohibition interdictions destruction mines mining</dc:subject>
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<item rdf:about="https://timothyburke.substack.com/p/academia-what-they-are-about-to-take">
    <title>Academia: What They Are About To Take From You</title>
    <dc:date>2025-02-07T20:13:54+00:00</dc:date>
    <link>https://timothyburke.substack.com/p/academia-what-they-are-about-to-take</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["In the early blueprints for the society-wide coup d’etat that is now unfolding out of Washington, there was a stage after the initial seizure of the state that calls for “landing ninjas on the roof” of important civic and communicative institutions—journalism, social media, and academia.

Journalism turns out to have been the easy target, mostly, and not just because newspapers are owned by billionaires who are underwriting the seizure of power. It’s also because journalists and editors at the top newspapers have been trained to accommodate and flatter power while occasionally cosplaying at autonomy. So we didn’t get an ISN moment where the bad guys had to actually move figurative or real troops into the building to seize the biggest publications. The owners and the editors welcomed the dictator and his minions and offered to caper and prance around his throneroom as ordered.

Still, even if the big outlets have caved without a fight, independently minded investigative journalists have squished out the sides and found plenty of other outlets. Go read Wired and look at ProPublica. Heck, read the Philadelphia Inquirer, which I think has shown a real streak of independence. Elon Musk doesn’t yet have a big enough Hitler Youth to close down or monitor every publication in America, and even when they get more tools, his goons will be a long way from being able to keep it all under control.

Social media, on the other hand, may be easy to seize ownership over—I notice that Substack’s obsequious owners are already cozying up to Musk—but maybe not so easy to control without spending a lot of money on human monitors, which is very nearly a blasphemy to the people who own the platforms. You make it too hard to talk freely on a social media platform, folks are just going to be peeling away from that platform, and none of them have a way to keep everybody there.

And academia? Well, I have my hopes that we’ll be the hardest target of all. But I’m not going to write in public about how or why I think that might be the case. Not yet, not the least because I’m hoping that people with more power and more centrality might first gum up the works inside the battle for the government itself.

One thing that I do think is worth saying right now, however, to everyone who might hear it, is that whatever you think of universities, professors, scientists, college students, you need to understand that both the Maga and Musk wings of Trumpism are aiming to take all of that away from you. You, your children and your children’s children. They are not hoping to land commandoes on the roof to take it away from us. They do not have replacement scientists, professors, libraries, labs, ready to substitute in after they fire or imprison everybody who works at universities now. They have nothing.

Science requires both basic research that has no immediate or direct application and it requires free and open communication about research and research outcomes. American companies that have made use of scientific discoveries have not done so through having highly secretive research and development departments that do all the basic research required and all of the work needed to shape a final product or application. They have small research and development wings that draw upon—and sometimes outright steal—science created in universities, science funded in the public interest, science that requires a free society to flourish.

They are going to take that from you. They are going to take the work on fusion, they are going to shut the telescopes, they are going to close out microbiology, they are going to board up neuroscience. They think they will have enough juice squeezed from the fruits of two centuries of science to get them where they want to go, but they won’t. They have no idea how to go from seizing to making, and that’s because you can’t. Science in authoritarian nations depends largely on feeding off of science being done elsewhere. The authoritarian state can command a narrow project to launch satellites or make a better AI than Sam Altman, but not sustain the entire enterprise of research across a hundred specialized fields.

They are going to take history. They are going to take art. They are going to take medicine and psychology. They are going to take economics. They are going to take architecture. They are going to take museums. They’re going to take the kind of sports that are for everybody to play and watch. And they’re not going to give any of it back.

They are taking that from you, all of you. They are going to take a public school system open to all citizens and residents. They are going to take the special education teachers from children with disabilities. They are going to make women sit in the back of the room, get off the playing field, take mandatory home economics. They are going to take learning to write, to do math, to understand politics, and replace all of that with a thin veneer of phony patriotism and calls to obedience from a set of underqualified flunkies and sycophants who will struggle with turning on a light switch, let alone teaching anything meaningful.

Everything right now connects, too. You take the university out of the picture, then you’re taking a lot of health care with it. All the data we take for granted—to know how life is in this nation, to know whether the economy is growing or shrinking, to know what is working and what is failing—is already being taken away as I write. To take the university out is to destroy the last safe repository of all that information.

They are planning to take libraries and archives out of service. Zoos, parks, monuments. Rights of public access to beaches, lakes, rivers. They want to close Wikipedia and have Google censor searches. They don’t want you to be able to look at property lines and deeds, file FOIA requests, be allowed to speak up in public meetings of the zoning boards.

Some of what they take from you they don’t even plan to take, but they are tugging on strings that will unravel the lives of almost everyone. Read the plans they have for seizure of power and you see quickly that they have no idea about what to do with power after they have it except to continue negating everything that might not go along with their will. Their ideal college is Hillsdale, but America doesn’t need a thousand Hillsdales. Even Hillsdale knows that, I think. They don’t have a vision of hospitals, of labs, of concert halls or museums that they’d rather see. They aren’t ready to run the labs and do the science. That is not in the blueprints.

Entering college students need to understand: everything you were planning to do in the four years ahead of you, they want to take it from you. Students pursuing graduate degrees? They want to cancel what you’re doing. Teenagers and their parents? They have nothing in mind for you ahead. Adults who are looking for a career path, for some roadmap to advancement, to an affordable house and a good-enough life? That is being dropped into a deep dark well right now.

The things you like to do on weekends: the museums, the parks, the free concerts, the beaches? The food you eat, the medicine you need, the money in the bank that you think is secure? It’s going to be contaminated either by design or carelessness, threatened because the ninjas on the roof only know how to seize the building. They don’t know how to do anything else.

So you’d better hope that this gets stopped before it goes much further—but you had also better wake up if you’ve been asleep. Your entire life is being put on top of a big pile of wood, and there’s a 19-year old Canadian who goes by the moniker “Big Balls” toting over a canister of gasoline to soak the fuel."]]></description>
<dc:subject>timothyburke academia highered highereducation education journalism socialmedia substack elonmusk propublica us policy donaldtrump trumpism science research medicine psychology architecture museums economics information archives libraries zoos parks hillsdalecollege colleges universities</dc:subject>
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<item rdf:about="https://2ndbreakfast.audreywatters.com/venture-capitals-epistemology-violent-masculinity-and-eugenics/">
    <title>Venture-Backed Conspiracies</title>
    <dc:date>2025-01-17T18:42:24+00:00</dc:date>
    <link>https://2ndbreakfast.audreywatters.com/venture-capitals-epistemology-violent-masculinity-and-eugenics/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["I regret to inform you that Paul Graham, investor and founder of the startup training program Y Combinator, has published a new essay: "The Origins of Wokeness." You can tell the political bent of his screed by the invocation of "woke," no doubt. But at this stage, I'm not sure we even need to see this sort of thing in writing – it's become abundantly clear that Silicon Valley has fully embraced reactionary politics.

"Wokeness," Graham claims, is a "mind virus," the latest version of "political correctness" which he says emerged from universities – surprise, surprise – in the 1980s. Those origins are not in their math or engineering departments, of course. "Obviously it began in the humanities and social sciences." Obviously. These are fields that are too "soft" and too feminized – intellectually inadequate to prepare students for a high-tech future, as we're often told, and yet somehow also so incredibly powerful that they can bend all of society to suit their outrageous political demands, all while making it dangerous for rich white men like Graham to openly speak their minds.

"I saw political correctness arise," he tells us. He was there. "When I started college in 1982 it was not yet a thing. Female students might object if someone said something they considered sexist, but no one was getting reported for it."

Oh.

It had been safe in earlier decades, he claims, to be a physics professor and be a radical – hahaha, tell me you haven't seen Oppenheimer without telling me you haven't seen Oppenheimer, Paul – but things soon changed. And now, thanks to the media (both traditional journalism and social media), folks get really mad and, even worse, really loud when you're racist or sexist. (The last time I interacted with Paul Graham, incidentally, was on Twitter circa 2016. He was upset that someone had called him a racist and I reminded him – before he blocked me – that there was one good way of not being called a racist....)

Graham rails against women – women, he argues, enjoy being "moral enforcers" more than men. He rails against leftism – Marxism, of course, and the Cultural Revolution – and against recent civil rights movements – Black Lives Matter, the Me Too Movement. He insists that these forces are all "aggressively conventionally minded" and engage in "aggressively performative moralism" – which writing a 6000-word essay decrying political correctness on the eve of Trump's second inauguration is definitely aggressively not.

Graham's essay is very long and very bad, but it's not necessarily the worst thing that a powerful technology investor wrote or said this week. There Graham has competition from Peter Thiel, who penned an essay in The Financial Times calling for "truth and reconciliation" – or at least an "apokálypsis," an unveiling of the secrets that the government has hidden from us: who killed Jeffrey Epstein, who shot JFK, who started COVID, who "debanked crypto entrepreneurs," and other important issues. Thiel, like Graham, is hardly an underdog or an outsider; this is a powerful, influential person at the center of Silicon Valley and DC circles. And crucially too, this is a man who literally traffics in secrets ("intelligence"), as well as in conspiracy theories, as the co-founder of Palantir, a surveillance company with billions of dollars of military and police contracts.

Mark Zuckerberg was at it again too, appearing on Joe Rogan's podcast on the heels of axing Facbook's content moderation teams and its DEI initiatives. There he lamented that corporations have become "neutered or emasculated," and he opined that he wanted to see more "masculine energy" at Facebook – where about two-thirds of current employees are men. Zuckerberg's language echoes Graham's: male aggression is good, necessary even. Zuckerberg has, in recent years, famously embraced martial arts – physically and financially, as he's replaced Nick Clegg on Facebook's board with UFC's Dana White. And all of this emphasis on strong, pure male bodies, as I've written before, is part of a longer history of "physical culture," masculinity, eugenics, and fascism.

Indeed, much of what these tech industry leaders have said and written has echoes in "The Futurist Manifesto" of Filippo Tomasso Marinetti – a proto-fascist manifesto that, as others have noted, Marc Andreessen seemed to directly channel in his 2023 "Techno-Optimist Manifesto." Where Marinetti wanted to drink from "the factory gutter" and savor "a mouthful of strengthening muck which recalled the black teat of my Sudanese nurse," today's techno-fascists want to inhale the data stream and swallow the extractions of a renewed racist order, a renewed imperialism. Marinetti – like Graham, like Zuckerberg, like Thiel, like Andreessen – railed against women, against schools: "We want to demolish museums and libraries, fight morality, feminism and all opportunist and utilitarian cowardice."

<blockquote>We will sing of the great crowds agitated by work, pleasure and revolt; the multi-colored and polyphonic surf of revolutions in modern capitals: the nocturnal vibration of the arsenals and the workshops beneath their violent electric moons: the gluttonous railway stations devouring smoking serpents; factories suspended from the clouds by the thread of their smoke; bridges with the leap of gymnasts flung across the diabolic cutlery of sunny rivers: adventurous steamers sniffing the horizon; great-breasted locomotives, puffing on the rails like enormous steel horses with long tubes for bridle, and the gliding flight of aeroplanes whose propeller sounds like the flapping of a flag and the applause of enthusiastic crowds.</blockquote>

The manifesto was a call for violence. Epistemological violence and literal violence. It is a call for violence. It is a demand to erase history, to re-inscribe hierarchy and order. Eugenics will be reaffirmed through today's discrimination engine: the Internet, the algorithm, AI.

For all that AI seems to promise "the future of knowledge," this is a call for ignorance and for, as Helen Beetham puts it, a radical thoughtlessness. This is the antithesis of care – care and criticality are feminine, weak.

This is the future, they tell us. But it is not a rupture. It is a continuation, a future unbroken from computing’s past.

Over the past few decades, technology has played an instrumental role in neoliberalism and austerity – as we have dismantled public institutions and "the welfare state," we've told people they should just rely on the Internet instead. AI is absolutely the next step in this – as Sam Altman wrote in his latest blog post, "We believe that, in 2025, we may see the first AI agents 'join the workforce' and materially change the output of companies." The system wants us to be ever-more productive, and if AI cannot do that as an “agent” or “assistant” – that sure seems to be the bet the British government is making with its horrifying plans to "unleash AI" on its people – then workers will be fired. Perhaps replaced with robots, but more likely replaced with a more compliant, more precarious workforce.

Technology enables this structurally, but it works for this culturally and intellectually as well, with its core ideological underpinnings — libertarianism, individualism. Technology has aided in the political project of reorienting the mission of institutions like schools away from civic goals (as well as away from any sort of human flourishing) and towards the goals of industry – hence all the talk about “technical skills” and “digital literacy” as the way in which children are supposed to “read” and interact with the world.

Critical thinking (and critical theory) is, despite Paul Graham's vehement mischaracterizations, one way in which we can help students to understand the world, to understand its diversity – to deal positively, and dare I say generatively, with people and ideas that are different from their own. Despite all the handwaving about the importance of critical thinking and creativity for "the jobs of the future" (more on this in the coming weeks too), it seems clear that what the system wants is for us to be productive and be compliant. The algorithms (and the storytelling) it's unleashing will serve to identify those who it deems useless at best, dangerous at worst."]]></description>
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    <title>How Whales Found Peace in War - bioGraphic</title>
    <dc:date>2025-01-16T22:05:31+00:00</dc:date>
    <link>https://www.biographic.com/how-whales-found-peace-in-war/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["A forgotten museum collection reveals how a pause in industrial whaling during World War II changed whales at the molecular level."
]]></description>
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    <title>Mt. Tam museum houses re-creation of lost piece of California history</title>
    <dc:date>2025-01-03T03:16:24+00:00</dc:date>
    <link>https://www.sfchronicle.com/bayarea/article/laurel-tie-replica-mount-tamalpais-museum-19916826.php</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Recently arrived at a one-room museum on Mount Tamalpais is a freshly milled length of laurel tree cut to the dimensions of a railroad tie. 

A bronze plaque identifies it as a re-creation of “The Laurel Tie,” the ceremonial final crossbeam laid in Utah to complete the Transcontinental Railroad in 1869. 

That original beam of laurel was then removed to a display in San Francisco, where it unceremoniously burned to ash in the earthquake and fire of 1906.

Forgotten for 118 years, the Laurel Tie has finally been remembered, after a group of preservationists representing the descendants of Chinese and Irish railroad laborers chipped in $6,000 to create the replica.  

It was dedicated last month as the Laurel Tie Memorial at the Gravity Car Barn Museum on Mount Tamalpais, where the wood used to create the original tie was harvested."]]></description>
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    <title>Inside The Manufacture: A Visit To Glashütte Original's Saxony Headquarters - Hodinkee</title>
    <dc:date>2024-12-27T21:26:12+00:00</dc:date>
    <link>https://www.hodinkee.com/articles/inside-the-manufacture-visit-to-glashutte-original</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["A 45-minute drive from Dresden, over snowy hills and through tiny villages, sits Glashütte, the home of German watchmaking. And perched on a quiet street corner, sandwiched between two other well-known Saxon watchmakers, is Glashütte Original. Just a few days ago we went inside the brand's modern glass and steel headquarters (a stark contrast to the colorful stucco cottages surrounding it) and today we bring you an inside look."]]></description>
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<item rdf:about="https://www.ft.com/content/3d818d9c-b8c6-4dfb-acaf-0802631bfb41">
    <title>Orhan Pamuk: ‘I go for 22-minute swims twice a day’</title>
    <dc:date>2024-12-24T20:20:42+00:00</dc:date>
    <link>https://www.ft.com/content/3d818d9c-b8c6-4dfb-acaf-0802631bfb41</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The Turkish novelist on Tolstoy, speaking out and the pleasure of watching ships sail the Bosphorus"

...

"1. What is your earliest memory?
I must be two or three years old. We have just had lunch at my grandmother’s apartment and, like a good little boy, I’m supposed to go for an afternoon nap. But I can hear my father’s voice and I would much rather be with him. “Your father’s with the policemen!” says my mother. “Now run along to bed and go to sleep, otherwise they’ll come and take you away!” I believe her, and I run straight to bed, hoping to sleep and dream and forget about the policemen. Those policemen still follow me to this day, in my dreams and in real life.

2. Who was or still is your mentor?
Leo Tolstoy. The fabric of his novels is superior to any other writer’s. How did he do it? I have been studying this question for 50 years. Talent, of course! Intelligence. Hard work. An immense capacity to identify with others. He had a huge private library. His antennae detected everything. He enjoyed writing. He had plenty of money and devoted his time entirely to the work he loved.

3. How fit are you?
Very fit in the summer. I go for 22-minute swims twice a day.

4. Tell me about an animal you have loved.
I have a lead-coloured cat named Arkadaş, which means “friend” in Turkish. Sometimes she climbs on my desk while I’m writing and watches the nib of my pen until she falls asleep. Sometimes she hunts lizards and grasshoppers in the garden. And sometimes she meows and meows, saying “pet me”, so I sit her on my lap and pet her, both of us purring with contentment.

5. Risk or caution, which has defined your life more?
Deciding in Turkey in 1974, at the age of 22, to become a novelist; building, at the age of 45, a museum whose catalogue would take the form of a novel; being one of the first to speak out, over the past 20 years, about matters that are considered taboo subjects in Turkey; all of these things involve risks. But these risky decisions have defined my life in a positive way. I don’t regret taking these risks, and although I can be cautious in defending their results, that caution does not define me.

6. What trait do you find most irritating in others?
Intolerance. Making the wrong decision and feeling superior about it. Condescension. Foolishness. These are traits I see in myself too, so I try to be understanding.

7. What trait do you find most irritating in yourself?
Impatience, intransigence and stubbornness.

8. What drives you on?
Literature is a wonderful thing, and there are still so many novels that I plan to write and so many expectant readers.

9. Do you believe in an afterlife?
Yes. In books, in works of art and in museums.

10. Which is more puzzling, the existence of suffering or its frequent absence?
The existence of suffering is puzzling, but people’s indifference to the suffering of others is even more puzzling.

11. Name your favourite river.
The Bosphorus is not a river, but the Anglo-Saxon world sometimes calls it so, and since I spend the day watching ships sailing through it as I write, it is very dear to me.

12. What would you have done differently?
Learnt Farsi, lived in the Far East for a few years, been even less political and practised a more experimental style of writing."]]></description>
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<item rdf:about="https://www.youtube.com/watch?v=v3vmCpimA-g">
    <title>Writer Orhan Pamuk Presenting the Museum of Innocence | Louisiana Channel - YouTube</title>
    <dc:date>2024-12-24T19:08:07+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=v3vmCpimA-g</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["“A tribute to the unimportant daily life objects and their valuable meaning for our memory and connection with time lost.” Nobel laureate Orhan Pamuk delves into the deeply personal and intricate world of his Museum of Innocence, both the novel he published in 2008 and the museum he opened in Istanbul in 2012. 

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

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

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

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

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

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

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

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

Camera: Rasmus Quistgaard 
Edited by Roxanne Bagheshirin Lærkesen 
Produced by Christian Lund 
Copyright: Louisiana Channel, Louisiana Museum of Modern Art, 2024 "]]></description>
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    <title>Viaje al corazón de la ciencia: así es el nuevo museo CERN Science Gateway | El Viajero | EL PAÍS</title>
    <dc:date>2024-11-24T00:33:13+00:00</dc:date>
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    <dc:creator>robertogreco</dc:creator><description><![CDATA["Tres salas de exposiciones, dos laboratorios prácticos con talleres para todas las edades y un auditorio esperan en el edificio proyectado por Renzo Piano, que abre al público este domingo. Un lugar perfecto para conocer mejor nuestro mundo y escaparse después a la cercana Ginebra"]]></description>
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<item rdf:about="https://www.youtube.com/watch?v=5Mv6GAUR_tM">
    <title>Big Ideas, Tiny Museum - YouTube</title>
    <dc:date>2024-10-21T01:51:30+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=5Mv6GAUR_tM</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Produced by Luke Groskin
By shrinking an entire museum into a 6 foot tall modular design, MICRO hopes that these tiny exhibits can go in all sorts of public areas, like shopping malls, waiting rooms, airports, and parks where they can integrate science and learning into people's day-to-day lives."]]></description>
<dc:subject>museums small learning mollusks 2018 micromuseums science pop-ups</dc:subject>
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<item rdf:about="https://www.youtube.com/watch?v=hMPGr2jYDqg">
    <title>Seiko Ginza Museum Walking Tour - YouTube</title>
    <dc:date>2024-08-31T18:36:02+00:00</dc:date>
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    <dc:creator>robertogreco</dc:creator><description><![CDATA["Back at the beginning of the year when I visited Japan, one of the places I stopped by on my trip was Ginza, Tokyo. While I was there I had to check out the Seiko Museum with 4 floors of horological goodness!"]]></description>
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<item rdf:about="https://austinkleon.substack.com/p/an-interview-with-mary-ruefle">
    <title>An interview with Mary Ruefle - Austin Kleon</title>
    <dc:date>2024-08-30T17:52:26+00:00</dc:date>
    <link>https://austinkleon.substack.com/p/an-interview-with-mary-ruefle</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Conducted via typewriter and the postal service"
]]></description>
<dc:subject>2024 austinkleon maryruefle writing reading howwewrite howweread howwework pandemic coronavirus lowtech luddites luddism typing typewriters drawing poetry letters correspondence hobbies music handwriting museums caspardavidfriedrich erasures erasure thrifting lyndabarry covid-19</dc:subject>
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<item rdf:about="http://www.clubnomos.de/">
    <title>ClubNOMOS / NOMOS Museum - alles über NOMOS Uhren</title>
    <dc:date>2024-08-29T19:46:38+00:00</dc:date>
    <link>http://www.clubnomos.de/</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>nomos archives watches museums database</dc:subject>
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<item rdf:about="https://www.aftelier.com/">
    <title>Aftelier Perfumes: Slow Scent</title>
    <dc:date>2024-08-20T02:45:59+00:00</dc:date>
    <link>https://www.aftelier.com/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Hi, I'm Mandy Aftel! I create fragrances from my exquisite collection of sublime pure and natural essences from around the world, culled from years of searching for the most beautiful varieties. I blend and bottle the fragrances by hand in small batches in my Berkeley, California studio. Everything I make is free from synthetics, parabens, glycols, and petrochemicals. My products are sold exclusively on my website and when you come to visit the Aftel Archive of Curious Scents. I have written 6 books about fragrance and flavor, and I teach people how to create natural perfume through my workbooks and Zoom classes."]]></description>
<dc:subject>berkeley museums perfume mandyaftel smells senses scent fragrances smell bayarea scents fragrance archives</dc:subject>
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    <title>This California Museum Is Home to Hundreds of Nature's Scents | Smithsonian</title>
    <dc:date>2024-08-20T02:44:54+00:00</dc:date>
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    <dc:creator>robertogreco</dc:creator><description><![CDATA["Perfumer Mandy Aftel’s spellbinding collection of rare essences and artifacts is on display at the Aftel Archive of Curious Scents in Berkeley"

]]></description>
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<item rdf:about="https://sfstandard.com/2024/08/16/de-young-museum-repatriate-native-human-remains/">
    <title>The de Young Museum has over 100 human remains in collection</title>
    <dc:date>2024-08-16T16:40:17+00:00</dc:date>
    <link>https://sfstandard.com/2024/08/16/de-young-museum-repatriate-native-human-remains/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The de Young Museum has kept dozens of human remains locked up for decades. How will they find their way home?"]]></description>
<dc:subject>deyoung indigeneity indigenous museums humanremains sammondros 2024 famsf history nagpra oaklandmuseum ucberkeley nativeamericans cal ucb</dc:subject>
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<item rdf:about="http://www.roamgetlost.com/">
    <title>ROAM: Getting Lost in Art and Art Education</title>
    <dc:date>2024-08-15T05:51:07+00:00</dc:date>
    <link>http://www.roamgetlost.com/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["ROAM: Getting Lost in Art and Art Education is a curricular structure developed out of an ongoing art project ROAM created by artist and art educator Julie Libersat. ROAM, which is a mobile game that gets players lost, is a creative proposal and ongoing project that has developed in parallel with her graduate research in art education at the University of North Texas. 

This website presents a unit of study for elementary art students to engage with ideas of place, mobility, and environment.. Throughout this unit, students will engage with their local environments, observing, responding and recording their interactions with place. Students use walking protocols to get lost and game theory to structure creative and critical engagements with place. Observing local environments, students learn about their place and communities through reflection on space and place. Using game structures to get lost, students are guided through processes of observation and creative engagement with local environment.
To play, visit:

GAME.ROAMGETLOST.COM

To learn more about ROAM, Libersat's mobile game and other creative projects, visit julielibersat.com."

[See also:

http://www.roamgetlost.com/roam.html

http://www.roamgetlost.com/getting-lost.html

http://www.roamgetlost.com/teen-artist-project-air.html

"Place informs our sense of self and community.
Mapping Place With Play"
http://www.roamgetlost.com/mapping-place-with-play.html

"We create meaning in places as we inhabit them.
Mapping As Institutional Critique"
http://www.roamgetlost.com/mapping-as-insitutional-critique.html

"We can learn about our environment by structuring playful engagements within it.
Gaming the Museum: Map to Get Lost"
http://www.roamgetlost.com/gaming-the-museum-map-to-get-lost.html 

"Place and Play"
http://www.roamgetlost.com/place-and-play.html

"Memory Mapping"
http://www.roamgetlost.com/memory-mapping.html

"A Map to Get Lost"
http://www.roamgetlost.com/map-to-get-lost.html

"Wander Walking"
http://www.roamgetlost.com/wander-walking.html

"Mapping Meaning 2016:
​Channel Islands National Park"
http://www.roamgetlost.com/mapping-meaning-2016.html

"PASEO TAOS 2016"
http://www.roamgetlost.com/paseo-taos-2016.html ]]]></description>
<dc:subject>exploration museums education place mobility place-basededucation environment maps mapping lost children play situationist channelislands meaning meaningmaking taos 2016 julieliberstat roaming wandering community experiential experientialeducation art museumstudies critique sensemaking place-based place-basedpedagogy place-basedlearning land-basedlearning land-basededucation makingsense</dc:subject>
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<item rdf:about="https://www.sfchronicle.com/opinion/article/san-francisco-housing-prices-19470882.php">
    <title>I love SF but had to leave. Why? The same reason most people do</title>
    <dc:date>2024-06-20T21:37:59+00:00</dc:date>
    <link>https://www.sfchronicle.com/opinion/article/san-francisco-housing-prices-19470882.php</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Five years ago and a few weeks before I started at the Chronicle, I took a cab from SFO to a new acquaintance’s apartment in Potrero Hill, impulsively taking up her offer to house-sit while I looked for a place of my own. As we drove, the darkness of that evening, set against the almost cliff-like drop from the top of the hill, made the city’s skyline — the Italian dressing-bottle of the Transamerica building, the phallic Salesforce Tower, the crawling Christmas lights of the cars making their way in from the Bay Bridge — look as if it all appeared spontaneously out of some black void.

I never got tired of that view and the feeling it imparted, no matter where I was in the city. When I lived at the base of the famously crooked section of Lombard Street, I often queued up with the tourists to drive or walk down that incline, San Francisco’s downtown hovering on the horizon. When I moved to Twin Peaks, the frequently fog-obscured skyline looked almost cute at times, like a shy child’s feet peeking out from beneath a curtain. 

I loved lazily grazing on a croissant while walking down Clement Street, and I loved sitting in Dolores Park with friends (and it sometimes seemed like everyone else in the city), even when we’d all forgotten picnic blankets and resigned ourselves to gladly sitting on the undoubtedly dog pee-drenched grass.

That’s where I was when I broke the news that I was leaving.

“Boo!” one friend, a San Francisco native, bellowed.

Yeah, I know, I said. Deep down, I felt like I’d punked out on a city that needs all the enthusiasm it can get right now. 

But, frankly, I’ve known for a while that I needed to pack up and go; to try out other cities.

Urbanites have often liked to think of cities as people — consider Roma, the helmeted official deity of Rome — and maybe that’s why it’s so easy to feel like our presence within them is so intimate and special. The city allures, it betrays, it breaks your heart. Leaving hurts as much as a breakup, but in the best case, you come away from it realizing it was the right thing to do.

San Francisco is my gorgeous but high-maintenance ex; Berkeley, a strange and perhaps unambitious new love who makes things feel so easy.

In Berkeley, my rent for a similar amount of square footage is two-thirds of what I paid in San Francisco. I could end this article here because that counts for most of it, but my interest isn’t entirely financial.

Berkeley’s freaking weird.

There’s a guy who cycles down my street a few times a week, in the afternoons and sometimes 4 in the morning, yelling about something over and over in his megaphone. No one I’ve talked to knows what he’s saying. The nice unhoused person who stays near my building has a podcast. I’ve yet to listen, but I’m happy for him all the same. And the sole Tesla Cybertruck I’ve seen was wrapped in giant sandwich decals to advertise for a plant-based deli meat company.

Several restaurants and cafes in my low-key neighborhood are open past 10 p.m. on most nights, which, in the day-to-day experience, makes Berkeley feel way more like my hometown of New York City than San Francisco ever did.

You’re allowed to have a pad thai emergency at 1 a.m. here.

On a recent weekend, I stopped over at the Aftel Archive of Curious Scents, a garage-turned-museum off Shattuck Avenue, and used a paper cone to huff the tantalizing smells of hyraceum (hyrax poop), ambergris (whale poop) and roses.

And I’m actually interested in the conversations that I overhear when I’m outside; people don’t seem to talk about AI, money and property investments as much on the other side of the bay. 

While sourcing furniture from Facebook Marketplace, I’ve already had several conversations about all kinds of things with UC Berkeley students, the youngest people I’ve spoken to in months. I shared restaurant recommendations for their upcoming post-graduation road trips; my elder millennial back started to ache a little more when I realized they were born in a post-9/11 world. I feel fond and even protective of them, these young people who have already been through so much.

I never thought I’d leave San Francisco once I got to the Bay Area, but it’s not like I’ll never come back. I’m writing this in the Chronicle’s office on Mission Street, incidentally. And I still get a view of that skyline that I love so much — just from the bus with all the other commuters."]]></description>
<dc:subject>soleilho sanfrancisco berkeley 2024 mandyaftel smells senses scent perfume fragrances smell bayarea scents fragrance archives museums</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
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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 rdf:about="https://www.youtube.com/watch?v=N_DX-gLBDQA">
    <title>Is Israel committing a “cultural genocide” on Gaza? - YouTube</title>
    <dc:date>2024-04-12T19:34:45+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=N_DX-gLBDQA</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["“Israel is erasing our Palestinian memory.”

The destruction of historic and cultural sites in Gaza has been cited as evidence in South Africa’s case to the International Court of Justice that Israel is committing acts of genocide.

Since 7 October, Israel has damaged or destroyed more than 200 heritage sites in Gaza. These include mosques, churches, libraries, museums and archaeological sites. Some date back 4,000 years. 

Since Israel’s establishment in 1948, Palestinian culture and heritage have been targeted. Entire mosques, villages, and cemeteries were erased as 750,000 Palestinians were violently driven out of their homes in what is known as the Nakba or “catastrophe”."]]></description>
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<item rdf:about="https://www.latimes.com/entertainment-arts/story/2024-03-21/museum-contemporary-art-san-diego-selling-downtown-buidlings">
    <title>Museum of Contemporary Art San Diego to sell downtown buildings - Los Angeles Times</title>
    <dc:date>2024-03-24T02:53:15+00:00</dc:date>
    <link>https://www.latimes.com/entertainment-arts/story/2024-03-21/museum-contemporary-art-san-diego-selling-downtown-buidlings</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Two years after opening a $110-million expansion project in the tony seaside enclave of La Jolla, the Museum of Contemporary Art San Diego has put its downtown exhibition facility on the market.

The property, at 1100 Kettner Blvd., two blocks from the piers at San Diego Bay, consists of two structures, which opened to the art public in 2007. Exhibitions were held in the historic Santa Fe railroad baggage depot, built for the 1915 Panama-California Exposition and now named for museum benefactors Irwin Jacobs, billionaire co-founder of Qualcomm, and his wife, Joan. Like an adjacent office and storage building, named for the late newspaper publisher and museum trustee David C. Copley, the baggage depot was shuttered during the COVID-19 pandemic and did not reopen.

The sale of the downtown facility will dramatically alter perceptions of the museum’s long-standing binational mandate, aimed at artists and audiences in the border area of San Diego and Tijuana. Closure also raises difficult questions about the fate of several works of art in the permanent collection. Sculptures and installations by Robert Irwin, Richard Serra, Maya Lin and three other artists were commissioned expressly for the site.

Two sources with direct knowledge of the liquidation plan and who requested anonymity to speak freely said the museum was facing a sizable operating deficit. However, museum Director Kathryn Kanjo denied the claim in an interview. “We’re not running a deficit this year,” she said. MCASD operates on a fiscal rather than calendar year, from July through June.

Installed in designated locations around the complex, the art will not be sold with the buildings, Kanjo said. Some artists might be asked to relocate their works. Jenny Holzer’s “For MCASD” (2007), a 61-foot-tall LED-sign attached to the Copley facade, and “Power Maze With Sconce” (1998), an elaborate indoor lighting fixture by Roman de Salvo, are candidates for possible transfer to La Jolla.

Others, including a massive Serra steel sculpture weighing more than 300,000 pounds, cannot be moved. How the buildings will be sold while the art remains in the museum’s possession “remains to be seen,” Kanjo said.

The decision to sell the property represents a significant challenge to the museum’s long-standing commitment to binational culture in the nation’s eighth largest city. Border art activities generated by artists in the 1980s brought the region its first sustained cultural notoriety on a larger-than-local scale. In a late February memo to museum staff obtained by The Times, Kanjo described the closure as an effort to concentrate programming in La Jolla, 13 miles up the coast, after its recent enlargement.

The director noted that gallery space at the La Jolla museum had quadrupled and that visitor amenities had expanded. “These successes,” she wrote, “coupled with the ongoing financial impact of operating multiple gallery spaces, have prompted the Board to take the significant step of listing 1100 Kettner Blvd. for sale or lease.”

The 18,000-square-foot Jacobs building is being marketed as a retail storefront for $3.65 million. The three-story Copley building is going for $2.65 million. The pair is listed at $6,299,400. David Marino, an executive at commercial real estate firm Hughes Marino and a MCASD trustee, is handling the transaction on a pro bono basis, according to the sources, to avoid a potential conflict of interest. Marino did not respond to a request for comment.

The plan to sell the facilities follows the March 5 transfer of a third building. A leased downtown space across the street at One America Plaza, an office tower owned by the Irvine Co., began to host MCASD art exhibitions more than 30 years ago. (The museum had nearly 70 years left on its $1-a-year lease.) More recently, the building has been home to the museum’s education department.

The One America Plaza facility features 10,000 square feet of interior space designed by Irwin, environmental artist Richard Fleischner and architect David Raphael Singer. It is slated to become the second home of the Navy SEAL Museum, based in Fort Pierce, Fla., and scheduled to open in December. Close to 90,000 active and retired Navy personnel live in San Diego County.

The art museum’s mandate, formally adopted in 1998 and declared on its website, is to engage “regional, national, and international audiences including the binational constituency of the San Diego/Tijuana region.” The San Diego Trolley runs between One American Plaza and the border crossing at San Ysidro, the busiest in the Western Hemisphere.

The Jacobs building had been a centerpiece for many of the museum’s Latino initiatives. The final exhibition before the pandemic was a retrospective of the late Chicana feminist artist Yolanda López, who was raised in San Diego’s Barrio Logan neighborhood. Mass transit from the city center to La Jolla is limited to bus lines, extending the 30-minute travel time from the border to museum programs to at least 90 minutes on multiple carriers.

The six commissioned works of art at the downtown site present thorny issues. They will be “carved out from the sale of the building,” Kanjo said, although exactly how they will function as protected museum objects available to the public is as yet unknown. Most cannot be moved without destroying them.

Irwin’s brilliant “Light and Space” (2007) is a mammoth installation of 115 fluorescent lights, created for a specific interior wall that is more than 22 feet high and 51 feet wide. An artist of international renown who called San Diego home for decades (he died in October at age 95), Irwin developed his installations in concert with the physical characteristics of the intended location.

Serra’s “Santa Fe Depot” (2004), an extraordinary sculptural ensemble arranged on the railroad loading platform behind the building and framed by the arcade’s arches, consists of six solid cubic blocks of forged, weatherproof steel, weighing in at a staggering 156 tons. The blocks each measure 52 by 58 by 64 inches, and they alternate along a center line — three on the left and three on the right. The six rest on different faces. The slight variations in scale yield an uncanny visual sense of tumbling lightness for these massive, immovable objects.

Lin’s delicate “Depot River” (2008) follows a meandering 25-foot crack in the building’s floor, a common construction blemish in large expanses of poured concrete. Lin filled the crack with silver leaf, playing on the traditional Japanese art of kintsugi, which repairs broken pottery with seams of silver, gold or platinum. The precious metal, emphasizing the breaks and flaws, dignifies age, usefulness and mortality. The jagged silver line of “Depot River” also evokes the omnipresent threat of the region’s earthquake faults.

An untitled 2006 work by Scottish artist Richard Wright is a secular re-imagining of an ecclesiastical rose window. The artist decorated the rippling glass of a high, arched window between two galleries in the Jacobs building with nearly imperceptible webs of shimmering gold leaf, which reflects the light passing through. Accentuating the glass wrinkles with gilding serves to sanctify the century-old depot structure.

MCASD’s Kanjo said that although the property is being marketed as retail space, the title stipulates that the new owner — or tenant, if a lease is arranged — of the downtown facility is restricted to cultural uses. Performing arts programs, art exhibitions or artists’ studios are among the possibilities, she said.

Whether or not MCASD is facing a deficit, perhaps related to closure during the pandemic, financial considerations surely have driven the lamentable decision to leave downtown. The museum still owes $3 million on the purchase of the Kettner Boulevard complex. Servicing that debt is accompanied by costs of staff, programs, insurance, utilities, maintenance and more. Operating expenses that grew significantly with the La Jolla expansion may have eaten up the downtown budget.

The knowledgeable sources indicate that on top of the funds raised for the La Jolla project, $20 million was expected to be added to the museum’s endowment, but that didn’t happen. Unexpected construction costs thwarted the plan. MCASD’s endowment is just over $44 million, relatively modest given the affluence of the La Jolla area. But a 5% annual draw on endowment covers 20% of the institution’s current operating budget of between $11 million and $12 million — a comparatively healthy percentage.

Ironically, in crass market terms, the art downtown may be collectively more valuable than the real estate being sold. Whether it is or not, however, questions of its future public accessibility and care now loom. The unresolved dilemma is unsettling."]]></description>
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<item rdf:about="https://www.kqed.org/forum/2010101904491/berkeley-perfumer-mandy-aftel-on-the-curious-and-wondrous-world-of-fragrance">
    <title>Berkeley Perfumer Mandy Aftel on the 'Curious and Wondrous World of Fragrance' | KQED</title>
    <dc:date>2024-02-28T04:13:21+00:00</dc:date>
    <link>https://www.kqed.org/forum/2010101904491/berkeley-perfumer-mandy-aftel-on-the-curious-and-wondrous-world-of-fragrance</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["“You don’t just smell an aroma; you fall into it,” writes artisan perfumer Mandy Aftel. And entering her exquisite small museum, the Aftel Archive of Curious Scents, tucked into a backyard in Berkeley, is to fall into an ancient, mysterious world. Amid centuries-old books, bottles and curios are natural fragrances that come from the secretions of civets and the bowels of sperm whales, as well as from resins, rare flowers, roots and so much more. We talk to Aftel about her collection, the art of building a fragrance, and her new book, “The Museum of Scent: Exploring the Curious and Wondrous World of Fragrance”.

Guests:

Mandy Aftel, artisan perfumer and founder, Aftelier Perfumes and the Aftel Archive of Curious Scents in Berkeley; author, "The Museum of Scent: Exploring the Curious and Wondrous World of Fragrance""]]></description>
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<item rdf:about="https://www.youtube.com/watch?v=M3ahAsTdnSY">
    <title>Red Scare at the Smithsonian? Battle Brews over Portrayal of Latino History in Planned New Museum - YouTube</title>
    <dc:date>2023-09-26T15:09:54+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=M3ahAsTdnSY</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["A political battle is brewing in Washington, D.C., over plans to build a National Museum of the American Latino and the portrayal of American Latino history. Last year, the Smithsonian Institution opened a temporary preview exhibition inside the National Museum of American History that has become the focus of controversy within the Latino community, as Republican lawmakers and others challenge what one conservative writer described in The Hill as an "unabashedly Marxist portrayal of history." We speak to two historians who were hired to develop a now-shelved exhibit on the Latino civil rights movement of the 1960s for the museum. Felipe Hinojosa is a history professor at Baylor University in Texas, and Johanna Fernández is an associate professor of history at the City University of New York's Baruch College. We discuss their vision for the first national museum dedicated to Latino history, which Hinojosa describes as "complex" and "nuanced," and how conservative backlash has sought to stymie and rewrite their work. "These conservatives are using fear to essentially push through their agenda," says Fernández, who warns that the rising wave of censorship throughout the U.S. could be a "repeat of the Red Scare."

Transcript: https://www.democracynow.org/2023/9/26/national_museum_of_the_american_latino "]]></description>
<dc:subject>erasure redscare latino smithsonian us history colonization race racism colonialism puertorico indigeneity indigenous civilrights museums politics 2023 jorgezamanillo mariodíaz-balart cuba johannafernández felipehinojosa censorship mexico latinamerica foreignpolicy immigration imperialism latinos lcd mccarthyism</dc:subject>
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<item rdf:about="https://www.sfchronicle.com/projects/2023/california-academy-tour/">
    <title>Inside the hidden archive of San Francisco’s most iconic museum</title>
    <dc:date>2023-09-20T21:27:18+00:00</dc:date>
    <link>https://www.sfchronicle.com/projects/2023/california-academy-tour/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["An interactive tour of the California Academy of Sciences' vast collections, from an ancient predator to a famous grizzly, a $9 million book and more"]]></description>
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<item rdf:about="https://www.tenderloinmuseum.org/">
    <title>Tenderloin Museum</title>
    <dc:date>2023-07-08T23:15:01+00:00</dc:date>
    <link>https://www.tenderloinmuseum.org/</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>museums sanfrancisco tenderloin</dc:subject>
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<dc:identifier>https://pinboard.in/u:robertogreco/b:41da05f99247/</dc:identifier>
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<item rdf:about="https://futuress.org/stories/letters-words-stories/">
    <title>أحْرُف وكَلِمَاتْ وقِصَصْ A Multi-Script Type Design Program</title>
    <dc:date>2023-04-05T16:45:55+00:00</dc:date>
    <link>https://futuress.org/stories/letters-words-stories/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Imagining a playground for collective archiving, researching and letter-making."]]></description>
<dc:subject>naïmabenayed 2023 education design language translation form unschooling openstudioproject lcproject libraries archives graphicdesign graphics lettering typography fonts arabic communication structure maintenance care type physicality tunisia tunis museums tangibility history crosspollination latin opentype languages writing howwewrite signs vernacular vidual systems migration immigration multilingualism logos scripts calligraphy pop-ups howweread colonialism memory nostalgia futuress</dc:subject>
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<dc:identifier>https://pinboard.in/u:robertogreco/b:176628268142/</dc:identifier>
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</item>
<item rdf:about="https://vimeo.com/490442667">
    <title>From Sea to Seen: a metaLAB conversation with A. Kendra Greene on Vimeo</title>
    <dc:date>2023-03-28T23:44:33+00:00</dc:date>
    <link>https://vimeo.com/490442667</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["With a population roughly that of St. Louis, Iceland boasts 265 museums: museums of driftwood; museums of birds; museums of sorcery and sea monsters. Here, metaLAB’s Matthew Battles joins a conversation with author A. Kendra Greene, whose lively, wise book explores the collections of this long-isolated, tourist-buffeted nation. At metaLAB, we’re fascinated with & flummoxed by museums large and small. As they assemble objects into networks, they tell stories of power and authority in digital and material worlds. We turn to Greene in hopes of learning how the qualities of memory and trauma, fascination and fear, become bound up in objects on display.

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

[See also:
https://www.penguinrandomhouse.com/books/617712/the-museum-of-whales-you-will-never-see-by-a-kendra-greene/ ]]]></description>
<dc:subject>iceland museums 2020 culture geography language akendragreene matthewbattles</dc:subject>
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<item rdf:about="https://www.youtube.com/watch?v=0Cu6EbELZ6I">
    <title>Why There's No Such Thing as a Good Billionaire - YouTube</title>
    <dc:date>2022-11-25T22:38:45+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=0Cu6EbELZ6I</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["In which I break down why billionaire "charity" is terrible for the planet, and why we should stop swallowing their myths."

[via:
https://www.youtube.com/watch?v=A65qFMql-0w

See also:
https://www.nytimes.com/2022/11/19/opinion/musk-trump-bezos-bankman-fried-billionaires.html ]]]></description>
<dc:subject>2022 exploitation billionaires billgates andrewcarnegie adamconover yvonchouinard us capitalism anandgiridharadas mikefigueredo climatechange inequality politics policy wealthinequality power control billmckibben eonvironment environmentalism propaganda greenwashing media nonprofits nonprofitindustrialcomplex estatetaxes inheritance politicalinfluence holdfast wealth barryseid leonardleo democracy powerhoarding walmart bentonville arkansas samwalton pr museums marketing markzuckerberg robberbarons labor taxes governance government greatdepression fdr newdeal gildedage monopolies taxation deregulation 1970s 1980s charity charitableindustrialcomplex philanthropicindustrialcomplex philanthropy mckenziescott franklindelanoroosevelt charities</dc:subject>
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<item rdf:about="https://www.youtube.com/watch?v=DRYgY9yO5gc">
    <title>The Un-Private Collection: Hank Willis Thomas + Robin D. G. Kelley - YouTube</title>
    <dc:date>2022-09-20T01:56:24+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=DRYgY9yO5gc</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Artist/activist Hank Willis Thomas will speak with his mentor and former teacher, UCLA professor and noted author Robin D. G. Kelley about Thomas’s art practice and his activism as co-founder of the organization For Freedoms. The Broad recently acquired  America (2021) by Thomas, which is on view along with his work 15,580 (2017), 2018 in The Broad’s special exhibition This is Not America’s Flag from May 21 through September 25, 2022. In America, Thomas dismantles the US flag, reforming its red and white bars to spell “America,” prodding the inequity present in the fabric of the nation, past and present. In 15,580 (2017), Thomas commemorates victims of gun violence, each star representing a life lost in the United States in 2017."]]></description>
<dc:subject>hankwillisthomas 2022 robindgjelley art learning love activism flags poetry storytelling hope creativity healing optimism collaboration freedom liberation dreaming freedomdreaming howwething howwelearn jimcrow civilwar democracy confederacy us race racism inclusivity inclusion branding complexity nuance civicengagement engagement politicaldiscourse museums libraries unschooling deschooling lcproject openstudioproject education future messaging stewardship arts society survival attention stillness noticing awareness awakeness now thenow presence appreciation being brands nike capitalism patagonia labor change nba nfl sports accountability critique criticism ajamonet rationalization resistance surrealism andrébreton modernity humanism decolonization advertising markerting speculativefiction speculativedesign ownership wealth community virtuesignaling reparations bayarea sanfrancisco interdependence radicalism radicalimagination imagination colonialism rationality aimécésaire dereckapurnell abolitionism</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:f64bad1989d9/</dc:identifier>
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</item>
<item rdf:about="https://backbeat.substack.com/p/ruling-class-solidarity-conflict">
    <title>Ruling Class Solidarity: Conflict &amp; Growth at SFMOMA Reexamined</title>
    <dc:date>2022-09-01T02:45:49+00:00</dc:date>
    <link>https://backbeat.substack.com/p/ruling-class-solidarity-conflict</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["How museum collector-trustees recapture charitable donations."]]></description>
<dc:subject>art capitalism neoliberalism philanthropy finance charitableindustrialcomplex philanthropicindustrialcomplex charity 2021 samlefebvre financialization latecapitalism collections artworld museums class race classconflict sfmoma charlesschwab donaldfisher sanfrancisco california us reputationlaunering investment whitesupremacy exporatorium nonprofit nonprofits charities latestagecapitalism</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:0613a25a194e/</dc:identifier>
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</item>
<item rdf:about="https://bellonamag.com/a-secret-betrayed-an-art-and-value-reading-list">
    <title>A Secret Betrayed: An Art and Value Reading List - Bellona Magazine</title>
    <dc:date>2022-01-07T05:34:33+00:00</dc:date>
    <link>https://bellonamag.com/a-secret-betrayed-an-art-and-value-reading-list</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Questions surrounding the ‘value’ of art have been launched into public conversation in recent years. Museums and art galleries have been interrogated for their role in financial speculation, not to mention outright money laundering, while the chasm between the price and perceived value of artworks has been opened up to comical extents via the non-fungible token (NFT) phenomenon. In the music industry, the fixed price of MP3s and physical music media has been relativized by ongoing crises in the production and distribution of vinyl records and the industry’s reshaping at the hands of major streaming platforms, forcing musicians to reconsider the relationship between their output and the market. Meanwhile, periodic strikes and labor agitation in the film industry point to the subsumption of labor within its production apparatus and the dire position of workers on set, as major studios increasingly agglomerate into sector-spanning monopolies.

In response to these rolling crises, a reconsideration of the ontological foundations, ideological mediations and speculative gestures present in art’s relationship to value is necessary. What follows is not a totalizing intellectual history of art and the value-form, but rather a path through some of its contemporary theorizations, which we hope will provide readers with ways to think through the heterogeneous commodity-forms present in the creative industries today.[1]

Through this reading list, and the short blurbs that follow each entry, we seek to clarify the processes by which value regulates the production, circulation and consumption of art. As will become evident, art, as a speculative and often non-use-value, problematizes the abstracting and obfuscatory role of the value-form. The art object, whether it be a painting, a stage performance or a song, is neither pure commodity nor is it entirely autonomous from the forces and relations of production. Thus, rather than solely emphasizing the effects of value – commodity fetishism, reification, financialization, assetization, etc. – the texts below begin with these processes of abstraction and continue on to the potential emancipatory gestures present in artistic production and the art object itself. Art here, following Dave Beech, has an exceptional relationship to the capitalist mode of production, and it is the job of the critic to clarify it."]]></description>
<dc:subject>art value capitalism museums artworld artmarket nfts labor work speculation commodities financialization assetization aesthetics</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:093a8e183f31/</dc:identifier>
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</item>
<item rdf:about="https://orangetangent.study/">
    <title>Orange Tangent Study</title>
    <dc:date>2021-04-13T03:30:05+00:00</dc:date>
    <link>https://orangetangent.study/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[“Orange Tangent Study is a boutique consultant service that nurtures tentacular, transdisciplinary, and agile approaches to developing your projects. Orange Tangent Study is facilitated by me, Kameelah Janan Rasheed.

I began Orange Tangent Study because I needed and outlet for what I believe I do best: thinking alongside others. I often have sprawling and generative conversations and I wanted to share this collaborative thinking process with others.

While Orange Tangent Study is a business, it is also an extension of my art practice which is centered on learning and belief, or what, why, and how do we decide to invest in particular knowledges.

As an artist, I identify first as a learner. And as a learner,  I am grapple with the poetics, politics, and pleasures of the unfinished. I create ecosystems of iterative and provisional projects. These projects include sprawling, “architecturally-scaled” xerox-based collages; large-scale public installations; publications; prints; digital archives; lecture-performances; library interventions; poems/poetic gestures; and other forms yet to be determined. Working primarily with language, I think about ectopia (language in places unexpected), feral meaning (a refusal of a predictive or fixed meaning), and revision.”

…


“Sometimes, we must go on a tangent to get to where we need to go.

[image]

A tangent1 can be a generative digression2 or an abrupt change in course3 that introduces you to new ideas. Tangents are not mistakes4; rather, they are invitations.

Orange Tangent Study is a study5 partner that supports tentacular, transdisciplinary, and agile approaches to developing your projects. Basically, we are playing together, looking together, and wandering together. 

[image]

We enjoy working with individuals and teams interested in designing generative experiences across all environments (a classroom, your living room, a church, a museum, a book/the page, etc.). 

Orange Tangent Study does not have clients; we have co-learners or study buddies. Come learn and study with us!”]]></description>
<dc:subject>colearning learning howwlearn transdisciplinary play howwework wandering partnership design generative experiencedesign experience education schools classrooms museums churches study curriculum curriculumdevelopment kameelahjananrasheed</dc:subject>
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<item rdf:about="https://museo.app/">
    <title>Museo</title>
    <dc:date>2021-03-14T01:17:23+00:00</dc:date>
    <link>https://museo.app/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Museo is a visual search engine that connects you with the Art Institute of Chicago, the Rijksmuseum, the , the Minneapolis Institute of Art and the New York Public Library Digital Collectionmore to come! Every image you find here is in the public domain and completely free to use, although crediting the source institution is recommended!"]]></description>
<dc:subject>search images art museums archive archives</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:b349c97f1d58/</dc:identifier>
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</item>
<item rdf:about="https://www.routledge.com/Places-of-Learning-Media-Architecture-Pedagogy/Ellsworth/p/book/9780415931595">
    <title>Places of Learning: Media, Architecture, Pedagogy - 1st Edition - Eliz</title>
    <dc:date>2021-02-08T04:16:04+00:00</dc:date>
    <link>https://www.routledge.com/Places-of-Learning-Media-Architecture-Pedagogy/Ellsworth/p/book/9780415931595</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Book Description
This book takes a close look at places of learning located outside of schools, yet deeply concerned with the experience of the learning self. It explores what it might mean to think of pedagogy not in relation to knowledge as a "thing made," but to knowledge in the making.

Table of Contents
Introduction

1. The Materiality of Pedagogy: Sensations Crucial to Understandings

2. Pedagogy’s Hinge: Putting Inside and Outside into Relation

3. Pedagogy’s Time and Space

4. Oblique Pedagogies, Conflict, and Democracy

5. The U.S. Holocaust Memorial Museum as a Scene of Pedagogical Address

6. Media, Architecture, and the Moving Subject of Pedagogy

Conclusion: Pedagogy in the Making

Author(s)
Biography
Elizabeth Ellsworth is a member of the Core Faculty in The New School's Media Studies Program in New York City, where she teaches courses in media theory and criticism. She is author of Teaching Positions: Difference, Pedagogy and the Power of Address.

Reviews
"In her role as a pedagogical curator, Elizabeth Ellsworth astutely takes an array of sources, which she fashions as convincing evidence in an argument that challenges our very conceptions of learning and knowledge. And like a thoughtful curator she does more than describe ensembles, or represent and interpret emergent themes. Rather, she offers a site for remaking our ideas of what we see and feel in the presence of learning." -- Graeme Sullivan, Art Education, Teachers College Columbia University
"At this moment when educators and designers are rediscovering the importance of direct experience and knowledge-making, Elizabeth Ellsworth presents very important information and insights. This book is a must read for leaders in design, education, and beyond." -- Dorothy Dunn, Head of Education, Cooper-Hewitt National Design Museum"

[PDF here: https://library.memoryoftheworld.org/#/book/1a39e370-9e33-44d8-a51d-e9b75e87beaa ]]]></description>
<dc:subject>elizabethellsworth via:gautam 2005 2004 architecture media pedagogy howweteach teaching learning howwlearn schools schooling informal informallearning education time space design democracy conflict museums openstudioproject lcproject schooldesign</dc:subject>
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</item>
<item rdf:about="https://www.penguinrandomhouse.com/books/617712/the-museum-of-whales-you-will-never-see-by-a-kendra-greene/">
    <title>The Museum of Whales You Will Never See and Other Excusions to Iceland’s Most Unusual Museums, by A. Kendra Greene: 9780143135463 | PenguinRandomHouse.com: Books</title>
    <dc:date>2020-10-28T22:15:12+00:00</dc:date>
    <link>https://www.penguinrandomhouse.com/books/617712/the-museum-of-whales-you-will-never-see-by-a-kendra-greene/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[“Filled with charming illustrations, this delightful book about Iceland’s 265 museums is as quirky and mesmerizing as the country’s dreamscape itself.” —Forbes

Mythic creatures, natural wonders, and the mysterious human impulse to collect are on beguiling display in this poetic tribute to the museums of an otherworldly island nation.

Iceland is home to only 330,000 people (roughly the population of Lexington, Kentucky) but more than 265 museums and public collections–nearly one for every ten people. They range from the intensely physical, like the Icelandic Phallological Museum, which collects the penises of every mammal known to exist in Iceland, to the vaporously metaphysical, like the Museum of Icelandic Sorcery and Witchcraft, which poses a particularly Icelandic problem: How to display what can’t be seen? In The Museum of Whales You Will Never See, A. Kendra Greene is our wise and whimsical guide through this cabinet of curiosities, showing us, in dreamlike anecdotes and more than thirty charming illustrations, how a seemingly random assortment of objects–a stuffed whooper swan, a rubber boot, a shard of obsidian, a chastity belt for rams–can map a people’s past and future, their fears and obsessions. “The world is chockablock with untold wonders,” she writes, “there for the taking, ready to be uncovered at any moment, if only we keep our eyes open.”

[See also: https://bookshop.org/books/the-museum-of-whales-you-will-never-see-and-other-excursions-to-iceland-s-most-unusual-museums/9780143135463 ]

[via: https://twitter.com/MatthewBattles/status/1321105466521460736

“Among Iceland’s many distinctive attributes, writes Kendra Greene, it is “a place where the boundaries between private collection and public museum are so profoundly permeable, so permissive, so easily transgressed and so transparent as if almost not to exist.”

Why is it so?

Noting that Iceland boasts nearly 300 museums, Greene observes that most of them have emerged in the last couple of decades—”like seeds dormant forever and then triggered at last by some great fire, some sharp snap of frost, to finally take root and bloom.”

They arise amid “old forces,” writes Greene. “The magma & the tremors. The famine & the want.” We’ll consider these forces, and the ways collections constellate meanings & memories, with A. Kendra Greene next week, as we explore her book, The Museum of Whales You Will Never See.”

[and also via:

https://metalabharvard.github.io/projects/sea-seen/ 

“Exploring the varied museums of Iceland, and how we contend with memory and trauma, fascination and fear, through objects on display.
ONLINE
Thursday, November 5 12–1 pm EDT

register to attend: brk.mn/sea-seen

With a population roughly that of St. Louis, Iceland boasts 265 museums: museums of driftwood; museums of birds; museums of sorcery and sea monsters. Join metaLAB’s Matthew Battles in conversation with author A. Kendra Greene, whose lively, wise book explores the collections of this long-isolated, tourist-buffeted nation. At metaLAB, we’re fascinated with & flummoxed by museums large and small. As they assemble objects into networks, they tell stories of power and authority in digital and material worlds. We turn to Greene in hopes of learning how the qualities of memory and trauma, fascination and fear, become bound up in objects on display.

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

This conversation is the second in a series, Making (It) Work, exploring the work books do in the world, in pandemic times and beyond. Curated by metaLAB at Harvard in conjunction with the Berkman Klein Center for Internet and Society."]
]]></description>
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    <title>Museum of Broken Relationships</title>
    <dc:date>2020-09-29T16:58:17+00:00</dc:date>
    <link>https://brokenships.com/</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>zagreb museums relationships losangeles</dc:subject>
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    <title>Mingei transformation tour on Vimeo</title>
    <dc:date>2020-09-12T05:09:00+00:00</dc:date>
    <link>https://vimeo.com/448326185</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>sandiego mingei museums architecture jenniferluce 2020 balboapark</dc:subject>
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<item rdf:about="http://blogs.getty.edu/iris/the-future-of-museums-is-in-our-homes-orhan-pamuks-museum-manifesto/">
    <title>The Future of Museums Is in Our Homes: Orhan Pamuk’s Museum Manifesto | The Getty Iris</title>
    <dc:date>2020-08-10T18:25:09+00:00</dc:date>
    <link>http://blogs.getty.edu/iris/the-future-of-museums-is-in-our-homes-orhan-pamuks-museum-manifesto/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[“In advance of Orhan Pamuk’s October 28 talk, the Getty’s favorite intellectual provocateur Peter Tokofsky pays a visit to Pamuk’s Museum of Innocence in Istanbul”

“I first became engaged with the work of Orhan Pamuk not through one of his acclaimed novels such as Snow or My Name is Red, or even when he was awarded the Nobel Prize in Literature in 2006. Rather, ever since I discovered that the influential author had written a Modest Manifesto for Museums to accompany his novel and museum, both called The Museum of Innocence, he has constantly been on my mind. Point number six of Pamuk’s 11-point manifesto hit close to home:

<blockquote>“Big museums with their wide doors call upon us to forget our humanity and embrace the state and its human masses. This is why millions outside the Western world are afraid of going to museums.”</blockquote>

While I haven’t done a systematic survey of the size of museum doors around the world, it’s difficult to imagine any museum having wider doors than the Getty’s magnificent sliding glass portal through which visitors pass on their way out of the Entrance Hall toward the museum’s pavilions. The curved door, designed by Richard Meier, is so substantial that opening it requires the assistance of a machine to slide it along its curving track.

Pamuk’s manifesto, however, is not a treatise on museum buildings, which has been an obsession for starchitects and their patrons. Rather, it expresses Pamuk’s love-hate relationship with our temples of culture. Pamuk—who before becoming a novelist dreamed of being a painter and architect—writes in the preamble to his manifesto: “I love museums and I am not alone in finding that they make me happier with each passing day. I take museums very seriously, and that sometimes leads me to angry forceful thoughts.” Pamuk’s manifesto envisions a different sort of museum for the future, one that presents humanistic and personal stories, rather than authoritative histories of nations and empires. Consider some of the other points of the manifesto:

- Large national museums such as the Louvre…present the story of the nation—history, in a word—as being far more important than the stories of individuals. This is unfortunate because the stories of individuals are much better suited to displaying the depths of our humanity.

- We don’t need more museums that try to construct the historical narratives of a society, community, team, nation, state, tribe, company, or species. We all know that the ordinary, everyday stories of individuals are richer, more humane, and much more joyful.

- Demonstrating the wealth of Chinese, Indian, Mexican, Iranian, or Turkish history and culture is not an issue—it must be done, of course, but it is not difficult to do. The real challenge is to use museums to tell, with the same brilliance, depth, and power, the stories of the individual human beings living in these countries.

- It is imperative that museums become smaller, more individualistic, and cheaper. This is the only way that they will ever tell stories on a human scale.

- Monumental buildings that dominate neighborhoods and entire cities do not bring out our humanity; on the contrary, they quash it. Instead, we need modest museums that honor the neighborhoods and streets and the homes and shops nearby, and turn them into elements of their exhibitions.

[image: The Museum of Innocence, Istanbul. Photo: Innocence Foundation and Refik Anadol, masumiyetmuzesi.org ]

Pamuk enacted his manifesto by opening The Museum of Innocence in a modest 19th-century house in the Çukurcuma neighborhood of Istanbul, said to be the home where the novel’s protagonist Kemal Basmaci lived from 2000 to 2007. The museum shares more than a name with Pamuk’s novel, which has been translated into almost 40 languages. The written work and the museum were developed together from the beginning, as Pamuk collected over a thousand artifacts and knick-knacks in Istanbul’s junk shops and various other unanticipated locations to build his narrative. As ordinary objects—a quince grater, a postcard, some keys—became part of the story, they were infused with Kemal’s memory of his beloved Füsun, whom he cannot marry. (The book was published in 2008, four years before the museum opened.)

The museum, which I visited last summer, consists of 83 numbered, lovingly crafted display cases corresponding to the 83 chapters in the novel, each containing objects connected to the book’s characters. (The museum does have at least one advantage over the book, as the audio guide notes: “This is a museum not a novel, so if you ever get bored, skip to the next section.”) The narrators on the museum’s audio guide lead listeners through the experience, situating the displayed objects in the lives of Kemal and those around him. The recorded voices frequently shift from explanations to monologues culled from Kemal’s thoughts as he recalls memories conjured by the objects.

[image: A vitrine/chapter titled “My Father’s Death,” in the Museum of Innocence. Photo: Innocence Foundation and Refik Anadol, masumiyetmuzesi.org ]

Here the boundary between the fiction of the story and the reality of objects bends. On the audio guide we hear the voice of Orhan Pamuk, the prize-winning author, who welcomes us to his museum and intermittently shares information about the museum-making process: “While making the museum, we frequently came face-to-face with the serendipitous nature of beauty.” But we also encounter the Orhan Pamuk who intimately knew Kemal, the novel’s protagonist, and who shares observations on his life of unfulfilled love. The characters of the novel come to life for us as we glimpse their experiences through display-case glass and accompanying words, much as the ancients might take shape in our minds as we see their artifacts and learn their mythologies.

[Photo: Innocence Foundation and Refik Anadol, masumiyetmuzesi.org ]

Do the Museum of Innocence and its kin—the Museum of Jurassic Technology here in Los Angeles, Das Museum der Unerhörten Dinge (Museum of Extraordinary Things) in Berlin, for example—pose a challenge for the large national museums housed in monumental buildings that Pamuk would have them supplement? No doubt big museums with grand historical narratives will continue to receive funding, fill the pages of guidebooks, and stand as symbols of national pride, unthreatened by the proliferation of smaller, alternative museums. But perhaps the museums “with wide doors” can learn from the narrative, inventive impulses of smaller institutions.

Objects, whether they are found in junk stores, our own attics, or auctioned at Sotheby’s, encapsulate stories and can unleash our imaginations. If we shroud artifacts in authoritative information, construct historical narratives around them, and continue what Pamuk calls, in the audio guide, the soulless tradition of state-sponsored museums displaying artifacts in sequence, we quash possible creative reactions to museum displays, dehumanizing the museum encounter. We need to remember, as we are told at museum box/novel chapter #47, that “objects placed side by side can bring forth unusual emotions and thoughts.””]]></description>
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<item rdf:about="http://revistadr.com.br/posts/a-fantasia-de-assaltar-o-museu/">
    <title>Revista DR » A Fantasia de Assaltar o Museu</title>
    <dc:date>2020-07-21T10:56:02+00:00</dc:date>
    <link>http://revistadr.com.br/posts/a-fantasia-de-assaltar-o-museu/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["O Museu é o “repositório racial da memória” [1]. White institution [2] encarregada da monumentalização da supremacia branca. Ali está o relato escrito pelo senhor. Ali está a colonialidade feita escultura, a estetização do saque, da dor, a fetichização da otherness [3], a obsessão pela coleção, pela acumulação. Ali, nossa memória viva se faz pele."]]></description>
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<item rdf:about="https://twitter.com/amy_sall/status/1285259680172969984">
    <title>Amy Sall on Twitter: &quot;I’d argue the solution is to work towards a complete reimagining/dismantling of the educational system and envisage what community-based, equitable knowledge acquisition can look like.&quot; / Twitter</title>
    <dc:date>2020-07-21T06:07:42+00:00</dc:date>
    <link>https://twitter.com/amy_sall/status/1285259680172969984</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["[Thread]

On Fanon’s birthday, I am thinking of the cyclical, ongoing conversations about “decolonizing the institution.” As long as a course, exhibition, etc is within the confines of an institution, the work of “Decolonization” is stunted and cannot fully actualize. [image]

That is to say, in this context, decolonization never fully arrives, it is in a constant, thwarted state of becoming, no matter how “progressive” or “radical” a course or exhibition seems.

The institution is a culmination and result of the colonial project + imagination. A number of universities in the US were built by slaves.

Museums affirm an imperialist thesis that subjugation + colonial theft were necessary means for western study, research and advancement of knowledge.

These institutions that are sustained by multimillion dollar endowments are physical manifestations of exclusion, classism, capitalism, and are vestiges of colonialism.

Note my use of “institution” is largely describing Predominately White Institutions (PWIs), or any site that reflects/upholds/sustains similar metrics + values. Scholars, students, artists and curators of color both benefit from and are oppressed by these sites.

This is personally a difficult tension for me to reconcile, and something I think about heavily as academia is a significant part of my life and a system I am part of.

Whilst I value education, I don’t subscribe to the idea that it begins and ends in the ivory tower. If we are all to become free, we all have to be armed with the theories and practices necessary to get free.

Reading is revolutionary act. Access to education is a basic, universal right not a privilege. I’m not so convinced the answer is to decolonize institutions; that work feels futile. If you are engaged in the work of “decolonizing the institution” you are still working within it.

At what point is the institution decolonized? When is it decolonized enough? It requires more than “Diversity and Inclusion.”

I’d argue the solution is to work towards a complete reimagining/dismantling of the educational system and envisage what community-based, equitable knowledge acquisition can look like.

Still in first tweet is from Faat Kiné (2000), dir. Ousmane Sembène"]]></description>
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<item rdf:about="https://www.mumforce.co.uk/guest-post-unschooling-and-the-pandemic-by-hamilton-carter/">
    <title>Guest Post - Unschooling And The Pandemic by Hamilton Carter - MUMFORCE</title>
    <dc:date>2020-07-14T04:52:34+00:00</dc:date>
    <link>https://www.mumforce.co.uk/guest-post-unschooling-and-the-pandemic-by-hamilton-carter/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["“But, if kids are responsible for their own learning,” you might ask, “what do the parents do?”  

It’s a good question 

The short answer is: “A lot.”

 Parents are very, very involved in unschooling right from the start. They’re responsible for facilitating and enabling the entire process. If you wondered how kids know what they’re interested in in the first place? That’s also a valid question, and there’s an answer for that too.

“Strewing.” 

Strewing is the practice of well, strewing materials about different subjects kids might be interested in across their environment. Some unschoolers—we fit this bill—are untidy, and leave their own things lying about. (As a result, the kids here are interested in art, physics, comic books, computer programming, engineering, nature, camping, and hiking among other things.)  Other families use online resources like YouTube or Minecraft to help kids find interests they’d like to pursue. 

Once a kid finds a subject they’re interested in, it’s up to them to decide how far they’d like to pursue it. It’s up to the parents to find or provide the resources to do that. I’ll use a few examples from our kids’ experiences to illustrate the resources we’ve found, and to show what our unschooling life looks like. [All the kids names are changed to their self-selected aliases.]"]]></description>
<dc:subject>hamilitoncarter 2020 unschooling deschooling parenting covid-19 coronavirus learning children howwelearn education libraries museums nature independence freedom self-directed self-directedlearning strewing</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:087b9f338834/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:covid-19"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:coronavirus"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:learning"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:howwelearn"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:education"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:libraries"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:nature"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:independence"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:freedom"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:self-directed"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:self-directedlearning"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:strewing"/>
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</item>
<item rdf:about="http://moa.repponen.com/">
    <title>MOA — Museum of Online Artifacts Almanac</title>
    <dc:date>2020-05-18T17:10:24+00:00</dc:date>
    <link>http://moa.repponen.com/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["MOA Almanac is an extension of Museum of Design Artifacts - a collection of personal experiments by

Anton Repponen / 2017-2020"]]></description>
<dc:subject>web online internet design museums antonrepponen webdev webdesign visual</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:f4de7b6c267a/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:internet"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:design"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:antonrepponen"/>
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</item>
<item rdf:about="https://vimeo.com/21080364">
    <title>Judy Rand | Adventures in Label Land | Part 1 of 2 on Vimeo</title>
    <dc:date>2020-04-15T02:53:35+00:00</dc:date>
    <link>https://vimeo.com/21080364</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[via: https://www.nytimes.com/2015/03/19/arts/artsspecial/labels-digital-included-assume-new-importance-at-museums.html ]

“In this first part of the presentation “Adventures in Label Land”, Judy Rand, Director of Rand and Associates, speaks about the history and development of her label writing process for exhibits, outlining specific techniques along the way. This presentation was recorded at the One Size Fits All? Workshop for museum professionals held by the USS Constitution Museum in Boston, MA, November 15, 2010. Family Learning Forum is an ongoing project of the USS Constitution Museum to encourage museum professionals to explore family learning. Both the museum and the forum are non-profits.”

[part 2: https://vimeo.com/21108024

“In this second part of the presentation "Adventures in Label Land", Judy Rand, Director of Rand and Associates, speaks about the history and development of her label writing process for exhibits, outlining specific techniques along the way. This presentation was recorded at the One Size Fits All? Workshop for museum professionals held by the USS Constitution Museum in Boston, MA, November 15, 2010. Family Learning Forum is an ongoing project of the USS Constitution Museum to encourage museum professionals to explore family learning. Both the museum and the forum are non-profits.”]]]></description>
<dc:subject>museums labels judyrand museumlabels 2010</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:50a2b406b42b/</dc:identifier>
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</item>
<item rdf:about="https://msu.edu/~dillenbu/exhibits/Bad/exbadlabels.html">
    <title>Gene’s Exhibit Gallery – Bad Labels (The Bad Label Hall of Fame, Carnegie Museum of Natural History, Pittsburgh)</title>
    <dc:date>2020-04-15T02:52:57+00:00</dc:date>
    <link>https://msu.edu/~dillenbu/exhibits/Bad/exbadlabels.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[via: https://www.nytimes.com/2015/03/19/arts/artsspecial/labels-digital-included-assume-new-importance-at-museums.html ]]]></description>
<dc:subject>museums labels museumlabels</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:663ed38bff45/</dc:identifier>
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