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    <title>Why Swedish Schools Are Bringing Back Books</title>
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    <dc:creator>robertogreco</dc:creator><description><![CDATA["Amid declining test scores, the country has pivoted away from screens and invested in back-to-basics school materials."

[Also posted here:

"Sweden goes back to basics, swapping screens for books in the classroom
Sweden is bringing back books amid declining test scores."
https://arstechnica.com/science/2026/04/sweden-goes-back-to-basics-swapping-screens-for-books-in-the-classroom/ ]]]></description>
<dc:subject>sweden schools schooling education 2026 joshuacohen howweread howwewrite reading writing books analog digital paper technology textbooks screens digitallearning learning howeelearn us policy openai microsoft google ai artificialintelligence digitalfluency chatbots memory readingcomprehension pandemic covid-19 coronavirus computers computing tablets ipad jaredcooneyhorvath jonathanhaidt pamkastner literacy lindafälth teaching howweteach pedagogy naominbaron linguistics edtech distraction attention</dc:subject>
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    <dc:creator>robertogreco</dc:creator><description><![CDATA["Miles Wu folded a variant of the Miura-ori pattern that can hold 10,000 times its own weight"]]></description>
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</item>
<item rdf:about="https://jasmi.news/p/from-counterculture-to-cyberculture">
    <title>from counterculture to cyberculture (ft. fred turner)</title>
    <dc:date>2025-09-26T01:36:21+00:00</dc:date>
    <link>https://jasmi.news/p/from-counterculture-to-cyberculture</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Stewart Brand, accelerationism, dating apps"

[on YouTube:
https://www.youtube.com/watch?v=6TNg34K85-8

"Today's guest is Fred Turner, a Professor of Communication at Stanford and probably the best historian of Silicon Valley culture over the past 100 years
.
His book, From Counterculture to Cyberculture: Stewart Brand, the Whole Earth Network, and the Rise of Digital Utopianism, is my favorite book on Silicon Valley's history, focusing on how hippies and hackers came together from the 60s to the 90s.

Fred is also one of the warmest, most enthusiastic storytellers I know—the kind of history teacher everyone wishes they had. You’ll leave this listen with a bunch of fun facts about the Whole Earth Catalog, Burning Man, and the Italian futurists; but more importantly, a deep appreciation for what humans and the humanities can offer.

01:00 The two types of Bay Area hippies
10:59 Military tech since the Vietnam War 
22:59 Disembodiment and dating apps
45:30 Zuckerberg, Chappell Roan, and the free market
1:02:50 Accelerationism from Mussolini to now
1:30:03 Teaching the humanities in 2025"]]]></description>
<dc:subject>fredturner jasminesun 2025 stewartbrand siliconvalley datingapps history markzuckerberg chappellroan mussolini hippies californianideology miliary vietnamwar humanities teaching howweteach benitomussolini toddgitlin newleft berkeley marissavio newcommunalists haight-ashbury thehaight politics psychedelics lsd janisjoplin left escape communalism sharedconsciousness computers computing technology military vietnam 1960s 1970s wiredmagazine buckminsterfuller decentralization hierarchy hierarchies geodesicdome bureaucracy individualism counterculture burningman design liberation kenkesey apple wholeearthcatalog tescreal immateriality class war singularity singularitarianism transhumanism dematerialization online internet web abstraction disembodiment combat bodies veterans iraq iraqwar militaryindustrialcomplex stanford italianfuturists italianfuturism futurism information godcomplex stevejobs cybernetics immaterial philosophy networks networkedthinking cyberculture google catalogs race segregation racism privilig</dc:subject>
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<dc:identifier>https://pinboard.in/u:robertogreco/b:56ace5aeab77/</dc:identifier>
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</item>
<item rdf:about="https://www.wired.com/story/zines-social-media-power/">
    <title>Social Media Replaced Zines. Now Zines Are Taking the Power Back | WIRED</title>
    <dc:date>2025-06-29T04:09:54+00:00</dc:date>
    <link>https://www.wired.com/story/zines-social-media-power/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["At a time of fleeting memes and cultural platforms operated by multibillion-dollar companies, an old mode of creativity and community-building gets a second life."

...

"Communication constantly evolves, along with the way people want to receive information. As social media replaced zines, the messages traveled farther, but their permanence dissipated. Friendster fizzled. Tumblr will never be what it was. Posts on X or TikTok get drowned in the churn of what’s trending or what platform owners want to boost. Handmade zines can last much longer. “Writing things down on paper has value,” Spooner says. “It’s more permanent.”
As fears of surveillance and authoritarianism grow, the zine community may provide a means to organize under the algorithmic radar, in a format less beholden to the whims of multibillion-dollar social media companies. A vision of the future copied from the past."

[archived:
https://archive.ph/EUMqv ]]]></description>
<dc:subject>zines media socialmedia 2025 social culture cbrandonogbunu creativity community memes resistance lowtech meta tiktok facebook instagram ai artificialintelligence web online internet platforms mariamekaba blackzinefare donaldtrump health healthcare diy politics organizing mininguyen voice audience jamesspooner 1993 resurgence tumblr comics markzuckerberg blackzinefair jenniferwhite-johnson neurodivergence disability subcultures solidarity socialjustice anarchism palestine gaza surveillance us hate analog print pleunipennigns friendster authoritarianism punk communication algorithms handmade making writing paper</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:10b551fa3ffc/</dc:identifier>
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</item>
<item rdf:about="https://www.theverge.com/reviews/666546/modern-travellers-journal-instax-photo-review">
    <title>A lofi journaling kit for the digital age | The Verge</title>
    <dc:date>2025-05-14T21:32:06+00:00</dc:date>
    <link>https://www.theverge.com/reviews/666546/modern-travellers-journal-instax-photo-review</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The best pen, paper, and printer for effortless travel journaling."]]></description>
<dc:subject>thomasricker travel journals journaling howwewrite writing 2025 paper notebooks notetaking notes photography</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:73012b14a307/</dc:identifier>
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</item>
<item rdf:about="https://www.bbc.com/news/articles/ckg8jllq283o">
    <title>Denmark's postal service to stop delivering letters</title>
    <dc:date>2025-03-18T18:29:59+00:00</dc:date>
    <link>https://www.bbc.com/news/articles/ckg8jllq283o</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Denmark's state-run postal service, PostNord, is to end all letter deliveries at the end of 2025, citing a 90% decline in letter volumes since the start of the century.

The decision brings to an end 400 years of the company's letter service. Denmark's 1,500 post boxes will start to disappear from the start of June.

Transport Minister Thomas Danielsen sought to reassure Danes, saying letters would still be sent and received as "there is a free market for both letters and parcels".

Postal services across Europe are grappling with the decline in letter volumes. Germany's Deutsche Post said on Thursday it was axing 8,000 jobs, in what it called a "socially responsible manner".

Deutsche Post has 187,000 employees and staff representatives said they feared more cuts were to come.

Denmark had a universal postal service for 400 years until the end of 2023, but as digital mail services have taken hold, the use of letters has fallen dramatically.

PostNord says it will switch its focus to parcel deliveries and that any postage stamps bought this year or in 2024 can be refunded for a limited period in 2026.

Fifteen hundred workers face losing their jobs, out of a workforce of 4,600.

"It's a super sad day. Not just for our department, but for the 1,500 who face an uncertain future," employee Anders Raun Mikkelsen told Danish broadcaster DR.

Denmark ranks as one of the world's most digitalised countries.

There's an app for almost everything: few people use cash, and Danes even carry drivers' licences and health cards on their smartphones.

Bank statements, bills, and correspondence from local authorities are all sent electronically.

Public services send communications via a Digital Post app or other platforms and PostNord Denmark says the letter market is no longer profitable.

Letter numbers have fallen since the start of the century from 1.4 billion to 110 million last year.

[chart: "Decline in letters in Denmark, Letters handled by PostNord (in millions), Source: PostNord Danmark"]

The decision will affect elderly people most. Although 95% of Danes use the Digital Post service, a reported 271,000 people still rely on physical mail.

"There are many who are very dependent on letters being delivered regularly. These include hospital appointments, vaccinations or decisions regarding home care," Marlene Rishoj Cordes, from Aeldre Sagen (DaneAge) told Denmark's TV2.

PostNord has weathered years of financial struggles and last year was running a deficit.

Danish MP Pelle Dragsted blamed privatisation for the move and complained the move would disadvantage people living in remote areas.

The introduction of a new Postal Act in 2024 opened up the letter market to competition from private firms and mail is no longer exempted from VAT, resulting in higher postage costs.

"When a letter costs 29 Danish krone (£3.35; $4.20) there will be fewer letters," PostNord Denmark's Managing Director, Kim Pedersen, told local media.

He said Danes had become increasingly digital and the decline in letter volumes had become so pronounced that it had fallen by as much as 30% in the past year alone.

PostNord also operates in Sweden. It is 40% Danish-owned and 60% Swedish-owned."]]></description>
<dc:subject>2025 denmark snailmail postalservice letters paper germany europe postnord pelledragsted privatization rural adriennemurray paulkirby sweden softbank masayoshison cheguevara marxism truth abuse</dc:subject>
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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>
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<item rdf:about="https://aeon.co/essays/the-french-modernists-loathed-and-loved-the-mass-media-of-their-day">
    <title>The French modernists loathed and loved the mass media of their day | Aeon Essays</title>
    <dc:date>2025-01-20T03:25:15+00:00</dc:date>
    <link>https://aeon.co/essays/the-french-modernists-loathed-and-loved-the-mass-media-of-their-day</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["How French modernists from Proust to Mallarmé were alarmed and inspired by the voracious dynamism of the newspaper world"]]></description>
<dc:subject>proust marcelproust 2025 modernism newspapers mallarmé form macmcguinness baudelaire france guydemaupassant goncourtbrothers lucienderubempré journalism literature poetry gustaveflaubert constantinguys guillaumeapollinaire typography layout graphicdesign design books bookdesign text writing howwewrite pablopicasso georgesbraques paper cubism reading howwweread garyshteyngart patricialockwood laurenoyler balzac jessicapressman technology joannawalshakatepullinger bigtech internet web online ereaders print maëlrenouard manoliskelaidis twitter socialmedia stories storytelling history historyoftechnology novels digital digitalmodernism dynamism stéphanemallarmé apollinaire ebooks melvinkranzberg picasso flaubert</dc:subject>
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</item>
<item rdf:about="https://www.youtube.com/watch?v=pjIQcXbaw80">
    <title>Architect Shigeru Ban: I Am Disappointed in Architects | Louisiana Channel - YouTube</title>
    <dc:date>2025-01-01T07:08:47+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=pjIQcXbaw80</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["“We are not working for society. We are mainly working for privileged people.” Meet Japanese architect Shigeru Ban, best known for his unique use of recycled paper tubes as a building structure.

“I’m quite disappointed about my own profession as an architect,” Shigeru Ban states. “We are mainly working for privileged people who have power and money.” With an urge to change this, Ban started thinking about what he could do as an architect. He started looking into natural disaster areas because “I realised that earthquake never kills people; the collapse of a building kills people.” Looking at the poor living conditions of people in these areas of the world, Shigeru Ban came up with the idea of using recycled paper tubes as a structure for temporary housing. The material is not only cheap and sustainable, it’s also available “almost anywhere in the world.” 

When Shigeru Ban saw what was happening in Rwanda in 1994, Ban went to Geneva to suggest the United  Nations High Commissioner for Refugees use the paper tube structure to build temporary housing for the many refugees. Even today, the temporary housing structure is used worldwide, from Turkey to Ukraine.

“Many people consider that I’m an environmentally friendly architect, but it’s not really true,” Shigeru Ban says and continues: “When I started using recycled paper material in 1985, nobody was interested in recycling. So, I didn’t start because of this environmental movement.” Ban was influenced by architects Buckminster Fuller and Frei Otto, who created their own structural material. “I started to make the paper tube structure to make my own style.”

Shigeru Ban (b. 1957) is a Japanese architect known for his innovative work with recycled cardboard tubes, which he used to quickly and efficiently house disaster victims. In the 1980s, he studied under John Hejduk at Cooper Union’s School of Architecture in the United States. Notable buildings include Centre Pompidou-Metz in France, Cardboard Cathedral in New Zealand, and the Aspen Art Museum. Shigeru Ban has won several awards, including the prestigious Pritzker Architecture Prize 2014. He is currently a professor at Keio University.

Shigeru Ban was interviewed by Jens H. Jensen at Simose Art Museum, which he designed, in Hiroshima in March 2023.

Camera: Yudai Maruyama
Edited by Roxanne Bagheshirin Lærkesen
Produced by Christian Lund

Copyright: Louisiana Channel, Louisiana Museum of Modern Art, 2024"]]></description>
<dc:subject>shigeruban architecture 2024 privilege inequality paper materials design</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
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</item>
<item rdf:about="https://profilebooks.com/work/the-notebook/">
    <title>The Notebook: A History of Thinking on Paper, by Roland Allen - Profile Books</title>
    <dc:date>2024-10-11T18:19:33+00:00</dc:date>
    <link>https://profilebooks.com/work/the-notebook/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Diaries, sketchbooks, common-places, notebooks, ledgers and ships' logs: how the blank book changed the way we think, and helped us change the world.

A 'Best Book of the Year 2023' in the New Statesman, Spectator and Waterstones

'Excellent' Ian Samson, TLS

'From plans for flying machines to philosophy - the remarkable joy of jotting things down' Guardian

'Surprisingly revealing' The Sunday Times

We see notebooks everywhere we go. But where did this simple invention come from? How did they revolutionise our lives, and why are they such powerful tools for creativity? And how can using a notebook help you change the way you think?

In this wide-ranging story, Roland Allen reveals all the answers. Ranging from the bustling markets of medieval Florence to the quiet studies of our greatest thinkers, he follows a trail of dazzling ideas, revealing how the notebook became our most dependable and versatile tool for creative thinking. He tells the notebook stories of artists like Leonardo and Frida Kahlo, scientists from Isaac Newton to Marie Curie, and writers from Chaucer to Henry James. We watch Darwin developing his theory of evolution in tiny pocketbooks, see Agatha Christie plotting a hundred murders in scrappy exercise books, and learn how Bruce Chatwin unwittingly inspired the creation of the Moleskine.

On the way we meet a host of cooks, kings, sailors, fishermen, musicians, engineers, politicians, adventurers and mathematicians, who all used their notebooks as a space for thinking and to shape the modern world."

[See also:
https://roland-allen.com/
https://www.theguardian.com/books/2023/dec/01/the-notebook-by-roland-allen-review-notes-on-living ]]]></description>
<dc:subject>notebooks howwewrite writing thinking howwethink 2024 rolandallen sketchbooks history print paper commonplacebooks ledgers shipslogs notetaking</dc:subject>
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<item rdf:about="https://www.youtube.com/watch?v=1qIHCUWAgh4">
    <title>Electronic Paper - See What Happens - YouTube</title>
    <dc:date>2024-09-30T01:27:05+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=1qIHCUWAgh4</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["A closer look at e-paper, often called e-ink. And with closer I mean super-macro of course..."]]></description>
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    <title>Moleskine Mania: How a Notebook Conquered the Digital Era | The Walrus</title>
    <dc:date>2024-09-10T05:51:33+00:00</dc:date>
    <link>https://thewalrus.ca/moleskine/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[“Do you know there’s a section of our customer base that buys a fresh Moleskine every time they come into a store? We have no idea what they do with them”]]></description>
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<item rdf:about="https://www.picuki.com/media/2196677886102817068">
    <title>Added by @havenwatchco Instagram post Nothing wrong with watches being valuable assets. Excellent, really. Exciting to see the watch world continue to grow, expand, get new value in the form of more interest and increasing prices at auction. However. Impo</title>
    <dc:date>2024-07-01T08:02:22+00:00</dc:date>
    <link>https://www.picuki.com/media/2196677886102817068</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Nothing wrong with watches being valuable assets. Excellent, really. Exciting to see the watch world continue to grow, expand, get new value in the form of more interest and increasing prices at auction. However. Important to remember what watches *are*. I.e. essential machines that are fundamentally about being human. Necessary no longer, but printed books are fundamentally unnecessary, too. There’ve been arguments about the book being dead longer than I’ve breathed; feel free to argue we should get rid of em. While the rush of money from increasing prices (feel free to share yr story about the 4-digit Rolex ref sold years back you now regret) is great+good+fun, remember these are functional objects. Remember that Jack’s and Marlon’s Rolexes sold last night for those amount because of the *people* who wore the watches. Don’t buy hoping for hype. Don’t get a watch to flash+flip. Go slower. . . . #havenwatchco #havenwatches #indiewatches #horology #chronograph #toolwatch #wis #watchfam #watchcollector #watchwednesday #wotd #womw #instawatch #dailywatch"]]></description>
<dc:subject>2020 print books paper watches obsolescence haven havenwatchco westoncutter slow human hype prices jacknicklaus marlonbrando watchcanon</dc:subject>
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    <title>Social History of the Cardboard Box</title>
    <dc:date>2024-05-17T01:10:43+00:00</dc:date>
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]]></description>
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    <title>Why does this forest look like a fingerprint? - YouTube</title>
    <dc:date>2024-05-10T03:09:01+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=_cndkF7bX3M</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["We set out to solve why a forest in the middle of Uruguay looked like that — and wound up finding something much bigger.

Deep in the geographic center of Uruguay, there’s a peculiar group of trees just a few kilometers down the road from the small town of San Gregorio de Polanco. From the ground, it's not particularly notable. But from above, the view is mind-boggling: Hundreds of trees are arranged in perfect concentric arcs, all spiraling toward the center. Together, they look remarkably like a human fingerprint.  

When we first saw this forest in a Reddit post, we were fascinated. Why had the trees been arranged in this shape? Who planted them there? And why — when you zoom out on satellite view — was the entire country of Uruguay covered in similar-looking forests? To answer that question, we went straight to the source: interviewing locals, experts, and people whose lives have been shaped by a transformed landscape and economy.

Further reading:

Read the text of the original “forestry law”: https://www.impo.com.uy/bases/leyes/15939-1987

Read some of Alexandra’s work on afforestation and wildlife: https://www.sciencedirect.com/science/article/abs/pii/S0378112721000268

Eilís O’Neill has a great feature in the Nation on Uruguay’s forestry industry: https://www.thenation.com/article/archive/when-planting-trees-hurts-the-environment/

More stories about residents affected by the railway construction: https://yle.fi/a/3-11756418 "]]></description>
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<item rdf:about="https://aeon.co/videos/a-close-up-look-at-electronic-paper-reveals-its-exquisite-patterns-and-limitations">
    <title>A close-up look at electronic paper reveals its exquisite patterns – and limitations | Aeon Videos</title>
    <dc:date>2024-04-15T20:53:02+00:00</dc:date>
    <link>https://aeon.co/videos/a-close-up-look-at-electronic-paper-reveals-its-exquisite-patterns-and-limitations</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Warning: this film features rapidly flashing images that can be distressing to photosensitive viewers.

A wizard of the video essay form, the Dutch filmmaker, photographer and artist Michiel de Boer (aka Posy) specialises in using macro photography and digital effects to mine incredible visuals from mundane objects and images. In doing so, his work illuminates the hidden aesthetics and inner workings of the everyday world. In this short, Posy fixes his formidable lens on the world of electronic paper – used in e-readers and digital clocks, for example – in a quest to uncover why it tends to be, quite literally, a pale imitation of the real thing. Using extreme close-ups to explore various types of electronic paper display, Posy reveals the exquisite patterns and fascinating technology that underpins them, as well as why they have thus far failed to measure up to good old-fashioned ink and paper."]]></description>
<dc:subject>eink books paper screens displays michieldeboer posy photography 2024 epaper</dc:subject>
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<dc:identifier>https://pinboard.in/u:robertogreco/b:4b443fbf9f34/</dc:identifier>
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<item rdf:about="https://www.earthmanual.org/?en">
    <title>EARTH MANUAL PROJECT</title>
    <dc:date>2024-03-04T20:00:42+00:00</dc:date>
    <link>https://www.earthmanual.org/?en</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["A Country of Frequent Natural Disasters Can Also Become a Country of High Disaster Preparedness 

Natural disasters are sadly increasing. 

Fortunately the number of people pro-actively thinking about disaster preparedness (ever-conscious that there will be other disasters) is also increasing. 

`EARTH MANUAL PROJECT' aims to gather examples of excellent disaster preparedness innovation from all over the world and put them to productive future use. 

These activities are supported by architects, designers and artists putting their heads together to combat the issues of disaster preparedness. 

The organizers wish to convey their free-spirited imagination, sincere attitude and purity of feeling to the wider world and the project was born from this thinking. 

It aims to introduce preparedness activities of great originality from places where natural disasters can frequently occur such as Kobe, Tohoku, Indonesia, Thailand and Philippines. 

The information is to be available through a website but also through exhibitions where visitors can enjoy hands-on activities and use their sense of touch. 

This is a project for sharing, connecting together, and learning from one another with knowledge and ideas crossing national frontiers. It is an initiative now beginning out of Kobe. 

Disaster preparedness on our planet begins by exchanging ideas."

...

"2014.07.01The EARTH MANUAL PROJECT website was launched."

...

"We found ideas for reconstruction not in developed countries, but in developing countries.
https://www.earthmanual.org/p23en/

What helped the reconstruction of Oshika Peninsula? Deer antlers, indeed.
https://www.earthmanual.org/p22en/

Post-disaster reconstruction all begins with drawing sketches.
https://www.earthmanual.org/p21en/

Creating things together brings about better communication than just talking together.
https://www.earthmanual.org/p20en/

Always remember that it is inevitable that the aid will not be distributed evenly.
https://www.earthmanual.org/p19en/

Disaster survivors can give up neither house nor address.
https://www.earthmanual.org/p18en/

That city’s reconstruction starts at the seashore.
https://www.earthmanual.org/p17en/

Build models. Rebuild memories.
https://www.earthmanual.org/p16en/

With animations, Have-To-See information becomes Want-To-See information.
https://www.earthmanual.org/p15en/

The box is the most flexible piece of furniture in the world.
https://www.earthmanual.org/p14en/

That wall can also be used as a desk. It can even be used as a chair.
https://www.earthmanual.org/p13en/

The house that would be reliable in time of disaster is a house made of paper.
https://www.earthmanual.org/p12en/

Ideas are relief supplies that can be delivered instantly
https://www.earthmanual.org/p11en/

SNS is a good platform to send a SOS.
https://www.earthmanual.org/p10en/

One cause of flooding was an overuse of water resources.
https://www.earthmanual.org/p09en/

Ability Bibs are for those who want to run around faster than anyone else.
https://www.earthmanual.org/p08en/

The competition is participated in by both sponsors and applicants.
https://www.earthmanual.org/p07en/

The Great East Japan Earthquake is not over yet, and neither is the Great Hanshin-Awaji Earthquake.
https://www.earthmanual.org/p06en/

Camping is the most popular disaster preparedness activity right now.
https://www.earthmanual.org/p05en/

Earthquake survivors with firsthand experience are the true earthquake specialists.
https://www.earthmanual.org/p04en/

There are disaster drills that people line up for.
https://www.earthmanual.org/p03en/

What Indonesia imported from Kobe ware disaster preparedness activities.
https://www.earthmanual.org/p02en/

PET bottles are swimming rings that you do not need to inflate.
https://www.earthmanual.org/p01en/ "]]></description>
<dc:subject>disasters repair rebuilding kobe japan tohoku indonesia thailand philippines naturaldisasters preparedness local slow small disasterpreparedness architecture design 2014 sharing connecting connections community learning howwelearn knowledge international solidarity tamaetakatsu emiiwakiri eastloop earthquakes tsunamis craft revival making almaquinto senhikonakata oshika ikaputra osamutsukihashi fastbox toshiakihisatomi nobuakifuruya paper boxes shigeruban eisuketachikawa oliveproject sns ayalamuseum flooding water materials plastic floods</dc:subject>
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<item rdf:about="https://2ndbreakfast.audreywatters.com/un-watch-un-track/">
    <title>Un-watching, Un-tracking: Healing and Bad Data</title>
    <dc:date>2024-03-04T19:50:58+00:00</dc:date>
    <link>https://2ndbreakfast.audreywatters.com/un-watch-un-track/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["On Saturday, I ran. On Sunday, I raced. (It wasn’t, as climbers would say, a “full send." “I ran in a race” is perhaps a more accurate phrasing.)

It felt like a huge accomplishment to get out there, to be out there again. I was overjoyed to be able to be outside, to move my legs. It felt good, even, to be a little sore. Running felt so much better than not-running, even though – I won't lie – it sucked.

For the first time in many many years – and certainly for the first time since I started running – I did not wear a fitness watch on either of these runs. I didn’t track the distance or the pace or even the time I spent in motion. (Of course, I was wearing a racing bib on Sunday, and the chip on it tracked when I crossed the start and finish line. I don't think it's possible to get entirely outside our cultural fixation on tracking, as it's a quintessential part of racing and has been forever.)

But one of my main takeaways from this pause in running has been that all this tracking technology – contrary to its whole mission – is very very bad for my health. I’ve ditched my Garmin, and I think the break-up may be permanent.

This weekend, I ran because dammit, I’m still training for a half marathon. I ran because, despite being knocked down, I still love running. I ran based on effort, which after a week off from running due to some knee bursitis meant my lower body, along with my entire cardiovascular system, weren’t terribly thrilled. Running “easy” is hard; it's even harder after an injury.

When I decided to take time off from running in order to heal my knee, all the various tracking technologies I use responded with admonishments – wildly unsupportive for someone dealing with an injury, but let's be clear, not terribly helpful under any circumstance. I knew I wasn’t running. I knew I wasn’t as active as usual. That was the point – I was trying to recover. And yet, all that my apps and devices could do was chide me. I wasn’t detraining “yet,” my Garmin watch threatened, but if I didn’t exert myself soon with some more anaerobic workouts, I sure would be. My form, according to Training Peaks (software I use to manage the half marathon training plan I’m following), signaled that I had “lost fitness,” after just a day or two of resting.

Of course, none of these messages are accurate. You simply do not lose “fitness” all that quickly. A week off is unlikely to have a substantial effect on one’s cardiovascular system or ones musculature. It's not ideal. But it's not a catastrophe. Indeed, as in my case, it can be a necessity.

But you wouldn’t know it from fitness trackers, which seem designed to urge you to always do more, to imply that any progress is precarious. They all have their own algorithms that assess, based on the data they capture, your “fitness.” They estimate how fast you can run a 10K; they estimate your VO2Max. They aren’t measuring those things; they’re guessing. They’re doing some fancy math (ha) based on what they know: how much you moved this week versus last, how quickly, and how your heart rate responded. The algorithms don’t know that you’re slower one day because you had some ridiculously spicy Indian food the night before or because you're running in snow or because you might've deadlifted the day before; they don’t know that you’re skipping your runs because you strained a calf muscle or because you have COVID; they don't know that you cut a run short because you had a doctor's appointment or because you had to pee. Hell, it took Apple four years after the launch of its watch to add the ability to track your menstrual cycle, to flag that you were pregnant (and, as such, stop the finger-wagging about weight gain).

These devices do not come close to fully conceptualizing everyone's "health" or "fitness" let alone tracking our bodies as we move through a training block, let alone through life.

And they definitely can’t conceptualize our bodies not doing activity. Not moving – not tracking moving – is bad. There's no allowance for it being a decision made with one's health in mind. These devices can only imagine our inactivity means we need to be spurred on (when in fact what we might need is to be reminded that it'll be okay if we rest).

I wore my watch for the first few days of not running, still using it to record the morning walks with the dog. But as the messages about my activity level started to exacerbate my anxiety – I was already feeling shitty enough, thank you very much – I took the watch off. “The body keeps the score,” to borrow a phrase, and there’s no need for me to hand my activity data over to a gadget that’s going to develop its own score, one that may or may not coincide with how I feel, physically and/or mentally.

It was such a relief.

[image]

I stare now at the imprint that the watch has left on my wrist. Remind me why I did this? What do I actually lose by not tracking?

I don’t know how far I’ve gone. Except, I do have a pretty good idea. Poppy and I walk Kin to work every day; it’s about four miles. It’s about three-quarters of a mile from our apartment to Central Park, and the outer loop is roughly 10K. It’s about six miles to and from Little Island from here. I already prefer to run by time, not by distance -- I’ll go out, say, for an hour -- I can still piece together roughly how far and how fast I’ve gone. (Math. I can do it.) Do I need to know, down to the meter with GPS-location precision, how far I’ve run each day? No, I do not.

There’s nothing to post on Strava. I’d planned, some day, to write out my thoughts on “performative fitness” – on the ways in which social media sites encourage us to “perform” health and wellness for others. Maybe I still will. In short, the whole “if it’s not on Strava, did it even happen?” is not even funny in jest; it’s a rather toxic sentiment, that somehow digital signals are how we judge reality, that somehow you’re inadequately committed to your sport (related: to politics) if you aren’t posting and reposting and liking and sharing. (I do still post pictures from my walks and runs on Instagram; so I am still performing “runner” there.)

There’s no canonical record of my running history. Of course, as I’ve used Nike Run Club, the Apple Watch, a Garmin watch, Training Peaks, Strava, and Final Surge to track runs, none of these have a complete picture of my running history. What does? The paper journal in which I write down what I did and how it felt. I also have kept a screenshot of the race results, so I do know how I performed in all the races I’ve run. Chip time, not Strava, is the official record, after all. But I’m not running any statistical inferences from screenshots, good grief. (Nor despite “knowing” this information, are fitness algorithms, I don’t think.)

How do I run intervals with no track and no watch? OK, this one is trickier, as once I’m feeling fully recovered, I do need to get back to doing speed-work, and a watch makes intervals a helluva lot easier. My gym does have an indoor track, but it’s pretty short. I could run to the Riverbank Track, but that’s around a four mile warmup – hardly conducive to speedy 800s. I could just run fartleks rather than set paces for set distances. We’ll see how things play out. I mean, I will have to wear the watch for a few things – I have a virtual half marathon coming up in just two weeks (damn, that is going to suck) that needs to be posted to Strava to “count.” I could just use the app on my phone for that run. I could use an app on my phone for intervals. But ugh, apps. Fuck ‘em.

How do I write a newsletter on fitness technology if, less than a year in, I’m already, like, “fuck fitness technology!” Good question. Very good question.

[image]

What time is it? Okay, here’s the one place where I did find myself missing wearing a watch this week. (I don’t carry my phone with me all the time, because good god, why.) Child of the Eighties, I bought a Swatch – a very cool looking black on black design but I soon realized my aging eyes couldn’t actually tell the time on it. I found another watch, one with a see-through face that let me look at all the gears moving inside it. Unlike all the fitness technologies with their black-boxed algorithms, I can actually see the mechanism that makes “time” – of course, that's another invented metric that would be nice to be able to free oneself from, too."]]></description>
<dc:subject>audreywatters 2024 quantifiedself tracking watches smartwatches data exercise training time timekeeping strava running injury bodies fitness garmin trainingpeaks health gps perfomance applewatch nikerunclub finalsurge paper technology gamification algorithms</dc:subject>
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<item rdf:about="https://www.youtube.com/watch?v=8p02DtmyQhU">
    <title>A world from a sheet of paper - Tadashi Tokieda - YouTube</title>
    <dc:date>2024-03-04T19:45:58+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=8p02DtmyQhU</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Starting from just a sheet of paper, by folding, stacking, crumpling, sometimes tearing, Tadashi will explore a diversity of phenomena, from magic tricks and geometry through elasticity and the traditional Japanese art of origami to medical devices and an ‘h-principle’. Much of the show consists of table-top demonstrations, which you can try later with friends and family.

So, take a sheet of paper. . .

Tadashi Tokieda is a professor of mathematics at Stanford. He grew up as a painter in Japan, became a classical philologist (not to be confused with philosopher) in France and, having earned a PhD in pure mathematics from Princeton, has been an applied mathematician in England and the US; all in all, he has lived in eight countries so far. Tadashi is very active in mathematical outreach, notably with the African Institute for Mathematical Sciences."]]></description>
<dc:subject>tadashitokieda 2023 paper folding origimi math mathematics</dc:subject>
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<item rdf:about="https://www.altaonline.com/dispatches/a40993813/shorthand-stationary-lynell-george-highland-park/">
    <title>Journals That Will Get You Writing</title>
    <dc:date>2024-02-21T21:14:42+00:00</dc:date>
    <link>https://www.altaonline.com/dispatches/a40993813/shorthand-stationary-lynell-george-highland-park/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The clean, crisp pages of a handmade journal help writer Lynell George puzzle out her thoughts."


...

"Early on, I made note: most kids don’t look forward to much of anything that follows the words “Back-to-School.” It often seemed I was the one student who enthusiastically embraced the prospect of back-to-school supplies: three-ring binder, loose-leaf paper, marbled composition books, pocket folders, fresh pens and pencils, and, of course, the pouch to store them in.

Back then, nothing signaled a new beginning quite like the full sweep through the stationery aisle and choosing my statement for the year: Op art? Earnest ecology? Basic blue canvas binder?

Those once-a-year browsing trips are the bedrock of my pen-and-paper obsession, an infatuation that continues to this day.

I spend a large amount of time at keyboards, filling up virtual pages; it’s the format in which, as a journalist, I file my finished pieces. But my old habit of writing longhand, which has always been a way to tap into how I feel—and sound—is still very much part of my process. It even survived the reproach of a long-ago editor who blanched when he saw me scratching out a lede on a yellow legal pad in pencil. On deadline. “No time for that!” I never repeated the outrage—in his presence.

Nowadays, free of a newsroom setting, I find that if the topic is complex and my thoughts are fast-moving, my impulse is still to step away from the blinking cursor and reach for my tools of choice—a favorite pen and notebook.

A few years back, I was searching for a special notebook on the shelves of my neighborhood bookstore’s stationery section—something more grown-up, elegant but sturdy, different from my default college-ruled, wire-bound workhorses. I was beginning an important project, and those new, crisp pages would be its designated workspace.

The simplicity of what I found called to me, made me almost wistful: a notebook with a plain brown-bag-looking cover, brass-tone wire rings, off-white paper. Its lightweight yet firm back promised durability, everyday-carry potential. Centered low on the back cover, the embossed logo announced, “Iron Curtain Press/Los Angeles.” If I had been wavering, this hometown declaration would have decided it.

Some months later, I learned that Iron Curtain Press, the printshop and maker of that eye-catching notebook, had opened a brick-and-mortar store in L.A.’s Highland Park neighborhood and had named it after the press’s stationery line, Shorthand. The news arrived via a friend’s brief text: “OMG, I thought of you immediately!!!!” She followed up with snapshots of a sweet storefront—its hand-painted window sign and a sidewalk sandwich board announcing Shorthand’s grand opening. I was there in days.

Inside, I found an eclectic range of unique, made-in-house letterpress cards, notebooks, and task pads alongside all manner of stationery-store staples from the world over—erasers, scissors, calendars, pouches, binder clips, all in a rainbow of colorways—catering to a clientele ranging from intrigued beginner to veteran professional. It was a blast of nostalgia. I lingered over the options, then purchased a pack of Blackwing pencils; a delicate wooden micro-tipped, Japan-made ballpoint pen; memo pads; and squat reporter’s notebooks, for writer friends who also puzzle out their first thoughts on paper.

That first love, Shorthand’s Standard Notebook, still provides a perfect launchpad. There is no rigid spine, allowing it to lie flat. The paper’s surface is smooth yet sturdy enough to handle a range of writing instruments and media: pencil, fine-point felt-tip, gel roller, fountain pen—all of which can be found at the shop. And if you time your visit right, you can catch a glimpse of the staff in the back, working through orders and inventory on their beautiful letterpress.

Those old-fashioned stationery stores, once plentiful, now rapidly vanishing, have always symbolized possibility to me: a brand-new season, a brand-new page, a brand-new chance. With the right tools, you can create something with the flourish of your style, in your own hand.

That tactile connection was important for me, especially during the earliest weeks of the pandemic, when, like so many others, I felt marooned on an unfamiliar island. I needed to take a break from the various screens upon which I’d begun to train—and strain—my eyes. I wanted to connect with loved ones, but without the interruption of adrenaline spikes of breaking news and deadline demands. Instead of texting or emailing, I crafted handwritten notes, attempting to untangle the enormity of what I was feeling. Shorthand had acquired a limited batch of handmade stationery that perfectly fit my needs—envelopes made from old Thomas Guide street maps of Southern California, the navigational bible of my childhood. Sentence by sentence, I was able to get my bearings. As I reminded loved ones of their place in my heart, pen to paper, I reminded myself of the deep source it all comes from."]]></description>
<dc:subject>lynellgeorge 2022 notebooks journals howwewrite thomasguides thomasguide backtoschool handmade stationery tactile paper ironcurtainpress</dc:subject>
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<item rdf:about="https://www.thejournalshop.com/notebooks/by-brand/midori-travelers-notebook/traveler-s-notebook-refill-washable-paper">
    <title>TRAVELER'S notebook Refill Washable Paper | The Journal Shop</title>
    <dc:date>2021-09-25T22:50:21+00:00</dc:date>
    <link>https://www.thejournalshop.com/notebooks/by-brand/midori-travelers-notebook/traveler-s-notebook-refill-washable-paper</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[thinking about how this might go well with Live Text (and the Android equivalent
https://www.theverge.com/22559167/ios-15-live-text-feature-how-to ]

“The paper in this TRAVELER’S refill is made of the same material as the laundry paper tag. This paper won’t disintegrate when washed, so you can use it for outdoor purposes when rain is a concern, near plants that are watered in gardens and farms, or in areas such as kitchen or bathroom. And you’ll never have to worry about what will happen if you accidentally leave it in your pocket when doing the laundry!

TRAVELER’s Notebook Refill
Blank paper
48 pages
Saddle stitch
Made in Japan
Washable paper
Measures 210x110x3mm
TRAVELER’s notebook B-Sides & Rarities

Back in the days of vinyl records, artists used to release their hit singles on 7-inch 45rpm records. These caysed a boom in the pop music scene as they made music more accessible to the average person. Vinyl singles had an A-Side and a B-Side. The A-side was for the song the artist was hoping would be a hit, and artists poured all of their efforts into this song. B-sides were often considered bonus tracks, and musicians were less concerned about their commercial prospects. This did not mean no effort was made; rather, musicians saw these tracks as an opportunity for more artistic freedom. Sometimes they would experiment with new styles of music: other times they would cover songs they liked. There were times when this paid off so well that the B-side became more of a hit than the A-side, or developed a cult following. It is now common for long-running musicians to release albums of “B-Sides & Rarities”.

It has now been 15 years since TRAVELER’S notebook was first released. In those 15 years, they have explored all kinds of new styles they ultimately chose not to adopt as permanent products. Sometimes this was beacause they diverged from the general purpose of a notebook, and sometimes it was because they had only limited uses. But when they put them all together, we have an exciting compilation of new ways to enjoy your TRAVELER’s notebook. So just as musicians release albums of their B-sides and rarities, they’ve re-released a range of refills that are a little out of the ordinary. Maybe some of them will be B-sides that become a bigger hit than the A-side.”

[also here:
https://shop.travelerscompanyusa.com/products/washable-paper-regular-size

"Washable Paper Refill (Regular Size) features a special paper that is made from the same material as laundry tags, which will not disintegrate when washed. We have created the perfect refill insert for outdoor use where rain is a concern, near plants that are watered in gardens, or in areas such as the kitchen or bathroom. When adding this refill to your TRAVELER'S notebook, you never have to worry about what will happen if you accidentally leave it in your pocket when doing the laundry!"]]]></description>
<dc:subject>via:justinpickard 2021 notebooks papernet paper reuse</dc:subject>
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    <title>Making fanfiction beautiful enough for a bookshelf - The Verge</title>
    <dc:date>2021-03-10T19:54:09+00:00</dc:date>
    <link>https://www.theverge.com/22311788/fanfiction-bookbinding-tiktok-diy-star-wars-harry-potter-twitter-fandom</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>print papernet paper fanfiction howwewrite writing publishing 2021 juliaalexander binding bookbinding</dc:subject>
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<item rdf:about="https://www.youtube.com/watch?v=3erffO75QCs">
    <title>Typographics 2020: Exploring type and culture by … misusing technology with Kelli Anderson - YouTube</title>
    <dc:date>2021-01-27T23:38:33+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=3erffO75QCs</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["This talk took place on July 24, 2020 as part of Typographics Conference. The livestreaming, recording and archiving of the event is made possible with the generous support of Google Fonts. 

During the pandemic, I’ve been busy recreating digital/technological processes with what has been on-hand: craft materials. I’m exploring how MetaFont reconceptualized the question of ‘what is a letter?’ in an animated paper pop-up. I’m working on an interactive modular typography device using a cardboard volvelle as “interface.” With colored gels, I’m demonstrating how Germany’s development of FE-Schrift for license plates sought to thwart human falsification—while communicating directly to the vision of OCR software. Additionally, I’ve made dozens of “risographed animations” to dramatize the minute morphological differences of letterforms in an impossibly noisey, shakey, and uncontrollable medium.

Understanding black-box digital processes by hand is undoubtedly absurd, but it also reacquaints us with the unique, embodied (and magical) way that humans process the world. With this work, I hope to provide an oblique lens to behold what we’ve created with our technology, so that we may engage more deeply with its philosophical implications and possibilities.

Kelli Anderson is a designer and paper engineer who pushes the materials of graphic design to their interactive extreme. Operating in the space between conceptual art, graphic design, and tech, her books have featured a working paper planetarium, a pop-up pinhole camera, and a paper record player. Whenever she can, she uses humble materials to showcase the surprising complexity and magic of the tangible, lo-fi world.

She is best known for her design, animation, and illustration work for NPR, The New Yorker, Wired, MoMA, the Exploratorium, and the New York Times, as well as her redesign of NYC brands such as Russ & Daughters and Momofuku. Her two experimental and interactive pop-up books: This Book is a Camera, which transforms into a pinhole camera, and This Book is a Planetarium, which houses a tiny planetarium and other contraptions, have been called “A marvel of paper engineering and imagination”— NY Times. Some of her other projects include Tinybop’s award-winning Human Body app and a counterfeited “utopian” newspaper distributed with The Yes Men. She teaches at the School for Poetic Computation and the New School in NYC and spends her free time making typography-based risograph animations at The Arm."]]></description>
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</item>
<item rdf:about="https://densho.org/campu/">
    <title>Campu: A Podcast - Densho: Japanese American Incarceration and Japanese Internment</title>
    <dc:date>2021-01-10T20:15:22+00:00</dc:date>
    <link>https://densho.org/campu/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[“Densho’s new podcast, Campu, tells the story of Japanese American incarceration like you’ve never heard it before. Brother-sister duo Noah and Hana Maruyama weave together the voices of survivors to spin narratives out of the seemingly mundane things that gave shape to the incarceration experience: rocks, fences, food, paper. Follow along as they move far beyond the standard Japanese American incarceration 101 and into more intimate and lesser-known corners of this history.

Listen below or subscribe on the following platforms, or wherever you listen to podcasts. Keep scrolling for descriptions and a link to complete transcripts for each episode.”

[See also:
Rocks
9/30/2020
Less
This episode is about the forced removal of Japanese Americans in the aftermath of Pearl Harbor, but it’s also about the bedrock that lies beneath. Literally. We talk about rocks – not just in the geographic sense, but also the stories they hold: of…
Duration:00:48:23
https://www.stitcher.com/show/campu#/
https://tunein.com/podcasts/Storytelling-Podcasts/Campu-p1367521/
https://open.spotify.com/show/6TPjYviIieDNXXf5fbRTif
https://www.spreaker.com/show/campu ]

“Campu - Teaser
15 Sep 2020
Densho’s new podcast, Campu, tells the story of Japanese American incarceration like you’ve never heard it before. Brother-sister duo Hana and Noah Maruyama weave together the voices of survivors to spin narratives out of the seemingly mundane things…

Rocks
30 Sep 2020
This episode is about the forced removal of Japanese Americans in the aftermath of Pearl Harbor, but it’s also about the bedrock that lies beneath. Literally. We talk about rocks – not just in the geographic sense, but also the stories they hold: of…
Duration:00:48:23

Paper
07 Oct 2020
After Japanese Americans were released from incarceration, most of what remained were mounds and mounds of paper. Papers that told us about choices the incarcerees made, big and small. About how even in camp, people were still just being people. In this…

Fences
14 Oct 2020
Not all fences are of the white picket sort. Many, in fact, represent a reality that goes against everything America imagines itself to be. In this episode, we’re going to talk about the barbed-wire fence of World War II concentration camps – what it…

Mid-season announcement
19 Oct 2020
Thanks for subscribing to Campu – we hope you like what you’ve been hearing so far. We’re going to take a short break while we work on this season’s remaining three episodes, but we’ll be back on January 6th with more stories about life in Japanese…

Cameras
06 Jan 2021
Pictures allow us to peer into the past, but those images are often far more complicated than what initially meets the eye. Photographs (and the people who took them) portrayed Japanese Americans as menacing threats, as hapless victims, as model Americans. But there were also covert acts of resistance playing out on both sides of the camera. In this episode, we talk about the visual record of WWII incarceration and the stories that unfolded behind the lens. About what you see — and what you don’t.”]]></description>
<dc:subject>hanamaruyama noahmaruyama podcasts via:javierarbona 2021 us history incarceration japaneseamericans ww2 wwii concentrationcamps 2020 rocks cameras photography prisons lenses perspective paper fences collections collecting race racism immigration campu pearlharbor california chineseexlusionact asia citizenship 1924 xenophobia nationalization discrimination alienlandlaws law racialcapitalism capitalism exploitation labor receipts archives worldwarii worldwar2</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:a784aa27873f/</dc:identifier>
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<item rdf:about="https://www.ingramspark.com/">
    <title>IngramSpark: Self-Publishing Book Company | Print &amp; Distribute</title>
    <dc:date>2020-09-07T21:48:24+00:00</dc:date>
    <link>https://www.ingramspark.com/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[via: https://twitter.com/public_archive/status/1303051109599043584 ]]]></description>
<dc:subject>publishing papernet paper printing selfpublishing self-publishing print books</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:d9410c596851/</dc:identifier>
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<item rdf:about="https://www.youthwriting.org/how-to-use-are-not-use-technology">
    <title>How To Use (Are Not Use) Technology — The International Alliance of Youth Writing Centers</title>
    <dc:date>2020-08-20T05:49:15+00:00</dc:date>
    <link>https://www.youthwriting.org/how-to-use-are-not-use-technology</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["It’s no secret that the writing centers in this network are not generally tech-heavy. These are writing centers, and writing of course can be done with pencils, pens, markers, sticks, or crayons. These centers all use computers extensively in various ways, of course, but most writing centers in this network think of technology as a part of the learning process, and not as the fulcrum around which all learning is done.

When you think about how and where to use technology in your own space, think about how it impacts your learning atmosphere. You want a calm environment free of distractions where kids can learn, can finish homework, and can write creatively. Does a room full of screens connected to the internet help or hamper those goals? It depends. It’s certainly something to think hard about. Before you jump headlong into buying 20 connected laptops, think hard about whether this is absolutely necessary.

If you see photos of most of our centers when they’re full of students, usually you’ll see about 40 students and 20 adults and very few screens. Why? Well, first of all, in most public schools, homework is still done with paper and pencil — at least it is for younger kids. So we’re meeting the kids and teachers where they are, with traditional methods. It doesn’t hurt that paper and pencil obviates the need to police the students who are using the machines about playing games and using social media. Pencil and paper is simple and controllable.

But even when we have our own writing assignments, or host workshops at night or on weekends, screens can offer as many disadvantages as advantages. There will be countless workshops that require and benefit enormously from technology, but there are plenty of programs that simply don’t need it. For a workshop leader teaching a haiku class, for example, they have two options. They can set up computers for their 18 students, and make sure every one of the 18 students is connected, knows the program, etc. Or that workshop leader could simply hand out paper. The startup costs of paper and pencil are very low.

That said, our centers offer innumerable workshops that use technology. We do podcasting, blogging, web design, and so many other tech-utilizing programs. But the point we’re making here is that some classes need tech, and many others don’t. And when you don’t use tech, the work generally gets simpler.

Most kids now are swimming in digital waters, surrounded by screens, most of every day. If we’re hoping to set up alternative spaces for real learning, critical thinking and creative writing, we should think of how to create a different atmosphere. Something exotically low-fi where kids can concentrate and think deeply.

A few other thoughts:

- It goes without saying that when it comes to after-school tutoring, kids are asked to surrender their phones at the door. This is the case at the vast majority of their schools, too, so it’s not a hard ask. When the kids enter the space, they drop their phones in a secure bin, and retrieve them on their way out. Allowing kids to keep their phones on the worktables, desks or in their pockets is a recipe for disaster. It absolutely doesn’t work.

- Obviously when you undertake a book project with young authors, their writing will have to be typed into a computer by either them or a volunteer. So for high school projects, some or all of the writing will be done on a computer. This makes the work of revision, and design, far easier.

- Many of our centers report that a large portion of their students don’t have computers at home, don’t have WiFi at home, or have limited daily access to tech tools besides phones. Designing programs that don’t require these expensive tools is key so that we don’t create economic barriers to learning. Paper is cheap and pencils are cheap."]]></description>
<dc:subject>technology screens writing howwewrite writingcenters 826 826valencia children internet attention tools editing education simplicity slow paper pencils</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
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</item>
<item rdf:about="https://zine-machine.glitch.me/">
    <title>Zine machine!</title>
    <dc:date>2019-06-27T14:59:07+00:00</dc:date>
    <link>https://zine-machine.glitch.me/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[“That magic is what means this web page is also a zine if you print it! Go ahead, try pressing your 🖨️ Print button now. You will need to set the page to landscape and make sure there’s no margins or scaling. We want to print on the edge, baby! You should see a preview laid out like this:”

…

“Steal this zine!
Please take this template and copy it for your own work.

This is a Glitch app!
Since it’s all hosted on Glitch, this friendly fish will give you the instructions to take a peek at the code and fire up your own version.

Creative Commons Licence
The content and images are licensed under a Creative Commons Attribution 4.0 International License.

Code highlighting via Prism.js.”]]></description>
<dc:subject>class ideas paper zines papernet templates css webdesign</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:fb15ced5bda4/</dc:identifier>
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<item rdf:about="https://www.youtube.com/watch?v=3h7QTJuLqP0">
    <title>Review PAPERANG P1 Mini Wireless Paper Photo Printer Portable Bluetooth 🖨️ 😍 - YouTube</title>
    <dc:date>2019-03-04T00:35:02+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=3h7QTJuLqP0</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[See also:

"PAPERANG P1 Portable Paper Printer - Gearbest.com"
https://www.youtube.com/watch?v=C8937p98s70

"HOW TO Journal Bullet with PAPERANG P1 Photo Printer"
https://www.youtube.com/watch?v=6xaAq0qdt4w

https://www.amazon.com/PAPERANG-P1-Wireless-Portable-Bluetooth/dp/B077YLF5XW
https://www.gearbest.com/printers/pp_009292443229.html?lkid=18819494 ]]]></description>
<dc:subject>papernet paper printers classideas hardware printing fun</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
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<item rdf:about="https://kellianderson.com/books/foldingfolder.html">
    <title>Kelli Anderson - Folding Folder</title>
    <dc:date>2019-01-14T00:58:02+00:00</dc:date>
    <link>https://kellianderson.com/books/foldingfolder.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Folding Folder
…a folder of pre-scored auxetic folding patterns

This folder contains 8 risographed posters (2 of each design) featuring auxetic folding patterns for maximum folding joy.

These origamic patterns give paper an unusual spring-like behavior: if stretched L/R, they also expand up/down.

Besides offering a pleasingly-stretchy experience, these patterns offer an alternative means by to produce mechanical movements. (For example, in contexts where actual mechanics are impractical because of the scale—like in tiny stints.) The front of each poster includes instructions, as well as information on the functional applications of each fold. The prints are tucked into a custom folder made by Talas book binding supply.

Includes: The Miura-ori fold, Ron Resch's Square Twist, a modified version of the classic Waterbomb pattern, and an experimental Sequent fold"]]></description>
<dc:subject>kellianderson miuraori folding risograph paper miurafold miura miura-ori riso</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:9113d9ca60e2/</dc:identifier>
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<item rdf:about="https://austinkleon.com/tag/paper/">
    <title>AUSTIN KLEON : BLOG : Posts tagged 'Paper'</title>
    <dc:date>2018-11-30T17:26:39+00:00</dc:date>
    <link>https://austinkleon.com/tag/paper/</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>paper austinkleon</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:f5d3c27057e8/</dc:identifier>
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<item rdf:about="https://www.nytimes.com/2018/11/19/t-magazine/japanese-paper-washi.html">
    <title>Why Is Japan Still So Attached to Paper? - The New York Times</title>
    <dc:date>2018-11-30T16:54:25+00:00</dc:date>
    <link>https://www.nytimes.com/2018/11/19/t-magazine/japanese-paper-washi.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Because of the sheer accumulated weight of its past, and the velocity of its rush into the future, Japan offers these contradictions and anxieties of modernity in particular abundance. Japan was geographically isolated for centuries, so the time between the country’s opening — thanks to the gunboat diplomacy of American warships’ arrival in 1853 — and the postwar miracle of reconstruction produced a linear and especially propulsive narrative of an agrarian society becoming one defined by urban futurism. The contrast (and conflict) between ancient and modern is the primary tension in Japan’s modern literary and filmic traditions: rural families experiencing the shock of the city in Yasujiro Ozu’s films of the ’40s and ’50s, or Noh drama in the novels of the Showa-era writer Fumiko Enchi. Everything, from the perfervidness of the country’s electronic manufacturing, the proliferation of its pop culture, the aggressiveness of its building booms — even as a three-decade-long economic decline strips these characteristics of their sheen — seems to serve as a reminder that throughout the postwar era, Japan was a byword for the future.

All of these forces — the past, the present, the future — can be crystallized in one persisting Japanese tradition: the longevity and depth of its papermaking. Perhaps chief among the historical foundations of Japan is that it is a country of artisans, so much so that the national government stipulates requirements for an object to be classified as a “traditional Japanese craft.” The first of these requirements is that an object must be practical enough for regular use, which helps explain the continuing relevance of paper, or washi (which translates as “Japanese paper”). In our digital age, we tend to forget just how practical and versatile the material actually is, and many of its modern uses can be traced directly back to Japan, where the art of handmade washi began with the arrival of Buddhist monks to the islands from Korea in the seventh century.

Since then, washi has been used as stationery, as canvas and as art itself through the rise of origami, which was invented almost simultaneously with washi — but these practices, which remain popular, overshadow just how deeply entrenched paper is in Japanese history. Some 700 years before the Gutenberg Bible, the Japanese were hand-printing Buddhist texts on paper. Before printed periodicals began to appear in Europe in the 17th century as predecessors of the modern newspaper, Japan was printing yomiuri (literally “to read and sell”), handbills that were sold in major urban centers. (Today, Japan maintains the largest circulation of print newspapers in the world, and the second largest per capita.) Paper was the dominant characteristic of Japanese aesthetics, appearing everywhere from domestic rooms to funerals. Paper lanterns were burned at religious ceremonies. Clothing was made from it. It became a popular building material. The shoji screens that were ubiquitous in the Edo period, which spanned the 17th to the late 19th centuries, reflected an appreciation for mood and tactility and, with their lunar opacity, contributed to the clean, mollified serenity that later so attracted Modernist architects like Le Corbusier to traditional Japanese architecture. Even a form of facial tissues, the kind you sneeze into when you have a cold, were used by the Japanese for centuries. Paper has a long history all over the world, but it is to Japan something like what wine is to the French — a national obsession and point of pride. It remains, despite every innovation since, the central material of Japanese culture."

…

"THE GREAT PARADOX of Japan’s paper culture is that the country was also one of the earliest producers of global technology, particularly with the founding in 1946 of Sony (originally called the Tokyo Telecommunications Engineering Corp.), a company that could reasonably claim the mantle as one of the original tech supergiants. Having once been a papermaking innovator, the country also became the site of other crucial advancements. The first consumer tape recorders and transistor radios emerged here in the 1950s, and in 1966, the Sony Building in Ginza, Tokyo’s old business district, further transformed the look of the modern city by becoming the first example of “media architecture,” with a facade that displayed video images, a development for screens that was perhaps inevitable in a country that pioneered this technology back when it was still analog.

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In a bit of irony, the first cellular network is also Japanese, introduced in 1979 by Nippon Telegraph and Telephone. This may have helped sound the long, slow demise of print throughout the world, but in a country where the roots of paper are so deep, today the material is still everywhere, even when it isn’t. As in many places in the world, passengers on the subway system scroll continuously on their phones. But the country’s low-tech traditions have not been casually discarded. The same spirit that continues to cultivate beautiful washi also seems of a piece with the strange persistence of meikyoku kissaten, the “masterpiece cafes” where people sit and listen to recordings of classical music on old phonographs. Much like the more famous and trafficked vinyl bars — hole-in-the-wall haunts catering to audiophiles, hundreds of which speckle the streets and back alleys of Tokyo — they reflect a reverence toward a medium and not just the product produced via that medium.

In an age of sharply escalating computerization and digitization of everything into an intangible ether, it can be hard to remember that paper, too, is just another medium, something that acts as a transmitter for something written or typed in the past. Or better, it’s too easy to imagine that replacing paper with digital screens is just moving from one medium to another. Digitization has produced a change not just in what we see and feel but in what we control. The world of new media — of what the left-wing theorist Jodi Dean calls “communicative capitalism” — is standardized in a way that not even the most fantastical efficiency expert could have dreamed. If thousands of families could once make their own paper, it is now only a few monopoly companies that create virtually all the media through which we transmit communication today, and virtually all of it is being data mined in a way that letters never could be. The fetish for media like washi is nostalgic on one account, cleareyed on another: The paper bears an imprint, of the maker and eventually of the user, in a way no digital object ever can. For this reason, those pale, fringed sheets retain a measure of the time, and the sense of self, we are always losing as we rush heedlessly into the future."]]></description>
<dc:subject>japan paper history materials materiality craft artisans process</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:00d358922106/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:paper"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:materials"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:materiality"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:craft"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:artisans"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:process"/>
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</item>
<item rdf:about="http://yang-zhang.me/research/Pulp/Pulp.html">
    <title>Pulp Nonfiction</title>
    <dc:date>2018-07-07T21:34:07+00:00</dc:date>
    <link>http://yang-zhang.me/research/Pulp/Pulp.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Paper continues to be a versatile and indispensable material in the 21st century. Of course, paper is a passive medium with no inherent interactivity, precluding us from computationally-enhancing a wide variety of paper-based activities. In this work, we present a new technical approach for bringing the digital and paper worlds closer together, by enabling paper to track finger input and also drawn input with writing implements. Importantly, for paper to still be considered paper, our method had to be very low cost. This necessitated research into materials, fabrication methods and sensing techniques. We describe the outcome of our investigations and show that our method can be sufficiently low-cost and accurate to enable new interactive opportunities with this pervasive and venerable material."

[See also: https://www.youtube.com/watch?v=Y1Q0QCPdZys ]]]></description>
<dc:subject>paper digital touch interface yangzhang chrisharrison 2018</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:80c6a0785c73/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:paper"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:touch"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:chrisharrison"/>
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</item>
<item rdf:about="http://lab.cccb.org/es/poetica-del-lapiz-del-papel-y-de-las-contradicciones/">
    <title>Poética del lápiz, del papel y de las contradicciones | CCCB LAB</title>
    <dc:date>2018-05-21T04:25:04+00:00</dc:date>
    <link>http://lab.cccb.org/es/poetica-del-lapiz-del-papel-y-de-las-contradicciones/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Reflexiones de un escritor que transita entre el medio analógico y el digital, entre lo material y lo virtual."

…

"Aprendimos a leer en libros de papel y nuestros recuerdos yacen en fotos ampliadas a partir de un negativo. Actualmente vivimos en un entorno digital repleto de promesas y ventajas, y aun así parece que nuestro cerebro reclama dosis periódicas de tacto, artesanía y materia. El escritor Jorge Carrión reflexiona sobre este tránsito contradictorio entre un medio y otro: desde la firma de un libro garabateado o las lecturas repletas de anotaciones, hasta la necesidad de esbozar ideas con un bolígrafo o dibujar para observar y comprender, pasando por el móvil usado para tomar notas o fotografiar citas.

Hoy, en un avión que, a pesar de ser low cost, atraviesa el océano, leo estos versos en un librito extraordinario: «Escribo a mano con un lápiz Mongol Nº 2 mal afilado, / apoyando hojas de papel sobre mis rodillas. / Ésa es mi poética: escribir con lápiz es mi poética. / […] Lo del lápiz mal afilado es indispensable para mi poética. / Sólo así quedan marcas en las hojas de papel / una vez que las letras se borran y las palabras ya no / se entienden o han pasado de moda o cualquier otra cosa.»

Ayer, minutos antes de que empezara la conferencia que tenía que dar en Buenos Aires, una anciana se me acercó para que le dedicara su ejemplar de Librerías. Lo tenía lleno de párrafos subrayados y de esquinas de página dobladas («cada librería condensa el mundo», yo siempre pensé lo mismo, sí, señor), de tarjetas de visita y de fotografías de librerías («este folleto de Acqua Alta es de cuando estuve en Venecia, un viaje muy lindo»), de recortes de diario («mire, la nota de Clarín que habla del fallecimiento de Natu Poblet, qué tristeza») y hasta de cartas («ésta se la escribí a usted cuando terminé su libro y de pronto me quedé otra vez sola»). No es mi libro, le respondí, usted se lo ha apropiado: es totalmente suyo, le pertenece. De perfil el volumen parecía la maleta de cartón de un emigrante o los estratos geológicos de un acantilado. O un mapa impreso en 3D del rostro de la anciana.

La semana pasada, en mi casa, leí este pasaje luminoso de Una historia de las imágenes, un librazo extraordinario de David Hockney y Martin Gayford publicado por Siruela:

En una fotografía el tiempo es el mismo en cada porción de su superficie. No así en la pintura: ni siquiera es así en una pintura hecha a partir de una foto. Es una diferencia considerable. Por eso no podemos mirar una foto mucho tiempo. Al final no es más que una fracción de segundo, no vemos al sujeto en capas. El retrato que me hizo Lucian Freud requirió ciento veinte horas de posado, y todo ese tiempo lo veo en capas en el cuadro. Por eso tiene un interés infinitamente superior al de una foto.

Hace unos meses, en el AVE que une Barcelona con Madrid, leí un artículo sobre una tendencia incipiente: ya son varios los museos del mundo que prohíben hacer fotografías durante la visita; a cambio te regalan un lápiz y papel, para que dibujes las obras que más te interesen, para que en el proceso de la observación y de la reproducción, necesariamente lento, mires y pienses y digieras tanto con los ojos como con las manos.

Vivimos en entornos absolutamente digitales. Producimos, escribimos, creamos en teclados y pantallas. Pero al principio y al final del proceso creativo casi siempre hay un esquema, unas notas, un dibujo: un lápiz o un bolígrafo o un rotulador que se desliza sobre pósits o sobre hojas de papel. Como si en un extremo y en otro de lo digital siempre hubiera una fase predigital. Y como si nuestro cerebro, en un nuevo mundo que –como explica afiladamente Éric Sadin en La humanidad aumentada– ya se ha duplicado algorítmicamente, nos reclamara dosis periódicas de tacto y artesanía y materia (infusiones de coca para combatir el mal de altura).

Hace dos años y medio, tras mi última mudanza, pasé un rato hojeando el álbum de fotos de mi infancia. Aquellas imágenes envejecidas y palpables no sólo documentan mi vida o la moda o las costumbres de los años setenta y ochenta en España, también hablan de la evolución de la fotografía doméstica y de los procesos de revelado. Tal vez cada foto sea solamente un instante (un instante sin una segunda oportunidad, sin edición, sin filtros, sin anestesia), pero las páginas de cartulina, las anotaciones manuscritas en rotulador negro o en boli Bic azul, los cambios de cámara o las impresiones en brillo o en mate crean un conjunto (un libro) en el que la dimensión material del tiempo se puede reconstruir y tocar, elocuente o balbuciente, nítida o desdibujada, como en un yacimiento arqueológico. O como en un mapa impreso en 3D de mi futuro envejecimiento.

Hoy, ahora, acabo de leer este librito extraordinario, el poemario Apolo Cupisnique, de Mario Montalbetti, que han coeditado en Argentina Añosluz y Paracaídas. Y lo cierro, con versos subrayados, páginas con la esquina doblada, la entrada de un par de museos porteños y un lápiz de Ikea que probablemente también se quede ahí, para siempre secuestrado. Y en el avión low cost empiezo a escribir este texto gracias a mi teléfono móvil, porque no soy (no somos) más que un sinfín de contradicciones. La cita de Montalbetti la copio directamente del libro, pero para la de Hockney tengo que recurrir a la foto que hice de esa doble página la semana pasada. A la izquierda el texto, a la derecha el retrato que le hizo Freud. La foto del retrato. Se pueden ver, en efecto, las capas dinámicas que dejaron en la pintura las ciento veinte horas inmóviles. Con el dedo índice y el pulgar amplío sus ojos y durante un rato –en la noche que se disuelve en jet lag– nuestras miradas se encuentran en la pantalla sin estratos."]]></description>
<dc:subject>jorgecarrión digital writing print virtual material 2018 art poetry apolocupisnique mariomontalbetti añosluz paracaídas paper books ebooks éricsadin algorithms davidhockney martingayford natupoblet</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
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</item>
<item rdf:about="http://thekidshouldseethis.com/post/how-to-make-a-hexaflexagon-the-definitive-guide">
    <title>How To Make a Hexaflexagon: The Definitive Guide | The Kid Should See This</title>
    <dc:date>2018-05-14T17:04:32+00:00</dc:date>
    <link>http://thekidshouldseethis.com/post/how-to-make-a-hexaflexagon-the-definitive-guide</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>folding patterns paper classideas</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:0e84bc8360c4/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:patterns"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:paper"/>
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</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://rspa.royalsocietypublishing.org/content/469/2155/20130152">
    <title>Curved pleat folding for smooth wrapping | Proceedings of the Royal Society of London A: Mathematical, Physical and Engineering Sciences</title>
    <dc:date>2018-04-16T20:41:12+00:00</dc:date>
    <link>http://rspa.royalsocietypublishing.org/content/469/2155/20130152</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>folding paper origami classideas</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:11a45889e7ea/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:folding"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:paper"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:origami"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:classideas"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://www.sciencefriday.com/educational-resources/tessellation-and-miura-folds/">
    <title>Tessellation and Miura Folds - Science Friday</title>
    <dc:date>2018-04-12T21:03:32+00:00</dc:date>
    <link>https://www.sciencefriday.com/educational-resources/tessellation-and-miura-folds/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[See also: http://jean-paul.davalan.pagesperso-orange.fr/liens/liens_origami.html ]]]></description>
<dc:subject>miuraori folding origami 2017 xotchitlgarcia geometry classideas biomimicry paper tessellation miura miura-ori miurafold biomimetics</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:f966fb03b1db/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:miuraori"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:folding"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:origami"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:2017"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:xotchitlgarcia"/>
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</item>
<item rdf:about="http://www.pbs.org/video/nova-origami-revolution-episode/">
    <title>The Origami Revolution | NOVA | PBS</title>
    <dc:date>2018-04-06T02:09:52+00:00</dc:date>
    <link>http://www.pbs.org/video/nova-origami-revolution-episode/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[See also: http://www.pbs.org/wgbh/nova/physics/origami-revolution.html ]]]></description>
<dc:subject>origami classideas math mathematics paper architecture fashion design nature science towatch folding via:carwaiseto engineering</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:b63aafd2dede/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:origami"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:math"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:mathematics"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:paper"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:via:carwaiseto"/>
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</item>
<item rdf:about="https://paperprograms.org/">
    <title>Paper Programs</title>
    <dc:date>2018-02-25T23:25:42+00:00</dc:date>
    <link>https://paperprograms.org/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[via: https://twitter.com/andy_matuschak/status/967807879892709376 ]

"Paper ProgramsPaper Programs is a browser-based system for running Javascript programs on pieces of paper.

You set up a projector and camera aimed at a wall, table, or floor, and print out papers that are recognised and executed by the system.

[tutorial video: https://www.youtube.com/watch?v=pkwSoJrVWAY ]

FAQ

Who created Paper Programs? And why?
Hi, I’m JP. There are lots of reasons I could list for building Paper Programs, such as having worked on interactive tools for many years, a background in programming education, and having experimented with different representations of program execution. But the truth is, I was just unreasonably excited after trying Dynamicland for the first time, and wanted to explore their interaction model more.

Much thanks to everyone who helped testing Paper Programs. Special thanks to Omar Rizwan for sort-of instigating this project, and offering tons of ideas and feedback.

How is Paper Programs related to Dynamicland?
Paper Programs is inspired by the projector and camera setup of the 2017 iteration of Dynamicland. I liked how you could physically hold a program in your hands, and then put on any surface in the building, where it would start executing, as if by magic. And I liked how people naturally started collaborating, writing programs that interact with each other.

In contrast, Dynamicland is a community space designed around Realtalk. Realtalk is a research operating system (in development for several years) designed to bring computation into the physical world. It is more general than papers, projectors, and cameras. Dynamicland is intended as a new medium of human communication, and is designed to be learned and used by a community of people interacting face-to-face, not over the internet.

Paper Programs is not a clone of Dynamicland. To learn more about their system and vision, be sure to visit Dynamicland in Oakland.

How does Paper Programs work?
Programs are stored on a server (using Node.js and PostgreSQL), hosted on paperprograms.org. Each program has a number, and the dots on the paper encode that number. Currently each corner is uniquely identified with 5 dots of 5 possible colours, which means you can have about 600 unique papers currently (this is a significant limitation).

A camera detects the dots and retrieves the program associated with each paper. This is done in a browser, using OpenCV compiled to WebAssembly, and some custom Javascript code. Calibration happens manually, using a UI built in React. Program code and configuration are stored in the browser’s local storage.

Projection and execution of programs happens in a separate browser window. Each program runs asynchronously in a Web Worker, and can request access to a canvas, coordinates of other programs, and so on.

Then there is an editor page, which anyone in the space with a laptop or tablet can use to edit programs, using Monaco. When having created a new program, you can click a print button to print out a new paper that runs that program. It has the program text printed on the paper itself. Any edited program can be reverted to its original state.

How can I help?
If you’re interested in contributing to Paper Programs, feel free to submit PRs, bugs, and suggestions at the Github repo. And please tag any posts in social media with #paperprograms."]]></description>
<dc:subject>javascript programming paper art projectors dynamicland</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:cb51716223f8/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:javascript"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:programming"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:paper"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:art"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:projectors"/>
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</item>
<item rdf:about="https://www.papiermachine.io/">
    <title>Papier Machine</title>
    <dc:date>2018-01-17T05:26:08+00:00</dc:date>
    <link>https://www.papiermachine.io/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Papier Machine, the first booklet of interactive electronic paper toys."]]></description>
<dc:subject>toys classideas paper books interactive electronics</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:0d388b8faa76/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:toys"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:classideas"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:paper"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:books"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:interactive"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:electronics"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://www.instagram.com/p/BcKfc8hHYt9/">
    <title>robby kraft en Instagram: “computing without computers” • Instagram</title>
    <dc:date>2017-12-02T06:46:28+00:00</dc:date>
    <link>https://www.instagram.com/p/BcKfc8hHYt9/</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>voronoi paper papercraft 2017 origami folding</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:ffe6ced29cef/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:voronoi"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:paper"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:papercraft"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:2017"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:origami"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:folding"/>
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</item>
<item rdf:about="http://www.spoon-tamago.com/2017/06/02/sony-toio-robotics-engineers/">
    <title>Sony’s New toio Wants to Inspire a Future Generation of Robotics Engineers | Spoon &amp; Tamago</title>
    <dc:date>2017-06-05T03:17:11+00:00</dc:date>
    <link>http://www.spoon-tamago.com/2017/06/02/sony-toio-robotics-engineers/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Build, play, inspire. That’s the idea behind Sony’s new toy for kids, designed to inspire a future generation of robotics engineers. Toio is the result of 5 years of research into developing a toy that’s simple enough for kids to use, but also sophisticated enough to create a figurative sandbox where kids can explore the inner-workings of robotics engineering.

Toio, at first glance, is stunningly simple: the core of the toy is just 2 white cubes with wheels. But don’t be fooled by their appearance. The tiny cubes pack a whole lot of tech. They respond to motion, are able to detect the exact location of the other, and can be programmed but also remote controlled.

It would seem that the possibilities for toio are endless, which is why the developers teamed up with various creatives and designers to come up with various craft sets that help kids explore what robots can do. You can create your own robotic beast and battle others, you can play board games with them and you can make obstacle courses for them to go through. Sony has even teamed up with Lego for this project, allowing kids to build Lego structures on top of their robots.

But one of the most attractive features is a craft set designed by the folks behind the lovable PythagoraSwitch TV segment. It’s a simple paper set that encourages kids to join the two white cubes using paper. The cubes then interact with each other and come alive, resulting in different movements.

Check out the videos to get a better sense of what toio can do. Sony has released a limited quantity of toio sets that start at 21,557 yen (about $200 USD) and go up to 33,415 (about $300 USD) depending on how many craft sets you want to add on."

[Also here: http://prostheticknowledge.tumblr.com/post/161355896016/toio-programmable-robotics-toy-from-sony-uses ]]]></description>
<dc:subject>via:tealtan robots classideas toys learning toio sony robotics engineering paper lego</dc:subject>
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<item rdf:about="https://motherboard.vice.com/read/it-makes-no-sense-that-word-processors-are-still-designed-for-the-printed-page">
    <title>It Makes No Sense That Word Processors Are Still Designed for the Printed Page | Motherboard</title>
    <dc:date>2016-09-03T21:42:11+00:00</dc:date>
    <link>https://motherboard.vice.com/read/it-makes-no-sense-that-word-processors-are-still-designed-for-the-printed-page</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>wordprocessors writing howwewrite history erniesmith software wordprocessing freewrite alphasmart googledocs microsoftword wordperfect wordstar electricpencil digital xeroxparc paper</dc:subject>
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<item rdf:about="https://www.youtube.com/watch?v=xsU3kDAFgv4">
    <title>Tauba Auerbach: [2, 3] - YouTube</title>
    <dc:date>2016-07-20T00:23:08+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=xsU3kDAFgv4</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Sam Fleischner captures the aural experience of leafing through the weighty new project by artist Tauba Auerbach."

[See also: https://www.nowness.com/story/tauba-auerbach-book ]]]></description>
<dc:subject>tauberauerbach art paper folding</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:18759dca7785/</dc:identifier>
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<item rdf:about="http://www.whyowhy.sg/">
    <title>Why, O, Why! | Design, research, and retail of products for children</title>
    <dc:date>2016-07-01T01:43:30+00:00</dc:date>
    <link>http://www.whyowhy.sg/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Children are curious creatures. They are naturally drawn to new things, and it is their innate ability to be in constant wonder. We believe that the word ‘why’ — though simple and easily articulated — is very powerful. We love how it opens up opportunities for discovery, and above all, how the joy of these little discoveries can be shared with others."

…

"Why, O, Why! (w,o,w!) is a space for design, research, and retail of products focusing on encouraging creativity and imagination in children. We develop play objects, publications, activities, and workshops to create and facilitate meaningful interactions and play experiences.

Why, O, Why! is an initiative by Pupilpeople (Pp.)."

…

"Why, O, Why! workshops are a series of art and design activity sessions for children, a physical space dedicated to cultivating curiosity and the joy of discovery.

Each of the workshop series focuses on a particular ‘material’ that is versatile enough to allow for a wide range of visually and haptically rich, hands-on, and playful experiences through guided yet child-directed explorations. Other than the learning possibilities each workshop series offer, we hope to leave behind an independent approach and process to learning and discovery, and to encourage the development of interests specific to each child."]]></description>
<dc:subject>pupilpeople design lcproject openstudioproject sfsh wonder children why discovery learning howwelearn joy creativity imagination materials paper blocks toys classideas workshops</dc:subject>
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<item rdf:about="http://aeon.co/magazine/technology/why-have-digital-books-stopped-evolving/">
    <title>Will digital books ever replace print? – Craig Mod – Aeon</title>
    <dc:date>2015-10-05T07:24:51+00:00</dc:date>
    <link>http://aeon.co/magazine/technology/why-have-digital-books-stopped-evolving/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[See also: http://kottke.org/15/10/on-the-declining-ebook-reading-experience 

"The Kindle is a book reading machine, but it's also a portable book store. 1 Which is of great benefit to Amazon but also of some small benefit to readers...if I want to read, say, To Kill A Mockingbird right now, the Kindle would have it to me in less than a minute. But what if, instead, the Kindle was more of a book club than a store? Or a reading buddy? I bet something like that done well would encourage reading even more than instantaneous book delivery.

To me, Amazon seems exactly the wrong sort of company to make an ebook reader 2 with a really great reading experience. They don't have the right culture and they don't have the design-oriented mindset. They're a low-margin business focused on products and customers, not books and readers. There's no one with any real influence at Amazon who is passionately advocating for the reader. Amazon is leaving an incredible opportunity on the table here, which is a real bummer for the millions of people who don't think of themselves as customers and turn to books for delight, escape, enrichment, transformation, and many other things. No wonder they're turning back to paper books, which have a 500-year track record for providing such experiences."]]]></description>
<dc:subject>amazon kindle ebooks books publishing bookfuturism craigmod 2015 print paper bretvictor alankay dynabook materiality marshallmcluhan vannevarbush borges</dc:subject>
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<item rdf:about="http://www.foldscope.com/">
    <title>Foldscope: Origami based print and fold paper-microscope</title>
    <dc:date>2015-09-27T07:06:29+00:00</dc:date>
    <link>http://www.foldscope.com/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[See also:
https://microcosmos.foldscope.com/
https://en.wikipedia.org/wiki/Foldscope
http://www.theatlantic.com/science/archive/2015/09/one-dollar-origami-microscope-foldscope/403156/
https://www.youtube.com/watch?v=yyRnLh_c4Hg
https://www.youtube.com/watch?v=uxgPFLcBz6I
https://www.youtube.com/channel/UCEUWr65ztoaGKrk-MMUC89A
http://makezine.com/2014/03/16/origami-microscope-for-just-50-cents/
http://www.foldscope.com/10kmicroscope-project-blog/2014/12/14/official-video-instructions-for-foldscope-assembly-and-collecting-data-on-cellphones
http://www.foldscope.com/diy/ ]

[Update 27 Nov 2016 with more references (Manu Prakash won a MacArthur “genius grant” and there is now a Kickstarter project. There was also coverage in the New Yorker late last year.)

https://www.kickstarter.com/projects/276738145/foldscope-the-origami-paper-microscope
https://www.macfound.org/fellows/965/
https://youtu.be/BUB3pBC38YE
https://vimeo.com/180653639
https://www.youtube.com/channel/UCy7sDbmO9TlzJhJgSvvITog
https://www.youtube.com/watch?v=vQJDV4GE4aY
http://www.newyorker.com/magazine/2015/12/21/through-the-looking-glass-annals-of-science-carolyn-kormann
https://www.ted.com/talks/manu_prakash_a_50_cent_microscope_that_folds_like_origami ]]]></description>
<dc:subject>foldscope manuprakash diy education science microscopy microscopes paper</dc:subject>
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<item rdf:about="https://www.youtube.com/watch?v=N1nSjCyi7jI">
    <title>Códice Boturini o Tira de la Peregrinación, edición digital - YouTube</title>
    <dc:date>2015-09-25T14:31:30+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=N1nSjCyi7jI</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["El INAH presenta en versión digital el manuscrito original del siglo XVI. 

Esta edición combina la tecnología digital con los procesos de producción artesanal para permitir un acercamiento inédito a uno de los documentos fundacionales de la historia de México.

Te invitamos a conocer el proceso de elaboración del papel amate que artesanos de la comunidad de San Pablito Pahuatlán, Puebla, realizan para la versión facsimilar de este códice. 

Así como el proceso de planeación de este proyecto de innovación, que tiene como resultado una aplicación digital desarrollada para iPad y iPhone, que en los próximos días estará disponible en una versión web y para dispositivos Android. En todos los casos de manera gratuita."]]></description>
<dc:subject>papernet books bookmaking digital paper papelamate puebla mexico papermaking 2015 glvo classideas sanpablitopahuatlán</dc:subject>
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</item>
<item rdf:about="http://www.csdl.tamu.edu/~marshall/CCMarshall_anno-17yearsLater.pdf">
    <title>How we annotate, by Cathy Marshall, Microsoft Research, Silicon Valley [.pdf]</title>
    <dc:date>2014-09-26T20:22:44+00:00</dc:date>
    <link>http://www.csdl.tamu.edu/~marshall/CCMarshall_anno-17yearsLater.pdf</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["iAnnotate
11 April 2013"

"contact info:
cathymar@microsoft.com
http://research.microsoft.com/~cathymar
http://www.csdl.tamu.edu/~marshall
blog — http://ccmarshall.blogspot.com
twitter — http://twitter.com/ccmarshall "

[via: https://twitter.com/Bopuc/status/515569659882799104 ]]]></description>
<dc:subject>annotation 2014 books marginalia digital paper cathymarshall time forgetting memory storage ebooks aggregation accretion gathering emphasis interpretation</dc:subject>
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<item rdf:about="http://www.npr.org/2014/08/07/338119804/transformer-paper-turns-itself-into-a-robot-cool">
    <title>Transformer Paper Turns Itself Into A Robot. Cool! : NPR</title>
    <dc:date>2014-08-10T05:09:03+00:00</dc:date>
    <link>http://www.npr.org/2014/08/07/338119804/transformer-paper-turns-itself-into-a-robot-cool</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["It's now possible to print electronic circuits on a flat sheet of paper. So if you use some clever folding techniques (based on the ancient art of paper folding called origami), you can fold these sheets into useful structures — maybe a crab-shaped robot that could scuttle across the floor, or a swan-shaped robot that could really fly.

The problem is, it takes a long time for humans to make all the necessary folds in these flat sheets.

"Our goal then," Felton says, "was to try to make them fold themselves in order to save time." So he and his colleagues attached a tiny microprocessor to the paper that tells each hinge when to fold into place.

To actually accomplish the fold, the engineers use a child's toy called Shrinky Dinks. These are sheets made from elastic, shape memory polymers that shrink by about half when you heat them up. You attach the Shrinky Dink to the paper, and when the microprocessor wants to execute a particular fold, it turns on a tiny electronic heater that's printed on the paper, causing the Shrinky Dink to shrink.

"And this, in turn, pulls on the paper," Felton says, "causing the paper to fold."

He's now working on tiny, bug-size folding robots made not with paper and Shrinky Dinks but with aluminum foil and shrink-wrap. He also sees a day when there may be printable spacecraft, sent into space as flat sheets, only to fold up into something useful when they reach their target."]]></description>
<dc:subject>robots 2014 robotics paper folding shrinkydinks origami</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:c055f06af3f8/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:robots"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:2014"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:robotics"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:paper"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:folding"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:shrinkydinks"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:origami"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://4cp.posthaven.com/">
    <title>4CP | Four Color Process</title>
    <dc:date>2014-04-24T20:02:25+00:00</dc:date>
    <link>http://4cp.posthaven.com/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[via http://laughingsquid.com/4cp-a-website-that-adventures-deep-inside-and-examines-the-four-color-process-used-to-print-comic-books/ (via http://notrare.tumblr.com/post/83740052111/laughingsquid-4cp-a-website-that-adventures) who describes:

"John Hilgart is the creator and curator of 4CP, a fantastic website that “adventures deep inside” and examines the four-color-process that is used to print comic books. By scanning and zooming in on different comic book illustrations, John is able to display a whole new level of detail that one may not notice otherwise. According to John, “one of the most glorious and ludicrous covers in comic book history” is the MAD #21 cover created by cartoonist and editor Harvey Kurtzman in 1955. You can dig around through more of his many hidden comic treasures on the 4CP website." ]]]></description>
<dc:subject>comics design printing paper print johnhilgart</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:c7500c4a3337/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:comics"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:design"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:printing"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:paper"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:print"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:johnhilgart"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://www.kcamara.com/ANALOG-MEMORY-DESK">
    <title>ANALOG MEMORY DESK - Kirsten Camara</title>
    <dc:date>2014-03-15T17:53:02+00:00</dc:date>
    <link>http://www.kcamara.com/ANALOG-MEMORY-DESK</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["A desk to record all the small items you write down once, but intend to forget tomorrow.

I've come to realize that I'm somewhat obsessed with how we remember the past. This is the latest installment in that series and a more serious attempt at furniture making. There are a hundreds of little things that we don't try to remember every year or even every week. Does the sum of all these tiny parts produce a new narrative on our lives?

1,100 yards of paper will record the lists, the phones numbers you call once, the pixel size of that box on that website, the street name of that business, and the long division you try to remember.

Made out of hard maple, butcher paper and a glass panel."

[via: http://mmodulus.tumblr.com/post/79548996003/analog-memory-desk-una-mesa-para-recordar-todos ]]]></description>
<dc:subject>furniture wood memory design desks paper papernet</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:f8fb59f78e92/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:furniture"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:wood"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:memory"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:design"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:desks"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:paper"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:papernet"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://twitter.com/tejucole/timelines/444262126954110977">
    <title>A Piece of the Wall from Teju Cole on Twitter</title>
    <dc:date>2014-03-14T22:42:14+00:00</dc:date>
    <link>https://twitter.com/tejucole/timelines/444262126954110977</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[See also an interview about the essay: http://www.buzzfeed.com/aaronc13/author-teju-cole-talks-his-new-essay-on-immigration-twitter ]

[From the interview:]

"What made you decide that this specific essay would be best presented in this medium?
Teju Cole: I’ll answer that by saying I didn’t think this essay could be “best” presented in this medium, but I asked the opposite question: Why does a serious longform investigative piece have to be in print in a major magazine? In various parts of West Africa, there are different iterations of the idea that “white people like paper so much that they even wipe their butts with it.” You know, you spend your life staring at paper, you spend paper money, proof of ownership of everything is on paper, you fill your house with paper, and when you die, the announcement is in the paper.

I love paper too. I love print. But maybe not everything has to be on it. And in the case of Twitter (and, before that, blogging), I just feel so strongly that there’s an audience here, and audience that deserves to be treated with the same seriousness as the paper crowd."]]></description>
<dc:subject>border borders mexico us tejucole 2014 immigration immigrationreform journalism twitter howwewrite paper arizona</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:0fe746d62821/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:border"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:mexico"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:us"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:tejucole"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:2014"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:immigration"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:immigrationreform"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:journalism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:twitter"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:howwewrite"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:paper"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:arizona"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://www.youtube.com/user/AdamsSara">
    <title>happyfolding.com - enjoy origami online - YouTube</title>
    <dc:date>2013-12-08T02:39:16+00:00</dc:date>
    <link>http://www.youtube.com/user/AdamsSara</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["This channel is all about paperfolding! No matter whether you're totally new to origami, or are a passionate origami enthusiast already, this channel is for you.

Once a month I upload a video that demonstrates how to fold an origami models. The complexity of the models rangesfrom simple to quite advanced.

Every once in a while I also do giveaways for various origami-related stuff - such as books, papers, or gift certificates for various online origami shops. Finally, for that extra bit of fun I occasionally also post time lapses of complex projects I've completed, so you can enjoy hours of folding in a couple of minutes.

I'm always open to suggestions for models you'd like me to demonstrate next. So do get in touch with me and I'll see what I can do.

And with that: happy folding!"

[Examples:

"Origami Tessellation Instructions: Water Bomb Tessellation (Eric Gjerde)"
http://www.youtube.com/watch?v=VXIVHjws15U

"Origami Instructions: Wobbling Wall of Nine Cubes (Heinz Strobl)"
http://www.youtube.com/watch?v=dHTqRqg_LXo ]]]></description>
<dc:subject>video origami folding paper folds saraadams</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:1453166ede2e/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:origami"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:folding"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:paper"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:folds"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:saraadams"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://gizmodo.com/the-handheld-mathematics-of-geometer-ron-resch-1463859152">
    <title>The Handheld Mathematics of Geometer Ron Resch</title>
    <dc:date>2013-12-08T01:58:07+00:00</dc:date>
    <link>http://gizmodo.com/the-handheld-mathematics-of-geometer-ron-resch-1463859152</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Visionary applied geometer Ron Resch, who passed away in 2012, is the subject of the incredible documentary embedded above, that, while by no means new (it was produced back in the grainy days of 1970) seemed worth posting here. Over the course of its more than 40 minutes of mind-altering geometry and material experimentation, we watch Resch unfold, stretch, expand, and play with a mind-boggling wizardry of handmade models that seem to be blink in and out of the ordinary world.

Less structures, in a sense, than experimental prototypes anticipating some of the advanced geometric models of today's most high-powered graphics packages, Resch's models were supremely functional, spatially bewildering, and totally, totally awesome.

In many ways it seems oddly short-sighted of the world that Resch's work would, in the end, be most remarkable for resembling children's toys—from folding snakes to Rubik's cubes—rather than kicking off a brave new world of weird, inter-dimensional furniture and shapeshifting buildings that Resch's work implied would be only a few years away.

A Reschian city of expanding arches and pinched, fractal canopies, where walls become structures and whole neighborhoods are just by-products of massive contraptions, would be a delirious thing to live within, and Resch himself always had his eye on the architectural implications of his work.

In the film embedded above, for example, he describes a waffled, geometrically complex surface that, when combined with sound-absorbing materials, would make an ideal acoustic wall for dampening sound and enhancing privacy. Resch himself was constantly working on new forms of self-supporting origami that might someday pass for buildings.

In any case, the whole film is worth watching—but get yourself a stack of paper before you begin, because you'll be itching to fold your own mathematical shapes and infinite surfaces in no time."

[Direct link to video: https://vimeo.com/36122966

[More: https://pinboard.in/u:robertogreco/b:7715d08f716e ]]]></description>
<dc:subject>geometry origami ronresch folds folding paper structure 2013 geoffmanaugh math mathematics design architecture triangles</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:5b0de36d1f3e/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:geometry"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:origami"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:ronresch"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:folds"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:paper"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:structure"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:2013"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:geoffmanaugh"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:mathematics"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:design"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:architecture"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:triangles"/>
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</item>
<item rdf:about="http://en.wikipedia.org/wiki/Ron_Resch">
    <title>Ron Resch - Wikipedia</title>
    <dc:date>2013-12-08T01:51:47+00:00</dc:date>
    <link>http://en.wikipedia.org/wiki/Ron_Resch</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[See also: http://arkinetblog.wordpress.com/2009/11/20/ron-resch-paper-folding-origami-tessellation/
http://www.origamitessellations.com/2006/10/ron-resch/
https://vimeo.com/36122966
http://gizmodo.com/the-handheld-mathematics-of-geometer-ron-resch-1463859152 ]]]></description>
<dc:subject>paper folding ronresch origami folds tessellations art architecture triangles</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:7715d08f716e/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:paper"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:folding"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:ronresch"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:origami"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:folds"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:tessellations"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:art"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:architecture"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:triangles"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://vimeo.com/47502276">
    <title>Ghostly International presents Matthew Shlian on Vimeo</title>
    <dc:date>2013-12-08T01:30:59+00:00</dc:date>
    <link>https://vimeo.com/47502276</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Matthew Shlian works within the increasingly nebulous space between art and engineering. As a paper engineer, Shlian's work is rooted in print media, book arts, and commercial design, though he frequently finds himself collaborating with a cadre of scientists and researchers who are just now recognizing the practical connections between paper folding and folding at microscopic and nanoscopic scales.

An MFA graduate of Cranbrook Academy, Shlian divides his time between teaching at the University of Michigan, mocking up new-fangled packaging options for billion dollar blue-chips, and creating some of the most inspiring paper art around.

Ghostly teamed up with the Ann Arbor-based photographer and videographer Jakob Skogheim, to produce this feature short, which combines interview and time-lapse footage of Shlian creating several stunning new pieces."

[See also: http://mattshlian.com/ ]]]></description>
<dc:subject>matthewschlian folding paper packaging sculpture design art origami math spatialrelations</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:d9c2b368f314/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:matthewschlian"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:folding"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:paper"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:packaging"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:sculpture"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:design"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:art"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:origami"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:math"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:spatialrelations"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://www.youtube.com/watch?v=nYVKU1AFao4">
    <title>▶ Miura-Ori Origami Tessellation Tutorial - YouTube</title>
    <dc:date>2013-12-07T23:00:17+00:00</dc:date>
    <link>http://www.youtube.com/watch?v=nYVKU1AFao4</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[Related:

"Miura fold, how to"
http://www.youtube.com/watch?v=aizlpy21wiY

"Miura Fold"
http://en.wikipedia.org/wiki/Miura_fold
http://www.britishorigami.info/academic/miura.php
http://lifehacker.com/5888022/the-miura-fold-is-how-youd-fold-a-map-if-you-were-awesome

"Miura Folding: Applying Origami to Space Exploration
"http://www.osaka-ue.ac.jp/zemi/nishiyama/math2010/miura.pdf

"Making the Miura Fold'
http://www.youtube.com/watch?v=bbpnWsoGw9g

"How to "quickly" make an Origami Magic Ball"
http://www.youtube.com/watch?v=tGhcTwIJ4Es

"Origami Tessellation Instructions: Water Bomb Tessellation (Eric Gjerde)"
http://www.youtube.com/watch?v=VXIVHjws15U

"Folding Techniques for Designers by Paul Jackson"
http://foldingtechniques.com/
https://vimeo.com/71796207
https://vimeo.com/23792529
https://vimeo.com/41072878
https://vimeo.com/23801206
https://vimeo.com/26881932
https://vimeo.com/26876877
https://vimeo.com/26876339
https://vimeo.com/23793688
https://vimeo.com/23804390
https://vimeo.com/23793376
https://vimeo.com/23796584
https://vimeo.com/23794276
https://vimeo.com/26876697
https://vimeo.com/23802847
https://vimeo.com/search?q=%22Folding+Techniques+For+Designers%22
http://www.youtube.com/watch?v=jgEOR2YFjxo
http://www.amazon.com/Folding-Techniques-Designers-From-Sheet/dp/1856697215

Entfaltung: Collapsible Fashion | strictlypaper 
https://pinboard.in/u:robertogreco/b:e2c2b78c9991
https://vimeo.com/68951582 ]]]></description>
<dc:subject>folding paper glvo miura-ori origami folds fabric miura triangles pauljackson ericgjerde classideas miuraori miurafold fabrics</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:5bcc0ff15a69/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:folding"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:paper"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:glvo"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:miura-ori"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:origami"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:folds"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:miura"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:triangles"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:pauljackson"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:ericgjerde"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:classideas"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:miuraori"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:miurafold"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:fabrics"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://www.mabonaorigami.com/">
    <title>Sipho Mabona</title>
    <dc:date>2013-12-06T23:16:05+00:00</dc:date>
    <link>http://www.mabonaorigami.com/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[via: http://laughingsquid.com/artist-sipho-mabona-is-planning-to-make-a-lifesize-origami-elephant-out-of-a-giant-square-of-paper/ ]]]></description>
<dc:subject>origami siphomabona art paper</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:8eeb95e0d612/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:origami"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:siphomabona"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:art"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:paper"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://www.youtube.com/watch?v=CpAXqHmRa0E">
    <title>▶ TOC 2012: Tim Carmody, &quot;Changing Times, Changing Readers: Let's Start With Experience&quot; - YouTube</title>
    <dc:date>2013-12-03T19:15:40+00:00</dc:date>
    <link>http://www.youtube.com/watch?v=CpAXqHmRa0E</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[Referenced here: http://stet.editorially.com/articles/attention-rhythm-and-weight/ ]]]></description>
<dc:subject>reading writing timcarmody 2012 books papermodernism paper history scrolls experience bookfuturism mallarmé skeuomorph skills literacy literacies multiliteracies constraints stéphanemallarmé</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:59906aab413c/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:reading"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:writing"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:timcarmody"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:2012"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:bookfuturism"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:literacy"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:stéphanemallarmé"/>
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</item>
<item rdf:about="http://frankchimero.com/what-screens-want/">
    <title>What Screens Want by Frank Chimero</title>
    <dc:date>2013-11-20T14:55:53+00:00</dc:date>
    <link>http://frankchimero.com/what-screens-want/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["We need to work as a community to develop a language of transformation so we can talk to one another. And we probably need to steal these words from places like animation, theater, puppetry, dance, and choreography.

Words matter. They are abstractions, too—an interface to thought and understanding by communication. The words we use mold our perception of our work and the world around us. They become a frame, just like the interfaces we design."

…

"When I realized that, a little light went off in my head: a map’s biases do service to one need, but distort everything else. Meaning, they misinform and confuse those with different needs.

That’s how I feel about the web these days. We have a map, but it’s not for me. So I am distanced. It feels like things are distorted. I am consistently confused.

See, we have our own abstractions on the web, and they are bigger than the user interfaces of the websites and apps we build. They are the abstractions we use to define the web. The commercial web. The things that have sprung up in the last decade, but gained considerable speed in the past five years.

It’s the business structures and funding models we use to create digital businesses. It’s the pressure to scale, simply because it’s easy to copy bits. It’s the relationships between the people who make the stuff, and the people who use that stuff, and the consistent abandonment of users by entrepreneurs.

It’s the churning and the burning, flipping companies, nickel and diming users with in-app purchases, data lock-in, and designing with dark patterns so that users accidentally do actions against their own self-interest.

Listen: I’m at the end of a 4-month sabbatical, and I worry about this stuff, because the further I get from everything, the more it begins to look toxic. These pernicious elements are the primary map we have of the web right now.

We used to have a map of a frontier that could be anything. The web isn’t young anymore, though. It’s settled. It’s been prospected and picked through. Increasingly, it feels like we decided to pave the wilderness, turn it into a suburb, and build a mall. And I hate this map of the web, because it only describes a fraction of what it is and what’s possible. We’ve taken an opportunity for connection and distorted it to commodify attention. That’s one of the sleaziest things you can do.

So what is the answer? I found this quote by Ted Nelson, the man who invented hypertext. He’s one of the original rebel technologists, so he has a lot of things to say about our current situation. Nelson:

<blockquote>The world is not yet finished, but everyone is behaving as if everything was known. This is not true. In fact, the computer world as we know it is based upon one tradition that has been waddling along for the last fifty years, growing in size and ungainliness, and is essentially defining the way we do everything. My view is that today’s computer world is based on techie misunderstandings of human thought and human life. And the imposition of inappropriate structures throughout the computer is the imposition of inappropriate structures on the things we want to do in the human world.</blockquote>

…

We can produce a vision of the web that isn’t based on:

consolidation
privatization
power
hierarchies
surveillance

We can make a new map. Or maybe reclaim a map we misplaced a long time ago. One built on:

extensibility
openness
communication
community
wildness

We can use the efficiency and power of interfaces to help people do what they already wish more quickly or enjoyably, and we can build up business structures so that it’s okay for people to put down technology and get on with their life once their job is done. We can rearrange how we think about the tools we build, so that someone putting down your tool doesn’t disprove its utility, but validates its usefulness.

…

Let me leave you with this: the point of my writing was to ask what screens want. I think that’s a great question, but it is a secondary concern. What screens want needs to match up with what we want.

People believe there’s an essence to the computer, that there’s something true and real and a correct way to do things. But—there is no right way. We get to choose how to aim the technology we build. At least for now, because increasingly, technology feels like something that happens to you instead of something you use. We need to figure out how to stop that, for all of our sakes, before we’re locked in, on rails, and headed toward who knows what.

One of the reasons that I’m so fascinated by screens is because their story is our story. First there was darkness, and then there was light. And then we figured out how to make that light dance. Both stories are about transformations, about change. Screens have flux, and so do we."]]></description>
<dc:subject>frankchimero 2013 screens flux build2013 plasticity jamesburke plastic skeoumorphs containers materials change transitions perception flatdesign windowsphonemetro ios7 software replacement shape affordances grain design paper print movement motion animation customization responsivewebdesign responsiveness variability mutability mutations ux interactiondesign interfaces language ethanmarcotte maps mapping representation cartography embodiedmeaning respresentation tednelson computersareforpeople softwareisforpeople unfinished responsivedesign windowsphone eadweardmuybridge</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:553ebe1625c2/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:unfinished"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:responsivedesign"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:windowsphone"/>
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</item>
<item rdf:about="http://www.postera.com/marybuttondurell">
    <title>Mary Button Durell</title>
    <dc:date>2013-05-30T05:32:45+00:00</dc:date>
    <link>http://www.postera.com/marybuttondurell</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["This body of work uses only tracing paper and wheat paste as material.  At first glance these pieces appear to be built onto a rigid wire frame, however, the process is much more organic and the structure is created from my own hand building.  Individual cells or cones that comprise most of the pieces are first formed over molds of various shapes and sizes and then joined together using wheat paste cell by cell.  Additional layers of paper and paste are then added for strength and reinforcement which creates the net-like structure around the individual cells.
 
The translucent quality of the tracing paper allows light to play a significant and dynamic role in the work.  In combination with the physical structure of the work, this translucent quality creates an interior, as well as exterior, perspective.
In certain light, however, the translucency of the paper appears to have the visual characteristics of more solid materials, such as oyster shell or marble.
 
Due partially to the inherent physical aspects of these materials, this body of work has evolved, both in process and form, along decidedly organic lines.  These shapes have often been described  as biomorphic abstractions or shapes resembling cellular membranes, ethereal bodies and the skeletal structures of underwater organisms."]]></description>
<dc:subject>tracingpaper paper marybuttondurell art artists sanfrancisco materials</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:6331a1c97394/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:marybuttondurell"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:art"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:artists"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:sanfrancisco"/>
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</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://itunes.apple.com/us/book/paperless/id520393162">
    <title>iTunes - Books - Paperless by David Sparks</title>
    <dc:date>2012-11-25T13:41:45+00:00</dc:date>
    <link>https://itunes.apple.com/us/book/paperless/id520393162</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Paperless takes the mystery (and fear) out of going paperless with your Apple technology. The book includes 32 screencasts, 4 movies, over 26,000 words, and other rich-media assets to turn you into a paperless ninja. The material is accessible to beginners and power users alike with a thorough explanation of all the hardware, software, and workflows necessary to finally conquer paper."

[See also: http://macsparky.com/paperless/ ]]]></description>
<dc:subject>books reading workflow davidsparks applications ios ipad ebooks digital paperless paper</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:7d2b902ea8d5/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:books"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:reading"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:workflow"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:davidsparks"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:applications"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:ios"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:ipad"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:ebooks"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:digital"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:paperless"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:paper"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://observatory.designobserver.com/feature/card-tricks/36098/">
    <title>The digital doesn't annihilate the analog, and the business card creativity proves it. : Observatory: Design Observer</title>
    <dc:date>2012-09-19T23:48:14+00:00</dc:date>
    <link>http://observatory.designobserver.com/feature/card-tricks/36098/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The digital does not annihilate the analog. It glorifies it. Paper books and vinyl records were once quotidian; today they are objects to defend, romanticize, venerate. 

Or consider this example: the humble business card. As a genre of object, it is “doomed,” one technology observer asserted not long ago, asking, “Who needs business cards when you have Google?” The function of the business card, in other words, has been replaced by a more efficient alternative: “We don't need to be made legible to each other because we have already written ourselves onto the Internet.”

I wish I believed this. I’ve recently run out of cards and have seriously considered whether I can get away with not ordering a new set. But take a look around, and it’s not hard to find evidence of a business-card-centered creative renaissiance. In fact, start with the very object offered up as a metaphor for the business card’s pending demise: A marketing agency specializing in “viral” campaigns has one that…"]]></description>
<dc:subject>gifts sharing projectideas glvo edg srg creativity printing imprint 2012 paper businesscards digital analog robwalker</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:c3da5b5c5c4f/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:glvo"/>
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</item>
<item rdf:about="http://www.readwriteweb.com/archives/evernote-moleskine-merge-paper-pixels-in-smart-notebook.php">
    <title>Evernote &amp; Moleskine Merge Paper &amp; Pixels in &quot;Smart Notebook&quot;</title>
    <dc:date>2012-08-24T18:48:57+00:00</dc:date>
    <link>http://www.readwriteweb.com/archives/evernote-moleskine-merge-paper-pixels-in-smart-notebook.php</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Evernote signed a treaty with Moleskine Friday at the Evernote Trunk Conference, formally declaring a truce in its war on paper. It announced the Evernote Smart Notebook from Moleskine, along with a new version of Evernote for iOS that will bridge the gap that's familiar to anyone with an urgent need to capture ideas.

Despite Evernote’s efforts to move people to go paperless, Moleskine’s fancy journals are still a booming business. But according to the presentation at the Evernote Trunk Conference, 60% of Moleskine owners also use digital notes. While Evernote has long had optical character recognition built in, so stored photos of printed text are searchable on your computers, there’s still a big divide between our hand-written and digital outboard brains.

Today’s update to Evernote for iOS adds a new mode called Page Camera, which is optimized for bringing handwritten pages into Evernote. It fixes the contrast and shadows, so the handwriting is more visibile…"

[More from Evernote: http://blog.evernote.com/2012/08/24/the-new-evernote-smart-notebook-by-moleskine/ ]]]></description>
<dc:subject>2012 handwriting notebooks smartnotebooks ocr scanning papernet paper notetaking moleskine evernote johnmitchell</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:fdbf8383088d/</dc:identifier>
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</item>
<item rdf:about="http://www.designboom.com/weblog/cat/8/view/23037/paper-layers-form-the-black-paper-37-chair-by-vadim-kibardin.html">
    <title>paper layers form the black paper 37 chair by vadim kibardin</title>
    <dc:date>2012-08-21T05:31:02+00:00</dc:date>
    <link>http://www.designboom.com/weblog/cat/8/view/23037/paper-layers-form-the-black-paper-37-chair-by-vadim-kibardin.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["russian designer vadim kibardin has conceived 'black paper 37', an armchair made of 37 paper layers and cardboard. the functional surface is formed by arranging sheets one by one to achieve the required height of the chair. 

the piece is a result of experiments with various materials, but also an exploration of the 'chaos and sequence' theory, documented in his research paper here. the outcome is an attempt to understand the beauty in disorder, to then reach and articulate the limbo state of balance between this disarray and its antithesis.

kibardin says of his design:

'simple paper not only possesses high constructional characteristics but can also dazzle through the beauty of its contours. a distinctive texture of the chairs’ overlay encourages a dialog with a user, where a distinctly personalized form of the chair can be created by rumpling and chopping paper layers.'"

[Chaos research: http://www.kibardindesign.com/en/special-projects/research/chaos.aspx ]]]></description>
<dc:subject>disorder beauty vadimkibardin chaos 2012 paper cardboard design furntiure via:carwaiseto</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:d3ec4cfde281/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:chaos"/>
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</item>
<item rdf:about="http://brendandawes.com/projects/happinessmachine">
    <title>Brendan Dawes - The Happiness Machine</title>
    <dc:date>2012-08-17T07:03:41+00:00</dc:date>
    <link>http://brendandawes.com/projects/happinessmachine</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The Happiness Machine is an Internet connected printer that prints random happy thoughts by random people from across the web; press the big black button and the Happiness Machine prints a thought from someone who mentioned the word happy.

Though The Happiness Machine uses content from We Feel Fine, the printer is completely agnostic to the data it prints; the logic is all done on the server so I can easily change what type of data comes back. It could easily be train times, news headlines or your day's appointments – the printer doesn't care – it's dumb. It just prints what comes back.

I still believe paper has advantages from time to time as a content delivery mechanism over all the screens that now pervade our lives; you can tear it off, put it in your wallet/purse, scribble on it or give it someone else without worrying whether it works with their OS. And it doesn't need a power source for display."]]></description>
<dc:subject>wefeelfine happinessmachine printing printers 2012 happiness brendandawes papernet paper</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:b2252da0bdf0/</dc:identifier>
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<item rdf:about="http://www.theverge.com/2012/8/14/3238974/little-printer-berg-matt-webb">
    <title>Paper lives: Little Printer and the rebirth of the hard copy | The Verge</title>
    <dc:date>2012-08-15T20:24:17+00:00</dc:date>
    <link>http://www.theverge.com/2012/8/14/3238974/little-printer-berg-matt-webb</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>berg littleprinter designphilosophy print berglondon paper paperbet 2012 via:mayonissen</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:14f9e5d7c042/</dc:identifier>
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<item rdf:about="http://www.kevinlaurence.net/essays/cc.php">
    <title>The Exciting History of Carbon Paper</title>
    <dc:date>2012-08-11T04:08:59+00:00</dc:date>
    <link>http://www.kevinlaurence.net/essays/cc.php</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[<blockquote>For the first time a good copy could be produced at the same time as a good original.</blockquote>]]></description>
<dc:subject>paper history culture writing via:litherland carbonpaper carboncopies copied copying</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:0745809c707f/</dc:identifier>
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<item rdf:about="http://www.userfocus.co.uk/articles/paperprototyping.html">
    <title>7 myths about paper prototyping</title>
    <dc:date>2012-07-19T01:52:29+00:00</dc:date>
    <link>http://www.userfocus.co.uk/articles/paperprototyping.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[Myth 1: “I can't draw well enough to create a paper prototype.”

Myth 2: “Wireframes are the same as paper prototypes.”

Myth 3: “I can do it just as well with Visio.”

Myth 4: “Whiteboarding is just as effective.”

Myth 5: “Users behave differently with a paper prototype than with a real system.”

Myth 6: “It looks unprofessional.”

Myth 7: “I can't prototype interactivity.”

[via: http://paige.saez.usesthis.com/ ]]]></description>
<dc:subject>paper paperprototyping ui wireframes design webdesign ux usability prototyping webdev</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:0b7c8ede4226/</dc:identifier>
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