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    <title>&quot;Their appetite grows with every war&quot; with Aslı Ü. Bâli - YouTube</title>
    <dc:date>2026-07-06T03:10:51+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=0DLYf-uRG1s</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The brothers welcome back Aslı Ü. Bâli, Professor of Law at Yale Law School, for an intense and wide-ranging discussion of the state of the Middle East in the aftermath of the failed US-Israeli war on Iran.  They discuss the potential geopolitical outcomes the apparent US strategic defeat, examine the nature and assumptions of what had been American primacy over the Gulf, the liability and costs to the US and the Middle East of the decades-long American political embrace of an Israel drunk on borrowed power and impunity, Turkey’s role in the regional realignment, the question of pipelines and resources, and the importance of international law in the context of the Gaza genocide.

Date of recording: June 23, 2026"

[also here:
https://directory.libsyn.com/episode/index/id/41964680
https://sites.libsyn.com/495388/their-appetite-grows-with-every-war-w-asl-bli ]]]></description>
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    <title>Literary Hub » On Joan Didion and the Art of Looking Back</title>
    <dc:date>2026-07-04T12:33:13+00:00</dc:date>
    <link>https://lithub.com/on-joan-didion-and-the-art-of-looking-back/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Maggie McKinley Rereads One of America’s Great Nostalgists"

...

"In Thomas Wolfe’s posthumously published novel You Can’t Go Home Again (1940), protagonist George Webber finds himself in Germany amid the rise of Nazism in the 1930s and “face to face with something old and genuinely evil in the spirit of man.” Upon his return to America, Webber acknowledges that the darkness he has witnessed is not confined to Germany but is everywhere around him, a realization that “shook his inner world to its foundations.” Disillusioned, Webber reflects on the inability to return to a previous worldview, a previous self, or a previous innocence, though his realization remains tinged with longing:

<blockquote>You can’t go back home to your family, back home to your childhood, back home to romantic love, back home to a young man’s dreams of glory and fame, back home to exile, to escape to Europe and some foreign land, back home to lyricism, to singing just for singing’s sake, back home to aestheticism, to one’s youthful idea of “the artist” and the all-sufficiency of “art” and “beauty” and “love” . . . away from all the strife and conflict of the world . . . back home to someone who can help you, save you, ease you, ease the burden for you, back home to the old forms and systems of things which once seemed everlasting but which are changing all the time—back home to the escapes of Time and Memory.</blockquote>

Webber’s unsettling revelations do not end in defeatism, however; rather, he is inspired toward “a definite sense of new direction.” While he possesses a keen awareness of the corruption that surrounds him, he also exhibits a distinct optimism for the future, particularly the future of America, which he believes still has the capacity to conquer evil, and in the end he insists that “this glorious assurance is not only our living hope, but our dream to be accomplished.” Webber’s conception of the future is thus one that simultaneously encompasses and rejects a nostalgic view of the past, as his forward-looking vision is shaped by a longing for the return of a past moment that collides with the realization of its impossibility.

Of course, Wolfe is not the only American writer to contend with a nostalgic impulse that is deeply connected to experiences of chaos and change. As social, industrial, and technological shifts continued to inform art, politics, and commerce over the course of the twentieth century, writers ranging from F. Scott Fitzgerald to Toni Morrison also examined the allure of looking back, of yearning for a purportedly more stable past. Yet I would argue that there are few contemporary American writers who examine the complexity of nostalgia with more depth, breadth, curiosity, and prescience than Joan Didion. Like Wolfe before her, Didion acknowledges the multitude of ways we might define “home,” and recognizes the inevitable pull of nostalgia for a particular time, place, aesthetic, hope, ideology, or feeling even as she, too, harbors an increasing mistrust of past narratives that “once seemed everlasting.”

Yet Didion takes these ideas much further than Wolfe—and further than most writers, for that matter. Her engagement with nostalgia is not confined to a single character, publication, or era, but defines her fiction and nonfiction across decades, informing her discussions of politics, gender, rhetoric, media, and much more. Her nostalgia also becomes increasingly future-oriented, in a way that is more cautious than that of a character like George Webber, but which nevertheless undermines assessments of her worldview as nihilistic or fatalistic, and complicates common understandings of nostalgia as a purely conservative impulse."

...

"Indeed, nostalgia is at the center of nearly everything she wrote, and I argue that by investigating the various ways she engages with and defines the concept in both fiction and nonfiction, we can better understand the contradictory terms that have come to define Didion’s writing and literary persona: fatalistic and hopeful, fragile and strong, detached and connected, feminist icon and antifeminist, humble and haughty, conservative and liberal. Reading Didion’s work through the lens of nostalgia theory allows us to better understand the source of these tensions, and to reevaluate her views on American history, regional identity, hubris and imperialism, gender, political theater, the counterculture, national rhetoric, grief and loss, and more."

...

"While Didion’s cultural observations are often filtered through a personal experience of nostalgia, more often the latter functions as a critical lens that she discerningly turns onto twentieth-century American culture. At the same time, nostalgia theory becomes a tool we might turn back onto Didion’s work, useful in probing not only her own enigmatic ideas but also the ways modern American history has been narrativized, and how that impacts our cultural and political discussions in the present moment.

An interrogation of nostalgia is also, I would argue, part of her own truth-seeking project as a New Journalist, and her exploration of the allure and menace of nostalgia takes on new dimensions as she directs her gaze outward. Indeed, the nature of New Journalism as a genre allows Didion to demonstrate an acute awareness of her own narrative construction; she draws attention to the fact that her cultural criticism might be tinged with nostalgia and then proceeds to critique this tendency in herself."

...

"In both fiction and nonfiction, she documents the ways that America has used nostalgia to “pernicious” effect on a political and imperial level, a factor that continues to shape our national mythos (Where I Was From). As a nearly ubiquitous presence, nostalgia becomes a recurring theme, a character trait, a narrative perspective, a subject of her criticism, and a critical device in her work. Didion’s work emphasizes that while nostalgia can be paralyzing and foster stagnation when wielded at the institutional level and as an unquestioned worldview, political tactic, or marketing technique, it is also a natural inclination, one that allows us to make sense of our place in the world at any given moment, and can be a tool for uncovering personal truths and identifying cultural and national myths."]]></description>
<dc:subject>joandidion nostalgia home memory 2026 maggiemckinley thomaswolfe time fscottfitzgerald tonimorrison literature svetlanaboym society collectivememory politics psychology art culture identity collectiveidentity us brucebawer ellenfriedman kathleenvandenberg williamhandley alissawilkinson hollywood class gender americanlife fiction nonfiction newjournalism journalism narrative present future past remembering subjectivity historicization idealism stangation worldview nationamyths myth myths rhetoric history counterculture conservatism imperialsim</dc:subject>
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<item rdf:about="https://www.theguardian.com/us-news/ng-interactive/2026/jul/02/us-national-parks-history-censorship">
    <title>‘A sanitized view of America’: inside Trump’s campaign to erase US history from national parks | National parks | The Guardian</title>
    <dc:date>2026-07-04T08:03:54+00:00</dc:date>
    <link>https://www.theguardian.com/us-news/ng-interactive/2026/jul/02/us-national-parks-history-censorship</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Critics say the Trump administration is trying to rewrite and whitewash history by removing and altering scores of signs on public lands"]]></description>
<dc:subject>2026 nationalparks history visualization donaldtrump publicland sings narrative erasure</dc:subject>
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<item rdf:about="https://www.youtube.com/watch?v=56ZWnjnN7Vc">
    <title>Mapping the ADL’s Origins in Settler-Colonial Liberalism, State Power, &amp; Civil Rights as Cover... - YouTube</title>
    <dc:date>2026-07-04T06:17:35+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=56ZWnjnN7Vc</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["In this episode we are joined by Emmaia Gelman, author of The Anti-Defamation League and the Racial State, a critical history of the ADL as a Cold War neoconservative institution. Gelman excavates the Anti-Defamation League's origins as a white, settler colonial institution founded by German-Jewish elites—not to combat antisemitism broadly, but to manage class respectability and suppress Eastern European Jewish immigrant socialists whom they viewed as a racial and social threat. 

 Gelman looks back at how early Jewish settlers had built fortunes through participation in 19th-century US territorial expansion, Indigenous dispossession, and slavery's economic system, understanding themselves as white Europeans racially distinct from the "vermin" arriving from the Pale of Settlement. The ADL and its predecessor, the American Jewish Committee (founded 1906), operated as Progressive Era eugenicist charities designed to "correct and fix" rather than support self-determination, preemptively capturing Jewish political identity to prevent autonomous radical organizing.

 Gelman traces how the ADL evolved from an instrument of McCarthyite purges—coordinating mass firings of Jewish leftists in 1951, offering its services to McCarthy committee members, and abandoning Julius and Ethel Rosenberg to execution while denying antisemitism played any role in their prosecution (the judge who sentenced them sat on the ADL's Civil Rights Committee)—into a key architect of Cold War anti-communism and neoconservative "democracy promotion." The organization attacked Arab League representatives speaking about Zionist violence in Palestine as early as 1946, treating Palestinian and Arab organizing as "foreign insurgency" while framing Jewish fundraising for Israeli settlement as natural civic participation. After Israel's 1967 military victory, the ADL strategically re-racialized Jews as non-white within the framework of race liberalism, allowing it to cast Israeli militarism as defensive racial liberation and Arab calls for refugee return as antisemitic rather than anti-colonial. This racial pivot occurred precisely as European Jews had achieved economic whiteness through the GI Bill, suburbanization, and the collapse of university quotas—benefits systematically denied to Black populations through redlining.

 Emmaia Gelman is the author of The Anti-Defamation League and the Racial State, a critical history of the Anti-Defamation League as a Cold War neoconservative institution (UC Press, 2026) and co-editor of The Anti-Defamation League: A Critical Reader (Pluto Press, 2026). She co-hosts the podcast Unpacking Zionism. Emmaia is co-chair of the American Studies Association Caucus on Academic and Community Activism, and a longtime activist in New York City.

 She is the founding director of the Institute for the Critical Study of Zionism, which examines the political and ideological work of Zionist institutions in Palestine and transnational contexts. She researches the history of ideas about race, queerness, safety, and rights, and their production as levers in surveillance, “anti-terror”, and war. Her teaching spans academic and community spaces."

[also here:
https://millennialsarekillingcapitalism.libsyn.com/mapping-the-adls-origins-in-settler-colonial-liberalism-state-power-civil-rights-as-cover-with-emmaia-gelman 

See also:

The Anti-Defamation League and the Racial State, by Emmaia Gelman (2026)
https://www.ucpress.edu/books/the-anti-defamation-league-and-the-racial-state/hardcover 

Institute for the Critical Study of Zionism
https://criticalzionismstudies.org/ ]]]></description>
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<item rdf:about="https://open.spotify.com/episode/53hnMibTVpbKx7C0OfvhAi">
    <title>Descolonización del patrimonio en Puerto Rico con Rafael Capó García y Javier Arbona-Homar • Sur-Urbano</title>
    <dc:date>2026-07-03T22:56:24+00:00</dc:date>
    <link>https://open.spotify.com/episode/53hnMibTVpbKx7C0OfvhAi</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Puerto Rico: Un archipiélago que, cada año, recibe a millones de turistas. Muchos de estos visitantes llegan a un lugar que, por décadas, se ha posicionado en una ruta de consumo caribeño – un lugar famoso por fantasías tropicales de ron, cigarros, café y, más recientemente, reggaetón. Si queremos ser más específicos, el Viejo San Juan, el sector colonial de la capital de Puerto Rico, está organizado en torno a satisfacer al visitante con sus restaurantes de comida criolla, coctelerías, tiendas y una proliferación de alquileres a corto plazo. Pero este modelo termina volviéndose insostenible para quienes la habitan. Detrás de las campañas publicitarias cuidadosamente diseñadas para atraer a turistas a un destino familiar y convenientemente situado “dentro” de los Estados Unidos, se oculta una historia incómoda de guerra, racismo y represión violenta.

Hay muchas personas en Puerto Rico cuestionando el espacio público y excavando las historias que existen debajo de cada monumento, de cada estatua, de cada ciudad y su infraestructura. Una de esas personas es Rafael Capó García, el fundador de Memoria (De)Colonial – un proyecto en Puerto Rico que ofrece recorridos históricos en San Juan. Los guías interrogan los legados coloniales de la herencia y el patrimonio puertorriqueño. Esto lo hacen a través de un lente decolonial y antirracista, y el proyecto tiene como misión promover perspectivas críticas en el momento de acercarnos a un monumento histórico. Pueden conocer más de su proyecto aquí:

https://memoriadecolonial.com/

Para pensar más en este acercamiento hacia los monumentos, nos sentamos también con Javier Arbona-Homar, un profesor puertorriqueño en UC Davis quien se enfoca en el diseño y en los estudios explosivos, es decir, cómo las explosiones transformaron la política espacial de los paisajes. Pueden encontrar su libro más reciente, “Explosivity Following What Remains”, aquí:

https://www.upress.umn.edu/9781517918842/explosivity/ "]]></description>
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<item rdf:about="https://theamericanscholar.org/on-the-trail-with-an-arkansas-traveler/">
    <title>On the Trail with an Arkansas Traveler - The American Scholar</title>
    <dc:date>2026-06-27T07:38:26+00:00</dc:date>
    <link>https://theamericanscholar.org/on-the-trail-with-an-arkansas-traveler/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Charles Portis looked past our national mythology to portray the real America"

...

"No other novelist captures the modern American attraction to unsupported fringe beliefs, crackpot schemes, and cults and renders it with such mordant glee as Portis."

...

"Every country has its own myths of origin and national character. We don’t expect our poets and fiction writers, our songwriters and moviemakers simply to tell stories, as vital as narratives are to us. We look to them to establish myths of national identity and create exemplars of these myths, as Whitman does when he sings of the open road in Song of Myself; to ratify and expand those myths, as Kerouac does in On the Road; to challenge and question myths like the idea of the self-made man, as Fitzgerald does in The Great Gatsby. You’d search far and wide before you found a better yarn than the adventures of Mattie Ross and Rooster Cogburn, in which, as Mattie puts it, “I avenged Frank Ross’s blood over in the Choctaw Nation when snow was on the ground.” But storytelling is far from all that Portis is up to. After fairly demolishing any notion of chivalry that readers of an earlier generation might have associated with the Confederacy and undercutting Rooster’s credentials as a Wild West hero, the overweight, hard-drinking, bounty-hunting marshal emerges as a kind of chivalric hero after all—not through any mythic identity, but simply because of who he shows himself to be when the chips are down: a man with true grit.

Portis is one of our great and quintessentially American writers because, like Hemingway, he never abandoned his journalistic sensibilities. His ability to see things as they are is bracing. There is something of the investigative reporter’s determination to discover the truth in the sure-handedness with which Portis gleefully ridicules the gimcrack “secret brotherhood” of Gnomonism in Masters of Atlantis, and how he takes down the grandiose delusions of characters like Symes in The Dog of the South. It’s as if Portis can never quite get over the capacity we have for self-delusion. Americans’ readiness to believe something like Q-Anon wouldn’t have surprised him in the slightest. It’s no accident that Jimmy Burns, the narrator and protagonist of Portis’s last novel, Gringos, is not some mythical road warrior like Kerouac’s Dean Moriarty but a shade-tree mechanic scraping out a living in Mexico. In Portis’s treatment of the West, there’s some truth in Roy Blount Jr.’s statement, quoted earlier, that the author “could be Cormac McCarthy if he wanted to, but he’d rather be funny.” I would amend that judgment slightly and say that he’d not only rather be funny, he’d also rather base his stories on actuality than follow the siren songs of myth. A humorist by temperament, he knew instinctively that, as Charlie Chaplin knew in making The Great Dictator and as Saturday Night Live knows in lampooning our current president, laughter is a powerful weapon in dealing with the folly of those who think they have all the answers."]]></description>
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<item rdf:about="https://www.publicbooks.org/who-benefits-from-distorting-american-studies/">
    <title>Who Benefits from Distorting American Studies? - Public Books</title>
    <dc:date>2026-06-18T01:35:45+00:00</dc:date>
    <link>https://www.publicbooks.org/who-benefits-from-distorting-american-studies/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Normativity, in the hands of the “non-distortionists,” smuggles into American studies assumptions that we’re told we must describe rather than prove. A key question the field has tackled, which Kahlenberg and Lin recognize, is what exactly is “American culture”? What is distinct from other cultures, in “its customs, norms, history, literature?” But what they should know—and we must remember—is that the actual error with the field is how the boundedness of the object of study (“America”) was an assumed truth, rather than a question.

Instead, the distinction of “America” was taken for granted, rather than something to uncover. During the collapse of empires (post–World War I) and the growing consolidation of US power (post–1898 to post–World War II) in the international arena, early American studies scholars were concerned with national identity (and perhaps anxious about its character); as such, they sought to understand and preserve some uniqueness. The authors insist the US is exceptional. In their eyes, “exceptionalism” is a truth to be described, just like “American culture.” The boundaries of these objects are taken for granted. What, who, when, and where they contain are but elements to find in the archive or the field. Like boxes to tick, or t’s to cross."]]></description>
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<item rdf:about="https://chrishedges.substack.com/p/a-discussion-on-the-new-novel-palaces">
    <title>A Discussion on the New Novel 'Palaces of the Crow' (with Ray Nayler) | The Chris Hedges Report</title>
    <dc:date>2026-05-23T05:19:01+00:00</dc:date>
    <link>https://chrishedges.substack.com/p/a-discussion-on-the-new-novel-palaces</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["In his new book, “Palaces of the Crow,” Ray Nayler examines human nature through the lens of caring and community amidst the often hidden horrors of World War II."

...

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

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

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

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

...

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

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

...

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

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

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

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

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

...

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

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

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

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

"(0:00) Intro  
(2:25) Why WWII? 
(4:21) Clash of totalitarians 
(6:13) The four characters 
(10:19) The symbology of crows 
(15:58) Karma and resurrection 
(19:46) Kropotkin’s naturalism 
(25:04) The complexity of crows
(27:53) Transgenerational communication 
(30:59) Rootlessness and evil 
(33:03) Human-animal communication 
(38:55) The myth of childhood 
(44:05) The forgotten history of WWII
(51:21) Trauma of veterans 
(52:11) Outro"]]]></description>
<dc:subject>raynayler chrishedges war poland wwii ww2 crows corvids humannature humans human caring community fiction literature togetherness interconnected interconnectedness ussr nazigermany germany cooperation nonviolence mutualaid survival peterkropotkin totalitarianism williamgolding rootlessness evil trauma childhood human-animalrelations human-animalrelationships 2026 lordoftheflies danielberrigan faith birds siberia morethanhuman multispecies krasnovodsk resurrection manchuria turkmenistan leesandlin hitler adolfhitler society civilization children communication interspecies relationships thomasnagel experience perception pathology donaltrump hannaharendt karma poverty nourishment scarcity abundance socialism equality writing howwewrite reading howweread legacy death generations culture learning howwelearn inscription individualism extraction extractiveindividualism environment corporations corporatism disconnection history interdependence sesnes sensory waysofknowing blindness sound sensing senses modernity huma</dc:subject>
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<item rdf:about="https://pmic2026.wordpress.com/submissions/">
    <title>Submissions – Performativity(ies) of Memory(ies) Interdisciplinary Conference 2026</title>
    <dc:date>2026-05-23T05:15:56+00:00</dc:date>
    <link>https://pmic2026.wordpress.com/submissions/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Recommended topics:

• Shared memory of experiences and knowledge
• Participatory research and practice as testimony of (the) memory
• Community-generated memory and political identity(ies)
• Representation of memory and practice-as-research
• Processes of re-creation/re-contextualization
• Identity, narrative(s) and memory sharing
• Artificial and digital memory
• From “stock memory” to “flux memory”
• Memory and the irruption of the Real]]></description>
<dc:subject>memory knowledge 2026 sharedmemory participatory research identity narrative</dc:subject>
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</item>
<item rdf:about="https://freddiedeboer.substack.com/p/one-more-time-the-average-american">
    <title>One More Time: The Average American K-12 Student is Doing Fine Relative to the International Baseline</title>
    <dc:date>2026-05-20T06:14:39+00:00</dc:date>
    <link>https://freddiedeboer.substack.com/p/one-more-time-the-average-american</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["and problems relative to the historical baseline are happening around the world"

...

"I’ve pointed this reality out within larger arguments many times before, but I feel like I need to put it down as its own thing. In particular, the comments on this post got me thinking that maybe I haven’t made the point directly enough: the average K-12 student in the United States is doing fine. Even if you don’t accept my overall position on our education system and its perceived problems, that is true. Even if you think that poor educational performance is straightforwardly the product of teachers or schools or policy or pedagogy, which I very much disagree with, that is true. So much of our discourse on American public education relies on a crisis narrative that simply is not justifiable based on data.

It’s a persistent and bipartisan conviction in our media: are public schools are in a state of crisis, producing functionally illiterate graduates, falling far behind international peers, and failing an entire generation. This narrative is repeated so often that it’s become axiomatic, in the sense that people who say it feel that they don’t have to justify the claim with evidence. If we do look at the evidence, however, we’ll find a far different story, a more complicated and more hopeful story. To whit:

• The average American public school student performs quite respectably in an international context

• American students at the upper end of the distribution are world-class by any objective measure

• Recent test score declines that people worry about mirror declines across the entire developed world, and are therefore not a distinctively American pathology.

• The genuine crisis in American education is geographically and sociologically concentrated in a small number of profoundly disadvantaged districts, not distributed evenly across the system.

• The famous finding that Americans give their local schools much higher grades than they give “American schools” in the abstract turns out, on inspection, to be perfectly rational.

***

When Americans encounter headlines about international test scores, the framing is almost always one of failure: the U.S. is “behind,” “lagging,” or “falling.” But this framing depends heavily on selectively reading the data. The most authoritative international benchmark is the OECD’s PISA, or Program for International Student Assessment, which tests 15-year-olds across 81 countries in mathematics, reading, and science every three years. In the most recent 2022 results, released in December 2023, the United States outperformed the vast majority of the world."

...

"Hell, the OECD’s own country profile for the United States notes that the percentage of top performers across all three subjects combined is one of the highest among PISA-participating countries, and 14% of U.S. students scored at Level 5 or higher in reading, double the OECD average of 7%. The U.S. also reached its highest-ever share of top science performers,11%, compared to the OECD average of 7%. None of this is the profile of a failing education system. It’s the profile of a large, diverse nation educating a uniquely heterogeneous population at or above world norms. And you can only participate in the fiction that we’re a uniquely poorly-performing country if you a) are ideologically inclined to hold that view and b) don’t bother to check the stats.

Ah, but a constant claim from my commenters is that our system does not serve their kids, who are gifted and talented, exceptional, most likely to succeed. Setting aside just how statistically unlikely it is that all of you really have exceptionally bright children… guys, with the possible exception of truly unrepresentative countries like Singapore, there is nowhere else in the world that I’d rather raise an exceptional student than the United States. Our record in that regard is truly remarkable; we have produced a hugely disproportionate number of the most quantitatively and competitively accomplished students, relative to our population size. The PISA averages obscure a real feather in the cap of the America system: our best students, including at public schools specifically, are among the best in the world at what they do. Our best kids kill it in international academic competitions year after year, but because that doesn’t fit the narrative, that accomplishment is ignored by our media and pundit class."

...

"OK, so what about recent declines? Isn’t the United States seeing major and unprecedented declines in many academic metrics? Well, this is why international context is as important as (or more important than) historical context: the declines are major but not unprecedented, precisely because those declines are happening all over the developed world. I just wrote a post that looks at this reality extensively and with graphs. If you’re concerned with American academic declines, you have to grapple with the fact that every comparable country experienced the same declines at the same time, which strongly implies a common cause rather than a uniquely American failure.

I don’t want to waste your time by re-prosecuting the case I made in that recent post. But let me make this point plain: the 2022 PISA results showed an unprecedented worldwide collapse in scores."

...

"None of the above should be taken to deny that there is a genuine crisis in some schools in the United States. But to put it very mildly, those problems are not evenly distributed across the country’s approximately 13,000 school districts. Instead, our real problems are heavily concentrated in a relatively small number of urban and rural outlier districts facing overlapping and severe sociological and economic challenges. The average parent on the average American suburban town just doesn’t have much to worry about when it comes to their kid’s school. But parents in concentrated poverty very much do.

Look at the NAEP’s Trial Urban District Assessment program, which provides district-level data for 26 large urban districts. That data makes the concentration of our problems quite visible.

[details about Detroit, Cleveland, and Baltimore]

So here’s my question. Do you really think that these schools perform that way because they have teachers unions, just like many of the highest-performing affluent suburban school districts do? That all of the teachers who work in these districts, including all the Ivy League do-gooders who show up with only a yardstick and a dream to fix the system, are just that lazy and untalented? That they just refuse to open the three-ring binder with the “GOOD PEDAGOGY” label on the cover? Detroit, Cleveland, Baltimore, et al do not share common district policies, or common union contracts, or common teaching philosophies and pedagogy. They do share catastrophic rates of child poverty and endemic crime and unemployment problems! They do share extreme segregation, population collapse, and decades of disinvestment in their surrounding communities! As I have done many times in the past, I’ll ask you to consider what would happen if these inner-city schools simply swapped student populations with the schools in the richest nearby suburban districts. I don’t think anyone doubts that the Detroit students would still struggle if they went to Bloomfield Hills schools, or that Bloomfield Hills students would excel in Detroit Schools, even if we disagree on the margins. Well, that should guide your perception of the overall state of education in this country.

For the record, schools in comparable cities (Miami, Charlotte, Austin…) which serve diverse and lower-income populations, but within more economically stable metropolitan environments, consistently outperform the crisis districts on NAEP despite often spending significantly less per pupil. The crisis is not inherent to large, diverse urban systems. It is specific to places with extreme and compounding disadvantage. Meanwhile, the OECD country profile notes something rarely reported: the math performance of U.S. students in the bottom international decile of socioeconomic status ranks 6th out of 64 comparable nations. To reiterate: even America’s most disadvantaged students perform remarkably well, when considered against the world’s most disadvantaged students! Thus it is not even true to say that our lowest performing outliers are uniquely bad. The problem is not that American schools fail poor kids at an unusual rate. The problem is that some of our communities are poor to a degree that is extreme even by international standards, and those communities schools bear the full weight of that concentrated hardship.

The academic outcomes of these areas of extreme concentrated poverty and dysfunction are indeed disturbing. But then, what’s disturbing is the concentrated poverty and dysfunction themselves, not the NAEP and state standardized test scores which are ultimately just evidence of these problems. That’s what’s disturbing, the inequality and hopelessness in the most economically powerful country in the world. Blaming the schools is like blaming thermometers for global warming. It’s malpractice.

In general, America’s public schools are judged by averages that obscure more than they reveal. A relatively small number of deeply struggling district, typically serving students facing concentrated poverty, unstable housing, underfunded services, and other compounding disadvantages, pull national performance measures downward and create a misleading impression that the system as a whole is failing. Those schools matter, their students matter, and both schools and students deserve attention, investment, and reform. But it’s an analytical mistake as well as political senseless to treat the most distressed outliers as representative of American public education in general.

***

For as long as I’ve been reading and writing and researching about education and education policy, pollsters and journalists have expressed puzzlement (that is to say, condescension) at a persistent finding in American public opinion surveys: Americans think their own community’s schools are fine, even as they believe American education in general is in crisis. The Gallup Poll on Public Attitudes Toward Public Schools has shown this gap consistently since 1985. In the 2025 survey, for instance, only 13% of respondents gave the nation’s public schools an A or B rating, down from 26% in 2004… while 43% gave their own community’s schools an A or B. Public school parents are even more positive about their own child’s specific school. (So not just the local schools or the district schools but their kid’s school.) More than three-quarters of public school parents give their child’s school an A or B. The percentage who are completely or somewhat satisfied with their child’s education has never dropped below 68% since Gallup began asking in 1999, even through the pandemic years. Parents like the schools their kids go to. They’ve been propagandized about supposedly failing public schools by Jon Chait et al for so long that they believe America’s public school system is a lost cause. But it simply isn’t true.

This gap, the gap in the belief “American schools are bad, but my kid’s school is good,” is typically explained as parents being irrational, as a form of cognitive bias, an embarrassing refusal for parents to accept just how bad everything is. People are too emotionally attached to their own schools to see them clearly! But in light of everything above, a simpler and better explanation is available: the parents are largely right and the national narrative is largely wrong. And honestly, what should you trust more, a parent’s take on their own kid’s school, or their attitude towards schools in general? Which do they have better information on? Which do they have real experience with? Gallup itself has acknowledged that parent views of the schools their kids go to are based on direct experience, whereas American views of public education more generally are based largely on what they see in the media. Parents in Naperville, Illinois or Falls Church, Virginia or Newton, Massachusetts, or Palo Alto, California, whose kids attend schools that consistently produce excellence - they’re not wrong when they shrug at national crisis coverage. Their local experience is accurate; it just isn’t representative of Detroit. But why would we base our perception of the system on the worst examples within it… unless, like the usual suspects, we’re actively looking to undermine public education?

The policy implication of this diagnosis is quite different from the policy implication of the generic “American schools are failing” narrative. If the problem was distributed evenly, the solution would indeed be systemic reform - new national curricula, universal testing regimes, wholesale reorganization. But that’s just not the reality. The problem is, in fact, remarkably concentrated, and in very predictable places, places that struggle from all manner of social ills, the most obvious and consistent and powerful of them being systemic poverty and community breakdown. Therefore the solutions have to be concentrated too: large-scale targeted intervention in the specific districts with the greatest disadvantage, not only or even primarily in the schools but instead concentrated in community investment, economic development, and poverty reduction that might actually make durable improvement possible. You see, friends, panic that is misattributed to the wrong cause produces wrong solutions, wrong solutions like “fire the teachers, close the schools, private school vouchers for everyone.” Precision, which every wonk should strive for, is where genuine reform begins."]]></description>
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    <title>No, Brooke Jenkins does not have an on/off switch for crime</title>
    <dc:date>2026-04-21T06:24:13+00:00</dc:date>
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    <dc:creator>robertogreco</dc:creator><description><![CDATA["Crime is dropping precipitously nationwide. Criminologists have theories why. But, hey, so does the New York Post."]]></description>
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    <dc:creator>robertogreco</dc:creator><description><![CDATA["Landscapes are loaded, rife with multilayered memories, narratives and resonances both visible and unseen. In this conversation, hosted on occasion of The dead don't go until we do exhibition at Talbot Rice Gallery, Korean artist Kang Seung Lee shares the particular perceptions of queer lives in space, while MADEYOULOOK — a Johannesburg-based collaborative practice between Molemo Moiloa and Nare Mokgotho — observe and excavate intimacies found in the Black experience of the everyday."]]></description>
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<item rdf:about="https://kyla.substack.com/p/the-ozempicization-of-the-economy">
    <title>The Ozempicization of Everything - by kyla scanlon</title>
    <dc:date>2026-03-30T05:02:52+00:00</dc:date>
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    <title>Nonfiction Publishing, Under Threat, Is More Important Than Ever | The New Republic</title>
    <dc:date>2026-03-26T06:43:11+00:00</dc:date>
    <link>https://newrepublic.com/article/207659/non-fiction-publishing-threat-important-ever</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[via:
https://social.ayjay.org/2026/03/25/paul-elie-in-societies-where.html

quoting:

"In societies where freedom is under threat, an informed citizen is countercultural and deep reading is an act of resistance. Just as protest and vigilance are essential, so is the ability to read and think. In a would-be autocracy, the autocrat aims to subsume our society’s particular narratives into his master narrative — in which his name fills the headlines, his voice and image dominate the broadcasts, and his airbrushed visage appears on the facades of government. To read a book, however, is to enter a narrative that stands outside the politics-and-media maelstrom. In a would-be autocracy, even a small bookstore — with hundreds of books, classic, recent, and current — is a space of contrary narratives, where truth is recognized as both essential and complicated."]]]></description>
<dc:subject>paulelie 2026 publishing books reading howweread counterculture autocracy truth society citizenship information narrative government politics media</dc:subject>
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    <title>The Internet Has Not Killed Reading—or Attention Spans</title>
    <dc:date>2026-03-25T05:46:19+00:00</dc:date>
    <link>https://nautil.us/the-internet-has-not-killed-reading-or-attention-spans-1279171</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["An interview with Kevin Ashton, MIT technology pioneer and author of The Story of Stories"

...

"British author and technology pioneer Kevin Ashton has been puzzling over the nature of storytelling for the past 25 years. That’s how long it took him to research and write his latest book, The Story of Stories: The Million-Year History of a Uniquely Human Art.

The first seed of the book for Ashton lay in two seemingly contradictory questions posed by American philosopher and linguist Noam Chomsky. The first, known as Plato’s problem, asks how we can know so much with so little information. Babies, for instance, learn to speak based on what might seem like a poverty of inputs. The second question is known as Orwell’s problem, and it asks the opposite: How could we know so little, given that so much information is available to us?

Ashton—best known for coining the term “The Internet of Things” in 1999, to describe the rise of a whole economy of sensors and other objects connected to the World Wide Web—also began asking himself how the rise of the smartphone might transform the human relationship to storytelling and to the world. “By the mid 2010s, I could be pretty confident that by 2026, some 9 out of 10 people in the world would have a smartphone, and I wanted to know what that might mean,” he recently told me. “The smartphone was an incremental step in the developed world, but in the developing world, it was everything at once.” In the developing world, most people had skipped over radio, television, personal computers.

Ashton knew a revolution was coming. But to grasp what that revolution would look like required him to go back and understand the entire evolution of storytelling across human history—which was initially just a footnote in his research.

I recently spoke with Ashton about why cell phones are so revolutionary in the long history of storytelling technologies, why social media might not be as terrible for young people as some believe, why long-form narratives aren’t dead, and why he’s still hopeful about our newest storytelling technologies.

You divide The Story of Stories into two parts: the first act, which is a million years long and comes to its end with the smartphone, and then everything after that. What is so fundamentally different about the smartphone from earlier storytelling technology?

A lot of people are like, “New technology comes along, and kids can’t understand stories anymore. Kids can’t read, nobody talks, bad things happen, words change, and nobody’s got any attention.” And that didn’t stand up to research very well. But what I did realize was that these major new technologies, each change the scale of storytelling: How many people can tell stories, and how many people they can tell stories to. That started to look really interesting. I was beginning to realize that big new storytelling technology generally leads to big new revolutions.

Of course, one of the early ones is printing. We didn’t all read happily ever after because of printing. There were like 50 or so wars between Protestants and Catholics over whose story was right, and 12 million people were killed. That’s an example of the kind of revolution that happens when new stories become more broadly available. The smartphone really feels like the end of that arc, because now anybody can tell a story to anybody. There is someone in Mongolia right now using Facebook, and if they publish something viral enough and interesting enough that catches enough attention, it’s five shares away from being something everybody sees.

You write in the book that storytelling is uniquely human. Do we know for sure that other species don’t tell stories?

You don’t really see any symbolic behavior in other species. All species communicate, but very few species communicate through visual means. Crows do a little bit of pointing. Dogs can understand humans pointing. But wolves don’t use pointing in the wild. They will mark the ground and use urine for signaling behavior, most of which is olfactory. But what you don’t get is any rigid system where a scratch like this means one thing, or a scratch like that means another thing. And vocalizations are primarily calls and cries that convey warning or attraction. A lot of the information in those sounds is how big is the person making the call or the cry? How old or young is the person making the call or the cry? So there’s nothing remotely like storytelling or story comprehension in any species that we’ve ever studied or discovered.

Humans started telling stories when we sat around the fires. We were primates who wanted to socialize. We couldn’t see gestures. We started making sounds. The sounds we had were, “Look over there,” and “Oh my god, run.” And those sounds were actually very useful sitting around the fire. What you want to talk about around the fire is stuff that’s not there. Maybe it’s about tomorrow or yesterday or something you remember, or something you imagine or something you desire. Over a long period of time, hundreds of hundreds of thousands of years, those sounds start to evolve into something which becomes language. And the reason they evolved into language was so that we could have these conversations about things not present, which is storytelling.

You argue that a fundamental purpose of stories is to distribute glory and shame, in the form of heroes and villains. But literary critics might argue that good stories don’t have clear-cut heroes and villains. They have antiheroes. They have gray areas rather than certainties.

We have to distinguish between stories that tend to be long lasting and successful when told to large audiences—and ones that are not. In successful stories, the antiheroes are still heroes. Batman still saves Gotham City. He just does it wearing black. An antihero isn’t a villain. And there are no anti-villains. The antihero exists as a reaction to the heroic archetype, the pure goody-two-shoes heroes that were in earlier stories. The tweedy literary people in their Brooklyn brownstones who try to write stories where it’s very ambiguous who’s the good guy or the bad guy—it’s all a bit muddled, but there’s still someone you’re supposed to be rooting for. There’s still someone the author identifies with. You cannot tell a story that anyone will enjoy if there’s absolutely nobody doing anything virtuous at any stage. That wouldn’t be a compelling story. But really, the more emotion a story evokes, the better the story. Different things evoke different emotions in different people. But these more experimental white guy books that everyone pretends they read where nothing ever happens …

Like which ones?

I’m not going to name any names! But if you’re not evoking an emotion, you aren’t going to find a lot of readers. A lot of people who want to be high-art storytellers will experiment: “Well, what if they take out these elements? What am I left with? How does it work?” My answer is generally it’s an intellectually interesting exercise that I don’t want to return to. Depending on what kind of mood I’m in, I sometimes have some very salty conversations with literary critics.

Read more: “We Can Be Heroes”

If storytelling has been so utterly transformed by these new technologies, why do the earliest forms of storytelling stick around? People are constantly saying, poetry is dead, novels are dead, but they aren’t dead. They don’t go away even though we keep getting new storytelling technologies. Why do you think that is?

The real deep answer is we’re exactly the same people with exactly the same brains and behaviors that we were 100,000 years ago or more when storytelling first evolved. The things that appeal to us about stories today are the things that appealed to our ancestors. That hasn’t changed. The hard-wiring is the same. And more people can read than ever before. More novels are being sold than ever before.

I’ve been talking about this a long time because I get really tired of this old post-literate world thing. Marshall McLuhan was declaring the world post-literate when only 40 percent of people could read. Give me a break. We live in a world right now where there’s been a democratization of reading, an egalitarianism of reading. People who like romance and fantasy books are writing their own romance and fantasy books and they’re self-publishing them. And some of them get the attention of traditional publishers and become very successful.

I’m not generally very welcome on panel discussions, but you get, “The kids these days, they have no attention spans.” And: “The kids these days, they’re always looking at their phones.” And I’m like, “Well, hang on a minute. Both of those things can’t be true.” Either they have no attention or they can’t stop looking at their phones, by which you mean paying a lot of attention to their phones. What’s on their phones is words, most of the time, even if you go look at some dumb TikTok video, they put words on top of things. There are captions that help it make more sense when they’re communicating with one another. They’re sending text messages. Children today are writing more words than you or I did when we were teenagers.

The other day I was talking to an educator, and they asked, “What do you think about AI? It’s writing all the essays.” My reply is, “I think you should stop assigning people essays.” Why has nobody come up with this idea? Tell the students, “I want you to do the reading, and then you and I are going to sit down for five minutes, one-on-one, and we’re going to talk about it.” That solves the whole freaking problem.

But if our brains haven’t changed since we first started writing down and consuming stories, wouldn’t it be a good thing to continue to write essays? Evidence suggests writing is such an important part of the thinking process.

Writing is just a technology of story. It’s one of the earliest technologies of story. And older people always hold the things that they did when they were kids in higher regard. I’m a writer. I write books. I love writing. I can talk for days about why writing is good and why books are good, but are they better than everything else? That’s an unchallenged assumption based on the fact that it’s old and not based on the fact that it’s better.

The standard academic essay is an example of what Paulo Freire called banking education. The teacher deposits a question; the student retrieves content, formats it per conventions, returns it for grading. The product is assessed, not the thinking that was supposed to happen in the middle. What the essay actually measures is socioeconomic class and family income. Essay content and style correlate more strongly with household income than even SAT scores. Higher-income students deploy abstract reflection, complex syntax, and so on, not because they think more clearly, but because those conventions are part of their linguistic inheritance. Lower-income students write differently, not worse, but get marked down. And here’s the kicker: Rich kids have always been able to pay tutors, writing coaches, and consultants to help them write essays. AI has simply made that service free and universal. The scandal isn’t that students aren’t writing their own essays. The scandal is that we’re only worrying about the problem now that the cheat is available to everyone.

What about long-form versus very short-form storytelling? Can a 5-second post on a social media app really sustain attention or require you to think about ideas in the way that a novel or a nonfiction book would?

You can get equally enthralled by a short story and a 10-book series. Martin Luther’s 95 Theses was this one-page document. The first viral meme broke the world’s greatest power at the time—the Roman Catholic Church—in two. It really isn’t how you say it, it’s what you say. If you’re going to write long-form, you have to do it well. If you’re going to write short-form, you have to do it well. All of that stuff seems values-neutral to me.

But also, social media content isn’t always short-form. A teenager spending three hours on social media might be watching long-form YouTube essays, reading Reddit threads, participating in BookTok, or creating content. Collapsing all of that into a single variable and drawing conclusions about format isn’t justified. The most popular YouTube creators built massive audiences on long-form content. PewDiePie—110 million subscribers, nearly 30 billion total views—averages 28 minutes per video, more than double the platform average. Penguinz0, who has 17.5 million subscribers and 12 billion views, averages 27 to 60 minutes per video depending on measurement window. The generation supposedly incapable of sustained attention built two of YouTube's largest channels on content running 30-60 minutes per video.

And long-form reading is booming. United States young adult print sales went from approximately 23 million copies in 2018 when TikTok launched to a record 35 million in 2022, a 52-percent increase. Sales in 2024 remain 31 percent above 2018 levels. The primary driver of that growth, according to Circana BookScan, was TikTok. Those 30 million annual copies average roughly 70,000 words each, approximately 2 trillion words, of long-form reading per year in a single book category, from a generation supposedly incapable of sustained attention. That’s about the same number of words per capita as any other age group. Americans aged 11-18 read about one novel a year on average. So do Americans over 19.

Read more: “Our Brains Tell Stories So We Can Live”

What about recent studies that suggest kids’ social media use is linked to lower memory, vocabulary, and reading scores?
The claim that social media is measurably harming cognition isn’t supported by the evidence. The one genuinely controlled experimental result is a 2023 study, which found TikTok degraded prospective memory. Specifically, the ability to remember to execute a planned intention—in a between-subjects design—while Twitter, YouTube, and a no-activity control did not. This is a real finding. But it measures one narrow cognitive function under artificial lab conditions, not, say, reading, vocabulary, critical thinking, or abstract reasoning. 

Assessments like reading scores don’t measure things like narrative construction, persuasive communication, editing judgment, or audience awareness, all of which content creation develops. Participation matters. TikTok follows the 90-9-1 pattern common to all interactive media. One percent create, 9 percent interact and the rest read, watch, or whatever. But on a platform with 150 million U.S. users, even 1 percent is 1.5 million American content producers. And the 9 percent who comment, stitch, and duet are doing something cognitively active.

Research from University of Oxford experimental psychologists Amy Orben and Andrew Przybylski suggests technology use explains only around 0.4 percent of variation in adolescent well-being. The concern about bedtime screens, often treated as established fact, wasn’t supported when measured properly. Cognitive psychologist Lan Nguyen and colleagues reviewed some 100,000 participants and found a moderate correlation between short-form video and poorer attentional performance, but the causal direction isn’t proven: Children with pre-existing attention difficulties may gravitate toward high-stimulation short-form content, producing the observed correlation without any platform effect.

You write that critical literacy—the ability to look at the context of a story, to ask follow-up questions, to recognize that everybody tells you something with an agenda, is the only way to protect yourself from manipulation today. Is anyone successfully teaching critical literacy?

The way I conclude the book is, “No one is coming to save us.” We ourselves have to get more humble, more experienced, recognize our own cognitive biases, recognize when we’re mad about something because we forgot to eat breakfast, and actually understand that we see the world in stories. People often think, “What he’s saying to me is, ‘I’m already a good critical thinker, but I’ve gotta help the other people.’” But no, I’m saying “I, Kevin, have to get better at it. And you, Kristen, have to get better at it.” One of my favorite cognitive biases is bias blindness: People who know there are cognitive biases, but are absolutely convinced these biases don’t apply to them.

It seems like you’re hopeful, though, that this new era of storytelling can bring about progress of some kind.

It already has. I have a nice little chart that I show when I talk about the book. Even today, about 2 to 3 percent of the silent generation will identify as gay, lesbian, bisexual, or trans. It’s about the same for the Boomer generation, and it’s a little bit more for Generation X. But for millennials, it’s about 15 percent, and for Gen Z, it’s about 25 percent. A lot of that has roots in the Internet becoming a place where people could find one another and build community and learn to come out. You see supportive groups forming that allow people to be themselves.

The trans revolution, a historic movement that we’re now living through, is in many ways a result of the Internet and digital photography allowing people to tell their stories more loudly and more clearly than they could before. And a lot of the horrible things in the world are backlash against that. We look at this horrible Epstein situation and it’s all terrible, but the fact of the matter is that in the 1950s, that just would’ve been no big deal. We see a lot of progress. Particularly right now, we can rightly and reasonably get very focused on the backlash to the progress, but they can’t reverse it all the way. 

I can absolutely guarantee you that the Supreme Court will not reverse the miscegenation laws that prevented Black and white people from getting married in the late 1960s, because Clarence Thomas is a Black man married to a white woman. There are a lot of horrible, bloody, brutal things that happen because we made progress. And some of them push us back a little way, but they never push us back all the way."]]></description>
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<item rdf:about="https://www.youtube.com/watch?v=iUyQyfz_gtE">
    <title>You've Been Lied to About Addiction | The Gray Area - YouTube</title>
    <dc:date>2026-03-10T00:14:01+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=iUyQyfz_gtE</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Addiction is one of those words that seems obvious until you try to explain it. We tend to fall back on two simple stories. Either addiction is a moral failure or it’s a brain disease that robs people of agency entirely. But neither of those stories feels complete.

Today’s guest is philosopher Hanna Pickard, author of What Would You Do Alone in a Cage With Nothing But Cocaine? Pickard argues that it’s a harmful mistake to treat addiction as either sin or sickness. Instead, it’s a form of behavior that’s shaped by trauma, isolation, identity, social conditions, and often deep psychological pain.

Sean and Hanna talk about her theory of addiction and why our society has built the cage that so many people are trying to escape.

Host: Sean Illing (@SeanIlling)
Guest: Hanna Pickard, author of What Would You Do Alone in a Cage With Nothing But Cocaine?

YouTube Chapter Titles
5:08 Writing about addiction
8:44 Defining addiction
15:23 Wanting something vs. being addicted
20:15 Agency and responsibility
31:15 Untangling blame and responsibility
38:33 Support structures and accountability"]]></description>
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<item rdf:about="https://www.youtube.com/watch?v=sOJ_uaffG5s">
    <title>Rebecca Solnit Says Trump's Strongest Foil Has Been Here All Along | The Interview - YouTube</title>
    <dc:date>2026-03-09T19:15:32+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=sOJ_uaffG5s</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["How does the critically acclaimed progressive writer Rebecca Solnit view the world?  In our era of democratic backsliding, technological disruption and looming climate disaster, is there a more hopeful way to enact change? 

Solnit has written a new book, “The Beginning Comes After the End,” a thematic sequel to her classic “Hope in the Dark.” David Marchese, a host of “The Interview,” says the new book “shines a light on the vibrant world often hidden within our own seemingly gloomier one — a world that has embraced ideas of interconnection, ecological care and political equality.”  

Solnit and Marchese discuss fighting climate change, countering  Donald Trump, the power of the people in Minneapolis and more during their conversation. 

Read more: https://www.nytimes.com/2026/03/07/magazine/rebecca-solnit-interview.html "

...

"As the old saw goes, the only constant is change. But change doesn’t always feel as overwhelming as it does right now. We are living in an era of widespread democratic backsliding, sweeping technological disruption and the slow-motion disaster of the climate crisis, to name just a few of the most troubling societal upheavals. But what if, despite all that, there’s a different and more hopeful story to tell about change?

That’s the question at the heart of “The Beginning Comes After the End,” the new book by the prolific and critically acclaimed progressive writer Rebecca Solnit. A thematic sequel to her classic “Hope in the Dark,” the book shines a light on the vibrant world often hidden within our own seemingly gloomier one — a world that has embraced ideas of interconnection, ecological care and political equality. It’s not a naïve book — Solnit is keenly aware of the challenges we’re all facing — but it provides a stabilizing counterweight to the feeling that the world, of late, has spun dangerously off-kilter."

...

[among elsewhere, referenced here, quoting:
https://kottke.org/26/03/the-hidden-hope-in-the-darknes

"Even the right tells us something encouraging, if we listen carefully to what they’re saying. They tell us: You are very powerful. You’ve changed the world profoundly. All these things that are often treated separately — feminism, queer rights, environmental action — are connected, so they’re basically telling us we’re incredibly successful, which is the good news. The bad news is that they hate it and want to change it all back. There is a backlash, and it is significant. But it is not comprehensive or global."

...

"One of the great weaknesses of our era is that we get lone superhero movies that suggest that our big problems are solved by muscly guys in spandex, when actually the world mostly gets changed through collective effort. Thich Nhat Hanh said before he died a few years ago that the next Buddha will be the Sangha. The Sangha, in Buddhist terminology, is the community of practitioners. It’s this idea that we don’t have to look for an individual, for a savior, for an Übermensch. I think the counter to Trump always has been and always will be civil society. A lot of the left wants social change to look like the French Revolution or Che Guevara. Maybe changing the world is more like caregiving than it is like war. Too many people still expect it to look like war."]

[See also:

"The Beginning Comes After the End by Rebecca Solnit"
https://kottke.org/26/03/beginning-comes-after-the-end

"Rebecca Solnit offers a thrilling account of the sheer breadth and scale of social, political, scientific, and cultural change over the past three quarters of a century.

In this sequel to her enduring bestseller Hope in the Dark, Solnit surveys a world that has changed dramatically since the year 1960. Despite the forces seeking to turn back the clock on history, change is not a possibility; it is an inevitability.

The changes amount to nothing less than dismantling an old civilization and building a new one, whose newness is often the return of the old ways and wisdoms. In this rising worldview, interconnection is a core idea and value. But because the transformation is obscured within a longer arc of history, its scale is seldom recognized.

While the white nationalist and authoritarian backlash drives individualism and isolation, this new world embraces antiracism, feminism, a more expansive understanding of gender, environmental thinking, scientific breakthroughs, and Indigenous and non-Western ideas, pointing toward a more interconnected, relational world."]]]></description>
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    <title>Propaganda, Politics, Academy Awards &amp; Film — Studio Technique</title>
    <dc:date>2026-03-08T21:43:34+00:00</dc:date>
    <link>https://www.studio-technique.com/blog/2026/2/4/politics-in-academy-and-film</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Here  is my commentary after sitting through this film — a film that never once mentions the word Palestine, never once criticises Israel, purposefully left out the recordings and forensic evidence where Hind was killed in cold blood, framing her death as though it was an accidental tragedy,  emphasising her family is situated in Germany and avoided addressing why they were in Gaza, implying that they accidentally wandered into a “restricted war zone" that they were not meant to be in. Not once addressed Israel or the IOF, they only said "armies". The only time they used the word “Israel” was to coordinate with Israel who was portrayed as benevolently handling the rescue missions that the Palestinian Red Crescent is portrayed as incompetent to manage without them. This is a form of history-revisionism, and needs to be critiqued in how it is placed in the current historic context (see Cedric Robinsons’ critical scholarship). This film also takes advantage of grieving families who are persuaded to participate in the hopes of their loss being used for some good, which we have also seen in projects like The Perfect Neighbor.  Hind’s family has put their approval behind many other films and documentaries about this tragedy to help spread awareness, including a Palestian-Jordanian production, which also coordinated with the Palestine Red Crescent Society."

...

"The Voice of Hind Rajab is a highly problematic film."

...

"This film mimics campaigns designed towards upholding imperial soft power structures and Hollywood-washing. Hollywood is trying to co-opt the Pro-Palestine movement (we already know that there is an increase in the propaganda budget for 2025) and there is a massive campaign around coopting and commodifying this. Hollywood is not an isolated actor on the political stage, it is part of an apparatus that cooperates with news media, music, and sports industries, among many other cultural structures. Likewise, directors and actors are not independent contractors, they are employees of agencies that are also corporate organisations.

Some useful points to consider:

• This film is promoted by White, neo-liberal, Democrat-supporting, Hollywood heavy-weights, who are only speaking out since Trump was in office (for those following this phenomenon, this is a conversation on its own). They are commodifying Palestinian tragedy and rewriting themselves on the right side of history.

• Brad Pitt is also part of/represented by CAA**, a publicly pro-Israeli agency which made a public statement in support of Israel. Those critical of Israel had to resign from the agency. (https://variety.com/2023/film/news/caa-maha-dakhil-resigns-board-israel-social-media-posts-controversy-1235764577/ )

• It’s also important to ask why are they all White liberal faces on the promotion of this project and not one Palestinian directing creative? Casting actors does not help, none of the directing, or decision-making roles appear to have a single Palestinian.

• Hollywood films (these can also be called First and Second Cinema - for more information look up Third Cinema) are funded by the CIA and Pentagon. Please read the peer reviewed scholarship by Alford & Secker, Lenoir, Der Derian, Stahl, Mirrlees. (American Journal of Economics and Sociology by Matthew Alford and Tom Secker is available here: https://onlinelibrary.wiley.com/doi/10.1111/ajes.12180 )

• On Hollywood affiliated productions, directors are not the conceptualisers of the films. Directors and writers are hired by someone else to create a predetermined film. They are picked to appeal to targeted audiences (mainly Americans). Understanding this logic we can see how a Tunisian director from a France-based studio that tours Cannes is an ideal candidate to be sought out for this role, mainly because they are not Palestinian. This: 1) Further distances and orientalises Palestinian voices. 2) All Arabs are the same for their purposes and audiences, and someone more “politically palatable” is preferable.

• This film contributes to ensuring that the famous events of the G-cide are remembered, shaped and curated in cultural memory that is in the form that Western interests want.

• These films pacify resistance by neutralising radical ideas through narrative justifications, commodify it, and shape the story to uphold American value systems like American exceptionalism and hyper individualised hero-stories. These are key narrative structures that the imperial apparatus wants in films; the CIA is content to prioritise this even at the expense of making the government look bad, because the core idealogical messaging that must be put through offers more value laden returns for hegemony (see Alford & Secker).

• One last thing, because they did the same thing with the Black Panther franchise (using Oakland) and Andor (referencing the Battle of Algiers). We need to ask why choose  Hind's story? Why not another? These references they use are the most accessible. They go to the easiest access that they think will hold the largest audience impact. They also want to co-opt any narratives that might cause people to start asking questions and reshape history by re-situating the context of these narratives in a way that favours the imperial violence that the US upholds. Because Hind was known among White circles due to Hind's Hall at Columbia University, this was the story that created cracks in the colonial mainstream narrative. This is a common strategy historically repeated, and there is a long paper trail of receipts on these tactics as well.

We also need to ask if these people like Brad Pitt and co. are so altruistic, why aren't they speaking out against the G-cide? why aren't they speaking out about how their studios and industry help R&D and propaganda for the US military? Their promotion of this film aligned with the events of the Freedom Flotilla, where even other celebrities were on the ground supporting it. Why aren't they getting on the flotilla or seeing it off? Even better, why aren't they using their own personal yachts, or the yachts of their society friends to join the flotilla? Why aren't they investing in sending aid to Gaza through its borders? For perspective, the funding given to this film will cost more than the millions of dollars in weapons that Canada just sent to Israel. Why aren't they doing something of material significance to people in Gaza with their money? Instead they are investing in an all White promoted production, hiring a Tunisian employee, and profiting off it. Why are these White company-men owned by pro-Israeli agencies being the ones to be the faces of a Palestinian story and not use their voices to uplift any Palestinians to tell their stories? There are Palestinian screen writers, directors, etc. in the US, as well as in Palestine and other countries.

More importantly, and I know I'm being a bit blunt, but as a directing creative on the inside, I have witnessed how effective our work has been on influencing the average person. How visceral and emotional the push back can be from the audiences that we filmmakers — essentially — dupe. When you work at high levels on the inside, it’s very different to what the public thinks it is, and I am constantly astounded at how much people believe in these productions or what we choose to reveal as "behind the scenes". So if there is a knee-jerk response in anyone to be immediately excited about this, or jumps on board to defend or celebrate it without questioning, I think this is what we have to work on unravelling in ourselves and in our socialisation. There is no legitimate logic behind this behaviour when it is interrogated. There is, however, ample documentation in scholarship and journalism that illustrates how, since WW1, and especially WW2, Hollywood is America's greatest soft power asset. What needs to be interrogated is why do we even think figures like these Hollywood celebrities have anything of value to contribute morally or intellectually, and why do we rely on, and promote, their approval. This reflects poorly on us as a whole, the celebrity obsession reflects how easily we are persuaded.

It’s a really depressing testament to how good we are at our jobs that people are so desperate to have their story told by this system that they will promote it.

At ‘best” this film is racist, at worst it is sinister and nefarious."

[See also:

"Hollow tokens of conscience: The hypocrisy of ‘The Voice of Hind Rajab’"
https://www.middleeastmonitor.com/20250909-hollow-tokens-of-conscience-the-hypocrisy-of-the-voice-of-hind-rajab/

via:

"The Voice of Hind Rajab is a Disturbing Master Class in Propaganda ft. Samantha Youssef"
https://www.youtube.com/watch?v=Xnj_5dCduwo ]]]></description>
<dc:subject>samanthayoussef palestine gaza film propaganda politics 2026 mohammadaaquib media spectacle hindrajab 2025 genocide ethniccleansing softpower hollywoodwashing cooption imperialism bradpitt neutralization freedomflotilla blackpantherparty blackpanthers andor commodification oakland columbia colonialism colonization narrative cooptation</dc:subject>
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    <title>Kirk and Mangione - YouTube</title>
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    <dc:creator>robertogreco</dc:creator><description><![CDATA["#Kirk #luigi maxxing and refusing to read the official image as recommended"]]></description>
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    <dc:creator>robertogreco</dc:creator><description><![CDATA["Your inability to focus isn’t a failing. It’s a design problem, and the answer isn’t getting rid of our screen time"]]></description>
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<item rdf:about="https://www.youtube.com/watch?v=R9fpm-lorIU">
    <title>Hyperreal Fascism | Plastic Pills - YouTube</title>
    <dc:date>2026-02-19T20:51:51+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=R9fpm-lorIU</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["check https://www.patreon.com/plasticpills or join the channel for my other theory/philosophy content, including an explanation of the "semiotic square".

See the ProPublica story:
https://www.propublica.org/article/kristi-noem-dhs-ad-campaign-strategy-group

Other refs:
Walter Benjamin "The Work of Art in the Age of Mechanical Reproduction" https://amzn.to/4s5svwR
Algirdas Julien Greimas "Semiotics and Language" https://amzn.to/4tRF3cT
Jean Baudrillard "Simulacra and Simulation" https://amzn.to/4rWMzkC
Wilhelm Reich "The Mass Psychology of Fascism" https://amzn.to/4tAS3mS

00:00 - Fascism's New Face
11:03 - what's Hyperreal
18:35 - what's Fascism
32:01 - Kristi Noem ICE Barbie
38:52 - The Psychosexual Semiotics of Fascism"]]></description>
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<item rdf:about="https://donmoynihan.substack.com/p/life-under-a-clicktatorship">
    <title>Life Under a Clicktatorship - by Don Moynihan</title>
    <dc:date>2026-02-14T06:22:48+00:00</dc:date>
    <link>https://donmoynihan.substack.com/p/life-under-a-clicktatorship</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["What happens to government when everything is content?"

[via:
https://aworkinglibrary.com/writing/pseudo-culture ]]]></description>
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<item rdf:about="https://lareviewofbooks.org/article/when-story-loses-the-plot/">
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    <link>https://lareviewofbooks.org/article/when-story-loses-the-plot/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Hannah H. Kim ponders the plotless narrative as a tool for meaning-making."]]></description>
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<item rdf:about="https://live-ssmatrix.pantheon.berkeley.edu/research-article/alexis-madrigal/">
    <title>Alexis Madrigal: &quot;To Know A Place&quot; - Social Science Matrix</title>
    <dc:date>2025-12-28T20:58:00+00:00</dc:date>
    <link>https://live-ssmatrix.pantheon.berkeley.edu/research-article/alexis-madrigal/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Recorded on December 4, 2025, this video features a Social Science Matrix Distinguished Lecture, “To Know a Place,” presented by journalist and author Alexis Madrigal.

Madrigal has long explored how technology, culture, and environment shape our lives; from his work co-founding The COVID Tracking Project to his books Powering the Dream and The Pacific Circuit. In this talk, Madrigal turns his attention to the question of how we come to know a place. Drawing on his background as a reporter, writer, and thinker of cities, landscapes, and histories, he explores different ways of writing about and understanding place, revealing how perspective, memory, and narrative inform the stories we tell about the world around us. 

About the Speaker

Alexis Madrigal is a journalist in Oakland, California. He is the co-host of KQED’s current affairs show, Forum, and a contributing writer at The Atlantic, where he co-founded The COVID Tracking Project. Previously, he was the editor-in-chief of Fusion and a staff writer at Wired. His latest book, The Pacific Circuit, came out in March 2025 from MCD x FSG. He is the proprietor of the Oakland Garden Club, a newsletter for people who like to think about plants. Madrigal authored the book Powering the Dream: The History and Promise of Green Technology. He has been a visiting scholar at UC Berkeley’s Information School and UC Berkeley’s Center for the Study of Technology, Science, and Medicine as well as an affiliate with Harvard’s Berkman Klein Center for Internet & Society. He was born in Mexico City, grew up in rural Washington State, and went to Harvard.

Podcast and Transcript

Watch the panel above or on YouTube [https://www.youtube.com/watch?v=URcgwVjoxbE ]. Or listen to the audio recording via the Matrix Podcast below (or on Apple Podcasts)."]]></description>
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    <title>The cinematograph, the &quot;noematograph,&quot; and the future of AI art - Big Think</title>
    <dc:date>2025-11-06T05:18:52+00:00</dc:date>
    <link>https://bigthink.com/high-culture/ken-liu-ai-art/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Hugo-winning author Ken Liu explores what early cinema and Chinese poetry can teach us about AI’s potential as a new artistic medium."

...

"Key Takeaways

• The birth of cinema shows how new technologies often begin with limited applications but hold unforeseen potential for creative expression. 

• AI may become an artistic medium for exploring and playing with subjectivities, such as offering new ways to interpret and interact with poems and translations. 

• The evolution of artistic mediums, from cinema to AI, underscores the importance of experimentation and play in uncovering their transformative possibilities."]]></description>
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    <title>How AI Will Translate Human Creativity as Sci-Fi and Reality Converge | The Futurology Podcast - YouTube</title>
    <dc:date>2025-11-04T18:43:57+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=q8ZR9-y4ik8</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The first machines mimicked our muscles. Today, they’ve learned to mirror our minds. Now they’re beginning to imitate something even closer to the core of our humanity – imagination itself. Sci-fi author, translator, and technologist Ken Liu calls this new medium the Noematagraph: a tool for capturing creativity and collaborating with AI in the same way cinema tells stories with actors, sound and a splash of light on a screen.

In this episode of Futurology, Liu joins Berggruen Press’ Executive Editor Nils Gilman to explore how AI blurs the line between artist and audience, code and consciousness. They discuss why storytelling has always been humanity’s most powerful technology and how machines, by learning to tell their own stories, may change what it means to express emotion in the AI age."]]></description>
<dc:subject>kenliu nilsgilman ai artificialintelligence creativity human humans humanism sciencefiction scifi art audience humanity emotion language communication biography emotions storytelling vladimirnabokov conversation orality rephrasings writing howwewrite dictionaries linguistics llms context consciousness meaning meaningmaking creativewriting translation ursulakleguin ursulaleguin coding feeling legal law legalwriting process voice style ernesthemingway hemingway fiction speculativefiction technology futurism stories dreams interiority unconscious reality collectiveunconscious science frankenstein maryshelley myth fantasy mythology photography film filmmaking cinema thoughts cinematograph georgesméliès noematograph augustelumière louislumière movement lumièrebrothers history narrative though subjectivity machinelearning participation participatory mediation affordances sociability personalization proteinfolding metaphysics metaphor simulation embodiment self existence text languange adaptation inte</dc:subject>
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<item rdf:about="https://theluckman.org/gallery/a-tender-excavation/">
    <title>A Tender Excavation – The Luckman</title>
    <dc:date>2025-10-31T21:23:25+00:00</dc:date>
    <link>https://theluckman.org/gallery/a-tender-excavation/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["A Tender Excavation approaches research-based artistic practices through propositions of alternative histories, bringing together a group of artists that work with historical and familial photographic archives as a point of departure to construct new narratives and elicit transformation. Artists featured in the exhibition include Zeynep Abes, Susu Attar, Jamil Baldwin, Mely Barragán, Artemisa Clark, Arleene Correa Valencia, Mercedes Dorame, Prima Jalichandra-Sakuntabhai, Leah King, Tarrah Krajnak, Heesoo Kwon, Ann Le, Arlene Mejorado, Star Montana, and Camille Wong.

The title of the exhibition borrows a description of Arlene Mejorado’s practice as “an act of care, via a tender excavation of objects, anecdotes, and memories simultaneously.” A Tender Excavation centers identities that have been systematically excluded from mainstream narratives and representations of not only American art but of representing an “American” identity. A Tender Excavation features mainly US-based artists who represent Afro-Latinx, African American, Chinese American, Gabrielino/Tongva Nation, Korean American, Iraqi American, Latinx, Mexican, Mexican American, Peruvian American, Thai, Turkish American, and Vietnamese American intersecting identities, among others. For these artists, whose backgrounds are connected to diasporic experiences of discrimination, displacement, erasure, exclusion, slavery, and systemic violence, the practice of piecing together history through memory and counter-narrative is an act of transformation and healing. The works selected for the exhibition depart from personal, familial, or historical photographic archives which ultimately are recontextualized through installation, collage, painting, film, video, sculpture, or mixed media, reimagining and reconnecting lost fragments to speak about personal and collective resilience, constructing new possibilities for an interconnected futurity."]]></description>
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<item rdf:about="https://www.koozarch.com/essays/xigagueta-a-vessel-for-contemporary-art-writing-and-thinking">
    <title>Xigagueta: A Vessel for Contemporary Art, Writing and Thinking – KoozArch</title>
    <dc:date>2025-10-26T19:13:13+00:00</dc:date>
    <link>https://www.koozarch.com/essays/xigagueta-a-vessel-for-contemporary-art-writing-and-thinking</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["An alternative subtitle for this piece is Diidxa’ rului’ ca neza — translated from the author’s mother tongue, this means ‘the word that shows the way’."]]></description>
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<item rdf:about="https://onlinelibrary.wiley.com/doi/full/10.1111/anti.70037">
    <title>The Politics of Revenge: Revanchist Populism in San Francisco and the United States - Woolston - 2025 - Antipode - Wiley Online Library</title>
    <dc:date>2025-10-09T03:07:41+00:00</dc:date>
    <link>https://onlinelibrary.wiley.com/doi/full/10.1111/anti.70037</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["This article offers a conjunctural analysis of revanchism in San Francisco across scale. Over the past decade, conservative politicians, media, oligarchs, and organisations have emphasised immigration, homelessness, bureaucratic inefficiency, the opioid epidemic, diversity initiatives, and criminal justice reform to frame San Francisco as a weak and lawless city. This coalition's vengeful rhetoric and retaliatory action seek to create a new “common sense” about spatial governance, justifying a more authoritarian approach to both city and nation. Different scales are entwined as the discourse of urban decline is used as a national appeal, while nationalist rhetoric serves to promote urban reform. We argue this articulation of actors, forces, and ideas across scale represents an emergent historical bloc of revanchist populism. Moreover, our case study furthers the theory of urban revanchism by revealing the discursive deployment of the “failed” city in a broader hegemonic struggle."]]></description>
<dc:subject>sanfrancisco politics 2025 gregorywoolston government governance revenge power money bayarea sfsu thirdworldliberationfront ucberkeley ronaldreagan 1960s 1970s 1980s 1990s manhattaninstitute cityjournal frankjordan heathermacdonald history williebrown matthewrobinson briananderson populism revanchism donaldtrump conservatism diannefeinstein tuckercarlson siliconvalley growsf neigborsforabettersanfrancisco peterthiel davidsacks elonmusk garrytan paypalmafia curtisyarvin balajisrinivasan democracy farright rightwing togethersf bettersanfrancisco pandemic covid-19 coronavirus conniechan deanpreston lowellhighschool sfguardians chesaboudin recalls networkstate crime narrative neoliberalism daniellaurie billionaires bigtech gayshame rudygiuliani nyc wealth glasgow guangzhou paris losangeles homeless homelessness care stuarthall antoniogramsci keynesianism margaretthatcher richardnixon reaganism tadcatholicism germany france frantzfanon henrilefebvre katharynemitchell menciusmoldbug darkenlightenment nerdreich</dc:subject>
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<item rdf:about="https://www.youtube.com/watch?v=akFY7iUR8pY">
    <title>The Politics of Ghosting: Dominic Pettman on Absence, Intimacy, and Digital Life - YouTube</title>
    <dc:date>2025-09-30T05:26:13+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=akFY7iUR8pY</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["What does it mean to live in a world where relationships can vanish overnight, without explanation or closure? In this episode, Acid Horizon speaks with cultural theorist Dominic Pettman about his new book Ghosting: On Disappearance (Polity Press). Together we explore how ghosting unsettles intimacy, accountability, and narrative finality, reaching beyond dating apps into friendships, families, workplaces, and politics. Along the way we trace ghosting as both a form of psychic violence and a survival tactic, a symptom of our digitally mediated lives and a mirror of deeper patterns of absence in contemporary culture.

[See also the book: 

Ghosting: On Disappearance, by Dominic Pettman (2025)
https://www.politybooks.com/bookdetail?book_slug=ghosting-on-disappearance--9781509569946

Abandonment is as old as time, but ghosting is a modern twist on this ancient experience. It translates this age-old phenomenon into our modern world of screens, delete buttons and blocking options. Ghosting is not only an unpleasant experience, or cowardly act, but a symptom of our increasingly spectral – that is, mediated and virtual – relationship to the world. The overabundance of new modes of communication has invited an almost infinite number of contacts and conversations. At the same time, it has also offered an unprecedented opportunity for ignoring messages from others. And just as we invented the car crash when we invented automobiles, we also encouraged ghosting when we created the internet.

Ghosting creates an empty space in our minds: a space faithfully tracing the silhouette of the one who ghosted us. But unlike traditional ghosts, today’s ghosters simply disappear, leaving behind a form of haunting that is closer to mourning: mourning for someone who is not in fact dead. In putting a kind of preemptive mourning into our everyday affairs, ghosting tells us much about the current human relationship – or non-relationship – to a shared sense of mortality, purpose, and spirit.   

This book – the first sustained analysis of ghosting – traces the source of this vexed experience to, and through, our current media ecology, technological networks, political landscape, collective psychology, romantic mantras, and deep sense of social neglect."]]]></description>
<dc:subject>acidhorizon ghosting 2025 dominicpettman relationships communication disappearance culture society mourning morality mediaecology dating friendship intimacy accountability closure narrative pscyhology absence abandonment spectralpresence presence philosophy finality resolution politics culturalstudies media death digital internet online web self vulnerability melancholia crueloptimism laurenberlant grief desire rejection smartphones zombies quietquitting emotions attachment gaslighting atomization isolation nicoledular patriarchy manosphere onlinedating modernity ghosts spirits hauntings whiteflight blocking twitter economics capitalism ghostkitchens social inequality withdrawal rapture socialresponsibility time markfisher latecapitalism collapse y2k siliconvalley dunbarnumber luddites luddism neoluddites neoluddism socialmedia resistance hangingout marshallmcluhan massinformation informationage giorgioagamben spectacle gender latestagecapitalism</dc:subject>
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<item rdf:about="https://www.youtube.com/watch?v=0aSBk5bKG3U">
    <title>How Palantir is trying to sanitise war | The Listening Post - YouTube</title>
    <dc:date>2025-09-28T19:08:10+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=0aSBk5bKG3U</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Silicon Valley CEOs are increasingly making the case that their technologies can transform the way that wars are fought. And of all the companies involved in this military-tech boom, one stands out: Palantir.

Branding itself as America First, the data analytics firm has won billions of dollars in contracts and makes no apologies for the need to kill people – if that’s what it takes to protect Western interests.

Tariq Nafi reports on how the company sells a sleek, one-click solution to warfare.

Featuring:
Juan Sebastian Pinto – Former Palantir employee
Matt Mahmoudi – Researcher, Amnesty Tech
Elke Schwarz – Author, Death Machines: The Ethics of Violent Technologies"]]></description>
<dc:subject>palantir alexkarp peterthiel war israel palestine gaza juansebastianpinto mattmahmoudi elkeschwarz warfare ai artificialintelligence automation siliconvalley technology americafirst data tariqnafi zionism warcrimes genocide ethniccleansing cia in-q-tel alexanderkarp philosophy west westerncivilization imperialism us police policing technomilitarism militarism pentagon donaldtrump business predictivepolicing whitewashing media narrative evil</dc:subject>
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<item rdf:about="https://lithub.com/why-ai-narrators-will-never-be-able-to-tell-a-real-human-story/">
    <title>Why AI Narrators Will Never Be Able to Tell a Real Human Story ‹ Literary Hub</title>
    <dc:date>2025-09-16T04:18:36+00:00</dc:date>
    <link>https://lithub.com/why-ai-narrators-will-never-be-able-to-tell-a-real-human-story/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Adam Verner Explores the Uncanny Valley of Automated Audiobooks"]]></description>
<dc:subject>2025 ai artificialintelligence adamverner audiobooks books storytelling human humans humanism narrative narration voice humanvoice intention audible capitalism</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:31841387b4fa/</dc:identifier>
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</item>
<item rdf:about="https://www.youtube.com/watch?v=TWdD8Dgz3MU">
    <title>For Empire: How Films Play With Our Emotions ft Samantha Youssef - YouTube</title>
    <dc:date>2025-08-21T19:25:53+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=TWdD8Dgz3MU</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["This is the full but edited follow up discussion to Part One where Samantha Youssef further drags me back out of cinematic capture to help reconnect me with my own analyses! 😂 To see the full unedited version please consider moving your Channel Membership to Patreon. The link is below.

We HAVE to work collectively to make our way through it all! Big thanks to Samantha and make sure you have also seen our previous (and forthcoming!) discussions and those she has had with Millennials Are Killing Capitalism, Mtume Gant, and Renee Johnston (Saturdays with Renee)!

Encoding Empire: How Black Panther Manufactures Consent for Imperialism Among Oppressed Groups By Samantha Youssef https://www.academia.edu/143503421/Encoding_Empire_How_Black_Panther_Manufactures_Consent_for_Imperialism_Among_Oppressed_Groups?source=swp_share

Donald Duck Does D.E.I. ft Samantha Youssef and Jared Ware (Saturdays with Renee) https://www.youtube.com/live/Toak26j_Z-Q

True Hollywood Stories on the Military Industrial Complex Featuring Samantha Youssef https://www.youtube.com/live/XQM5s3ZEctc "]]></description>
<dc:subject>2025 samanthayoussef jaredball andor media reneejohnston film filmmaking starwars emotion manipulation storytelling narrative</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:0a731162dfc2/</dc:identifier>
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<item rdf:about="https://www.youtube.com/watch?v=wo7pXp1SgLY">
    <title>Subverting Radicalism: How Andor and All Films Do It! ft Samantha Youssef - YouTube</title>
    <dc:date>2025-08-18T04:09:12+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=wo7pXp1SgLY</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>samanthayoussef andor 2025 jaredball lucasfilms georgelucas warfare military militaryindustrialcomplex film media filmmaking darpa pixar writing howwewrite storytelling pentagon cia narrative subliminality propaganda imperialism starwars patriarchy battleofalgiers resistance color audience visual television tv messaging</dc:subject>
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<item rdf:about="https://www.youtube.com/watch?v=XQM5s3ZEctc">
    <title>True Hollywood Stories on the Military Industrial Complex Featuring Samantha Youssef - YouTube</title>
    <dc:date>2025-08-18T04:08:44+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=XQM5s3ZEctc</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["On Saturday and Sunday Palestinian-Ukrainian artist, character animator, and award-winning animation director Samantha Youssef will join Saturdays with Renee and MAKC for back to back episodes! Samantha has worked in both feature films and video games for Walt Disney Animation, Filmax, and Ubisoft. Folks have probably seen some of her previous conversations with Dr. Jared Ball on Black Liberation Media and IMIXWHATILIKE and her viral instagram reels about Superman and Andor. 

[Saturday:

"Donald Duck Does D.E.I. ft Samantha Youssef and Jared Ware"
https://www.youtube.com/watch?v=Toak26j_Z-Q ]

On Sunday's show specifically we'll get into the relationships between Hollywood and the Military Industrial Complex and hopefully touch on some aspects of these relationships that may not be exactly secrets, but are not well known by many. Youssef is a critical film scholar with a great deal of personal experience working with major Hollywood and video game studios, and she is sure to help us sharpen our own critical analyses of the popular culture industry in the heart of empire. 

Here is Samantha's linktree to follow her on social media, support Palestinian mutual aid, and find her work: https://linktr.ee/samanthasketches

Joining us in this roundtable discussion with Samantha we be Dr. Jared Ball (IMIXWHATILIKE/Black Liberation Media), Renee Johnston (Saturdays With Renee/BLMedia), and Mtume Gant (Within Our Gates).

THEATERS OF WAR: THE MILITARY-ENTERTAINMENT COMPLEX - Tim Lenoir and Henry Lowood: 
https://web.stanford.edu/class/sts145/Library/Lenoir-Lowood_TheatersOfWar.pdf

Visit https://lifeline4gaza.com/ to find and support nearly 1,000 Palestinian survival campaigns in Gaza.

Some of Samantha's previous appearances with Dr. Jared Ball

 Subverting Radicalism: How Andor and All Films Do It! ft Samantha Youssef
https://www.youtube.com/watch?v=wo7pXp1SgLY

""We See the Audience as Marks!" the Psychology of Manipulation in Film ft. Samantha Youssef"
https://www.youtube.com/watch?v=cNN65kgDpwY

"Encoding Empire with Samantha Youssef"
https://www.youtube.com/live/Vev644NSDks "]]></description>
<dc:subject>samanthayoussef 2025 jaredball warfare military militaryindustrialcomplex film media filmmaking darpa reneejohnston jaredware makc millennialsarekillingcapitalism television tv andor starwars revolution cia propaganda emotions intelligence manipulation storytelling lamguage aesthetics beauty culture narrative affect history psychology context empathy</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:d6cce7c5321b/</dc:identifier>
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<item rdf:about="https://www.youtube.com/watch?v=-83RwQxvX_M">
    <title>&quot;A free press is supposed to challenge the government&quot; with Assal Rad - YouTube</title>
    <dc:date>2025-07-29T03:31:04+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=-83RwQxvX_M</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The brothers welcome historian and headline fixer Assal Rad to discuss the mainstream media’s role in manufacturing consent and perpetuating Islamophobia and anti-Palestinian racism, how it enables the Gaza genocide, how it accepts Israeli state propaganda as fact while rendering suspect Palestinian eyewitness accounts, and the differences between the coverage of Israel’s genocide in Gaza from its war on Iran.

Date of recording: July 15, 2025."

[also here:
https://directory.libsyn.com/episode/index/id/37588875
https://sites.libsyn.com/495388/a-free-press-is-supposed-to-challenge-the-govt-w-assal-rad ]]]></description>
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</item>
<item rdf:about="https://www.youtube.com/watch?v=Sf3wEg9tsCY">
    <title>Can You Believe Your Own Eyes? Not With A.I. | Op-Docs - YouTube</title>
    <dc:date>2025-06-25T02:14:57+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=Sf3wEg9tsCY</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Film and text by Maximilien Van Aertryck and Axel Danielson:
The camera is a tool — but to do what? Images shape our daily life, yet we rarely question how they’re made or why.

As filmmakers, we’re fascinated by how humans use cameras and by the immense influence images have. For 15 years, we’ve investigated the history of the camera, and we’ve turned the material we gathered into a feature documentary, chronicling how people behind the camera went from capturing the image of a backyard to today’s multibillion-dollar content industry.

The video above, “Death of a Fantastic Machine,” is a shorter version of that documentary, and here we focus on something that emerged as the key factor: how economic forces have shaped what we see, from the earliest photography to the algorithms and A.I. of today.

Some say there are an estimated 45 billion cameras on earth today, giving humankind access to perspectives far beyond our own reach. But the very tool that could help us understand the world is increasingly used to distort it. With A.I., this distortion has reached a new level. When any photo or video can be manufactured, what happens to the camera’s credibility? Can we still trust what we see?"

[via:
https://kottke.org/25/06/death-of-a-fantastic-machine

"Death of a Fantastic Machine (aka the camera) is a short documentary on “what happens when humanity’s infatuation with itself and an untethered free market meet 45 billion cameras”…and now AI. It’s about how — since nearly the invention of the camera — photos, films, and videos have been used to lie & mislead, a trend that AI is poised to turbo-charge. Not gonna sugar-coat it: this video made me want to throw my phone in the ocean, destroy my TV, and log off the internet never to return. Oof.

The short is adapted from a feature-length documentary directed by Maximilien Van Aertryck and Axel Danielson called And the King Said, What a Fantastic Machine [https://www.bullittfilm.dk/fantastic-machine ] (trailer [https://www.youtube.com/watch?v=z7TcmTeuCCo ]). Van Aertryck & Danielson made one of my all-time favorite short films ever, Ten Meter Tower [https://kottke.org/17/02/ten-meter-tower ] (seriously, you should watch this, it’s fantastic…then you can throw your phone in the ocean).

P.S. I hate the title the NY Times gave this video: “Can You Believe Your Own Eyes? Not With A.I.” That is not even what 99% of the video is about and captures none of what’s interesting or thought-provoking about it. However, it is a great illustration of one of the filmmakers’ main points: how the media uses simplifying fear (in this case, the AI bogeyman 🤖👻) to capture eyeballs instead of trying to engage with complexities. “Death of a Fantastic Machine” arouses curiosity just fine by itself."]]]></description>
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    <title>No-Go London - YouTube</title>
    <dc:date>2025-06-21T23:28:37+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=Q0FG0b0Dm58</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[Same can be said about San Francisco, NYC, Los Angeles, etc. in the US.]

"If life already feels precarious on your own high street, then a city like London must be ten times worse? 

Full Show Notes: https://thejaymo.net/2025/06/21/2515-no-go-london/ "

"Over the last few months I’ve been having a conversation with someone about why, exactly, “London is over/a bleak woke dystopia” has become the big talking point on the right. For many, London in their imaginary is some kind of end-times mash-up of: Blade Runner, stabbings, TikTok teens in ramen restaurants and roads blocked permanently by Just Stop Oil.

A view that when interrogated I think, tells us far more about life outside the capital than about the city itself.

First, The biggest burst of dislocation I have felt about the decline of this country wast not on a night bus through central, but back home in Thanet. 

With it’s seaside towns full of boarded shops, chain coffee shops and disappearing bus routes.

Over Easter a family friend, retired,  muttered over a mug tea that the town had tipped into violence; no police, no manners.

Later, walking in the Old Town, two cars locked bumpers. Drivers were out, shouting, slapping bonnets; passers by spilling out and joining in. The next day through a restaurant window, I watched a BMW cut off a young couple crossing the road. One pedestrian shouted, and the driver hit the brakes and got out, forehead to forehead with a guy shouting “you want some?” 

A lorry-driver, stuck, ended up getting out and playing referee until the driver moved on. 

My parents say these flare-ups are now routine. Maybe the pandemic fried everyone’s fuse. There’s anomie in the air. 

Right now, at home, there’s a dispersal order in place after a brawl in the same street. Thrown bottles, and smashed windows. Yet flip on the news and this sort of mayhem is always somewhere else; a stabbing in Hackney followed by a clip of Sadiq Khan looking concerned. An age based dispersal curfew aimed at young people is almost unimaginable in London, but they have been normal outside the M25 for decades.

If life already feels precarious on your own high street, then London must seem ten times worse. 

“London is Over” is a narrative fault-line.  

English culture has never quite trusted the capital. Blame Hogarth; blame the Victorian penny dreadfuls; blame Dickens if you like. The metropolis plays the villain because stories need a face; and London, unlike a declining business park in Essex, is a ready-made psychic landmark. Add in its diverse population and the scene is set. A convenient Other to shoulder the nations anxieties.

Yes, London has some grim statistics; but so do Glasgow, Manchester, Nottingham. Yet overall, crime is down. 

Meanwhile, rural crime costs farmers millions, emergency response times in the sticks are way up, and deaths of despair peak in coastal towns. Plus you don’t get regular mass brawls on the beach in London.

The countryside and suburbs in my opinion just fails to film well. Distance matters, but cameras matter more. I made an episode 5 years ago about how the media and outside of London. It’s more urgent than ever. Camera crews can reach Soho in twenty minutes; but they need hours and a packed lunch to get to Eastbourne. So the capital always wins for airtime.

Older boomers, more rural with patchier broadband absorb a loop of London violence on TV. Whilst younger users in the city watch something else online.

Auntie May in the village watches the BBC at 6pm and scrolls Facebook between her soaps: and the algorithm serves her the same knife-attack clip twice.

Back in the 70s, Gerbner called this mean-world syndrome: the more TV you swallow, the nastier the world looks. In Britain 2025, the mean world is in our pockets with us all the time. The villains are migrants, eco-warriors, gender-neutral baristas. But strip those urban images away and the anxiety out in the shires, beyond the screen has nowhere obvious to land.

Projection does useful work. If your GP’s down to one doctor, the last bank replaced by a Costa, and there’s an hour’s wait for an ambulance, it’s neater to insist that things must be worse in London. 

So a loop forms: rural unease fuels anti-city talk; national media pumps London footage; Facebook pages ad YouTubers monetise the churn. The capital’s imperfections—and its migrants—become catch-all explanations.

Strangers sell stories. And London has a big cast. Racial characters are handed an old script: once it was the gin-soaked mother; today it’s second-gen teens with Caribbean or Somali roots. Same scaffold; same role.

London isn’t paradise; it’s expensive, noisy, and very unequal. But the portrayal of the capital collapsing under the weight of rainbow flags, vegan burgers is theatre. 

Meanwhile the real rot nibbles away in places where buses stop at 8pm and the mobile signal dies on the high street.

Politicians also know this. And “Take back our streets” polls well with the over-55s, but the problem is, they only ever visit the shopping centre out of town. 

If we insist on villains, let us at least try to choose systemic ones; under-funded services, hollowed out local economies, first past the post in local government. Blaming London (or the people who give it its colour) is as empty as shouting at the sea. 

It fills airtime, gets clicks, but changes nothing on the ground.

I’m not sure what to do about it, I have no advice. But I do know that if you start looking around at your own high street, instead of across at the city’s dark and ominous skyline, the fear will fade. Because the real work, as ever, lies at home."]]></description>
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<item rdf:about="https://citationsneeded.libsyn.com/ep-222-the-empire-strikes-first-part-i-party-elites-who-lost-to-trump-twice-blame-everyone-but-themselves">
    <title>Citations Needed: Ep 222 - The Empire Strikes First Part I: Party Elites Who Lost to Trump (Twice) Blame Everyone But Themselves</title>
    <dc:date>2025-06-08T01:57:40+00:00</dc:date>
    <link>https://citationsneeded.libsyn.com/ep-222-the-empire-strikes-first-part-i-party-elites-who-lost-to-trump-twice-blame-everyone-but-themselves</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["In Ep. 222, "The Empire Strikes First Part I: Party Elites Who Lost to Trump (Twice) Blame Everyone But Themselves," we detail how our media allows the same party flacks who got the Dems into this mess, control over the narrative of how to get them out. With guest UC-Berkeley professor Jake Grumbach."

[See also (tags here also reflect content within):

"Ep. 223: The Empire Strikes First, Part II — ‘Abundance’ Pablum as Counter to Left Populism"
https://citationsneeded.libsyn.com/ep-223-the-empire-strikes-first-part-ii-abundance-pablum-as-counter-to-left-populism


"“Can Democrats Learn to Dream Big Again?,” wonders Samuel Moyn in the New York Times. “The Democrats Are Finally Landing on a New Buzzword. It’s Actually Compelling,” argues Slate staff writer Henry Grabar. “Do Democrats Need to Learn How to Build?,” asks Benjamin Wallace-Wells in The New Yorker. 

For the past few months, news and editorial rooms have been abuzz with talk about a new, grand vision for the Democratic Party: abundance. Abundance, according to its media promoters—chiefly NYT’s Ezra Klein and The Atlantic’s Derek Thompson—is a political agenda that espouses the creation of more of everything we need: housing, education, jobs, and energy, to name a few examples. To accomplish this, we are told, we must aim to eliminate bureaucratic red tape that has for so long bogged down production, innovation, and capital’s innate capacity and desire to provide a better, more abundant life.

It’s an alluring promise—if suspiciously vague and devoid of class politics: obviously, doing more good things is better than doing fewer good things, right? Who can argue with this generic premise? Who wouldn’t want to support an agenda that’s effectively the Do Good Things Agenda?

Scratch the surface, however, and what one finds it isn’t just a folky, common sense treatise against red tape, but something more sinister and dishonest, something more slick and shallow. What one gets is a standard entryist strategy that begins with a so-vague-it’s-incontestable hook—illogical or corrupt regulations are bad—the quickly pivots into a Silicon Valley flattering, and often Silicon Valley funded, political agenda, a narrative designed to blame inequality and our objectively broken political system on too much regulation and “bureaucracy” rather than there being too much power in the hands of an elite few.

What one gets, in other words, is a counter to left populism. What one gets is the latest attempt to reheat neoliberalism as something fresh, innovative and able to excite the voting base.

Last week, in Part I of a two-part series we’re calling “The Empire Strikes First,” we discussed the Democrats’ post-2024 apologia, propped up by scapegoats ranging from trans people to “economic headwinds” to Harris actually being too far left.

On this episode, Part II of the series, we explore what comes next: the 2028 Democratic strategy and the so-called abundance agenda that is increasingly shaping it. We’ll examine how Democratic media influencers and policymakers use lofty, seemingly progressive rhetoric to rehabilitate and re-sell the same old neoliberal deregulation, privatization, and austerity narrative that got us here in the first place, and ensure that no left-wing movement—that could, god forbid, require a meaningful change in the party—get in their way.

Our guests are the Revolving Door Project's Kenny Stancil and Henry Burke."]]]></description>
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<item rdf:about="https://www.youtube.com/watch?v=P4IQz8Ff-A0">
    <title>&quot;The Biggest Problems in Legacy Media&quot; A Conversation With Chris Hedges - YouTube</title>
    <dc:date>2025-06-04T18:13:43+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=P4IQz8Ff-A0</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[See also:
https://chrishedges.substack.com/p/the-biggest-problems-in-legacy-media

"I went on Hasan Piker's show to discuss my new book, "A Genocide Foretold," Gaza and the United States' descent into fascism."]]]></description>
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<item rdf:about="https://www.youtube.com/watch?v=Ia6m3pIIS2k">
    <title>Catherine Liu: Trauma, Virtue and Liberal Elites | Doomscroll - YouTube</title>
    <dc:date>2025-06-01T20:53:10+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=Ia6m3pIIS2k</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["My guest is Catherine Liu ‪@CLiuAnon‬, professor of film and media studies at UC Irvine. She is the author of 'Virtue Hoarders: the Case Against the Professional Managerial Class'.

We discuss the origin of trauma studies, self branding on social media and the ideology of the professional class. Liu has an unwavering commitment to historical materialism and a fierce critique of elitist academies. She explores the intense moralism of our times as it relates to the Freudian super-ego.

0:00 Intro
0:44 Trauma studies
9:30 Self branding & self help
14:45 Professional managerial class
23:15 Virtue hoarders
35:05 Rebellion & super-ego
42:26 Liberal elites
48:15 The new right
59:40 Economic decline
1:09:55 Progressive neoliberalism
1:15:15 Big donor leftism
1:23:41 Techno-feudalism"]]></description>
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<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:f664a9a40897/</dc:identifier>
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<item rdf:about="https://chrishedges.substack.com/p/the-shared-mythological-history-of">
    <title>The Shared Mythological History of Israel and the US (with Joan Scott) | The Chris Hedges Report</title>
    <dc:date>2025-05-29T05:50:56+00:00</dc:date>
    <link>https://chrishedges.substack.com/p/the-shared-mythological-history-of</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[direct link to video:
https://www.youtube.com/watch?v=9gwJ-SfrIuQ ]

"Chris Hedges talks to Professor Joan Scott about the late Amy Kaplan’s cultural analysis of the US and Israel’s mythological shared history and how it has manufactured consent for Israel’s atrocities.

The narratives surrounding Israel and their genocidal campaign against the Palestinians took decades to create and embed into the West’s psyche. The Holocaust, decades after its end, became a central part of the Jewish and Israeli identity. Enemies of the Israeli state were conflated with Nazis. The physical location of Israel became essential to Christian evangelicals who believe the second coming of Jesus Christ was to take place there.

The late Amy Kaplan, in her book, Our American Israel: The Story of an Entangled Alliance, explored how these narratives developed through popular culture and the media’s reporting on the Israeli government’s actions throughout the 20th century, particularly in the United States. Professor Joan Scott, professor emerita in the School of Social Science at the Institute for Advanced Study at Princeton and adjunct professor of history at the Graduate Center of the City University of New York, joins host Chris Hedges on this episode of The Chris Hedges Report to discuss Kaplan’s book and how prevalent it is in the face of Israel’s genocide of the Palestinians.

“Part of the invincible victim story is that Jews have to always be alert about defending themselves against any sign that the Holocaust is about to reappear and then attribute it to Palestinians, the possibility that they will bring another Holocaust,” Scott says. “So the whole defense industry of Israel, the whole occupation of Gaza and the West Bank become a way of arguing against the possibility of another Holocaust.”

When it comes to Christian Zionism, Scott explains that cynicism in the Israeli government tolerates the antisemites within these groups “because they're bringing a large sector of the American population, a powerfully politically influential sector of the American population, certainly now with Trump, to support the activities that Israel is engaging in.”

...

Amy Kaplan’s Our American Israel: The Story of an Entangled Alliance dissects Israel’s symbiotic relationship with the United States. She tells the story of how a Jewish settler -colonial project captured the imagination of the American public, intertwining Israel’s national myth with our own. American exceptionalism mirrors Israeli exceptionalism. The belief that America, ordained by God to lead the world, replicates Israel’s messianic vision of itself. The two countries, because of their similar national myths, insist they are exempt from international and humanitarian law.

They share an open disdain for the “lesser breeds of the earth,” each tracing their roots to European colonialism. Israeli Jews, Kaplan writes, are at once eternal victims and lionized for their military prowess. Palestinians, in the process, have been at best rendered invisible and often demonized as subhumans, representations of the barbarians the United States and Israel seek to suppress in their clash of civilizations.

What makes Kaplan’s book unique is that she is a cultural critic, seeing in the myths and stories disseminated by writers, filmmakers and journalists the enforcement of the peculiar beliefs that sustain the bond between the Zionist state and Washington. She opens the book with a dissection of Leon Uris’s novel Exodus, as well as its film adaptation, which shaped a generation’s understanding of Israel and the Middle East. She probes Joan Peters’s 1984 book From Time Immemorial, which was the template used by historians to argue, falsely, that the Palestinians never existed as a distinct people.

Israel’s myth, she notes, is protean, depending on shifting historical realities. The 1982 Israeli invasion of Lebanon and the massacres in the Sabra and Shatila Palestinians refugee camps, the Palestinian uprisings or intifadas, required new narratives to buttress the Israeli-American ties. Suddenly, the Holocaust, which was a footnote in the popular narrative, assumed central importance. Israel, especially with the establishment of the Holocaust Museum in Washington, was intertwined with the Shoah. The genocide became central to Jewish identity. And, playing the card that it could happen again, Israel was given license to engage in savage repression of Palestinians, dismissed by Israeli leaders as the new Nazis.

Kaplan ends the book by chronicling the rise of Christian Zionism which has emerged as a bulwark of support for the apartheid state of Israel. Kaplan, who died in 2020, was the Edward W. Kane Professor of English at the University of Pennsylvania. Her book has recently been reissued By Harvard University Press. Joining me to discuss Kaplan’s book is Professor Joan Scott, professor emerita in the School of Social Science at the Institute for Advanced Study at Princeton and adjunct professor of history at the Graduate Center of the City University of New York.

Her many books include the classic Gender and the Politics of History, The Politics of the Veil, and Knowledge, Power, and Academic Freedom. Let's begin with Kaplan. I've read many, many, many books on the Middle East. I've spent seven years [there]. I did find this book unique in the way that it approached the subject matter. As I mentioned to you when we spoke, it reminded me of [Antonio] Gramsci’s understanding of cultural hegemony, how culture essentially creates a narrative that buttresses policy. And just talk a little bit about her, and then we'll go into the book."]]></description>
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    <dc:date>2025-05-26T22:02:14+00:00</dc:date>
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    <title>Alasdair MacIntyre: the original post-liberal philosopher - UnHerd</title>
    <dc:date>2025-05-26T04:14:02+00:00</dc:date>
    <link>https://unherd.com/newsroom/alasdair-macintyre-the-original-post-liberal-philosopher/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Exam season is now looming in Cambridge, and I found myself yesterday morning in the gratifying position of urging undergraduates immersed in moral philosophy’s canonical figures not to neglect its contemporary titans. In any essay on Aristotle, Aquinas, Hume or Kant, I suggested, there would always be an opportunity to offer an insight that could be buttressed by simply inscribing “MacIntyre 1981” in brackets afterwards — and there could be no surer way of eliciting an approving nod from an examiner than that.

Why? Because Alasdair MacIntyre, who — I learned a few hours later — has passed away at the age of 96, was without question one of the most significant moral philosophers of the second half of the 20th century. By any measure, the impact of After Virtue (MacIntyre 1981) on Anglophone moral philosophy was electrifying. A scathing critique of modern moral philosophy, which he had come to view as a post-apocalyptic shadow of the richer and more coherent moral traditions that had preceded the dawn of liberalism, the book remains an extraordinary demonstration of the degree to which the thought of the past can catalyse thought in the present. After MacIntyre, no one can deny that the most convincing expressions of post-liberalism will always be those that draw on pre-liberal traditions.

After Virtue’s stunning opening chapter decried the Enlightenment’s doomed attempt to ground morality in reason alone, which in turn had led modernity to unmoor itself from the moral grammar of the past and to cast itself adrift in confused conceptions of ethics as calculations of utility or expressions of fleeting subjective preference. In response, MacIntyre called for a return to virtue ethics that grounded normativity in narrative, for — as he once famously put it — “I can only answer the question ‘What am I to do?’ if I can answer the prior question ‘Of what story or stories do I find myself a part?’”

MacIntyre confounded both the Right and the Left. His unfashionable affirmation of historical continuity, as well as his insistence that normativity must be grounded in narrative, resonated with champions of tradition and natural law as much as his subtle application of Marxist insights energised advocates of social criticism. Yet he also lamented what he saw as the inconsistency of the Right’s tendency to fetishise economic freedom while deploring it in matters of morals. Liberals, he complained, had confected a meaningless moral Esperanto from the fragments of post-Enlightenment discourse, a language that was meant to be understood by all and so could be understood by none.

Fuller encomia will follow. It is enough for now to note that MacIntyre’s passing marks the closing of a frenetic but fruitful chapter in the history of moral philosophy. What’s more, at a time when his warnings that ethical disputes descended long ago into dialogues of the deaf have rarely seemed more urgent, his is a grievous loss. His writings, which comprise dozens of monographs and articles in an astonishingly prolific career that continued well into his tenth decade, demand engagement and repay it immediately. There can be no doubt that his legacy will linger long beyond the examination scripts of the next generation."]]></description>
<dc:subject>alasdairmacintyre jamesorr 2025 obituary enlightenment philosophy faith ethics liberalism marxism economics morality virtueethics catholicism theology virtue moralphilosophy reason rationality aristotle thomasaquinas kant immanuelkant davidhume hume modernity norality contintuity tradition rightwing farright narrative normativity</dc:subject>
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<item rdf:about="https://2ndbreakfast.audreywatters.com/the-ai-diner/">
    <title>I Am Waiting at the Counter for the Man to Pour the Coffee</title>
    <dc:date>2025-05-23T19:00:17+00:00</dc:date>
    <link>https://2ndbreakfast.audreywatters.com/the-ai-diner/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Political reporters love a Midwest diner. Even though most Americans live in urban areas, even though a third of Americans live in California, Texas, Florida, or New York, even though around 40% live on the coast (east or west), even though more than half are under age 40, the depiction of "average American" – particularly in an election year – is often an older middle-age white person who just happens to be sitting in a neighboring booth from the reporter, casually eating pancakes on a Wednesday morning but more than willing to chit-chat politics (and endorse Trump's policies).

Come to find out (although never remarked upon in the actual reporting) this diner also happens to be a former Republican Party co-chair for the county or the sister-in-law of an RNC delegate or the nephew of a major party donor or a former member of the board of the Heritage Foundation. Nevertheless, their opinions get laundered as representative, and readers' take-away from this sort of article is supposed to be that "average Americans" hold these truths – whatever story that Midwest diner patron happens to be telling, that is – to be awfully self-evident.

So think the same, but for digital technology, particularly for ed-tech: the young white teacher – formerly TFA, but that's not mentioned. The innovative principal – a featured speaker at SXSWedu, according to their resume but not the article copy. An evangelist from Google. An employee of a think-tank funded by Google. A parent – also, coincidentally, an investor. A star pupil (if in college, they attend an Ivy League school, rarely a state school and almost never community college). All very excited to endorse whatever product is being launched. (Or sometimes, the inverse: a teacher, close to retirement. A concerned parent, persistently making phone calls. Everyone slightly hysterical in their refusal to change, to adapt.)

If you read a lot of technology-oriented publications – and I'm guessing you might if you subscribe to Second Breakfast – or if you spend a lot of time on social media with a network of "friends" and "follows" who talk primarily about technology, then you're inundated with stories that sure start to feel like they're representative of what "regular folks" are thinking about and doing with AI. Everyone is talking about AI. Everyone is using AI. "Everyone is cheating their way through college." No one cares about privacy. No one cares about copyright. No one can stop it. That sort of thing.

But I don't know... I reckon far more people are resistant to technology than these stories want us to believe (certainly than the industry wants us to believe), whether or not those people have an intricately developed notions about technology's political or economic dangers.

Mostly, people know technology sucks. The phone sucks. The laptop sucks. The WiFi sucks. The apps suck. The Web sucks. Not in a "yikes, this sure seems like techno-fascism" sort of way, but in "this goddamn thing does not work" but "my boss/my doctor/my principal/my bank/the IRS makes me use it anyway." In a "this is fucking ridiculous" sort of way. AI? AI?! R U SRS?!

Cory Doctorow is right, I think, that technologies now undergo rapid enshittification. But we're being very generous – too generous – when we grant that they were, once-upon-a-time, ever that good.

There is, nonetheless, some very weird nostalgia for that once-upon-a-time, and I think we should be very wary of those who want to "make computers great again" for what I hope are obvious reasons.

Someone asked me the other day how I approach "the news" about various technologies, how I formulate my analysis, what shapes my thinking. And I admitted that these days, one of the very first things I notice is who is telling the story. Computing (in general and ed-tech specifically) has long been the bastion of white male privilege; and while there had been efforts to change that – in pipelines and on panels and whatnot – AI is clearly a re-entrenchment of that power, explicitly so with the Trump Administration's dismantling of civil rights protections, echoed by the tech industry's dismantling of its own DEI initiatives. It's hardly a surprise that the loudest advocates of AI (in education or otherwise) are white men, many just remarkably aggrieved not just by the critics of technology but by anyone in technology who they feel has displaced them from the center of the conversation: particularly women, particularly women of color.

Much of what's posted on Substack newsletters and LinkedIn is like that stereotypical Midwest diner, populated by very motivated hustlers masquerading as "the common man."

Don't eat that bullshit. Step outside. Talk to people who are not at the counter.

I took a week off from writing this newsletter and tried to take a week off from paying attention to the specials they're hawking on that AI diner menu. Tried and failed, and the rest of the newsletter was going to be a long list of a lot of links from the past ten days. But that feels a little hypocritical (and quite depressing), I realize: here I am encouraging you to get offline, and I send you away with hours of suggested digital reading to do.

---

If there is one thing that you must read – no really, I insist – it is Helen Beetham's excellent piece describing "how the right to education is undermined by AI," surely one of the most clear and thorough articulations of why we must resist and refuse the future that the tech oligarchs are engineering for us – a future that is absolutely contrary to the kinds of rights outlined in international conventions: "education shall be directed to the full development of the human personality and the sense of its dignity… to enable all persons to participate effectively in a free society, [and] promote understanding, tolerance and friendship among all nations and all racial, ethnic or religious groups’."

A "data-fied" and "platformed" education infrastructure – one that certainly predates the release of ChatGPT – circumscribes the development of humans, of humanity. Education technology, despite all the stories of innovation and possibility, has served to make education less accessible, less accountable, less effective, less interesting, less reliable. It has removed control from students and from communities; it has undermined the expertise of educators and researchers; it has eroded knowledge; and it has centralized power in the hands of the technology industry and its oligarchical philanthropists.

"Young people in education are therefore subject to three distinct threats to their educational rights" from AI, Beetham argues:

<blockquote>1. So-called predictive AI is used to collect their data, to make unaccountable and discriminatory decisions about their futures, and to surveil and discipline their interactions with educational systems

2. So-called generative AI is used to capture and monopolise cultural and educational content, to advance hegemonic languages and perspectives, and to replace pedagogical relationships with automated agents

3. The narrative of ‘AI futures’ is used to refocus educational outcomes around the automation of intellectual work, stunting the development of young people’s capacities, and preparing them for work that will be precarious, exploitative, and algorithmically disciplined</blockquote>

Beetham makes very clear that we already have a long list of documented harms that digital technologies, including AI and chatbots, have done to young people. It's a long long long long list.

-----

Incidentally, I keep hearing some of the patrons of those digital diners say that "we don't have any research yet" about the effects of AI. (Others, just as loudly, are busily hyping fraudulent research and claiming AI is unbelievably, utterly transformative.)

Folks, we have at least 50 years of research on the effects of AI on students. We do, in fact, know a lot about chatbots and algorithms and various media/computing literacies; there are decades of debate on how best to design assignments and assessments – digital assignments and assessments. Just because some people started paying to ed-tech in 2023 doesn't mean no one has ever thought about or studied this stuff until now.

And no matter what that research on AI and education might say – it's good! it's terrible! it's mediocre AF! – people do still have every right to say "no thanks." Bless your heart, social scientists, but often your findings are wrong, even if they're statistically significant. Life is so much messier, so much more complex than experimental design.

(Much like my embrace of the word "Luddite," I'm going to start nodding and cheering for "moral panic" when it's used to belittle people's opposition to technology. "Yes, in fact, I do have a moral code. Don't you?" That said, I'm not panicked as much as furious. Yet exhausted.)

-----

We are suffering, in part, from an amnesia that erases the past (all the coverage this week, for example, that touted Google's AI announcements at its flagship developer conference as if it has suddenly added artificial intelligence to its products – as if it has not been, since its very founding, an AI company).

We are suffering at the same time from a nostalgia that keeps us stuck in an invented past: I can almost guarantee you that Jony Ive's company, acquired this week by OpenAI, will be making AI-enhanced spectacles, because AI is a Cold War fantasy and these men are all still fixated on some juvenile, comic book con about X-ray glasses.

But mostly, it seems, people are suffering, and the story selected from the diners at least, is that AI promises salvation. It's way too easy a story to tell, but not so easy a tall tale to swallow. A lot of us – even more than you might think – are choking on it."]]></description>
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<item rdf:about="https://dark-mountain.net/about/manifesto/">
    <title>The Manifesto - Dark Mountain</title>
    <dc:date>2025-05-04T23:42:49+00:00</dc:date>
    <link>https://dark-mountain.net/about/manifesto/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["THE EIGHT PRINCIPLES OF UNCIVILISATION

‘We must unhumanise our views a little, and become confident
As the rock and ocean that we were made from.’

1. We live in a time of social, economic and ecological unravelling. All around us are signs that our whole way of living is already passing into history. We will face this reality honestly and learn how to live with it.

2. We reject the faith which holds that the converging crises of our times can be reduced to a set of ‘problems’ in need of technological or political ‘solutions’.

3. We believe that the roots of these crises lie in the stories we have been telling ourselves. We intend to challenge the stories which underpin our civilisation: the myth of progress, the myth of human centrality, and the myth of our separation from ‘nature’. These myths are more dangerous for the fact that we have forgotten they are myths.

4. We will reassert the role of storytelling as more than mere entertainment. It is through stories that we weave reality.

5. Humans are not the point and purpose of the planet. Our art will begin with the attempt to step outside the human bubble. By careful attention, we will reengage with the non-human world.

6. We will celebrate writing and art which is grounded in a sense of place and of time. Our literature has been dominated for too long by those who inhabit the cosmopolitan citadels.

7. We will not lose ourselves in the elaboration of theories or ideologies. Our words will be elemental. We write with dirt under our fingernails.

8. The end of the world as we know it is not the end of the world full stop. Together, we will find the hope beyond hope, the paths which lead to the unknown world ahead of us."]]></description>
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    <title>How does western media ‘whitewash’ genocide? | Assal Rad | Real Talk - YouTube</title>
    <dc:date>2025-04-26T05:48:43+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=JnzEUrPfoXI</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["‘The crimes [in Gaza] are so egregious that are being carried out... The attempt to cover them up and whitewash them is failing’ 

Since 7 October, western media coverage of Israel’s war on Gaza has come under intense scrutiny, particularly for the language and terminology used by many outlets.

As a result, the coverage has been accused of bias against Palestinians effectively providing cover for Israel’s war on Gaza.

To delve into this, we’re speaking to Assal Rad, an Iranian-American scholar of the modern Middle East and fellow at DAWN, who’s also made it her mission to call out and ‘fix’ misleading headlines. 

Her widely shared posts earned her the title of ‘headline fixer’,  turning this into a trend of its own online.

Real Talk is a Middle East Eye interview series hosted by Mohamed Hashem. 

Timestamps: 
00:00 Intro 
01:30 'Headline fixer' 
06:16 Reading beyond headlines
12:57 Framing the war on Gaza 
19:35 Media language & terminology 
32:07 The dangers of impunity 
40:16 Influencing public opinion 
46:30 Turning point for media accountability?"]]></description>
<dc:subject>assalrad 2025 genocide ethniccleansing israel palestine gaza headlines media mainstreammedia westernmedia terminology language bias journalism impunity accountability publicopinion middleast press information socialmedia tiktok benjaminnetanyahu framing narrative policy us propaganda isareal westbank settlercolonialism colonialism colonization occupation haaretz hamas distraction nytimes apartheid zionism dehumanization reporting islamophobia whitewashing mohamedhashem cnn msnbc passiveobservation justification humanrights un icc icj russia ukraine freepress authoritarianism freespeech iof idf history context dispossession displacement lebanon truth hezbollah ceasefire manufacturingconsent noamchomsky forprofit freedomofspeech manufacturedconsent hizbullah</dc:subject>
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</item>
<item rdf:about="https://www.youtube.com/watch?v=RcWDlY9daiQ">
    <title>Cartas de Clarice Lispector | Posdata: escríbeme, por favor - YouTube</title>
    <dc:date>2025-04-18T07:12:39+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=RcWDlY9daiQ</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Nos desplazamos en el mapa para llegar a Brasil y conocer todo el mundo vibrante e íntimo de la internacional y destacada escritora brasileira Clarice Lispector. Recorreremos diversos aspectos de su vida, cómo nació su vínculo profundo con Brasil y parte de su generosa correspondencia. Su narrativa, llena de fuerza e intensidad de vivir, refleja la relación de Lispector con la escritura: un vínculo de supervivencia, un refugio tan potente como para afrontar cualquier destino en cualquier lugar del mundo."]]></description>
<dc:subject>claricelispector literature ojoentinta brazil brasil narrative 2025</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:51ba67d0360f/</dc:identifier>
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</item>
<item rdf:about="https://www.theverge.com/games-review/647143/south-of-midnight-review-xbox-compulsion-games">
    <title>South of Midnight review: a Black Southern game worth hollerin’ about | The Verge</title>
    <dc:date>2025-04-11T23:06:23+00:00</dc:date>
    <link>https://www.theverge.com/games-review/647143/south-of-midnight-review-xbox-compulsion-games</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["South of Midnight pays homage to Black and Southern culture in a way no other game has before."]]></description>
<dc:subject>games gaming videogames 2025 ashparrish southernculture blackculture narrative history us</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:a67973f87846/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:games"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:gaming"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:videogames"/>
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</item>
<item rdf:about="https://www.youtube.com/watch?v=MGt7swnEb3g">
    <title>Meeting Gary's favourite economist: Ha-Joon Chang - YouTube</title>
    <dc:date>2025-04-06T18:18:38+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=MGt7swnEb3g</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Ha-Joon Chang is best selling author of '23 Things They Don't Tell You About Capitalism'. If you want to understand how our economic system is failing us, this is the economist to study.

Timestamps

00:00 Introduction to the Guest and the Channel's Focus
02:11 Ha-Joon Chang's Background and Inspiration
07:19 Parallels Between South Korea's Growth and Modern Urban Challenges
08:32 Reflections on Housing and Early Education in Korea
10:07 Economic Upheaval and the Search for Alternatives
14:38 Exploring Diverse Economic Theories at Cambridge
17:46 The Dominance of Neoclassical Economics
19:14 Advice for Aspiring Economists
20:33 The Disconnect Between Economics Education and Real-World Issues
24:12 Challenges in Economics Education
25:55 Disconnect Between Economics Training and Real-World Application
30:33 Economics as a Modern Theology
31:40 Historical Justifications and Economic Narratives
32:37 Wealth Inequality and Exclusion of the Poor
36:21 Taxation, Financial Markets, and Political Reluctance
38:30 Historical Taxation and Economic Growth
39:40 COVID-19 Economic Response and Distribution Inequality
41:12 Taxing the Wealthy: Historical and Modern Perspectives
42:25 Challenges in Addressing Economic Inequality
44:15 Strategies for Economic Change
46:14 Hope for Economic and Social Progress"]]></description>
<dc:subject>ha-joonchang economics garystevenson inequality covid-19 coronavirus pandemic finance taxes taxation history education wealth weatlhinequality redistribution progress society change changemaking 2025 yimby yimbys yimbyism regulation housing deregulation korea southkorea math mathmatics greatrecession globalfinancialcrisis policy neoclassicaleconomics marxism rationalism socialsciences behavior neoliberalism motivation statistics johnmaynardkeynes keynesianism economy greatdepression us uk statusquo costofliving robertrowthorn highered highereducation academia curriculum tonyatkinson joanrobinson lse brainwashing tunnelvision criticalthinking theology dogmy theory voltaire candide politics culturaldarkmatter gatekeeping exclusion groupthink wealhdistribution awareness crisis crises workingclass labor work growth government governance eaththerich elite elitism elonmusk power media control margaretthatcher ronaldreagan labourparty counternarrative zoominginandout bigpicture billionaires messaging ww2 wwii produc</dc:subject>
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<dc:identifier>https://pinboard.in/u:robertogreco/b:84a50c7a2856/</dc:identifier>
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<item rdf:about="https://futuress.org/stories/kunha-pya-guasu/">
    <title>KUNHÃ PY’A GUASU</title>
    <dc:date>2025-03-25T19:13:59+00:00</dc:date>
    <link>https://futuress.org/stories/kunha-pya-guasu/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[A Guarani Nhandewa anthropologist writes on the courage of Indigenous women and the wisdom of the body.]]></description>
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<item rdf:about="https://www.youtube.com/watch?v=JtIWziU-8ZM">
    <title>Feminism Hijacked: How 'Liberal Empowerment' Masks Modern Colonialism with Mnar Adley - YouTube</title>
    <dc:date>2025-03-13T21:53:28+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=JtIWziU-8ZM</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["MintPress founder and director Mnar Adley joins Project Censored's Eleanor Goldfield to talk about the lies the West sells about feminism to ensure it's colonial power grabs and how this has affected Muslim women. 

This podcast was originally published on Project Censored for International Women's Day."]]></description>
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<item rdf:about="https://www.theguardian.com/books/2025/feb/20/minority-rule-adventures-in-the-culture-war-by-ash-sarkar-identity">
    <title>Minority Rule: Adventures in the Culture War by Ash Sarkar – identity fraud | Politics books | The Guardian</title>
    <dc:date>2025-02-24T01:52:37+00:00</dc:date>
    <link>https://www.theguardian.com/books/2025/feb/20/minority-rule-adventures-in-the-culture-war-by-ash-sarkar-identity</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["A Marxist critique of left-liberal politics that delivers its message with punch and panache"

...

"The British left used to be a force to reckon with. Edward Heath’s government was famously felled by the miners in 1974 – the only instance in postwar European history when working-class power resulted in the overthrow of a ruling party. These days, however, the concept of the working class has an almost retro feel. Trade union membership has plummeted. Expressions of collective solidarity have likewise vanished. Disaffection has far from disappeared, only now it manifests in the form of petty crime and race riots.

In Minority Rule, Ash Sarkar blames the rightwing press for this shift. Thanks to tabloid agents provocateurs and their political creatures in Westminster, she says, the lower orders have abandoned class war for the culture wars. Accordingly, more and more of them spend their weekends not on the barricades but behind computer screens, fuming over small boats and gender ideology.

Sarkar’s thesis, that fears of minority rule of one kind (by the non-white and non-binary) serve to legitimate minority rule of another sort (by barons and billionaires), isn’t an earth-shattering observation, of course. As early as the 1890s, Friedrich Engels argued that the gullible and easily distracted working classes were conspiring in their own oppression; he called it “false consciousness”. All the same, she prosecutes her case with more panache and punchiness, more hilarity, than is usual from the dour quarters of British political punditry. Her hyper-caffeinated prose and acid observations are unquestionably a joy to read. Here she is on a leafy enclave in Islington: “Ocado delivery vans glided serenely through the streets … A moment of eye contact with a chic young mum improved my credit rating.”

Sarkar reserves some of her snarkiest comments for left-liberals seduced by identity politics. Instead of uniting minorities and the proletariat into an ecumenical alliance of the oppressed, she says, the present-day left has pitted them against one another in an Olympics of victimhood. She goes to a crankish conference in Liverpool where a speaker declares, to nods of approval, that “we should dismantle all our movements that aren’t majority people of colour”. This in a country that is over 80% white. Sarkar is right: this stuff is just “bananas”.

People in these circles are, of course, quite justified in being exercised by racial oppression. But they are often less interested in remedying it collectively than claiming it individually. Some rather absurd propositions have flowed from this habit of mind. We meet the online commentators who argue that Anne Frank had “white privilege”. Then we have the “decolonising” yoga teacher who declares that “white-led yoga spaces” are “traumatising for people of colour”. Or take this tetchy response by a Jewish comedian to a tweet by an Arab-Australian Muslim poet claiming that Jesus resembled his family: “He’s not just claiming Jesus as a brown person: he’s claiming him. Which, however you look at it – and however correct it is that Jesus was Middle Eastern – tramples on his Jewishness.”

Mired in fratricidal identitarianism, left-liberals have lost the argument to the hard right, which has repurposed class politics with a racial tinge. So it is that yesterday’s “chavs” have been re-baptised as the “white working class”. Google’s Ngram viewer shows the inversion in their lexical fortunes since 2000. In the early years of this century, Sarkar observes, it was perfectly acceptable to portray the working classes as disgusting chavs, egregiously reckless with money and “suspiciously interested in black culture”. To the journalist James Delingpole, writing in the Times, they were “dismal ineducables”, and “pasty-faced, lard-gutted slappers who’ll drop their knickers in the blink of an eye”.

That was in 2006. Fast-forward to 2017, and Delingpole had recast himself as a tribune of the left-behind, railing against the “liberal elite … which thinks it’s perfectly acceptable, desirable even, to pour scorn and bile on the white working class”. Where chavs were once lazy and stupid, the white working class is decent, hardworking and yes, bigoted, though its bigotry turns on “legitimate concerns”. Courted hard by the Tories, the white working class was hoisted by its own petard. Its support proved crucial in electing a succession of governments that first imposed a hostile environment towards migrants and then extended the same treatment to poor British people; some 120,000 excess deaths were directly attributable to austerity.

Sarkar’s counsel, that the left ought to quit whingeing and get its act together, is welcome. Yet I’m sceptical about her implicit assumption – that an alliance between minorities and the left is the natural state of things. I’m a Marxist like Sarkar, but I think it is at least worth recognising that British Indians, Pakistanis and Nigerians can be reactionary conservatives; a great many are. To pretend that they never hold to casteism, misogyny or homophobia is foolish.

Sarkar says that Britain’s “thin-skinned, thick-witted” political class has an unhealthy obsession with the media. The same charge can be levelled at her. This is the work of someone who has evidently spent far too much time on X; indeed, she cultivates the image of a sassy social commentator, a sort of Tariq Ali of looking at your phone a lot. Truth be told, it’s not so much the leader writers of the Tory press who are in charge of the country as more impersonal, structural forces. Clinton’s political adviser James Carville – no Marxist – recognised this in the late 90s: “I used to think that if there was reincarnation, I wanted to come back as the president or the pope. But now I would like to come back as the bond market.”"]]></description>
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    <title>Is Australian Media Pro-Israel? A Look at Bias in Coverage - YouTube</title>
    <dc:date>2025-02-23T19:43:38+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=eAeTwVOYVLc</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["An alleged media sting at a pro-Palestine café, warnings from ABC staff, and a journalist fired for criticising Israel—does Australian mainstream media have a pro-Israeli bias?"]]></description>
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<item rdf:about="https://chrishedges.substack.com/p/one-day-everyone-will-have-always">
    <title>One Day, Everyone Will Have Always Been Against This (with Omar El Akkad) | The Chris Hedges Report</title>
    <dc:date>2025-02-20T00:05:36+00:00</dc:date>
    <link>https://chrishedges.substack.com/p/one-day-everyone-will-have-always</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Egyptian-Canadian novelist and author Omar El Akkad reckons with the genocide in Gaza through personal stories of the past and analysis of the present in this episode of The Chris Hedges Report."

...

"To the West, the concept of the rules-based order functions either as a list on paper to be ignored, or a strict set of laws to be weaponized. Omar El Akkad, Egyptian-Canadian novelist and journalist, has witnessed many instances, both in the West and in the Middle East, where banners of virtue were used to justify hypocritical behavior. El Akkad details these stories in his new book, “One Day, Everyone Will Have Always Been Against This,” and he joins host Chris Hedges on this episode of The Chris Hedges Report to discuss them.

In the West, El Akkad admits there is a tendency of including indigenous land acknowledgements at gatherings like literary festivals and while it may be honest, he argues it continues the same pattern of theft. “You steal land, you steal lives, and what's left to steal at the end but a narrative? The narrative that absolves all that came before,” he tells Hedges. This has always been the playbook of colonialism, he explains. “We can all be sorry afterwards.”

With regard to the genocide in Gaza, Western media brushes over the daily acts of brutality with “neutral,” unassuming language. Akkad recounts the description of children being killed as as bullets colliding with their bodies, and says “What [they’re] trying to do is give someone on the other side of the planet who has the privilege of looking away the language with which to look away without feeling a pang in their conscience,” El Akkad says.

Many in the West are quick to pillory resistance movements in places like Palestine, but resistance and the right and methods of resistance, El Akkad illustrates, belong to those under oppression and occupation. He explains:

<blockquote>“I have zero right to tell anybody anywhere who lives under occupation and injustice how to resist that occupation and that injustice. There is no acceptable form of resistance in the view of the institutions doing the oppressing. You engage in boycotts, that's economic terrorism. You try to march peacefully, you are shot with the intent to kill and or maimed. You boycott cultural institutions, you are being illiberal. You take up arms, you are a terrorist, and you will be wiped out. All you can do is die. That is your only acceptable form of resistance.”</blockquote>"

...

"I think one of the more difficult parts of this book, and I talked about it a little bit as a sort of self interrogation, I don't think you can write this kind of book and not contend with the many things you are, including some things that I'm not particularly proud of. And one of those interrogations has to do with this notion of how I describe myself. I describe myself as a pacifist, as a fairly committed proponent of nonviolence. But I have the privilege of saying those words in a relative vacuum, a vacuum created by the fact that I live on the launching end of the bombs. I live within the heart of the empire. And so two things come into clarity that I wish hadn't, but being as though they have, I need to address them. The first is my right to tell anybody under a state of occupation how to resist that occupation, which is no right at all. I have zero right to tell anybody anywhere who lives under occupation and injustice how to resist that occupation and that injustice. Particularly when there is no acceptable form of resistance in the view of the institutions doing the oppressing. You engage in boycotts, that's economic terrorism. You try to march peacefully, you are shot with the intent to kill and or maimed. You boycott cultural institutions, you are being illiberal. You take up arms, you are a terrorist, and you will be wiped out. All you can do is die. That is your only acceptable form of resistance. So first of all, I have absolutely no right to tell anybody how to resist their occupation or a state of injustice. But second, I can sit here and I can tell you how committed I am to nonviolence. And I can believe that fully. But by virtue of the society I live in, by virtue of what my tax dollars are being used to do, I am one of the most violent human beings on earth. And I can't simply brush that away and say, hey, I haven't thrown a punch since I was 15 years old, I'm fully committed to non-violence. I am part of a society that exercises great industrial violence. And at the very least, I should acknowledge that. And that makes it much, much more difficult to then go around parading my views about how violence debases us all. Sure, it does, but I am actively engaged in it right now. That has been a very difficult thing to contend with and I wish I had a sort of easy wraparound answer for it, but I don't."

...

"[W]hat I am no longer interested in is love as a form of institutional camouflage. I'm no longer interested in that. I'm no longer interested in stories that talk about how everything was great at the end after all the bad stuff happened. I am interested in that active form of love that is trying to stop the bad thing from happening right now. And I'm seeing so many examples of it and it is the one thing keeping me going. I'm a deeply, I'm not a particularly strong person. I'm a deeply weak person and I need that kind of inspiration. And I am getting it daily from people who are much stronger than me and who are engaged in the kind of love that matters more than any other, I think."

[direct link to video:
https://www.youtube.com/watch?v=vPI0RmTKCYk ]]]></description>
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<item rdf:about="https://www.youtube.com/watch?v=VWVdbhSZPds">
    <title>Cesaire and the Negritude movement | DigiDocs - YouTube</title>
    <dc:date>2025-02-19T22:13:47+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=VWVdbhSZPds</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Aime Cesaire, a poet and playwright from Martinique, was a key figure in the Negritude movement, which emerged in the 1930s. Led by black writers from France's African and Caribbean colonies, the movement rejected colonialism and celebrated African culture and identity. In this animated documentary short, we are challenged to confront history and reclaim the power of self-definition.

A film by Marcela Pizarro, Midiaou Diallo and Pierangelo Pirak. Voices: Cindy Sissokho and Miss Yankey. This film is part of a series, Race Historicised: Epistemologies of Colour, that delves into the archives of Black intellectual thought, to showcase the work of towering figures who have contributed to the anti-racist struggle, in both theory and action."]]></description>
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<item rdf:about="https://www.danikacooper.com/research#/how-to-draw-a-dust-storm-jola/">
    <title>RESEARCH — DANIKA COOPER</title>
    <dc:date>2025-01-20T20:24:22+00:00</dc:date>
    <link>https://www.danikacooper.com/research#/how-to-draw-a-dust-storm-jola/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Challenging assumptions about how to represent both the scientific and the aesthetic provides an opportunity to reject traditional notions that these two are in direct opposition. By producing a ‘nexus of science, memory, and strategy,’ these drawings create new readings of dust by overlapping knowledge from the natural sciences with the aesthetic, temporal, and perceptual qualities of dust. The coupling of analog and digital techniques aims to address the challenges associated with the dramatic scalar differences between the particle and the storm. 

Drawing the dust is more than simply pointillism; adopting a filmic approach to build a visual narrative of the process of moving dust results in drawings that address the inherent and essential ephemerality of the storm through seriality. 

In a highly-speculative intervention, the planting of psamophile fields (desert dune plants) on destabilized, dust prone lands encourages the settlement of aeolian dust by hindering the movement of wind and stabilizing the ground.Over time, the plants create a dust sink, accumulating so much material that dunes begin to form. Throughout the territory, ephemeral topographies are continually created and eroded by the wind over time and space."]]></description>
<dc:subject>danikacooper research method methods landscapearchitecture architecture landscape drawing drawings via:javierarbona time space dust ephemeral pointillism narrative ephemerality particles science memory strategy</dc:subject>
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<item rdf:about="https://www.youtube.com/watch?v=qzgMtooufsk">
    <title>“The lobby is working overtime&quot; with John Mearsheimer - YouTube</title>
    <dc:date>2025-01-16T04:59:30+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=qzgMtooufsk</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The brothers welcome University of Chicago Professor John Mearsheimer to the show to discuss the power of the Israel lobby in the US, the relationship between the US and the Israeli state (and whether the dog wags the tail or the other way around), the possibility of change in US policy on Palestine and the Arab world, recent developments in Palestine, Lebanon and Syria, and, finally, how transformations taking place in the United States may eventually overwhelm the lobby and its ability to manipulate decision-making from US college campuses to the White House.

Date of recording: December 17, 2024."

[also here:
https://directory.libsyn.com/episode/index/id/34716740
https://sites.libsyn.com/495388/the-lobby-is-working-overtime-w-john-mearsheimer ]]]></description>
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<item rdf:about="https://newrepublic.com/article/189303/san-francisco-moderate-politics-millionaire-tech-donors">
    <title>The Shadowy Millions Behind San Francisco’s “Moderate” Politics | The New Republic</title>
    <dc:date>2025-01-11T06:36:32+00:00</dc:date>
    <link>https://newrepublic.com/article/189303/san-francisco-moderate-politics-millionaire-tech-donors</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The city is the epicenter of an anti-progressive movement—financed by the ultrawealthy—that aims to blur political lines and centralize power for the long term. For some, their ambitions don’t stop there."]]></description>
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<item rdf:about="https://medium.com/@mohamedsqalli/what-if-we-let-it-up-to-arab-artists-to-be-the-ones-to-tell-their-hi-story-ca8a65fd8712">
    <title>What if we let it up to Arab artists to be the ones to tell their (hi)story ? | by Mohamed Sqalli | Medium</title>
    <dc:date>2024-12-01T21:39:27+00:00</dc:date>
    <link>https://medium.com/@mohamedsqalli/what-if-we-let-it-up-to-arab-artists-to-be-the-ones-to-tell-their-hi-story-ca8a65fd8712</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["In the past few years, Arab aesthetics have been omnipresent in fashion, cinema, photography and music. For Arab creatives, this felt like a source of pride and the hope for greater visibility, at first. Till the day they realized Western creatives were covering those projects solo. With Ilyes Griyeb, Moroccan photographer and recent victim of plagiarism, we decided to talk about this reality.

Initially published in French, this article was translated by Meriem Bennani. [https://medium.com/@mohamedsqalli/et-si-on-laissait-enfin-les-artistes-arabes-raconter-eux-m%C3%AAme-leur-s-histoire-s-24eabad165a7 ] "]]></description>
<dc:subject>art artists mohamedsqalli 2017 arab arabs history narrative middleeast photography meriembennani</dc:subject>
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<item rdf:about="https://www.latercera.com/culto/2024/09/17/javier-arguello-escritor-argentino-la-realidad-no-es-algo-dado-objetivo-e-inmutable-como-solemos-creer/">
    <title>Cómo son los Cuatro Cuentos Cuánticos de Javier Argüello - La Tercera</title>
    <dc:date>2024-11-24T07:33:30+00:00</dc:date>
    <link>https://www.latercera.com/culto/2024/09/17/javier-arguello-escritor-argentino-la-realidad-no-es-algo-dado-objetivo-e-inmutable-como-solemos-creer/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["El autor trasandino acaba de publicar Cuatro cuentos cuánticos, donde cruza la ciencia con la narrativa. En los cuatro relatos que forman la colección está la idea de que la conciencia -o el punto de vista particular- es de algún modo, generadora de la realidad. Su autor habló con Culto, abordó su vínculo con la física y cómo construyó este particular artefacto literario."

...

"Al escritor trasandino Javier Argüello (52 años, nacido en Santiago de Chile), le interesa tanto la narrativa como la física. Un cruce que a simple vista parece improbable, pero él le encontró una vuelta. Como toda historia sucede en un tiempo y espacio, estos son elementos que de alguna manera pueden ser puestos en entredicho. Dicho de otro modo, la realidad, todo lo que vemos es algo que se construye con la participación subjetiva de cada cual. Así lo reconoce a Culto.

“El cruce entre la narrativa y la física es un tema que empecé a trabajar hace varios años, cuando entendí que la teoría cuántica abría la puerta a la idea de que la conciencia participa en la construcción de la realidad. En ese momento estaba estudiando el modo en que los relatos que nos contamos construyen nuestra idea de mundo, y me pareció muy sugerente el hecho de que hubiera una teoría científica que planteara cuestiones como esta. Estos cuentos son el resultado de la última exploración que he llevado a cabo en ese territorio de frontera”.

Así nacieron los Cuatro Cuentos Cuánticos, que el escritor acaba de publicar vía Random House, donde en 4 relatos aborda historias de personajes que en el paso del tiempo se ven enfrentados a diferentes situaciones. Como un hombre que asiste -a regañadientes- a una reunión con sus antiguos compañeros de colegio tras 30 años; un periodista que de estar en Ucrania de repente se encuentra en Londres con un escritor del siglo XIX; o la locura que un escritor experimenta junto a un paciente de un manicomio.

En los cuentos, hay una idea de que la conciencia -o el punto de vista particular- es de algún modo, generadora de la realidad. ¿Lo pensaste así?

Es algo que en la narrativa resulta innegable. Un relato no cobra sentido por su correlación con ninguna realidad exterior, sino a partir de la cohesión y la coherencia del punto de vista escogido para narrarlo. Lo interesante es que, al parecer, en la teoría cuántica, la realidad no termina de construirse, no termina de fijarse, hasta el momento en el que interviene la mirada del observador. Para la mecánica cuántica, eso que llamamos realidad no es más que un campo de probabilidades que sólo colapsa en una posibilidad concreta frente a la mirada concreta que un observador pone en juego.

¿Cómo equilibraste la precisión científica con la necesidad de crear historias atractivas y emocionantes? ¿Cuál consideras que es el punto óptimo entre ambas?

La clave que conecta ambas cuestiones es el punto de vista como creador de la realidad. Y en narrativa esa operación resulta ineludible, con lo que te diría que está presente en cada relato que leemos. La particularidad de estos cuentos radica en que la realidad construida juega con los propios límites de la realidad y acentúa el papel de la conciencia en el modo en el que ésta es moldeada. Pero al tratarse de historias, de artefactos narrativos, creo que lo que debe mandar es siempre la tensión dramática. No creo que se deba “ilustrar” una teoría, sino que hay centrarse en la acción dramática y dejar que sea el diseño estructural el que refleje los posibles saltos cuánticos.

¿Qué dificultades encontraste al escribir estos cuentos? ¿Hubo algún concepto o idea que te costara especialmente transmitir?

Todas tienen su dificultad, pero no sé si mayor que la que nos encontramos siempre que nos enfrentamos a la construcción de un relato. Es verdad que algunas de las ideas que están detrás de estos cuentos son un poco más difíciles de digerir que las que juegan con reglas de nuestro mundo cotidiano. Pero, al menos en el modo en el que yo entiendo el funcionamiento de un relato, siempre se trata de construir un artefacto o un artificio que genere un efecto más profundo y duradero que el que podríamos alcanzar con una explicación. Ahí es donde radica el desafío.

En Un cuento inglés, hay un guiño a Borges. ¿Qué te impulsó a eso?

La verdad es que la historia de ese cuento involucra otro cuento con el que el protagonista se encuentra en Londres de una manera misteriosa, y que efectivamente está incluido en una antología de la literatura fantástica recopilada por Borges, Bioy Casares y Silvina Ocampo, con lo que se trató de una cuestión más bien fortuita. Lo que no es fortuito es que ellos se hayan interesado por la literatura fantástica, y en ese sentido evidentemente hay una confluencia de intereses con las exploraciones que yo llevo a cabo.

En el cuarto cuento se desdibuja el límite entre la ficción y la realidad, entrando en una ciencia ficción. ¿Te consideras escritor de ciencia ficción?

Yo no diría que el género del cuarto cuento es la ciencia ficción, en el sentido de que no es una ficción propiamente científica. Creo que se corresponde más bien con lo que se define como ficción fantástica tal y como acabamos de mencionar a raíz de la antología de Borges, Bioy Casares y Silvina Ocampo. Pero por supuesto que las clasificaciones nunca son una cosa cerrada.

¿Cómo ves la relación entre la ciencia y el arte? ¿Crees que son disciplinas complementarias o que tienen objetivos completamente diferentes?

Creo que cualquier aproximación a la realidad es una ficción, entendiendo por ficción el ordenamiento caprichoso que un determinado relato hace de una realidad a la que no nos es posible acceder de manera directa. En ese sentido el de la ciencia también es un relato. La diferencia es que la ficción científica se define como no ficticia, inaugurando así la noción de lo real. Y es justamente esa noción la que la teoría cuántica está poniendo en jaque hoy en día. Hace un tiempo atrás un físico muy reputado me decía que, a nivel subatómico, la idea de una realidad objetiva sencillamente no es defendible. Y en ese sentido creo que sí, que las miradas de la ciencia y de la literatura se complementan y se enriquecen de numerosas maneras. En última instancia, con diferentes metodologías y criterios de validación, ambas se proponen entender y explicar el mundo que nos rodea.

¿Qué esperas que los lectores se lleven de la lectura de tus cuentos? ¿Deseas que reflexionen sobre la naturaleza de la realidad, que se interesen más por la ciencia o simplemente que disfruten de una buena historia?

Me encantaría que pasaran las tres cosas. Me encantaría que, a través del disfrute de una buena historia, los lectores tengan la posibilidad de cuestionarse la naturaleza de la realidad para comprender que no es algo dado, objetivo e inmutable como solemos creer, sino que está en permanente construcción, y que en ese sentido todos tenemos una cuota de responsabilidad en el modo en que se manifiesta. A fin de cuentas, y como te decía, somos las historias que nos contamos.

¿En tu experiencia laboral has podido compartir con el trabajo de los físicos?

Sí. He tenido ocasión de visitar dos veces el acelerador de partículas del CERN, en Ginebra, y participo de algunos foros multidisciplinares con algunos físicos a partir de los cuales hemos desarrollado diferentes instancias de colaboración mutua. El espíritu que las gobierna es siempre el de enriquecer nuestra mirada sobre el mundo poniendo en común nuestras diferentes aproximaciones. De hecho, en octubre llega a Chile un breve ensayo titulado “Los límites de la ciencia” en el que cuento la primera de mis visitas al CERN y las reveladoras conversaciones mantenidas con los físicos que allí trabajan. En noviembre he sido invitado al festival Puerto de Ideas, en Valparaíso, para hablar de todos estos temas.

¿Consideras este libro una introducción a la mecánica cuántica?

No, no. Este libro es una exploración narrativa de algunas de las posibles implicaciones que la teoría cuántica despliega acerca del modo que tenemos de entender la realidad. Parafraseando a un físico chileno con el que tuve ocasión de conversar, se trata de un intento de que la gente pueda aproximarse a los misterios de esas implicaciones sin tener que entender de ecuaciones, así como puede disfrutar de la música sin tener que entender lo que es una corchea."]]></description>
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<item rdf:about="https://www.youtube.com/watch?v=JMeuMznCMgo">
    <title>El futuro de las historias - Javier Argüello y Rafael Gumucio | Valparaíso 2024 - YouTube</title>
    <dc:date>2024-11-23T20:00:06+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=JMeuMznCMgo</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["En esta conversación, los escritores Javier Argüello y Rafael Gumucio abordarán el oficio de escribir y cómo las narrativas configuran nuestra visión del mundo. Se explorará el poder del relato científico como la narrativa dominante en la actualidad, así como el papel de la memoria en la reconstrucción de la realidad familiar y social. 

En un contexto marcado por la inteligencia artificial, las redes sociales y los modelos generativos, se reflexionará sobre el papel y el futuro de las historias en una era de transformación tecnológica, invitando al público a repensar la creación literaria en el mundo contemporáneo.

Presenta Colbún y Coopeuch. Proyecto financiado por PAOCC"]]></description>
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<item rdf:about="https://www.youtube.com/watch?v=fMxZa20wyvk">
    <title>Writer Adania Shibli: The Experience of Palestine in Narration | Louisiana Channel - YouTube</title>
    <dc:date>2024-11-19T18:37:21+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=fMxZa20wyvk</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The acclaimed Palestinian writer Adania Shibli reflects on the challenges and possibilities of narrating the Palestinian experience. Speaking with profound insight, Shibli discusses the fragmented nature of Palestinian storytelling, shaped by historical trauma and the ongoing reality of violence and displacement.

“Growing up in Palestine, the clarity of narration—a clear beginning, middle, and end—is not accessible,” Shibli notes. Instead, Palestinian storytelling is marked by hesitation and what she describes as “a stutter in narration.” This uncertainty, she explains, reflects the difficulty of pinpointing a starting point in a story steeped in decades, even centuries, of conflict and loss.

Shibli recounts a poignant moment from her time as a translator for Scandinavian journalists in a refugee camp near Nablus. She recalls a woman, Selma, who insisted on emphasizing the loss of her burned identity card amid the devastation of her home. “For Selma, that was the most important,” Shibli observes, contrasting this personal focus with the broader narratives privileged by outsiders.

This tension between personal and collective histories shapes Shibli’s literary approach. “Writing allows you to move beyond the limits of reality,” she explains, describing fiction as a space where marginalized voices and overlooked details find expression. She contrasts the “broken narrative” of those who experience pain and displacement with the “perfect narrative” of those in positions of power, challenging readers to question which stories deserve to be told and how.

For Shibli, silence is both an oppressive force and a space of potential. “Silence doesn’t disappear,” she says. “It becomes more available to you, allowing a dignified relation between your words and the possibilities of language.” In this way, Shibli views writing as an act of transformation—a means to reclaim agency, articulate loss, and, ultimately, imagine new beginnings.

Adania Shibli, born in Palestine in 1974, is a celebrated author, essayist and cultural critic. Her acclaimed works include Touch (2010) and Minor Detail (2017), which was longlisted for the International Booker Prize. Shibli’s writing is known for its poetic prose and exploration of memory, identity, and the limits of narration. Shibli holds a Ph.D. from the University of East London in Media and Cultural Studies. Her dissertation is titled Visual Terror: A Study of the Visual Compositions of the 9/11 Attacks and Major Attacks in the 'War on Terror' by British and French Television Networks.  Adania Shibli continues to be a vital voice in contemporary literature, bridging personal and political realities through her work.

Lotte Folke Kaarsholm interviewed Adania Shibli in connection with the Louisiana Literature festival at the Louisiana Museum of Modern Art in August 2024."]]></description>
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<item rdf:about="https://www.theguardian.com/books/2024/nov/07/david-graeber-optimistic-anarchist-rebecca-solnit">
    <title>‘It does not have to be this way’: the radical optimism of David Graeber | Books | The Guardian</title>
    <dc:date>2024-11-13T18:28:56+00:00</dc:date>
    <link>https://www.theguardian.com/books/2024/nov/07/david-graeber-optimistic-anarchist-rebecca-solnit</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["As a new collection of his writing is published, Rebecca Solnit remembers her friend, the late activist and anarchist who believed ordinary people had the power to change the world"

...

"David Graeber was a joyful, celebratory person. An enthusiast, voluble, on fire with the possibilities in the ideas and ideologies he wrestled with. Every time we met – from New Haven in the early 00s to London a few years before his death in 2020 – he was essentially the same: beaming, rumpled, with a restless energy that seemed to echo the constant motion of his mind, words tumbling out as though they were, in their unstoppable abundance, overflowing. But he was also much respected in activist circles for being a good listener, and his radical egalitarianism was borne out in how he related to the people around him.

He was always an anthropologist. After doing fieldwork among traditional peoples in Madagascar, he just never stopped, but he turned his focus to his own society. Essays such as Dead Zones of the Imagination: On Violence, Bureaucracy, and ‘Interpretive Labor’ and his book Bullshit Jobs came from using the equipment of an anthropologist on stuff usually regarded as boring, or not regarded at all – the function and impact of bureaucracy. His 2011 bestseller on debt reminded us that money and finance are among the social arrangements that could be rearranged for the better.

He insisted, again and again, that industrialised Euro-American civilisation was, like other societies past and present, only one way of doing things among countless options. He cited times when societies rejected agriculture or technology or social hierarchy, when social groups chose what has often been dismissed as primitive because it was more free. And he rejected all the linear narratives that present contemporary human beings as declining from primordial innocence or ascending from primitive barbarism. He offered, in place of a single narrative, many versions and variations; a vision of societies as ongoing experiments, and human beings as endlessly creative. That variety was a source of hope for him, a basis for his recurrent insistence that it doesn’t have to be this way.

As Marcus Rediker wrote in his review of David’s posthumous book Pirate Enlightenment, “Everything Graeber wrote was simultaneously a genealogy of the present and an account of what a just society might look like.” He was concerned about inequality of all kinds, including gender inequality in this society and others, and the violence that enforces inequality and unfreedom, as well as how they might be delegitimised and where and when societies might have escaped them. He focused, in short, on freedom and its impediments.

He was often credited with coining the Occupy Wall Street slogan “We are the 99%”, but he insisted on paring his credit down to having contributed the 99% part to a phrase so compelling that “the 1%” remains a widely used description of the uppermost elite. “The 99%” is a hopeful phrase, in opposition to the old layer-cake description of the working, middle, and upper classes. It’s an assertion that the great majority of us are working, and often financially struggling or precarious; that most of us have a lot in common – and a lot of reasons to oppose the super-rich.

David took joy in his work, and in how that work intersected with actualities on the ground – especially with the radical movements of the late 1990s and the new millennium, including the anti-corporate-globalisation movement that peaked with the shutdown of the World Trade Organization ministerial conference in Seattle in 1999, the Zapatista uprising in Mexico that began in 1994, and the many forms of radical egalitarianism manifesting as direct-democracy experiments and resistance to unjust institutions and governments, especially 2011’s Occupy Wall Street, in which he was deeply involved.

That joy: maybe this is how everyone should feel about ideas and the ways that they open up or close off possibilities. The way that, as he wrote, “The ultimate hidden truth of the world is that it is something we make and could just as easily make differently.” If you truly believe that, if you perceive a world that is constructed according to certain assumptions and values, then you see that it can be changed, not least by changing those assumptions and values.

We have to recognise that ideas are tools that we wield – and with them, some power. David wanted to put these tools in everyone’s hands, or remind them that they are already there. Which is part of why he worked hard at – and succeeded in – writing in a style that wasn’t always simple but was always as clear and accessible as possible, given the material. Egalitarianism is a prose style, too. Our mutual friend the writer, film-maker, and debt abolitionist Astra Taylor texted him: “Re-reading Debt. You are such a damn good writer. A rare skill among lefties.” He texted back that August, a month before his demise: “Why thanks! Well at least I take care to do so – I call it ‘being nice to the reader,’ which is an extension of the politics, in a sense.”

In order to believe that people can govern themselves in the absence of coercive institutions and hierarchies, anarchists must have great faith in ordinary people, and David did. A sentence Lyndsey Stonebridge wrote about Hannah Arendt could apply equally well to him: “To fixate on her exceptional mind is to miss something that is important about her lessons in thinking: thinking is ordinary, she teaches; that is its secret power.”

He had a strained academic career, despite his brilliance and originality – or because of them. In the first book of his that I read, Fragments of an Anarchist Anthropology, a tiny book bursting with big ideas, he wrote, “In the United States there are thousands of academic Marxists of one sort or another, but hardly a dozen scholars willing openly to call themselves anarchists … It does seem that Marxism has an affinity with the academy that anarchism never will. It was, after all, the only great social movement that was invented by a PhD, even if afterwards, it became a movement intending to rally the working class.” And then he argues that anarchism was not, by comparison, an idea created by a few intellectuals; instead, “the basic principles of anarchism – self-organisation, voluntary association, mutual aid” – have been around “as long as humanity.”

David’s recurrent rallying cry as both a scholar and an activist was: “It does not have to be this way.” Where academia can be cool and guarded, pulling away from direct engagement, he was warm and enthusiastic, wanting to see ideas lead to actions that could change the world. Taylor notes: “While he despised the tedium of academic bureaucracy, he loved activist meetings, savouring the ideological debates and revelling in various forms of planning, scheming, and mischief.” He was hopeful, not foolishly so, but due to the evidence he had amassed that human societies have taken myriad forms, that the people who are supposedly powerless can together wield quite a lot of power, and that ideas matter. One of my favourite scraps of information in Fragments of an Anarchist Anthropology is about Madagascar’s Sakalava people, who officially revere dead kings – but these kings make their wishes known “through spirit mediums who are usually elderly women of commoner descent.” That is, a system officially led by elite men is controlled by non-elite women.

Hope is a tricky business among intellectuals and activists. Cynicism, though it’s often inaccurate about both human nature and political possibilities, gives the appearance of sophistication; despair is often seen as sophisticated and worldly-wise while hopefulness is seen as naive, when the opposite is not infrequently true. Hope is risky; you can lose, and you often do, but the records show that if you try, sometimes you win.

His essay Despair Fatigue opens: “Is it possible to become bored with hopelessness?” David’s superpower was being an outsider. He did not proceed from widely shared assumptions but sought to dismantle them, urging us to see they’re arbitrary, confining and optional, and inviting everyone into the spaces this opens up (while saluting those already there). So much of his writing says, in essence, “What happens if we don’t accept this?” – if we dissect it to see its origins and impacts, or if we reject it, if we lift it off like some burden we don’t have to carry, some outfit we don’t have to wear? What happens is we get free."]]></description>
<dc:subject>davidgraeber 2024 rebeccasolnit anarchism change everyday ordinary ows occupywallstreet marcusrediker academia academics highered highereducation workingclass class struggle inequality 1999 1994 zapatistas battleofseattle wto 2011 astrataylor lyndseystonebridge hannaharendt activism anthropology marxism marxists sakalava madagascar cynicism despair despairfatigue outsiders joy hope liberation changemaking ideas debt writing howwewrite politics hierarchy hierarchies horizontality power us mutualaid voluntaryassociation selforganization humans humanity history engagement participation participatory hopelessness coercion bureaucracy mischief elitism unfreedom society civilization barbarism socialhierarchy abundance technology freedom egalitarianism creativity imagination possibility possibilities bullshitjobs socialconstructs narrative variety diversity gender 2020 money finance violence labor work zapatismo emilianozapata chiapas mexico autonomy indigenous indigeneity ezln</dc:subject>
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</item>
<item rdf:about="https://hedgehogreview.com/web-features/thr/posts/stories-to-live-by">
    <title>Stories to Live By | THR Web Features | Web Features | The Hedgehog Review</title>
    <dc:date>2024-11-05T01:12:16+00:00</dc:date>
    <link>https://hedgehogreview.com/web-features/thr/posts/stories-to-live-by</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["If politics is your life, then you must tell yourself a political story in order to live."

[See also:

"Main character syndrome
Why romanticising your own life is philosophically dubious, setting up toxic narratives and an inability to truly love"
https://aeon.co/essays/why-main-character-syndrome-is-philosophically-dangerous ]]]></description>
<dc:subject>storytelling politics identity 2024 alanjacobs joandidion elections donaldtrump kamalaharris narrative 1970 1953 1979 self-importance self-centeredness</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:1c0b28ff5baa/</dc:identifier>
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</item>
<item rdf:about="https://psyche.co/ideas/your-life-is-not-a-story-why-narrative-thinking-holds-you-back">
    <title>Your life is not a story: why narrative thinking holds you back | Psyche Ideas</title>
    <dc:date>2024-11-03T22:42:46+00:00</dc:date>
    <link>https://psyche.co/ideas/your-life-is-not-a-story-why-narrative-thinking-holds-you-back</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Our stories help us make sense of a chaotic world, but they can be harmful and restrictive. There’s a liberating alternative"
]]></description>
<dc:subject>stories storytelling narrative philosophy karensimecek life living literature self howwethink perspective jean-paulsartre petergoldie carolfox childhood martinpayne elisabethcamp events wallacestevens poems poetry sartre</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
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<item rdf:about="https://futuress.org/learning/fuwubu-narrative/">
    <title>For Us, With Us, By Us: Narratives</title>
    <dc:date>2024-10-29T18:23:06+00:00</dc:date>
    <link>https://futuress.org/learning/fuwubu-narrative/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["This roundtable discussion examines how to learn from, make, and interweave storytelling practices across multiple disciplines."

...

"Storytelling is a fundamental need and a practice that has existed for centuries; it allows space to contemplate everyday life and experiences within it. Narratives construct identities by sharing a multiplicity of stories; it becomes an act of knowledge transmission, keeping (collective) memories in circulation and informing their preservation.

In this roundtable, Farah Hallaba, Naïma Ben Ayed, Nadia Ghanem, and Nadia Mounier will discuss how they interweave narratives from the SWANA region into their diverse practices, ranging from design, art, and filmmaking to anthropology and curation; and how they use storytelling as a tool of cultural, communal and pedagogical mediation. The event is moderated by Noureldin Ahmed and Randa Hadi.

For Us With Us, By Us – لنا، عنّا، معنا is a series of conversations centered around voices of cultural practitioners in the SWANA region, exploring themes of transnational identities beyond the western canon. Through two online roundtable discussions and an offline event in Cairo, the program aims to promote an active exchange between Arab cultural workers and their Swiss-based counterparts."

...

"The offline event in Cairo will be held in May.  “Practice” will be a culmination of conversations that took place in “Ontology” and “Narrative” how they affect a way of making.

This program is a collaboration between For Us With Us, By Us—لنا، عنّا، معنا (Mayar El Bakry, Noureldin Ahmed, Randa Hadi, Sherine Salla, Nada Ezzeldin, and Sohaila Khaled),  Archief Cairo, cifrcifrcifr, and Futuress.

Archief Cairo is a multilingual lab for research, preservation and communication in Egypt. Their interest lies in researching, documenting, and understanding the visual/ aesthetic fabric of the city.

Cifrcifrcifr is an independent artistic research practice, working to create instances (virtual or physical) to collectively learn and unlearn, question the status quo and initiate critical conversations with, and about, their surroundings.

Please reach out to fuwubu.info@gmail.com if you have any questions or to get in touch."

[Direct link to video:
https://vimeo.com/894866685

See also:
https://futuress.org/tag/for-us-with-us-by-us/ ]]]></description>
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</item>
<item rdf:about="https://www.youtube.com/watch?v=S0ePGngjWN0">
    <title>Project 2025 Came Early in San Francisco f/ Alison Collins - YouTube</title>
    <dc:date>2024-10-22T15:12:11+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=S0ePGngjWN0</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Project 2025 soft launched in San Francisco years ago, with successful attempts to replace politicians with people who are obedient to the rightwing. Because it’s the Bay, these replacements are registered as Democrats and they virtue signal about diversity, but make no mistake, they are deeply aligned with rightwing forces like the Heritage Foundation.

Timestamps for Graphic Sources: 
[Editor Note]: Was only able to make visual edits for the first half of the episode.

02:30
"San Francisco voters recall 3 school board members"
https://www.npr.org/2022/02/16/1081035770/san-francisco-voters-recall-three-school-board-members

02:44
"School Board Shakeup in San Francisco
Arrogance, incompetence, and woke rhetoric trigger successful recall effort"
https://www.educationnext.org/school-board-shakeup-san-francisco-arrogance-incompetence-woke-rhetoric-trigger-successful-recall-effort/

02:48
"A celebrated Bay Area playwright confronts racism with his latest work. Does he also stumble over it?"
https://www.sfchronicle.com/bayarea/justinphillips/article/Ishmael-Reed-racism-SF-recall-17526319.php

03:50
"San Francisco votes overwhelmingly to recall progressive DA Chesa Boudin"
https://www.cbsnews.com/news/chesa-boudin-san-francisco-da-recalled/ 

04:46
"Tom Ammiano earned his varsity letter in 1959. It finally arrived this week"
https://www.sfchronicle.com/local/article/Tom-Ammiano-earned-his-varsity-letter-in-1959-It-16154362.php

05:43
"San Francisco State students defend ethnic studies"
https://fightbacknews.org/articles/san-francisco-state-students-defend-ethnic-studies

05:51
http://www.pepsf.org/what-is-pep.html 

07:19
"Project 2025: The right-wing wish list for another Trump presidency"
https://www.bbc.com/news/articles/c977njnvq2do

09:18
"Ballotpedia's 2023 Recall Analysis"
https://ballotpedia.org/Ballotpedia%27s_2023_Recall_Analysis

09:40
"“Flood the zone with shit”: How misinformation overwhelmed our democracy
The impeachment trial didn’t change any minds. Here’s why."
https://www.vox.com/policy-and-politics/2020/1/16/20991816/impeachment-trial-trump-bannon-misinformation

09:43
"The School Board Culture War
Republicans are pushing national wedge issues to the local level, but smart progressives are beating them."
https://www.thenation.com/article/society/the-school-board-culture-war/

12:21
"Former Levi Strauss executive Jennifer Sey on decision to leave company over Covid ‘free speech’ controversy"
https://www.cnbc.com/2022/02/17/former-levi-exec-jennifer-sey-on-resigning-over-covid-free-speech.html

13:21
"Confirmation Bias
How “Women for Judge Thomas” turned into a conservative powerhouse."
https://slate.com/human-interest/2016/04/clarence-thomas-female-supporters-in-the-iwf.html

13:54
"What to know about the Heritage Foundation, main group behind Project 2025 and RNC sponsor
The organization, an RNC sponsor, recommends policy proposals and is behind a major push to remake the federal government in former President Donal Trump's image."
https://www.usatoday.com/story/news/politics/elections/2024/07/17/what-is-heritage-foundation-project-25/74426230007/ 

14:57
"Bay Area schools get infusion of Salesforce funds and nudge into artificial intelligence"
https://www.sfchronicle.com/bayarea/article/salesforce-funds-ai-schools-19752852.php

16:59
"Tag: Asra Nomani"
https://fairfaxgop.org/tag/asra-nomani/ 

18:32
"Asra Nomani Blasts CRT In Schools, Promotes Parents Rights Before Congress | 2022 Rewind"
https://www.youtube.com/watch?v=2ckAoQvXzTA

23:09
"Federal authorities subpoena NYC Mayor Eric Adams’ director of asylum-seeker operations
In July, Adams received his own subpoena from federal prosecutors seeking information from him, his campaign, and City Hall."
https://www.courthousenews.com/federal-authorities-subpoena-nyc-mayor-eric-adams-director-of-asylum-seeker-operations/

25:24
"Fact check: Hillary Clinton, not Joe Biden, used the term  super predator in 1990s"
https://www.reuters.com/article/world/fact-checkhillary-clinton-not-joe-biden-used-thetermsuperpredatorin199-idUSKBN27B1PB/ "]]></description>
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<item rdf:about="https://www.universiteitleiden.nl/en/research/research-output/humanities/imagining-urban-complexity">
    <title>Imagining Urban Complexity. A Humanities Approach in Tropes, Media, and Genres - Leiden University</title>
    <dc:date>2024-10-19T05:15:08+00:00</dc:date>
    <link>https://www.universiteitleiden.nl/en/research/research-output/humanities/imagining-urban-complexity</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Imagining Urban Complexity introduces passionate and critical perspectives on the link between the humanities and urban studies."

...

"Author: Frans-Willem Korsten and Anthony T. Albright
Date: 13 September 2024 

More information [https://www.routledge.com/Imagining-Urban-Complexity-A-Humanities-Approach-in-Tropes-Media-and-Genres/Korsten-Albright/p/book/9781032735276 ]

It emphasizes tropes, media, and genres as cultural techniques that shape complexity in urban environments by distributing affordances, modes of sensing, and modes of sense-making. The book grew out of Frans-Willem and Anthony’s teaching experiences in The Hague. The course from which the book emerged, Imagining the City, was initially designed by Frans-Willem for first-year students in the university’s new Urban Studies program. This program attracted a different type of student, one that forced all participants in the program to rethink more fundamentally what a humanities approach to urbanism could or should look like. The result was a period of intense interdisciplinary research, with the classroom as a field of experiments. In 2021, Anthony entered this field as the book’s editor, translator, and eventually co-author, co-researcher, and co-teacher. It took another three years of intense interdisciplinary research, rewriting, deleting, and adding to get to the end result. 

The overarching objective for the book and the course has been for students to take an active and critical attitude toward everyday life: to reflect on how dominant ways of sensing cities, and foundational assumptions about urban life, are political at heart. We also seek to extend this critical attitude to the university classroom situation itself, where one of the more specific aims of Imagining the City is to defamiliarize the habits of passive absorption and tactical memorization in which many of our students have been so effectively trained by Dutch and international high school curricula. 

To this end, we recently replaced the traditional final exam for Imagining the City with a portfolio project in which students are asked to analyze photographic case studies from within ongoing scholarly debates presented in the book. Crucial, the methodological program of our book proposes, is to begin with what one sees: to describe the urban case study, in all of its possible obscurities or inconsistencies, without forcing it into a pre-established theoretical mold. Theories, we emphasize, are not just nice ideas waiting to be exemplified, and real life does not just take place in between more serious obligations."

[from
https://www.routledge.com/Imagining-Urban-Complexity-A-Humanities-Approach-in-Tropes-Media-and-Genres/Korsten-Albright/p/book/9781032735276 

"Description

Imagining Urban Complexity introduces passionate and critical perspectives on the link between the humanities and urban studies. It emphasizes tropes, media, and genres as cultural techniques that shape complexity in urban environments by distributing affordances, modes of sensing, and modes of sense-making.

Focusing on urban political and cultural dynamics in 24 global cities, the book shows that urban environments are thematized in literature and art, but are also entities that are shaped, perceived, interpreted, and experienced through sense-making techniques that have long been central concerns of the humanities. These techniques, the book argues, activate a dialectic between urban imaginations and cancellations. Tropes, media, and genres are aesthetically and politically powerful: they propel imaginations and open up multiplicities of urban possibilities, they naturalize actualized orders, and they cancel alternatives. The book moves between close readings of city spaces and more systemic and infrastructural approaches to urban environments, providing tools and strategies that can be adapted and extended to understand urban complexity in different cultural and political contexts.

The book speaks to global audiences from a continental philosophical tradition. It is relevant to undergraduates, postgraduates, and academic researchers in the fields of critical urban studies, urban design, comparative literature, cultural studies, cultural analysis, ecocriticism, political theory, and ethics.

Table of Contents

Preamble
Urban complexities: a humanities toolkit of tropes, media, genres

I Tropes

1. What holds cities together?
Body Politic - Network - Belt: Hong Kong & Atlanta

2. Cities as paradigms of nature-culture
Jungle - Desert - Garden : Mexico City & Canberra

3. Urban distributions of access
Archive - Labyrinth - Zone: Istanbul & Moscow

4. Cities as centers of expectation and disillusion
Utopia - Dystopia - Non-Place: Paris & Brasilia

II Media

5. Bringing urban selves and world into perspective
Theatre - Spectacle: Amsterdam & Naples

6. Connecting the private and the masses
Newspaper - Radio: Chicago & Caïro

7. Battlegrounds of representation and motors of desire
Television - Cinema: Beijing & Bangkok

8. Media relating dividuals and scapes
Digital - Social Media: Mumbai & Nairobi


III Genres

9. Cities as forms of emplotment
Narrative – Documentary: Rio de Janeiro & Seattle

10. Urban life fragmented and improvized
Collage – Play: Lagos & Barcelona

11. Who does a city address and what do its rhythms express?
Lyric – Poetry: Isfahan & Jakarta

12. City secret, city trauma and the unrepresentable
Allegory – Comics: Jerusalem & Hiroshima


Postscript
The smart city: archipelagos of tests

Author(s) Biography

Frans-Willem Korsten is professor of Literature, Culture, and Law at the Leiden University Centre for the Arts in Society and professor of Literature and Society at the Erasmus School of Philosophy. He was responsible for the Dutch Research Council (NWO) internationalization program "Precarity and Post-Autonomia: The Global Heritage" and took part in the NWO/Research Foundation Flanders (FWO)–funded program "Imagineering Techniques in the Early Modern Period." He currently takes part in a program funded by the NWO entitled "Playing Politics: Media Platforms, Making Worlds." He published extensively on the Dutch Republican baroque, theatricality, and sovereignty (A Dutch Republican Baroque; 2017), and on the relation between literature, art, politics, justice, and law—Art as an Interface of Law and Justice: Affirmation, Disturbance, Disruption (2021) and Cultural Interactions: Conflict and Cooperation (2022).

Anthony T. Albright is a PhD candidate and lecturer at the Leiden University Center for the Arts in Society. He received a bachelor of arts (BA) with a concentration in English and Comparative Literature from Columbia University and a master of arts (MA) in Media Studies from Leiden University."]]]></description>
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