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    <title>“The most important point about rising AI use in the arts is simply this: Millions of people desperately want affirmation.” | Alan Jacobs</title>
    <dc:date>2026-05-28T22:39:01+00:00</dc:date>
    <link>https://social.ayjay.org/2026/05/28/the-most-important-point-about.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The most important point about rising AI use in the arts is simply this: Millions of people desperately want affirmation. They don’t want to go to the trouble of writing or painting or drawing or making music — or maybe they are afraid that their own work won’t be good enough — but they want people to believe that they have made art. We should be thinking seriously about the intensity of the human need to be recognized, to be thought not basic but special."

[See also:
https://www.manton.org/2026/05/28/ais-hand-in-creativity.html 

https://micro.blog/ayjay/91084999

"Yep, that’s why I say we really need to be thinking about this. One way or another, the recognition that people now receive for AI-generated work will get harder to come by. Remember The Incredibles, when Dash’s mom says “Everybody is special,” and he mutters, “Which is another way of saying that nobody is.”"]]]></description>
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    <title>Analogue Africa: Notes on the Anti-Colonial Imagination - YouTube</title>
    <dc:date>2026-04-15T22:38:42+00:00</dc:date>
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    <dc:creator>robertogreco</dc:creator><description><![CDATA["For over three decades, Jeremy Harding has been one of the finest Anglophone commentators on African politics and culture. His new book "Analogue Africa: Notes on the Anti-Colonial Imagination" brings together essays on a varied and wide-ranging set of African (and some European) writers, painters, photographers and filmmakers who depicted and reimagined in the colonial encounter. The cast of characters includes Seydou Keïta, Sanlé Sory, Ernest Cole, Sarah Maldoror, John Akomfrah, William Kentridge and Binyavanga Wainaina.

Harding and the South African journalist Sean Jacobs join Equator to discuss "Analogue Africa" and the light it casts on the cultural history of postcolonial Africa."

[Book link:
https://www.versobooks.com/products/3220-analogue-africa ]]]></description>
<dc:subject>africa anticolonialism decolonization jeremyharding seanjacobs seydoukeïta sanlésory ernestcole sarahmaldoror johnakomfrah williamkentridge binyavangawainaina camus albertcamus film art painting photography ratikasokan anti-colonialism</dc:subject>
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    <title>Raymond Saunders - YouTube</title>
    <dc:date>2026-02-26T06:18:30+00:00</dc:date>
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    <dc:creator>robertogreco</dc:creator><description><![CDATA["Known for his abstract mixed-media paintings with socio-political undertones, artist Raymond Saunders guides us through the non-linear landscape of his identity, consciousness, and art-making process. In this restored archival interview from 1994, Saunders challenges you to think deeper about the artistic journey and unlearn what you think you know about beginnings and endings."]]></description>
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    <title>Suno, AI Music, and the Bad Future - YouTube</title>
    <dc:date>2026-02-09T16:51:18+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=U8dcFhF0Dlk</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Sources:
https://docs.google.com/document/d/1my3jJ96cyKmHubZu5mTLgp3wzEWtXKJkqfP0kKcF6kE/edit?tab=t.0

0:00 Intro
4:06 Challenge accepted
6:55 Three Questions
24:14 Why no influences? (deskilling/narcissism)
35:50 Profiles of the Future
47:54 Good uses of Suno
59:05 Futurism/Techno-Optimism
1:16:22 New Virtues
1:22:03 Final Predictions"

[via:
https://blog.ayjay.org/faster/

"Near the beginning of this long, fascinating, and deeply depressing video [https://www.youtube.com/watch?v=U8dcFhF0Dlk ] Adam Neely says that he doesn’t think Mikey Shulman, the CEO and prime hypeman of Suno, is evil. I dunno, I think he might be evil. A person who makes and advocates for anything this destructive will likely be one of the following:

• Evil — happy to do any amount of damage to humanity as long as he gets rich;
• Sociopathic — unable to consider the consequences of his actions for others;
• Self-deceived — skilled at internally avoiding obvious questions about the validity of what he’s doing.

So being evil is not the only option here, but it’s definitely one of three.

There are so many bizarre things about this dude, but I was taken by one small thing: around the 8:40 mark of the video he says, “I know one person who is a songwriter who had a lull in creativity, and after finding Suno went from maybe making 50 songs a year to making 500 songs a year.” Now this is a ridiculous thing to say — but in an interesting way. Shulman knows so little about musical composition that he thinks that a person in a creative “lull” writes a mere fifty songs a year.

Let’s think about that. Consider Bob Dylan, whom some people think of as a prolific sngwriter. In his 65-year career he has composed roughly 700 songs. Pathetic! Even if he had experienced a lifelong “lull in creativity,” he’d have, by Shulman’s metrics, produced 3250 songs — and if he’d used Suno, why, he’d have knocked out 32,500 songs by now, with a few thousand more probably remaining to be processed by the Suno Song Extruder™.

As absurd sales pitches go, Shulman’s is solid gold.

Anyway, you should watch Adam’s human-made non-extruded video. It raises many important issues and makes many important points, especially about the relative value of patience and impatience. Shulman loves impatience, because impatient people are his primary marks. “Faster is obviously better,” he says, a comment he doesn’t seem to think applies only to music composition. Maybe he has the same view about eating, talking with friends, and sex. Faster! And then what? [https://blog.ayjay.org/and-then/ ]

But the most vital claim Adam makes, I think, is this: the arrival of AI slop machines like Suno will dramatically accelerate something that’s already well underway, the widening chasm between live music and recorded music. When musicians recorded live in studio, the gap between that and live performance was very small; now it’s vast and getting vaster. And as Adam says, people will always want to experience live music — and perhaps will value it all the more because of the contrast to an increasingly slop-dominated world of recordings. (Especially in human-scale venues where lip-syncing and pitch-correction are impossible.)

I happened to come across Adam’s video yesterday just after watching Julian Lage and his bandmates perform “Something More” [https://youtu.be/AECKSq8r2OM?si=WCJ4gW-viCdlYjAX ] — what a beautiful song, and look at that, it’s just four people in a room making that beauty happen. I only wish they were coming my way sometime soon."]]]></description>
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<item rdf:about="https://www.youtube.com/watch?v=JlomhzqhgbE">
    <title>Writer Orhan Pamuk believes storytelling begins with a constellation of visual impressions - YouTube</title>
    <dc:date>2026-02-03T20:21:07+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=JlomhzqhgbE</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Nobel Prize–winning novelist Orhan Pamuk reflects on the visual foundations of his writing and the formative influence of painting on his literary imagination: “I wanted to be a painter till the age of 22.” 

Pamuk describes his eventual turn to fiction not as a rejection of visual art but as an extension of it, one that seeks to translate images into language.

Calling himself a “visual novelist,” Pamuk situates his work within a tradition that includes writers such as Leo Tolstoy and Marcel Proust. He explains how scenes first appear as images in the novelist’s mind and are then rendered into prose, inviting readers to reconstruct those images for themselves. For Pamuk, storytelling begins not with plot but with a constellation of visual impressions that demand connection.

The conversation also turns to the emotional and intellectual rhythms of writing. Pamuk describes the novel as a form shaped by contrasting moods: one rational and editorial, the other intuitive and poetic. He argues that both are essential to sustained literary creation. Drawing on his own experience as a former poet, he emphasizes the importance of recognizing and respecting these shifts in creative energy.

Throughout the interview, Pamuk offers a rare, reflective account of how novels are made: from image to sentence, from inspiration to structure, and from private vision to shared meaning.

Orhan Pamuk was interviewed by Malou Wedel Bruun at the 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, 2026."]]></description>
<dc:subject>orhanpamuk 2026 storytelling art visual 2024 writing howwewrite tolstoy proust painting literature pictures marcelproust</dc:subject>
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<dc:identifier>https://pinboard.in/u:robertogreco/b:6e46b41b2175/</dc:identifier>
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<item rdf:about="https://journals.openedition.org/amerika/1559?lang=en">
    <title>La mémoire reconfigurée: Représentations de la dictature argentine d’après les regards croisés de Julio Cortázar et Carlos Alonso, by Celina Martins (2010)</title>
    <dc:date>2025-07-12T00:52:30+00:00</dc:date>
    <link>https://journals.openedition.org/amerika/1559?lang=en</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Le dialogue inédit entre Julio Cortázar et Carlos Alonso est une exposition fictive qui réfléchit sur les blessures de la dictature argentine d’après une approche comparatiste. Les nouvelles de Cortázar et les toiles d’Alonso redynamisent le travail de l’anamnèse (Ricœur) – la mémoire pragmatique - que les victimes de la dictature argentine et les nouvelles générations doivent réaliser dans un effet cathartique pour s’approprier une mémoire régénératrice qui donne accès à la politique de la juste mémoire. Afin de dépasser le conflit entre la mémoire des survivants de la dictature et l’Histoire officielle, Cortázar et Alonso sont les médiateurs transhistoriques qui déconstruisent les formes sclérosées de penser l’Histoire et faire mémoire."

...

"The fictional dialogue between Julio Cortázar and Carlos Alonso, based upon a comparative approach, is a fictional exposition which reflects upon the wounds of the Argentinian dictatorship. Cortazar’s short stories and Alonso’s paintings redynamize anamnesis the –praxis of recollection – which victims of the Argentinian dictatorship and later generations - have to make through catharsis to be able to appropriate a regenerated memory, allowing the policy of fair memory to flourish. To overcome the conflict between the survivors of the dictatorship and Official History, Cortázar and Alonso are the transhistorical mediators who deconstruct the sclerotic ways of thinking History and making memory."]]></description>
<dc:subject>juliocortázar carlosalonso 2010 celinamartins dirtywar dictatorship argentina memoricidy anamnesis painting literature guerrasucia</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
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<item rdf:about="https://vimeo.com/1033148903">
    <title>Barry McGee &amp; Margaret Kilgallen in “Place” - Season 1 | “Art in the Twenty-First Century&quot; on Vimeo</title>
    <dc:date>2025-03-17T08:27:53+00:00</dc:date>
    <link>https://vimeo.com/1033148903</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Art21 proudly presents an artist segment, featuring Barry McGee & Margaret Kilgallen, from the "Place" episode in Season 1 of the "Art in the Twenty-First Century" series.

"Place" premiered in September 2001 on PBS.

This segment follows Barry McGee and Margaret Kilgallen to the local train yards where the artists point out their favorite markings and leave some of their own, contributing to a graphic conversation that spans train cars across the nation.

Margaret Kilgallen was born in 1967 in Washington, D.C., and lived in San Francisco, with her husband, Barry McGee, where she passed away in 2001. Learn more about the artist at: https://art21.org/artist/margaret-kilgallen


Barry McGee was born in 1966 in San Francisco, California, where he currently lives and works. Learn more about the artist at: https://art21.org/artist/barry-mcgee/ "]]></description>
<dc:subject>2002 barrymcgee art streetart graffiti folkart typograph lettering art21 sanfrancisco missiondistrict themission place trains trainyards rail railways railroads letterpress painting printmaking human imperfection money artworld access public missionschool margaretkilgallen softbank masayoshison cheguevara marxism truth abuse</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
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<item rdf:about="https://psyche.co/films/circles-possess-a-defiant-beauty-in-the-abstract-works-of-howardena-pindell">
    <title>Circles possess a defiant beauty in the abstract works of Howardena Pindell | Psyche Films</title>
    <dc:date>2025-03-17T08:13:44+00:00</dc:date>
    <link>https://psyche.co/films/circles-possess-a-defiant-beauty-in-the-abstract-works-of-howardena-pindell</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Born in 1943, Howardena Pindell is a trailblazing artist and curator, and one of the few Black female abstract artists of her time. Directed by the US filmmaker César Martínez Barba, this documentary begins in Pindell’s Bronx studio, offering an intimate view of her life and creative process. Her recurring motifs – circles and numbers – are contextualised with stories of their very personal inspirations, including her father’s scientific curiosity, her fascination with patterns in nature and her experiences of systemic racism. By melding Pindell’s voice, art and memories, the documentary invites viewers to see abstraction as an emotional practice where the deeply felt merges into broader historical and social contexts. It also offers a captivating portrait of a woman who, finding herself frustrated and often sidelined by a predominantly white art world’s narrow perspective on the Black experience during her younger years, was caught off guard by her late-in-life success and recognition."

[direct limk to video:
https://vimeo.com/1028895402

"Episode [295]: For nearly six decades, artist Howardena Pindell has explored and expanded the language of abstraction while struggling against a racist and misogynistic culture. Fascinated by circles and numbers, Pindell has developed a formal language that speaks to both universal and personal experiences through her paintings and paper works. In this Extended Play film, Pindell reflects on formative childhood memories, her confrontations with systemic prejudice, and the enduring joy she finds in being an artist. 


Howardena Pindell was born in 1943 in Philadelphia, Pennsylvania, and currently lives and works in New York City. Learn more about the artist at: https://art21.org/howardenapindell "]]]></description>
<dc:subject>howardenapindell art citcles painting pots process history moma race racism 2025 2024 memory numbers misogyny prejudice paper society césarmartínezbarba softbank masayoshison cheguevara marxism truth abuse</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:33291bb87329/</dc:identifier>
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<item rdf:about="https://www.youtube.com/watch?v=kTTqnrer48c">
    <title>La filosofía creativa de David Lynch - YouTube</title>
    <dc:date>2025-01-27T19:03:30+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=kTTqnrer48c</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["En este video casi me suelto a llorar mientras recuerdo todo lo que le he aprendido a David Lynch."
]]></description>
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<item rdf:about="https://www.youtube.com/watch?v=ncH0-q9OXco">
    <title>The Situationist International (full documentary) - YouTube</title>
    <dc:date>2025-01-14T17:16:31+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=ncH0-q9OXco</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["On the Passage of a Few People Through a Rather Brief Moment in Time: The Situationist International 1956-1972

A video documentary combining exhibition footage of the Situationist International exhibitions with film footage of the 1968 Paris student uprising, and graffiti and slogans based on the ideas of Guy Debord. 

Directed and produced by Branka Bogdanov in 1989."]]></description>
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<item rdf:about="https://psyche.co/ideas/works-of-urban-graffiti-are-not-vandalism-but-public-monuments">
    <title>Works of urban graffiti are not vandalism, but public monuments | Psyche Ideas</title>
    <dc:date>2024-11-03T22:34:50+00:00</dc:date>
    <link>https://psyche.co/ideas/works-of-urban-graffiti-are-not-vandalism-but-public-monuments</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["They might appear to have little in common with statues or obelisks, but graffiti images serve a vital public function"
]]></description>
<dc:subject>graffiti rafaelschacter 2024 vandalism painting art architecture philosophy cities urban urbanism participation participatory streetart jennyholzer catherineopie monuments</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:cf54aac5e11e/</dc:identifier>
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<item rdf:about="https://psyche.co/films/a-rural-namibian-artist-reflects-on-authenticity-in-work-and-in-life">
    <title>A rural Namibian artist reflects on authenticity in work and in life | Psyche Films</title>
    <dc:date>2024-11-03T22:33:17+00:00</dc:date>
    <link>https://psyche.co/films/a-rural-namibian-artist-reflects-on-authenticity-in-work-and-in-life</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["A rural Namibian artist reflects on authenticity in work and in life

The Namibian artist Hage Mukwendje grew up in the small, rural and isolated village of Okalongo in his country’s far north. There, as he describes it, people are poor in material wealth but rich in spirit, and creativity is a necessity in everyday life. With stylish direction from the German filmmakers Niklas von Klitzing and Leo Stolz, the short documentary Healing Roots follows Mukwendje’s journey from Okalongo to Windhoek, Namibia’s capital and largest city, and his ultimate decision to return to the happiness of home. In parallel, the film traces how his struggle to connect with European-focused art history led him to his own distinctive African visual art practice, far from a major cultural centre. In chronicling Mukwendje’s winding path towards authenticity in his life and in his work, Healing Roots provides a lively portrait of an artist, a person and a place – and the ways in which the three are inextricably interconnected."]]></description>
<dc:subject>hagemukwendje art painting happiness identity rural culture namibia okalongo everyday life living niklasvonklitzing leostolz documentary windhoek place</dc:subject>
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<item rdf:about="https://podcasts.apple.com/us/podcast/sarah-lewis-on-aesthetic-force-as-a-path-toward-justice/id1460711432?i=1000669889446">
    <title>Sarah Lewis on “Aesthetic Force” as a Path Toward Justice - Time Sensitive - Apple Podcasts</title>
    <dc:date>2024-09-19T22:36:41+00:00</dc:date>
    <link>https://podcasts.apple.com/us/podcast/sarah-lewis-on-aesthetic-force-as-a-path-toward-justice/id1460711432?i=1000669889446</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["In her new book, The Unseen Truth: When Race Changed Sight in America (Harvard University Press), the historian and Harvard professor Sarah Lewis unpacks a major part of United States history that until now wasn’t just brushed over, but was intentionally buried: how the ​​Caucasian War and the end of the Civil War were conflated by P.T. Barnum, former President Woodrow Wilson, and others to shape how we see race in America. Long overdue, The Unseen Truth is a watershed book about photography and visuality that calls to mind works by history-shaping authors such as James Baldwin, Toni Morrison, and bell hooks. Lewis is also the founder of the Vision & Justice initiative, which strives to educate the public about the importance of art and culture for equity and justice in the U.S., and is launching a new publishing venture with Aperture this fall.

On the episode, she discusses the tension between pedagogy and propaganda; the deep influence of Frederick Douglass’s 1861 “Pictures and Progress” lecture on her work; how a near-death car crash altered the course of her life and The Unseen Truth; and the special ability of certain photographs to stop time.

Special thanks to our Season 10 presenting sponsor, L’École, School of Jewelry Arts.

Show notes:

Sarah Lewis
https://haa.fas.harvard.edu/people/sarah-lewis

[04:01] The Unseen Truth
https://www.hup.harvard.edu/books/9780674238343

[05:24] Woodrow Wilson
https://www.whitehouse.gov/about-the-white-house/presidents/woodrow-wilson/

[05:24] Frederick Douglass
https://en.wikipedia.org/wiki/Frederick_Douglass

[05:24] P.T. Barnum
https://en.wikipedia.org/wiki/P._T._Barnum

[06:51] Toni Morrison
https://en.wikipedia.org/wiki/Toni_Morrison

[06:51] Angela Davis
https://en.wikipedia.org/wiki/Angela_Davis

[06:51] Mathew Brady
https://en.wikipedia.org/wiki/Mathew_Brady

[51:14] Vision & Justice
https://visionandjustice.org/

[11:35] Caucasus
https://en.wikipedia.org/wiki/Caucasus

[14:02] Imam Shamil
https://en.wikipedia.org/wiki/Imam_Shamil

[17:38] Caucasian War
https://en.wikipedia.org/wiki/Caucasian_War

[19:31] MFA Boston
https://www.mfa.org/

[19:31] The Metropolitan Museum
https://www.metmuseum.org/

[22:30] “Pictures and Progress”
https://blogs.loc.gov/picturethis/2020/02/frederick-douglass-and-the-power-of-pictures/

[28:41] “A Circassian”
https://collections.mfa.org/objects/30883

[28:41] “Slave Ship”
https://collections.mfa.org/objects/31102

[28:41] “The Gulf Stream”
https://www.metmuseum.org/art/collection/search/11122

[35:13] Frances Benjamin Johnston
https://www.moma.org/artists/7851

[39:20] Jarvis Givens
https://www.gse.harvard.edu/directory/faculty/jarvis-givens

[39:20] Fugitive Pedagogy
https://www.hup.harvard.edu/books/9780674278752

[44:05] The Rise: Creativity, the Gift of Failure, and the Search of Mastery
https://www.simonandschuster.com/books/The-Rise/Sarah-Lewis/9781451629248

[49:08] Montserrat
https://en.wikipedia.org/wiki/Montserrat

[49:08] Under the Volcano
https://www.imdb.com/title/tt9598492/

[51:36] Aperture
https://aperture.org/

[52:26] Maurice Berger
https://en.wikipedia.org/wiki/Maurice_Berger

[52:26] Coreen Simpson
https://en.wikipedia.org/wiki/Coreen_Simpson

[52:26] Doug Harris
https://sncclegacyproject.org/doug-harris-remembers-the-march-on-washington/

[52:26] Deborah Willis
https://debwillisphoto.com/home.html

[52:26] Leigh Raiford
https://africam.berkeley.edu/people/leigh-raiford/

[52:57] Hal Foster
https://artandarchaeology.princeton.edu/people/hal-foster

[56:01] Hank Willis Thomas
https://timesensitive.fm/episode/hank-willis-thomas-on-acknowledging-the-multitudes-of-truths-among-us/

[56:01] Theaster Gates
https://www.theastergates.com/about

[56:01] Mark Bradford
https://www.hauserwirth.com/artists/2838-mark-bradford/

[56:01] Amy Sherald
https://www.hauserwirth.com/artists/11577-amy-sherald/

[57:58] Wynton Marsalis
https://timesensitive.fm/episode/wynton-marsalis-on-jazz-as-a-tool-for-understanding-life/

[57:58] Charles Black
https://en.wikipedia.org/wiki/Charles_Black_%28professor%29

[57:58] Louis Armstrong
https://en.wikipedia.org/wiki/Louis_Armstrong

[57:58] Brown v. Board of Education
https://www.archives.gov/milestone-documents/brown-v-board-of-education "]]></description>
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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>
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<item rdf:about="https://blog.ayjay.org/looking-ahead-2/">
    <title>looking ahead – The Homebound Symphony</title>
    <dc:date>2024-01-15T21:16:34+00:00</dc:date>
    <link>https://blog.ayjay.org/looking-ahead-2/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Lately I’ve been posting in How to Think mode — HTT as the tag here calls it: I’ve been writing about various common-all-too-common errors in reasoning and how they might be avoided. But I’m about to change direction for a while. 

When I was a young faculty member at Wheaton College, a college that prides itself on “the integration of faith and learning,” I quickly realized that there was a fundamental mismatch between my knowledge of my academic discipline, which was fairly sophisticated, and my understanding of the Christian faith, which was woefully underdeveloped. I was only 25 years old when I began teaching at Wheaton; I had not grown up in a Christian home and indeed had only been a Christian for around five years; I had a lot to learn. But at least I grasped that point. 

And I was richly blessed in my neighbors, for I worked in the same building with Mark Noll, Roger Lundin, Bob Webber, and Arthur Holmes, among others. I relentlessly peppered them with questions, and especially sought recommendations for books I could read to give me an adequate understanding of the full range of Christian thought. I did not understand that I was asking for something that I couldn’t achieve in a lifetime. Gradually it dawned on me that Christian thinking about the arts and humanities was richer and deeper and more extensive than I could have imagined; and then, also gradually, my scholarship and non-scholarly writing too became more and more informed by and rooted in that great and complex tradition. 

My experience was somewhat like that of the Methodist theologian Thomas Oden, who when invited to teach and write about pastoral care could but draw on what little he knew about then-contemporary models of psychological counseling. It was only when he asked himself whether Christians, who had been doing pastoral care for 2000 years, might know a little bit about the subject that he began the great series of books on pastoral theology for which he is best remembered. Like me, Oden discovered that the Christian tradition in his chosen field was more extensive and powerful than he had anticipated, and he drank deeply from the well of that tradition for the rest of his life. 

Well, for me one thing led to another, and I now have one of the longest job titles in the American academy: the Jim and Sharon Harrod Endowed Chair of Christian Thought and Distinguished Professor of the Humanities in the Honors Program. The second half of that title I’ve had for a decade now; the first half is new. I am pleased and honored and excited by the prospect of becoming an official advocate for the great Christian tradition that I have been talking about in this post. 

Partly because of this new role, and partly by accident, I am this semester — for the first time, in a teaching career that now exceeds forty years — teaching only Christian writers. (I have had many semesters in which I didn’t teach any Christian writers at all, though usually there’s been a mix.) I am teaching, for Baylor’s Great Texts program, a course called Great Texts in Christian Spirituality; and I am teaching a new course, one I designed to express my chief interests as the new Harrod Chair: The Christian Renaissance of the Twentieth Century. 

The new course is devoted to exploring the extraordinary outburst of distinctively Christian creativity — in all the arts and humanities — that occurred especially in the first half of the twentieth century, but has continued in certain forms ever since. It is a ridiculously ambitious and indefensibly wide-ranging course, since we will look (sometimes briefly, sometimes in detail) at painting, architecture, music, literature, philosophy, philosophy, and filmmaking. Basically we’ll go from G. K. Chesterton and Jacques Maritain to Marilynne Robinson, Arvo Pärt, and Terrence Malick. (Though as it happens, on Day One we’ll discuss Rachmaninoff’s All-Night Vigil.) It’s gonna be utterly insane, and also, I think, a lot of fun. I hope to learn much in this first iteration that I can apply when I teach the course again — and I hope to teach it every year, student interest permitting. 

Between that course and the Christian Spirituality one — which will go from the Didache and Maximus Confessor to Annie Dillard’s Holy the Firm — I will have on my mind, for the next few months, an vast agglomeration of works in Christian theology, philosophy, and all the arts. There will be a lot to process, and this here blog is where I do much of my processing, so — if you like that kind of thing, then this will be the kind of thing you like. If not … well, sorry about that. "]]></description>
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    <title>A Conversation on Creating Art in Diaspora [Rupy C. Tut and Maya Salameh] - YouTube</title>
    <dc:date>2023-10-25T01:25:43+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=kM80XaAWC5I</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Living in diaspora is an infinitely complex, deeply personal experience that occurs in vastly different ways. This program will allow two accomplished artists who are creating art in diaspora to reflect upon their overlapping motivations and experiences, the way their work stands in cultural limbo, and how creating their art has affected their senses of self and identity."

[See also:

https://www.famsf.org/events/rupy-tut-maya-salameh-talk

"Maya Salameh is a Syrian American poet and the author of How to Make an Algorithm in the Microwave (University of Arkansas Press, 2022) and rooh (Paper Nautilus Press, 2020). She is the recipient of the Etel Adnan Poetry Prize and the Markowitz Award, and her work has appeared in POETRY, The Rumpus, and the LA Times. She can be found at @mayaslmh or mayasalameh.com. 

Rupy C. Tut creates paintings on paper and linen using handmade pigments. Her work is rooted in personal history; Tut is a grandchild of refugees, an immigrant, a mother, and a preservationist of traditional Indian painting techniques in use since 18th century AD. Her work is in the permanent collection of the Crocker Art Museum, Sacramento; the de Young, San Francisco; and the Asian Art Museum, San Francisco."

Rupy C. Tut
https://www.rupyctut.com/

Maya Salameh
https://www.mayasalameh.com/ ]]]></description>
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<item rdf:about="https://www.sfmoma.org/watch/etel-adnan-lightning-strike-paintings-and-words-gestures/">
    <title>Etel Adnan on lightning-strike paintings and words as gestures · SFMOMA</title>
    <dc:date>2021-11-28T19:16:41+00:00</dc:date>
    <link>https://www.sfmoma.org/watch/etel-adnan-lightning-strike-paintings-and-words-gestures/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Artist Etel Adnan has dedicated her life to creating poetry and visual art. Here she explains how she began working in those mediums and what she sees as the unique potentials of both."]]></description>
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<item rdf:about="https://www.contemporaryartdaily.com/project/group-show-at-documenta-halle-documenta-13-kassel-7200">
    <title>Etel Adnan Group Show at Documenta-Halle, Documenta 13, Kassel | Contemporary Art Daily</title>
    <dc:date>2021-11-15T06:50:58+00:00</dc:date>
    <link>https://www.contemporaryartdaily.com/project/group-show-at-documenta-halle-documenta-13-kassel-7200</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>eteladnan painting art 2012</dc:subject>
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<item rdf:about="https://www.frieze.com/article/many-loves-etel-adnan">
    <title>The Many Loves of Etel Adnan | Frieze</title>
    <dc:date>2021-11-15T06:40:57+00:00</dc:date>
    <link>https://www.frieze.com/article/many-loves-etel-adnan</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[“Negar Azimi on Adnan’s sensuous intellect”

[image: “Main Image: Etel Adnan, Quiétude (Quietness), 2017–18, handwoven wool tapestry, 1.4 × 2 m. Courtesy: Sfeir-Semler Gallery, Beirut/Hamburg”]

“Etel loves Franz Schubert and Umm Kulthum. She loves ice cream and tabouleh and red wine. In Paris, she loves Pizza Chic, a serious restaurant with an embarrassing name. In Beirut, she loves Mount Sannine, the way its pencil edges turn pink at sunset. She loves Death in Venice (1971), the moody and sensuous Luchino Visconti film about an ageing composer’s infatuation with a dreamy Polish boy. She loves people, including the ones who visit her at home to ply her with question after question after question. She interviews them before they interview her. She listens with electric interest. Etel loves to love. She loves the Venus de Milo (c.100 BCE). The sight of the love goddess’s lusty statue at the Louvre sets her imagination on fire. She loves Marguerite Yourcenar, a writer who once tried to seduce her by depositing a copy of One Thousand and One Nights (c.8th century) by young Etel’s bedside. She loves the artist Simone Fattal, her partner of over four decades, above all. One thing she does not love, she announces one Christmas Eve, is holidays.

[photo: "Etel Adnan and Simone Fattal in their apartment in Paris, 2016. Photograph: Thibault Montamat"]

‘Every square is a fresh beginning,’ she says of her own bright, geometrically inclined paintings. ‘Painting is not a shape, but it is a feeling.’ This child of the Ottoman Empire loves the state of California, where a mountain named Tamalpais is her best friend. ‘How beautiful it is’, says this lifelong lover of the sea, ‘to arrive to a country by boat.’ At 95, Etel is still ravenous for the world. Informed one day about a newfangled thing called Uber, she swipes her index finger across a visitor’s iPhone and sends it flying off the table. ‘It is difficult to be alive,’ she concludes, and we laugh. A woman who never cared for money, she now has more than she could ever wish to spend. ‘How ironic,’ she says, in her textured Levantine accent. From Los Angeles, where I am marooned in ambiguous ‘lockdown’, I try to imagine what Etel’s take on this wretched moment might be, a moment politicians and pundits liken to wartime. A moment in which we are isolated, masked and muzzled, cut off from so many of our loves. She has thought deeply, profoundly, about wartime, the way it batters the psyche, the ghastly imprints it leaves on the soul. Once upon a time, the Algerian War hardened her against France. The Vietnam War (1955–75) made her a poet. Love, she suggests, requires a different sort of bravery. ‘Love in all its forms is the most important matter that we will ever face,’ she wrote in The Cost for Love We Are Not Willing to Pay (2011). ‘But also the most dangerous, the most unpredictable, the most maddening.’

[image: “Etel Adnan, The Arab Apocalypse, 1989, book cover. Courtesy: The Post-Apollo Press”]

I think of her in Paris now, listening to the radio, fiddling with the libretto she has been composing on Marie de’ Medici, staring out at a doomy and deserted rue Madame. I envision her trying to make a painting. Failing to make a painting. Trying again. The writer of a book called The Arab Apocalypse (1989) is an inveterate optimist. The writer of a book called The Arab Apocalypse is a committed sensualist. ‘Love is the only salvation I know of.’”]]></description>
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<item rdf:about="https://frieze.com/article/what-barrington-watsons-paintings-jamaican-women-reveal-about-pan-african-legacies-0">
    <title>What Barrington Watson’s Paintings of Jamaican Women Reveal About Pan-African Legacies | Frieze</title>
    <dc:date>2020-07-21T10:58:51+00:00</dc:date>
    <link>https://frieze.com/article/what-barrington-watsons-paintings-jamaican-women-reveal-about-pan-african-legacies-0</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The artist’s works may embody the ‘values’ of revolution, but heroine-worship of the mass blunts its struggle"]]></description>
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<item rdf:about="http://www.cabinetmagazine.org/issues/65/powell.php">
    <title>CABINET / Rectangle after Rectangle</title>
    <dc:date>2019-11-15T07:30:07+00:00</dc:date>
    <link>http://www.cabinetmagazine.org/issues/65/powell.php</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["This is about the dominance of the rectangular format in a certain tradition of picture making, a dominance that still holds today and extends well beyond the medium of painting. The book, the photographic print, the screen, and the museum—which has tended to favor this format—all guarantee that we encounter most pictures in rectangular frames."]]></description>
<dc:subject>rectangles form art philosophy frames framing format 20017 books photography pictures painting</dc:subject>
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</item>
<item rdf:about="https://www.youtube.com/watch?v=VHpVIw-a9HM">
    <title>Teju Cole, &quot;Ethics&quot;, Lecture 3 of 3, 04.22.19 - YouTube</title>
    <dc:date>2019-06-02T22:38:16+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=VHpVIw-a9HM</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The 2019 Berlin Family Lectures with Teju Cole
"Coming to Our Senses"
Lecture three: "Ethics"
April 22, 2019

How do our senses foster our moral understanding and ethical obligations to others? In the third and final lecture of the 2019 Randy L. and Melvin R. Berlin Family Lecture Series, acclaimed author, critic, and photographer Teju Cole thinks through how our senses can help us understand the plight of travelers and migrants. Cole implores us to recognize the mutual and unshirkable responsibilities that bind all human beings. 

This is the second lecture in a three-lecture series presented in the spring of 2019 at the University of Chicago.

Named for Randy L. and Melvin R. Berlin, the Berlin Family Lectures bring leading scholars, writers, and creative artists from around the world to the University of Chicago. Each visitor offers an extended series of lectures with the aim of interacting with the university community and developing a book for publication with the University of Chicago Press. Learn more at http://berlinfamilylectures.uchicago.edu.

If you experience any technical difficulties with this video or would like to make an accessibility-related request, please send a message to humanities@uchicago.edu."
]]></description>
<dc:subject>2019 tejucole ethics senses migrants migration travelers responsibility humanism lauraletinsky photography location situation howwewrite interconnectedness interconnected malta caravaggio art painting writing reading knowing knowledge seeing annecarson smell death grief dying interconnectivity</dc:subject>
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</item>
<item rdf:about="https://mitpress.mit.edu/books/remediation">
    <title>Remediation: Understanding New Media, by Jay David Bolter and Richard Grusin | The MIT Press</title>
    <dc:date>2019-06-02T22:20:10+00:00</dc:date>
    <link>https://mitpress.mit.edu/books/remediation</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Summary

A new framework for considering how all media constantly borrow from and refashion other media.

Media critics remain captivated by the modernist myth of the new: they assume that digital technologies such as the World Wide Web, virtual reality, and computer graphics must divorce themselves from earlier media for a new set of aesthetic and cultural principles. In this richly illustrated study, Jay David Bolter and Richard Grusin offer a theory of mediation for our digital age that challenges this assumption. They argue that new visual media achieve their cultural significance precisely by paying homage to, rivaling, and refashioning such earlier media as perspective painting, photography, film, and television. They call this process of refashioning "remediation," and they note that earlier media have also refashioned one another: photography remediated painting, film remediated stage production and photography, and television remediated film, vaudeville, and radio."

Review:

"The authors do a splendid job of showing precisely how technologies like computer games, digital photography, film television, the Web, and virtual reality all turn on the mutually constructive strategies of generating immediacy and making users hyperaware of the media themselves...The authors lay out a provocative theory of contemporary selfhood, one that draws on and modifies current notions of the 'virtual' and 'networked' human subject. Clearly written and not overly technical, this book will interest general readers, students, and scholars engaged with current trends in technology."]

[via:
https://twitter.com/thezhanly/status/1135170311941492736

in this exchange:

Venkatesh Rao (@vgr): "I think several new genres of fiction are being born right now that will break the Industrial Age ones (SFF, mystery, romance, horror, thriller).

One I think is alt-realism. Or adjacent-realism. Not counterfactuals, more like fictional conspiracy theories."

Me (@rogre): "Have you done the same for *form* of fiction? (Think length, type of prose, formatting, use of multimedia, etc.) I think there is something similar going on there too. I also think that these genres and forms are not necessarily as new as they seem, just finally gaining traction?"
‏
Venkatesh Rao (@vgr): I think that’s probably overtheorized already by all the hypermedia studies people. I’m more interested in content. I suspect @thezhanly has good knowledge on state of art there. But overall I think media form evolves much less quickly than people want it too.

Zhan Li (@thezhanly): Bolter & Grusin’s remediation concept is a crucial perspective for this https://mitpress.mit.edu/books/remediation ]]]></description>
<dc:subject>books media jaydavidbolter richardgrusin 1998 photography film painting art writing howwrite publishing theater filmmaking radio television tv refashioning culture</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
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</item>
<item rdf:about="https://itunes.apple.com/us/app/procreate/id425073498">
    <title>‎Procreate on the App Store</title>
    <dc:date>2018-08-02T20:58:48+00:00</dc:date>
    <link>https://itunes.apple.com/us/app/procreate/id425073498</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Apple Design Award winner and App Store Essential – Procreate is the most powerful sketching, painting and illustration app ever designed for a mobile device, built for creative professionals. This complete artist’s toolbox helps you create beautiful sketches, inspiring paintings, and stunning illustrations anywhere you are. Procreate features ground-breaking canvas resolution, 136 incredible brushes, an advanced layer system, and is powered by Silica M: the fastest 64-bit painting engine on iOS.
Create a canvas and start painting with any of Procreate’s exclusive dual-texture brushes. Use the immediately responsive smudge tool to perfectly blend colour with any brush in your library. With Procreate’s incredibly high-resolution canvases you can print your artwork at massive sizes. Experience the revolutionary selection, transform, and perspective tools built exclusively for multitouch and finish your illustration with stunning cinema-quality effects. Procreate’s powerful and intuitive interface always puts your art in focus.

With a deep range of professional quality features, Procreate has all the power a creative needs."]]></description>
<dc:subject>applications ios ipad photoshop painting paint drawing illustration</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:395bfc4bc54c/</dc:identifier>
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</item>
<item rdf:about="https://chrome.google.com/webstore/detail/web-paint/emeokgokialpjadjaoeiplmnkjoaegng">
    <title>Web Paint - Chrome Web Store</title>
    <dc:date>2018-03-01T02:22:05+00:00</dc:date>
    <link>https://chrome.google.com/webstore/detail/web-paint/emeokgokialpjadjaoeiplmnkjoaegng</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[via: https://chromeunboxed.com/web-paint-chrome-extension-marking-up-websites/ ]

"Draw shapes, lines, and add text to live web pages and take screenshot.
Web Paint provides the following easy to use drawing tools that let you draw shapes, lines, and add text to live web pages and take screenshot (touch screen supported):

Pencil tool - draw a custom line with the selected line width and color.
Eyedropper tool - pick a color from the web page or your drawings and use it for drawing.
Text tool - insert text into the web page with the selected color and transparency.
Line tool - draw a straight line with the selected line width, transparency and color.
Quadratic curve - draw a quadratic curve with the selected line width, transparency and color.
Bezier curve - draw a bezier curve with the selected line width, transparency and color.
Polygon tool - draw a polygon with the selected line width, transparency and color.
Ellipse tool - draw an ellipse or a circle with the selected line width, transparency and color.
Paint bucket tool - fill an area with selected color and transparency.
Color picker - select a color for the text and line.
Transparency slider - select a transparency for the text and line. (Drag the slider to the left to decrease the value and to the right to increase the value)
Line width slider - select a line width. (Drag the slider to the left to decrease the value and to the right to increase the value)
Rectangle tool - draw a rectangle with the selected line width, transparency and color.
Cursor tool - interact with the web page.
Eraser tool - erase part of your drawings.
Screenshot tool - take a screenshot of the current web page with your drawings.
Exit button - clear your drawings and disable the tools. 

Please click the extension icon in the upper right of your browser to enable the tools."]]></description>
<dc:subject>chrome onlinetoolkit extensions drawing painting</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:801ce9e5574c/</dc:identifier>
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</item>
<item rdf:about="https://krita.org/es/">
    <title>Krita | Digital Painting. Creative Freedom.</title>
    <dc:date>2018-02-26T01:03:45+00:00</dc:date>
    <link>https://krita.org/es/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Krita is a professional FREE and open source painting program. It is made by artists that want to see affordable art tools for everyone.
• concept art
• texture and matte painters
• illustrations and comics"]]></description>
<dc:subject>opensource via:lukeneff applications windows linux mac osx illustration painting software</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:ed9f188dc004/</dc:identifier>
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</item>
<item rdf:about="https://www.vogue.com/article/lorna-simpson-vogue-interview-march-2018-issue">
    <title>Lorna Simpson, America’s Most Defiant Conceptual Artist, Makes A Radical Change—To Painting - Vogue</title>
    <dc:date>2018-02-19T07:27:00+00:00</dc:date>
    <link>https://www.vogue.com/article/lorna-simpson-vogue-interview-march-2018-issue</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Lorna graduated early from SVA and was doing graphic-design work for a travel company when she met Carrie Mae Weems, a graduate art student at the University of California, San Diego. Weems suggested she come out to graduate school in California. “It was a rainy, icy New York evening, and that sounded really good to me,” Simpson says. “I had no idea what I was getting myself into.” She knew she’d had enough of documentary street photography. Conceptual art ruled at UCSD, and in her two years there, from 1983 to 1985, Lorna found her signature voice, combining photographs and text to address issues that confront African American women. “I loved writing poetry and stories, but at school, that was a separate activity from photography,” she says. “I thought, Why not merge those two things?”"]]></description>
<dc:subject>lornasimpson 2018 art artists adjaye painting photography multimedia ucsd conceptualart davidhammons jean-michelbasquiat basquiat zoracasabere combinations breakingform cross-media race gender sex identity video videoart form</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:360cdb5247ed/</dc:identifier>
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</item>
<item rdf:about="https://twitter.com/Qafzeh/status/932129878756900864">
    <title>PaleoAnthropology+ on Twitter: &quot;Wonderful Neanderthal character studies by artist Tom Björklund https://t.co/4tzGMIiJPe https://t.co/k93STipLdR&quot;</title>
    <dc:date>2017-11-24T01:58:12+00:00</dc:date>
    <link>https://twitter.com/Qafzeh/status/932129878756900864</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Wonderful Neanderthal character studies by artist Tom Björklund https://www.facebook.com/tombjorklundart/ "]]></description>
<dc:subject>tombjörklund neanderthals art painting</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:07d92c931c07/</dc:identifier>
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</item>
<item rdf:about="http://procreate.art/">
    <title>Procreate for iPad</title>
    <dc:date>2017-06-13T02:06:27+00:00</dc:date>
    <link>http://procreate.art/</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>ios ipad applications drawing painting</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:8dde9856fe94/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:ios"/>
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</item>
<item rdf:about="https://www.youtube.com/watch?v=Eyr9NwyszNY">
    <title>The Painter of Jalouzi - YouTube</title>
    <dc:date>2017-02-19T02:08:55+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=Eyr9NwyszNY</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The film tells the story of one citizen from Jalouzi, one of the largest slums in Haiti, who is determined to bring color to the impoverished area by helping paint the entire town, literally. 

Believing that color has the power to transform his community, he’s helping to paint everywhere – on houses, on buses, and the entire hillside. Armed with brushes of bright blues, pastel pinks, and sunshine yellows, he’s helping to mobilize citizens of all ages, determined to turn the grey town into a rainbow full of color to lead the way to a brighter Haiti."]]></description>
<dc:subject>haiti jalouzi color 2015 painting homes</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:0842388f2803/</dc:identifier>
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<item rdf:about="http://www.bbc.co.uk/programmes/b082qynq">
    <title>BBC Four - John Berger: The Art of Looking</title>
    <dc:date>2017-01-02T21:49:29+00:00</dc:date>
    <link>http://www.bbc.co.uk/programmes/b082qynq</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[video currently available on YouTube: https://www.youtube.com/watch?v=e3VhbsXk9Ds ]

"Art, politics and motorcycles - on the occasion of his 90th birthday John Berger or the Art of Looking is an intimate portrait of the writer and art critic whose ground-breaking work on seeing has shaped our understanding of the concept for over five decades. The film explores how paintings become narratives and stories turn into images, and rarely does anybody demonstrate this as poignantly as Berger.

Berger lived and worked for decades in a small mountain village in the French Alps, where the nearness to nature, the world of the peasants and his motorcycle, which for him deals so much with presence, inspired his drawing and writing.

The film introduces Berger's art of looking with theatre wizard Simon McBurney, film-director Michael Dibb, visual artist John Christie, cartoonist Selçuk Demiral, photographer Jean Mohr as well as two of his children, film-critic Katya Berger and the painter Yves Berger.

The prelude and starting point is Berger's mind-boggling experience of restored vision following a successful cataract removal surgery. There, in the cusp of his clouding eyesight, Berger re-discovers the irredeemable wonder of seeing.

Realised as a portrait in works and collaborations, this creative documentary takes a different approach to biography, with John Berger leading in his favourite role of the storyteller."]]></description>
<dc:subject>2016 johnberger documentary towatch simonmcburney michaeldibb johnchristie selçukdemiral jeanmohr katyaberger yvesberger waysofseeing seeing looking noticing biography storytelling skepticism photography rebellion writing howwewrite collaboration canon conspirators rebels friendship community migration motorcycles presence being living life interestedness interested painting art history france belonging place labor home identity work peasants craft craftsmanship aesthetics design vision cataracts sight teaching howweteach attention focus agriculture memory memories shit pigs humans animals childhood perception freedom independence storytellers travelers nomads trickster dead death meaning meaningmaking companionship listening discovery understanding sfsh srg books publishing television tv communication engagement certainly uncertainty</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:7de76566ecae/</dc:identifier>
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</item>
<item rdf:about="https://archive.org/details/gri_c00033125008687523">
    <title>Chromatography, or, A treatise on colours and pigments : and of their powers in painting, &amp;c. : Field, George, 1777?-1854 : Free Download &amp; Streaming : Internet Archive</title>
    <dc:date>2016-06-28T17:46:27+00:00</dc:date>
    <link>https://archive.org/details/gri_c00033125008687523</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>color via:doingitwrong pigments 1835 painting</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:54ca5bf3ca39/</dc:identifier>
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</item>
<item rdf:about="http://www.tuckernichols.com/">
    <title>TUCKER NICHOLS</title>
    <dc:date>2016-04-25T05:07:28+00:00</dc:date>
    <link>http://www.tuckernichols.com/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[See also: https://en.wikipedia.org/wiki/Tucker_Nichols ]]]></description>
<dc:subject>tuckernichols sanfrancisco artists art drawing painting illustration sfsh</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:d78e421513bc/</dc:identifier>
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</item>
<item rdf:about="http://darklyeuphoric.tumblr.com/post/115919066217/my-investigations-have-nothing-to-do-with-the">
    <title>Darkly Euphoric</title>
    <dc:date>2015-04-10T05:06:30+00:00</dc:date>
    <link>http://darklyeuphoric.tumblr.com/post/115919066217/my-investigations-have-nothing-to-do-with-the</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["My investigations have nothing to do with the objects themselves. My painting tries to represent movement, vibration, light, space, time, things that exist but which do not have a determined form, and the only way I have found to do this is to attempt to represent the relationships between them." —Jesús Rafael Soto, Venezuelan op and kinetic artist]]></description>
<dc:subject>jesúsrafaelsoto art immaterial representation painting movement vibration light space time</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:45fa2cfbc514/</dc:identifier>
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</item>
<item rdf:about="http://www.nikyniky.com/">
    <title>Niky Roehreke</title>
    <dc:date>2015-01-08T06:17:52+00:00</dc:date>
    <link>http://www.nikyniky.com/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Hello, my name is Niky Roehreke and I am a german/japanese illustrator
currently living and working in Brooklyn, New York.

I graduated from the Central Saint Martins Graphic Design in London in 2008 and since then 

I've been drawing, doodling, painting and making collages (almost) every single day.

There are so many new ways to communicate, but I strongly believe that hands remain the most powerful and honest, sometimes magical way to communicate, which is why my work is hand-made and 'hands' are often a recurring motif in my work."]]></description>
<dc:subject>fashion illustration nikyroehreke drawing srg glvo painting doodling collage</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:818de1325e20/</dc:identifier>
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</item>
<item rdf:about="https://itunes.apple.com/us/app/shrub/id901278035">
    <title>Shrub on the App Store on iTunes</title>
    <dc:date>2014-09-16T17:45:10+00:00</dc:date>
    <link>https://itunes.apple.com/us/app/shrub/id901278035</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[See also:
http://shrub-app.tumblr.com/
http://www.linkedbyair.net/ ]]]></description>
<dc:subject>ios iphone applications photography cameras painting</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:5faabe004b65/</dc:identifier>
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<item rdf:about="http://friezeprojectsny.org/talks/kenneth-goldsmith/">
    <title>Kenneth Goldsmith - Talks | Frieze Projects NY</title>
    <dc:date>2014-08-13T03:29:56+00:00</dc:date>
    <link>http://friezeprojectsny.org/talks/kenneth-goldsmith/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[Direct link to .mp3: http://friezeprojectsny.org/uploads/files/talks/Kenneth_Goldsmith.mp3 ]

"‘I Look to Theory Only When I Realize That Somebody Has Dedicated Their Entire Life to a Question I Have Only Fleetingly Considered’

A keynote lecture by the poet Kenneth Goldsmith, whose writing has been described as ‘some of the most exhaustive and beautiful collage work yet produced in poetry’ (Publishers Weekly). Goldsmith is the author of eleven books of poetry and founding editor of the online archive UbuWeb. In 2013, he was named as the inaugural Poet Laureate of MoMA."]]></description>
<dc:subject>kennethgoldsmith copying uncreativewriting mercecunningham writing internet web online remixing culture art poetry originality appropriation quantity quality curiosity harrypotter poetics digital reproduction translation displacement disjunction corydoctorow change howwewrite pointing data metadata choice authorship versioning misfiling language difference meaning ethics morality literature twitter artworld marshallmcluhan christianbök plagiarism charleseames rules notknowing archiving improvisation text bricolage assemblage cv painting technology photography readerships thinkerships thoughtobjects reassembly ubuweb freeculture moma outreach communityoutreach nyc copyright ip intellectualproperty ideas information sfpc vitoacconci audience accessibility situationist museums markets criticism artcriticism economics money browsers citation sampling jonathanfranzen internetasliterature getrudestein internetasfavoritebook namjunepaik johncage misbehaving andywarhol bobdylan barbarakruger jkrowling china creati</dc:subject>
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<item rdf:about="http://www.melbochner.net/">
    <title>Mel Bochner</title>
    <dc:date>2013-08-10T03:06:50+00:00</dc:date>
    <link>http://www.melbochner.net/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[via http://cyborges.tumblr.com/post/57660336615/gallowhill-mel-bochner-language-is-not via http://notational.tumblr.com/post/57666787873/gallowhill-mel-bochner-language-is-not ]]]></description>
<dc:subject>art artists modernism melbochner rolisoen language painting</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:7d31437a7d6a/</dc:identifier>
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<item rdf:about="http://linatharsing.com/">
    <title>LINA THARSING</title>
    <dc:date>2013-03-27T08:34:36+00:00</dc:date>
    <link>http://linatharsing.com/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[Specifically "Making a New Forest: http://linatharsing.com/making-a-new-forest
Natural History I: http://linatharsing.com/natural-history-i
Natural History II (Paintings 2011): http://linatharsing.com/painting-2011
Experiments in Visual Science: http://linatharsing.com/experiments-in-visual-science ]

[via: http://richardmccoy.tumblr.com/post/45262719397/something-to-check-out-at-the-university-of ]
[See also: http://institute193.org/lina-tharsing-natural-history ]]]></description>
<dc:subject>artists animals museum dioramas naturalhistory painting linatharsing portfolios art</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:55e8badd56f7/</dc:identifier>
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<item rdf:about="http://www.onthemedia.org/2013/mar/08/plagiarism-maybe-its-not-so-bad/">
    <title>Plagiarism: Maybe It's Not So Bad - On The Media</title>
    <dc:date>2013-03-11T16:14:56+00:00</dc:date>
    <link>http://www.onthemedia.org/2013/mar/08/plagiarism-maybe-its-not-so-bad/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Artists often draw inspiration from other sources. Musicians sample songs. Painters recreate existing masterpieces. Kenneth Goldsmith believes writers should catch-up with other mediums and embrace plagiarism in their work. Brooke talks with Goldsmith, MoMA’s new Poet Laureate, about how he plagiarizes in his own poetry and asks if appropriation is something best left in the art world."

[Full show here: http://www.onthemedia.org/2013/mar/08/ ]

"A special hour on our changing understanding of ownership and how it is affected by the law. An author and professor who encourages creative writing through plagiarism, 3D printing, fan fiction & fair use, and the strange tale of who owns "The Happy Birthday Song""]]></description>
<dc:subject>plagiarism poetry poems 2013 kennethgoldsmith moma appropriation creativity originality writing creativewriting 3dprinting fanfiction happybirthday songs music drm copyright fairuse ownership possessions property law legal ip intellectualproperty campervan beethoven robertbrauneis jamesboyle history rebeccatushnet chrisanderson michaelweinberg public publicknowledge campervanbeethoven davidlowey johncage representation copying sampling photography painting art economics content aesthetics jamesjoyce patchwriting ulysses</dc:subject>
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<item rdf:about="http://hilobrow.com/2011/03/18/stephane-mallarme/">
    <title>Stéphane Mallarmé | HiLobrow</title>
    <dc:date>2013-02-26T23:49:24+00:00</dc:date>
    <link>http://hilobrow.com/2011/03/18/stephane-mallarme/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["When painter Edgar Degas complained to friends that despite being full of ideas for new poetry, he had struggled all day to write a sonnet, the salon’s host, STÉPHANE MALLARMÉ (1842-98), replied, “But Degas, it is not at all with ideas that one makes poetry. It is with words.” Sound did not follow sense: consider the distortion between language and reality even in the darkened vowels of jour (day) and the bright ones of nuit (night). That was the lesson of Baudelaire and especially Poe, whose verse Mallarmé translated into French prose and to whom Mallarmé dedicated a famous sonnet celebrating the poet’s “black flights of blasphemy” against taste and tradition in his attempts to “give a purer meaning to the words of the tribe.” In time, Mallarmé’s insistence on the elemental role of words led him from sound to space, writing his breathtakingly experimental poem “Un Coup de des” (“A Throw of the dice”) and a series of influential essays calling for a free verse modeled in part on the daily newspaper: the “full sheet on display… [allows for] mass production and circulation, but that advantage is secondary to a miracle, in the highest sense of the word: words led back to their origin, which is the twenty-six letters of the alphabet, so gifted with infinity that they will finally consecrate language.” Many of Mallarmé’s longest projects, including an elaborate combinatorial performance piece alternately called simply Le Livre (The Book) or Le Grand Oeuvre (The Great Work), remained incomplete or in fragments at his death."]]></description>
<dc:subject>edgardegas degas mallarmé stéphanemallarmé words language french abstraction timcarmody poetry painting 2011</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
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<item rdf:about="http://edwardlifson.blogspot.com/2008/06/do-it-yourself-sol-lewitt-wall-drawings.html">
    <title>Do-it-yourself Sol LeWitt Wall Drawings. It's easy! | Hello Beautiful!</title>
    <dc:date>2012-08-15T21:50:38+00:00</dc:date>
    <link>http://edwardlifson.blogspot.com/2008/06/do-it-yourself-sol-lewitt-wall-drawings.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[Now here: https://hellobeautifulblog.wordpress.com/2008/06/25/do-it-yourself-sol-lewitt-wall-drawings-its-easy/ ]

"You too can present a retrospective of the great Wall Drawings of Sol LeWitt!

You'll need a crew. Art students will do. Also recent art graduates, and artists- if they can follow instructions."]]></description>
<dc:subject>walldrawings process classideas diy painting art sollewitt</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:82b9fedb038d/</dc:identifier>
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</item>
<item rdf:about="http://www.andersonranch.org/">
    <title>Art Workshops in Aspen Snowmass Colorado | Anderson Ranch Arts Center</title>
    <dc:date>2012-08-11T20:11:28+00:00</dc:date>
    <link>http://www.andersonranch.org/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Anderson Ranch Arts Center Anderson Ranch celebrates artists, art-making, critical dialogue and community. We promote personal and professional development of artists of all levels of expertise through year-round workshops in ceramics, sculpture, photography, new media, painting and drawing, printmaking, woodworking, furniture design and more. Our artists residencies for emerging and established artists, summer internships, visiting artists and critics, community outreach, and public events offer a full spectrum of opportunities to creative people of all levels. The facilities feature fully-equipped art studios and galleries. Anderson Ranch programs and activities including art auctions and artist slide lectures, attract thousands of artists, art-lovers, students, faculty and patrons annually to this historic Rocky Mountain ranch dedicated to the fine arts."]]></description>
<dc:subject>furnituredesign furniture woodworking drawing painting newmedia photography sculpture ceramics workshops aspen education community design colorado residencies art</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:7fe84cc235fc/</dc:identifier>
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</item>
<item rdf:about="https://vimeo.com/46239783">
    <title>Eyeo2012 - Jonathan Harris on Vimeo</title>
    <dc:date>2012-07-26T20:06:15+00:00</dc:date>
    <link>https://vimeo.com/46239783</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Jonathan talks about some major turning points in his life — things he used to believe that he no longer believes, painful moments that ended up being doorways into something else, highs and lows, and other ways in which life’s topography determines one's art. He relates all this against the backdrop of a desire to humanize the Web and evolve the art of storytelling, touching on insights and principles picked up along the way."]]></description>
<dc:subject>travel change painting landscape art web stories narrative datacollection data visualization datavisualization storytelling bhutan life owls meaningmaking meaning experience jonathanharris 2012 eyeo2012 eyeo tools toolmaking facebook twitter carljung software behavior cowbird purpose healers dealers jung</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:5a4901208b7c/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:owls"/>
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</item>
<item rdf:about="https://vimeo.com/7127385">
    <title>Agnes Martin Interview (20:00 version, 1997) on Vimeo</title>
    <dc:date>2012-07-12T19:59:24+00:00</dc:date>
    <link>https://vimeo.com/7127385</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["An interview done by Chuck Smith & Sono Kuwayama with painter Agnes Martin at her studio in Taos in Nov. 1997."

[Shorter version here: https://www.youtube.com/watch?v=_-JfYjmo5OA ]

[Via: https://twitter.com/CaseyG/status/223499478819287041 ]


Some highlights:

“I paint with my back to the world.”

"I think education is wrong. Education wants us to think that we are capable and we can do anything, teaches us to be ambitious, but that's the way to failure. To think to win and be ambitious instead of thinking what you're doing. The people that think they're ambitious and capable, they don't know they're only capable of repeating something that's already been done."

"The worst thing you can think about when you're working at anything is yourself."

"You can't think about beating the rest of them when you are painting. You have to keep a picture in your mind."]]></description>
<dc:subject>glvo brucenauman self clarity agnesmartin inspiration howwecreate howwework vacanmind ideas sonokuwayama chucksmith via:caseygollan interviews 1997 loneliness alone life painting art evolution education ambition failure</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:65212e10a668/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:via:caseygollan"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:loneliness"/>
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</item>
<item rdf:about="https://vimeo.com/33532853">
    <title>Bruce Sterling - Symposium Playful Post Digital Culture (STRP 2011). on Vimeo</title>
    <dc:date>2012-02-20T08:51:27+00:00</dc:date>
    <link>https://vimeo.com/33532853</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>music renaissance science culture post-digital appleboutiqueworld cyberwarworld piracy softpower pepperspray drones robots china brasil india bollywoodcarnavalworld painting slumdogmillionaire dictatorchic streetart carart favelachic narco sweatshopworld hightech lowtech highart lowart speculative futurism futures technology art techart 2011 brucesterling brazil low-tech</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:370a3dafd547/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:post-digital"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:cyberwarworld"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:brucesterling"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:brazil"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:low-tech"/>
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</item>
<item rdf:about="http://evan-roth.com/work/multi-touch-finger-paintings/">
    <title>Evan Roth: Multi-Touch Finger Paintings</title>
    <dc:date>2011-09-19T06:37:00+00:00</dc:date>
    <link>http://evan-roth.com/work/multi-touch-finger-paintings/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Paintings created by performing routine tasks on multi-touch hand held computing devices."]]></description>
<dc:subject>iphone touch painting art touchscreen multitouch evanroth ink 2011</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:609b3c36b5be/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:iphone"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:touch"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:painting"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:art"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:touchscreen"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:multitouch"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:evanroth"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:ink"/>
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</item>
<item rdf:about="http://www.nypl.org/blog/2011/08/17/work-art-age-digital-reproduction">
    <title>The Work of Art in the Age of Digital Reproduction | The New York Public Library</title>
    <dc:date>2011-08-19T08:53:21+00:00</dc:date>
    <link>http://www.nypl.org/blog/2011/08/17/work-art-age-digital-reproduction</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The French painter Paul Delaroche allegedly said "From today, painting is dead" when he first experienced Louis Daguerre's photographic process in 1839…

Within a few decades the ease of mechanically capturing an accurate representation of someone or something became available and affordable to the masses.

A century later the mechanical process became digital.

People with cameras left the elevated site to change their film and process their negatives, replaced by others who instantly shared their photos of the barn with the world on Flickr.

Ceci n'est pas une pipe.This is Joseph Kosuth's chair.This is a photograph of Joseph Kosuth's chair.Joseph Kosuth's chair (noun) is a piece of furniture consisting of a seat, leags, back, and often arms, designed to accommodate one person.

Reality and representation.

The indigenous people's souls were taken…

"Once you've seen the signs about the barn, it becomes impossible to see the barn."]]></description>
<dc:subject>photography flickr reproduction observation pauldelaroche nypl billyparrott painting digital representation reality</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:cdbf0cdbd76a/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:photography"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:reproduction"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:nypl"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:digital"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:representation"/>
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</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://berglondon.com/blog/2011/06/06/prophet-speak-whats-on-your-mind/">
    <title>Prophet, speak what’s on your mind – Blog – BERG</title>
    <dc:date>2011-06-12T23:12:57+00:00</dc:date>
    <link>http://berglondon.com/blog/2011/06/06/prophet-speak-whats-on-your-mind/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Robertson (1936-1997) was born and lived most of his life in Louisiana. He left school at age 13 and in his late teens apprenticed as a sign painter in the western US. Later in his life, when his wife of 19 years – and mother of his 11 children – left him for another man and took all their children to Texas with her, he descended into paranoid schizophrenia. He declared himself a prophet and began to record his visions in his paintings. Frequent themes in his paintings included spaceships and aliens, futuristic cities, Biblical and religious references, numerology and misogyny, the latter apparently spurred by his wife’s betrayal."]]></description>
<dc:subject>royalrobertson outsiderart outsiders art design sufjanstevens albumart spaceships mentalillness futurism cities painting outsider mentalhealth</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:a5b9dae3579e/</dc:identifier>
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</item>
<item rdf:about="http://www.guardian.co.uk/culture/2011/apr/23/john-berger-life-in-writing">
    <title>John Berger: a life in writing | Culture | The Guardian</title>
    <dc:date>2011-05-08T16:15:48+00:00</dc:date>
    <link>http://www.guardian.co.uk/culture/2011/apr/23/john-berger-life-in-writing</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["At 16 Berger left school and enrolled at the Central School of Art, where he encountered "older painters and teachers". Lucian Freud was there briefly at the same time. "I'm not saying we predicted what would happen with his career, but equally it is not that much of a surprise. He was an outstanding student, and it was clear that he was very gifted and also very confident.""

""The only rule in collaborations is that one should never strike deals and never compromise," he says. "If you disagree on something you shouldn't yield and you shouldn't insist on winning. Instead you should just accept that the solution is not right and carry on until it is right. The temptation to say 'you can have this one and I will have the next one' is fatal.""

[via: http://www.gyford.com/phil/writing/2011/05/03/easter-reading.php ]]]></description>
<dc:subject>johnberger collaboration compromise marxism karlmarx waysofseeing books writing spinoza ruralcomp kennethclark 2011 activism biography materialism history religion christianity socialism managementtheory lucianfreud painting renatogattuso</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:4075ab7c0d6e/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:socialism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:managementtheory"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:lucianfreud"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:painting"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:renatogattuso"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://www.mikemaxwellart.com/">
    <title>Mike Maxwell</title>
    <dc:date>2011-01-31T05:15:08+00:00</dc:date>
    <link>http://www.mikemaxwellart.com/</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>illustration painting art mikemaxwell sandiego</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:5b34c9f9893b/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:illustration"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:painting"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:art"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:mikemaxwell"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:sandiego"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://flavorwire.com/143813/blurry-oil-paintings-of-drunken-cab-rides">
    <title>Flavorwire » Blurry Oil Paintings of Drunken Cab Rides</title>
    <dc:date>2011-01-22T04:45:32+00:00</dc:date>
    <link>http://flavorwire.com/143813/blurry-oil-paintings-of-drunken-cab-rides</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["We discovered work of Poland-born, New York-based artist Alexandra Pacula over on Animal NY; looking at her blurry oil paintings — which are intended to recreate the “wonder and disorientation” of urban nightlife — is like riding around the city in a speeding cab after having a drink (or ten drinks) too many. “I concentrate on how the mind perceives and evaluates surroundings while under the influence of a social climate,” she explains. “I want the viewer’s eye to travel within my composition and experience a familiar exhilarating event of an actual nightly excursion.” Minus the hangover, naturally. Click through to check out a gallery of Pacula’s work."]]></description>
<dc:subject>art painting drunkeness perception alexandrapacula disorientation alcohol</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:86295100ee22/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:art"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:painting"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:drunkeness"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:perception"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:alexandrapacula"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:disorientation"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:alcohol"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://shiloku.com/">
    <title>Hiro Kurata</title>
    <dc:date>2010-12-19T19:16:49+00:00</dc:date>
    <link>http://shiloku.com/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[Blogged here: http://robertogreco.tumblr.com/post/2376593781/tell-me-your-story-hiro-kurata-2008]]></description>
<dc:subject>art painting japan hirokurata artists installation glvo</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:255b0e1ccfe7/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:art"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:painting"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:japan"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:hirokurata"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:artists"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:installation"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:glvo"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://www.life.com/image/first/in-gallery/48231/inside-lascaux-rare-unpublished">
    <title>Inside Lascaux: Rare, Unpublished - Photo Gallery - LIFE</title>
    <dc:date>2010-09-11T19:45:51+00:00</dc:date>
    <link>http://www.life.com/image/first/in-gallery/48231/inside-lascaux-rare-unpublished</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["A warm afternoon in southwestern France. As two schoolboys hunt rabbits on a ridge covered with pine, oak, and blackberry brambles, their dog chases a hare down a hole beside a downed tree. Widening the hole, removing rocks, the boys follow -- and enter not merely another world, but another time. Underground, they discover "a Versailles of prehistory" -- a series of caves, today collectively known as Lascaux, boasting wall paintings up to 18,000 years old. In 1947, LIFE's Ralph Morse went to Lascaux, and became the first photographer to ever document the astonishing, vibrant paintings. Here, on the 70th anniversary of the discovery of the cave and its treasures, in a gallery featuring rare and never-published photographs, Morse -- still vibrant himself at 93 -- shares with LIFE.com his memories of what it was like to encounter the long-hidden, strikingly lifelike handiwork of a vanished people: the Cro-Magnon."]]></description>
<dc:subject>lascaux art history painting photography ancient</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:1b1ba1b3912a/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:lascaux"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:art"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:history"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:painting"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:photography"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:ancient"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://www.archaeology.org/0801/trenches/colorgods.html">
    <title>From the Trenches - Carved in Living Color</title>
    <dc:date>2010-08-22T08:22:50+00:00</dc:date>
    <link>http://www.archaeology.org/0801/trenches/colorgods.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Leave your preconceived notions of ancient art at home. A groundbreaking exhibition at Harvard University's Arthur M. Sackler Museum in Cambridge, Massachusetts, shows how marble statues actually looked in antiquity: covered from head to toe in vibrant paint. Based on 25 years of research by Vinzenz Brinkmann, formerly a curator at the Glyptothek Museum in Germany, Gods in Color: Painted Sculpture of Classical Antiquity features more than 20 full-size color reconstructions of Greek and Roman works, alongside 35 original statues and reliefs." [via: http://io9.com/5616498/ultraviolet-light-reveals-how-ancient-greek-statues-really-looked]]]></description>
<dc:subject>ancient archaeology greece sculpture history ancienthistory ancientgreece arthistory painting art statues</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:652309b4562c/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:ancient"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:archaeology"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:greece"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:sculpture"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:history"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:ancienthistory"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:ancientgreece"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:arthistory"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:painting"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:art"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:statues"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://en.wikipedia.org/wiki/Horror_vacui">
    <title>Horror vacui - Wikipedia [Follow-up to: http://www.waywordradio.org/spendthrift-snollygosters/]</title>
    <dc:date>2010-08-16T04:16:52+00:00</dc:date>
    <link>http://en.wikipedia.org/wiki/Horror_vacui</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["In visual art, horror vacui (literally: fear of empty spaces, perhaps represented by white spaces, also known as cenophobia) is the filling of the entire surface of an artwork with detail."]]></description>
<dc:subject>horrorvacui emptiness fear horror surrealism outsiderart painting density definition art aristotle philosophy psychology insanity</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:54d6eeae106a/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:horrorvacui"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:emptiness"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:fear"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:horror"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:surrealism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:outsiderart"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:painting"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:density"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:definition"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:art"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:aristotle"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:philosophy"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:psychology"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:insanity"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://blogs.wnyc.org/radiolab/2010/06/15/strangers-in-the-mirror/">
    <title>WNYC - Radiolab » Strangers in the Mirror [Bonus: Close talks about academic failure, Robert Rauschenberg, dyslexia, and empathy.]</title>
    <dc:date>2010-07-18T20:24:39+00:00</dc:date>
    <link>http://blogs.wnyc.org/radiolab/2010/06/15/strangers-in-the-mirror/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Oliver Sacks, the famous neuroscientist and author, can’t recognize faces. Neither can Chuck Close, the great artist known for his enormous paintings of … that’s right, faces.

Oliver and Chuck–both born with the condition known as Face Blindness–have spent their lives decoding who is saying hello to them. You can sit down with either man, talk to him for an hour, and if he sees you again just fifteen minutes later, he will have no idea who you are. (Unless you have a very squeaky voice or happen to be wearing the same odd purple hat.)

In this podcast, we listen in on a conversation Robert had with Chuck and Oliver at Hunter College in New York City as part of the World Science Festival. Chuck and Oliver tell Robert what it’s like to live with Face Blindness and describe two very different ways of coping with this condition, which may be more common than we think."

[See also: http://www.wired.com/wired/archive/14.11/blind_pr.html (via Luke Neff)]]]></description>
<dc:subject>psychology perception neuroscience prosopagnosia faceblindness empathy dyslexia robertrauschenberg education vision radiolab faces chuckclose oliversacks art painting science interviews</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:4881f665c740/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:psychology"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:perception"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:neuroscience"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:prosopagnosia"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:faceblindness"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:empathy"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:dyslexia"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:robertrauschenberg"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:education"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:vision"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:radiolab"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:faces"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:chuckclose"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:oliversacks"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:art"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:painting"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:science"/>
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</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://simonmainwaring.com/consumers/social-media-explained-by-a-9-year-old-in-one-sentence/">
    <title>Social media explained by a 9 year old in one sentence.</title>
    <dc:date>2010-07-05T21:04:31+00:00</dc:date>
    <link>http://simonmainwaring.com/consumers/social-media-explained-by-a-9-year-old-in-one-sentence/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Not long ago I took my daughters to the Portland Children’s Museum – wonderful place – and I couldn’t help but notice this quote written on the wall above the clay making room. To me it so effectively distilled the essence of social media that so I wanted to share it.]]></description>
<dc:subject>via:hrheingold sharing art writing self identity understanding drawing painting expression tcsnmy classideas listening socialmedia interaction</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:cf9f788f752b/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:via:hrheingold"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:sharing"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:art"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:writing"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:self"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:identity"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:understanding"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:drawing"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:painting"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:expression"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:tcsnmy"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:classideas"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:listening"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:socialmedia"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:interaction"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://en.wikipedia.org/wiki/Hieronymus_Bosch">
    <title>Hieronymus Bosch - Wikipedia</title>
    <dc:date>2010-04-10T05:14:54+00:00</dc:date>
    <link>http://en.wikipedia.org/wiki/Hieronymus_Bosch</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Hieronymus Bosch (English pronunciation: /ˌhaɪəˈrɒnəməs bɒʃ/, Dutch: [ɦieːˈɾoːniməs ˈbɔs]; born Jeroen Anthoniszoon van Aken [jəˈrun ɑnˈtoːnɪsoːn vɑn ˈaːkə(n)]; c. 1450 – buried August 9, 1516) was an Early Netherlandish painter. His work is known for its use of fantastic imagery to illustrate moral and religious concepts and narratives."
]]></description>
<dc:subject>art history religion renaissance culture painting hieronymusbosch tcsnmy</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:35917fc2820b/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:art"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:history"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:religion"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:renaissance"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:culture"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:painting"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:hieronymusbosch"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:tcsnmy"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://www.ted.com/talks/raghava_kk_five_lives_of_an_artist.html">
    <title>Raghava KK: Five lives of an artist | Video on TED.com</title>
    <dc:date>2010-02-28T03:42:18+00:00</dc:date>
    <link>http://www.ted.com/talks/raghava_kk_five_lives_of_an_artist.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["With endearing honesty and vulnerability, Raghava KK tells the colorful tale of how art has taken his life to new places, and how life experiences in turn have driven his multiple reincarnations as an artist -- from cartoonist to painter, media darling to social outcast, and son to father."
]]></description>
<dc:subject>art raghavakk ted creativity reinvention autodidacts unschooling autodidactism learning evolution change gamechanging lifelonglearning glvo children painting caricatures life wisdom belief experience autodidacticism</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:00edb0099360/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:art"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:raghavakk"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:ted"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:creativity"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:reinvention"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:autodidacts"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:unschooling"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:autodidactism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:learning"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:evolution"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:change"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:gamechanging"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:lifelonglearning"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:glvo"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:children"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:painting"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:caricatures"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:life"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:wisdom"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:belief"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:experience"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:autodidacticism"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://www.nybooks.com/features/slideshows/hockney/">
    <title>Slide Show: David Hockney's iPhone Passion - The New York Review of Books</title>
    <dc:date>2010-01-03T21:22:28+00:00</dc:date>
    <link>http://www.nybooks.com/features/slideshows/hockney/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["In this audio slide show, Lawrence Weschler, whose piece "David Hockney's iPhone Passion" appears in the Review's October 22, 2009 issue, discusses the new drawings that David Hockney has been making with the Brushes application on his iPhone. In a related podcast, Weschler talks about Hockney's other recent work—including a series of large-scale paintings that will be on view at PaceWildenstein this fall—and his relationship to technology."
]]></description>
<dc:subject>iphone drawing davidhockney painting artists applications via:russelldavies ios</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:8a6b64af3f65/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:iphone"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:drawing"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:davidhockney"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:painting"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:artists"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:applications"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:via:russelldavies"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:ios"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://snarkmarket.com/2009/4057">
    <title>The invention of content delivery, pt 1 « Snarkmarket</title>
    <dc:date>2009-11-12T17:52:26+00:00</dc:date>
    <link>http://snarkmarket.com/2009/4057</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["In short, “the web” is not a medium — at least not in the same sense that pho­tog­ra­phy is. It is a con­tent deliv­ery sys­tem, that not only rep­re­sents and repro­duces con­tent but also stores and deliv­ers it. For most peo­ple, this change in con­tent deliv­ery has offered remark­able change, but has not posed a cri­sis of the same sort felt by painters and sculp­tors and play­wrights in the wake of pho­tog­ra­phy. It’s not writ­ers who face a cri­sis, but publishers. So, then:     web:publishing* :: photography:visual culture**]]></description>
<dc:subject>writing trends publishing analogy timcarmody snarkmarket content contentdelivery web painting photography</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:6e6ff6cc503a/</dc:identifier>
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<item rdf:about="http://www.lrb.co.uk/v31/n19/rile03_.html">
    <title>LRB · Bridget Riley: At the End of My Pencil</title>
    <dc:date>2009-10-20T04:13:10+00:00</dc:date>
    <link>http://www.lrb.co.uk/v31/n19/rile03_.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[“For me, drawing is an inquiry, a way of finding out – the first thing that I discover is that I do not know. This is alarming even to the point of momentary panic. Only experience reassures me that this encounter with my own ignorance – with the unknown – is my chosen and particular task, and provided I can make the required effort the rewards may reach the unimaginable.”

[via: http://anti-mega.com/antimega/2009/10/18/whatever-diminishes-constraint-diminishes-strength ]]]></description>
<dc:subject>design learning art drawing painting inquiry writers constraints ignorance cv process freesom</dc:subject>
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<item rdf:about="http://greg.org/archive/2009/10/11/what_i_looked_at_today.html">
    <title>greg.org: the making of: What I Looked At Today</title>
    <dc:date>2009-10-14T15:09:56+00:00</dc:date>
    <link>http://greg.org/archive/2009/10/11/what_i_looked_at_today.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["It really is an unusual and rewarding way to look at art one brushstroke at a time. It turns out to be very different, even, from looking at an artist's overall style. Or maybe it's just any type of slow, careful looking that pays off so well. If nothing else came of this painting experiment, I'd already consider it a success."
]]></description>
<dc:subject>art maps mapping painting glvo</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:74c1dc570b88/</dc:identifier>
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<item rdf:about="http://www.ismcommunity.org/">
    <title>::: ISM COMMUNITY :::</title>
    <dc:date>2009-07-29T18:41:37+00:00</dc:date>
    <link>http://www.ismcommunity.org/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["ISM: a community project is a non-profit organization dedicated to benefiting the youth of our society through the artistic enrichment of our community.]]></description>
<dc:subject>design art culture community communities painting gallery nonprofit education nonprofits</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:93603d22d05c/</dc:identifier>
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<item rdf:about="http://smarthistory.org/">
    <title>smarthistory</title>
    <dc:date>2009-02-08T00:01:44+00:00</dc:date>
    <link>http://smarthistory.org/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["smARThistory.org is a free multi-media web-book designed as a dynamic enhancement (or even substitute) for the traditional and static art history textbook."
]]></description>
<dc:subject>art arthistory history timelines painting archive interactive education learning via:kottke</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:b20542f9f1f7/</dc:identifier>
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</item>
<item rdf:about="http://www.believermag.com/issues/200811/?read=article_weschler">
    <title>The Believer - The Paralyzed Cyclops</title>
    <dc:date>2008-11-17T01:24:49+00:00</dc:date>
    <link>http://www.believermag.com/issues/200811/?read=article_weschler</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["I should perhaps myself note, however, the way that curiously, while the two artists have been engaged in entirely different artistic enterprises—undergirded, they would argue, by entirely opposite readings of history—many of Hockney’s and Irwin’s core concerns have come to seem, to me at any rate, almost entirely identical: the emphasis, for instance, on the critique of photography, the countervailing celebration of the human quality of looking and experience, the focus on the centrality of the observer, the vitality of the periphery, the interpenetrations of art and science, the dialogue of immanence. "
]]></description>
<dc:subject>lawrenceweschler robertirwin davidhockney art photography artists criticism california painting contemporary believer</dc:subject>
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<item rdf:about="http://www.herbertspencer.net/">
    <title>[dp] - doble página</title>
    <dc:date>2008-07-31T23:48:51+00:00</dc:date>
    <link>http://www.herbertspencer.net/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Soy profesor en la e.[ad] Escuela de Arquitectura y Diseño, PUCV, Chile y trabajo en los talleres de diseño (Taller de Diseño de Primer Año, Talleres de Titulación y Gráfica Digital). También trabajo en AyerViernes en el área de estrategia y research. En Mayo de 2007 terminé un postgrado en Diseño de Interacción, en la Escuela de Diseño de Carnegie Mellon University."
]]></description>
<dc:subject>design chile architecture pucv processing coding viñadelmar graphics herbertspencer poetry painting</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:e809d2c68ac4/</dc:identifier>
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</item>
<item rdf:about="http://www.barminski.com/">
    <title>BARMINSKI .com home of painter, artist, director, teacher and designer bill barminski</title>
    <dc:date>2008-06-04T05:35:07+00:00</dc:date>
    <link>http://www.barminski.com/</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>animation art artist losangeles film video photography painting illustration artists</dc:subject>
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<item rdf:about="http://howto.wired.com/wiki/Hack_a_Nintendo_DS_to_Make_an_Awesome_Digital_Sketchbook">
    <title>Hack a Nintendo DS to Make an Awesome Digital Sketchbook - Wired How-To Wiki</title>
    <dc:date>2008-05-27T21:41:49+00:00</dc:date>
    <link>http://howto.wired.com/wiki/Hack_a_Nintendo_DS_to_Make_an_Awesome_Digital_Sketchbook</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["It's simple and compact, pressure-sensitive, easier to view in daylight than a laptop and inconspicuous. And, when coupled with the paint application Colors, it's a powerful little device that's fun and practical for all skill levels. All you need is a N
]]></description>
<dc:subject>ds nintendo nintendods hacks homebrew painting drawing howto videogames</dc:subject>
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