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  </channel><item rdf:about="https://www.esquire.com/style/a71276009/what-has-happened-to-taste/">
    <title>What Has Happened to Taste?</title>
    <dc:date>2026-05-27T07:57:56+00:00</dc:date>
    <link>https://www.esquire.com/style/a71276009/what-has-happened-to-taste/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Technology has made it easier than ever to broadcast the things we like. Do any of us actually know anymore why we like them?"

...

"The ease and omnipresence of these technologiescan feel insurmountable. Who could bring themselves to get off Spotify? But they aren’t only swallowing us. Especially in the age of AI, when creation is just as cheap as curation, technology is killing the entire online experience. The Dead Internet Theory supposes that AI slop has taken over all previously genuine human activity on the Internet. Discussion forums have been flooded with bot accounts, all photos and videos are generated by AI, etc. It’s the natural and metaphorical end state for the version of taste we have now: literal robots endlessly aping things that already exist with minute variations. But we’re not there yet, and in fact, if the dead parts of the Internet are our flattened, gerrymandered style subcultures, perhaps that’s good.

As much as we’re told that the Web has become this poisonous, self-referential cesspool, such that finding inspiration offline is the new gold standard—or at least that’s what the consensus is here in Brooklyn—I think that’s too easy. For all the harm technology has done to our ability to develop taste, it’s still true that the Internet has given us unparalleled access to just about anything. We can now sift through the entire discographies of obscure international bands, watch independent short films, and read archived magazines whenever we want. I believe it still holds promise.

Here is what we must get rid of: Having taste today is synonymous with having “good taste.” That is what we mean when we say that someone “has taste”; we mean that they have good taste. That is a lie.

There was a time when taste was cultivated through trial and error. We used to have to take risks and suffer through its repercussions. By basking in the discomfort of ill-fitting silhouettes and excessive layering, we learned what worked best for us. We weren’t constantly trying to define and communicate what our tastes were because there wasn’t a “right” answer to what makes good taste. We got to good taste, such as it was, through a series of horrendous choices that exhibited bad taste.

The evil of the Dead Internet Theory, if it is right, is that it leaves us nowhere to turn for inspiration. But it supposes that the Algorithm is all that there is. There are broad swaths of the Internet that haven’t been colonized; the Algorithm is only the neatly paved brick road on the Internet’s uneven, treacherous terrain. It has its limits. No one’s stopping you from venturing off the beaten path to destinations that aren’t optimized for visibility: personal websites, anonymous bulletin boards, resource libraries.

“Internet walks”—the act of aimlessly surfing through online rabbit holes, not unlike how we experienced Wikipedia when it was new and wondrous, clicking from page to page until you wound up with knowledge you never would have suspected even existed—exposes us to the less legible textures of the Web. There are tools designed to facilitate this. The platform Are.na is like a nonalgorithmic Pinterest board where you can follow different people and traverse the parts of the Internet they bookmark. “The goal is not self-improvement,” says a note at the bottom of its home page. “The goal is engaging more deeply with the World.” It is precisely through navigating the vast, digital ridges that we’re forced to consider what resonated and why. That provokes introspection, through which the walls that once gerrymandered our tastes slowly crumble.

This notion, of course, is older than the Internet. In 1958, Guy Debord—a contemporary of Sontag, the author of The Society of Spectacle, and a member of the French postwar avant-garde group Situationist International—introduced the concept of the dérive. Defined as an unstructured, improvised wandering through an urban landscape, dérive pushes participants to let go of the relationships they have with their social environment. Pick a color and follow it; close your eyes and identify the loudest persistent sound you’re hearing, then walk to go find it; at every intersection, roll the dice to see which way to turn. In other words, walk for walking’s sake. A predecessor of Baudrillard, Debord saw the practice as the antidote to society’s “decline of being into having, and having into merely appearing.”

Debord’s position operated in direct opposition to a culture of being “intentional.” Today’s algorithmic culture is the epitome of intentional. Nothing is an accident. Terms like curated and mindful are sprinkled across everything. What those terms obscure is a lack of introspection. Debord believed that by refamiliarizing ourselves with the things of the world rather than the relationships we have to them, we could find new, deeper meaning and come to know ourselves better. Perhaps by refamiliarizing ourselves with the physical (wearing a shirt) rather than the intellectual (what the shirt says about you), we can find a way out of what we would today call the Algorithm. Objects of trends, when considered in isolation, are simply things. They stop representing our membership in an algorithmic faction or signaling social status. They become free to mean anything for anyone.

The risk is that you will occasionally step on thorns. You will have moments of bad taste. But taste is by definition subjective, so unpopular tastes should exist, too. Where there is preference for Rick Owens, there’s also demand for Allbirds and skinny jeans. Our fixation on embodying the consensus of whatever algorithmic faction we fall under has asphyxiated every ounce of whimsy. Aren’t occasional poor choices worth the trade-off?

I now occasionally start my mornings with an aimless walk around the neighborhood, fueled partially by a desire to happen upon some caffeine. I no longer judge shops by their Japandi aesthetic, and I’ve stopped using Google Maps to read reviews or navigate to nearby joints. I’ve gotten the sense that much of the most highly acclaimed spots, while perfectly Instagrammable, make horrible coffee. But that’s by my own definition of what makes coffee good, and my opinion is that the best cup of coffee is just something that’s piping hot and costs less than three dollars. I recognize that that’s out of step in Brooklyn, but who’s a better judge of what I like best than me? I think it’s fair to say that I’ve tried enough happenstance coffee at this point to have an actual opinion. Cheap, hot coffee is what I like, and I’m not ashamed to say it. I earned it.

The same goes with taste. Forget the expensive coffee. Ignore the barber’s perfectly curated Instagram. Give the wrong bands a chance. Watch Kurosawa, sure, but not because another famous director, QT or otherwise, said anything—watch Kurosawa because Rashomon will terrify you. I could say more, but I’ll stop there because I’m getting away from my point. The point of this essay is don’t take my word for it."]]></description>
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    <title>We Are Living in Pinocchio’s World – On my Om</title>
    <dc:date>2026-05-26T06:52:34+00:00</dc:date>
    <link>https://om.co/2026/05/25/we-are-living-in-pinocchios-world/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Most people remember Pinocchio as a story about lying. The nose grows. You get caught. Lesson learned. But that reading misses almost everything Collodi was actually doing. The book is a close study of a society where deception has gone ambient, woven into every institution, every transaction. Courts punish victims. Authority figures perform competence without exercising it. Experts are decorative. Society holds together through spectacle and habit rather than accountability. Into this environment, a naive creature is released, constitutionally unable to resist a good story about easy reward.

The nose is the least interesting lie in the book. The interesting lies are the ones that work.

***

The Fox and the Cat are the novel’s most modern characters. They persuade Pinocchio to bury his coins in the Field of Miracles on the promise that they will multiply overnight. Exploit impatience, exploit greed, frame skepticism as a failure of imagination, and dismiss skeptics as lacking vision. Remind you of someone? Space Cowboy for example?

That structure is so familiar I barely need to name it. But let me name it anyway.

Everyone from Jensen Huang to Sam Altman to Elon Musk spent a decade accumulating what I have called symbolic capital, the reputation, the prestige, the weight of being seen as someone who understands the future better than the rest of us. Now each of them seems to be running some version of the Field of Miracles, with promises that keep not arriving, timelines that dissolve, products that exist primarily as announcements, and platforms run as machines for generating more reputation regardless of what they actually do. They don’t need to be right. They need to be believed. Velocity is the new authority, and no one has weaponized that more effectively.

We are living, as I wrote years ago, in the golden age of half-truths.

Your average influencer flogging a supplement, a course, a skin cream, or a crypto token on TikTok and Instagram is running the same operation, just cheaper. The confidence is the product. The audience wants to believe. The Field of Miracles is open for business everywhere you look.

Collodi in 1881 was writing about all this at a point of major societal inflection. So perhaps now you understand why I am drawn to this story. Pinocchio is a story about a society organized around deception.

The Land of Toys is the sequence that haunts me most, especially now. Children abandon school and responsibility for a place of permanent amusement. They play. And then, gradually, they begin to change. They grow ears. They grow tails. They become donkeys, beasts of labor and exploitation, stripped of language, used until they break.

This is a parable of who we have become, a BNPL-fueled spectacle in itself.

Collodi was writing during rapid industrialization and the early emergence of mass entertainment. He understood, earlier than most, that distraction offered as pleasure can be a leash. The children who choose the Land of Toys over school are not liberated. They are owned more completely than any schoolroom could manage.

The algorithmic feed is the Land of Toys. It is built to keep you there past the point of nourishment, past the point where you are even enjoying it. Outrage travels faster than understanding. Spectacle beats judgment. The algorithm doesn’t care whether something is true. It cares whether it moves. And it keeps you scrolling, reacting, and returning in ways that benefit the platform, not you.

The political system has learned the same lesson. Governance is slow and grinding and unsatisfying. Performance is fast and shareable. We have built media and political economies that reward entertainers over administrators, and the clean story over the complicated truth.

Collodi refuses to assign blame only upward. That is what keeps the novel from collapsing into moralism. Pinocchio is deceived because he wants to be deceived. He chooses shortcuts over work, belonging over truth, spectacle over judgment, every time, until the costs become too steep to ignore. The Fox and the Cat succeed because he hands them what they need. His credulity is not innocent. It is participation.

The grifters and the hucksters and the influencers selling impossible things succeed because audiences reward certainty and punish doubt. They honor confidence and resist complication. A clean story about a genius who will fix everything travels faster than a difficult story about tradeoffs. The Field of Miracles stays open because people keep wanting to bury their coins there.

The Fox and the Cat is how the whole thing works.

Pinocchio becomes real, becomes human, only after he accepts obligation. Collodi is saying that it is important to have self-governance. It is necessary to choose the difficult truth over the easy satisfying one. That doesn’t jibe with everything the attention economy is selling, dopamine hits delivered so frequently that it becomes hard to distinguish stimulation from autonomy."]]></description>
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<item rdf:about="https://www.youtube.com/watch?v=CbXu9J970sE">
    <title>Nobel Prize-winner Orhan Pamuk on why museum are like novels - YouTube</title>
    <dc:date>2026-05-05T20:25:08+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=CbXu9J970sE</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Novelist Orhan Pamuk reflects on the intertwined creation of his book ’The Museum of Innocence’ and the real-life museum it inspired in Istanbul, Turkey, offering a meditation on memory, objects, and storytelling.

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

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

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

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

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

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

Camera: Jakob Solbakken
Edit: Signe Boe Pedersen
Produced by Christian Lund
Copyright: Louisiana Channel, Louisiana Museum of Modern Art, 2026."]]></description>
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<item rdf:about="https://open.spotify.com/episode/11zlpahmklfgr8YOUrtLnY">
    <title>Sara Hendren: Who Is the Built World Actually Built For? - Art of Inquiry | Podcast on Spotify</title>
    <dc:date>2026-05-05T14:11:09+00:00</dc:date>
    <link>https://open.spotify.com/episode/11zlpahmklfgr8YOUrtLnY</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Sara Hendren didn't start out in engineering. She started as a visual artist, then moved into cultural history, studying objects, artifacts, and what they say about the world that made them. Then life brought her into pediatric spaces filled with a new kind of object: gadgets and tools designed for a child's body, yes, but also doing quiet therapeutic work, covered in butterflies and bugs, useful and expressive all at once. She found herself asking: what is an object broadcasting beyond its user? What does it mean that eyeglasses get sold as fashion while hearing aids are hidden away as clinical? That was the moment everything snapped together, her training in the history of artifacts, the politics of disability, and the material culture of prosthetics all converging at once. In this free-flowing conversation, Sara walks us through the space between mechanical design and design for expression, why the logical and meticulous side of making art and the creative side of meaningful engineering are really the same instinct. As the world asks more and more from its engineers, Sara brings it all back to a question that feels more urgent than ever: can a designed object change not just how we move through the world, but how we see it?"

[via:
https://ablerism.micro.blog/2026/04/29/i-had-fun-speaking-on.html

"I had fun speaking on the Art of Inquiry, a podcast created by two Northeastern engineering students interested in the arts and humanities. My strange career path, my mentor Krzysztof Wodiczko introducing me to interrogative design, raising a child with Down syndrome, studio + lab culture, more."]]]></description>
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<item rdf:about="https://www.quantamagazine.org/carlo-rovellis-radical-perspective-on-reality-20251029/">
    <title>Carlo Rovelli’s Radical Perspective on Reality | Quanta Magazine</title>
    <dc:date>2026-04-09T20:15:09+00:00</dc:date>
    <link>https://www.quantamagazine.org/carlo-rovellis-radical-perspective-on-reality-20251029/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The theoretical physicist and best-selling author finds inspiration in politics and philosophy for rethinking space and time."

[See also:

"Carlo Rovelli: ‘Time Is an Illusion’
Carlo Rovelli discusses his research on time and his view that it should not appear in the quantum theory of gravity."
https://www.quantamagazine.org/videos/carlo-rovelli-time-is-an-illusion/

or

"Is Time Real? The Physics Behind the Illusion of Time"
https://www.youtube.com/watch?v=PuLaUYQFIwg
https://vimeo.com/1135354054

"What if time isn't fundamental at all? Physicist Carlo Rovelli reveals how modern physics, from relativity to quantum gravity, has gradually erased time from its equations. In its place, we find change, entropy, and the deep connection between the universe's evolution and our own perception of its flow. Featuring Rovelli's thermal time hypothesis, this video explores how our sense of past and future arises from the physics of heat."]]]></description>
<dc:subject>carlorovelli 2025 zacksavitsky physics reality mathematics philosophy worldview space time quantummechanics hegoland buddhism nagarjuna objects observereffect karlpopper thomaskuhn richardfeynman stepehnhawking copernicus galileo truth observation quantumtheory quantumphysics</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
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    <title>Being in the World (full, award winning, Heidegger/Hubert Dreyfus documentary) - YouTube</title>
    <dc:date>2026-03-26T03:11:45+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=fcCRmf_tHW8</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["A celebration of human beings and our ability, through the mastery of physical, intellectual and creative skills, to find meaning in the world around us.

a film by Tao Ruspoli

Inspired by the work of Hubert Dreyfus & his reading of Martin Heidegger.
With Hubert Dreyfus, Ryan Cross, Sean D Kelly, Austin Peralta, Mark Wrathall, Iain Thomson, Leah Chase, Manuel Molina,Tony Austin, John Haugeland, Taylor Carman, HIroshi Sakaguchi, Jumane Smith.

""Being in the World" is a film that educates one through both the senses and the intellect and, by its end, it provides a powerful but gentle reminder that we, the individuals, must take back our rightful place at the center of philosophy and we do so everyday simply by being in the world. Instead of a narrative or a series of long lectures, we are taken on a ride to visit various practitioners of the arts— primarily musicians—who simply "do" their art. These vignettes are juxtaposed with a series of philosophers, most of whom seem connected in terms of their ideas and interpretations of the German philosopher Martin Heidegger, who talk about the idea of "being in the world." I found this back-and-forth composition created a certain fluidity thanks to the way the information delivered both tickled my senses and intellect in equal measure. By the end, the aforementioned message slowly sank in and that is what created what is now a genuine appreciation for having viewed the film because I look at my life experience differently.

First of all, this work does not require any special education or training to be understood and enjoyed, although I don't think many would argue that the subject matter alone would unfortunately dissuade many simply because that is the nature of society but the fact that the average citizen is not interested in philosophy, or course, is no fault of the film. Ironically, the very message that one doesn't need to be steeped in philosophy to undertake and enjoy a life rife with meaning is one of the primary themes of the film. This theme might be summed up by stating that by simply "being in the world," we surpass all of the formalized activities associated with what engaging in "philosophy" has come to mean in the modern western world.

Although we're never hit over the head with it, it is the German philosopher Martin Heidegger who stands firmly at the center of the film as it is his iconoclastic work which inspires the ideas that undergird the messages of the various speakers. The fact that Heidegger's work is infamous for being difficult to approach even for the initiated student of philosophy is what makes this film such a gem; the more I think about the film the wider I grin because I can see more clearly how what I initially mistook for an aesthetically pleasing ride with a dose of didacticism ended up being a "reeducation" regarding how important simply "being in the world" and performing our "art" (which I take to mean profession, hobbies, etc.) is in terms of understanding where philosophy has taken us collectively.

"Being in the World" is a small film. Although the film is beautifully composed and we move around the globe, it is obvious that this was accomplished with a comparatively small budget and for me this only adds to the sense of intimacy and trust the work exudes; this is a labor of love, an authentic work of art, and it was created in order to share a message far removed from the commercial world.

It was the feeling with which I was left, however, that sets this movie apart from other, similar films. Walking away from this I felt encouraged and valued by the filmmaker and the "players." Rather than some stale exposition or preachy sermon about why I should change my mind about my life based on some epistemological tendency, I was reminded that my being in the world is what constitutes my life's meaning.""

[Three excerpts on Aeon:

First excerpt is here:

"I am, therefore I think – how Heidegger radically reframed being"
https://aeon.co/videos/i-am-therefore-i-think-how-heidegger-radically-reframed-being
https://www.youtube.com/watch?v=v727rFg9aKk

Second excerpt is here:

"True mastery demands going beyond the rules to learn for yourself"
"Embrace risk - Heidegger’s philosophy of everyday life | Being in the World"
https://aeon.co/videos/true-mastery-demands-going-beyond-the-rules-to-learn-for-yourself
https://www.youtube.com/watch?v=82_JqODbSjo

Third excerpt is here:

"As technologies mine our attention, we must look to artists"
"Technology flattens our humanity. Artists deepen it. | Being in the World"
https://aeon.co/videos/as-technologies-mine-our-attention-we-must-look-to-artists
https://www.youtube.com/watch?v=Js0URaCKvvE ]]]></description>
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<item rdf:about="https://www.oaklandreviewofbooks.org/trump-when-it-finally-happens-saramago/">
    <title>The Throne</title>
    <dc:date>2026-03-25T03:12:40+00:00</dc:date>
    <link>https://www.oaklandreviewofbooks.org/trump-when-it-finally-happens-saramago/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["José Saramago has a short story about the moment “it happens,” as the ancient American proverb goes. You might not realize that that’s what it’s about, though, because of how elliptically (and loquaciously) it orbits the moment when Portugal’s half-century-dictator, António de Oliveira Salazar, was sitting on a chair that broke, after which he fell and hit his head, and then, after lapsing into and back out of a coma, over the course of about 23 months of a very peculiar interregnum in which he wasn’t quite dead—but also wasn’t allowed to know that he wasn’t the dictator anymore, and they literally printed a special newspaper to trick him into thinking he still was—it finally happened. He fucking died. 

You have to already know all this to get what Saramago is doing, because otherwise it might just seem like a very rambling and what-is-the-point-of-this not-even-a-story about a chair breaking. There are so many long paragraphs about kinds of woods, and the beetles that eat them, and etymology, and so on and on (and on and on). But of course that stretching out of time is the point, about what happens in an instant, a crack, a fall—that before you know it, before you realize it happened, you’re in the consequences of an already past tense event—and then to really drag out that instant for more than twenty pages, stretching and articulating that thing into a meaning and story that goes on and on, so you can know it, realize it. 

It goes all over the place. There’s an extended metaphor relating the furniture beetle that chewed up the chair to the generations of laborers that built the pyramids; the African origin of the wood used to build the chair is—just as much a reference to the pyramids—another thing you have to already know to know what it is, but to those who do, it’s a sidelong reminder that what would end Salazar’s government was its wars in Africa, when its colonial possessions—all those people that it “thingified,” as Aimé Césaire would have it—declined to continue to adorn the Portuguese state seat. The collection you’re likely to read it in is called The Lives of Things, a very Verso press title that has a very Marxist interest in how things are always the function of unseen laborers, and how an Event is the visible manifestation of long-running processes that preceded it and, in a very real sense, were it; it’s all about taking vast structural processes that have been fetishized into things and doing the reverse of that to them, giving them narrative life.

(Saramago absolutely slaps.)

[image]

Anyway, when I described this particular story to my partner, she made fun of me, a little, for how excited I was about a story about a chair breaking, and she was, of course, correct: it’s a story whose high-flown rhetorical virtuosity is as silly as it is serious, and in that way is, just as much, about how the thing, when it comes, is funny and stupid and kind of gross, too, and not really in anyone’s control. It’s about the failure of letting a chair, of all things, be the thing that gets him. It’s a little bit embarrassed, I think, this communist story written by a revolutionary, that a chair was the thing that got him. 

Salazar was not a fascist, by the way, neither officially nor strictly speaking. It’s a bit like the way Donald Trump is technically more of a sparkling authoritarian despot: Centuries of Portugal’s alliance with Great Britain had allowed that little country to remain not a part of Spain, among other things, but it also meant that when the fascist 1930s rolled around, and especially when the war broke out, Salazar had reasons to keep Portugal neutral-ish, being as economically linked to the Allies as he was spiritually linked to the Axis. Having taken power in the early ’30s, then, it would take a chair to kill him, in 1968—though he wouldn’t die until 1970—and in that sense, it is basically correct to say that he was the longest-lasting fascist dictator, as the defining presence for the Estado Novo that lasted nearly fifty years, from the military coup of 1926 until the Carnation Revolution of 1974 that really smashed it (after African guerrillas had rendered its imperial state impossible).

Like most of Saramago’s work from the 1980s, “The Chair” is about trying to figure out exactly what the fuck all that even was, from the abrupt position of looking back at what suddenly turns out to have been over. Having been red-purged from his newspaper job just a few years earlier, Saramago was just then figuring out what his new writing life was going to be, at the ripe age of fifty; this story is part of a truly great novelist’s actually quite belated second act, after a long half-century of not being a novelist. It’s not one of his more famous works. It’s just a short story, just a stylistic experiment about an instant in time, and not even the moment of Salazar’s death (not even about exactly about Salazar); it is about how long it takes for a thing to happen, and how, when it does, it contains all that passed time in that instant.

When people use the phrase “when it happens” or “when it finally happens”—and they do, a lot, on the various social networks where people articulate private desires, publicly—they of course mean the very specific moment when Donald Trump’s physical existence comes to an end, a thing which will actually happen, at some point, and will be accompanied by a variety of emotions (though of course I couldn’t comment). In that sense, the phrase becomes an occasion to express the range of emotions they, and others, will feel about this event when it happens, which it will. Knowing that it will happen (which it will) provides something for those who feel like the last decade of his existence seems to be lasting forgoddamnedever. 

Again: I’d never comment. It’s shocking, to me, personally, and abhorrent—and saddening—when people act like the death of the leader of an evil regime is a thing to be happy about. All Lives Matter! The idea that political change should be, or even could be, produced through the death of the figurehead—and that anyone would want that—is hard to even wrap my head around. We live in a world of norms and rules. Imagine if we didn’t and assassination were normalized (I can’t).

Anyway, Saramago wrote “The Chair” after the guy whose secret police would jail you for seditious speech (or worse) had died, and so part of what it’s about, too, are the forms of speech that you close your mouth around, to hide them, a way of talking about anything but the thing you’re really talking about. It’s not wise, after all, to talk openly and explicitly about the intense emotion you anticipate feeling about an event like the Leader’s death, or the way you’re already feeling it, in anticipation. You won’t necessarily be arrested and tortured, or lose your job, or anything similarly grave, were you to openly proclaim a heterodox set of emotions at the prospect of Donald Trump, say, falling and hitting his head and dying (or, for example, being sucked into his golden toilet when a gruesome and unexpected plumbing accident results in a strange and as-of-yet unexplained vortex of hydrostatic force that mangles as much of his withering body as will fit inside the drain, but also leaves the rest of him, perhaps, to linger painfully on for some time afterward, horrible and undignified, children running from his visage in terror, he only half-digested by the shit-abyss that is his excrement-coated destiny, may his memory be a blessing to those who loved him). But the more you can’t really be sure that things like being arrested or fired or sent to a foreign gulag won’t happen to you—the more you hear about things happening to people who really didn’t do anything—the more you get in the habit of coding your language, of conditioning how you make yourself understood when you express feelings about Donald J. Trump. Even when you still want people to understand what you’re really saying—which is that some deaths can never come stupidly, grotesquely, or soon enough—you’re still saying it under the surface.

It’s a defeat, in a way, that we’ve come to this. But we really have. After a decade of waiting for some remnant of what we once took to be the plural-first-person of this country to finally do something about him, it’s hard to imagine anything but the gravitational force of the immanent mortality that awaits us all can put a stop to all of this (or maybe, in a piece of tragic narrative irony that I personally dread, a really strong-flushing toilet?). Nothing else has worked. But maybe, just maybe, the thing that will happen—because it always does, eventually—will happen sooner than later. Maybe that’s enough. And maybe there’s something to be said (even if I’d never say it) about the little ways we say these things, anyway, knowing that we really shouldn’t, and making explicitly that we shouldn’t, all of us chewing away at the dignity that sustains him, with our mouths, like a bug in a chair."]]></description>
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</item>
<item rdf:about="https://www.youtube.com/watch?v=FRxBCd4q9Lc">
    <title>Why modern life is designed to keep you anxious — and what to do about it | The Gray Area - YouTube</title>
    <dc:date>2026-03-03T06:43:41+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=FRxBCd4q9Lc</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["We use the word “anxiety” to describe stress, dread, worry, panic, even vibes. Which just goes to show: We really don’t know what anxiety is, or where it comes from, or what we’re supposed to do with it.

Today’s guest is philosopher Samir Chopra, author of Anxiety: A Philosophical Guide. Chopra argues that anxiety is a permanent feature of being human and the price of being a free, self-conscious creature in an uncertain world. Sean and Samir talk about the difference between fear and anxiety, why modern life seems engineered to keep us on edge, and what Buddhism, existentialism, and Freud can teach us about the anxious mind.

Host: Sean Illing (@SeanIlling)
Guest: Samir Chopra, author of Anxiety: A Philosophical Guide

1:22 What is anxiety?
9:30 Are we an anxious generation?
13:05 Buddhism and anxiety
18:55 Acceptance vs. resignation
22:05 The existentialist view on anxiety
26:50 Freud and the psychoanalytic view of anxiety
30:23 How can philosophy help you with anxiety?
31:56 Practical advice for dealing with anxiety"

[Lauren Berland, affect theory, and cruel optimism not mentioned within, but I was thinking of all that as I listened, so those tags are for that.]]]></description>
<dc:subject>seanilling thegrayarea 2026 samirchopra anxiety philosophy buddhism acceptance stress worry dread fear life living interdependence interconnected interconnectedness existentialism freud resignation consciousness psychology finance panic vibes time presence future human humanism curiosity control change everythingchanges modernity humans parenting thinking howwethink wonder awe terror freedom activism problemsolving uncertainty complextity inquiry emotions society affect crueloptimism affecttheory mind signalanxiety power loss relationships love hope security suffering outdoors prescribingnature death dying social embodiement boides mindfulness culture sublime present mysticism beauty selflessness objects</dc:subject>
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<dc:identifier>https://pinboard.in/u:robertogreco/b:4e106522c021/</dc:identifier>
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</item>
<item rdf:about="https://bruces.medium.com/ancient-everyday-weirdness-591955f40a2d">
    <title>Ancient Everyday Weirdness (2026) | by Bruce Sterling | Jan, 2026 | Medium</title>
    <dc:date>2026-01-12T03:12:52+00:00</dc:date>
    <link>https://bruces.medium.com/ancient-everyday-weirdness-591955f40a2d</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>btucesterling 2026 edc everydaycarry tools manuport objects human humans multitools everyday adamgreenfield design behavior homofaber leatherman timleatherman modernity aristotle plato weirdness swissarmylknives</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:57e13dc29a4d/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:swissarmylknives"/>
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</item>
<item rdf:about="https://aworkinglibrary.com/writing/thingness">
    <title>Thingness | A Working Library</title>
    <dc:date>2026-01-03T06:32:37+00:00</dc:date>
    <link>https://aworkinglibrary.com/writing/thingness</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["I am thinking again about this notion of “self-sameness” that Byung-Chul Han talks about in The Disappearance of Rituals. He writes:

<blockquote>For Hannah Arendt it is the durability of things that gives them their “relative independence from men [sic].” They “have the function of stabilizing human life.” Their “objectivity lies in the fact that…men, their ever-changing nature notwithstanding, can retrieve their sameness, that is, their identity, by being related to the same chair and the same table.” In life, things serve as stabilizing resting points. (Han, The Disappearance of Rituals, page 3)</blockquote>

The table does not change—at least, it does not change at any time scale that is noticeable to the human who sits before it. I do not need to pay attention to the table, because nothing is happening with it that requires or even asks my attention. I can simply trust it. I can turn around and turn back, and even with my eyes on something else, I can reach for it and know it will be there, exactly where I left it.

Screens, of course, lack any such sameness or stability. Screens are inconstant, unsame, unstable. A screen demands my attention—not only via the regular chirping of notifications, as hungry and unrelenting as a baby bird—but through that fundamental inconstancy: I know something may have changed since I last looked at it, know I cannot trust it to remain the same, to be steady or faithful. I must be vigilant towards a screen, always on alert, suspicious.

And vigilance is exhausting.

I will not add to the discourse about how we should spend less time with screens; you are as familiar with those patterns and arguments as anyone. I want to suggest instead that turning away from screens is turning towards something else. It is not an absence but a presence, not an empty hand but one with a hold on something solid and true.

That is, a politics of refusal must be more than a closed door; it must be both a closing and an opening, both rejection and invitation. The refusal must contain its alternative, the other paths, the thing you are turning to while you turn away. And what you turn to must have that stabilizing presence, that thingness, the restfulness of something you can trust. A rock that fits into your palm, a notebook, a bowl, a tree, a trail through the woods, a book (always a stack of books), a table, the chairs around it scraping the floor as your kin sit down to join you."]]></description>
<dc:subject>2025 mandybrown hannaharendt byung-chulhan vigilance ritual rituals things thingness ux objectivity screens presence absence refusal trust notebooks books objects invitation rejection substance familiarity patterns</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:ff19f7476c43/</dc:identifier>
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</item>
<item rdf:about="https://www.buzzsprout.com/2046020/episodes/17558846-crispin-mr-jones-airs-a-philosophical-perspective-on-watchmaking">
    <title>Crispin &quot;Mr&quot; Jones Airs A Philosophical Perspective On Watchmaking</title>
    <dc:date>2026-01-03T06:01:32+00:00</dc:date>
    <link>https://www.buzzsprout.com/2046020/episodes/17558846-crispin-mr-jones-airs-a-philosophical-perspective-on-watchmaking</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[also here:
https://podcasts.apple.com/gb/podcast/crispin-mr-jones-airs-a-philosophical-perspective/id1652462121?i=1000738947668
https://open.spotify.com/episode/61mrJi9aXqSsuNTy6iSM2z ]]]></description>
<dc:subject>alonbenjoseph crispinjones mrjones watches watchmaking 2025 robnudds via:hayim design manufacturing applewatch apple smartwatches criticaldesign technology blackmirror objects history jewelry 2007 2020 hongkong shenzhen china servicing repair mrjoneswatches</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
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</item>
<item rdf:about="https://direct.mit.edu/books/monograph/3356/MechanismsNew-Media-and-the-Forensic-Imagination">
    <title>Mechanisms: New Media and the Forensic Imagination, by Matt G. Kirschenbaum (2007) | Books Gateway | MIT Press</title>
    <dc:date>2025-11-30T22:31:11+00:00</dc:date>
    <link>https://direct.mit.edu/books/monograph/3356/MechanismsNew-Media-and-the-Forensic-Imagination</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["A new “textual studies” and archival approach to the investigation of works of new media and electronic literature that applies techniques of computer forensics to conduct media-specific readings of William Gibson's electronic poem “Agrippa,” Michael Joyce's Afternoon, and the interactive game Mystery House.

In Mechanisms, Matthew Kirschenbaum examines new media and electronic writing against the textual and technological primitives that govern writing, inscription, and textual transmission in all media: erasure, variability, repeatability, and survivability. Mechanisms is the first book in its field to devote significant attention to storage—the hard drive in particular—arguing that understanding the affordances of storage devices is essential to understanding new media. Drawing a distinction between “forensic materiality” and “formal materiality,” Kirschenbaum uses applied computer forensics techniques in his study of new media works. Just as the humanities discipline of textual studies examines books as physical objects and traces different variants of texts, computer forensics encourage us to perceive new media in terms of specific versions, platforms, systems, and devices. Kirschenbaum demonstrates these techniques in media-specific readings of three landmark works of new media and electronic literature, all from the formative era of personal computing: the interactive fiction game Mystery House, Michael Joyce's Afternoon: A Story, and William Gibson's electronic poem “Agrippa.”"]]></description>
<dc:subject>mattkirschenbaum newmedia storage computing computers reading howweread writing howwewrite electronicliterature literature 2007 michaeljoyce forensics computerforensics williamgibson mysterhouse games gaming videogames personalcomputing books objects text platforms systems devices mechanism affordances interactivefiction if</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:0ee36895890d/</dc:identifier>
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<item rdf:about="https://www.sherryning.com/p/youre-overspending-because-you-lack-values">
    <title>You're overspending because you lack values</title>
    <dc:date>2025-11-06T19:14:31+00:00</dc:date>
    <link>https://www.sherryning.com/p/youre-overspending-because-you-lack-values</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Overconsumption is a spiritual problem, not a money problem. Lessons about desire from "Spirited Away"."

...

"One morning in January, I woke up and it was like a spell had been broken the way I looked around my room and saw how dull everything was, not because it was lacking but because of how full it was of stuff.

Stuff I didn’t particularly love. Stuff with no serious meaning to it. Stuff I didn’t care about. Stuff that, if you had secretly tossed, I wouldn’t even realize went missing. Stuff I bought because it was trendy at the time, because my friend had it, because I had seen attractive influencers my age brag about it on Instagram, and it made me think that I could be her.

So, I did a bit of Marie Kondo-ing and produced a few large bags of clothes and trinkets and stuff for donation. Standing in front of all my stuff, it hit me that all of it used to be money, and all of that used to be time. I was standing in front of the metabolic waste of my existence, materialized. I was looking at the amount of my time, therefore my life, that had been turned into garbage. And the worst part is that I could’ve prevented it.

***

A movie scene that has stuck with me for years comes from Spirited Away, where Chihiro finds her parents turned into pigs. It’s comical to describe, but when you put yourself in her shoes, it’s terrifying: it’s every child’s nightmare to lose their parents to a force they can’t control. The panic she feels in that scene speaks to me deeply, the feeling of watching your loved ones do something that you know is wrong but being called “silly” when you try to stop them.

[image]

Materialism isn’t inherently evil; it can be gorgeous through the frames of abundance or art. Miranda Priestly’s “stuff” monologue from The Devil Wears Prada, for example, shows how material creates jobs, fuels culture, and shapes history. Miyazaki’s plates of food are dramatically overblown and colorful and delicious, but Chihiro’s parents don’t think about what they consume, only about how much. When she confronts them, her father shrugs: “It’s okay. I have my credit card and some cash.”

This is the mindset that will make you waste your life away into bags of garbage: the idea that shopping is a material issue, and overconsumption is a budgeting problem, rather than a spiritual problem. It’s easy to be Spirited Away, whisked into another world operated by desires that come from ads and friends and fleeting trends. Your appetite for novelty and your fear of missing out sucks the joy out of you—the more you eat, the hungrier you are. The more you spend, the more vapid you feel. You lack spirit, not another fashion identity. You don’t need another aesthetic, you need stronger values.

***

The title Spirited Away in Japanese is Sen to Chihiro no Kamikakushi, and kamikakushi means “hidden by the gods,” a folk belief where people mysteriously vanish into another realm. This film is about magical abduction and losing your identity. Chihiro loses her name and becomes “Sen”: to be spirited away is like being stolen from yourself, forgetting who you are under the influence of forces like greed, fear, anger—and who’s to say that emotions aren’t magical? That desires aren’t demonic possessions of the mind (“demonic” meaning “godlike divisive superfactor” in Greek)? Who’s to say that feeling horny isn’t its own kind of spell? We literally use “mania” and “craze” to describe the way people desire something: Beatlemania, the craze with Labubus, matcha being ‘all the rage’.

[image]

Lust, for example, is the feeling of wanting something really badly. It doesn’t have to be a carnal desire but it’s about a possessive craving that ends in a feeling of collapse, an appetite that, once appeased, reveals its emptiness:

<blockquote>Lust is the deceiver. Lust wrenches our lives until nothing matters except the one we think we love, and under that deceptive spell we kill for them, give all for them, and then, when we have what we have wanted, we discover that it is all an illusion and nothing is there. Lust is a voyage to nowhere, to an empty land, but some men just love such voyages and never care about the destination.

—Bernard Cornwell</blockquote>

Shopping has this effect on me, the voyage is more satisfying than the destination. There is such thing as post-purchase clarity: the moment when you buy something trendy and you suddenly sober up to how much you don’t care about it (let alone like it); you just want to be seen having it.

Who is No-Face?

Spirited Away is most known for the character with the least lines: a masked ghost who can conjure gold. He has no backstory, we only know that he is banned from entering the bathhouse. Chihiro, out of kindness, lets him in. No-Face is refused service at first, but the staff quickly compromise their values upon seeing his gold. They serenade him, “Welcome the rich man. He’s hard for you to miss. His butt keeps getting bigger, so there’s plenty to kiss!” while they fight for the gold nuggets that plop out of his fat hands. Then, he devours the workers in despair when he realizes their kindness is bought, and only Chihiro is genuine.

[image]

The painful part of loneliness is the realization that most people are ass-kissers and friendship is rare. Likewise, people feel the most alienated when they suddenly sober up to the fact that most of their desires are herd-driven, that most of them are no where close to the truth, if they even have a clear enough sense of what that is that matters to them. It’s like waking up from a trance state and realizing, What have I done to myself? I certainly felt this way standing in front of my garbage bags. Loneliness, alienation, addictions and self-defeating loops—these are not material problems, but ‘desire’ problems.

I’m finally coming to understand what Girard meant by,

“All desire is a desire for being.”

We think we want things, but every desire points to a way of life, a kind of person we long to become. Objects seduce us not with their utility but with their promise of transcendence—status, attention, belonging. That’s why No-Face has no face: he is desire itself, the appetite to become, the emptiness that consumes while wishing it were someone else.

Money reveals this: In Roman mythology, the temple of Juno Moneta was both sanctuary and mint (it’s where we get the words “money” and “monetary”). To strike a coin was to sanctify it with divine authority, so it circulated as both economic and spiritual power. It still does: money organizes meaning. Fiat currency works because we collectively believe it means something—fiat literally “let it be” in Latin—its meaning assigned by our shared narrative. And because money is tethered to desire, it doesn’t just reflect value; it follows it. It’s the pull of eyes when a sports car glides down a street. It’s Bernard Arnault, CEO of LVMH, saying “when you create desire, profits are a consequence.” Shopping is not independent from the spiritual realm that strips away our names, and it’s a very literal form of kamikakushi.

When we feel the weight of our limits, we start reaching toward idols to imitate, goals to chase, places to explore, people to meet. What we’re really chasing is a sense of immortality or infinity, something that lives longer than we ever will. We want to be remembered long after we’ve left a conversation, the company, the world.

Desire is never about the object itself. If it were, once you acquired it, the desire would vanish. Yet, your wardrobe keeps getting stuffier while you still find yourself with nothing to wear. Desire is about what the object seems to promise us: a fuller, richer existence. This is why Marie Kondo’s “spark joy” test is great: it reframes consumption as discernment. It asks whether an object raises your spirit or weighs it down. Left unchecked, your possessions take away your freedom to be who you are. As Fight Club says, “The things you own end up owning you.”

***

Every now and then, I feel my value system collapsing under the seduction of Alo’s knitwear sets through their windows. Overall, none of this is about “how to spend less”, it’s about the freedom to just be… you.

<blockquote>You are not your job, you’re not how much money you have in the bank. You are not the car you drive. You’re not the contents of your wallet. You are not your fucking khakis.

—Chuck Palahniuk (Fight Club)</blockquote>

Stronger values make you spend more mindfully because they shift the axis of desire. When you know what you worship—what you actually stand for and who you want to become—everything gets tested against that vision. Values act like a sieve: they filter out the empty cravings that come from comparison and they let through only the things that genuinely serve your spirit. Without values, desires lead you astray by following ads and algorithms and the envy of friends—a state commonly known as “being distracted”.

The scariest part of Chihiro watching her parents turn into pigs is that they could’ve simply walked away. The unattended food stalls feel like a test of whether one can resist charming distractions. Like the family in Spirited Away, you’re rarely forced to follow one desire over another (until you choose wrongly, and only later realize what you’ve done, if you realize it at all). But if you aim at your highest value—placing no other gods above it, coveting nothing of your neighbor’s—you free yourself from the distractions that split your soul and can refocus your being on becoming who you want to be."]]></description>
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<item rdf:about="https://untappedjournal.com/stories/deb-chachra-need-more-than-fewer-better-things">
    <title>Untapped : We Need More Than Fewer, Better Things : By Deb Chachra</title>
    <dc:date>2025-11-02T21:16:34+00:00</dc:date>
    <link>https://untappedjournal.com/stories/deb-chachra-need-more-than-fewer-better-things</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["How might we apply the ethos of adaptive reuse to objects?"]]></description>
<dc:subject>2024 debchachra adaptivereuse materials consumption cradeletograve environment small reuse use consumerism consciousconsumerism plastic plastics novelty design bees objects artifacts civilization lego</dc:subject>
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<item rdf:about="https://theluckman.org/gallery/a-tender-excavation/">
    <title>A Tender Excavation – The Luckman</title>
    <dc:date>2025-10-31T21:23:25+00:00</dc:date>
    <link>https://theluckman.org/gallery/a-tender-excavation/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["A Tender Excavation approaches research-based artistic practices through propositions of alternative histories, bringing together a group of artists that work with historical and familial photographic archives as a point of departure to construct new narratives and elicit transformation. Artists featured in the exhibition include Zeynep Abes, Susu Attar, Jamil Baldwin, Mely Barragán, Artemisa Clark, Arleene Correa Valencia, Mercedes Dorame, Prima Jalichandra-Sakuntabhai, Leah King, Tarrah Krajnak, Heesoo Kwon, Ann Le, Arlene Mejorado, Star Montana, and Camille Wong.

The title of the exhibition borrows a description of Arlene Mejorado’s practice as “an act of care, via a tender excavation of objects, anecdotes, and memories simultaneously.” A Tender Excavation centers identities that have been systematically excluded from mainstream narratives and representations of not only American art but of representing an “American” identity. A Tender Excavation features mainly US-based artists who represent Afro-Latinx, African American, Chinese American, Gabrielino/Tongva Nation, Korean American, Iraqi American, Latinx, Mexican, Mexican American, Peruvian American, Thai, Turkish American, and Vietnamese American intersecting identities, among others. For these artists, whose backgrounds are connected to diasporic experiences of discrimination, displacement, erasure, exclusion, slavery, and systemic violence, the practice of piecing together history through memory and counter-narrative is an act of transformation and healing. The works selected for the exhibition depart from personal, familial, or historical photographic archives which ultimately are recontextualized through installation, collage, painting, film, video, sculpture, or mixed media, reimagining and reconnecting lost fragments to speak about personal and collective resilience, constructing new possibilities for an interconnected futurity."]]></description>
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<item rdf:about="https://www.koozarch.com/essays/xigagueta-a-vessel-for-contemporary-art-writing-and-thinking">
    <title>Xigagueta: A Vessel for Contemporary Art, Writing and Thinking – KoozArch</title>
    <dc:date>2025-10-26T19:13:13+00:00</dc:date>
    <link>https://www.koozarch.com/essays/xigagueta-a-vessel-for-contemporary-art-writing-and-thinking</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["An alternative subtitle for this piece is Diidxa’ rului’ ca neza — translated from the author’s mother tongue, this means ‘the word that shows the way’."]]></description>
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    <title>The Last Dinosaurs: On Jenny Erpenbeck’s “Things That Disappear&quot; - Cleveland Review of Books</title>
    <dc:date>2025-10-22T02:51:15+00:00</dc:date>
    <link>https://clereviewofbooks.com/jenny-erpenbeck-things-that-disappear-philip-harris/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Jenny Erpenbeck’s latest non-fiction work, Things That Disappear, is organized around the unpleasant antithesis: everything fails us, eventually. Or dies, or goes out of style, or just calcifies and crumbles, whereupon the gentlest winds of history blow it away like funereal ash. A sampler of disappearing things from this book, ranging from the mundane to the abstract: pastries and coffee apparatuses; parents and old friends; palaces and sites of atrocity; social etiquette and historical mores. At the most rarified levels: memory, history, the person one used to be. It’s all contingent, though we spend much of our mortal career convincing ourselves otherwise."

...

"We are only guests on earth, we’ve known that for a long time, but even before we vacate the premises altogether, we are guests time and again, as if for a trial run: in other people’s apartments, summer houses, hotels. Before we vacate the premises altogether and all our baggage inevitably falls away, we have the opportunity to transport our earthly belongings to this place or that, as we please."

...

"​Just as each thing, no matter how simple, contains within it all the knowledge of its time […] whenever a thing disappears from everyday life, much more has disappeared than the thing itself–the way of thinking that goes with it has disappeared, and the way of feeling, the sense of what’s appropriate and what’s not, what you can afford and what’s beyond your means."]]></description>
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<item rdf:about="https://pablohelguera.substack.com/p/when-pilgrimage-becomes-form">
    <title>When Pilgrimage Becomes Form - Beautiful Eccentrics</title>
    <dc:date>2025-10-18T06:09:52+00:00</dc:date>
    <link>https://pablohelguera.substack.com/p/when-pilgrimage-becomes-form</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["On peripatetic practices."

...

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

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


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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

I close with one last but important note:

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

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

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

...

"A

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

B

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

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

A

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

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

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

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

B

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

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

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

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

A

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

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

B

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

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

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

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

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

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

A

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

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

Fugue

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

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

To recognize them is to acknowledge that the work of art is never finished, that the ladder remains even when unseen. Our task, as artists and educators, is to sensitize others to their presence — to make them glimpse, if only for a moment, those innumerable ghost ladders watching us climb, gleaming like the eyes of the jungle, reminding us that art itself is the act of ascent."]]></description>
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I'm interested in how people build identity and strength through their interactions with objects, and the ways that objects can tell stories that people can be part of."]]></description>
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    <title>MB&amp;F - Tales from the Tribe Podcast - S2 EP3 - Jonathan Ferrer - YouTube</title>
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    <dc:creator>robertogreco</dc:creator><description><![CDATA["In this episode of Tales from the Tribe, MB&F founder Maximilian Büsser sits down with Jonathan Ferrer, founder of Brew Watch & Co. — one of the first true microbrands to make waves in modern independent watchmaking. A conversation about time, creativity, and forging your own path — one meaningful detail at a time."]]></description>
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</item>
<item rdf:about="https://www.youtube.com/watch?v=U3qGzLFstko">
    <title>STOP Buying Watches: You Don't Need ANOTHER ONE! - YouTube</title>
    <dc:date>2025-07-30T23:03:44+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=U3qGzLFstko</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["I know — it sounds strange coming from someone who loves watches, who creates content about them. But I think it’s time we talk about something important:

Maybe we need to stop buying watches. Not forever. Just... for a while.

In a world of endless “just picked this up” posts and “collection updates,” we’ve created a culture where owning is more important than appreciating. Where the thrill of the next purchase overshadows the joy of simply wearing and living with what we already have.

This video is about taking a step back.
It’s about questioning why we collect — and who we’re doing it for.
Is it for ourselves? Or is it to feed the algorithm? To chase status, identity, meaning?

We explore everything from the influence of social media and hype culture to philosophical ideas from Baudrillard and Marx — all through the lens of watch collecting.

I’m not saying stop collecting. I’m saying:
Stop. Reflect.
Shift the focus from acquisition to appreciation.

Because meaning isn’t something you can buy. It’s something you build — through time, experience, and the stories you create along the way.

Maybe the question isn’t “what watch is next?”
But where are you going to wear the ones you already have?"]]></description>
<dc:subject>doug'swatches 2025 consumption consumerism socialmedia algorithms youtube watches baudrillard meaning symbols status aesthetics idenity marxism capitalism commodification symbolism sybolism watchcollecting hype fastfashion appreciation watchcanon watchenthusiasm instagram reddit meaningmaking purpose business objects identity jeanbaudrillard</dc:subject>
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<item rdf:about="https://www.youtube.com/watch?v=euahMnkSDiw">
    <title>Overthinking Why Dive Watches Are All the Same - YouTube</title>
    <dc:date>2025-07-30T22:49:28+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=euahMnkSDiw</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["You’ve seen it before — the rotating bezel, the luminous dial, the rugged steel case. Whether it’s a Rolex Submariner, a Seiko SKX, or a $200 homage, the dive watch has become one of the most iconic and instantly recognizable objects in modern design.

But how did we get here? Why does every dive watch — from luxury icons to affordable beaters — follow the same visual formula? And what does that say about us, about design, and about the myths we choose to wear?

In this video, we explore:

The history of the dive watch, from military tool to cultural icon

The aesthetic convergence that shaped its design language

The brands that dared to challenge the mold — and why most didn’t stick

How semiotics, philosophy, and social media help explain the sameness

And what the future might hold for one of horology’s most enduring forms

This isn’t just about watches. It’s about tradition, identity, nostalgia — and the power of design to become myth.

👇 Chapters
00:00 - Intro
00:58 - Origins
03:20 - Formula
05:16 - Rulebreakers
07:37 - Form follows function
09:31 - Design conservatism 
11:29 - Social media
13:26 - Progress
15:12 - The future"]]></description>
<dc:subject>watches divers divewatches history rolex blancpain omega zodiac unimatic ming rolandbarthes baudrillard simulacra symbols semiotics aura talismans conservatism nostalgia permanence identity tradition business design designconservatism materials socialmedia algorithms progress function signaling heirlooms doug'swatches iso isoinertia inertia symbolism icons philosophy watchcanon form 1932 1953 fiftyfathoms zodiacseawolf doxa seiko seikoskx iso645 standards convergence traditions significance rolexsubmariner omegaseamaster steinhart fashion tudor blackbay58 sanmartin invicta blackbay ressence mb&amp;f mainstream innovation designdarwinism myths masculinity exploration competence readiness reality danger adventure survival mythologies objects courage stories storytelling trust walterbenjamin culturalmemory culture continuity memory taste aesthetics instagram echochambers stainlesssteel ceramics manufacturing credibility templates evolution functionality ritual historyy aspiration artifacts craftsmanship jeanbaudrill</dc:subject>
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<item rdf:about="https://www.beyondthedial.com/post/e63-rolex-vs-gen-x/">
    <title>Podcast Insights E23 - Rolex vs. Gen X - BEYOND THE DIAL</title>
    <dc:date>2025-07-24T23:14:55+00:00</dc:date>
    <link>https://www.beyondthedial.com/post/e63-rolex-vs-gen-x/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Can irony reconcile the cynical Gen X world view with a luxury hobby? Does the Swiss watch industry sell us “Vintage Nationalism” along with our watches? Did Jean-Claude Biver leverage anti-establishment tendencies with his anti-electronic rhetoric of the 1980s and 1990s?  Allen takes a stab at these topics and more in this essay episode."

[Also here:
https://podcasts.apple.com/us/podcast/insights-e23-rolex-vs-gen-x/id1472733566?i=1000518322057
https://open.spotify.com/episode/30aIknfcJE6JPuVshl0jru ]]]></description>
<dc:subject>tolisten 2021 rolex genx generationx 1980s 1990s vintage nationalism luxury economics watches allenfarmelo umbertoeco traditionalism conservatism technology past marinetti futurism italianfuturists modernity futurists antiestablishment fascism progressivism environmentalism directaction greenpeace luddism luddites neoluddites neoluddism waltwhitman thoreau resistance left society analog liberalism liberals corporations corporatism filippotommasomarinetti filippomarinetti counterculture 1960s backtotheland communalism progress stephengreenblatt philosophy future thomasaquinas christianity atheism time democracy ancientgreece epicureanism ethics silentgeneration generations boomers babyboomers paralysisofanalysis thinking howwethink rebellion communes hippies romanticism childhood ingenuity forums flamewars online internet digital digitization change web billclinton neoliberalism globalization plannedobsolescence quality repair maintenance deindustrialization jean-claudebiver switzerland blancpain vintagenation</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:fc3f9345a3e8/</dc:identifier>
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</item>
<item rdf:about="https://www.beyondthedial.com/post/e1-perspectives-on-watches/">
    <title>Podcast Insights E1 - Academic Perspectives on Watches - BEYOND THE DIAL</title>
    <dc:date>2025-07-24T23:08:57+00:00</dc:date>
    <link>https://www.beyondthedial.com/post/e1-perspectives-on-watches/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["This introductory episode is a discussion about the various conceptual frameworks that we can use when thinking, writing, and talking about watches. These include mechanical, cultural, social, historical, design, phenomenological perspectives. This overview provides a set of possible frameworks that the ensuing episodes will use interchangeably. Think of this as a Metasode.

SHOW NOTES

The Mechanical Perspective
Jens Koch's Article in Watch Time about the Rolex DEEPSEA
https://www.watchtime.com/featured/rolex-deepsea-d-blue-hands-on-review/

The Social & Cultural Perspectives
Allen's Article at Worn & Wound about the Bell & Ross Areonavale 41mm
https://wornandwound.com/review/review-bell-ross-br-v2-92-aeronavale/

The Historical Perspective
Jack Forster's Article on the Omega Moon Watch 50th Anniversary Edition at Hodinkee
https://www.hodinkee.com/articles/omega-speedmaster-apollo-11-50th-anniversary-limited-edition-in-depth

The Design Perspective
Zach Weiss Video Essay on the Christopher Ward C-60 Trident Pro V3 at Worn & Wound
https://www.youtube.com/watch?v=ADJMKnLzYD8 "

[Also here:
https://podcasts.apple.com/us/podcast/insights-e1-academic-perspectives-on-watches/id1472733566?i=1000444295274
https://open.spotify.com/episode/5MOjNrPhCN1ZjPHrKvoNc5 ]

]]></description>
<dc:subject>allenfarmelo 2019 phenomenology watches history design society mechanics ryanschmidt jenskoch jackforster zachweiss anarchism authority christopherward bellandross bell&amp;ross anthropology charliekyle omega culturaltheory oppression queerstudies womensstudies indigenous indigeneity aboriginal left anarchy abdication feminism leftism hierarchy horizontality 1990s frenchschool ethnomusicology deconstruction deconstructionism sociology subcultures tools singaling perspective horology anarchronisms zoominginandout bigpicture minutia bremont music iwc longform academic objects observation keepsakes totems amulets talismans physics metaphysics science materials quantumphysics seiko springdrive meaning meaningmaking joy time culture deconstructivism watchcanon aestheticrevolution aborigines quantummechanics quantumtheory</dc:subject>
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<dc:identifier>https://pinboard.in/u:robertogreco/b:2b9636b8e26d/</dc:identifier>
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</item>
<item rdf:about="https://recordsofthought.com/the-object-im-holding">
    <title>The Object I'm Holding Is Not a Phone</title>
    <dc:date>2025-07-20T06:54:38+00:00</dc:date>
    <link>https://recordsofthought.com/the-object-im-holding</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["A sentiment we keep finding is that people want to feel again. The generation that grew up on the glass phone knows only the screen, and every screen they encounter is expected to be a touch screen. All they know is pictures under glass. We don’t need more screen, many are calling for that shift now. We need more surface — more texture, friction, feelings. Objects that keep us in the world and invite us further into reality."]]></description>
<dc:subject>objects screens senses sensory 2025 tealprocess&amp;company smartphones tactile materials hands glass bretvictor re-embodiment feeling feelings sensing human</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:7694586ebe64/</dc:identifier>
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</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://jacksondahl.com/dialectic/cwandt">
    <title>12. Che-Wei Wang &amp; Taylor Levy (CW&amp;T) - Iterating Together with Time - Jackson Dahl</title>
    <dc:date>2025-03-29T02:23:34+00:00</dc:date>
    <link>https://jacksondahl.com/dialectic/cwandt</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Che-Wei Wang and Taylor Levy are the founders of CW&T (Website, Instagram, X, TikTok), a Brooklyn-based studio creating products that exist somewhere between art, design, and engineering.

The husband-and-wife team met at NYU ITP and shares a background across industrial design, architecture, computer science, film, including time at Pratt Institute and MIT. They won the 2022 Cooper Hewitt National Design Award for Product Design. They design and manufacture everyday objects including clocks, pens, tools, and other strange objects that challenge our relationship with time, attention, and materiality. Their most recognizable products include the Pen Type-A,Pen Type-C (my favorite), Time Since Launch (a one-time-use, 100-year timekeeper), and Solid State Watch, a remix of the classic Casio F-91W.

Our conversation explores their fascination with time, their commitment to creating heirloom-quality objects in a disposable world, and how they've built a sustainable creative practice on their own terms. We discuss their prototyping-centered approach, the tension between digital and physical creation, and how they navigate collaboration as partners in life and work.

Throughout, Che-Wei and Taylor reveal a philosophy that treats making as its own reward—they create what fascinates them first, trusting that others will connect with their vision. In a world increasingly dominated by disposable products and digital experiences, CW&T offers a refreshing counterpoint: a workshop where physical objects are thoughtfully conceived, meticulously crafted, and built to accompany us through life's journeys. Their work invites us to reconsider our relationship with the objects we use daily and the passage of time itself, offering a refreshing counterpoint to our increasingly digital, ephemeral world.

Full transcript with all links and references.

Timestamps

(00:00): Time: a pattern across CW&T’s careers
(11:21): Time Since Launch: the idea of counting up instead of down, and creating personal epochs
(14:11): "Good design is long-lasting,” Durability of Electric Objects
(19:31): Balancing art, product, and design: CW&T's approach to creating strange (but useful) things
(23:51): First Word vs. Last Word Art: Michael Naimark's essay on innovation
(28:01): Death by consensus: Why Che-Wei left architecture, and the joy of creative collaboration
(32:52): Inspiration, Theory, and Self-Evidence
(38:40): Tools: iPhone world, what makes a great tool, and design that optimizes for joy
(44:21): The Hi-Tec-C pen cartridge and remixing what has come before
(48:01): Making physical objects: a case for prototyping and against rendering
(55:41): CW&T’s beloved products
(53:27): ITP, Electrified Objects, Software in Objects
(56:49): Dream Stem: Generative design, openness to new tools, AI's impact on the creative process, and intuition
(01:07:11): The value of friction, and what's lost and gained in the pursuit of efficiency
(01:09:46): CW&T the brand, contemplating CW&T's legacy and purpose
(01:15:24): Kickstarter, owning your audience, and what it would look like to start today
(01:19:35): Partners in life and work, the tension between merging identities and maintaining individuality
(01:25:02): Growth, explore vs. exploit, and learning, dream collaborators, and more resources
(1:33:56): Lighting round: great teachers, New York City focus & serendipity, creative inspirations, CW&T book, nature and green things, morphology and architecture, “form and force,” a gift for children or grandchildren, what to hang onto,
(01:52:07): Timelessness"

[also here:
https://www.youtube.com/watch?v=zEtWP1X-HNc
https://podcasts.apple.com/us/podcast/12-che-wei-wang-taylor-levy-cw-t-iterating-together-with-time/id1780282402?i=1000700540379
https://open.spotify.com/episode/4matdJ4VqtVACD4XhV8IzL ]]]></description>
<dc:subject>cw&amp;t che-weiwang taylorlevy 2025 design time jacksondahl howwework friction engineering nyuitp objects growth prototyping kickstarter process intuition efficiency legacy purpose audience learning howwelearn timelessness</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:3b235c315f18/</dc:identifier>
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    <title>Trees With a Secret Message - JSTOR Daily</title>
    <dc:date>2025-02-28T06:02:31+00:00</dc:date>
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    <dc:creator>robertogreco</dc:creator><description><![CDATA["The culturally modified trees of the Pacific Northwest and Alaska bring essential stories of the past into the present."

]]></description>
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<item rdf:about="https://sfstandard.com/2025/01/02/ron-henggeler-san-francisco-history-jars/">
    <title>San Francisco's history is stored in an Alamo Square house filled with jars</title>
    <dc:date>2025-01-03T00:57:03+00:00</dc:date>
    <link>https://sfstandard.com/2025/01/02/ron-henggeler-san-francisco-history-jars/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["A former waiter has spent 50 years building an alternative archive of San Francisco in his Victorian in Alamo Square."

...

"How do you capture the life of a city that’s constantly in flux? If you’re Ron Henggeler, you put it in a jar. Actually, thousands of them. 

For nearly half a century, Henggeler worked as a waiter at some of San Francisco’s most storied restaurants: Ernie’s, notable for its crepes suzette and appearance in Alfred Hitchcock’s “Vertigo”; the Franciscan, famous for tiered seating and panoramic bay views; and the Big 4 at the base of the Huntington Hotel, where he also served as in-house historian and decorator. 

All those landmarks are gone. 

But pieces of them live on — in Henggeler’s vast collection of glass jars. Tea labels and fruit pits from bygone meals, claws from crabs he served to diners 40 years ago, broken wine glasses — all are lovingly captured in oversize jars that once held maraschino cherries and martini olives, lifted from the restaurants where he worked. Jars upon jars line every surface of his five-level Queen Anne Victorian near Alamo Square. They’re organized by color, by texture and shape, or by theme and content. 

“It’s a three-dimensional page out of my journal of everyday life,” he said.

[image: "Henggeler takes ordinary objects, such as dental impressions, nuts and bolts, and bed springs, and turns them into something worth collecting — at least by one man. | Source:Morgan Ellis/The Standard"]

[image: "Henggeler presents old porch wood collected during his time restoring the Murphy windmill in Golden Gate Park. | Source:Morgan Ellis/The Standard"]

Yet Henggeler’s jars are more than a personal record; they’re an alternative history of San Francisco, made up of literal pieces of a past lost to redevelopment and time. In the collection are debris from Nob Hill’s Huntington mansion, destroyed in 1906; glass from the Sutro Baths; and burned canvas from the pink triangle flag vandalized in 2009. There are Gold Rush artifacts and remnants of a World War II military installation from the Land’s End labyrinth. Most objects were harvested from unusual places; some arrived through dangerous means.

Henggeler, 71, doesn’t want to put his body at risk to do the kind of collecting he once did, like scaling a 10-foot fence and scraping his leg at Hotaling Alley to collect sand from the original shoreline of San Francisco, Yerba Buena Cove.  

“The days of hunting for stuff like that are over,” he said. “There’s too many homeless people or tweakers that are out to pull copper wire out of lampposts.” 

All of Henggeler’s jars bear meticulous labels he produces on an Underwood typewriter from the turret of his 1896 manse, which he purchased with five artist friends in 1996. Only Henggeler and one other remain from the original group; they live with the artist’s partner and three cats: Sandy, Ocean, and Beach. 

[image: "Henggeler in the turret of his Queen Anne Victorian, where he amasses his jars. | Source:Morgan Ellis/The Standard"]

[image: "Some of Henggeler's jars are more art than history, like one dedicated to Donald Trump filled with Q-tips used to clean his cats’ ears and a collection of red objects Henggeler likens to life's eternal mysteries. | Source:Morgan Ellis/The Standard"]

In the 2000s, Henggeler spent six years documenting the restoration of the Murphy Windmill in Golden Gate Park, meeting the contractor and befriending the crew. A jar of wood from the front porch of the 1903 Millwright’s Cottage stands in memory of that experience.

His “worst people in the world” series of jars includes one dedicated to Donald Trump, in which he has stored broken glass, cat poop, and used Q-tips. 

His ability to see the extraordinary in the everyday has allowed him to make surprising discoveries, like uncovering not one but two hidden spaces in his own home, the larger of which he calls “the lost room” and is crowded with, yes, empty jars ready to be filled. 

Henggeler traces his fascination with jars to an experience house-sitting at a friend’s apartment in the 1970s. He was in college in Lawrence, Kansas, and “saw these rows and rows of glass gallon jars of figs and dates and oats,” he said. “And I realized the way you’re framing it, you’re making a statement.” The self-described hippie studied art at the University of Nebraska and cites Joseph Cornell’s famed boxes as an influence. 

[image: "Every inch of Henggeler’s Alamo Square home is filled with jars and art. | Source:Morgan Ellis/The Standard"]

[image: "Jars are organized by color, texture and shape, or theme.  | Source:Morgan Ellis/The Standard"]

[image: "Shelves of jars are reflected in a mirror. | Source:Morgan Ellis/The Standard"]

[image: "The labels often include philosophical quotes. | Source:Morgan Ellis/The Standard"]

[image: "Art and artifacts collected over decades fill a top-floor room. | Source:Morgan Ellis/The Standard"]

[image: "Shelves of objects. | Source:Morgan Ellis/The Standard"]

[image: "Jars rest on the stairs and in any available nook or cranny. | Source:Morgan Ellis/The Standard"]

Henggeler has kept his collection private over the years. But recently, thanks to the encouragement of other local artists, he allowed members of the San Francisco Arts Commission to tour his home for a potential exhibition at SFO. “I’ve always done this stuff for myself,” he said. “When I start thinking there’s an outside audience I’m doing it for, it changes the whole picture of the thing.” 

The work of gathering things and sorting them is a type of meditation for Henggeler. “I’m an empty head, the tool putting it together,” he said. “That’s magical for me.” He collects his finds in shopping bags and throws them in the back of his Toyota van. He never breaks items apart — just like he never uses flash for his photography — preferring to preserve them exactly as they are.

Some jars take hours to fill; others take years. He likens the process to working at a restaurant, where servers juggle groups of varying sizes and at various stages of a meal. “I’m never working just one table,” he said. “I’m working my whole station.”  

Henggeler said the process of assembling the memory jars has opened up the meaning of life — akin to the feeling he had when he first dropped acid as a junior in high school. 

[image: "A jar of Gold Rush-era mud from Yerba Buena Cove has transformed into a sort of terrarium. | Source:Morgan Ellis/The Standard"]

[image: "Henggeler said the process of assembling the memory jars has opened up the meaning of life.  | Source:Morgan Ellis/The Standard"]

“Life is miraculous, but we lose sense of that, because we have so many toys that distract us,” he said. The spry septuagenarian hasn’t thought much about what will become of his jars when he’s gone. “It’s right in front of me,” he said, acknowledging his own mortality. “But who cares?” 

While the outside world may be chaotic, inside the realm of the glass containers, there is structure, repetition, and story.

“Every once in a while you get this inner glimpse of just how special everything is,” Henggeler said. “My jars are that.”"]]></description>
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<item rdf:about="https://www.youtube.com/watch?v=v3vmCpimA-g">
    <title>Writer Orhan Pamuk Presenting the Museum of Innocence | Louisiana Channel - YouTube</title>
    <dc:date>2024-12-24T19:08:07+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=v3vmCpimA-g</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["“A tribute to the unimportant daily life objects and their valuable meaning for our memory and connection with time lost.” Nobel laureate Orhan Pamuk delves into the deeply personal and intricate world of his Museum of Innocence, both the novel he published in 2008 and the museum he opened in Istanbul in 2012. 

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

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

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

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

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

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

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

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

Camera: Rasmus Quistgaard 
Edited by Roxanne Bagheshirin Lærkesen 
Produced by Christian Lund 
Copyright: Louisiana Channel, Louisiana Museum of Modern Art, 2024 "]]></description>
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    <title>Writer Orhan Pamuk: The Texture of Istanbul | Louisiana Channel - YouTube</title>
    <dc:date>2024-11-01T02:45:42+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=CmBGE80iUrI</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[""This landscape made me." In this intimate interview, Nobel laureate Orhan Pamuk reflects on Istanbul, the city that has shaped his life and writing. From his office overlooking the Bosphorus, Pamuk describes Istanbul as an ever-present source of inspiration, memory, and introspection.

"I’ve been looking at it for the last 40, 50 years," Pamuk explains. The sense of belonging permeates his works, where the city’s complex character—the faded grandeur of Ottoman architecture, the bustling Bosphorus traffic, and the nostalgic feel of black-and-white winter landscapes—comes alive.

Pamuk’s Istanbul is one of the contradictions: a city simultaneously "poor at the edge of Europe" yet rich in history and cultural resilience. He speaks of Istanbul’s distinct “Hüzün,” or melancholy, as a defining characteristic, a blend of Sufi-inspired humility and historical resignation that he experienced deeply in his youth. "My beautiful Istanbul is black and white," he notes, underscoring his affection for the city’s unpolished, almost melancholic charm, which he captured in his early photography and paintings.

Orhan Pamuk also describes Istanbul’s unique soundscape, where the noises of bustling avenues, street vendors, and even the calls of seagulls over the Bosphorus reflect the essence of the city. "Every city has a different sound," he observes, emphasizing how these familiar sounds deepen his connection to Istanbul’s rhythm. Over the years, his perception of the city has grown into a personal mission: "A city turns out to be an index for your memories."

He contrasts Istanbul’s constant transformation with its timeless structures, which evoke an emotional and historical depth for him. Pamuk mourns the rapid changes that erase Istanbul’s “old, fragile” architecture and streets, elements he believes are vital to the city’s identity. "We are attached to this old Ottoman fountain…because it’s part of me after a while," he says, highlighting the personal significance that everyone can find in a city’s enduring spaces.

Orhan Pamuk (b. 1952, Istanbul) is one of Turkey’s most celebrated authors, known for his novels "Snow," "My Name Is Red," and "The Museum of Innocence." Awarded the Nobel Prize in Literature in 2006, he has become an international voice exploring themes of identity, memory, and the intersection of East and West.

The video shows photographs by Orhan Pamuk from the books Balcony (2018) and Orange (2020).

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

Camera: Rasmus Quistgaard
Edited by Roxanne Bagheshirin Lærkesen
Produced by Christian Lund

Copyright: Louisiana Channel, Louisiana Museum of Modern Art, 2024"]]></description>
<dc:subject>orhanpamuk istanbul 2024 landscape cities bosphorus sound soundscapes howwewrite writing place literature memory sufi melancholy turkey failure resignation history texture photography ottomanempire deterioration imagery visuals sadness poverty turkishism time cats views minarets islam hagiasophia hills oldness fragility change goldenhorn streets urban urbanism objects identity juxtaposition religion rousseau baudelaire flaneur flâneurs flaneurs flâneur bodyguards walking belonging modernity creativity complexity tanizaki jun'ichirōtanizaki japan russia flaubert europe provinciality novels henryjames art elasticity everyday details canon small richness interestedness dailylife citylife gustaveflaubert dostoevsky türkiye</dc:subject>
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    <title>Walking as Research Practice</title>
    <dc:date>2024-10-28T18:53:03+00:00</dc:date>
    <link>https://www.ideabooks.nl/9789464460674-walking-as-research-practice</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Author: Alice Twemlow; Tânia A. Cardoso
Publisher: Roma Publications
ISBN: 9789464460674
Idea Code: 24536

What might be considered the research output of a walking practice? An important caveat to this would be to ask where and when the research occurs in relation to the walk, the walking, and the walkers. Does the walk activate our senses, or do our senses demand that we walk? Since walking involves encounters with various objects and subjects, how might it help us emphasise our connection to the more-than-human world? In addition, walking reveals different entry points to a city. Could walking provide a path toward more socially just urban spaces and commons? With an introduction by design critic and educator Alice Twemlow and urbanist and researcher Tânia A. Cardoso. Published in collaboration with Soapbox Journal.

252 p, ills bw, 12 x 19 cm, pb, English
US$37.50"]]></description>
<dc:subject>walking alicetwemlow tâniacardoso morethanhuman multispecies multisensory research senses objects urban urbanism commons publicspace design via:daniellucas</dc:subject>
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<item rdf:about="https://www.latimes.com/lifestyle/image/story/2024-08-07/ed-ruscha-on-love-for-plants">
    <title>L.A. artist Ed Ruscha on his plant board and love for plants - Los Angeles Times</title>
    <dc:date>2024-09-11T16:05:19+00:00</dc:date>
    <link>https://www.latimes.com/lifestyle/image/story/2024-08-07/ed-ruscha-on-love-for-plants</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Ed Ruscha loves plants. If you know his art, this fact might come unexpected. He’s not a landscape artist. He’s never wanted to paint a plant. “I’m not sure why,” he says from behind the large desk in his Culver City studio. And yet he’s been gardening for some 50 years.

We’re looking together at two wooden planks with metal tags hammered into them. Each tag once belonged to a plant that has died, the shiny metal carved with the name of the plant, the date of its death and sometimes its cause: “Passed away / Oct. ’87 / Just dried up.”

“They’re like little epitaphs for the departed,” Ruscha says. At the top of one board, he has written: Trees and Plants that Didn’t Make It.

He grows his plants out in the desert, in the Yucca Valley, where he has a cabin. Ruscha “found out the hard way” which plants survive in the arid climate with sand storms and even snow. “I should know better than to plant a palm tree in the high desert.” He looks straight at me with his blue eyes, then smiles, briefly.

Ruscha creates a tag each time he acquires a plant, a label to remember its species, and then pokes it into the ground for as long as the plant will last. He enjoys the process of tending to his plants, protecting them from raccoons with barriers made of wire. He likes the challenge of seeing if he “can make something survive,” especially something “as delicate as a plant.”

I ask Ruscha if it makes him sad when a plant dies. “Yeah, I shed a tear,” he says — earnestly, I think. “A quick tear. And then it gets posted to the board here.” He keeps the boards leaning against the wall in his studio. “I check it out and nod at it every so often to let it know I care about it,” he tells me. “And I’m getting smiles in response” — his eucalyptus, mulberries and bird of paradise appreciating him in the afterlife.

The more I sit with Ruscha’s epitaphs, the less unexpected his love for plants becomes. Time, after all, is the artist’s great subject.

Ruscha’s life-spanning retrospective currently at the Los Angeles County Museum of Art is called “Now Then,” evoking his black-and-white lithograph of the phrase “That was then, this is now” lit up against dark clouds. His pictures declare the way things evolve and age, from a dramatic painting of the words “The End” to images of everyday, discarded things, like a torn mattress or broken pencil.

I ask Ruscha if he considers himself nostalgic. “I like remembering the past and the way things used to be,” he answers, establishing a gentle, precise distinction. He’s made a ritual of going out in Los Angeles and noticing how the landscape has changed. “I compartmentalize the way the city looked at one time,” he says, which, when he moved here in the 1950s, was like “some kind of antique village.”

Most famously, Ruscha has been photographing every block of Sunset Boulevard since the 1960s, marking the gradual disappearance of buildings, honoring street corners as his tags do for his trees. “I should have been tagging all these buildings too!” he suddenly realizes. “But we’ll let the graffiti artists tag.”

Ruscha is not against change per se, but he’s found the need to notice it. It’s an act of observation, rather than an indulgence in longing — an exercise in remembering, an effort to place things within a continuum.

Nonetheless, change can be tiring, and Ruscha seeks a break from it by going to the desert. It’s a contrast to his life in L.A.; he doesn’t see people in the desert, and, unlike a city, it’s mostly changeless. Its rocks have been there for thousands of years. It doesn’t feel like a coincidence that it’s in this stubborn landscape where Ruscha has chosen to grow his garden, where plants try to thrive against all odds, their cycle of life and death against a seemingly stable backdrop.

“It’s not just the plants that I like, but it’s the labeling,” Ruscha shares with me about his board. He excitedly explains how he etches the tags with a metal machine. “They’re not going anywhere. … These are permanent.” Like the desert to the city, the tags are the comforting counterpoints to his plants, changeless.

When people think of Ruscha’s art, they think of how iconically L.A. it is — his painted Hollywood signs, sleek gas stations and swimming pools. But it’s also iconically the desert. His art — and I include these humble wooden planks — has the energy of a desert, of those rocks that persist. I think it’s in the sharp light, in the way things get fixed.

Ruscha, who grew up in Oklahoma, moved to L.A. when he was 18 years old and hasn’t left since. He’s found himself having to explain why he didn’t move to a bigger art center like New York City and chose, instead, to stay. It’s “the feeling of California,” he tells me — “including its vegetation.” In describing the cactuses and the palm trees, he notes “the laciness of it all. … It has a magic to it that attracted me.”

While at his studio, he walks me back to his second garden, the concrete backyard that once upon a time was an orange grove. He shows me a row of Joshua trees sprouting in pots, which he plans to take with him to the desert. Holding on to his two wooden planks, he sits among kumquat and lime trees. With his all-blue outfit and bright white hair and eyebrows, he has his own magic laciness about him.

“You know, I think I get emotional progress, emotional propulsion, from plants,” he tells me. By the end of our time together, I’m getting used to how he casually utters such profound statements. I’m with the softer side of an artist known for having the cool, edgy swagger of his art, the side that propels him to paint large canvases of cracks in the sidewalk and that declare “The End” of things. It’s the side of him that picks up a basket of kumquats and limes and distributes them, one by one, into a paper bag for me to take home. It’s his nature-loving side, seemingly behind the scenes, driving how he creates and lives.

“I feel powerfully connected to that board,” Ruscha concludes. “[A] lot of plants have died, but they all are sort of reminders to me — once with me and now departed. So that’s OK.”"]]></description>
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<item rdf:about="https://thewalrus.ca/moleskine/">
    <title>Moleskine Mania: How a Notebook Conquered the Digital Era | The Walrus</title>
    <dc:date>2024-09-10T05:51:33+00:00</dc:date>
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    <dc:creator>robertogreco</dc:creator><description><![CDATA[“Do you know there’s a section of our customer base that buys a fresh Moleskine every time they come into a store? We have no idea what they do with them”]]></description>
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<item rdf:about="https://foundlingmuseum.org.uk/tokens-of-history/">
    <title>Tokens of History - Foundling Museum</title>
    <dc:date>2024-09-08T19:15:56+00:00</dc:date>
    <link>https://foundlingmuseum.org.uk/tokens-of-history/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The tokens are identifying objects parents left with their children at the Foundling Hospital in the eighteenth century. They hold myriad personal stories, most of which we can only guess at.

But these little objects are also passports to another time. In the hands of historians, they illuminate different facets of Georgian society – from courtship, entertainment and fashion to empire and belief. Explore these themes and more in this online exhibition, Tokens of History."

[See also:
https://foundlingmuseum.org.uk/take-this-token/
https://foundlingmuseum.org.uk/tokens-of-history/amulets/
https://foundlingmuseum.org.uk/event/take-this-token/ ]]]></description>
<dc:subject>tokens amulets objects coins medals</dc:subject>
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<item rdf:about="https://www.youtube.com/watch?v=s0ssAtOn6I0">
    <title>Writer Orhan Pamuk | A Good Novel Should Make Us Feel the Passing of Time | Louisiana Channel - YouTube</title>
    <dc:date>2024-08-20T21:19:51+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=s0ssAtOn6I0</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["According to Nobel Prize-winning author Orhan Pamuk, great novels should evoke a profound sense of the passage of time. In this interview, Pamuk contemplates his own mortality while reflecting on why the experience of time is central to the art of storytelling. 

Pamuk explores the narrative techniques employed by literary giants like Joseph Conrad and Virginia Woolf to manipulate readers' perceptions of time. 

He admires how Thomas Mann's The Magic Mountain effectively suspends the reader in a timeless space, making them "forget about the passing of time." Pamuk also notes how Conrad's complex narrative structures, as seen in Nostromo, challenge conventional storytelling by disrupting chronological order, although he humorously admits, "I don't advise that too much to my readers or to would-be writers."

The author also discusses how his own works reflect his deep engagement with time, both aesthetically and technically. He explains how the structure of chapters in a novel can serve as markers of time, allowing readers to experience the "life's pace of passing time" in contrast to the narrative's pace. "Chapters in novels help us to feel the existence of time," Pamuk notes, highlighting the subtle ways in which time permeates his storytelling.
Pamuk acknowledges that time becomes even more precious with age, intensifying the existential questions that arise about life's meaning. "The most valuable thing, the time is finishing," he remarks, underlining the urgency that time imposes on both life and art.

Orhan Pamuk, born in Istanbul in 1952, is one of Turkey’s most acclaimed novelists. He received the Nobel Prize in Literature in 2006 and is known for works such as My Name is Red (2001), Snow (2004), and The Museum of Innocence (2009). ‘A Strangeness in My Mind’ (2015) and ‘The Red-Haired Woman’ (2017) and Nights of Plague (2022) He is also the recipient of numerous other prestigious literary awards such as the 2002 Prix du Meilleur Livre Étranger and the 2003 International Dublin Literary Award. Orhan Pamuk lives in Istanbul, Turkey

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

Camera: Jakob Solbakken 
Edit: Signe Boe Pedersen
Produced by Christian Lund
Copyright: Louisiana Channel, Louisiana Museum of Modern Art, 2024.

Louisiana Channel is supported by Den A.P. Møllerske Støttefond, Ny Carlsbergfondet, C.L. Davids Fond og Samling, and Fritz Hansen."]]></description>
<dc:subject>orhanpamuk time novels thomasmann magicmountain williamfaulkner josephconrad virginiawoolf timepassing reading howweread writing howwewrite warandpeace tolstoy vladimirnabokov timepassage 2024 henryjames comics comicbooks experience life death human humans perception salvadordalí objects literature storytelling meaning meaningmaking change art painting sculpture architecture space</dc:subject>
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<item rdf:about="https://likeahammerinthesink.wordpress.com/2016/08/07/a-flawed-archive/">
    <title>A flawed archive | likeahammerinthesink</title>
    <dc:date>2024-08-15T05:41:44+00:00</dc:date>
    <link>https://likeahammerinthesink.wordpress.com/2016/08/07/a-flawed-archive/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["I put some pictures of part of my collection of found playing cards up on Instagram, a couple of weeks ago. The layout and pictures were inspired by Graeme Miller’s installation of found cards in Cornelia Parker’s exhibition Found at the Foundling Museum[i]. After I posted the pictures I realized that there was a mistake in the layout as I had substituted a 3 of hearts for a 3 of diamonds. Around the same time a friend made a comment to the effect that the inclusion of a found box was an aesthetic or conceptual error. (Maybe you were right Andy). So. In order to correct these mistakes here are new versions of the photographs. Various substitutions have taken place between these pictures and the Instagram ones and between the photographs of fronts and backs.

[images]

Because I spent some time going through the cards one otherwise directionless Saturday morning I thought I should record some of my ‘findings’ related to the collection. Here they are:

Since whenever it was I started this collection I have found 296 individual or small groups of playing cards. There are two complete packs that are not part of this total. I have found 61 hearts, 64 spades, 69 diamonds, 76 clubs and 26 jokers. I have only found one 5 of diamonds which means that I only have one complete ‘pack’ of various found cards. Apart from jokers, the card I have picked up most often is the jack of diamonds…there are 10 of these. I have found 28 jacks, 28 kings, 25 queens and 25 aces. I have only found 13 5s. I am pretty sure that I found cards in: London, Edinburgh, Rio de Janeiro, New York, Venice, Palermo and Taipei but I don’t know which ones or where else they might have come from.[ii]

Thinking about Miller’s display I was reminded, not just of my own collection, but also of something I had read some years ago – a Situationist strategy enacted in Glasgow involving dérives and found playing cards. But I could remember no more than that so I put the thought aside.

This week, browsing in my not usual local charity shop I came across a copy of a book: ‘8 Metaphors (because the moving image is not a book)’[iii]. I bought the book as its 8 authors and 16 contributors looked interesting and because the publishers (Lux) used to be situated about 100 yards from where I was standing. Leafing through the book later I noticed a conversation between 2 filmmakers, Stina Wirfelt and Deborah Stratman. Wirfelt’s opening gambit is: ‘I’m republishing ‘The Joker’ text I sent to you.’ This rang a bell and, misguidedly, I went online to find this text with no success. On a second look I realised that ‘The Joker’ had been republished in the book I was looking at. Furthermore, the text had been scanned from Stewart Home’s anthology ‘Mind Invaders’[iv]. This was the Situationist strategy that I had half-remembered and I had clearly read it in Home’s book. ‘The Joker’ is credited to ‘Workshop for a Non-linear Architecture’ but no individual author is named. It describes the accident of finding two consecutive cards on consecutive days (the 3 and 4 of diamonds…notably not the 5 of diamonds the card I have only found one of) and the discussion in the Mitre pub in Glasgow that lead to the idea of a game of Urban Poker played across cities and over time. Here is an outline of the rules:

‘Two or more drift teams, containing between one and half a dozen navigators, would begin at a given point in time to search for found playing cards. The cards would naturally have to be the genuine ‘unsolicited object’ (in Breton’s sense of the word), although dishonesty in regard of such matters would be left, as is only natural, to the subjective nature of the individual(s) concerned. Initially each team would seek five cards, a number of which would be burned, or in other words discarded. Once this agreed number had then be refound, the hand would be brought to a close and publicly declared, e.g. Full House, Pair, Ace High, etc., the winning team being the one with the best hand.’[v]

Miller in the label for his playing card collection at the Foundling Museum says: ‘It is hard to avoid the notion that they [the playing cards] convey fateful meaning, yet it is impossible to work out what that meaning is’. ‘The Joker’ makes an explicit reference to walking. These two strands are brought together in this passage from the essay Drifting; Some Journeys Followed by Dominic Paterson in ‘8 Metaphors’:

‘When he was writing his ‘Reveries of the Solitary Walker’ Jean Jacques Rousseau made a note on the back of a playing card: ‘My whole life has been little else than a long reverie divided into chapters by my daily walks’[vi]

Up on the first floor of the Museum there is an old display case showing some of the tokens left between 1741 and 1760 by the mothers of ‘foundling’ children at the hospital. These tokens were intended as a means of identifying the children at some later date. Here is one:

[image]

I thought that the cards I have collected dated from the early 1980s to the present but another friend pointed out that I was doing ‘this kind of thing’ in Dundee in the 70s. So this assemblage of found artefacts is the least useful kind of archive. The objects in the archive have no recorded dates or locations. Of course, this could all be part of a game I have been playing, without knowledge, for 40 years.

Dominic Paterson ends his essay with an account of Ralph Romney’s problematic contribution to the Situationist journal in the form of a psychogeographic study of Venice. (Problematic because its late delivery was the cause of his expulsion from the group). Here is Romney recalling the project:

‘And the thing that struck me most was that when people go to San Marco, they are encouraged to look at the mosaics above their heads. In my case, maybe because I have a slightly hunched back or for whatever reason, I look at the ground.’[vii]

 

 

[i] Miller’s installation is called ‘Picked hand’.‘Found’ at The Foundling Museum, London. 27th May – 4th September 2016.

[ii] My notes. 23rd July 2016.

[iii] ‘8 Metaphors (because the moving image is not a book)’. Luke Fowler, Laura Gannon, Duncan Marquiss, Laure Prouvost, Grace Schwindt, Samuel Stevens, Stina Wirsfelt, Emma Wolukau-Wanambwa. Edited by Isla Leaver-Yap. Lux, London, 2011.

[iv] ‘Mind Invaders’ Edited by Stewart Home. Serpent’s Tail, London,1997.

[v] Quoted in ‘8 Metaphors’. Unpaginated section. ‘Previously issued as a privately circulated pamphlet’.

[vi] Ibid. P 140.

[vii] Quoted in ibid. P 144. (From Romney’s book ‘The Consul’.)"]]></description>
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<item rdf:about="https://www.youtube.com/watch?v=I8qWLzKuEko">
    <title>FAITH IN ARTS: A Conversation with Dr. Fahamu Pecou - YouTube</title>
    <dc:date>2024-07-24T22:45:52+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=I8qWLzKuEko</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Faith In Arts: A Conversation with Fahamu Pecou
Wednesday, July 24, 2024
Presented as part of Faith in Arts

These conversations and interviews with a diverse group of artists, curators, faith leaders, and scholars explore the role of arts in spiritual practice and religious life in the arts.

Fahamu Pecou is an interdisciplinary artist and scholar whose works combine observations on hip-hop, fine art, and popular culture to address concerns around contemporary representations of Black men. Through paintings, performance art, and academic work, Dr. Pecou confronts the performance of Black masculinity and Black identity, challenging and expanding the reading, performance, and expressions of Blackness.

Dr. Fahamu Pecou received his BFA at the Atlanta College of Art in 1997 and a Ph.D. from Emory University in 2018. Dr. Pecou exhibits his art worldwide in addition to lectures and speaking engagements at colleges and universities. In 2024, Dr. Pecou was recently named Chevalier de l’Ordre des Arts et des Letres (Knight in the Order of Arts and Letters) by the Republic of France.

As an educator, Dr. Pecou has developed (ad)Vantage Point, a narrative-based arts curriculum focused on Black male youth. Dr. Pecou is also the founding Director of the African Diaspora Art Museum of Atlanta (ADAMA).

Pecou’s work is featured in noted private and public national and international collections including; Smithsonian National Museum of African American Art and Culture, Societe Generale (Paris), Nasher Museum at Duke University, The High Museum of Art, Crystal Bridges Museum of American Art, Seattle Art Museum, Paul R. Jones Collection, ROC Nation, Clark Atlanta University Art Collection and Museum of Contemporary Art Georgia.

Dr. Pecou was recently announced as one of the recipients of the 2022 Louis Comfort Tiffany Award. In 2020, Pecou was one of 6 artists selected for Emory University’s groundbreaking Arts & Social Justice Fellowship. Additionally, Pecou was the Georgia awardee for the 2020 South Arts Prize. In 2017 he was the subject of a retrospective exhibition “Miroirs de l’Homme” in Paris, France. A recipient of the 2016 Joan Mitchell Foundation “Painters and Sculptors” Award, his work also appears in several films and television shows including; HBO’s Between the World and Me, Blackish, and The Chi. Pecou’s work has also been featured on numerous publications including Atlanta Magazine, Hanif Abdurraqib’s poetry collection, A Fortune for Your Disaster and the award-winning collection of short stories by Rion Amilcar Scott, The World Doesn’t Require You."]]></description>
<dc:subject>fahamupecou art faith spirituality objects powerobjects popculture culture 2024 religion identity trap rap music hiphop sneakers masculinity fineart blackness talismans making artmaking transport time space bmcm+ac faithinarts</dc:subject>
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<item rdf:about="https://www.picuki.com/media/2840275612750153788">
    <title>Added by @havenwatchco Instagram post Maybe a wk ago, on the phone with one of my best friends, he said “Nostalgia is a trap” and I almost cheered. I didn’t, because it was late and I was outside, trying to keep the coughing down and stay away from</title>
    <dc:date>2024-07-01T07:13:32+00:00</dc:date>
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    <dc:creator>robertogreco</dc:creator><description><![CDATA["Maybe a wk ago, on the phone with one of my best friends, he said “Nostalgia is a trap” and I almost cheered. I didn’t, because it was late and I was outside, trying to keep the coughing down and stay away from my family, because I finally caught Covid (careful out there; this new wave’s knocking down lots of folks who made it untouched this whole time). I’ve been thinking lots about that lately, the way nostalgia sort of cuffs us. I was up in the attic while sick and realized I don’t need these books anymore. All of them hit me, at some point, which was why I held onto them, but now it’s like…well, let’s go to metaphor. Hanging onto physical objects because the emotional growth or spark they offered feels equivalent to holding onto the receipt of any meal you found delicious or revelatory. Because here’s the thing: the spark + amazement I found in these books? It’s not there anymore. It was a spark that—for me, for reading—marked a path, and the point of the path is always the journey, the going-on (I have all these books because 1) I write and 2) for a long time I reviewed books). Anyway, the point is: if you want any books and live in the US, let me know and I’ll send a couple. It’ll be a surprise—fiction, poetry, nonfiction (no drama, that I know of). The Unintentional Haven Book Club. #havenwatches #havenwatchco"]]></description>
<dc:subject>weltoncutter haven havenwatchco 2022 books nostalgia poetry westoncutter time thejourneyisthedestination writing howwewrite reading howweread pandemic coronavirus objects spark amazement possessions accumulation hoarding covid-19</dc:subject>
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<item rdf:about="https://www.thisiscolossal.com/2024/02/aleph-geddis-wood-sculptures/">
    <title>Esoteric Forms Emerge from Wood in Aleph Geddis's Enchanting Geometric Sculptures — Colossal</title>
    <dc:date>2024-06-26T06:21:01+00:00</dc:date>
    <link>https://www.thisiscolossal.com/2024/02/aleph-geddis-wood-sculptures/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Carving out a niche where traditional woodworking, modernism, and esoterica meet, Aleph Geddis crafts intricate geometric sculptures from solid pieces of timber. Each abstract piece has a personality of its own, some elusively figurative while others appear like glyphs or ancient symbols transformed into three-dimensional shapes.

Geddis is particularly interested in exploring the possibilities of the Platonic solids, a category of convex polyhedra that have been investigated by mathematicians and philosophers for millennia, prominent in their namesake Plato’s research. In a statement, Geddis describes these forms as “holding a truth beyond human subjectivity and a magical existence that precedes us and will outlast us, that we get the pleasure of experiencing and interacting with.”

Growing up in the Pacific Northwest, Geddis admired Indigenous wood carvings of the region from a young age, fascinated by their interpretations of nature. He now splits his time between Bali and Orcas Island, Washington, where he shares a studio with his sculptor father.

Geddis’s fascination with nature and wood as a medium began to catalyze during a family trip to Japan when he was young. Over time, his work has evolved in an ongoing study of form and material. He now also has a house in Hokkaido, Japan, where he plans to add on a studio. As a frequent traveler, Geddis brings his work with him wherever he goes, exploring the dualities and paradoxes of his surroundings as he continues “to make some offering of beauty and integrity back into the world.”

Find more on Geddis’s website and Instagram. (via Design Milk)"

[See also:
https://www.alephgeddis.com/
https://www.instagram.com/alephgeddis/ ]]]></description>
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<item rdf:about="https://theconvivialsociety.substack.com/p/the-stuff-of-a-well-lived-life">
    <title>The Stuff of (a Well-Lived) Life - by L. M. Sacasas</title>
    <dc:date>2024-05-16T04:42:27+00:00</dc:date>
    <link>https://theconvivialsociety.substack.com/p/the-stuff-of-a-well-lived-life</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Watching the ad, I mostly thought to myself, “I’m glad Albert Borgmann, may he rest in peace, is not around to see this.” (I understand, of course, that this is not what most normal people thought as they watched the ad.) But then I thought, “I don’t know, how good might it have felt to see your whole critical philosophy of technology, first articulated in the mid-1980s, so fully vindicated by both the tech company’s unwitting admission and the negative response it triggered?”

Borgmann, who passed away just over a year ago, was a German-American philosopher of technology. In my view, which you can take with a grain of salt, he was one of the giants of the field, and he has deeply informed my own thinking and writing. On the occasion of his death, I re-published an essay I’d written years ago, which serves as a decent introduction to some of the main themes in his work. The essay was titled, “Why An Easier Life Is Not Necessarily Happier.”1

To keep us moving briskly along and focused on Apple’s implicit vision of human flourishing as conveyed in their recent ad, here are the core relevant concepts from Borgmann’s work.

In an effort to understand the dominant technological patterns of the age, Borgmann identified what he called the device paradigm. The logic of the device paradigm is pretty straightforward. It describes the tendency to hide the complex machinery of a technology below a slick, commodious surface that makes the output of a device available to the user with minimal effort. The goods a device offers its users are “rendered instantaneous, ubiquitous, safe, and easy.” “A commodity is truly available,” Borgmann writes, “when it can be enjoyed as a mere end, unencumbered by means.” Apple products have long been leading exemplars of the device paradigm.

But this is only part of the picture. Borgmann opposed devices to what he called focal things. Focal things demand something of us. They require a measure of care, practice, and engagement that devices do not. Our use of them induces our focus, which they invite by design. “The experience of a [focal] thing,” Borgmann also notes, “is always and also a bodily and social engagement with the thing’s world.” There are, in other words, embodied and communal dimensions to the use of a focal thing. They involve our bodies, and they involve us in relationships to a degree that devices do not.

Consider just one of many possible examples: musical instruments. To learn how to make music with a guitar, for example, requires time and effort. Mastery of the instrument will take a great deal of time and effort. Your body may literally be marked by the effort with calloused finger tips. But the rewards are great, too. The pleasure of making and not merely consuming music, and of sharing it with others.2 In short, focal things are characterized by the kind of engagement which they invite and sustain. Or as I’ve put elsewhere, in relation to devices we tend to be relegated to the status of user, who may more often than not be the one being used. But no one would describe a musician as a user. Yes, they use the instrument, but the richness of the relationship between the musician and their instrument demands a different term, one that signals the degree to which a skill is cultivated in relation to the focal thing. We speak of musicians, not users of musical instruments because the musician is characterized by a set of skills they have cultivated in order to make something with the instrument.

So, then, one more thing I can say for Apple’s ad is this: when explaining Borgmann’s work, I can now simply say “watch this.” The ad amounts to a compelling, visceral depiction of a device crushing an array of focal things and thus eliminating the corresponding focal practices and their attendant skills and pleasures. It is a visual depiction of the triumph of the device paradigm.

The near universal response to the ad, which was heartening, also demonstrated another of Borgmann’s core claims: our experience tends to be enriched by focal things and diminished by devices. A good life is supported by a diverse array of focal things and practices, which tend to reward us with deeper, more meaningful experiences; a gratifying measure of bodily skill and competence; and possibly even a stronger fabric of relationships. Alternatively, a life characterized merely by the consumption of virtual goods mediated through devices, and the subsequent dependence and isolation such a life necessarily entails, will not be conducive to our well-being.

Granted, it is hard to resist the promise of ease, safety, efficiency, and convenience, particularly when many of us may already be operating with some degree of burnout and exhausted by what is demanded of us to simply get by day to day. This is the trap set for us by our existing social order. When society is built to run like a machine for the optimization of profit and productivity with little regard for the constraints inherent in the embodied human condition, then we are tempted to embrace the device paradigm as a matter of survival or because we have been conditioned by the machine and have internalized its values.

The point, to be clear, is not that you and I must cook every meal from scratch or listen only to music we make for ourselves or never use a device that may facilitate the completion of certain tasks. The point is that we ought to resist any vision of the good life in which we are reduced to mere consumers of readily accessible digitally simulated goods or in which human flourishing is indexed solely to the sheer quantity of our techno-economic system’s outputs without reference to their kind and quality. Implicit in Apple’s ad is the idea that virtually unlimited access to such goods is the summum bonum of human existence.

I have the good fortune of being able to walk to a farmer’s market most Saturday mornings. Usually, some local musicians will be performing. The acts vary from young, solo artists to duos or groups of various styles and compositions. Last Saturday, I listened as an older couple, easily in their seventies if not their eighties, played and sang together. The old man played guitar and his wife played the fiddle as they sang an assortment of classic American folk songs.

I do not know their story, of course, but they appeared to be enjoying themselves and for a few moments they enriched my life. I can imagine the tale their instruments could tell, and I can imagine how much those relatively simple instruments must mean to them. Ordinarily, the user of a device is only all too ready to part with it when a newer model arrives or when it loses its novelty or functionality. The reaction to the Apple ad reminds us that focal things are not so readily parted with. They are deeply valued and even treasured.

If the Apple ad was a graphic depiction of the triumph of the device paradigm and the crushing of focal things along with the forms of life they sustain, then this couple playing their instruments together after many long years embodied the joy and satisfaction focal things and practices bring to our lives.

These appear to be the two paths presented to us: one in which the device paradigm colonizes more and more swaths of our experience and we are increasingly reduced to swiping along a glassy surface of endless content, or one in which we refuse the lure of limitless and meaningless consumption and reclaim focal things and practices along with the skills, satisfactions, and community they generate."]]></description>
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<item rdf:about="https://tegowerk.eu/posts/bicycle-repair/">
    <title>Tegowerk - A love letter to bicycle maintenance and repair</title>
    <dc:date>2024-05-12T23:54:22+00:00</dc:date>
    <link>https://tegowerk.eu/posts/bicycle-repair/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["It was the 28th of June, 2020; the perfect summer day. I remember it distinctly because of two important events that took place on that day. The first was the unfortunate discovery that I am highly sensitive to the venomous hairs of the Oak processionary caterpillar. If you’ve never wished you could use a cheese grater to remove the skin off your arms and legs just to be rid of the itching, then you can’t really understand how I felt for two whole weeks that summer.

The second thing that happened on that 28th of June was the seemingly inconsequential purchase of two secondhand bicycles. My wife and I drove out to a local park to test ride a couple of ’90s-era Trek 970 bikes that a guy had restored in his garage. We didn’t know a thing about bicycles, but we liked what we saw; the bikes worked great and felt very nice to ride around the park–the fact that I also happened to ride through a floating cloud of Oak-processionary hairs would only become apparent the next day.

So we took our new old bikes home, and we started riding them around. We got into bicycle touring too around that time, and that’s worth an entire future post on its own for the joy it’s brought us, but for now I’d like to get back on track. See, I kept thinking about the guy we bought the bikes from. I don’t know if he did this as a hobby, side business, or what, but I became increasingly fascinated by the idea of fixing up and restoring old bicycles. As I said, at that time I didn’t know a thing about bikes; I couldn’t even change a brake cable, but I’d always wanted to pick up a hobby that would take me away from the computer, something that would get my hards dirty at the same time, so why not give this a try?

Back then I still had my previous bike too, gathering dust and cobwebs somewhere in the basement. It was a Cube Aim that I’d had for at least a decade and had practically never serviced. It worked like crap, but I suspected most of it was just lack of maintenance and proper adjustment. In fact, it was in a lot of ways a nicer bike than the one I’d just bought. So I set a goal for myself: I would take the bike apart, down to the last bolt; I would clean everything up, change whatever parts were broken, and put it back together again. After all, how hard could it be?

At its core, a bike is a very simple, very old machine. The basic operating principles have remained virtually unchanged since the first “safety bicycle” of the late 19th century: you push on the pedals to rotate a crank arm; a chain transfers the power to the rear sprockets; the sprockets turn the rear wheel. That’s it, that’s all there is to it; a wonderfully simple device that is nonetheless the single most energy-efficient mode of transportation humanity has come up with.

Of course, modern bikes are a lot more complicated than that: inflatable tires; the freewheel; derailleurs; suspension; hydraulic disk brakes; electric motors and electronic gear shifting. Every major technological advancement has brought with it increased safety, ease of use, and performance, at the cost of adding extra layers of complexity on top of the basic initial machine. It’s increasingly rare now for people to know how to repair their own bicycles, and bicycle mechanics themselves have more and more skills to learn if they want to keep on top of the fast changes in their field.

Which brings me back to my modest Cube. I grossly underestimated just how complex a task I’d set for myself, of course, but at the same time I also underestimated just how much I would love doing it. I had never considered myself mechanically inclined; my dad didn’t teach me much, and by that time I hadn’t yet truly internalized something that has since become one of my main mantras in life: what one man can do, another can do (by the way, if you haven’t watched The Edge yet, you really should). Thankfully, we live in glorious informational times that our forefathers didn’t even dream of. A trove of knowledge of incalculable value is available at the fingertips of every self-learner, and bicycle repair is no exception. YouTube channels like Park Tool or RJ The Bike Guy provide a visual, hands-on learning experience that is comparable to the tragically fading practice of apprenticeship. Internet forums like /r/bikewrench give one the ability to pick the brains of real-life professional mechanics (although, just like every other subreddit, it does have its idiots that one needs to learn to steer clear of), and no list of bike repair resources could be complete without mentioning the Bible, the website of the late Sheldon Brown. May he rest in peace.

Eventually, I finished the project. It didn’t go smoothly at all. On more than one occasion I realized I was missing some vital tool, or some tiny part that I hadn’t even known existed until I suddenly needed it–like cable ferrules, or a star nut–and without which the whole project ground to a halt. Nevertheless, the bike progressed, then finally it was done, and from that moment on I knew I was hooked. I’ve been working as a web developer since 2006. Coding has always been my great passion. I have literally lost count of the number of apps and projects I worked on for the past sixteen years. But let me tell you something: not a single launch has given me the same high, has been as memorable or as character-defining as rebuilding that cheap bicycle in 2020; I simply had to have more of it.

Almost two years have passed since then. I’ve rebuilt almost twenty more bikes in that time. I’ve learned to reliably build wheels, and I’ve become the go-to guy for bike repair in my circle of friends–and even for some folks who I didn’t even know before. There isn’t a single bicycle repair task that scares me anymore. I’ve gone from not being able to change a brake cable, to bravely taking apart complex components or hacking them for use-cases that they weren’t designed for. We have since sold the bikes we bought back in 2020, and both my wife and I are now riding bikes that I’ve built from scratch. The pride I feel when we go out on a ride cannot be overstated, and I love biking now more than I ever did as a result.

I realize this may sound overblown, but the changes this hobby has wrought in me go beyond just teaching me a fun and useful skill. Learning to fix bicycles has changed my outlook on manual labor, on the nature of work, and ultimately on life itself:

Thinking versus doing
Looking back, I realize I had a terribly naive perspective on manual labor. I lived with the misconception–drilled into me since childhood–that work can be neatly split into two categories: knowledge work and manual work; that there are those who think, and those who do, and by extension (and it greatly shames me to admit this) that there is a clear difference in value between the two.

I have since realized that the line that separates thinking from doing doesn’t actually exist; instead, the two are facets of the same coin, and neither can exist in isolation. This came to me when I noticed that there is just as much thinking going into solving a bike repair problem as there is in solving a bug in my code (and, incidentally, the same high when I finally crack it). I later ended up reading Shop Class as Soulcraft: An Inquiry Into the Value of Work, by Matthew B. Crawford; it was an eye-opening read that eloquently put into words a concept I had merely sniffed the edges of. I highly recommend you give it a read.

What one man can do, another can do
I touched on this a bit earlier in the text. I have a lot more courage now in tackling all sorts of repairs around the house, not just on bikes. This is because I now know that I have the capacity to learn the necessary skills, but more importantly, it’s because I’ve learned to look at objects and see them. Something has shifted inside me, and it has altered my perception of the world. Before, I used to look at an object and only see it on the surface; I saw the function it performed and nothing more. Now I see the bolts, the screws, the cables, the hinges, the motors, and I know that each one of those can be fixed or replaced independently of the object as a whole. Maybe this has always been obvious to you, but as I’ve already said, I didn’t learn much of this stuff growing up; it’s a failing I put on my shoulders and the shoulders of my father both, and it’s something I’m only truly making up for now, in the fourth decade of my life. Better late than never.

Tangibility, of objects and people
At work I build websites. Well, that’s not strictly true. I build web apps, I write unit tests, I manage databases, I architect and set up the cloud infrastucture, I set up continuous integration and continuous delivery pipelines, and sometimes I even help my colleagues fix the Docker setup on their machines. My daily conversations are peppered with such acronyms as PHP, TDD, CI, CD, K8s, SQL, JSON, AWS, GCP, CF, SSH, SSL, and on and on and on.

If you’re not an IT person, most of these words won’t mean anything to you, and therein lies my next point. Conceptually, it’s easier for humans to relate to occupations that produce something you can point a finger at. The further removed a person is from the results of their own work, the greater the disconnect they feel, and the greater the chance they’ll conclude they’re working in a bullshit job.

Now, I don’t actually believe I’m working a bullshit job. I don’t really believe they exist. I believe jobs provide value even when the value is not immediately, tangibly apparent. But I do believe in the disconnect that makes people feel this way, and I do believe that’s a distinct hallmark of the modern service-oriented industries. You’ll never hear a baker say their job is bullshit.

And it’s not just the tangible aspect of the work itself, either. The same can be said of the people who ultimately benefit from the work. Websites that I’ve built are being used right now by hundreds of thousands of people, yet for some reason I still feel I’m making a greater impact when I see a person ride away on a bike I’ve just repaired for them. It’s senseless, yet there it is."]]></description>
<dc:subject>bikes biking maintenance repair 2022 tegowetk thinking howwethink doing matthewcrawford tangibility objects bullshitjobs websites webdeb web online internet</dc:subject>
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<item rdf:about="https://onethingnewsletter.substack.com/p/the-meaning-of-a-moka-pot">
    <title>⬜ The meaning of a moka pot - One Thing</title>
    <dc:date>2024-03-31T20:45:36+00:00</dc:date>
    <link>https://onethingnewsletter.substack.com/p/the-meaning-of-a-moka-pot</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Good coffee pot design; bad coffee

Nate Gallant: We are no more surrounded by nostalgia than at any other moment in American culture. Trying to leap across the chasm of time in order to experience warm memories is, as always, a much easier task than reckoning with actual history — which “weighs like a nightmare on the brains of the living,” per Marx. Fine. But it’s still pleasant to have a few things around the house that evoke various flavors of the past. 

To this end, I've always found the classic, aluminum Bialetti moka pot to be a very satisfying sort of kitchen "thing." Not for its ability to carry the signs of "latent hedonism" (as Barthes says of Marx and Brecht's cigars), or for its Eurocore aesthetic (debatable), or even for its ability to produce incredible coffee (it's good, not amazing). Rather, I am attached to its ability to slough off culture. The moka pot is totally within itself. It carries the aesthetic formulation of experimental pre-war Italian design with relatively little historical freight and maximal functionality. Its construction quality has somehow survived the 21st century’s cheapening of housewares and appliances. 

The moka pot is sort of frozen in function, rather than in time. Cultures have developed around the Bialetti, and fancier versions have emerged, to be sure. However unlike, say, the laicization of barista-level pour-over coffee or the matte-black gadget-guy espresso workflows, to my knowledge, no "thingification" or trend has fundamentally altered it. It’s not hugely commercialized, nor is it particularly prone to class signaling. Anyone might have one, and a lot of people do. 

My hunch about its indelibility was confirmed when I attempted to upgrade my old Bialetti. I had wondered for some time if the many curious moka pot redesigns that had been continuously advertised to me from Alessi were any good. During a deep sale, I relented, and purchased one from a recent line of products by a mid-century designer I'd never heard of, Alessandro Mendini. Rather than the relatively smooth vertical geometry of the Bialetti, this Alessi version in bright stainless steel has shallow, horizontal curves that lightly terrace an hourglass-like shape. It looked like an upgrade. But the Alessi moka pot makes shit coffee, and never quite enough of it, either. It tastes both weaker and less satisfying than the old Bialetti, even though the only difference seems to be its bulbous silhouette.

Ultimately, though, I can only blame myself for the mistake. I betrayed my own attachment to the moka pot’s lack of aspirational design. Perhaps worse, I was potentially seduced by the billowy hourglass of a coffee maker. The mustachioed Bialetti mascot will continue to laugh at me from somewhere on the kitchen counter, casually outliving my attempts to better myself through aesthetic refinement. I never needed anything particularly semiotic from my coffee pot. As I desperately bobble toward feeding my caffeine addiction each morning, all I need is a smooth, steaming, industrialized runway."]]></description>
<dc:subject>coffee nategallant moka 2023 mokacoffeepot mokaexpress nostalgia thingification objects design espresso bialetti express</dc:subject>
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<item rdf:about="https://www.thebeliever.net/logger/2016-08-10-packing-my-library/">
    <title>Packing My Library - Believer Magazine</title>
    <dc:date>2024-01-29T04:27:35+00:00</dc:date>
    <link>https://www.thebeliever.net/logger/2016-08-10-packing-my-library/</link>
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<item rdf:about="https://jackforster.substack.com/p/the-watch-in-the-age-of-mechanical">
    <title>The Watch In The Age Of Mechanical Reproduction</title>
    <dc:date>2023-12-10T03:34:32+00:00</dc:date>
    <link>https://jackforster.substack.com/p/the-watch-in-the-age-of-mechanical</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["No, I think that the objection to the Uni-Racer 1949 is deeper than the question of fakes or plagiarism or creative license, and I’m going to drag Walter Benjamin’s The Work Of Art In The Age Of Mechanical Reproduction kicking and screaming into watch discourse, which I like to do every once in a while because it makes me feel intellectually respectable and I like dressing in borrowed glory as much as the next fellow. Benjamin’s thesis is complicated and I have read the book many times since I read it at fifteen for the first time (which probably tells you more about my tragically lonely adolescence than I ought to be comfortable admitting … if I could go back in time I’d probably tell myself to get outside and enjoy the fresh air a little … which is something I could say to myself, right now, come to think of it). The basic idea is that unique works of art have something he calls an aura – a sort of numinous symbolic spiritual presence that is dependent on the unique place, time, and circumstances of a work of art.

The Sistine Chapel mural is a good case in point – there’s only one and insofar as it was painted by this one guy, during this one period in history, and it’s in this one place (no prizes for guessing where) it has an aura. Reproducing a work of art in multiples can dim the aura of the original and having stood in front of the Mona Lisa, and having found it depressingly anticlimactic, I am inclined to agree with this assessment. The problem that some folks have with the Uni-Racer 1949 is not, I think, that it is an act of plagiarism, nor that it is a fake. Both of these are demonstrably untrue and to defend the watch against accusations of plagiarism as well as to make the accusation in the first place, is to miss a deeper point. Collectors value anything collectible, whether it’s wine, furniture, or postage stamps, to the extent that it is rare and the obsession with vintage watches in particular is based on the aura they possess. This is bound up inextricably with the question of nostalgia but the aura conferred by rarity and exclusivity is I think something you can discuss as a separate question from nostalgia per se. To take a page from Benjamin, we feel an emotional connection to a work of art insofar as it has an aura, which lends it its social utility as an object to which we look for a commonly shared emotional experience. If the Uni-Racer 1949 touched a nerve, maybe it’s partly because some people felt that in reproducing the original, the aura of the original – its presence in the world as a special and even totemic object – had been diluted, and that what was left, after all was said and done, was not a uniquely special work made in a uniquely special time, possessing uniquely special qualities, but merely an object."]]></description>
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    <title>Marcus Aurelius: The Man Who Solved the Universe - YouTube</title>
    <dc:date>2023-09-26T15:59:28+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=tv6W0Nv5ev0</link>
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<item rdf:about="https://www.youtube.com/watch?v=Fz68ILyuWtA">
    <title>Planned Obsolescence Will Kill Us All - YouTube</title>
    <dc:date>2023-09-22T23:11:28+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=Fz68ILyuWtA</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Chapters:

0:00 Intro
2:36 Planned Obsolescence: the Basics
18:16 The Value of Everything (That Exists)
28:43 The Goddamn Environment
34:28 Born of the Depression
46:26 ...and that's why"]]></description>
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<item rdf:about="https://futuress.org/stories/designing-belief/">
    <title>Designing Belief: A Journey into the Sacred Art of Phrakhreūang</title>
    <dc:date>2023-08-22T20:13:49+00:00</dc:date>
    <link>https://futuress.org/stories/designing-belief/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["How tradition, history, and social development converge in Thailand’s amulet culture."

...

"It’s interesting to hear from him about the perception of value and the process of creating amulets. Unlike me, with a Bachelor of Arts degree in Industrial Design, my father doesn’t have a background in art or design. In Thailand, design schools primarily follow modernist design curricula, and do not specifically cover the design and production process of amulets. While certain fine art schools may include teaching on sculpting Buddha statues, the knowledge of amulet-making predates the establishment of formal education institutions. Amulets are authentic products that have organically emerged from Buddhist communities, which are outside the realm of design schools."

...

"Today, Phrakhreūang as a form of Buddhist commerce still remains very popular in Thailand. It is part of a widespread trend known as Mutelu, which encompasses ritual activities such as worshiping amulets, paying homage to monks or sacred statues, and making merit (donating time, service, possessions, or money) at temples to invite prosperity into one’s life. Some believers prioritize the maintenance of their wealth and social status in their ritual activities, aiming to accumulate more riches. In Capitalism Magic Thailand: Modernity with Enchantment, historian Peter A. Jackson suggests that these “cults of wealth” emerged as a result of the influence of the neoliberal economic order in post-Cold War Thailand, a period in which sacred rituals became highly commodified, influenced by the popularity of amulets and material possessions."

...


"At one of our driving lessons, my dad brought me two Phrakhreūang amulets to hang behind the car mirror. The first one is the eye-closing monk amulet, which represents safety, while the second one is the Chinese icon Pixiu that is known to bring prosperity. As someone who has no religious beliefs, I still keep it there—not because it will bring me prosperity or safety as they claim, but because it reminds me of the practice of everyday resistance and just how precarious modern life has become."

[embedded video:
https://vimeo.com/855613959 ]]]></description>
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<item rdf:about="https://www.hodinkee.com/articles/untold-story-patek-philippe-generations-advertising-campaign">
    <title>The Untold Story Of Watchmaking's Most Iconic Advertising Campaign</title>
    <dc:date>2023-08-07T00:17:38+00:00</dc:date>
    <link>https://www.hodinkee.com/articles/untold-story-patek-philippe-generations-advertising-campaign</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["How Patek Philippe's "Generations" campaign changed watch advertising forever."

[referenced here:
https://screwdowncrown.substack.com/p/brand-power

resurfaced here:
https://www.hodinkee.com/articles/patek-philippe-generations-ad-campaign-fathers-day ]]]></description>
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<item rdf:about="https://www.chrbutler.com/personal-machines-and-portable-worlds">
    <title>Personal Machines and Portable Worlds - Christopher Butler</title>
    <dc:date>2023-07-09T19:58:31+00:00</dc:date>
    <link>https://www.chrbutler.com/personal-machines-and-portable-worlds</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["A lifelong fascination with technology begins with a single object.

Think back to when you were a child, to when you first encountered something you could hold in your hand that held you in awe. Perhaps you thought to yourself, “Wow, this does that?!”"

...

"There’s something about the personal device that I have always found fascinating and now find to be almost mysterious. But to be personal it has to be a certain kind of device — the kind that balances access to another world with the kinds of limits and boundaries that make a thing private. That balance is something I’ve always been able to point to in particular objects — this has it, but that does not — but describing it on its own, as a set of rules or characteristics, has always eluded me. But, for me, a personal device is defined by this balance, not by virtue of being the thing in my pocket and not the one in yours.

I think this notion of a personal technology is deeply meaningful. So I’d like to find a way to explain it.

Nearly everyone I asked returned the question — That was the gadget for me… So, what was yours?

I can point to my own origin-objects — gadgets like the Fisher Price Movie Viewer, the Pocket Rocker, the Etch A Sketch Animator, or, from a bit later, the Arion Hot-Watt II — and describe why they had that thing. Besides being quirky, niche products, they all let me enter another world that, at times, seemed both bigger and smaller than this one. It was as if that world was outside of this one, made accessible by the push of a button and, at the same time, that it sprang into existence as a me-sized bubble universe, Population: 1. This is the paradox of the personal device.

The tension between knowing that the world a personal device creates has boundaries defined by its code and materials and not knowing exactly what they are is one that, when kept in balance, activates the imagination. It allows for exploration, both of the object and through the object.

People of a certain age who remember spending hours exploring Hyrule, the world of The Legend of Zelda, will immediately understand this feeling. You could explore the world, and you could play the game. I’m not sure I ever tired of exploring enough to actually play the game.

The most magical of personal devices are those which offer access to the experience of infinitude without measuring it for you. The unknown is the stuff of imagination.

That is the opposite of our most common device-based experiences today. Whether you use a phone, tablet, laptop, or any other computer, the digital “world” today is always defined by an acute awareness of measure. Of more. But more is the easiest way to obstruct the imagination. Persistent input keeps cognition at its lower levels — maintaining attention, storing memory, applying perception, and processing language — without allowing a transition to thought and learning.

The best personal device supports thought — with it, within it, and most importantly, within you. Carl Jung once wrote that “in each of us there is another whom we do not know.” The purpose of introspection, for Jung, was to become acquainted with that person — to deepen our understanding of ourselves so that we may be more fully ourselves.

What if technology had the same purpose?

What if personal technology saw imagination — open, unresolved, interior, and subjective as it is — not just as a byproduct of use but as a purpose for it; as equal to utility, communication, or entertainment?"

...

"Kyle Chayka is working on a book that sounds like it may make a good case for my invisible mechsuit world. In a post titled, “The dream of the personal machine,” [https://kylechayka.substack.com/p/the-dream-of-the-personal-machine ] Chayka writes:

<blockquote>“My book is so much about how technology dictates culture. The devices that we use aren’t just accessories to culture or windows that we consume things through; they are collaborators, gateways, and molds…the idea of a personal computer had to be invented, manufactured, and marketed. We had to imagine computers as personal machines.”</blockquote>

This is an important point. We could live in a world where computing is a public works — where terminals to central processing work like telephones used to. You can pick them up or put them down, but nothing inside of them is yours. But we don’t live in that world. As soon as the first computer booted up in the first home, the computer became a personal object. And when an object becomes personal, it is difficult to leave it behind. We want it with us.

Perhaps that one thing — a simple desire for a personal machine — set us on the course we have followed since. Not Moore’s Law, not Capitalism, but personhood.

Later, in the same post, Chayka writes of the Palm Pilot — an early attempt at portable computing — that, despite it not providing much in the way of “fun” features for a kid, there was still an “ineffable appeal to holding a gateway to a digital world in your hand.”

A world. There’s that word again.

Why a world? There is a sense of dimensional transcendence to computers. As C.S. Lewis wrote of the wardrobe, “It’s inside is bigger than its outside.” In the early days of mobile computing, it was hard to not compare the capaciousness of a computer you could carry with you to something like a book. Of both you could say their insides were bigger than their outsides, but when it came to information, you’d have to settle for figurative capaciousness in a book; their actual contents are literally cover to cover. A digital machine’s contents are an entirely different thing.

In the time of the Palm Pilot, a tiny door to a vast digital world was more powerful as an idea than a tool. The digital world just wasn’t as big back then as it is now. But to Chayka’s first point, we built the digital world using these little devices that didn’t do very much. We made it worth the journey. And meanwhile, the object was our companion, and inside was a tiny, personal digital world — our notes, our messages, our few digital texts. It was not much, but it was ours."

...

"Many of the examples I’ve looked at so far align with my ideas of what makes a machine personal because they were designed with limitations imposed upon them, and many of the examples I’ve discussed that no longer feel personal have been designed to surpass those limitations. If machines were designed to be more personal, we’d have very different machines.

Sometimes it feels like it is simply a matter of whether a machine is connected to the internet or not. But of course it’s more than that. It’s as much about what we do with our machines as it is about what they were designed to do.

I think we can still experience the personal machine by choosing to experience a machine that way.

In a way, the continued popularity of vinyl is a good example of this. For the same price as a single record, you can get several months of access to more music than you could ever hear in that time. Still, some people choose records over digital files. It’s too easy to dismiss this as an affectation. It’s a choice to experience music in a particular way. It’s also a choice of a personal machine — a record player rather than a phone.

One benefit of personal technology reaching the maturity it has is the abundance of choices. It may seem like you must use an iPhone — perhaps everyone you know and care about is group messaging with iMessage — but you can choose something else. Every choice has benefits and costs. Ten years ago, I chose to leave Facebook. The benefits were many; the costs were not having easy access to where people I cared about shared information I wanted to know. A few years ago, I stopped using an e-reader — I had used a Kindle, and then a Kobo, both great machines. The cost was no longer being able to send articles from the web to my machine and reading them, as well as books, in bed. The benefit was not having too many choices in front of me when I just want to read one thing. I went back to the printed book. You could say that’s as much of an affectation in 2023 as playing a vinyl record. Maybe. But it’s a choice.

I haven’t owned a laptop for many years. My primary machine is a Mac Mini set up in my home office. The cost is I can’t work from my couch or the local coffee shop. The benefit is I have some separation in my life between work and not work.

For me, these choices turn using the same machines everyone uses into a more personal experience."

...

"I also notice that when I look at these older machines and the old media they use, I often find myself feeling like I’m looking at a door to a world. I look at a book — there’s a world. Every playable disc in our house — each a world.

Once you become accustomed to worldspotting, you can see them in anything. Every object is a world.

In the World; of the Worlds

Perhaps the days of personal machines are over. Maybe the complexities that Mau and his cohort wrote about are not safely reducible. Maybe we can’t decomplexify the world of things. Maybe. And if we can, I wouldn’t dare imagine it could happen quickly.

But if we can, where do we start? What do we look at? What do we use again, despite there being sleeker, faster, frictionless options available? What limits do we embrace so that we can re-balance the human with the machine?

I have spent the last few years slowly disconnecting in various ways. I’ve chosen to use things that only do a part of what readily available alternatives do and more. I’ve chosen to stop using some things altogether. I have found that these choices have enhanced my experiences because they’ve supported true insight; they’ve helped me be more aware of what I’m doing, why I’m doing it, and who I am becoming. I have found that they change the world because they change my world.

Jung said that in each of us is another. I think that in each of us is another world. A good personal machine reveals that world and helps us shape it."]]></description>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:institutewithoutboundaries"/>
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<item rdf:about="https://aeon.co/essays/time-is-not-an-illusion-its-an-object-with-physical-size">
    <title>Time is not an illusion. It’s an object with physical size | Aeon Essays</title>
    <dc:date>2023-05-28T00:15:19+00:00</dc:date>
    <link>https://aeon.co/essays/time-is-not-an-illusion-its-an-object-with-physical-size</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Not a backdrop, an illusion or an emergent phenomenon, time has a physical size that can be measured in laboratories"]]></description>
<dc:subject>time objects sarawalker 2023 evolution future measurement</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:0582c5b2e944/</dc:identifier>
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<item rdf:about="https://docs.google.com/document/u/0/d/1QbPa3URLo5cp07bi6U-vTFjX_4btORAlwSnSRxEapsk/mobilebasic">
    <title>The Computer is a Feeling</title>
    <dc:date>2023-05-28T00:11:02+00:00</dc:date>
    <link>https://docs.google.com/document/u/0/d/1QbPa3URLo5cp07bi6U-vTFjX_4btORAlwSnSRxEapsk/mobilebasic</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The Computer is a Feeling
Tim Hwang and Omar Rizwan

1. The computer is a feeling, not a device.

2. By this we mean that what makes a computer a computer has nothing to do with commands, compilers, or even machines. For us, computer is the specific feeling of artifacts that allow for intimate systems of personal meaning.

3. This point has been obscured for two reasons. First: the language we use to talk about computing - established decades ago - has lost its original meaning and force.

4. Consider the term “personal computer”. This phrase used to distinguish what was special in the moment about the devices that gave us computer feelings: the Apple II, the Commodore 64, the Windows PC. They were personal – not big mainframes – and they were computers – a kind of device that runs instructions.

5. Both of these features are now ubiquitous. Computer-devices are now everywhere, nearly all of them personal in some sense. This comes from the commodification of hardware. What was previously scarce and expensive is now simply an implementation detail: computerization is the cheapest way to control any machine, whether it is a toaster or a fridge or a car or a smartphone.

6. These devices may have the hardware of a computer inside, they may even run a computer operating system like Linux, but they're not computers in the emotional sense that we mean. “Computer”, once an apt term for both the technology and the feeling it gave, has become less descriptive with time.

7. Second: the modern internet exerts a tyranny over our imagination. The internet and its commercial power has sculpted the computer-device. It's become the terrain of flat, uniform, common platforms and protocols, not eccentric, local, idiosyncratic ones. This is out of necessity: if two or two hundred or two million or two billion computers are going to communicate with each other, they simply must agree on quite a bit.

8. The triumph of the internet has also impoverished our sense of computers as a tool for private exploration rather than public expression. The pre-network computer has no utility except as a kind of personal notebook, the post-network computer demotes this to a secondary purpose.

9. We live in a world of ubiquitous computer-devices, but fading computer-feeling. Consider the smartphone, an indisputably "personal computer." The smartphone is for you; it sits in your pocket. The smartphone is a computer; it is made of silicon and software.

10. But the smartphone is not a philosophically meaningful computer. It gives only dim flashes of computer-feeling. Accepting it as a COMPUTER feels silly, wrong.

11. Do you dream about your smartphone?

12. Does it feel like a place that you can inhabit and shape and reconfigure?

13. Does it give you a sense of possibility?

14. Computers are a feeling, not a device.

15. An old dogma is that true computer-feeling emanates from certain technical commitments. Open source and free software partisans hold to the orthodoxy that the computer-feeling depends on the capability to read and write source code.

16. The modern era highlights the absurdities of this creed. We live in a world awash in resources shilling the self-help doctrine of “learn to code”. But, as yet, the computer-feeling continues to ebb away. Programming is a means to evoke a computer-feeling, but no iron law requires that one will use it for this purpose.

17. This orthodoxy is also a kind of fetishism. “Programming” can conjure a computer-feeling, but it is not the computer-feeling itself. The sense that programming is the only way celebrates the tools, but not the experience. We want the experience.

18. Making “computer” mean computer-feelings and not computer-devices shifts the boundaries of what is captured by the word. It removes a great many things – smartphones, language models, “social” “media” – from the domain of the computational. It also welcomes a great many things – notebooks, papercraft, diary, kitchen – back into the domain of the computational.

19. The agenda is to expand our understanding of what makes the computer-feeling.

20. The agenda is to advance the computer-feeling in devices, objects, and cultures."]]></description>
<dc:subject>computers computing timhwang omarrizwan personalcomputers internet smartphones 2023 via:justinpickard hardware software coding devices objects culture feeligns operatingsystems programming experience ux ui networking networkedcomputing papercraft interface interfaces gui</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:90ac628148fe/</dc:identifier>
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<item rdf:about="https://www.newyorker.com/culture/annals-of-inquiry/the-philosopher-who-believes-in-living-things">
    <title>The Philosopher Who Believes in Living Things | The New Yorker</title>
    <dc:date>2023-04-14T02:21:05+00:00</dc:date>
    <link>https://www.newyorker.com/culture/annals-of-inquiry/the-philosopher-who-believes-in-living-things</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Jane Bennett argues that the stuff that surrounds us isn’t inert—it has a will of its own."

...

"In 1917, the sociologist Max Weber argued that “the fate of our times is characterized by rationalization and intellectualization and, above all, by the disenchantment of the world.” Ever since, we’ve tended to think of ourselves as living in a disenchanted world, from which all magic has been stripped. Bennett asks us to entertain the possibility that “the world is not disenchanted”—“that is, not populated by dead matter.” Her response to the disenchantment of the world is to deny that it ever happened in the first place."

...

"Bennett and I left the park and found ourselves in a spooky area beneath an expressway. We decided to walk up a nearby hill, toward a hip neighborhood called Hampden. In front of an extraordinarily ugly apartment building, we ambled to a stop. Bennett was trying to show me something with great enthusiasm.

“This is a famous Baltimore thing called formstone,” she said. “It’s like stone wallpaper.” This seemed right: the formstone, out of which the building’s façade was constructed, looked like a kitschy stucco version of a medieval stone wall. Bennett pointed to an otherwise unnoticeable flaw in the formstone.

“What is it?” I asked.

“It’s a crack with caulk in it,” Bennett answered, triumphant.

I wasn’t getting it right away. Later, she explained to me that the caulky crack was interesting to her because it showed that there are tendencies in the formstone itself to “guide and shape and nudge and call upon people even as they’re designing things.” A person put a bunch of caulk into the wall of a building, she said, but this person was “guided” by the specific, independently established shapes and contours of the formstone. Often, she went on, “you basically have to follow the form of the material.” Agency goes both ways.

It was hot, and I was tired. An hour before, I’d been entranced by a dead tree; now the houses and lawns and trash and lampposts and caulk cracks were starting to lose their vibrancy. I felt a strange sense of guilt. Was I letting Bennett down—letting the formstone down, too? “Even if, as I believe, the vitality of matter is real, it will be hard to discern it, and, once discerned, hard to keep focussed on,” Bennett writes. “I have come to see how radical a project it is to think vital materiality.” It’s not just that concentration can be wearisome. Bennett had shown me that picture of the dead rats for a reason: being genuinely open to and affected by everything around us means that there is no picking and choosing. It is everything or nothing—the good, the bad, and the ugly. This can be inspiring; it can also be overwhelming. Perhaps this explains why so many hoarders feel bewilderment and distress: they’re burdened and sometimes beaten down by their hoards. Human beings have a lot of difficult work to do if we’re to learn to recognize the inherent worth of all vibrant matter.

Bennett hopes for a positive outcome. During my time with her, I thought frequently about an old house in Detroit which my spouse and I have been rehabbing for many years now. It was built in 1917. It has its ways. We started our rehab project with many grand ideas about completely transforming the layout of the house. But because we’ve been doing the work ourselves and going slowly, the house has had the opportunity to get its two cents in. It doesn’t speak like a person, of course, but it communicates, day after day, season after season. The house has revealed to us how light travels around its surfaces and interiors in winter, spring, summer, and fall; some of the changes we were planning to make have come to seem wrongheaded with that further information. Other changes we hadn’t even considered suddenly became possible and exciting: its intermittently crumbling ceilings opened the possibility of increasing the height in some rooms.

Working on the house has started to feel like an ongoing dialogue. Rather than imposing our preconceived ideas onto a bunch of inert matter, we often find ourselves asking, What does the house want? People who visit sometimes remark on the special feel of the place. They’ll ask, How did you make this house so cozy? The answer, as Bennett has shown me, is not clear and definitive. We listened to the house, and the house listened to us. Enchantment happened."]]></description>
<dc:subject>2023 janebennett objects hoarding animism enchantment formstone kinship vitality difference differences burden</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:01d528480401/</dc:identifier>
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<item rdf:about="https://urbantechnology.substack.com/p/urban-technology-at-university-of-287">
    <title>Urban Technology at University of Michigan week 140</title>
    <dc:date>2023-04-09T03:39:18+00:00</dc:date>
    <link>https://urbantechnology.substack.com/p/urban-technology-at-university-of-287</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[See also:

"Talk with Julian Bleecker" (Domus Academy)
https://www.youtube.com/watch?v=DWAboMb08Cs

"Julian Bleecker, Designer, Engineer and Creative Leader, has been the guest of the latest Domus Academy Open Talk, moderated by Gabriele Ferri. Enjoy the video!"

"DesignFiction at AIGA 2022 Annual Conference."
https://www.youtube.com/watch?v=Y-KeTvzTL_s

"Julian Bleecker's Design Fiction Presentation at AIGA 2022 Annual Conference."

"Design x Technology Lecture Series | Julian Bleecker" (LTU_CoAD)
https://www.youtube.com/watch?v=YrBFK3ZXBsE

"The College of Architecture and Design at Lawrence Technological University, LTU_CoAD, offers degrees in architecture, interior design, graphic design, game design, transportation design, and industrial design.   It is is dedicated to a pedagogy of “theory and practice”, the original motto of Lawrence Technological University, advocating not one or the other, but both, integrated and coherent. "]]]></description>
<dc:subject>julianbleecker designfiction 2023 design manuals startrek archaeology objects storytelling imagination gabrieleferri bryanboyer speculativedesign speculativefiction</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
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<item rdf:about="https://fo.am/wabisabi-route/">
    <title>Tending to the transient and the overlooked | FoAM</title>
    <dc:date>2023-03-01T20:50:54+00:00</dc:date>
    <link>https://fo.am/wabisabi-route/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Taking a more suggestive, impressionistic approach, the ‘wabi-sabi’ route dwells with things transient, unfinished, or overlooked. It extends an invitation to wander, to defer the temptation to intervene, watching, waiting, and letting things unfold. This route hones in on the crafts of noticing, care, and repair. Revealing our aptitude for receptivity, it suggests embodied, practical exercises and techniques for landing, attunement, immersion, and laying fallow. The route traverses worlds of collective ritual and solitary practice, offering a simple meditation on being with the world-at-large. Finding places of enchantment or remove, the poetic, multisensory experiences scattered along this route prompt reflection on transitions and liminal states, and the neglected art of bringing things to an end."]]></description>
<dc:subject>transient overlooked maintenance care repair immersion attunement landing noticing idleness slow small allthesenses multisensory unfinished wandering hesitation resistance patience unfolding waiting watching observation receptivity solitude ritual being morethanhuman objects multispecies liminality liminal transitions inbetweenness ephemeral ephemerality poetics poetry reflection meditation pause wabi-sabi betweenness inbetween between</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
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<item rdf:about="https://vimeo.com/772226780">
    <title>Eyeo 2022 - Dorothy Santos on Vimeo</title>
    <dc:date>2023-01-02T08:54:35+00:00</dc:date>
    <link>https://vimeo.com/772226780</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["SONIC FUTURES
| Dorothy Santos at Eyeo 2022 |

Dorothy worked in the biotech and pharmaceutical industry for 14 years, and didn’t realize how one set of rules around language would change her perspective on how she communicates and writes stories. In particular, how do we follow the rules of language when we may not understand what is being communicated? How does one make another human being understand the importance of something they have yet to learn? In this talk, Dorothy shares her research and work in interactive fiction, playable media, text-based work, and the practice of subversion through methodology."]]></description>
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<item rdf:about="https://podcasts.apple.com/us/podcast/best-of-ruth-ozekis-enchanted-relationship-to-minds/id1548604447?i=1000571550798">
    <title>The Ezra Klein Show: Best Of: Ruth Ozeki’s Enchanted Relationship to Minds and Possessions on Apple Podcasts</title>
    <dc:date>2022-12-05T03:10:14+00:00</dc:date>
    <link>https://podcasts.apple.com/us/podcast/best-of-ruth-ozekis-enchanted-relationship-to-minds/id1548604447?i=1000571550798</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[See also:
https://www.nytimes.com/2022/01/25/opinion/ezra-klein-podcast-ruth-ozeki.html

transcript:
https://www.nytimes.com/2022/01/25/podcasts/transcript-ezra-klein-interviews-ruth-ozeki.html ]

"Today we're taking a short break and re-releasing one of our favorite episodes from 2022, a conversation with the novelist and Buddhist priest Ruth Ozeki. We'll be back with new episodes next week!

The world has gotten louder, even when we’re alone. A day spent in isolation can still mean a day buffeted by the voices on social media and the news, on podcasts, in emails and text messages. Objects have also gotten louder: through the advertisements that follow us around the web, the endless scroll of merchandise available on internet shopping sites and in the plentiful aisles of superstores. What happens when you really start listening to all these voices? What happens when you can’t stop hearing them?

Ruth Ozeki is a Zen Buddhist priest and the author of novels including “A Tale for the Time Being,” which was shortlisted for the Booker Prize, and “The Book of Form and Emptiness,” which I read over paternity leave and loved. “The Book of Form and Emptiness” is about Benny, a teenager who starts hearing objects speak to him right after his father’s death, and it’s about his mother, Annabelle, who can’t let go of anything she owns, and can’t seem to help her son or herself. And then it’s about so much more than that: mental illnesses and materialism and consumerism and creative inspiration and information overload and the power of stories and the role of libraries and unshared mental experiences and on and on. It’s a book thick with ideas but written with a deceptively light, gentle pen.

Our conversation begins by exploring what it means to hear voices in our minds, and whether it’s really so rare. We talk about how Ozeki’s novels begin she hears a character speaking in her mind, how meditation can teach you to detach from own internal monologue, why Marie Kondo’s almost animist philosophy of tidying became so popular across the globe, whether objects want things, whether practicing Zen has helped her want less and, my personal favorite part, the dilemmas posed by an empty box with the words “empty box” written on it.

Mentioned:
The Great Shift by James L. Kugel

Book recommendations:
When You Greet Me I Bow by Norman Fischer
The Aleph and Other Stories by Jorge Luis Borges
Vibrant Matter by Jane Bennett

This episode contains a brief mention of suicidal ideation. If you are having thoughts of suicide, call the National Suicide Prevention Lifeline at 1-800-273-8255 (TALK). A list of additional resources is available at SpeakingOfSuicide.com/resources."

[See also:
https://www.listennotes.com/podcasts/the-ezra-klein-show/best-of-ruth-ozekis-cEL9YtiVWnB/ ]]></description>
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</item>
<item rdf:about="https://podcasts.apple.com/us/podcast/beyond-horology-podcast/id1549388407?i=1000538216849">
    <title>Beyond Horology Podcast: Why We Collect Watches with guest psychiatrist Erik Nilzèn 🇸🇪 on Apple Podcasts</title>
    <dc:date>2022-11-20T00:28:12+00:00</dc:date>
    <link>https://podcasts.apple.com/us/podcast/beyond-horology-podcast/id1549388407?i=1000538216849</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["In this episode Niko talks watches, addiction and number of reasons why we get so deep in the watch collecting hobby with psychiatrists and fellow watch nerd Erik Nilzèn.
Visit Doing Time Blog here: www.doingtime.se/

Visit Erik’s Instagram here:
https://www.instagram.com/doktornsklockor/

We welcome your rating on Apple Podcast, as well as your feedback, questions and recommendations via DM on our Instagram!
https://instagram.com/beyondhorologypodcast"

[Also here:

https://www.listennotes.com/podcasts/beyond-horology/why-we-collect-watches-with-43tidTps-J5/

https://open.spotify.com/episode/2jmUfEM65bZAPlw7l5QizH

https://anchor.fm/beyond-horology/episodes/Why-We-Collect-Watches-with-guest-psychiatrist-Erik-Nilzn-e18ka72 ]]]></description>
<dc:subject>watches collections collecting eriknilzèn 2021 hobbies mortality time aesthetics brain memory possessions objects light shape forms sound smells allthesenses talismans memories connections howwethink living learning pasttimes self-worth self-importance expertise value why whywelearn belonging community communities socialmedia enabling forums self-assertion shopping anxiety values consumerism validation status vanity success signaling flexing stories ego expression self-expression desire obsession longing expectations sweden fulfillment investment culture clothing accessories stress influence budget homages settling watchenthusiasm fomo image images illusions longevity durability fashion trends trendiness limitededitions manipulation addiction behavior consumption depression overconsumption procrastination relationships escape respect work lifebalance balance watchcollecting</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:3f9621dd3470/</dc:identifier>
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</item>
<item rdf:about="https://newbooksnetwork.com/shipwreck-hauntography">
    <title>Podcast | Sara Rich, &quot;Shipwreck Hauntography: Underwater Ruins and…</title>
    <dc:date>2022-11-14T17:47:21+00:00</dc:date>
    <link>https://newbooksnetwork.com/shipwreck-hauntography</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Drawing on a broad theoretical range from speculative realism to feminist psychoanalysis and anti-colonialism, this book represents a radical departure from traditional scholarship on maritime archaeology.

Shipwreck Hauntography: Underwater Ruins and the Uncanny (Amsterdam UP, 2021) asserts that nautical archaeology bears the legacy of Early Modern theological imperialism, most evident through the savior-scholar model that resurrects—physically or virtually—ships from wrecks. Instead of construing shipwrecks as dead, awaiting resurrection from the seafloor, this book presents them as vibrant if not recalcitrant objects, having shaken off anthropogenesis through varying stages of ruination. Sara Rich illustrates this anarchic condition with 'hauntographs' of five Age of 'Discovery' shipwrecks, each of which elucidates the wonder of failure and finitude, alongside an intimate brush with the eerie, horrific, and uncanny."

[Also here:
https://podcasts.apple.com/us/podcast/sara-rich-shipwreck-hauntography-underwater-ruins-and/id276412994?i=1000586086154
https://open.spotify.com/episode/5bpLeMTpDkRtqJRTsrLGKm?si=d5LgITPIQk2buIE1tydfiw ]

[book
https://www.aup.nl/en/book/9789463727709/shipwreck-hauntography ]]]></description>
<dc:subject>2022 sararich transdisciplinary multispecies morethanhuman uncanny eerie history hauntography shipwrecks anti-colonialism archaeology maritime imperialism theology philosophy failure finitude via:javierarbona reality liminality liminal theory discovery scholarship realism underwater accretion ownership objects ecosystems growth unesco capitalism science religion god christianity belief liminalzones culture attribution property geopolitics duality dualities binaryoppositions heritage howwelearn anticolonialism betweenness inbetweenness inbetween between</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:b2fe2891ff7c/</dc:identifier>
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</item>
<item rdf:about="https://nomos-glashuette.com/en/magazine/earn-it-first">
    <title>Earn it first — NOMOS Glashütte</title>
    <dc:date>2022-08-20T01:11:21+00:00</dc:date>
    <link>https://nomos-glashuette.com/en/magazine/earn-it-first</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[Wayback:
https://web.archive.org/web/20250523085913/https://nomos-glashuette.com/en/magazine/earn-it-first ]

"[image: "Emptiness is rare: On average, we are surrounded by 10,000 things."]

Jörg Hundertpfund spends a lot of time thinking about what designers do—and not only since Greta Thunberg. The ongoing effort around the world and how we use things to make it a better one is a central question for the renowned product designer and professor. Read his interview here.

[image: "Jörg Hundertpfund, product design professor and freelance designer"]

Mr Hundertpfund, you are a product designer and also teach young people design. Is it still possible to do that with a good conscience—given that following Greta Thunberg and Fridays for Future, sustainability is the watchword?

Jörg Hundertpfund: In our world, things define identity and for that reason, play a large role. The exploitation of resources, however, has created a new situation for us—which may be beyond the point of no return. It presents us with huge problems. Every step forward is an experiment with an unknown and possibly precarious result.

For many, it’s becoming too much. Perhaps that is why a young Japanese author recently caused a stir by explaining how to get rid of excess things: Marie Kondo’s guide to tidying up and clearing out has been translated into many languages and become a bestseller. “To kondo” has even become a verb to describe getting rid of unneeded things.

J.H.: That makes perfect sense: You could see consumers today as swimmers in a current—always striving to stretch their arms forward, pull things towards them, and then push those things away behind them again.
But these things pile up behind them and can no longer be pushed away, that’s when they have a problem; you become a horder against your will.

[image: "This could also be seen as a form of consumption: traveling"]

Then you need to find some advice.

J.H.: Yes, something that will tell you how to stop things sticking with you in the first place. How to swim through the mess of life. Perhaps we all just need to take up window shopping again. Or just borrow what we need. Acquiring possessions that have been mass-produced comes at the cost of human and natural resources. This is all very connected to possession and at the same time, a clear problem that we can no longer avoid.

[image: "Window shopping, borrowing, and sharing: A look toward the future shows that new habits would be useful."]

But not buying things any more—is that the solution?

J.H.: We need to “earn” something before we can own it. And I don’t just mean that in terms of financial cost, but also earning in the sense of responsibility.

It’s always said that ownership is a responsibility…

J.H.: Yes. We do have a responsibility towards every thing that we own. Even if it’s just a paperclip.

And usually we own more than a paperclip.

J.H.: The average European owns around 10,000 things! And we have to deal with it all, take care of every single thing, and be responsible for it. In my opinion, that’s not something that’s being learned.

But can things also help us to be successful in life?

J.H.: Yes. We simply need to engage more with the things that surround us. That would not lead to mass consumption. I believe we would realize at some point that new things are not useful at all, unless you have the time to use them. Simply consuming things doesn’t help—at best, it brings us momentary contentment, which quickly becomes stale and feeds the drive towards the next purchase.

[image: "Hungry for the next consumer purchase? Perhaps sketching will take your mind off it."]

You’re a designer. Aren’t making new products also commissions, jobs, and a part of what you do?

J.H.: Of course. In the business of design, every new job and product takes us further. They are our livelihood. But I have been saying for a long time that we cannot simply keep producing things… we need to react. And as a society, we need to reflect on what defines us.

What do you mean by that?

J.H.: When what I own is more important than the social, economic, or ecological environment in which I live, then this is a reality that we need to deal with somehow.

[image: "Jellyfish die and can then come back to life. As humans, it’s better to ask ourselves: What are the consequences of my actions?"]

Are there any good sides to consumption?

J.H.: Well, for example, we are highly mobile. That is a good thing—it educates and connects us. But we have to address the question of how we use this mobility. After all, no-one gets into a plane and asks themselves whether they will be welcome where they are going. The question is always: What is the consequence of my action? What does it have to do with me and to what extent does it affect other people?

And what do you suggest?

J.H.: Today everything has to be easily accessible, work straight away, be self-explanatory, and so on. I think that we should start to see things as a challenge and, in this sense, as an obstacle again. Then you have to spend some time with the things that surround us, thinking about the way we live and why we buy what we do.

Is that how something becomes a good thing to have?

J.H.: Yes, if you don’t just blindly grab things—which is something easier said than done. When the history can continue to be written, and when there is the potential for development in things. That is when another thing can be helpful and create a new, meaningful approach.

And is it sometimes worth buying a watch?

J.H.: Of course! Those who never have enough time could really use a watch."]]></description>
<dc:subject>nomos less slow simplicity sustainability environment watches delayedgratification gretathunberg jörghundertpfund 2020 responsibility small objects accumulation hoarding desire exploitation place travel consumerism consumption design pause purpose mariekondo resistance possessions engagement meaning production mobility challenge watchcanon</dc:subject>
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<item rdf:about="https://www.beyondthedial.com/post/e14-gary-shteyngart-on-watches-as-literary-devices/">
    <title>Podcast Conversations E4 - Gary Shteyngart on Watches as Literary Devices - BEYOND THE DIAL</title>
    <dc:date>2022-08-16T23:27:35+00:00</dc:date>
    <link>https://www.beyondthedial.com/post/e14-gary-shteyngart-on-watches-as-literary-devices/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Allen sits down with best selling novelist Gary Shteyngart to talk about how watches have figured into Gary’s writing. From his New Yorker article called “Confessions of a Watch Geek” to his novel Lake Success Gary has used watches as literary devices that become windows into the internal lives of characters both real and fictional. Gary’s command of watches as a topic is impeccable, and he is as fluent as anyone in going into “why they’re so fascinating.”"]]></description>
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<item rdf:about="https://www.mrporter.com/en-ca/journal/watches/dopamine-horology-bright-watches-colour-dial-strap-17532988">
    <title>Watches: Dopamine Horology: The New Style Language For The Post-Pandemic Watch Boom | The Journal | MR PORTER</title>
    <dc:date>2022-08-11T16:39:09+00:00</dc:date>
    <link>https://www.mrporter.com/en-ca/journal/watches/dopamine-horology-bright-watches-colour-dial-strap-17532988</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["If you’d told me then that this hulking piece of techno-chic gear would, by 2022, have morphed into a slinky, unisex, pink-dialled watch for the masses, I’d have given you short shrift. But, as an illustration of how watch design is evolving on the other side of the pandemic, the 2019 PPX 115 and the watch Oris dropped earlier this year, the PPX 400 (or ProPilot X Calibre 400), offer a handy before-and-after comparison.

Reduced to a lithe 39mm of air-light titanium, the case and bracelet of the PPX 400 follow the same form factor as the earlier watch, but substantially streamlined and elementally different. It feels smaller than it is. It has the supple elegance of the best sports-luxe bracelet watches, but also the fluid wearability of a smartwatch. It’s fresh, non-retro and specifically unisex. The dial, rather than amplifying the techy feel of the case, now offsets it, with a soft, minimalist design in grey, deep blue or eye-popping salmon pink.

As a collision of conflicting elements, it shouldn’t work. But in the era of dopamine-boosting colourways, high/low cultural mash-ups and relaxed, anything-goes attitudes in design and style, it does.

“The pink dial was the wild card, but it’s the best-selling version and the best activated of the three,” says Mr Rolf Studer, co-CEO of Oris. He says it’s a 2022 take on the idea of “salmon-dial” vintage watches, which have gained plenty of currency in recent times, though the Oris version is considerably pinker and poppier than those. And in watch design’s post-pandemic remix, a colourway that might have been seen as eccentric, even provocative, has struck a chord. “It’s elegant and relaxed, but uplifting,” says Studer. “People seem to understand this. They want to make themselves smile and to have that thing on their wrist that’s a bit of a talking point.”

It’s stating the obvious that a mechanical wristwatch remains, in 2022, a deeply anachronistic thing, long out-manoeuvred by digital technology. But it’s one reason why over the past decade, and particularly against the background of the smartwatch explosion, brands have tended to emphasise the elements that made their watches different from all that. They wanted their products to be luxurious havens amid the information onslaught and exclusive reference points for old school quality and analogue style.

Retro revivalism has had a decade-long field day. So, too, has anything that opens up and highlights the mechanical, crafted nature of a “proper” watch (such as the PPX 115). Pre-pandemic, owning a luxury watch wasn’t just a matter of taste and preference; it was a vote for the old school and, depending on which brands’ marketing spiels you drunk in, an act of connoisseurship and cultural flexing akin to fine-art patronage.

Things are changing. The mainstreaming of the luxury watch market didn’t begin with the pandemic, but the cultural firestorm of lockdowns, social media, hype watches, sneaker culture, crypto, NFTs and any number of concurrent factors turned a slowly shifting landscape into a landslide. A new generation of buyer has come to the party and their interests, touch points and values are fundamentally different.

“We’re in the middle of a generational shift,” says Mr James Marks, a member of the MR PORTER Style Council and head of Phillips Perpetual, the contemporary watch business at the auction house Phillips. He points to Rolex’s launch in late 2020 of a series of boldly coloured Oyster Perpertuals, the so-called Stella dial collection, as a galvanising moment. “Rolex was giving lifeblood to a tired reference, which suddenly was the hot watch. But they were very clever, taking a Swiss watch and moving it into the high-fashion market. You can match your car, handbag, bikini, sneakers to these watches and it just caught on.”"

...

"Right now, a watch ­– luxury or otherwise – is whatever you want it to be, to be worn however you want to wear it.

“A mechanical watch has become a piece of jewellery, and everyone accepts that, and we can charge it with emotions, great proportions, design, technology,” says Studer. “The pandemic has really helped us gain confidence in doing interesting or unexpected things. Suddenly everyone realised that the old concept of exclusive luxury was holding things back. Inclusive luxury is not about the object. It’s about the joy of the object. People have their own reasons for appreciating things, but the important thing is that it makes you smile.”"]]></description>
<dc:subject>timothybarber 2022 watches fashion luxury style oris breitling rolex design color propilotx geraldcharles bellandross rogerdubuis tagheuer iwc platfulness titanium analog baumeandmercier jewelry objects mrporter bell&amp;ross baume&amp;mercier</dc:subject>
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    <title>The Power of Ephemera: Permanence and Decay in Protective Power Objects | African Arts | MIT Press</title>
    <dc:date>2022-03-30T04:26:12+00:00</dc:date>
    <link>https://direct.mit.edu/afar/article-abstract/42/3/16/54483/The-Power-of-Ephemera-Permanence-and-Decay-in?redirectedFrom=fulltext</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>2009 ephemeral objects art power aiméebessire ephemerality</dc:subject>
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<item rdf:about="https://www.theverge.com/2022/3/4/22960011/farewell-from-dieter-bohn">
    <title>A heartfelt farewell from Dieter Bohn - The Verge</title>
    <dc:date>2022-03-04T20:46:32+00:00</dc:date>
    <link>https://www.theverge.com/2022/3/4/22960011/farewell-from-dieter-bohn</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[direct link to video:
https://www.youtube.com/watch?v=RznEIlnzLxQ ]]]></description>
<dc:subject>dieterbohn computers computing howwewrite language writing online web identity words 2022 semiotics shipoftheseus objects philosophy meaning abstraction communication socialmedia handles usernames names naming meaningmaking theseus</dc:subject>
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<item rdf:about="https://www.maggisimpkins.com/">
    <title>Maggi Simpkins</title>
    <dc:date>2022-02-15T19:52:24+00:00</dc:date>
    <link>https://www.maggisimpkins.com/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Maggi Simpkins is a multi-disciplinary artist and woman.

For the past decade, Maggi has created distinctive, dramatic, commissioned pieces that leverage fine metals and precious gemstones. With an emphasis on storytelling, she is best known for her narrative-driven engagement rings and future family heirlooms. In order to infuse the spirit of the individual, she sits with her clients extracting their stories and capturing the unique romance of each person. Every single item is a personal, hands-on, front row seat experience. Her love for fine jewelry stems from the idea that each piece of jewelry holds the story of the wearer. She believes that when jewelry is passed down it helps keep stories and memories alive- and that those stories are ultimately what gives each piece it’s inherent value. 

Maggi Simpkins was born in Portland, Oregon where she grew up in an artistic home. She has no traditional training in fine art or jewelry- and instead describes her connection to creation simply as a lifestyle- one she learned early on from her parents. Her creative process is 100% intuitive. Whether it’s a piece of jewelry, apparel, an object, interior or landscape design, everything she creates begins with a simple sketch in her sketchbook. 

Maggi currently designs from her studio in Los Angeles."

[via
https://www.hodinkee.com/articles/jewelry-designer-maggi-simpkins-finds-power-in-her-grandmothers-cartier-tank ]]]></description>
<dc:subject>maggisimpkins art design craft jewelry creativity autodidacts training bespoke stories objects storytelling autodidactism</dc:subject>
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<item rdf:about="https://www.hodinkee.com/articles/jewelry-designer-maggi-simpkins-finds-power-in-her-grandmothers-cartier-tank">
    <title>Jewelry Designer Maggi Simpkins On Her Cartier Tank</title>
    <dc:date>2022-02-15T19:47:11+00:00</dc:date>
    <link>https://www.hodinkee.com/articles/jewelry-designer-maggi-simpkins-finds-power-in-her-grandmothers-cartier-tank</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Most of the jewelry I wear has a significant amount of sentimental value for me. Almost every day I wear my mom’s engagement ring, a ring of her mother's that I stack with a band I made out of my father’s gold-fill glasses frames. On my neck, I wear a pendant necklace from his mother. I’m a strong believer in connecting emotion to the objects we wear.

That’s part of why I love what I do with engagement rings because my connection to jewelry is really a sentimental one. I like pretty things, but really it comes down to really wanting to create things that tell stories and mean something significant to people.

And while the pieces I wear every day keep me connected to my loved ones, I have a special piece, my superhero piece, that I save for special occasions – my grandmother Lilian’s Cartier Tank.

I never knew my grandmother, she passed away when my mom was pregnant with me, but I always think of her as an absolute powerhouse. She managed to buy her own home on Long Island as a Black woman in the 1960s, working two and three jobs to send my dad and his twin brother to private school (which, of course, he hated). She was a sweet, hard-working, deeply religious woman who dedicated her life to others. I think of the pieces I have from her – my necklace and this watch, especially – as my guardian angels, her strength is carried through me.

My career feels like a reflection of my family in some ways; my mother encouraged me to be creative, my father was a welder and made things with his hands, and my grandmother was this source of strength.

My dad and his brother inherited her home in the late ’80s, but when my father passed away in 2012, I went to the home to help clean through all the belongings. It was a time capsule of his life and hers, as well. There were lots of old photos of my dad and a few funky vintage toys, but she was a single mom of two boys so there wasn’t a ton of opulence. But then there was this watch in her dresser. So beautiful and out of place. I think one of the reasons why I am so sentimental with jewelry is that there have been family members that I never got to meet, but I get to have little pieces that hold their stories.

Because I never got to know her, I don’t know much about the watch itself. I took it to a local watch shop when I first got it a few years ago to get it fixed and was told it was real, but if I’m being 100 percent honest, whether it’s real or fake means nothing to me. In that sense, it might as well be a Seiko or a Casio. It just so happens that I think it’s stunningly beautiful and is to my taste.

I recently had an epiphany – it felt like it was right in front of my nose, really – and I want to get into working with watches. For so many people they serve the same purpose as jewelry – pieces that commemorate occasions, get passed on from loved ones. I was intimidated by watches, the mechanics, “does it come with a box and papers?”, but the more that I learn about it, the more I approach it the way that I approach jewelry. I’m not so precious about the little things. I sell stones with certificates, but I also sell stones without certificates. For me it’s most important to think: Do we like the stone? How does that sparkle? If you touch it and it means something to you, that’s what is important."]]></description>
<dc:subject>maggisimpkins 2022 watches cartier cartiertank stories significance meaning meaningmaking opulence luxury storytelling objects jewelry taste canon watchcanon</dc:subject>
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<item rdf:about="https://screwdowncrown.wordpress.com/2021/11/15/what-is-collecting/">
    <title>What is collecting? – ScrewDownCrown</title>
    <dc:date>2021-11-17T06:59:52+00:00</dc:date>
    <link>https://screwdowncrown.wordpress.com/2021/11/15/what-is-collecting/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["In an attempt to understand “collecting”, I fell into a rabbit hole and found myself reading academic papers on the subject, trying to make sense of it all. What you will read below is a collection of ideas from the papers referenced below, as well as several other publications which are linked in the text. Even after all that reading, the topic is so abstract that it was challenging to reach any universally applicable conclusion. Instead, I offer a universal truth about people who are passionate about collecting. I hope you enjoy it, and look forward to your thoughts.

History of collecting

The idea of gathering items simply for enjoyment seems to have started in the stone age around 4,000 BCE, when Homo erectus created collections of non-functional stone tools. Collecting is believed to have been born in the ancient East, ancient Greece and Rome, and the term “collection” was believed to have been used for the first time by Caesar in one of his speeches where he described “collection” as the gathering of different objects together (Note: I found an article that claimed this to be the case, but upon digging deeper was unable to find a reliable source to verify, so take that Caesar fact with a pinch of salt!). The most ancient collection is believed to have been discovered by archaeologists in Altai. It is a collection of small stones of different colors in the forms resembling animals. Items were sorted by size, colour and similarity to animals, and the age of this collection is believed to be around 4500 years old.

The hobby itself began to develop in the Middle Ages. First it started with the book and manuscript collections in churches and monasteries, memorial monuments, weapons arsenals. Through collecting activities the formation of the royal treasuries took place, and closer to the 17th century the popularity of collecting plants took hold with the emergence of greenhouses and gardens. Additionally, increased interest in the animal world led to the creation of collections of animals and birds.

The proper “rise” of collecting started in the 18th century, and in most places it became not just fun, but the serious passion of many nobles, coupled with the scientific interests of the collectors. In the 19th century, aristocratic collectors were the most common, as their collections were perceived as a status symbol. They collected art, fossils, books, zoological specimens, and other objects that were popular at the time. The Victorian era aristocracy kept these items in a “cabinet of curiosities,” which was actually a room rather than a piece of furniture, specifically for displaying and storing collectibles. These so-called cabinets were seemingly the precursors to the first museums.

Collecting wasn’t a hobby for commoners until the mid-1800s or so. William Buell Sprague, the father of ‘collecting as a hobby in America‘, called collecting his “mania,” his “passion,” and even his “ruling passion.” For half a century he assembled one of the largest collections of autographs, manuscripts, and pamphlets in American history. Sprague’s activities as a collector mark a significant chapter in the development of American libraries and archives.

Around the early 1900s, collecting became synonymous with the word “hobby.” It was truly a pastime for everyone; Rich people would collect art, pottery and furniture, while poor kids would follow cigar-smokers down the street to collect discarded cigar bands. Collecting was for everyone, and often even encouraged as part of a child’s education.

A discussion about collecting

We can probably all agree that collecting, in one form or another, is truly ubiquitous; It is a part of humanity’s experience, its essential nature. You will find many debates about whether it is instinctive or acquired, and about whether it is a rational activity or a mental disease. As watch collectors we might argue it is both, in equal measure! Either way, much like any other human behaviour, collecting is complex enough to be sure of one thing: there is always something more to be said about it. Any attempt to better understand collecting simply helps us better understand human nature, and further enhances the experience of collecting itself.

In the most basic sense, collecting is “the accumulation of tangible things”. This definition pretty much covers anything from regular physical objects to Bitcoins and NFTs. Although we might argue about whether an NFT is ‘tangible’ – I believe it is, insofar as its tangible existence on the Ethereum blockchain, tied to a specific address. This is different from memories or thoughts, for example, which I would exclude from the definition of “things” in the context of collection.

Take, for instance, the idea of “need”. Some might argue that the concept of collecting must relate to items that are in excess of what is needed for survival… but what constitutes “need?” Prehistoric human beings are now thought to have admired and saved certain tools for aesthetic reasons… so perhaps our collections are an essential part of establishing a sense of human identity and defining our places in the world. To quote Lord Eccles, in On Collecting (1968):

<blockquote>During the blitz on London I saw how simple and profound was the passion for things of one’s own. The morning after poor people had been bombed out, they grieved far less for the house or rooms where they had been living than for their things, the things their mother had left them, or their children had given them. The bomb which destroyed their things destroyed part of themselves --“On Collecting” by Lord Eccles</blockquote>

In short, all forms of accumulating objects can potentially be “necessities of life”, if the role of emotional well-being in physical survival is adequately taken into account.

Another aspect of collection is whether it is worth distinguishing random accumulations of objects from purposeful selections. Some will say the term “collection” should be reserved for things that have been systematically ‘curated’ according to a unifying principle and should not be used to unnecessarily dignify the miscellaneous hoarding of possessions. The problem here is that you can’t really find a universally agreed definition for how “collections” are different from “accumulations,” because everyone will have their own criteria! For example, if I collect things I like – then this could very well be all my possessions! The truth is, all accumulations are actually an individual’s own selections, and therefore they will be imbued with meaning (for each person) through their own selectivity. Every accumulation, whatever additional significance it may be found to possess, has the unity that comes from its telling something about a human being who lived in a particular time and place. Of course, it might be useful to distinguish between people who deliberately pursue their own ideas of coherent groupings and people who give no conscious thought to why their possessions are multiplying as they are; but this differentiation must still acknowledge that both types of people are still “collectors.”

Then there’s the consideration of the length of time one possesses something, and whether this has any bearing on someone being a collector (or not). Simply put – once you add something to a collection, how long it stays there shouldn’t really be a factor. Some people, at all levels of sophistication and deliberateness in their collecting, willingly dispose of items and start on others.

Werner Muensterberger’s book “Collecting: An Unruly Passion” references “subjective value” in his definition of collecting, to make the point that the desirability of an object to a collector is independent of the market price it would fetch. I was originally in the camp who differentiated such people in the watch world as ‘dealers’ rather than ‘collectors’ but I think I’ve changed my view. Those who collect for investment (at least in part) or take some pride in the monetary value of what they possess… simply make this (monetary value) a part of the total psychological underpinning of their “collecting criteria”. Who are we to judge?

Muensterberger saw the origins of collecting in childhood traumas. He argued that when kids had the experience of feeling deprived of the protection and support of those close to them, they sought relief through controllable physical objects. In doing this, they became emotionally attached to one or more items which became associated in their minds with the relief of frustration and mental distress. The act of demonstrating that one possesses and controls the objects is a pleasurable experience, and one that is repeatedly satisfying because it creates “the illusion of being able to cope”.

Muensterberger’s discussion goes deeper into the psychology of collecting than many other writings on the subject. Philippe Jullian’s Les Collectioneurs, for example is relatively superficial; At one point he says “Every collection is inspired by the same basic factors: fear of boredom, desire for immortality, aesthetic sensibility, vanity, speculation.” Similarly, Holbrook Jackson, in “The Anatomy of Bibliomania”, under the heading “The Causes of Bibliomania” breaks down the sections into “Greed,” “Vanity,” and “Fashion”.

While all these reasons might impact peoples’ collecting, what is still unclear is why collecting was the chosen remedy – for example, there are other ways of passing time (i.e. curing boredom), investing (i.e. speculation), or showing off (i.e. vanity). The most fundamental question in trying to understand collecting is to ask why collecting should be the path chosen to attain personal goals.

So at this point we might decide it is best to start defining collecting by the particular combinations of goals that characterise individual collectors; but this doesn’t really reach the deepest levels of the drive to collect. An inquiry like Muensterberger’s, which tries to identify the mental processes underlying the more overt motivations, is of course an important step, even if it does not tell the whole story.

Walter Benjamin’s essay, “Unpacking My Library: A Talk about Book Collecting,” suggests there is more to be said. One of Benjamin’s most insightful observations is framed as a question: “For what else is this collection but a disorder to which habit has accommodated itself to such an extent that it can appear as order?” The pleasures of “the chase” and “adding to one’s collection” are described by Benjamin as follows: “The most profound enchantment for the collector is the locking of individual items within a magic circle in which they are fixed as the final thrill, the thrill of acquisition, passes over them.”

Concluding thoughts

The human need to find order is, to me, the most academic explanation of collecting. The other explanations such as a fascination with chance, curiosity about the past, and a desire for understanding can all slot under the umbrella of “the urge to tame the external world”. This general idea, in which collecting is traced to a human need for making the environment seem less threatening and more understandable, has been much in evidence in the past few decades, as intellectual interest in the process of collecting has increased.

Ultimately, we should try and see collecting not as evasion and escapism but as a human urge to connect with the world, to make sense of it so that we can feel in harmony with it and experience it more richly. Vladimir Nabokov, wrote a well-known account of his “obsession” with butterflies and butterfly-collecting which was originally published in The New Yorker on 12 June 1948.

Butterflies served as tangible reminders of episodes in Nabokov’s own life, and even the smell of ether, used as the killing substance for one of his earliest childhood catches, “would always cause the door of the past to fly open.” Nabokov’s repeated acts of observation and pursuit of butterflies, made him an expert lepidopterist who contributed to the field through important published papers. His understanding that collecting and rigorous thinking go hand in hand was shown by his ridicule of those who advocated the relaxing of scientific standards for collectors: “Their solicitude for the “average collector who cannot be made to dissect” is comparable to the way nervous publishers pamper the “average reader”—who cannot be made to think“.

Nabokov of course wrote novels as well as scientific articles, and he saw the connections: “I discovered in nature the nonutilitarian delights that I sought in art. Both were a form of magic, both were a game of intricate enchantment and deception.” Nabokov’s most moving words for a description of “the highest enjoyment of timelessness” came to him when he stood outdoors among “rare butterflies“- and I think this captures the essence of collecting quite perfectly:

<blockquote>This is ecstasy, and behind the ecstasy is something else, which I cannot explain. It is like a momentary vacuum into which rushes all that I love, a sense of oneness with sun and stone, a thrill of gratitude to whom it may concern, perhaps to the contrapuntal genius of human fate or to the tender ghosts humoring a lucky mortal. --Vladimir Nabokov – Butterflies: On life as a lepidopterist.</blockquote>

That’s the bottom line really… we’re all seeking ecstasy – one watch at a time. There is no right answer, and every single collector’s journey is unique… the more we try to make sense of it, the less we realise we know… and it also explains why we can’t stop, and why the often-used phrase “we will stop when we die” is pretty much the only universal truth that exists!"]]></description>
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<item rdf:about="https://creative-capital.org/projects/the-mute-object-and-ancient-stories-of-today/">
    <title>The Mute Object and Ancient Stories of Today | Creative Capital</title>
    <dc:date>2021-03-10T19:59:44+00:00</dc:date>
    <link>https://creative-capital.org/projects/the-mute-object-and-ancient-stories-of-today/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The Mute Object and Ancient Stories of Today interprets artifacts containing undeciphered writing systems, creating an object-based ethnography that reflects on indigenous rights and the production of meaning. Specifically, the project is about the undeciphered Isthmian script, an inaccessible written form found on artifacts along the Papaloapan River in Mexico, and its link to the current development of a standardized dictionary of Zapotec languages in Oaxaca. This project highlights the successes and failures of attempting to decipher a language using mute objects that contain inaccessible meaning, and how the development of the written dictionary can provide a link to the past. The Mute Object and Ancient Stories of Today will include an intensive research and discovery phase and result in utilitarian sculptures, a video, a book, and the potential discovery of invaluable artifacts.:]]></description>
<dc:subject>galaporras-kim language communication art community place history zapotec 2020 mexico indigeneity indigenous oaxaca objects ethnography meaning meaningmaking words dictionaries</dc:subject>
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<item rdf:about="https://www.artbasel.com/stories/gala-porras-kim-artist-los-angeles">
    <title>The irresistible, transcontinental art of Gala Porras-Kim</title>
    <dc:date>2021-03-10T19:57:57+00:00</dc:date>
    <link>https://www.artbasel.com/stories/gala-porras-kim-artist-los-angeles</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["‘I was interested in how a museum defines the objects inside of it, instead of the other way around’"

"When I met Gala Porras-Kim in her Los Angeles studio earlier this year, the Bogotá, Colombia-born artist was obsessed with demolitions. Her new studio, inside a former bank in Hyde Park, had just been renovated: She and her partner tore down walls and beams, and set about replacing the 1900s-era electricity in the abandoned space. Wearing her dark hair in a long braid down her back, Porras-Kim slyly pointed out to me where the bank vault used to be—now a patchy, sketchy outline of a square. ‘We did most of it ourselves. It’s like a sculpture’, she said. ‘Little by little.”

Porras-Kim’s studio had already been filled with many of her large-scale works, namely drawings from a three-part series that had been recently shown between Mexico City and Los Angeles. The drawings depict holdings from LACMA’s Proctor Stafford collection, a large group of ancient Mexican ceramics. Porras-Kim’s images of what were once ceremonial burial figures had an added poignancy in the raw space she’d excavated herself. In her work, similarly, Porras-Kim preoccupies herself with why and how the definitions of art and objects change when they enter different spaces, or if those spaces disappear. She spoke of a recent public sculpture that was just a wall on the beach—with the idea that the combination of waves and salt suctioning would cause it to collapse. ‘I wanted to find demolitions that are not necessarily like... bam!’ Porras-Kim clapped her hands for emphasis. ‘How do you dissolve a brick without breaking it?’

In just the past two years, Porras-Kim’s work, ranging from drawing to sculpture to installation, has been shown at LACMA, the Whitney and the Hammer Museum, along with honors such as being shortlisted for the BMW Art Journey (selected from emerging artists who show in Art Basel Hong Kong) and receiving awards from the Joan Mitchell Foundation and the Rema Hort Mann Foundation. When I met Porras-Kim, the  Tina Kim Gallery in New York was about to mount a bicoastal presentation with L.A.’s Commonwealth & Council, for which Porras-Kim contributed work on her years-long inquiry into the Mexican oral language, Zapotec, which only as of recently got archived into writing. 

‘It’s the point where language becomes a drawing, basically,’ she said to me of her research, explaining herself in her typical style, asking ever more questions. ‘Obviously that happened with every language, but to see that happen live, it’s crazy, no?... How do you put all the sounds into paper? Like, how do you spell’—she made a guttural sound—‘H-h-h-h?’ she asked, laughing.

The child of academics, Porras-Kim was born to a Colombian father and Korean mother, growing up at research sites. Her father, a historian, obtained political asylum in the U.S. when she was 12, and the family landed in L.A. Porras-Kim grew up on the west side, later attending UCLA and then Cal Arts. While she was in school, she worked for a local architect, and noticed many employees on the sites speaking Zapotec. She said, ‘These guys I was working with were using whistles to be like, “Bring me the hammer,” and I was like, “I want to do that,”’ prompting her to return to UCLA for a master’s in Latin American studies. Of the academic bent to her work, Porras-Kim noted, ‘The methodology is the same; I just don’t write a paper at the end. I make something.’

Her interest in Zapotec and ancient Mexican culture, particularly after coming of age on the West Coast, led her to the collection of Proctor Stafford, the American collector who donated his archeological finds in Mexico to LACMA decades earlier. Porras-Kim separated the objects into three different drawings based on state—Jalisco, Nayarit and Colima—though technically they are all categorized as West Mexican in the collection. ‘I was always interested in museums that hold art but also antiquities,’ Porras-Kim said. ‘How do you define them? And how are they separated, because LACMA, categorically, does not have any artifacts in the building. They’re all artworks once they enter the building… I was interested in how a museum defines the objects inside of it, instead of the other way around.’

Porras-Kim’s research-based approach could be seen recently in several shows at academic institutions, such as ‘Talking to Action: Art, Pedagogy and Activism in the Americas’ at the School of the Art Institute of Chicago and ‘A grammar built with rocks’ at ONE Archives at the USC Libraries, and she’s planning works for an upcoming show in Singapore. Despite her increasing reach, the L.A. native noted, ‘I can’t imagine living anywhere else.’

Up next in her hometown, Porras-Kim will participate, interestingly as a curator, in ‘Open House’ at the Museum of Contemporary Art, Los Angeles, in 2020. For the show, she and other artists will pull from the museum’s permanent collection.‘It’s more like iterations,’ Porras-Kim said, describing what works she would include. ‘How does an artwork change its state based on its material or authorship? After 40 years, can an artist say, ‘This has changed because plastics from the ’60s aren’t the same anymore?’ If it doesn’t look exactly the same, is it still an artwork?’

I asked Porras-Kim what she’d like to do next, and the conversation ranged from taking classes with an archeologist specializing in laser technology in Alabama to, perhaps unsurprisingly, Indiana Jones. ‘Have you seen Raiders of the Lost Ark?’ she asked. ‘The scene where he has the scepter and the sun is coming through the hole and all that? I want to make a sculpture that reacts to the weather, so it’s only a sculpture for a very short time. The sun makes it a sculpture, or it only works when it’s raining,’ she enthused, already excited by the idea. ‘The sculpture has to be activated, by something you cannot control, to be fully realized.’"]]></description>
<dc:subject>galaporras-kim alexandrapechman art losangeles acitvism pedagogy moca 2020 sculpture objects zapotec</dc:subject>
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<item rdf:about="https://www.thenewatlantis.com/publications/the-analog-city-and-the-digital-city">
    <title>The Analog City and the Digital City — The New Atlantis</title>
    <dc:date>2020-11-08T23:13:43+00:00</dc:date>
    <link>https://www.thenewatlantis.com/publications/the-analog-city-and-the-digital-city</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["One way to understand our moment is to recognize that digital technology is reconfiguring the nature of the self that enters into the political arena, even as it restructures the arena itself. The contrast between those who mainly inhabit the Digital City and those who still primarily inhabit the Analog City becomes increasingly stark. Simple appeals to conventions and solutions grounded in the Analog City now ring hollow. The old virtues and ideals, as well as the institutions they sustained, have lost their purchase on the imagination. They have lost their “self-evident” character. Like the early moderns, our reigning world picture has shattered and we are casting about for new ways of building consensus, new ways of coping with the challenges of pluralism, new ways of ordering society toward the common good. At the moment, however, it appears that digital media tends toward political and epistemic fragmentation, not consensus, and toward the implausibility of any substantive account of the common good. In other words, it may be that things will get worse before they get better.

In a 1982 talk on the cultural and political consequences of computation, Ivan Illich issued a warning that is even more urgent today:

<blockquote>The machine-like behavior of people chained to electronics constitutes a degradation of their well-being and of their dignity which, for most people in the long run, becomes intolerable. Observations of the sickening effect of programmed environments show that people in them become indolent, impotent, narcissistic and apolitical. The political process breaks down, because people cease to be able to govern themselves; they demand to be managed.</blockquote>

We have focused on how digital media transforms the subjective experience of individuals. The political corollary is that it enables and empowers regimes of algorithmic governance, predictive analytics, and social credit. The profound erosion of trust in the Digital City leaves a vacuum, and we look to our tools to fill it. We seem set upon interlocking trajectories: of ever greater swaths of the human experience being computationally managed, and of intractable human subjects increasingly breaking down or revolting against these conditions.

From another vantage point, however, we might see this as a hopeful moment, full of promise and opportunity. Another path also seems possible. Freed from certain unsustainable illusions about the nature of the self and the world, we may now be called back to reckon with reality in a new, more chastened and more responsible manner. It is possible that the Promethean aspirations that characterized the modern self and modern society may now yield to a more sober assessment of the limits within which genuine human flourishing might occur. It is possible, too, that we may learn once again the necessity of virtues, public and private — that we will no longer, as T. S. Eliot put it, be “dreaming of systems so perfect that no one will need to be good.”"]]></description>
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