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    <title>Listen to Britain’s dawn chorus of 1976: the dramatic loss of birdsong in 50 years | Birds | The Guardian</title>
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    <dc:creator>robertogreco</dc:creator><description><![CDATA["Guardian recreates audio landscape of past filled by loud morning symphony before 73m wild birds were lost"]]></description>
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    <dc:creator>robertogreco</dc:creator><description><![CDATA["In this intimate conversation, Terry Tempest Williams shares the dream that set in motion her ongoing work of attending to “the Glorians”—moments of wonder, loss, and joy that fuse our attention with the mystery of Earth. Terry explores how visitations from the Glorians can help us engage with a spiritual life that recognizes wildness as the taproot of our consciousness."

[audio also here:
https://www.youtube.com/watch?v=XkINnRhNEcE ]]]></description>
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    <title>It doesn’t have to be us versus nature | Aeon Essays</title>
    <dc:date>2026-06-30T04:25:01+00:00</dc:date>
    <link>https://aeon.co/essays/it-doesnt-have-to-be-us-versus-nature</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Human prosperity depends on nature, but no global metric has captured this with precision. Enter the Nature Relationship Index"]]></description>
<dc:subject>nature yadvindermalhi 2026 flourishing prospertiy humanity landscape environment ecology gdp economics humandevelopmentindex norway canada china kateraworth society well-being wellbeing hangzhou growth iceland switzerland us niger afghanistan krushilwatene daoism taoism metrics</dc:subject>
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<item rdf:about="https://www.hachettebookgroup.com/titles/richard-louv/noticing/9781643753034/">
    <title>Noticing by Richard Louv | Hachette Book Group</title>
    <dc:date>2026-06-27T05:38:59+00:00</dc:date>
    <link>https://www.hachettebookgroup.com/titles/richard-louv/noticing/9781643753034/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The internationally bestselling author of Last Child in the Woods seeks a deeper personal connection to nature during this time of ecoanxiety and upheaval by exploring his own backyard.

Long beloved for his insightful, inspiring nature writing, Richard Louv returns with his most personal book yet. Noticing is about discovering who you are by exploring the natural world. Louv shows how, by tapping into the thirty or more human senses we have, readers can develop skills––sensory, scientific, artistic, and spiritual––to see and experience the otherworlds of nature. 

Through personal essays, rich with descriptions of the California wilderness around his home in the most biodiverse county in the nation, Louv draws on wisdom from influences as far-reaching as neuroscience, nature photography, Indigenous traditions, and mindfulness to foster what he calls “bioenchantment.” He offers a new, deeper understanding of what it means to see a tree, know a fox, and to become fully human."

[via: 

“How Humans Are Like Bloodhounds and Bats: A conversation with writer Richard Louv, who coined the term “nature deficit disorder””
https://nautil.us/how-humans-are-like-bloodhounds-and-bats-1282274 ]

"Richard Louv is a journalist and the author of ten books, including Last Child in the Woods: Saving Our Children from Nature-Deficit Disorder, The Nature Principle, and Vitamin N. Translated into twenty languages, his books have helped launch an international movement to connect children, families, and communities to nature. He is cofounder and chair emeritus of the nonprofit Children & Nature Network, which supports a new nature movement. Louv has written for the New York Times, Outside magazine*, Orion Magazine, Parents,* and many other publications. He appears regularly on national radio and TV, and lectures throughout the world. In 2008, he was awarded the Audubon Medal. Prior recipients have included Rachel Carson, E. O. Wilson, President Jimmy Carter, and Sir David Attenborough."

***

“Richard Louv would like you to live a beautiful life. He wants you to see how easy, how free and freeing this can be. This book is a how-to manual for getting back your soul.” —Carl Safina, author of Alfie and Me: What Owls Know, What Humans Believe

“Richard Louv’s Noticing isn’t nature writing as usual, it’s an invitation to meet the more-than-human world through all the senses. Drawing on research, mindfulness practices, Indigenous wisdom, and intimate encounters in the biodiverse California wilderness, Louv shows us that there’s far more to the outdoors than what meets the eye. The result is a beautiful ode to wonder—and a reminder that our capacity for enchantment is a skill we can relearn.” —Linda Åkeson McGurk, author of The Open-Air Life and There’s No Such Thing as Bad Weather

"Richard Louv has created a ‘multi-being’ in the form of a book illustrating, all the senses needed to fully attend to this wonderful, divergent world. No single species can do this, but Noticing, filled with Richard’s observations and the sensory insights of many others, human and nonhuman, is as close as you are ever going to get." —Glenn Albrecht, author of Earth Emotions

“Richard Louv is one of today’s most discerning observers of the natural world and our place in it, and Noticing is his most personal and intimate book yet. It is full of grace and full of wonder. A beautiful guide to being present, reconnecting, caring, healing, and thriving.” —Howard Frumkin, Former Director of CDC National Center for Environmental Health

“Blending rich storytelling with research and ancestral ways of knowing, Louv shows how deep noticing can reawaken our senses and renew our bond with nature. This inspiring book reminds us that when we slow down and observe with care, the world becomes more alive—and so do we.” —Sally Jewell, Former U.S. Secretary of the Interior

“What a gift! And so needed. Rich Louv’s Noticing is simultaneously informative and inspiring, uplifting and grounded. Reading his words, I found myself laughing out loud at times. Moments later, I was on the verge of tears. With humor and heart, scholarship and practicality, Rich provides a path forward for healing human relationships with the rest of nature.” —Cheryl Charles, Ph.D., International Co-Chair of IUCN’s NatureForAll and Co-Founder of Children & Nature Network

“[Louv] moves back and forth from lyrical descriptions of connection to nature to impassioned concern about the future of the planet to a certain mild skepticism toward those who believe they are empowered to speak for nature…His thoughtful, encouraging approach makes it easy for readers to follow in his footsteps. A gentle guide to connecting with the non-human world.” —Kirkus Reviews

“Richard Louv’s book is like a gentle prescription for our times—an invitation not just to go outside, but to truly step into nature with intention and attention. Through reflective storytelling and practical guidance, he encourages readers to engage all their senses, notice more deeply, and cultivate a richer connection with the natural world, themselves, and one another. In doing so, he offers a simple yet profound path to nurturing ourselves and hope for the future.” —Pooja Tandon M.D., MPH, Professor of General Pediatrics, Seattle Children's Hospital

“Nature writer extraordinaire…Louv does not restate the obvious about nature’s wonders; instead, he asserts how significant contact with nature can be as we embrace computer screens, AI, and ever-increasing reality distortion…Not self-help and yet enormously helpful, *Noticing…*encourages readers to reflect on nature beyond what can be seen with the naked eye…Thoughtful, timely, and achingly beautiful, this is a book to savor." —Colleen Mondor, Booklist"]]></description>
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<item rdf:about="https://podcasts.apple.com/us/podcast/pope-leo-xivs-magnifica-humanitas-w-jack-hanson/id1462703434?i=1000773716438">
    <title>Pope Leo XIV's 'Magnifica humanitas' (with Jack Hanson) - Know Your Enemy - Apple Podcasts</title>
    <dc:date>2026-06-26T08:30:11+00:00</dc:date>
    <link>https://podcasts.apple.com/us/podcast/pope-leo-xivs-magnifica-humanitas-w-jack-hanson/id1462703434?i=1000773716438</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[also here:
https://dissentmagazine.org/online_articles/know-your-enemy-pope-leo-xiv-magnifica-humanitas/ ]

"As promised, here is our episode about Pope Leo XIV's recent encyclical, Magnifica humanitas, in which he brings to bear Catholic social teaching on the perils of artificial intelligence and what they reveal about what it really means to be human being. It's a distinctly Augustinian reading of our nature and destiny, marked not just by Leo's attention to our limits as flawed and fallible creatures, but the joy and hope found by living into them—which, finally, becomes his plea to see life from the perspective of the lowly, the downcast, the abandoned. 

To help us explain such a rich document, we had on our friend Jack Hanson, one of the most perceptive American writers on the Catholic Church. We tease out the connections between this Leo's first and encyclical and that of his namesake Leo XIII's Rerum novarum, an intervention on behalf of working people during the industrial and considered the origin of Catholic social teaching; Leo's "Augustinianism"; the encyclical's critique of artificial intelligence and what that has to do with its account of what really makes us human; and more.

Sources:

Pope Leo XIV, Magnifica humanitas, May 15, 2026
https://www.vatican.va/content/leo-xiv/en/encyclicals/documents/20260515-magnifica-humanitas.html

Pope Leo XIII, Rerum Novarum, May 15, 1891
https://www.vatican.va/content/leo-xiii/en/encyclicals/documents/hf_l-xiii_enc_15051891_rerum-novarum.html

Jack Hanson, "A Serious Man: The Militant Mysticism of Charles Péguy," Commonweal, May 3, 2021
https://www.commonwealmagazine.org/serious-man-0

– “The Heresy of Americanism,” The Drift, Jun 10, 2025. 
https://newsletter.thedriftmag.com/p/the-heresy-of-americanism

Michael Oakeshott, "The Tower of Babel" in On History and Other Essays (1983)
https://about.libertyfund.org/books/on-history-and-other-essays/

Reinhold Niebuhr, "The Tower of Babel" in Beyond Tragedy: Essays on the Christian Interpretation of History (1937)
https://books.google.com/books/about/Beyond_Tragedy.html?id=-Y0WAQAAMAAJ

Donna Haraway, “A Cyborg Manifesto,” (1985)
https://warwick.ac.uk/fac/arts/english/currentstudents/undergraduates/modules/fictionnownarrativemediaandtheoryinthe21stcentury/manifestly_haraway_----_a_cyborg_manifesto_science_technology_and_socialist-feminism_in_the_....pdf "]]></description>
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</item>
<item rdf:about="https://www.audubon.org/magazine/are-crows-really-our-friends">
    <title>Are Crows Really Our Friends? | Audubon</title>
    <dc:date>2026-06-25T21:07:43+00:00</dc:date>
    <link>https://www.audubon.org/magazine/are-crows-really-our-friends</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>crows corvids human-animalrelations human-animalrelationships multispecies morethanhuman 2026 elizabethpreston birds animals nature wildlife carlbergstrom anneclark ecology thomvandooren johnmarzluff tonyangell friendship craiggibson</dc:subject>
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<item rdf:about="https://daily.jstor.org/the-himalayan-blackberry-and-the-dream-of-american-progress/">
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    <dc:date>2026-06-25T21:03:26+00:00</dc:date>
    <link>https://daily.jstor.org/the-himalayan-blackberry-and-the-dream-of-american-progress/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The tangled history of an invasive plant and a scientist’s troubling quest to engineer a more efficient natural world."]]></description>
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<item rdf:about="https://www.youtube.com/watch?v=U3T4VhvKcj4">
    <title>Makdisi Street Reviews with Eyal Weizman - YouTube</title>
    <dc:date>2026-06-25T08:32:11+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=U3T4VhvKcj4</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["In anticipation of the publication of Eyal Weizman's new book, Ungrounding: The Architecture of Genocide, which will be released in the US next month, the brothers will be hosting a livestream with Eyal to which our Patreon supporters will have access, including the opportunity to ask questions of Eyal either via the livestream chat (which we will moderate) or in advance via email to makdisistreeet@gmail.com.

This livestream recording for our Patreon supporters will be the first in a series of reviews and discussions with authors of books addressing any of the questions that the podcast regularly intervenes in.

You can pre-order Eyal's book here:
https://www.betterworldbooks.com/product/detail/ungrounding-the-architecture-of-genocide-9780593835029 "

[also here:
https://directory.libsyn.com/episode/index/id/41709610
https://sites.libsyn.com/495388/makdisi-street-reviews-w-eyal-weizman ]]]></description>
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<item rdf:about="https://www.youtube.com/watch?v=tUSb_qnHjtg">
    <title>&quot;Second Nature&quot;: Elliot Page on New Film Exploring Animal World Beyond the Binary - YouTube</title>
    <dc:date>2026-06-25T06:48:27+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=tUSb_qnHjtg</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["A new documentary explores a growing body of scientific research documenting the wide range of gender and sexual diversity found in the animal kingdom, from pregnant male seahorses to matriarchal monkey troops. "Second Nature," directed by queer filmmaker Drew Denny, is narrated by Oscar-nominated actor Elliot Page, who says he joined the project because "I was so moved by it and found it so affirming as a trans and queer person." 

Learning about animal life beyond binary concepts of sex and gender was life-changing, Denny shares about her inspiration for the film. "I finally felt in my body, for the first time, that I belong here on Earth, just like anybody else." Featuring interviews with evolutionary biologists and eye-opening footage of the natural world, "Second Nature" is now showing in major cities across the United States."

[transcript:
https://www.democracynow.org/2026/6/24/second_nature_elliot_page

contintues:
https://www.democracynow.org/2026/6/24/actor_elliot_page_on_growing_up ]]]></description>
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</item>
<item rdf:about="https://moultano.wordpress.com/2026/06/19/where-to-find-the-colors-your-screen-cant-show-you/">
    <title>Where to Find the Colors Your Screen Can’t Show You – Ryan Moulton's Articles</title>
    <dc:date>2026-06-24T07:39:34+00:00</dc:date>
    <link>https://moultano.wordpress.com/2026/06/19/where-to-find-the-colors-your-screen-cant-show-you/</link>
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<item rdf:about="https://www.frontporchrepublic.com/2026/06/toward-a-transpartisan-politics-of-limits-and-beauty/">
    <title>Toward a Transpartisan Politics of Limits and Beauty - Front Porch Republic</title>
    <dc:date>2026-06-20T10:17:19+00:00</dc:date>
    <link>https://www.frontporchrepublic.com/2026/06/toward-a-transpartisan-politics-of-limits-and-beauty/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Consumerism's troubling impacts on American society are a concern of both Right and Left. But limiting our material appetites doesn't have to be a sacrifice."]]></description>
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</item>
<item rdf:about="https://www.livescience.com/animals/wildlife-inside-chernobyl-exclusion-zone-acted-differently-during-russias-invasion-camera-traps-reveal">
    <title>Wildlife inside Chernobyl exclusion zone acted differently during Russia's invasion, camera traps reveal | Live Science</title>
    <dc:date>2026-06-19T08:27:59+00:00</dc:date>
    <link>https://www.livescience.com/animals/wildlife-inside-chernobyl-exclusion-zone-acted-differently-during-russias-invasion-camera-traps-reveal</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Camera footage in Ukraine's Chernobyl exclusion zone revealed that mammals became less active — especially at night — during the Russian occupation, highlighting the war's immediate impact on wildlife."]]></description>
<dc:subject>wildlife war multispecies morethanhuman 2026 chernobyl ukraine animals nature</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
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<item rdf:about="https://www.youtube.com/watch?v=qYjWtt0ItWM">
    <title>Snow Line - Seasoning a Kid: A Search for a Practice of Place by adam amir - YouTube</title>
    <dc:date>2026-06-19T07:33:14+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=qYjWtt0ItWM</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Within four vignettes, filmmaker adam amir takes his young son Rumi out to meet each season with annual practices welcoming the return of snow, migrating animals, cherry blossoms, and berries. 

In Snow Line, the first segment of the multimedia feature Seasoning a Kid, filmmaker adam amir and his young son, Rumi, climb the same mountain near Vancouver year after year to feel the impossibly vivid shift in color on either side of the snow line.

"Seasoning a Kid: A Search for a Practice of Place" by adam amir
https://emergencemagazine.org/feature/seasoning-a-kid/

CREDITS
Featuring Rumi Amir
Written, Narrated & Directed by adam amir
Produced by adam amir & Noal Amir
Executive Producer Emmanuel Vaughan-Lee
Director of Photography Adam Amir
Edited by adam amir
Original Music Composed & Performed by Phillip Hermans
Sound Design & Mix by  Phillip Hermans"

[See also:

"Meeting the Migration"
https://www.youtube.com/watch?v=3qal6X1DpyU

"In this second film from the multimedia feature Seasoning a Kid, adam and Rumi go out to greet migrating animals arriving at stopover sites in British Columbia, camping underneath skies and beside waters as they fill with the vast, kinetic presence of sandhill cranes, snow geese, spawning herring, and all manner of Pacific salmon."

"Sakura"
https://www.youtube.com/watch?v=bTp0fclKG-M

"In this third film from the multimedia feature Seasoning a Kid, adam and his young son, Rumi, revel in the days-long blooming of cherry trees in Vancouver. Opening the way to notice the myriad traditions that welcome spring in this landscape, this practice shows how we can connect with the seasons by both honoring the relationships that have existed for millennia and recognizing the new relationships taking shape in the land."

"Plucking as Prayer"
https://www.youtube.com/watch?v=6_wHKW3KyqQ

"In this final film from the multimedia feature Seasoning a Kid, adam and Rumi celebrate the coming of berry season in Vancouver, BC. Gorging on an abundance of salmonberries, thimbleberries, strawberries, salal berries, blackberries, red, purple, and blue huckleberries, they bend, kneel, and offer gratitude in a practice where plucking becomes prayer."]]]></description>
<dc:subject>adamamir 2026 2025 children nature seasons outdoors place time experience parenting wildlife tradition traditions language berries animals multispecies morethanhuman unschooling education film land place-basedlearning place-basededucation learning howwelearn childhood vancouver britishcolumbia spring summer fall winter autumn land-basedlearning land-basededucation</dc:subject>
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<item rdf:about="https://www.youtube.com/watch?v=bTp0fclKG-M">
    <title>Sakura - Seasoning A Kid: A Search for a Practice of Place by adam amir - YouTube</title>
    <dc:date>2026-06-19T07:31:44+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=bTp0fclKG-M</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Within four vignettes, filmmaker adam amir takes his young son Rumi out to meet each season with annual practices welcoming the return of snow, migrating animals, cherry blossoms, and berries. 

In this third film from the multimedia feature Seasoning a Kid, adam and his young son, Rumi, revel in the days-long blooming of cherry trees in Vancouver. Opening the way to notice the myriad traditions that welcome spring in this landscape, this practice shows how we can connect with the seasons by both honoring the relationships that have existed for millennia and recognizing the new relationships taking shape in the land.

"Seasoning a Kid: A Search for a Practice of Place" by adam amir
https://emergencemagazine.org/feature/seasoning-a-kid/

CREDITS
Featuring Rumi Amir
Written, Narrated & Directed by adam amir
Produced by adam amir & Noal Amir
Executive Producer Emmanuel Vaughan-Lee
Director of Photography Adam Amir
Edited by adam amir
Original Music Composed & Performed by Phillip Hermans
Sound Design & Mix by  Phillip Hermans"

[See also:

"Snow Line"
https://www.youtube.com/watch?v=qYjWtt0ItWM

"In Snow Line, the first segment of the multimedia feature Seasoning a Kid, filmmaker adam amir and his young son, Rumi, climb the same mountain near Vancouver year after year to feel the impossibly vivid shift in color on either side of the snow line."

"Meeting the Migration"
https://www.youtube.com/watch?v=3qal6X1DpyU

"In this second film from the multimedia feature Seasoning a Kid, adam and Rumi go out to greet migrating animals arriving at stopover sites in British Columbia, camping underneath skies and beside waters as they fill with the vast, kinetic presence of sandhill cranes, snow geese, spawning herring, and all manner of Pacific salmon."

"Plucking as Prayer"
https://www.youtube.com/watch?v=6_wHKW3KyqQ

"In this final film from the multimedia feature Seasoning a Kid, adam and Rumi celebrate the coming of berry season in Vancouver, BC. Gorging on an abundance of salmonberries, thimbleberries, strawberries, salal berries, blackberries, red, purple, and blue huckleberries, they bend, kneel, and offer gratitude in a practice where plucking becomes prayer."]]]></description>
<dc:subject>2026 adamamir 2025 children nature seasons outdoors place time experience parenting wildlife tradition traditions language berries animals multispecies morethanhuman unschooling education film land place-basedlearning place-basededucation learning howwelearn childhood vancouver britishcolumbia spring summer fall winter autumn land-basedlearning land-basededucation</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:b561b53b7add/</dc:identifier>
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<item rdf:about="https://www.youtube.com/watch?v=3qal6X1DpyU">
    <title>Meeting the Migration - Seasoning A Kid: A Search for a Practice of Place by adam amir - YouTube</title>
    <dc:date>2026-06-19T07:30:10+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=3qal6X1DpyU</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Within four vignettes, filmmaker adam amir takes his young son Rumi out to meet each season with annual practices welcoming the return of snow, migrating animals, cherry blossoms, and berries. 

In this second film from the multimedia feature Seasoning a Kid, adam and Rumi go out to greet migrating animals arriving at stopover sites in British Columbia, camping underneath skies and beside waters as they fill with the vast, kinetic presence of sandhill cranes, snow geese, spawning herring, and all manner of Pacific salmon.

"Seasoning a Kid: A Search for a Practice of Place" by adam amir

https://emergencemagazine.org/feature/seasoning-a-kid/

CREDITS
Featuring Rumi Amir
Written, Narrated & Directed by adam amir
Produced by adam amir & Noal Amir
Executive Producer Emmanuel Vaughan-Lee
Director of Photography Adam Amir
Edited by adam amir
Original Music Composed & Performed by Phillip Hermans
Sound Design & Mix by  Phillip Hermans"

[See also:

"Snow Line"
https://www.youtube.com/watch?v=qYjWtt0ItWM

"In Snow Line, the first segment of the multimedia feature Seasoning a Kid, filmmaker adam amir and his young son, Rumi, climb the same mountain near Vancouver year after year to feel the impossibly vivid shift in color on either side of the snow line."

"Sakura"
https://www.youtube.com/watch?v=bTp0fclKG-M

"In this third film from the multimedia feature Seasoning a Kid, adam and his young son, Rumi, revel in the days-long blooming of cherry trees in Vancouver. Opening the way to notice the myriad traditions that welcome spring in this landscape, this practice shows how we can connect with the seasons by both honoring the relationships that have existed for millennia and recognizing the new relationships taking shape in the land."

"Plucking as Prayer"
https://www.youtube.com/watch?v=6_wHKW3KyqQ

"In this final film from the multimedia feature Seasoning a Kid, adam and Rumi celebrate the coming of berry season in Vancouver, BC. Gorging on an abundance of salmonberries, thimbleberries, strawberries, salal berries, blackberries, red, purple, and blue huckleberries, they bend, kneel, and offer gratitude in a practice where plucking becomes prayer."]]]></description>
<dc:subject>adamamir 2026 2025 children nature seasons outdoors place time experience parenting wildlife tradition traditions language berries animals multispecies morethanhuman unschooling education film land place-basedlearning place-basededucation learning howwelearn childhood vancouver britishcolumbia spring summer fall winter autumn land-basedlearning land-basededucation</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:d3703327d882/</dc:identifier>
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<item rdf:about="https://www.youtube.com/watch?v=6_wHKW3KyqQ">
    <title>Plucking as Prayer - Seasoning A Kid: A Search for a Practice of Place by adam amir - YouTube</title>
    <dc:date>2026-06-19T04:48:57+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=6_wHKW3KyqQ</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Within four vignettes, filmmaker adam amir takes his young son Rumi out to meet each season with annual practices welcoming the return of snow, migrating animals, cherry blossoms, and berries. 

In this final film from the multimedia feature Seasoning a Kid, adam and Rumi celebrate the coming of berry season in Vancouver, BC. Gorging on an abundance of salmonberries, thimbleberries, strawberries, salal berries, blackberries, red, purple, and blue huckleberries, they bend, kneel, and offer gratitude in a practice where plucking becomes prayer.

"Seasoning a Kid: A Search for a Practice of Place," by adam amir
https://emergencemagazine.org/feature/seasoning-a-kid/

CREDITS
Featuring Rumi Amir
Written, Narrated & Directed by adam amir
Produced by adam amir & Noal Amir
Executive Producer Emmanuel Vaughan-Lee
Director of Photography adam amir
Edited by adam amir
Original Music Composed & Performed by Phillip Hermans
Vocals Performed by Riga Amir
Sound Design & Mix by Phillip Hermans
Additional Sound Recording by Sunny Tseng"

[See also:

"Snow Line"
https://www.youtube.com/watch?v=qYjWtt0ItWM

"In Snow Line, the first segment of the multimedia feature Seasoning a Kid, filmmaker adam amir and his young son, Rumi, climb the same mountain near Vancouver year after year to feel the impossibly vivid shift in color on either side of the snow line."

"Meeting the Migration"
https://www.youtube.com/watch?v=3qal6X1DpyU

"In this second film from the multimedia feature Seasoning a Kid, adam and Rumi go out to greet migrating animals arriving at stopover sites in British Columbia, camping underneath skies and beside waters as they fill with the vast, kinetic presence of sandhill cranes, snow geese, spawning herring, and all manner of Pacific salmon."

"Sakura"
https://www.youtube.com/watch?v=bTp0fclKG-M

"In this third film from the multimedia feature Seasoning a Kid, adam and his young son, Rumi, revel in the days-long blooming of cherry trees in Vancouver. Opening the way to notice the myriad traditions that welcome spring in this landscape, this practice shows how we can connect with the seasons by both honoring the relationships that have existed for millennia and recognizing the new relationships taking shape in the land."]]]></description>
<dc:subject>adamamir children nature seasons 2026 film morethanhuman multispecies time land place place-basedlearning place-basededucation education 2025 outdoors experience parenting wildlife tradition traditions language berries animals unschooling learning howwelearn childhood vancouver britishcolumbia spring summer fall winter autumn land-basedlearning land-basededucation</dc:subject>
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<item rdf:about="https://messaging-custom-newsletters.nytimes.com/dynamic/render?isViewInBrowser=true&amp;paid_regi=1&amp;productCode=NN&amp;sendId=220357&amp;uri=nyt%3A%2F%2Fnewsletter%2F5b094ad3-a522-516e-91e8-3e35d216ad4f">
    <title>The Morning: Change in the weather</title>
    <dc:date>2026-06-12T01:19:45+00:00</dc:date>
    <link>https://messaging-custom-newsletters.nytimes.com/dynamic/render?isViewInBrowser=true&amp;paid_regi=1&amp;productCode=NN&amp;sendId=220357&amp;uri=nyt%3A%2F%2Fnewsletter%2F5b094ad3-a522-516e-91e8-3e35d216ad4f</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["If Memorial Day is the unofficial beginning of summer and Labor Day the unofficial end, then I am pleased to inform you that we are embarking on the longest unofficial summer: From Monday, May 25 to Monday, Sept. 7, this year delivers the earliest and latest possible dates for both holidays. For those of us still reeling from the cold shower of last year’s Sept. 1 Labor Day, this is very welcome news. For others who would prefer to take refuge in the air-conditioning until the first frost, I’ll remind you that astronomical summer is still nearly a month away, and the solstice-equinox span only ever vacillates by a few days.

So here we go — ready or not, Northern Hemisphere — into the brightness. Will we wear this longest summer loosely, letting the extra days billow, open and unscheduled? Or perhaps the days are already packed tight with vacation or camp or class reunions, longest summer be damned, busyness knows no season?

Does it feel too soon to be asking these questions? As much as I yearn all year long for summer, I always feel dragged, as if on a leash, into this weekend. The shift that Memorial Day weekend incites — from spring brain to summer brain, from “It’s too early to pack away the sweaters” to “How do you like your burger?” — feels abrupt.

I’m forever clocking those tiny variations from one week to the next, sensitive to how a particular span of days feels. I wrote a few months ago about the brutal but accurate “12 actual seasons” meme, a comical effort to add texture to the weather’s fluctuations. I’m drawn to the specificity of the traditional Japanese calendar’s 72 microseasons, each about five days in duration, each charting a tiny event in the natural world. (May 21-25: “Silkworms start feasting on mulberry leaves.”) In my Brooklyn neighborhood, it’s “Tulips are still showing off.” Or is it “The birds are back in town”?

I’ve never tracked those little transitions against the calendar, but I’d like to do it this year, a one-line journal, whenever it feels as if there’s been a shift. Year after year, my neighbors and I make the same remarks about the brief window when the dogwoods open up, and the briefer one when the magnolias bloom. The four days in July when it feels like the air is the exact same temperature as your skin and you just stand there, unsure where the humidity ends and you begin. The internal microseasons recur as well: Right now, I’m in the hyper-optimism of the summer’s launch, fresh from the flash of grief for spring’s brevity. A journal this year becomes a calendar next, a way to anticipate and follow along with the microscopic variations, inside and out."]]></description>
<dc:subject>time seasons melissakirsch 2026 72seasons 72microseasons microseasons change nature attention summer spring</dc:subject>
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<item rdf:about="https://www.youtube.com/watch?v=YXqOev4m3vc">
    <title>Wang Hui | What is equality? - YouTube</title>
    <dc:date>2026-06-11T23:00:08+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=YXqOev4m3vc</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["What does equality mean in a world shaped by multiple languages, cultures, religions, and civilizations?

Wang Hui, Professor at Tsinghua University in Beijing and one of the most influential contemporary intellectuals, reflects on equality not as an abstract principle, but as a question rooted in the historical formation of societies, in everyday forms of coexistence, and in the possibility of imagining a shared future beyond the limits of the nation-state.

Starting from the concept of a “trans-systemic society”, Wang Hui examines communities in which different languages, beliefs, ethnicities, and cultural traditions are not external to social life, but become internal components of it. From the multi-ethnic villages of southwestern China to the long history of Chinese civilization, his analysis challenges nation-centred interpretations of history and invites us to understand identity as plural, dynamic, and interconnected.

The conversation then turns to the limits of modernity: nationalism, the linear idea of progress, ecological crisis, and the tension between modern knowledge systems and traditional forms of wisdom. Within this framework, Wang Hui revisits the concept of tianxia — “all under heaven” — as a way to rethink equality through justice, interdependence, and the relationship between human life and nature.

Rather than offering a fixed definition, the video opens a broader question: how can equality be reimagined in a world that is already deeply interconnected, yet still structured by division, hierarchy, and dependence?"]]></description>
<dc:subject>wanghui 2026 china equality religion language civilization tianzia justice interdependence nature beliefs ethnicity culture traditions sociallife social history pluralism interconnected interconnectedness nationstates future hierarchy division dependence coexistence dependency</dc:subject>
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<item rdf:about="https://www.theatlantic.com/magazine/archive/2023/07/generative-ai-human-culture-philosophy/674165/">
    <title>A Defense of Humanity in the Age of AI - The Atlantic</title>
    <dc:date>2026-06-06T10:57:50+00:00</dc:date>
    <link>https://www.theatlantic.com/magazine/archive/2023/07/generative-ai-human-culture-philosophy/674165/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The Coming Humanist Renaissance

We need a cultural and philosophical movement to meet the rise of artificial superintelligence."

[archived:
https://archive.is/Ql35H ]

"Writers of fiction—Fyodor Dostoyevsky, Rod Serling, José Saramago—have for generations warned of doppelgängers that might sap our humanity by stealing a person’s likeness. Our new world is a wormhole to that uncanny valley.

Whereas the first algorithmic revolution involved using people’s personal data to reorder the world for them, the next will involve our personal data being used not just to splinter our shared sense of reality, but to invent synthetic replicas. The profit-minded music-studio exec will thrill to the notion of an AI-generated voice with AI-generated songs, not attached to a human with intellectual-property rights. Artists, writers, and musicians should anticipate widespread impostor efforts and fight against them. So should all of us. One computer scientist recently told me she’s planning to create a secret code word that only she and her elderly parents know, so that if they ever hear her voice on the other end of the phone pleading for help or money, they’ll know whether it’s been generated by an AI trained on her publicly available lectures to sound exactly like her and scam them.

Today’s elementary-school children are already learning not to trust that anything they see or hear through a screen is real. But they deserve a modern technological and informational environment built on Enlightenment values: reason, human autonomy, and the respectful exchange of ideas. Not everything should be recorded or shared; there is individual freedom in embracing ephemerality. More human interactions should take place only between the people involved; privacy is key to preserving our humanity.

Finally, a more existential consideration requires our attention, and that is the degree to which the pursuit of knowledge orients us inward or outward. The artificial intelligence of the near future will supercharge our empirical abilities, but it may also dampen our curiosity. We are at risk of becoming so enamored of the synthetic worlds that we create—all data sets, duplicates, and feedback loops—that we cease to peer into the unknown with any degree of true wonder or originality.

We should trust human ingenuity and creative intuition, and resist overreliance on tools that dull the wisdom of our own aesthetics and intellect. Emerson once wrote that Isaac Newton “used the same wit to weigh the moon that he used to buckle his shoes.” Newton, I’ll point out, also used that wit to invent a reflecting telescope, the beginnings of a powerful technology that has allowed humankind to squint at the origins of the universe. But the spirit of Emerson’s idea remains crucial: Observing the world, taking it in using our senses, is an essential exercise on the path to knowledge. We can and should layer on technological tools that will aid us in this endeavor, but never at the expense of seeing, feeling, and ultimately knowing for ourselves.

A future in which overconfident machines seem to hold the answers to all of life’s cosmic questions is not only dangerously misguided, but takes away that which makes us human. In an age of anger, and snap reactions, and seemingly all-knowing AI, we should put more emphasis on contemplation as a way of being. We should embrace an unfinished state of thinking, the constant work of challenging our preconceived notions, seeking out those with whom we disagree, and sometimes still not knowing. We are mortal beings, driven to know more than we ever will or ever can.

The passage of time has the capacity to erase human knowledge: Whole languages disappear; explorers lose their feel for crossing the oceans by gazing at the stars. Technology continually reshapes our intellectual capacities. What remains is the fact that we are on this planet to seek knowledge, truth, and beauty—and that we only get so much time to do it.

As a small child in Concord, Massachusetts, I could see Emerson’s home from my bedroom window. Recently, I went back for a visit. Emerson’s house has always captured my imagination. He lived there for 47 years until his death, in 1882. Today, it is maintained by his descendants and a small staff dedicated to his legacy. The house is some 200 years old, and shows its age in creaks and stains. But it also possesses a quality that is extraordinarily rare for a structure of such historic importance: 141 years after his death, Emerson’s house still feels like his. His books are on the shelves. One of his hats hangs on a hook by the door. The original William Morris wallpaper is bright green in the carriage entryway. A rendering of Francesco Salviati’s The Three Fates, holding the thread of destiny, stands watch over the mantel in his study. This is the room in which Emerson wrote Nature. The table where he sat to write it is still there, next to the fireplace.

Standing in Emerson’s study, I thought about how no technology is as good as going to the place, whatever the destination. No book, no photograph, no television broadcast, no tweet, no meme, no augmented reality, no hologram, no AI-generated blueprint or fever dream can replace what we as humans experience. This is why you make the trip, you cross the ocean, you watch the sunset, you hear the crickets, you notice the phase of the moon. It is why you touch the arm of the person beside you as you laugh. And it is why you stand in awe at the Jardin des Plantes, floored by the universe as it reveals its hidden code to you."]]></description>
<dc:subject>adriennelafrance 2026 humanism humanity 1833 ralphwaldoemerson philosophy naturalhistory industrialrevolution industrialization google tiktok facebook instagram ai artificialintelligence microsoft meta openweb web online internet self-actualization gena generativeai siliconvalley truth nature individualism technology human humans transparency relationships friendship dostoyevsky rodserling josésaramago intellect aesthetics tools enlightenment values privacy resistance isaacnewton knowledge art beauty uncannyvalley genai</dc:subject>
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<item rdf:about="https://www.sfexaminer.com/news/community/coastal-commission-grant-funds-new-sf-ymca-nature-program/article_6be65603-07b8-4d14-9d23-779a12586d5f.html">
    <title>Coastal Commission grant funds new SF YMCA nature program | Community | sfexaminer.com</title>
    <dc:date>2026-06-05T06:16:38+00:00</dc:date>
    <link>https://www.sfexaminer.com/news/community/coastal-commission-grant-funds-new-sf-ymca-nature-program/article_6be65603-07b8-4d14-9d23-779a12586d5f.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The YMCA of Greater San Francisco said it will use thousands of dollars in state-grant money to launch an outdoor-exploration program beginning this fall, that will connect residents across different neighborhoods and generations

The nonprofit announced last month that it received a yearlong $50,000 grant from the California Coastal Commission to implement its new program, Waves of Wisdom: Intergenerational Coastal Stewards.

The first cohort of the new 14-week program will meet this October, bringing together youths from the Bayview-Hunters Point YMCA and active older adults from the Mission YMCA. 

As part of the debuting program, participants will engage in coastal ecology and nature-based learning activities. The YMCA said Waves of Wisdom will let young San Franciscans build leadership, facilitation and environmental-education skills, while older adults will get to engage in the accessible exploration of beaches, wetlands, tide pools and shoreline habitats.

The Coastal Commission’s Whale Tail Grant program funds projects that connect residents to the state’s coast and its watersheds, with focuses on education, stewardship and outdoor experiences. 

YMCA COO Erin Clark said the program is being designed “around the idea that nature can be a powerful bridge between people.”

Waves of Wisdom will bring members to the Presidio, where they will explore coastal areas within the national-park site. 

The yearlong grant, which takes effect in August, will fund two 14-week cohorts, the second of which will meet in the spring. YMCA employees said they hope the program will benefit participants by strengthening their community bonds, reducing social isolation and enhancing their overall well-being through cross-generational connections.

The youths from Bayview-Hunters Point will come from the workforce-development program at Burton Academic High School. As part of Waves of Wisdom, the students will participate in a naturalist-in-training program that will offer instruction on becoming certified nature specialists.

Youths in the program will also meet with older adults at the Mission YMCA. Together, each cohort will go on three field trips to coastal locations and participate in activities that include birdwatching, shared meals, nature walks and ecological observations.

Donna Glass, the YMCA’s senior director of brand communications, said most students in Burton High’s workforce-development program receive stipends for their work. Money from the Whale Tail grant doesn’t cover that amount, so the YMCA is actively raising money to fund the $599-per-student stipend. Those interested in supporting student stipends can contact the Presidio YMCA, Glass said.

Jessica Lie, an analyst in the Coastal Commission’s grants and education program who served as the primary coordinator for this year’s grant program, said that it is “incredibly exciting to support organizations doing the on-the-ground work of connecting communities with their California coast.”

Glass said the youths eligible for the program tend to lack access to outdoor activities, while the older adults tend to be underrepresented. 

As part of this grant cycle, the Coastal Commission partnered with the Ocean Protection Council to help fund the program. Funds also came from California Climate Investments, which supports projects that reduce emissions, strengthen local economies and improve public health and the environment, especially in disadvantaged communities.

In a statement, Coastal Commission Public Education Program Manager Annie Kohut Frankel said interest from applicants showed her colleagues that “there’s clearly an overwhelming need for this funding.”

Every time the first cohort of students gather together later this year, Clark said, participants will be entering into an environment where they gain more knowledge of nature and also “learn from each other.”

“It’s a beautiful example of how the YMCA creates belonging and connection, all within one of the most extraordinary landscapes in the world,” Clark said."]]></description>
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<item rdf:about="https://inkwellct.substack.com/p/do-you-still-look-at-the-stars">
    <title>Do You Still Look at the Stars?</title>
    <dc:date>2026-06-05T05:56:18+00:00</dc:date>
    <link>https://inkwellct.substack.com/p/do-you-still-look-at-the-stars</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The world is something to behold, not just use"

...

"A FEW MONTHS BACK, I took advantage of some pleasant weather to sit outside with my lunch and a notebook to begin working through a few plans. I didn’t get far, and was soon distracted by a handful of sparrows gathered a few feet from me, taking their turns splashing in a puddle left over from the previous night’s rain. This was not exactly a rare sight. Where I live in north central Florida you can hardly find an outdoor dining area which is not also frequented by house sparrows. But there was something about how these particular birds were carrying on that captured my attention.

I have no particular training in the study of birds beyond some amateur birding, but it seemed to me that they were simply enjoying themselves. Perhaps their activity served a more utilitarian purpose, but my eyes and ears told me otherwise as I observed them merrily playing in the water. They were delighting in a manner that was appropriate to their nature, of course, but it was delight.

The more I considered it the more it revealed this profound truth: we are made to take delight, all creatures according to our kind. I have now come to believe that this delight is not only our highest purpose, a kind of play that bleeds into worship, but also an indispensable way of knowing the world.

In that moment, it seemed to me that I had passed, for a time, into a different way of being—rare and fragile. In this mode, I didn’t feel harried by a pressing schedule or pressured by the tyranny of the urgent. Nor did I feel guilty for failing to be productive. Here, in this moment, I sensed a different relation to the things of this world, one that was not predicated on the use I could make of them nor on determining their value.

The whole episode came upon me unbidden, and the truth is I didn’t set out to learn a lesson or to derive a moral parable. It was, for me, a rare case of being at leisure as it has been classically understood: a stillness that allowed me to receive what was there before me for what it was. At the end of it all, I had only an experience of useless delight and gratitude to show for it.

***

CONSIDER NOW not only the sparrows, but the stars. Most nights as a child, when I looked up at the sky from my suburban backyard, I could make out a few dozen stars at best. I remember being especially fascinated by the three stars that together formed Orion’s belt. I hadn’t yet come to recognize the constellation as a whole, but I marveled at how these three stars lined up uniformly.

When I was eight years old, my family and I hopped in our car after dark and drove from our home in Miami to one of the smaller Florida Keys. We were headed there to catch a glimpse of Halley’s Comet, which was making one of its periodic visits to the inner solar system. In our search for the comet, away from the blinding lights of the city, I was stunned to see hundreds, maybe thousands, of stars blanketing the sky above me. I couldn’t know then just how rare such a sight would be throughout the rest of my life.

Many years later, I can’t help but feel a tinge of melancholy when one of my daughters looks up at our suburban sky with its few dozen stars, and declares, “Look how many stars there are!” I’ve tried to encourage my children to look up. One of the first words my oldest daughter spoke was “moon.” But I know that what they are able to see pales in comparison with the sight that most human beings have enjoyed throughout human history.

The heavens may declare the glory of God, but only if you can see them.

[image]

My experience with the sparrows and the less idiosyncratic experience of the light-polluted sky illuminated for me how technology can act on our vision. We are habituated into a mode of life that doesn’t reward, and actively inhibits, our capacity to see what is there before us. Our gaze is monopolized by our devices, and the demands of efficiency and productivity steal from us the leisure that, as Josef Pieper wrote, is “a form of that stillness that is the necessary preparation for accepting reality.”

We are increasingly existing within the confines of a human-built reality that seals us off from both the wisdom to be found in the immanent order of creation and the wonder elicited by creation’s transcendent qualities. It should come as no surprise that so many of us feel alienated, numb, and demoralized.

***

THIS CONDITION, while perhaps novel in its scale and scope, emerges from a spirit not altogether unique to modern societies. Something deeper and more mysterious is at play, something which might be better described not merely with the phenomenological language of “being in the world” but with something more thoroughly theological.

“Man's greatness and wretchedness are so evident,” Blaise Pascal argued in one of his pensées, “that the true religion must necessarily teach us that there is in man some great principle of greatness and some great principle of wretchedness. It must also account for such amazing contradictions.” Genesis 1-3 gives us just such an account.

After offering us a sweeping, hymnic account of creation in cosmic perspective, the narrative descends to the dust. In intimate detail, we are brought to a Garden prepared for a man whose name echoes the ground out of which he is fashioned and into which God breathed life. Within this garden, the man encounters both the tree of life and, forebodingly, the tree of the knowledge of good and evil.

But there are other trees and plants and all of these, we are told by the narrator, were “pleasing to the eye and good for food.” What is striking about this bit of detail is that it immediately confirms what we already know: that the world which God has fashioned is indeed beautiful. The garden prepared as a sanctuary for the human creature was not only meant to provide for his material needs, but also for his aesthetic satisfaction and sheer delight.

This beauty, as all beauty must be, was entirely gratuitous. In God’s gracious economy, beauty leads the way. Before we learn to make good use of a thing, we must behold and delight in it. Perhaps it is only by first delighting in a thing that we can then discern how to put it, not just to effective use, but to a use that can truly be called good.

[image]

But then we come to the account of the fall and its consequences for humankind, where the beauty and utility of these trees is noted once again. In a tightly wrought sentence of enormous consequence, the narrator tells us that “when the woman saw that the fruit of the tree was good for food and pleasing to the eye, and also desirable for gaining wisdom, she took some and ate it.” I’ve read and taught this text many times over the years, but it is only recently that I have noticed a curious inversion.

The description of the trees from the second chapter is repeated here but with respect to the tree of the knowledge of good and evil, of which Adam and Eve had been forbidden to eat. Eve judges that this tree was also good for food and pleasing to the eye, but now the order is different.

Beauty no longer leads the way and the tree’s instrumental value takes precedence in Eve’s evaluation. Perhaps this is not a fact we ought to make much of, but Hebrew narratives are sparse and carefully crafted; every word counts. I’ve come to believe that this slight inversion matters a great deal.

Throughout this account, Adam and Eve lose their confidence in the goodness of God, and they begin to think that the only way of being in the world is by seizing rather than receiving. The knowledge they came to desire was not a knowledge rooted in delight, but a knowledge rooted in the will to power.

The instrumental value of things took precedence over the gratuity of beauty, and a new way of being in the world emerged. In this mode, the world ceased to be a gift to be received with delight, wonder, and gratitude. Instead, it became a world of scarcity, competition, shame, and exploitation.

***

WHILE THESE CHAPTERS give us an account of the tragedy of our situation, they also offer us hope, by reminding us that there is, in fact, another way to exist in the world. A way of seeing. “Man’s real work,” as Robert Capon Farrar put it, “is to look at the things of the world and to love them for what they are.” “That is, after all, what God does,” he adds, “and man was not made in God’s image for nothing.”

But our eyes are now trained to see first the use of such things. So, we must undergo a counter-formation that sanctifies our vision if we are to look at the things of this world and truly love them. We must learn again to first behold and delight, eliciting wonder and gratitude.

Beauty must once again lead the way, and we must become the sort of people who can see it and labor for a world that does not occlude it. In this, as in all things, we follow the One who urged us to consider the lilies and to mind the sparrows, the One who is Himself the bright Morning Star."]]></description>
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<item rdf:about="https://placesjournal.org/article/through-the-guts-plastic-forensics-bodies-of-water/">
    <title>Through the Guts</title>
    <dc:date>2026-06-04T07:58:42+00:00</dc:date>
    <link>https://placesjournal.org/article/through-the-guts-plastic-forensics-bodies-of-water/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["What can plastic fragments found in an animal’s digestive tract tell us about the waters it has traversed?"]]></description>
<dc:subject>maxliboiron 2026 plastic multispecies morethanhuman animals human humans science microplastic microfibers microbeads nature bodies indigeneity indigenous knowledge</dc:subject>
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<item rdf:about="https://www.popularmechanics.com/science/animals/a71462765/whale-frequency-52-hertz/">
    <title>The Ocean’s Longest-Running Mystery Is a Voice No Creature Should Have</title>
    <dc:date>2026-06-03T20:46:45+00:00</dc:date>
    <link>https://www.popularmechanics.com/science/animals/a71462765/whale-frequency-52-hertz/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["For decades, a single whale has been calling out at a frequency no known species uses. Scientists still can’t find it."

...

"• First recorded in 1989, a whale has been vocalizing at 52 hertz—a much higher frequency than is typical for blue or fin whales—for decades.

• Scientists have never located the exact whale responsible for the vocalizations, and theories suggest the animal might either be deaf or a hybrid of a blue and a fin whale, known as a “flue” whale.

• As whales face unprecedented changes in marine environments, scientists worry that increased hybridization could imperil some species."]]></description>
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<item rdf:about="https://thereader.mitpress.mit.edu/the-cold-wars-accidental-whale-observatory/">
    <title>The Cold War’s Accidental Whale Observatory | The MIT Press Reader</title>
    <dc:date>2026-06-02T05:56:50+00:00</dc:date>
    <link>https://thereader.mitpress.mit.edu/the-cold-wars-accidental-whale-observatory/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Built to track enemy submarines, the Navy’s underwater listening network inadvertently revealed that whales may be singing across entire oceans."]]></description>
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<item rdf:about="https://shop.ayinpress.org/products/surviva-a-future-ancestral-field-guide">
    <title>SURVIVA: A Future Ancestral Field Guide – Ayin Press</title>
    <dc:date>2026-06-02T05:17:07+00:00</dc:date>
    <link>https://shop.ayinpress.org/products/surviva-a-future-ancestral-field-guide</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Winner of the 2026 PEN/Jean Stein Award

An ambitious, world-envisioning work of Indigenous futurism.

Since 2015—through a proliferation of forms including sculpture, regalia, film, photography, poetry, painting, and installation—acclaimed multimedia artist Cannupa Hanska Luger has been weaving together strands of a new myth. Collectively referred to as Future Ancestral Technologies, this sprawling series of interrelated works seeks to reimagine Indigenous life and culture in a postcolonial world where space exploration has reduced and reconfigured the earth’s population.

Part graphic novel, part art book, SURVIVA: A Future Ancestral Field Guide offers readers a view beneath, beyond, and between the lines of Luger’s ever-expanding artistic universe. In this ecstatically hybrid work, Luger transforms a 1970s military survival guide through poetic redaction, speculative fiction, and iterative line drawing—deftly surfacing and disrupting the colonial subconscious that haunts this vexed source text. An epic and timely meditation on planetary life in the midst of transformation, SURVIVA boldly presents an earth-based, demilitarized futuredream that foregrounds Indigenous knowledge as critical to humanity’s survival.

SURVIVA is the first title from Aora Books, a publishing imprint dedicated to exploring transformational thought and culture that transcends borders, disciplines, and traditions. Rooted in an ethos of polyvocality and planetary consciousness, Aora publishes works that forge bold connections across time, place, ideas, and beings often seen as separate.

About the Author

Cannupa Hanska Luger is a multidisciplinary artist who creates monumental installations, sculpture, and performance to communicate urgent stories of twenty-first-century Indigeneity. Born on the Standing Rock Reservation in North Dakota, Luger is an enrolled member of the Three Affiliated Tribes of Fort Berthold and is Mandan, Hidatsa, Arikara, and Lakota. Luger’s bold visual storytelling presents new ways of seeing our collective humanity while foregrounding an Indigenous worldview. His work is in numerous permanent museum collections and has been exhibited around the world, including at the Sharjah Biennial 16, United Arab Emirates; the 81st Whitney Biennial, New York; the 14th Shanghai Biennale; and at the National Gallery of Art in Washington, DC; the Metropolitan Museum of Art in New York; the Gardiner Museum in Toronto; and the National Center for Civil and Human Rights in Georgia. Luger has been awarded fellowships from the Guggenheim Memorial Foundation, United States Artists, Creative Capital, the Smithsonian Institution, the Open Society Foundation, and the Joan Mitchell Foundation, among others. Luger currently lives and works in Glorieta, NM.

Praise for SURVIVA

“Cannupa Hanska Luger has created a wondrous book of survivance, a story to carry in pocket and study at every opportunity. At once a dystopia (earth is near destroyed) and a postcolonial fantasy (the colonizers abandon the planet for good), SURVIVA is a work of artistic brilliance that draws our attention to the simultaneity of ruins and futures. Rich with dreampower and evocation, these pages illustrate the mysteries of space-time, the dissolution of boundaries, and the relational universe described by Indigenous quantum mechanics. Read carefully, SURVIVA has the power to bend time itself, lifting us from past and present into futures innumerable.”
—Philip J. Deloria, Leverett Saltonstall Professor of History at Harvard University and author of Playing Indian

“SURVIVA offers Indigenous wisdom for a shared future built on ancestral knowledge in radical relation. This is a survival guide like none other.”
—Candice Hopkins, curator of the Forge Project

“SURVIVA is not just another riff on a sci-fi depiction of some imagined future. Luger’s poetic and visual interventions are clear directives for all of us to ready our minds, bodies, and spirits as we continue to move through the future together.”
—Jeffrey Gibson, artist and editor of An Indigenous Present

“Cannupa Hanska Luger’s SURVIVA: A Future Ancestral Field Guide boldly reimagines our conceptions of time and history as it interweaves past, present, and future. This inventive work challenges our collective narratives, pushing us to rethink the art of survival through a lens of transformation.”
—Hank Willis Thomas, artist and cofounder of For Freedoms

“Cannupa Hanska Luger is a mad genius able to weave parables from tomorrow with lessons from yesterday into a stunningly prescient and wise field guide you should read right now. This is not a book. This is a time machine.”
—Jordan Klepper, The Daily Show, Comedy Central

“SURVIVA feels everlasting and also like it will self-destruct after you read it.”
—Sterlin Harjo, filmmaker, Reservation Dogs (Hulu/FX)

“A hybrid work from a plain 1970s field guide found in an army surplus store, Luger transforms the book through unexpected redacting, speculative fiction, and informative and artistic line drawing.”
—Sandra Hale Schulman, ICT News

“Interdisciplinary Native American artist Luger delivers a daring work of speculative fiction set in a future in which the wealthy and non-Indigenous have fled the Earth they ravaged.”
—Publishers Weekly

“*SURVIVA *****provides text with new and old Indigenous lessons intermingled, while time is wonky and permeable, and the world must be rebirthed, or re-membered in a postcolonial way. This is a message from both our future and past ancestors. The thread is one and the same.”
—Soph Myers-Kelley, Graphic Medicine

Book Details
160 pages | Paperback | 8.3 x 5.4 in. | ISBN: 9781961814264 | e-ISBN: 9781961814271
Publication date: September 2nd, 2025

Product Photography by Jackson Krule"

[via: 

"Red Power Hour - Learning what we already know - YouTube"
https://www.youtube.com/watch?v=K9LiED_5Rj8

"RPH is back! Co-hosts Elena Ortiz and Melanie Yazzie discuss Cannupa Hanska Luger's Surviva: A Future Ancestral Field Guide (2025), a hybrid art piece/survival manual exploring indigenous futurism, decolonization, and relationality through redacted military text and Indigenous artwork." ]]]></description>
<dc:subject>cannupahanskaluger 2025 survival form indigeneity indigenous rednation futurism indigenousfuturism decolonization relationality care caring land cyclical time kinship morethanhuman multispecies knowledge present future presentfuture motion movement nomadism nomads standingrock survivance colonialism colonization decolonialism ancestralknowledge scifi sciencefiction place relations relation boundaries dreampower ruins dystopia fantasy spacetime history past alinear redactions speculativefiction identity timemachines timetravel earth ancestors postcolonialism memory archives travel traveling contamination corruption dominion capitalism space spaceexplortation speculative transformation demilitarization humanity borders disciplines transdisciplinary polyvocality planetaryconsciousness transcendence conquest liminality betweenness inbetweenness inbetween between nature life revolution destruction obsolescence restoration interconnected interconnectedness mutualaid water landdefenders waterdefenders action activis</dc:subject>
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    <title>Red Power Hour - Learning what we already know - YouTube</title>
    <dc:date>2026-06-02T05:16:37+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=K9LiED_5Rj8</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["RPH is back! Co-hosts Elena Ortiz and Melanie Yazzie discuss Cannupa Hanska Luger's Surviva: A Future Ancestral Field Guide (2025),  a hybrid art piece/survival manual exploring indigenous futurism, decolonization, and relationality through redacted military text and Indigenous artwork."

[book link:
https://shop.ayinpress.org/products/surviva-a-future-ancestral-field-guide ]]]></description>
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    <title>Wendell Berry’s Wisdom for Living in Time by Anne Ryan</title>
    <dc:date>2026-05-29T22:37:59+00:00</dc:date>
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    <dc:creator>robertogreco</dc:creator><description><![CDATA["Each Sunday for decades, Wendell Berry has taken a walk around his Kentucky farm and often written a poem."

[also here:
https://www.plough.com/articles/wendell-berrys-wisdom-for-living-in-time ]]]></description>
<dc:subject>wendellberry anneryan 2026 kentucky walking poetry writing howwewrite time nature slow small temporality charlestaylor</dc:subject>
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<item rdf:about="https://thereader.mitpress.mit.edu/the-genius-of-the-barn-owls-feathers/">
    <title>The Genius of the Barn Owl’s Feathers | The MIT Press Reader</title>
    <dc:date>2026-05-28T22:31:31+00:00</dc:date>
    <link>https://thereader.mitpress.mit.edu/the-genius-of-the-barn-owls-feathers/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["A barn owl’s ability to hunt by hearing alone relies on exquisite variations in the structure of its feathers."]]></description>
<dc:subject>birds animlas owls barnowls 2026 feathers biology multispecies morethanhuman lornagibson animals nature wildlife</dc:subject>
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<item rdf:about="https://www.plough.com/en/topics/justice/environment/love-it-or-lose-it">
    <title>Love It or Lose It: Without being in nature, how can we love it? Without loving it, how will we be galvanized to protect it? by Nathan Beacom</title>
    <dc:date>2026-05-27T01:06:24+00:00</dc:date>
    <link>https://www.plough.com/en/topics/justice/environment/love-it-or-lose-it</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Without being in nature, how can we love it? Without loving it, how will we be galvanized to protect it?"

...

"We live much of our lives, as the philosopher Matthew Crawford has pointed out, in a virtual world mapped over the hard, real one, falsely suggesting the ability of technology to magic away inconvenience. The best remedy for this is time in nature, getting scraped up and frustrated, falling in love with the flowers and bugs and rocks and trees and open sky. This should be central to the project of education, fitting young people with the knowledge and discipline to bear the awesome responsibility of living freely in a land of immense wealth and resources. More than the fear of some future calamity, which can be put out of mind until it is too late, conservation work must be motivated by attachment to what is beloved and known as home.

There may come a time when nature bumps and scrapes us in a way we don’t much like and can’t well escape. It is not a future fear but a present love, though, that ought to drive us to recognize that, being outside, we can nourish the relationship between the human species and its common home. In the strength of this bond may lie our mutual earthly hope."]]></description>
<dc:subject>nature nathanbeacom 2026 place memory minnesota spirituality ecology greatlakes fossilfuels pipelines economics forests land resources humanity earth matthewcrawford</dc:subject>
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<item rdf:about="https://www.noemamag.com/the-archive-of-a-vanishing-world/">
    <title>Albert Kahn’s Archive Of The Planet</title>
    <dc:date>2026-05-26T06:47:51+00:00</dc:date>
    <link>https://www.noemamag.com/the-archive-of-a-vanishing-world/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Albert Kahn sought to preserve a world he perceived to be disappearing. A century later, his “Archives de la Planète” connects disparate lands, dying ecosystems and cultures, and a world being utterly transformed by modernity."]]></description>
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<item rdf:about="https://www.thisiscolossal.com/2026/05/holly-greenberg-bird-collisions-in-the-anthropocene-community-art/">
    <title>Around North America, Community Members Are Stitching Nearly 11,000 Birds — Colossal</title>
    <dc:date>2026-05-22T10:32:16+00:00</dc:date>
    <link>https://www.thisiscolossal.com/2026/05/holly-greenberg-bird-collisions-in-the-anthropocene-community-art/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Every year, there are two major migration events. Birds, insects, fish, and other mammals head north in the spring to nest and breed and return south in the winter to feed and raise their young. Using BirdCast, a tool that’s active seasonally and allows anyone to see bird migration “heat maps” around the U.S., ornithologists tracked a record-breaking one billion birds migrating on a single October night in 2023 (last year, that number reached 1.2 billion). But on the night spanning October 4 to 5, something else really big happened: nearly 1,000 birds died in Chicago after hitting a single building.

McCormick Place Lakeside Center is situated along the Lake Michigan shoreline, set apart from many other buildings in a park-like space, and it has roughly enough windows to cover two football fields. As birds cruise along the shore, flitting over greenery, they sometimes mistake the reflections of nature in glass for the real thing. On the morning of October 5, hundreds of birds fell victim to architecture.

[image: "a hand holds a handmade fabric bird that has been tagged with the species name it's modeled after"]

When artist and educator Holly Greenberg heard this news, she was stunned. No stranger to nature and long interested in sustainability and the environment, she was nevertheless totally unaware of the scale of bird collisions in the U.S. During a day out in a Chicagoland arboretum, during a sabbatical from her role as assistant professor at Syracuse University, she worked with a group to remove invasive buckthorn and make room for native trees. A fellow volunteer rued the sad irony of planting new bird habitat when the feathered creatures try to fly into their reflections in glass instead.

“That was the first time that I’d heard that these birds were crashing into windows in Chicago,” Greenberg says. When she later read about the mass collision at McCormick Place, she thought, “Oh man, something needs to be done.” That’s when the multi-year project Bird Collisions in the Anthropocene was born.

Greenberg launched the initiative in 2024 to not only raise awareness of the problem but also to educate people about preventing incidents. Using data from the Chicago Field Museum and with the help of its lead ornithologist Dave Willard, Greenberg landed on a specific number: 10,863. That’s how many were found dead after hitting Chicago buildings in 2023 alone.

It’s estimated that around one billion birds die in window collisions annually throughout North America. One of the organizations working to collect this data and—just as importantly—to protect, rescue, and advocate for avians is the Chicago Bird Collision Monitors (CBCM) program. Every morning, volunteers walk the streets of the city to count and collect fallen individuals, taking them to wildlife sanctuaries for treatment or rehabilitation where possible. Most, however, don’t survive the impact.

[images: "a museum storage drawer at the Field Museum in Chicago with dozens of birds that have been collected after dying from window collisions" / "Bird specimens at the Field Museum"]

Paul Groleau, president of a company called Feather Friendly that makes bird-safe window treatments, suggests that many more die from window impacts than we realize. Greenberg hears people at her workshops say things like, “I heard a bird hit my window, but it flew off, so it’s fine.” Groleau, however, posits that about 60 percent of birds that are stunned do not survive. Their skulls are paper-thin, and if they don’t hemorrhage, they may sit under some shrubbery as they try to recover, which makes them more vulnerable as prey.

When the CBCM volunteers find dead specimens, they take them to the Field Museum, where the bodies become part of an archive Willard has overseen for decades. Many are preserved in the museum collection, each tagged and identified. At the very least, they are added to a carefully tended data set, which lists thousands upon thousands specifically killed by impacting windows at speed.

10,863 is the number Willard had recorded in 2023. Of course, the actual number of birds that collided with windows that year is exponentially higher, but the figure reflects the number that Willard and the CBCM volunteers found. And it’s the exact number that Greenberg is getting thousands of people to help recreate from fabric and glue. At the same time, she’s sharing knowledge about collisions with others through craft, science, advocacy, and social practice.

Starting with a small grant and a group of interns at Syracuse University, Bird Collisions in the Anthropocene began with the list of avians from the Field Museum, some basic crafting supplies, and photographs of individual birds so that makers could replicate the actual species. Eventually, Greenberg relocated to Evanston, Illinois, a suburb of Chicago, and opened a studio where she hosts workshops and processes birds that are sent in from all over North America.

[image: "people work around a table making birds from fabric and glue"]

Workshops are facilitated across the U.S. and Canada, and so far, a total of more than 140 have been held. Materials can be downloaded from the website, and anyone can host a workshop. Popular locations include public libraries and schools. Cornell Lab of Ornithology, which is behind the BirdCast tool, has even launched a pilot program to send hundreds of sew-a-bird kits to biology teachers in New York State in order to complete a core education requirement.

The hands-on, participatory, and very communal aspect of the bird workshops is fundamental to the project’s success. Greenberg opens her studio to the public on the first Saturday of every month as part of the Evanston Made program, and private gatherings can be organized, too. “People get into the flow, no one is touching their phone, and everyone is super concentrated,” Greenberg says. “They’re working with awkward materials, and it’s a mess, but it’s a good creative mindset.”

Studies have shown that hands-on or experiential learning is linked to greater knowledge retention, attentiveness, experimentation, and more. As people create their house sparrows, dark-eyed juncos, golden-crowned kinglets, and many more—and one’s level of technical skill is no matter—a sense of camaraderie builds around a common pursuit. Greenberg then provides resources about how to help prevent bird collisions, such as information about remediation technologies.

Businesses like Feather Friendly make products that can be applied directly to any window, most commonly in the form of small vinyl dots. It also offers Bird Divert, which uses clear dots that are actually hard for us to see, but due to the way birds’ vision works, the application helps them to differentiate between architecture and nature. Fritted glass is another method, which involves ceramic details baked right onto the surface of the glass.

[image: "artist Taro Takizawa stands on a ladder in front of his window painting on the top of artist Holly Greenberg's studio in Evanston, Illinois" / "Artist Taro Takizawa in front of the ‘Bird Collisions in the Anthropocene’ studio in Evanston"

Greenberg sees the artistic potential in the remedial window coverings, and she has previously invited artist Taro Takizawa to apply beautiful organic lines made of hand-cut vinyl on the top windows of her Evanston studio. For a forthcoming social project this summer, Greenberg plans to install different types of remediation dots on the large storefront windows of the space, plus an installation by artist Alice Hargrave, who creates abstract works using the sound waves of bird calls.

While the official number of finished birds is currently at 3,451, Greenberg estimates there are at least 1,000 more awaiting tagging and entry into the project’s handwritten ledger, which is reminiscent of museum catalogues before computerized records came into widespread use. With the help of a team of interns, she labels each bird individually with its species name, its artist, and where it “flew” in from. And installation opportunities abound.

Eventually, the birds will create one giant “carpet” to illustrate not only the poignant and urgent reality of bird collision deaths, but the power of collective action. In the meantime, groups of the fabric critters go on view occasionally in other exhibitions. One of these is Chicago Architecture Center’s forthcoming show, Flyway City, which “aims to catalyze positive change on making cities safer and more welcoming for birds and diverse wildlife” by focusing on how architecture can help to protect avians from the get-go.

The exhibition is organized by Studio Gang, whose lead architect, Jeanne Gang, has also encouraged the city of Chicago to enact building codes that are more bird-friendly. While Evanston has an ordinance that requires bird-friendly building design, Chicago does not yet, although it’s been on the table many times. Greenberg hopes that continued advocacy and information-sharing empowers others to speak up, too, so that these types of changes will be seen in more communities all over North America.

Flyway City runs from June 11 to January 3, 2027, in Chicago. Keep updated about workshops and other ways to get involved by following Greenberg’s Instagram.

[additional photos]"]]></description>
<dc:subject>birds sewing art 2026 studiogange jeannegang architecture multimedia morethanhuman nature wildlife mmigration animals insects fish mammals birdcast hollygreenberg paulgroleau windows cbcm tarotakizawa human-animalrelations human-animalrelationships birddivert</dc:subject>
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<item rdf:about="https://bayareacurrent.com/email/7316d30c-7a7b-41ff-b347-1884b072b18c/">
    <title>It doesn't have to be this way.</title>
    <dc:date>2026-05-22T08:27:58+00:00</dc:date>
    <link>https://bayareacurrent.com/email/7316d30c-7a7b-41ff-b347-1884b072b18c/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The tech capitalists are frighteningly good at colonizing public space. There's all those tech billboards, of course. But I also recently learned of AI Alley, a stretch of Howard Street in downtown SF that Anthropic has rebranded after acquiring an office there. And apparently techies are calling Hayes Valley with all its hacker houses Cerebral Alley? It's bold to claim any thought is taking place there. But what really gets me is calling the South Bay "Silicon Valley." It makes tech capitalism seem so endemic to the Bay Area that it's literally part of the geography...

But it's not. The Bay is beautiful. As a New Yorker, I can confidently say San Francisco is the most charming city in our wild, wild nation. Where else do you have that many vistas?? And while the first major tech company might have been founded in Palo Alto in 1909, there is literally a 1,076-year-old redwood tree in El Palo Alto. That is what's been here, and that's what will stay here."]]></description>
<dc:subject>colonization names naming sanfrancisco history 2026 ai artificialintelligence wenyliu paloalto nature trees redwoods hayesvalley siliconvalley geography soma rebranding publicspace billboards technology bigtech anthropic</dc:subject>
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<item rdf:about="https://www.frontporchrepublic.com/2026/05/is-there-room-for-enmity-in-the-a-i-classroom/">
    <title>Is There Room for Enmity in the A.I. Classroom? - Front Porch Republic</title>
    <dc:date>2026-05-22T08:21:03+00:00</dc:date>
    <link>https://www.frontporchrepublic.com/2026/05/is-there-room-for-enmity-in-the-a-i-classroom/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["By heightening emotion, hatred deepens the personhood of both teachers and students."

...

"Over the past year, the deployment of Large Language Models (LLMs) in high school and college classrooms has called into question the uniquely human elements of teaching. What can a flesh-and-blood instructor offer that a well-tuned machine cannot?

One naturally thinks of affirmation and love, of the teacher as a moral exemplar and a trusted advisor, which are roles that disembodied algorithms can at best counterfeit.

Less obvious is the student’s need for hatred.

Theorists have long recognized that opposition drives identity-formation. As Walter Ong puts it, an individual’s sense of self comes from the knowledge “that something else is not me and is (in some measure) set against me.” We often associate eye-rolling, scorn, spite, and defiance with middle-schoolers, but the same reactions remain important (if more subtly expressed) through all levels of education. Schooling is a protracted struggle, and students learn their lessons in part from feelings of revulsion and revolt.

Alarmed by the sycophancy that LLMs employ and the intellectual laziness that they allow, critics have begun to use similar language, exhorting students to “normalize struggle,” seek out “friction” or “disagreement,” and “grapple with A.I.” Professor Marc Watkins advises his students to

<blockquote>choose courses that will challenge you, even unsettle you. Don’t accept being coddled. When you choose to engage in debates, please have the intellectual curiosity to explore the topic in depth, have the intellectual honesty to recognize the merits of arguments of the opposing side, admit to the weaknesses in your own viewpoint, and have the intellectual humility to admit when you don’t know and wish to learn more.</blockquote>

Sound advice, but woefully incomplete in the current context.

LLMs are already capable of exploring topics and weighing arguments with students, not to mention structuring personal goals and offering encouragement. (“Let’s dive in!”) Thus, Watkins’s vision of “struggle,” construed as a matter of personal choice and individual self-improvement, is easily reconciled with the quantification and benchmarks of artificial intelligence.

Loathing (like love) operates quite differently, creating meaning through human relationships, in which willfulness, idiosyncrasy, and feelings preclude quantification or smooth standardization. By heightening emotion, hatred deepens the personhood of both teachers and students.

Of course, feelings of hatred spring from many sources and encompass many shades of meaning. Some students nurse petty grudges to avoid responsibility for their own wrongdoing. Others perceive condescension from their teachers and repay it in kind. Some rankle at teachers with strong personalities and worldviews. Others feel the stirring of metaphysical revolt, objecting to the very existence of injustice, suffering, and constraint in the classroom or the world at large.

Uniting all these types of hatred are their mimetic effects on the student. Strong feelings bind the individual to the object of disdain, whose attributes he internalizes and mirrors (if only in negation). Thus, every type of hatred is educational insofar as it holds the student’s attention and shapes his character.

The trouble is that not all these lessons are equally educational or necessarily salutary. To set oneself against another can spur achievement (as in athletic rivalries) but, if one is not careful, it can also lead to what the philosopher Friedrich Nietzsche calls ressentiment: an unworthy type of envy, insecurity, and conformity that debases the individual as it tears others down. That is why Nietzsche urges students to choose their enemies carefully, noting that “the most spiritual human beings” will test themselves only against life’s “most formidable weapons.”

One need not agree with every aspect of Nietzsche’s philosophy to grant the point. We all need someone to pitch our deepest aspirations against, someone we can both respect and pointedly reject as we chart our own course. It is in this sense that “the man of knowledge must be able not only to love his enemies but also to hate his friends,” Nietzsche writes. “One repays a teacher badly if one remains only a pupil.”

To help students strive toward selfhood, the teacher must embody authority—not only communicating information but personifying standards of wisdom, taste, and morals—and must do so knowing that pupils will chafe not only at the lessons but at the teacher herself. Yet, she cannot simply play the foil, pull punches, or abdicate responsibility for the struggle. To become the bearer of student hatred—to stand as an obstacle for the next generation to overcome—is a tragic aspect of teaching, but there is nothing to do but to press on in sincerity and faith.

Unfortunately, both the rhetoric and reality of teachers’ authority have been in decline for a long time. By bifurcating knowledge and value, LLMs now threaten to dissolve this authority entirely. The teacher can no longer be the master of content or technique, while the algorithm cannot embody truth, culture, or human excellence. LLMs already provide students with detailed (sometimes problematic) feedback, but as Abeba Birhane points out, “There is nothing at stake for a generative AI model. It cannot feel a sense of loss, embarrassment, accomplishment or care towards a student, as human teachers do.” An algorithm cannot feel the pangs of doubt or resolve, and for the same reason it cannot elicit existential scorn or hatred. Students know that a machine’s praise or censure rings hollow. They cannot define themselves in opposition to an LLM, and why should they want to?

In Being and Time (1927), Martin Heidegger argues that the modern individual (Dasein) “stands in subjection to Others.” Worse, they are not even “definite Others” but an anonymous amalgam of social conventions: a “dictatorship of the ‘they.’” It is hard to read Heidegger’s diagnosis without thinking about LLMs. In today’s world, he writes, anonymous authority

<blockquote>prescribes what can and may be ventured, it keeps watch over everything exceptional that thrusts itself to the fore. Every kind of priority gets noiselessly suppressed. Overnight, everything that is primordial gets glossed over as something that has long been well known. Everything gained by a struggle becomes just something to be manipulated. Every secret loses its force. This case of averageness reveals in turn an essential tendency … which we call the ‘levelling down’ of all possibilities of Being…. The ‘they’ is there alongside everywhere, but in such a manner that it has always stolen away whenever Dasein presses for a decision. Yet because the ‘they’ presents every judgment and decision as its own, it deprives the particular Dasein of its answerability.</blockquote>

LLMs stifle self-realization because, while they seem ubiquitous and almost omniscient, they also deprive students of any answerable or embodied authority, trapping them instead in a web of probability, generalization, and disembodied “expertise.” Subjection is in some ways intrinsic to education, part of a broader project of discipline and formation, but it must be experienced concretely, in relationship to “definite Others.”

Hannah Arendt warns that as technology expands, it becomes less likely “that man will encounter anything in the world around him that is not man-made and hence is not, in the last analysis, he himself in a different disguise.” Drawing from Heidegger, she underscores the danger of this eerie echo chamber. It is only through encounters with reality (not artificiality) that one becomes truly human. Consciousness begins not in the familiarity and sameness of one’s own mind but in confrontation with an unpredictable, inflexible entity outside the self—whether Nature, God, or (for our purposes) a recalcitrant teacher.

LLMs merely masquerade as the Other. Aggregated and amorphous, designed for fluidity and user satisfaction, they are artificial in the fullest sense of the word. When students engage with an LLM, they are literally talking to no one. How much classroom time should be occupied with such activities? What lessons should they replace?

However one responds to those questions, the answers have nothing to do with processing speed, safety guardrails, or other technical matters. They are fundamentally questions about how we conceive of humanity and whether we are committed to its formation and perpetuation. If we hope to prevent “cognitive atrophy” in our students, if we hope to awaken them to existential meaning, we have to invest in teachers worthy of their attention, their respect, and, sometimes, their hate."]]></description>
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<item rdf:about="https://emergencemagazine.org/film/a-mystical-ornithology/">
    <title>A Mystical Ornithology – by Jeremy Seifert and Benjamin James Roberts</title>
    <dc:date>2026-05-09T16:06:52+00:00</dc:date>
    <link>https://emergencemagazine.org/film/a-mystical-ornithology/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Immersed in the songs of blue jays, yellow-throated warblers, and red-shouldered hawks on his forty-six-acre farm in rural South Carolina, acclaimed poet and ornithologist J. Drew Lanham exchanges calls with the birds that stop over at his home during their seasonal migrations. For Drew, these creatures are gods, transcendent beings who summon a response of reverence. Reverberating with sound, music, light, and ethereal cinematic expression, A Mystical Ornithology weaves a kinetic texture for the senses and invites you into a poetic evocation of the paradox of love and grief within the changing nature of the seasons."

[on YouTube:
https://www.youtube.com/watch?v=U6GyfjmxDNU ]]]></description>
<dc:subject>jdrewlanham birds nature ornithology animals time senses sound memory death grief grieving 2026 film jeremyseifert benjaminjamesroberts multispecies morethanhuman wildlife reverence seasons change southcarolina writing howwewrite imagination migration human-animalrelations human-animalrelationships aldoleopold stewardships land farms farming healing slow stillness place refuge safety rest sounds presence being hope anthropomorphization mysticism spirituality celebration rural kinship</dc:subject>
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<item rdf:about="https://www.youtube.com/watch?v=Rajc_5UYvgU">
    <title>Haymarket Presents: Alyssa Battistoni on Capitalism and the Politics of Nature - YouTube</title>
    <dc:date>2026-05-07T06:22:27+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=Rajc_5UYvgU</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Join us for this Haymarket Presents speakers series event, with Alyssa Battistoni and activist-historian Gabriel Winant for a conversation about Capitalism, Nature, and Battistoni's new book, Free Gifts. Co-sponsored by Pilsen Community Books.

***

Capitalism is typically treated as a force for relentless commodification. Yet it consistently fails to place value on vital aspects of the nonhuman world, whether carbon emissions or entire ecosystems. In Free Gifts, Alyssa Battistoni explores capitalism’s persistent failure to value nature, arguing that the key question is not the moral issue of why some kinds of nature shouldn’t be commodified, but the economic puzzle of why they haven’t been.

Ultimately, Battistoni offers a novel account of freedom for our ecologically troubled present, developing a materialist existentialism to argue that capitalism limits our ability to be responsible for our relationships to the natural world, and imagining how we might live freely while valuing nature’s gifts.

Alyssa Battistoni and Gabriel Winant will grapple with these timely critiques of capitalism’s persistent failure to value nature.

Purchase here: https://pilsencommunitybooks.com/item/6CvPe_CEu0aWPIe5ZBCioA

***

Speakers: 

Alyssa Battistoni is a political theorist and Assistant Professor of Political Science at Barnard College. She works and teaches on climate and environmental politics, capitalism, Marxism, feminism, and other topics in contemporary social and political thought.  Alyssa is the co-author of A Planet to Win: Why We Need a Green New Deal (Verso 2019), with Kate Aronoff, Daniel Aldana Cohen, and Thea Riofrancos. Her latest book is about capitalism and the value of nature, titled Free Gifts: Capitalism and the Politics of Nature.

Gabriel Winant is an associate professor of history at the University of Chicago, a member of the executive council of AAUP/AFT Local 6741, a member of the Dissent editorial board, and author of The Next Shift."]]></description>
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<item rdf:about="https://reasonstobecheerful.world/great-lakes-fish-interview/">
    <title>Could This Fish Be a Notebook?</title>
    <dc:date>2026-05-06T06:09:10+00:00</dc:date>
    <link>https://reasonstobecheerful.world/great-lakes-fish-interview/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["David Byrne learns how fisheries from Iceland to the Great Lakes are using 100% of their catch — and shares his tips for making fish head soup."]]></description>
<dc:subject>davidbyrne fisheries fish iceland food science economics nature cooking fishing 2026</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
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<item rdf:about="https://www.unrulyplay.com/">
    <title>Unruly Play — Curated by Imagination of Things</title>
    <dc:date>2026-04-26T08:27:51+00:00</dc:date>
    <link>https://www.unrulyplay.com/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["A collection of 169 works of play in unlikely places. Games about unusual things. Unexpected encounters. Curated by Imagination of Things."

[via:
https://www.thisiscolossal.com/2026/04/unruly-play-digital-archive/

"“Play is how we give permission,” says Vitor Freire, co-founder of the Amsterdam-based studio Imagination of Things. “Permission to challenge what’s fixed, rehearse what doesn’t exist yet, and close the distance between people who wouldn’t otherwise meet.”

Freire and co-founder Monique Grimord take play seriously and, in a new project, their studio created a vast repository of 169 artworks, designs, games, and more that have offered an unexpected encounter with imagination and joy. From Rael San Fratello’s award-winning “Teeter-Totter Wall” to the healing Wind Phone project to a 12-foot puppet walking the world, Unruly Play is a multi-decade archive of participatory projects, public spaces, and digital creations that invite surprise and camaraderie.

“Our collaborators have always asked us where our ideas come from,” Gimrod says, “and the truth is that they come from references that rarely talk to each other—it can be a seesaw through a border wall or a phone booth connected to the dead… We wanted to create unusual dialogues and support new creative practices, and Unruly Play was our answer for that.”

Fully interactive, the project is searchable by theme or browsable through a shuffle feature. To dive deeper into the power of play, check out this compendium of artist-designed spaces."]]]></description>
<dc:subject>play playgrounds games children nature publicart architecture archive digital installation performance public art sculpture</dc:subject>
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<item rdf:about="https://www.biographic.com/tending-to-paradise/">
    <title>Tending to Paradise</title>
    <dc:date>2026-04-26T08:26:15+00:00</dc:date>
    <link>https://www.biographic.com/tending-to-paradise/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["A rare prairie ecosystem shaped by humans in Washington State exemplifies a shift in how conservationists envision our relationship with the natural world."]]></description>
<dc:subject>washingtonstate emmamarris 2026 ecosystems nature morethanhuman sanjuanislands conservation biodiversity coastsalish landscape wilderness indigeneity indigenous human-animalrelations human-animalrelationships yellowisland americorps us</dc:subject>
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<item rdf:about="https://fieldnotes.christopherbrown.com/p/winter-in-the-feral-city">
    <title>Winter in the feral city - by Christopher Brown</title>
    <dc:date>2026-04-26T07:53:18+00:00</dc:date>
    <link>https://fieldnotes.christopherbrown.com/p/winter-in-the-feral-city</link>
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<item rdf:about="https://www.texasmonthly.com/travel/rio-grande-valley-border-wall/">
    <title>The Rio Grande Valley’s Natural Areas Are Being Sacrificed for the Border Wall</title>
    <dc:date>2026-04-26T06:40:57+00:00</dc:date>
    <link>https://www.texasmonthly.com/travel/rio-grande-valley-border-wall/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Ongoing barrier construction through wildlife refuges, state parks, and the National Butterfly Center has failed to attract the same level of statewide and nationwide outrage as the potential Big Bend border wall."]]></description>
<dc:subject>border borders us mexico joshalvarez nature 2026 bigbend riogrande ríobravo wildlife morethanhuman multispecies walls texas</dc:subject>
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<item rdf:about="https://lithub.com/from-birdsong-to-sheeps-eyes-how-nature-helps-us-tell-time/">
    <title>Literary Hub » From Birdsong to Sheep’s Eyes: How Nature Helps Us Tell Time</title>
    <dc:date>2026-04-26T06:37:36+00:00</dc:date>
    <link>https://lithub.com/from-birdsong-to-sheeps-eyes-how-nature-helps-us-tell-time/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Cathy Haynes Explores the Many Ways One Can Discern the Hour by Paying Attention to the Natural World"]]></description>
<dc:subject>time nature attention multispecies birdsong 2026 cathyhayes wildlife morethanhuman birds animals clocks</dc:subject>
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<item rdf:about="https://aeon.co/essays/have-you-forgotten-what-it-means-to-be-afraid-of-nature">
    <title>Have you forgotten what it means to be afraid of nature? | Aeon Essays</title>
    <dc:date>2026-04-24T03:34:09+00:00</dc:date>
    <link>https://aeon.co/essays/have-you-forgotten-what-it-means-to-be-afraid-of-nature</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Aldo Leopold saw this in the eyes of a dying wolf: when we no longer fear nature, we are on the road to its destruction"]]></description>
<dc:subject>aldoleopold 2026 nature bioethics animals shawnsimpson fear destruction environment human-animalrelations human-animalrelationships morethanhuman multispecies</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
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<item rdf:about="https://www.worldwildlife.org/news/magazine/fall-2025/meet-the-costasiella-sea-slug-an-animal-that-can-photosynthesize/">
    <title>Costasiella: The Photosynthesizing Sea Slug | World Wildlife Fund</title>
    <dc:date>2026-04-22T02:58:15+00:00</dc:date>
    <link>https://www.worldwildlife.org/news/magazine/fall-2025/meet-the-costasiella-sea-slug-an-animal-that-can-photosynthesize/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The Costasiella sea slug not only looks like a succulent—it acts like one, too. One of the few animals able to photosynthesize, this tiny invertebrate (also known as the leaf slug or leaf sheep) acquires chloroplasts by munching on Avrainvillea, a paddle-shaped seaweed with a velvety texture. It then stores those chloroplasts in its own body, which enables the slug to soak up sunlight and transform it into energy—a process that also gives the mollusk its green color."

[Via:

"The Leaf Sheep Slug: The Animal That Eats Sunshine"
https://kottke.org/26/04/the-leaf-sheep-slug-the-animal-that-eats-sunshine

"This is an animal called the leaf sheep:

[image]

It’s a species of slug that is partially solar-powered, like a plant. Leaf sheep are kleptoplastic organisms that steal chloroplasts from algae, store them in their bodies, and then can rely on photosynthesis for their energy needs:

<blockquote>The Costasiella sea slug not only looks like a succulent—it acts like one, too. One of the few animals able to photosynthesize, this tiny invertebrate (also known as the leaf slug or leaf sheep) acquires chloroplasts by munching on Avrainvillea, a paddle-shaped seaweed with a velvety texture. It then stores those chloroplasts in its own body, which enables the slug to soak up sunlight and transform it into energy—a process that also gives the mollusk its green color.</blockquote>

[embed: "This Slug Should Be Impossible"
https://www.youtube.com/watch?v=IH_uv4h2xYM ]

The chloroplasts are stored in the horn-shaped structures called cerata located on the slugs’ backs. Cerata evolved to increase the surface area of these animals for use in respiration and surface area is very helpful if you run on solar panels.

And they’re also cute as a button! I mean, look at these things:

[image]"]]]></description>
<dc:subject>slugs photosynthesis biology nature multispecies morethanhuman</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
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</item>
<item rdf:about="https://chimeraobscura.com/vm/episode-607-christopher-brown">
    <title>Episode 607 – Christopher Brown – The Virtual Memories Show</title>
    <dc:date>2026-04-20T00:17:54+00:00</dc:date>
    <link>https://chimeraobscura.com/vm/episode-607-christopher-brown</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[also here:
https://podcasts.apple.com/es/podcast/episode-607-christopher-brown/id531173075?i=1000671460976
https://open.spotify.com/episode/1zsmFxKcm9LXxvFbNN5Xy9?
https://www.youtube.com/watch?v=SZt9osYrNQ8 ]

"<blockquote>“I wanted to combine the nature writing style I had been riffing on in my FIELD NOTES newsletter, with the potential for lyrical, descriptive translation of the richness of the world into language, and also provide an effective information delivery vehicle, like classic American non-fiction, and then telling a story in a way that a novel or a good memoir tells a story.”</blockquote>

With his phenomenal new book, A NATURAL HISTORY OF EMPTY LOTS: Field Notes from Urban Edgelands, Back Alleys and Other Wild Places (Timber Press), Christopher Brown shifts from novels into a new mode and I am HERE for it. We talk about the eco-cosmos of East Austin, TX, the years of observation that opened him to the hidden pockets of wildness in urban environments, why solitude in nature is a myth, what we have to gain from taking a long walk, Long Time vs. the short presence of Anglos in Texas, how 2020’s lockdown turned off global capitalism and showed how society might truly change, and how this book mutated from when we talked about it at Readercon 2023. We get into Bruce Sterling’s unforgettable critique of his writing, the process of turning a narrative of colonization into one of decolonization, (eco)psychogeography & the Situationists, why he (begrudgingly) brought the personal/memoiristic into the book and how it helped him come to terms with himself, and what a workshop with horror writers taught him about the truth-telling power of non-redemptive storytelling. We also discuss the design flaws of the agricultural revolution, how his readers in different regions respond to his FIELD NOTES newsletter, the nature of mysticism and writing a narrative about transcending the self, hiking a Massachusetts marsh in summer with Jeff VanderMeer, and plenty more. Give it a listen! And go read A NATURAL HISTORY OF EMPTY LOTS!

<blockquote>“Solitude in nature is a myth. What you find in nature is a much deeper connection with all this other life around you, a connection that precedes language and the alienation that’s embodied in language.”</blockquote>

<blockquote>“To me, the most dramatic lesson of COVID wasn’t how much of nature was out there, hiding in plain sight, but the possibility of change, the immediate, sudden change in how we live and work, the idea that global capitalism could be completely turned off for weeks at a time.”</blockquote>

<blockquote>“Preoccupation with planning for the future is tied up with that preoccupation with accumulating surplus to survive the season and all the unhealthy things that produces, even if that’s the killer app of our civilization.”</blockquote>

<blockquote>“The narrower the aperture, the more plausible the ambition.”</blockquote>"]]></description>
<dc:subject>christopherbrown psychogeography situationist 2024 austin solitude naturalhistory nature wildlife morethanhuman multispecies animals plants</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
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<item rdf:about="https://aeon.co/essays/you-know-what-consciousness-is-you-live-in-soul-land">
    <title>You know what consciousness is: you live in soul land | Aeon Essays</title>
    <dc:date>2026-04-18T05:58:01+00:00</dc:date>
    <link>https://aeon.co/essays/you-know-what-consciousness-is-you-live-in-soul-land</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Humans weren’t given souls by God or genes. We made them ourselves with language – turning sentience into something sacred"]]></description>
<dc:subject>language soul god consciousness nicholashumphrey 2026 anatolefrance philosophy metaphysics neuroscience descartes charlesdarwin denisdiderot culture human humans experience davidchalmers colinmcginn sentience keithward danieldennett galenstrawson nature art picasso franciscrick thomasnagel carljung jung diderot wassilykandinsky darwin</dc:subject>
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<item rdf:about="https://www.youtube.com/watch?v=kbtAE1cV-hk">
    <title>Oly’s Dean | A Kid, a River and a Different Way of Growing Up - YouTube</title>
    <dc:date>2026-04-16T04:50:21+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=kbtAE1cV-hk</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Set along British Columbia’s remote Dean River, “Oly’s Dean” follows 9-year-old Oly Hickman as he moves through his family’s fishing lodge in the heart of steelhead country.

Each summer, anglers from around the world come to swing flies for the Dean’s legendary fish. Bears roam the shoreline. The river runs cold and clear. Oly, however, is just as content chasing toads as wild steelhead.

More interested in wanderings than trophies, he explores the wilderness on his own terms. At an age when his father, veteran guide Jeff Hickman, can turn him loose and trust him to be safe, Oly ties flies of his own design and learns the rhythms of lodge life in a place that rewards curiosity.

When he hooks and lands a chrome-bright wild steelhead on a fly he created himself, the moment feels less like conquest than connection. Through quiet observation, “Oly’s Dean” captures a childhood rooted in independence and stewardship—and parents learning to see the world with a renewed sense of wonder.

CHAPTERS
00:00 - Oly's World
02:00 - What a Kid Notices First
03:05 - Learning Lodge Life
04:55 - The Dean River and Its History
05:12 - Meet Jeff Hickman
06:08 - A Day in the Life of Oly
07:24 - Why This Place Is Different
08:16 - The Dean River - History and Conservation
09:19 - What Makes Steelhead Special
11:00 - Parenting on Your Own Terms
12:56 - The Mug Bug Is Born
14:24 - Fish On - Oly's Moment
15:45 - What It Was Really About
18:45 - How to Tie the Mug Bug with Oly Dean Hickman"]]></description>
<dc:subject>children nature land childhood parenting wildlife adventure 2026 britishcolumbia</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:c4e1eb52e050/</dc:identifier>
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</item>
<item rdf:about="http://davidgriesing.com/2022/06/13/a-deeper-sense-of-place-is-like-an-anchor-in-turbulent-times/">
    <title>A Deeper Sense of Place is Like an Anchor in Turbulent Times | David Griesing | Work Life Reward Author | Philadelphia</title>
    <dc:date>2026-04-11T06:30:21+00:00</dc:date>
    <link>http://davidgriesing.com/2022/06/13/a-deeper-sense-of-place-is-like-an-anchor-in-turbulent-times/</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>davidgriesing rebeccasolnit 2022 wayfinding place orientation nature senses sensing memory richardpowers multispecies morethanhuman philadelphia animals whales humpbackwhales mro'connor indigeneity indigenous jamesgibson space time humans human navigation arctic aboriginal aboriginies australia technology gps brain cogntion maps mapping</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
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<item rdf:about="https://www.nybooks.com/articles/2021/07/01/wayfinding-landscapes-inside-us/">
    <title>The Landscapes Inside Us | Robert Macfarlane | The New York Review of Books</title>
    <dc:date>2026-04-11T05:39:08+00:00</dc:date>
    <link>https://www.nybooks.com/articles/2021/07/01/wayfinding-landscapes-inside-us/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Our navigational ability as a species is closely connected to our ability to tell stories about ourselves that unfold both backward and forward in time."

[archived: https://archive.ph/RIvgM ]

"Reviewed:

Wayfinding: The Science and Mystery of How Humans Navigate the World, by M.R. O’Connor
St. Martin’s, 354 pp., $29.99

From Here to There: The Art and Science of Finding and Losing Our Way, by Michael Bond
Belknap Press/ Harvard University Press, 288 pp., $29.95; $17.95 (paper; to be published in August)

Nature Shock: Getting Lost in America, by Jon T. Coleman
Yale University Press, 329 pp., $30.00

It is a little-known fact that limpets are brilliant navigators. Renowned for their ability to hold fast, they are surprisingly mobile. When submerged by the incoming tide, limpets set out on a slow journey across the intertidal boulders of their habitat. They move using a single muscular foot, rather as snails do, and deploy a rough tongue-like organ, known as a radula, to scrape the algae and young seaweed they consume off the rock surface. Once they have finished a foraging journey, each of these eyeless monopods then navigates back across the boulder to its “home,” a site on the boulder’s surface where it has rotated its shell back and forth repeatedly, such that it has incised an outline of itself into the rock. There it securely settles into its groove, ready to endure another cycle of hammering waves and pecking gulls.

Animal navigation is rich with such miracles and puzzles. “The greatest migration on earth belongs to the Arctic tern,” M.R. O’Connor writes in Wayfinding, “a four-ounce argonaut that travels each year from Greenland to Antarctica and back again, a distance of some forty-four thousand miles.” Meanwhile, every twenty-four hours, billions of tons of biomass in the form of plankton undertake what O’Connor calls “an intentional vertical migration, rising to the surface of the ocean at twilight and descending at sunrise.” Bees, O’Connor notes, will meander out on long nectar-hunting trips, moving haphazardly from bloom to bloom, but when their work is done they will fly the shortest route possible back to the hive: the “beeline.” This remarkable spatial calculation is achieved despite bees being almost blind by human standards and having brains that weigh less than a milligram and contain fewer than a million neurons. Back at the hive they engage in what is known as the “waggle dance,” which appears to be a choreographic means of communicating complex wayfinding information to fellow bees.

The science of creaturely navigation is a contested research area, but as O’Connor reports, it is widely thought that many animals have what is called a “bio-compass” that allows them to use the Earth’s magnetic field to find their way. Magnetite has been found in the brains of mole rats, the upper beaks of homing pigeons, and the olfactory cells of rainbow trout. Live carp floating in tubs at fish markets tend to align themselves along a north–south axis. Red foxes mostly pounce on mice in a northeasterly direction. Dog owners, take note: your dog may well swing round to face north–south when it crouches to relieve itself.

Humans don’t possess inbuilt bio-compasses, but we do have something arguably more powerful: storytelling. Our remarkable navigational ability as a species is closely connected to our ability to tell stories about ourselves that unfold both backward and forward in time. For some evolutionary psychologists, this capacity for “autonoeisis”—what O’Connor describes as “the capacity to be aware of one’s own existence as an entity in time”—is what made us such good hunters. Faced with the tracks left by a prey animal, early humans were able to imagine beyond the immediately visible, reading those signs for what they might foretell as well as what they recorded: *This deer’s prints show it to be wounded…We are driving this herd of bison into a box canyon, where they will be trapped…*We excelled at tracking because we could generate what Michael Bond, in From Here to There: The Art and Science of Finding and Losing Our Way, calls “mental representations of the outside world that we can use to get around and orientate ourselves.”

“If we opened people up, we would find landscapes,” Agnès Varda observes in The Beaches of Agnès (2008), the autobiographical film she made when she was about to turn eighty, which tells a version of her life through the places she loved, among them the River Seine and the Belgian coastline. As metaphor, this is a gothic proposition: that we internalize certain terrains so fully they become part of us, visible to others only when the surgeon’s scalpel or the pathologist’s bone-saw begins its excavatory work. As physiology, it seems nonsense. Over the past half-century, however, neuroscientists have made a series of remarkable discoveries about the ways human brains perceive, process, and store our passage through space.

In 1971, Bond writes, John O’Keefe and Jonathan Dostrovsky isolated a new type of nerve cell in the brains of rats. These “place cells”—found in and around the hippocampus, the seahorse-shaped structure that sits deep in the temporal lobe of the vertebrate brain—seemed to be sensitive to where a rat was in its environment, and to be activated in certain locations or when facing in a particular direction. Further research identified different types of place cells, each with a specialty. There are “head-direction cells” that detect which way you’re facing, for instance, and “boundary cells” that spark up when you are a certain distance from a wall or an edge, like the warning sensors that beep when you’re about to reverse your car into a fire hydrant.

It is now thought that the human hippocampus—which also contains place cells—not only responds in real time to external cues, such as landmarks or thresholds, but also creates and stores cognitive maps of places and routes between them, thereby enabling navigation as well as orientation. Memory is deeply and mysteriously involved in this work; these cognitive maps are able to retain feelings of recognition and association, and are retrievable even when one is not in the place where they were originally made. This is what prevents us from having to renavigate familiar places, guessing our way from kitchen to lounge each time we make that brief journey in our own homes. This is what allows me, during sleepless nights, to mind-walk my way along a chain of remembered paths from the foothills to the fell-top of a given mountain in the Lake District.

Both Bond and O’Connor trace the art of navigation back to the first human wayfinders, those groups of hunter-gatherer Homo sapiens who migrated out of Africa perhaps as long as 270,000 years ago, gradually spreading to live on every continent on the planet—as well as at sea and in space—adapting to new environments as they went, and over millennia developing sophisticated means of wayfinding in such disorienting environments as tundra, desert, ice cap, and ocean. “For the majority of our species’ existence,” notes O’Connor, “we traversed the earth using the landscape itself as a guide.” “We are explorers to the bone,” writes Bond, “and our spatial abilities—which, believe it or not, we still possess, despite our modern dependency on GPS—are fundamental to what makes us human.”

We might pause here on the grounds that any overarching proposition about “what it means to be human” is likely to be problematic. We will also want to know exactly what is meant by “wayfinding.” O’Connor characterizes it as a “science,” Bond calls it an “art,” and both of them celebrate it as the use, as O’Connor puts it, of “experience, habit, exploration, paper maps, signage, word of mouth, and trial and error to find [one’s] way around.” Wayfinding, she writes, is “an activity capable of engaging with and attending to places and nourishing relationships and attachments to them,” and among its benefits are enhanced sociality and good hippocampal health. It is definitely not—in the opinion of these writers—the deputation of navigational intelligence to a handheld device, such that one stumbles the streets in a zombied stupor, head inclined in compliance with the blue dot and a sotto martinet voice, causing Jane Jacobs’s famous “sidewalk ballet” to morph into something more like “sidewalk dodgems”: the collisions and confusions of urban walkers whose attention is, as O’Connor puts it, “seduced downward to our devices and inward to individualness.”

One of the many strengths of O’Connor’s book is its respectful attention to traditional methods of wayfinding. In the course of her research, she traveled to the Arctic, Australia, and the Pacific islands: three regions where traditional wayfaring and navigational skills are still practiced or are being reinvigorated as part of a broader cultural decolonization process. Colonial cartography—which reached its nineteenth-century apex in the British Raj’s “Grand Trigonometrical Survey” of India—tries “to chart and map unknown territory,” in O’Connor’s phrase, annexing new domains into a preexisting gridwork and assigning new place-names in a drive for standardization, like the Anglicization of Irish place-names by nineteenth-century Ordnance Survey officers, so memorably dramatized in Brian Friel’s play Translations (1980).

Indigenous navigators, by contrast, tend to develop terrain-specific techniques that are highly attuned to local indicators, and that use multiple modes and media (storytelling, written or drawn maps, weather signs) to create sophisticated compound systems for moving safely and well between places, often in harsh and hazardous environments. Over centuries, for instance, as O’Connor records, the Caroline Islanders of Micronesia developed the ability to read wave swells to determine the direction of land over the horizon. They combined this with detailed knowledge of “animals, reefs, wind, the sun, and, most important, stars” to create “vast mental maps of all the islands’ spatial relationships to one another” in their widely scattered archipelago. Navigators would memorize star “courses”—the “points on the horizon where sequences of stars rise or set over an island”—and use these to make routes between particular places, according to a system called etak. The most accomplished navigators can commit to memory star courses for over a hundred islands, totaling routes spanning several thousand miles.

For Bond and O’Connor it was the first decade of the 2000s, when GPS-enabled phones and vehicles became common, that we began seriously to degrade our abilities as wayfinders. In Nature Shock: Getting Lost in America, Jon T. Coleman locates that degradation much earlier, between 1860 and 1887, when he claims “the ground shifted under Americans’ spatial cognition.” During these decades, a vast logistical and communication matrix—including the 15,000 miles of telegraph line built by the US Military Telegraph Corps during the Civil War—knitted the country together from coast to coast, creating a network of fixed points nationwide, with reference to which a growing number of individuals could be located. From then on, Coleman writes, North Americans no longer inhabited “relational space, where people navigated by their relationships to one another,” but rather “individual space, where people understood their position on earth by the coordinates provided by mass media, transportation grids, and commercial networks.” He suggests that “the best vantage point to see this transition and thereby to understand its consequences is on the edge of those spaces where people sometimes got terribly lost.”

The fascinating early chapters of Nature Shock focus on the first century and a half of settler colonialism in America, when contrasting practices of wayfinding played out within overlapping terrains of knowledge and ignorance. “While the Christians aspired to rise above the earth,” Coleman notes drily of the New England colonists in the 1630s, “they required Indian help to navigate the woods.” The later chapters of the book reprise a familiar argument, whereby in the late nineteenth and twentieth centuries the rise of industrial capitalism created a perception of “the modern wilderness” as “a romantic space where individuals might heal themselves and lose themselves.”

As Coleman tells it, from the early twentieth century on, national and state parks became designated areas where affluent urbanites, mostly white, might play at both wayfinding and disorientation. “Wild” nature was first conceptualized and then monetized as a site of “individual freedom, escape, and disconnection.” Lostness became repurposed as therapeutic, even exhilarating—but only when one could quickly find a way back to civilization. Thoreau, naturally, had a bon mot on this long before it became fashionable: “It is a surprising and memorable, as well as a valuable experience,” he wrote in Walden, “to be lost in the woods at any time.” John Billington, a young English colonist, would not have agreed: in 1621, out in the countryside around the Plymouth Colony, he “lost him selfe in the woods and wandered up and downe some five days, living on berries and whatever he could find,” before being discovered by a native Nauset group, who traded him back for knives, beads, and the promise of better conduct on the part of the settlers.

The art of getting lost is increasingly hard to master. Between 2010 and 2014, the number of GPS devices in existence more than doubled, from 500 million to 1.1 billion. Some market predictions foresee 7 billion GPS devices by 2022, as smartphone use further accelerates in India, China, and South America. If unsure of your location in a new environment, you can now locate yourself in seconds by consulting a GPS-enabled device, which consults with multiple satellites and ground stations to pinpoint itself to within a few feet on the Earth’s surface, indicating your position with that pulsing blue dot. Cartographically speaking, the blue dot is a perfect example of solipsism: I am here, and the given world will reorganize itself around me as I move. If you wish to travel anywhere, “turn-by-turn” navigation will then relieve you of the need to route-find with deductive reference to your surroundings, as you proceed in obedience to the instructions of a synthesized voice: In one hundred yards, turn left…

“Travel today is a condition of advanced capitalism,” declares Tim Ingold, an anthropologist interviewed by O’Connor. All three books argue that wayfinding is resistant to capitalism’s greedy colonization of every aspect of human experience. Ingold goes on to say, as O’Connor describes it, that today’s “technology-drenched” modes of travel are driven by a “relentless goal of greater efficiency and convenience,” and part of the “further commodification of our lives.” A walk in the woods is wasted time because it isn’t productive, unless of course you instrumentalize it as a mindful means of enhancing your productivity when you return to the desk. A run along the river must now be tracked, logged, and biometrically analyzed, then Instagrammed. A train or plane journey can’t be spent daydreaming, conversing, or even (whisper it) being bored, for this is time that could be spent on the laptop, catching up or getting ahead. The cultural theorist Sianne Ngai has named this impulse always to perform productivity, even when one is supposedly at rest or play, “zaniness.”

 For Bond and O’Connor, good wayfinding is anti-zany.

Does it matter that a powerful navigation device has been added to our cyborg lives, already vastly extended in time and space by countless technological prostheses, from pacemakers to desktop computers? Being lost is a deeply unpleasant experience, as you’d know if it’s ever happened to you. The word “panic” comes from the ancient Greek panikos, in reference to the goat-god Pan, whose presence caused sudden, irrational fear in those who entered his disorienting woods and forests. “Bewilderment” is an eighteenth-century coinage, meaning “thorough lostness”; to “wilder” is to go astray, to lose one’s path.

In his history of “getting lost in America” Coleman uses the phrase “nature shock” to register the severity of anxiety produced by being lost, and records scores of examples of hunters, walkers, and even Native scouts who have testified to its incapacitating effects. Bond concurs: “People who are truly lost…lose their minds as well as their bearings,” suffering “visceral thought-distorting fear.” While O’Connor acknowledges the countless ways in which GPS has saved and enhanced lives, from a global reduction in shipwrecks and the rescue of refugees on small boats to the joy in the freedom it makes possible during recreational travel, all three writers have grave concerns about the effects of GPS-enabled smartphones.

Coleman argues that “smartphones are making us dumber, atrophying our hippocampi”; their rise has inaugurated a “monstrous transformation,” “melt[ing] space and minds,” leaving us staggering in the shallows of a reduced attention span and infantilizing dependence on tech. Bond worries about GPS’s consequences for “cognitive health,” and approvingly quotes an Italian dementia researcher, Veronique Bohbot, who refuses to use satellite-navigation devices to tell her where to go. Bohbot encourages people, Bond says, to “exercise their spatial faculties” because they’ll appreciate the benefits “a few decades down the line.” O’Connor also cites Bohbot, and ventures that “the scientific literature so far indicates a possibility that a total reliance on GPS technology could over time put us at higher risk for neurodegenerative disease.”

Bond describes a famous experiment from 2000, in which Eleanor Maguire, a neuroscientist at University College London, measured the sizes of the hippocampi of trainee taxi drivers in London preparing for the formidable test known as “the Knowledge.” In order to become a licensed London cabbie, you must memorize the relative positions of, and optimal routes between, the tens of thousands of streets and landmarks that lie within a six-mile radius of Trafalgar Square. Drivers are rigorously tested on their mastery of the Knowledge before being issued a license. It usually takes a student four years to go from start to success, and the requirement remains part of the licensing procedure today; cabbies and their teachers proudly point out that in comparative tests, a human with the Knowledge regularly beats a GPS-plotted route for speed and efficiency. Maguire found that during the period of intense navigational and mnemonic effort involved in studying for the Knowledge, the hippocampi of the trainee drivers grew. A follow-up experiment determined that in retired cabbies, who no longer daily used their wayfinding powers, the hippocampus had returned to a “normal” size.

It is a wonderful thought: that we might physiologically enhance our capacity as navigators by thinking harder about navigation, much as athletes train to improve their aerobic capacity or twitch muscles. But some troubling questions arise. If the hippocampus develops in response to intense exercise of its navigational and orientational functions, will it therefore atrophy if chronically underused? What would happen if, say, after tens of thousands of years spent regularly exercising the hippocampus in the course of everyday life, a species were suddenly to delegate the majority of its navigational tasks to an external device?

Fears of the “monstrous transformations” performed by tech upon the human are staples of the history of science from Prometheus to Frankenstein, so it’s worth being skeptical of these unproven claims about GPS’s mind-melting consequences. But the history of human navigation is so long, and that of mass personal GPS use so short, it does seem important to assess what might be lost when we cease being able to be lost. O’Connor puts it well:

<blockquote>None of us is exempt from the ramifications of the device paradigm. We all seem to find it extraordinarily difficult to step outside the onslaught, to create the distance and perspective between us and our devices that might allow us to question what cultural or cognitive price is being paid in return for convenience.</blockquote>

In July 1841 the poet John Clare escaped from High Beach Asylum in Epping Forest, on the outskirts of London, and set out to walk to his home in Northborough, about eighty miles away. At the time, Clare was in his late forties and mentally unwell. He had been in High Beach for four years. Although his wife, Patty, was alive, he believed himself to be searching for an imaginary second wife, a version of his childhood sweetheart, Mary Joyce, who had died three years earlier. He suffered auditory hallucinations on the road. He ate grass for sustenance, finding it to “taste something like bread.” Footsore and confused, he continued on until he reached Northborough. The walk took him four days.

In “Journey Out of Essex”—a minor epic of English travel writing—Clare described how he slept by the edge of the road each night, taking care to lie with his head pointing north, so that he would know which way to walk when he woke. That image has stayed with me since I first read Clare’s account twenty years or so ago: a man lost in mind, nevertheless seized by a homing instinct, and with his body a quivering compass needle that settled on north each night. Five months after reaching Northborough, Clare was certified insane on the grounds of being “addicted to poetical prosings.” He was committed to Northampton General Lunatic Asylum, where he stayed until his death in 1864. His last words were “I want to go home.”

Mental illness can result in a loss of bearings so drastic that one’s footing in the given world slips and the moorings of the mind loosen. Yet within such bewilderment lucidities persist. Clare could remember his route home, though he did not recognize his wife when he met her on the outskirts of Northborough. My grandfather, lost in the mists of dementia in the final years of his life, found it hard to recall what he had had for breakfast but could reliably give the names, heights, and ranges of mountains he had climbed in his youth, and walk in memory back up Himalayan valleys he had not entered for half a century.

In the opening pages of From Here to There Bond describes how his grandmother, who also suffered from dementia, in the final weeks of her life “repeatedly used the phrase ‘Am I here?’” His book is both scientific and personal. Much of it is spent patiently explaining the neuroscience of wayfinding and spatial awareness for laypeople, with the calm tone of a seasoned science writer. But gradually, between and within the explanatory sections, Bond quietly and movingly discloses what I take to be his real preoccupation, which is Alzheimer’s disease and other forms of dementia. His book is an attempt to answer his grandmother’s question, which is also everyone’s question.

Alzheimer’s is a voracious type of dementia that consumes the place cells of the hippocampus. Once this begins, Bond writes, “patients have trouble creating cognitive maps of new places and recalling maps of familiar ones.” The disease’s ability to disrupt the brain’s navigation and orientation system is so acute that researchers are exploring whether spatial tests might be used to diagnose it earlier than any other forms of assessment. “The tragedy for Alzheimer’s patients,” as Bond puts it, “is that the compass they have always had is now fading, and their map is shrinking. Disorientation becomes their default state, leaving them lost in places they have always known.” This contributes to the distress—variously expressed as frustration, anxiety, anger, and violence—that sufferers feel: “They are incapable of finding their way anywhere and can be lost even in their own homes.”

Covid-19 has administered a global “nature shock,” leaving billions of us disoriented even in familiar surroundings. During full lockdown, we wandered our homes like the narrator in Xavier de Maistre’s mock-epic Voyage Around My Room (1794), who for forty-two days finds himself confined to his chamber, where he would “traverse the room up and down and across, without rule or plan.” Meanwhile, many countries—including China—have used the pandemic to ramp up their means of tracking and tracing citizens, making it even harder to get lost should one ever wish to. Invoking feichang shiqi, “extraordinary times,” the Chinese Communist Party is now using facial recognition technologies, “health coding,” and smartphone tracking to increase surveillance of its citizens: state security camera networks can segment facial-recognition data into dozens of sensitive subcategories, including eyebrow size, skin color, and ethnicity.

In Nature Shock, Coleman writes:

<blockquote>Thoreau urged his audience…to reconsider the settled spaces they inhabited…. “Not till we are lost, in other words, not till we have lost the world, do we begin to find ourselves, and realize where we are and the infinite extent of our relations.”</blockquote>

Thoreau loved paradox, sometimes too much. It helps him find his mark here, though: one might expect our current lostness to test our self-reliance and glorify the individual, but in fact it proves our entanglement and reveals our codependence. When lost, we most of all need help.

Underlying all three of these books is a deep belief in the importance of collaboration and cooperation between humans and their environments, as well as between humans and other humans. Having read them, I’ve come to think that we might best imagine wayfinding not as a skill or art but as an ethic. The abilities that are cultivated in wayfinding—imagining things from different viewpoints, moving the mind backward and forward in time, seeing situations from other perspectives, weighing alternatives subtly against one another before making the best decisions, seeking information from others and giving it freely in return—might be the same abilities that contribute to a resilient, equitable community or polity. If this is wayfinding, then we need it now more than ever."]]></description>
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    <title>Meet the Musical Artists Who Are Paying Royalties to Nature | Audubon</title>
    <dc:date>2026-04-11T03:00:17+00:00</dc:date>
    <link>https://www.audubon.org/magazine/meet-musical-artists-who-are-paying-royalties-nature</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["A lot of musicians use wild sounds in their work. Some are now splitting their profits with the planet."]]></description>
<dc:subject>music nature sound multispecies morethanhuman 2026 maddieburakoff personhood</dc:subject>
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<item rdf:about="https://www.nature.com/articles/d41586-026-00973-3">
    <title>Why I made a river my co-author</title>
    <dc:date>2026-04-11T02:59:45+00:00</dc:date>
    <link>https://www.nature.com/articles/d41586-026-00973-3</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Anne Poelina gives first authorship to a source with deep knowledge about water — the river itself."]]></description>
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<item rdf:about="https://www.youtube.com/watch?v=MPA-PCN9k1U">
    <title>David Barrie - Supernavigators: The Wonders of How Animals Find their Way - 11:00 AM EST - YouTube</title>
    <dc:date>2026-04-10T02:03:13+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=MPA-PCN9k1U</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["David Barrie
"Supernavigators: The Wonders of How Animals Find Their Way"
Thursday, April 7, 11:00 AM Special  Broadcast Time!

David Barrie is a lifelong sailor and world traveler, a former member of the British Diplomatic Service who worked toward the Anglo-Irish Agreement, a former arts director and law reform campaigner, a Fellow of the Royal Institute of Navigation (elected in 2015), a Commander of the Order of the British Empire (since 2010) and the author of two acclaimed books about navigation. His first book, Sextant: A Voyage Guided by the Stars and the Men Who Mapped the World’s Oceans (2015), was partly inspired by the transatlantic voyage he completed in 1973. It was shortlisted for the Mountbatten Literary Award and won the Royal Institute of Navigation’s Certificate of Achievement.

Barrie’s second and most recent book, published in 2020, is Incredible Journeys (in the UK), aka Supernavigators (in the US): Exploring the Wonders of How Animals Find Their Way. It was the Nautilus Gold Award Winner, Animals & Nature, and was declared the Best Nature Book of the Year by the Sunday Times, which called the book “immensely entertaining” and “engrossing… all you can do is gasp in amazement.” Publisher’s Weekly declares that Supernavigators is “A must-read for anyone fascinated with the wonders of nature.” Legendary biologist and primatologist Franz de Waal called the book “eye-opening” and writes that “Barrie is passionate about navigation and describes in delightful detail about the myriad ways in which animals get around. The number of animals traveling long distances… is just astonishing.”

David Barrie lives mostly in London. In recent years, he has sailed the Cape Verde Islands, the Hebrides, the Azores, the Mediterranean and the Caribbean. Fun fact: he great-great-uncle was J.M. Barrie, the author of Peter Pan!

Sponsored by the Department of Biological Sciences, the Department of Psychology, Graduate Education and Research and the Honors Program."]]></description>
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    <title>Leanne Betasamosake Simpson - Wayfinding With Beavers: Generating Theory Together - YouTube</title>
    <dc:date>2026-04-10T01:30:10+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=ONbP-zUKYRg</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Leanne Betasamosake Simpson is a renowned Michi Saagiig Nishnaabeg scholar, writer and artist, who has been widely recognized as one of the most compelling Indigenous voices of her generation. Her work breaks open the intersections between politics,  story and song—bringing audiences into a rich and layered world of sound, light, and sovereign creativity. Working for two decades as an independent scholar using Nishnaabeg intellectual practices, Leanne has lectured and taught extensively at universities across Canada and the United States and has twenty years experience with Indigenous land based education. She holds a PhD from the University of Manitoba, and teaches at the Dechinta Centre for Research & Learning in Denendeh.

Leanne is the author of seven books, including her new novel Noopiming (US release from UMP February 2021), which was named a best book of the year by the Globe and Mail. This Accident of Being Lost,  won the MacEwan University Book of the Year; was a finalist for the Rogers Writers’ Trust Fiction Prize and the Trillium Book Award; was long listed for CBC Canada Reads; and was named a best book of the year by the Globe and Mail, the National Post, and Quill & Quire.  As We Have Always Done:  Indigenous Freedom Through Radical Resistance was awarded Best Subsequent Book by the Native American and Indigenous Studies Association.  A Short History of the Blockade: Giant Beavers, Diplomacy and Regeneration in Nishnaabewin was published by University of Alberta Press in February 2021, and her new project a collaboration with Robyn Maynard, Rehearsals for Living is forthcoming from Knopf Canada in 2022. Leanne’s new critically acclaimed and Polaris Prized short-listed album, Theory of Ice was released by You’ve Changed Records in March 2021.

In this presentation, award-winning writer Leanne Betasamosake Simpson uses Michi Saagiig Nishnaabeg stories, storytelling aesthetics, and practices to explore the generative nature of Indigenous blockades through our relative, the beaver—or in Nishnaabemowin, Amik. Moving through genres, shifting through time, amikwag stories become a lens for the life-giving possibilities of dams and the world-building possibilities of blockades, deepening our understanding of Indigenous resistance as both a negation and an affirmation."]]></description>
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<item rdf:about="https://www.newyorker.com/tech/annals-of-technology/finding-the-way-back-primitive-navigation">
    <title>The Pull of Primitive Navigation - The New Yorker | The New Yorker</title>
    <dc:date>2026-04-09T23:40:17+00:00</dc:date>
    <link>https://www.newyorker.com/tech/annals-of-technology/finding-the-way-back-primitive-navigation</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["he Harvard professor John Huth first offered his course “Science of the Physical Universe 26: Primitive Navigation” in 2007. Since then, he has taught around five hundred undergraduates about the rudiments of analogue way-finding (sun, stars, tides, weather, wind) in a range of cultures (Berber, Norse, Polynesian, early European). Huth is an experimental particle physicist; he was involved in the discovery of both the top quark and the Higgs boson. He is also an avid outdoorsman and, when it comes to navigation, a smartphone and G.P.S. skeptic. “All empiricism has to start with stuff that is immediately palpable to you,” he told me recently. “The march of education, especially in the sciences, has been divorced from that reality, and I think that’s where you have to start.” He began one of his lectures this spring with a question: “Which way is the wind blowing outside? Anyone notice?” The assembled students, about fifty in all, were silent. “Southeast?” one ventured. “Northeast,” Huth said.

As a species, humans lack many of the biological gifts that allow other animals to get around. A loggerhead turtle, for example, begins to take its bearings within a couple of hours of hatching, using magnetite crystals in its brain to sense Earth’s magnetic field. (Spiny lobsters, monarch butterflies, and termites have similar compasses.) Honeybees get from nectar to hive and back in part by judging the position of the sun, which they can sense, even on a cloudy day, from patterns in polarized light. Where biology has failed humans, we have substituted culture. Throughout our evolutionary history, we have created ad-hoc systems of knowledge that organize environmental information and make it transmissible to the next generation. Often, difficult and monotonous landscapes—desert, sea, ice—resulted in more intricate systems. Several thousand years before the magnetic compass was invented, Pacific Islanders had worked out how to navigate by star compasses and read ocean swells for information about nearby land. (Part of Huth’s summer vacation this year will be spent in the Marshall Islands, learning similar techniques from local sailors.)

In some places, navigational traditions became inextricable from spiritual cosmologies. The Europeans who settled Australia considered the Aboriginal peoples to be idle wanderers of the bush, but in fact many of them travelled along songlines—paths with songs attached to them that commemorate the passage of primordial beings who created the world. The words of the songs described the continent and the routes across it. One Aboriginal group, in particular—speakers of Guugu Yimithirr, a traditional language of Far North Queensland—uses an absolute rather than an egocentric perspective to describe space (in other words, not “Move to your left” but “Move southeast”). According to the psycholinguist Stephen Levinson, this has given them an almost superhuman capacity to orient themselves, night or day, using both relatively commonplace cues, such as sun and seasonal winds, and more specialized ones, such as the appearance of sand dunes and termite mounds. Levinson concluded, with admiration, that the Guugu Yimithirr speakers achieve “in software what pigeons apparently achieve in hardware.”

Many of the world’s navigation systems have been lost to time or replaced with technology—or, in the case of the songlines, damaged through cultural oppression. For the British author and self-styled “natural navigator” Tristan Gooley, their disappearance signifies a cultural and philosophical impoverishment. “By using a GPS to find our way instead of clues available in the world itself, we devalue the experience of traveling anywhere,” he told me in an e-mail. And there may be neurological consequences, too. We build cognitive maps in the hippocampus, the same area in which episodic memory and future planning take place. Advanced technologies insure that we use our brains as little as possible. In a series of studies in 2010, a group of researchers at McGill University, in Montreal, reported that exercising spatial memory and way-finding in everyday life increases hippocampal function and gray matter, whereas underuse of these functions in older adults may contribute to cognitive impairment. (One of the researchers, Véronique Bohbot, told the Boston Globe that she no longer uses satellite-navigation devices.)

As part of his course, Huth asks his students to study the night sky. This spring, they learned the coördinates of some twenty-two stars and their celestial paths, then went to the roof of the Harvard University Science Center to identify a handful of them. What he has found over the course of eight years of teaching primitive navigation, Huth told me, is that the more attuned to the environment his students become, the more their awareness seems to expand. “Sometimes they’re engaging in this material and experiencing an epiphany to other aspects of their life,” he said. Louis Baum, a Ph.D. candidate in physics and a teaching fellow for the course, told me that he and his colleagues find the same. “We get philosophical about it—about how knowing where you are helps you know your place in the world,” he said. Whereas the modern stargazer is liable to look up with a sense of existential wonder, if not dread, our ancestors may have seen in that lovely firmament a map of home.

On the roof of the Science Center, Huth named the stars as they flickered into view: Spica, Antares, Altair, Dubhe, Pollux. As he did so, a student approached, brimming with excitement. He had recognized several stars and measured their altitude and azimuth. “Before this, I was looking at the stars online,” he said. “It’s actually a little easier when you are up here and see it in real life.”"]]></description>
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    <title>M.R. O'Connor - Wayfinding: The Science and Mystery of How Humans Navigate the World - YouTube</title>
    <dc:date>2026-04-09T23:39:07+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=brrGT5kIhqY</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["M.R. O’Connor is a graduate of Columbia University’s Graduate School of Journalism who writes about the politics and ethics of science, technology and conservation. She is the author of two acclaimed books about the cutting edges of contemporary scientific research, with a third on the way. Her first book, Resurrection Science: Conservation, De-Extinction and the Precarious Future of Wild Things (St. Martin’s Press, 2015) and was one of Library Journal and Amazon’s Best Books of The Year. Her second book, Wayfinding: The Science and Mystery of How Humans Navigate the World (St. Martin’s Press, 2019) is an exploration of navigation traditions, neuroscience and the diversity of human relationships to space, time and memory. Its writing was supported by the Alfred P. Sloan’s Program for the Public Understanding of Science, Technology & Economics. About the book, Kirkus Reviews writes that “O'Connor talked to just the right people in just the right places, and her narrative is a marvel of storytelling”; Nature explains that “[O’Connor walks the labyrinth of the brain’s time-and-space-mapping hippocampus. And, on the road, she meets astrophysicists, anthropologists and traditional wayfinders — such as Bill Yidumduma Harney of Australia’s Wardaman culture, who steers by thousands of memorized stars”; and Science notes that “O’Connor’s coverage of the cognitive map theory… is deep and broad.” She is currently writing a book called Ignition (Bold Type Books) on fire ecology and prescribed burning, for which she became certified as a wildland firefighter.

Her work has appeared online in The Atavist, Slate, Foreign Policy, The New Yorker, Nautilus, UnDark and Harper’s. A pair of recent essays for The New Yorker include “A Day in the Life of a Tree” and “Dirt Road America,” a feature piece about Sam Correro, who has spent decades stitching together maps of continuous pathways of dirt roads across the United States. In 2008/2009, O’Connor served as a reporter for The Sunday Times, an English-language newspaper in Colombo, Sri Lanka. Her investigative reporting on topics like disappearances in Sri Lanka’s civil war, global agriculture trade in Haiti, and American development enterprises in Afghanistan have been funded by institutions such as the Pulitzer Center on Crisis Reporting, The Phillips Foundation and The Nation Institute’s Investigative Fund. For a long time, she made her bread and butter as a stringer covering crime, courts and breaking news in New York City for publications such as The Wall Street Journal and New York Post, and covered the criminal justice beat for the online investigative site The New York World. She is. She lives in Brooklyn, NY with her partner, the screenwriter Bryan Parker, and their two sons.

Sponsored by the College of Science, Technology, Engineering and Mathematics, the Department of Psychology, the School of Communication and the Honors Program."]]></description>
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    <title>Earth's Smells Are Disappearing Because of Climate Change, and It's a Vast Cultural Loss</title>
    <dc:date>2026-04-09T20:32:36+00:00</dc:date>
    <link>https://www.smithsonianmag.com/science-nature/earths-smells-are-disappearing-because-of-climate-change-and-its-a-vast-cultural-loss-180988496/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["A triple threat of pollution, extinction and warming temperatures is altering the way the planet smells. Scientists are only beginning to understand the stakes for humans"]]></description>
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<item rdf:about="https://emergencemagazine.org/essay/wildflower-beauty-and-the-search-for-home/">
    <title>Wildflower Beauty and the Search for Home – David George Haskell</title>
    <dc:date>2026-04-06T00:22:46+00:00</dc:date>
    <link>https://emergencemagazine.org/essay/wildflower-beauty-and-the-search-for-home/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Biologist David George Haskell turns to the deep-time evolutions and tangled histories of wildflowers that grow around his home in Atlanta, Georgia, to learn how we might find a deeper sense of belonging in the places we live."]]></description>
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<item rdf:about="https://commongoodmag.com/harlan-hubbards-ohio-river/">
    <title>Harlan Hubbard’s Ohio River | Common Good Magazine</title>
    <dc:date>2026-04-05T06:50:10+00:00</dc:date>
    <link>https://commongoodmag.com/harlan-hubbards-ohio-river/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["How a summertime stop along the river shaped the life of “Kentucky’s Thoreau.”"

[via:
https://www.frontporchrepublic.com/2026/04/abundance-chromebooks-and-satellites/

"Michael Winters describes the origin of the painting on the cover of Jayber Crow. Hubbard created it in response to a request from the pastor of Mt. Byrd Christian Church for a baptismal painting: “The painting he created, measuring roughly 4 feet high by 8 feet wide, depicts a contemporary view of the Ohio River. Sunlight comes out of the clouds in the upper right corner, covering the water and summer hills in light. A few buildings, including a church steeple, can be seen in the lower right portion of the painting, but they are not centered or highlighted by the glorious sunlight. If the church was expecting a view of an ancient Jordan River, they instead got something that looked very much like the river just down the hill.”"]]]></description>
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<item rdf:about="https://www.youtube.com/watch?v=7gKEnfXi6AU">
    <title>Chinese architect Xu Tiantian: “It’s not about starchitecture anymore.” - YouTube</title>
    <dc:date>2026-04-05T06:34:07+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=7gKEnfXi6AU</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["”It's not about the area of starchitecture anymore.”

We met Chinese architect Xu Tiantian, who believes in architectural acupuncture and minimal intervention.

”Architecture is for people, right? It's not for the architects. So you want to have the involvement and the ownership of the local people.”

”The mainstream concept of architecture is that one day you're going to build these large-scale high-rises or monuments. I think there's now a very different concept and understanding of architecture. We live in a new time, facing all these difficulties, global challenges, climate change, and disparity everywhere around the world. I think the younger generation may already approach architecture differently today. It's more about what architecture can do instead of what I could make. So, it's probably to take yourself out of this thinking.”

”Architectural acupuncture means that the engagement of architecture is rather minimal. It's not looking for the large-scale monuments, but really working with the necessity, really working with the locally available materials, elements, and cultural contexts. Belonging to the place instead of introducing something completely alien.”

Xu Tiantian (b. 1975 in Fujian) is the founding principal of DnA _Design and Architecture. In recent years, Xu has focused on architecture in China’s rural regions. Her practice is dedicated to rural revitalization through a strategy she describes as “architectural acupuncture”—small-scale, site-specific interventions designed to activate local culture, agriculture, and tourism. In 2019, the United Nations Human Settlements Programme (UN-Habitat) recognized her Songyang “architectural acupuncture” initiative as a global model for urban–rural integration.

Xu received her Bachelor of Architecture from Tsinghua in 1997 and went on to earn a Master of Architecture in Urban Design from Harvard University’s Graduate School of Design (GSD) in 2000. She is currently a professor at the School of Architecture, Tsinghua University. Xu was named an International Honorary Fellow of the American Institute of Architects (AIA) in 2020 and elected a member of the German Academy of Arts (Akademie der Künste) in 2024. In addition, Xu has held visiting professorships at Yale University and the Mendrisio Academy of Architecture in Switzerland.

Her work has been recognized with numerous prestigious awards, including the 2025 Wolf Prize in Architecture, the Berlin Art Prize (2023), the Swiss Architectural Award (2022), the Marcus Prize for Architecture (USA), the Holcim Gold Award for Asia-Pacific, and the UNESCO Global Award for Sustainable Architecture. 
Xu Tiantian was interviewed by Marc-Christoph Wagner at the Louisiana Museum of Modern Art in Humlebæk, Denmark. The conversation took place in January 2026 in connection with the opening of the exhibition Memoryscapes at the Louisiana Museum of Modern Art.

Camera: Jarl Therkelsen Kaldan
Edit: Jarl Therkelsen Kaldan
Produced by: Marc-Christoph Wagner
Copyright: Louisiana Museum of Modern Art, 2026"]]></description>
<dc:subject>architecture design xutiantian 2026 starchitecure starchitects local small rural beauty legacy scale nature buildings bridges bamboo quarries identity simplicity necessity adaptability adaptation</dc:subject>
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    <title>The Care Economy is the Everything Economy - with Emma Holten - YouTube</title>
    <dc:date>2026-04-04T07:44:45+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=6yl6JpVZTdM</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Emma Holten is an economist from Denmark who has written the book Deficit: How Feminist Economics Can Change Our World. Holten details how much of what we consider ‘the economy’ is really underpinned by care of various kinds, mostly done by women. This is very much in line with my own interests around GDP and austerity, as I think our prevailing economic analysis devalues the unseen and leads to policies which hurt people, hurting the economy too. Emma and I had an excellent chat that I think was one of my best on this channel, I hope you all enjoy it!"]]></description>
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<item rdf:about="https://howtodothingswithmemes.substack.com/p/what-would-whitman-do">
    <title>what would Whitman do? - by Aidan Walker</title>
    <dc:date>2026-04-02T06:48:39+00:00</dc:date>
    <link>https://howtodothingswithmemes.substack.com/p/what-would-whitman-do</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["While staying at his mom’s house in Brooklyn in April of 1865, Walt Whitman learned that Abraham Lincoln had been assassinated at Ford’s Theater during a production of Our American Cousin which his lover at the time, Peter Doyle, a Confederate deserter who fled to Washington, DC and got a job as a bus driver, had been watching. “There was nothing extraordinary in the performance,” Doyle later said of the play.

In the dooryard of Walt’s mother’s house were planted lilac-bushes, with “heart-shaped leaves of rich green” and “perfume strong I love.” In his burial hymn for Lincoln, “When Lilacs Last In The Dooryard Bloom’d,” Whitman imagines breaking a sprig of lilac and placing it on the President’s coffin as it travels, by railroad, across the United States.

My mom’s house also has lilacs planted in the dooryard. She introduced me to Walt Whitman. I have since re-encountered him several times, returning every few months to Leaves of Grass and reading or re-reading whatever pleases me. I think of Walt Whitman literally every day. The psychic geography of the Washington, DC area, where I grew up and now live, is Whitman.

Across places that today are paved over by McMansioned suburbs, the nation’s most aggressive data center build-out (which I covered for the BBC last summer), or slop bowl lunch joints catering to lobbyists making the world worse, Walt Whitman rambled on a series of fascinating side quests during the Civil War.

I live blocks from the route which Peter Doyle, a DC omnibus driver, followed each day with Whitman joining him regularly in the evening to sit at the front and yap after clocking out of his bullshit day job as a government clerk. The National Portrait Gallery, my favorite art museum in the city, was a hospital where Whitman nursed wounded soldiers.

If there is any dead white man whose opinion we should hear at this moment, it is Walt Whitman. Part of this is because nobody else from the 1800s was quite as seriously engaged in thinking about you and I — he tells his reader, in “Crossing Brooklyn Ferry”: “I consider’d long and seriously of you before you were born.” From the same:

It avails not, time nor place—distance avails not,
I am with you, you men and women of a generation, or ever so many generations hence,
Just as you feel when you look on the river and sky, so I felt,
Just as any of you is one of a living crowd, I was one of a crowd,
Just as you are refresh’d by the gladness of the river and the bright flow, I was refresh’d,
Just as you stand and lean on the rail, yet hurry with the swift current, I stood yet was hurried...

A conjuncture of factors has led me to think about Whitman more than usual. First: the United States seems fucked and Whitman is a poet of the Civil War, who sought to articulate a vision of democracy that was broader, weirder, and freer than a Classical or Enlightenment inheritance. Second: it is spring and lilacs are blooming — so he comes to mind. Third, in my last post I talked a lot about Nick Fuentes’ use of “you” as a pronoun, and I was working on something else about 4chan greentexts. It occurred to me that the poet who seems to address us in the most modern, meme-y way is Whitman.

The 4chan greentext form begins with “>be me,” and “Song of Myself” begins: “I celebrate myself, and sing myself, / And what I assume you shall assume, / For every atom belonging to me as good belongs to you.” The original edition of “Leaves of Grass” features only a picture of Whitman in a jaunty pose, dressed as a regular guy, without his name as an author — he is an anon.

[image]

Whitman’s poetry is highly personal, but not in the sense of confession or autobiography. He talks most often about solitary, embodied experiences — being a commuter, looking at the sky, breathing. These are things people do alone, but with the knowledge that everybody else does them. Titling a poem “Song of Myself” is not narcissistic because the subject is not Walt Whitman, but the experience of selfhood in the first place — Walt is just the most accessible self for Walt to write about.

The self, in Song of Myself, breathes, bathes, fucks, wonders, eats, smells, and exercises — but most of all, he yaps. There are, according to a quick cmd+F search of the poem, 489 instances of “I” and 235 instances of “you.” The cardinal activity of the Whitmanian self is the act of address — communion with other selves. It is a communion premised on equality, a word which Lincoln (and I’d say Whitman) understood in a mathematical way, grounded in Euclid.

[image]

Before all other facts about the world, Whitman cares that people are equal. This is not a precept of morality, but a principle of physics for him, an undeniable truth about the universe which society may construct elaborate contraptions to suspend — in the way airplanes defy gravity — but ultimately must obey. Black or white, male or female, poor or rich, young or old, “I give and receive the same,” Whitman writes. But there are also other equalities: the past, future, and present are the same; writer and reader are the same; death and life, victim and perpetrator, are all the same.

The Union cause was always spiritual, and grew increasingly more so as the war went on. It promised a just emancipation of slaves, described in Biblical terms (“jubilee,” “grapes of wrath,” and so on) but it also rested on a radical interpretation of the words “union” and “equality.” I think the Union transplanted the Christian conception of the Trinity onto the American project.

[image]

Whitman’s “When Lilacs Last In The Dooryard Bloom’d” interests me in part because it makes this connection clear. It centers on a “trinity” defined by Whitman: the blooming lilac, the song of a “gray-brown bird,” and the “thought of him I love.” The last of these is proximately the dead Lincoln, but more profoundly all of Whitman’s countrymen. Instead of Father, Son, and Holy Spirit, we have lilac, bird, and guy you love. The components of this trinity can be interpreted more abstractly: nature, the creative/expressive act, and the thought of your fellow men that you love. In this, we find the three-personed God, the three-faced American nation, which Whitman worships.

Nature worship, creative self-assertion, and loving solidarity. This mystic trinity is the foundation of American democracy, which was really founded by Lincoln and not Washington. Liberalism is something they invented in Europe.

Originally, I wanted to study Whitman, the mid 19th-century newspaper business which he worked in for much of his life, and the transatlantic connections between Europe and the United States in the Civil War era. One reason I gave up on this was that this kind of academic career is hopeless in 2026, given how the life of the mind has been so thoroughly fucked over. Another reason is that I figured this was not really spiritually true to Whitman’s vision, which — I idolize the poetry, not the poet here — is really the thing I believe in above all else. He’d want me, who he talked to so directly across his poems, to speak from and to my own modernity, about the affairs of regular people and the things that matter in the heart.

Whitman wrote in the language of his day, without fuss. He inflected it with archaisms like reversed word orders (“when lilacs last”), random “thou”s and so on, which are carried over from the King James Bible. The KJV was for many Americans at his time one of the only books they owned. It was their liturgical language — not quite as extreme as the Catholic Church’s use of Latin, but certainly not the way people really talked. Whitman’s fusion of that language with the rhythm of everyday speech and the straightforwardness of his “>be me” kind of address creates an interesting juxtaposition, but also relatability.

I see his outlook as very contemporary. He wants to overshare, he wants to be relatable, and it feels weird to call him “Whitman” as you would another author rather than “Walt,” as you would call a dude you know. And so I wonder too, if there is something very contemporary in his mystic conception of union, that might salvage.

Faced on the one hand with the complicity-rationalizing managerialism that motivated the Biden years, and on the other with the Ahab-striving of our cruelest to win (whether against China, modernity, ourselves, God, etc.), I think we should see Whitman as a resource that can inform us of another way, and offer a language in which words like “democracy” and “equality” can actually matter and actually be the tough, existentially crucial things they are, rather than pablum sputtered out by people who have never failed to dodge an uncomfortable truth."]]></description>
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    <title>Dark Skies &amp; Insects: A Research Hotspot In West Texas</title>
    <dc:date>2026-04-02T00:48:37+00:00</dc:date>
    <link>https://blog.nature.org/2026/02/17/dark-skies-rare-insects-a-west-texas-preserve-becomes-a-hotbed-for-research/?en_txn1=e.ch_tx.eg.x.gpn.0401.n.sas.loc_tx&amp;en_txn8=NewSch.WJEMSA2604NPNZNZZE02Z00-ZZZZZ-ST00&amp;lu=3ed23e92-fd51-4b98-b485-1ae167e5a99e&amp;customer_id=22391789</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>westtexas nightsky 2026 jennyrogers stephenalvarez insects multispecies davidmountainspreserve morethanhuman nature lightpollution astronomy biology science fireflies mcdonaldobservatory davismountains</dc:subject>
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<item rdf:about="https://www.theguardian.com/us-news/2026/mar/27/urban-rural-coyote-study">
    <title>Wily coyote? Urban canines take more risks compared with rural ones, study finds | US news | The Guardian</title>
    <dc:date>2026-04-01T03:46:06+00:00</dc:date>
    <link>https://www.theguardian.com/us-news/2026/mar/27/urban-rural-coyote-study</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Researchers believe behavioral gap, which may hold true across species, is probably product of less fear of harassment in cities"]]></description>
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    <title>Suzanne Simard says Indigenous knowledge must save the Earth | Psyche Portraits</title>
    <dc:date>2026-03-31T07:57:41+00:00</dc:date>
    <link>https://psyche.co/portraits/suzanne-simard-says-indigenous-knowledge-must-save-the-earth</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Her science revealed that trees look after one another in the forest. Now, Suzanne Simard says, the only way to save the Earth is to put Indigenous ecological knowledge first"

...

"Today, Simard argues that Indigenous knowledge can do what Western science often cannot: hold complexity without reducing it to parts. Western science excels at dissection, she says, but struggles to reassemble the living world. That makes it difficult to fully understand and address the nested crises of climate change and extinction. Indigenous knowledge, on the other hand, grounded in systems thinking, places people inside nature, not apart from it, so harm to land becomes harm to ourselves, and care becomes an obligation to future generations, human and nonhuman alike."]]></description>
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<item rdf:about="https://www.biographic.com/the-birds-who-call-us-home/">
    <title>The Birds Who Call Us Home</title>
    <dc:date>2026-03-30T07:20:11+00:00</dc:date>
    <link>https://www.biographic.com/the-birds-who-call-us-home/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["In springtime in North America, purple martins spread joy as they return to their nest boxes—is that enough motivation for us to ward off an avian housing crisis?"]]></description>
<dc:subject>birds animals nature multispecies human-animalrelations human-animalrelationships 2026 wildlife brianpayton migration martins purplemartins morethanhuman interspecies</dc:subject>
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</item>
<item rdf:about="https://www.nytimes.com/2026/03/26/climate/sperm-whale-birth-assistance.html">
    <title>Scientists Filmed a Whale Birth. The Surprise: Mom Had Many Helpers. - The New York Times</title>
    <dc:date>2026-03-28T08:48:54+00:00</dc:date>
    <link>https://www.nytimes.com/2026/03/26/climate/sperm-whale-birth-assistance.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The episode, involving a group of sperm whales, adds to evidence that humans aren’t the only species that gets some form of assistance during and after delivery."]]></description>
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</item>
<item rdf:about="https://www.youtube.com/watch?v=7HOTKjV_82o">
    <title>Cecilia Vicuña DENUNCIA que el mundo vota por quienes niegan la destrucción del planeta</title>
    <dc:date>2026-03-27T04:17:28+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=7HOTKjV_82o</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["👍 Dale like si crees que el arte puede ser una forma de resistencia ante la crisis climática

💬 Comenta: ¿Qué significa para ti que la humanidad destruya lo que la sustenta?

Desde el Museo Nacional de Bellas Artes, Cecilia Vicuña —Premio Nacional de Artes Visuales, León de Oro en la Bienal de Venecia 2023— nos abre su pensamiento en una conversación sobre arte, ecología, colonización y el futuro de la humanidad. Una entrevista que cruza seis décadas de obra para llegar al presente más urgente.

🔴 EN ESTA ENTREVISTA DE EL DESCONCIERTO:

→ Cecilia Vicuña explica el origen del arte precario en 1966 en Concón y por qué desaparecer puede ser un acto de vida
→ Advierte que la humanidad se convertirá en una especie suicida si no reconecta con lo que la sustenta
→ Denuncia que en la mayoría de los países la gente vota por quienes niegan la crisis climática
→ Revela que la cultura destructora tiene menos de 10.000 años frente a 300.000 años de memoria humana
→ Explica cómo las palabras contienen sistemas de conocimiento construidos durante milenios (verdad, mentira, solidaridad)
→ Habla del quipu andino como campo de conocimiento de 5.000 años quemado por los colonizadores y recuperado como resistencia poética
→ Reflexiona sobre la metacognición como única vía para evitar el colapso civilizatorio, según la neurociencia actual
→ Recuerda su retrospectiva 2023 en el MNBA —su primera exposición individual aquí desde 1971— y lo que ese silencio de décadas dice sobre Chile
→ Dialoga sobre el Diario Estúpido (1966, reeditado 2023 por Ediciones UDP) y la liberación del lenguaje femenino
→ Reivindica el pensamiento indígena de todo el planeta como la médula del sentipensar que hemos cortado

📊 CONTEXTO

Cecilia Vicuña (Santiago, 1948) es una de las artistas visuales y poetas chilenas más reconocidas internacionalmente. En 2023 recibió el Premio Nacional de Artes Visuales de Chile y el León de Oro en la Bienal de Venecia, además de inaugurar su primera retrospectiva en el Museo Nacional de Bellas Artes desde 1971. Su obra pionera del arte precario —iniciada a los 17 años en Concón— anticipa en décadas los debates actuales sobre ecología, descolonización y crisis climática. Ha instalado quipus monumentales en Shanghai, Atenas y museos de todo el mundo.

#CeciliaVicuña #ElDesconcierto #ArteChileno #ArtePrecario #Quipu #CrisisClimática #BienalDeVenecia #PremioNacionalDeArtes #MuseoNacionalDeBellasArtes #Descolonización #PueblosIndígenas #PoesíaChilena #ArteYEcología #DiarioEstúpido #Metacognición #ColapsoCivilizatorio #CulturaChilena #EntrevistaChile #ArteContemporáneo #MedioAmbiente"]]></description>
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</item>
<item rdf:about="https://www.themarginalian.org/2026/03/21/wayfinding-m-r-oconnor/">
    <title>Place, Personhood, and the Hippocampus: The Fascinating Science of Magnetism, Autonoeic Consciousness, and What Makes Us Who We Are – The Marginalian</title>
    <dc:date>2026-03-24T19:54:17+00:00</dc:date>
    <link>https://www.themarginalian.org/2026/03/21/wayfinding-m-r-oconnor/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The psychological, neurocognitive, and geophysical underpinnings of these astonishments are what M.R. O’Connor explores in Wayfinding: The Science and Mystery of How Humans Navigate the World (public library) — a layered inquiry into the science and cultural poetics of how we orient in space and selfhood, illuminating the stunning interpenetration of the two."]]></description>
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    <title>The Marketing Tricks of &quot;Artificial Intelligence&quot; - YouTube</title>
    <dc:date>2026-03-24T06:56:40+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=UwBZiuH-1QY</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["This week, Sam talks to Emily Bender and Alex Hanna about the marketing ploys of “artificial intelligence,” why ridicule works to keep big tech’s claims in check, and what makes them hopeful for the future. They’re the authors of The AI Con: How to Fight Big Tech’s Hype and Create the Future We Want.

Dr. Alex Hanna is a writer and sociologist of technology, labor, and politics. She’s the Director of Research at the Distributed AI Research Institute (DAIR) and a Lecturer in the School of Information at the University of California Berkeley. Dr. Emily M. Bender is a Professor of Linguistics at the University of Washington where she is also the Faculty Director of the Computational Linguistics Master of Science program and affiliate faculty in the School of Computer Science and Engineering and the Information School.

They also host the The Mystery AI Hype Theater 3000 podcast which “deflates AI hype and draws attention to the real harms of the automation technologies we call ‘artificial intelligence’.” 

- The AI Con: How to Fight Big Tech’s Hype and Create the Future We Want: https://thecon.ai/

- The Mystery AI Hype Theater 3000 podcast: https://www.dair-institute.org/maiht3k/

- Flood of AI-Generated Submissions ‘Final Straw’ for Small 22-Year-Old Publisher: https://www.404media.co/bards-and-sages-closing-ai-generated-writing/

- Emily’s cartoon: https://bsky.app/profile/emilymbender.bsky.social/post/3mgmx232j2u2k

- Questioning the Normalization of Surveillance by the Center on Privacy & Technology at Georgetown:  https://medium.com/center-on-privacy-technology/questioning-the-normalization-of-surveillance-6a9c2f58c017 

- You Are Not a Parrot at NY Mag: https://nymag.com/intelligencer/article/ai-artificial-intelligence-chatbots-emily-m-bender.html

[See also:

"Ridicule as Praxis (with Emily Bender and Alex Hanna)
Why ridicule works to keep big tech’s claims in check, and what makes us hopeful for the future."
https://www.404media.co/ridicule-as-praxis-with-emily-bender-and-alex-hanna/ ]"]]></description>
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    <title>Lisbon’s COVID-19 Dolphin Resurgence is Coming to an End - bioGraphic</title>
    <dc:date>2026-03-20T17:49:24+00:00</dc:date>
    <link>https://www.biographic.com/lisbons-covid-19-dolphin-resurgence-is-coming-to-an-end/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["In Portugal, as around the world, the benefits of lockdown to wildlife have proved fleeting."]]></description>
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