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    <title>Making Special ≠ Making Scarce - by Dougald Hine</title>
    <dc:date>2026-06-06T05:00:25+00:00</dc:date>
    <link>https://dougald.substack.com/p/making-special-making-scarce</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Thinking with Ellen Dissanayake about art and being human"

...

"Ten days ago, I sent off the manuscript of the new book to my publisher. As the season of writing and revising came to an end, Anna and I moved into hosting our first online series in over a year. Over five weeks, we have 180 participants from multiple continents, the youngest in their teens and the oldest in their nineties, gathering in larger and smaller groups around the theme of “practice”. In their company I get to chew some more on questions I’ve been writing about.

One thread that links the book and the series is Ellen Dissanayake’s work on art as behaviour. Dissanayake has dedicated a lifetime to studying the arts through an evolutionary lens as a distinctive behaviour of the human animal. It’s one of those cases where someone makes no attempt to build an academic career, but simply follows a hunch over decades, creating a body of work that runs at a strange angle to any established discipline. And although I’m not generally drawn to evolutionary explanations of human behaviour, there’s something about her work that I find compelling in multiple ways.

First, the sheer volume of material she draws together should demolish the persistent idea of art as a crowning achievement of human civilisation, a sophisticated layer of activity at the top of a Maslovian pyramid, a luxury to which we dedicate ourselves once the more fundamental layers of human needs have been taken care of. Rather, the activities we recognise as art are ubiquitous, woven into every example we have of humans being human together.

From the Darwinian perspective with which Dissanayake is working, the distinctive and seemingly universal character of this behaviour suggests that it is an evolutionary adaptation: a behaviour which has made a difference to the chances of creatures like us staying alive, reaching adulthood and having children who also live to adulthood.1 Again, this offers a counter to the idea of the arts as a luxury: if Dissanayake is on the right track, then the behaviour of art literally makes a life and death difference to creatures of our kind.

So what is the essence of this behaviour? After considering various ways of describing it, Dissanayake landed on the expression “making special”. The thing that marks out humans is that we “intentionally shape, embellish, and otherwise fashion aspects of [our] world to make these more than ordinary”. We take a colour, a pattern, a sound, a gesture, a word and lift it out of its everyday context, the setting in which we find or come up with it, and use it in other ways.

Here, I can’t help going beyond what Dissanayake says, because I’m tempted to say that we make worlds together through this behaviour, layered worlds that are woven with meaning. And, further, that the adaptiveness of this (in evolutionary terms) is suggestive of truth: this layered, patterned, meaning-riddled way of inhabiting the world and making it habitable is a better fit for the reality in which we find ourselves than if we attempt to inhabit it as flat and meaningless. And I take it as the mark of modernity that, in contrast to just about every other way of being human together we know about, there has been an attempt to inhabit the reality in which we find ourselves as though it were flat and meaningless.

But that opens a sizeable can of worms, some of which go wriggling through the pages of the book I’ve just written, and others I’m saving for the next book.

For today, I wanted to share a couple of notes on this matter of “making special”. Because the conversations Anna and I are having with participants have brought into view a couple of misleading ideas about “specialness” that haunt the ways of being human that have been taken for granted around here lately.

One version of this is “making special” as “making perfect”. Anna speaks about the debilitating effect of the pressure to make things “Instagram-perfect” – and the quietly radical practice of inviting people into a messy house! If we’re stuck with an idea that for things to be special, or simply good enough, we have to make our lives and our homes look like a photo shoot, then our ability to be human together grinds to a halt. The specialness worth having isn’t captured through a camera lens, it arises out of shared experience – but much of the aesthetics of advertising that developed through the twentieth century was an attempt to evoke this sense of specialness visually, on the page or the screen, until these synthetic substitutes colonised our imagination, leaving us neurotic about our messy human reality.

The other version I’ve been thinking about is “making special” as “making scarce”. Again and again, from different angles, I find myself returning to the production of scarcity as the paradoxical tendency of modern industrial societies. There’s more on this, too, in the new book – but for now, I want to point towards the opposite possibility: that we have the conditions for an abundance of “specialness”, precisely because of the thing Dissanayake is getting at when she identifies “making special” as the distinctive behaviour of the human animal.

In the past two days, I’ve heard participants talk about their experiences telling stories to classes of young children, singing to the dying, learning to care for patients in general practice and working with mothers around the birth of their children. In each case, there was a clear sense of showing up in a way that recognises and contributes to the specialness of what is taking place, here and now, in a given situation, and also a recognition that many of these situations are more or less universal. Another participant spoke about a culture of traditional music in Scotland and the creation of higher-education courses training technically brilliant musicians, but where the professionalisation of an artistic practice detaches it from the embedded, relational field that is the source of what matters most in this culture. This latter example gives a glimpse of how scarcity is produced and how attention is drawn away from the everyday specialness – the extraordinary ordinary, as my old friend Anthony McCann would say – and into a coupling of specialness with exceptional, scarce gifts.

These are themes that have been on my mind a lot and I’ll look forward to exploring further in public conversations, down the line, but I wanted to share these notes in the meanwhile. If we’ve lost the knack of “making special”, or lost confidence in this as a capacity that all of us have, then there are reasons for that, historical patterns that make sense of how we ended up here. But to the extent that Dissanayake is right to locate this capacity on an evolutionary level, that suggests that it is still there, still part of the kinds of creatures we are, and the seeming scarcity is artificially produced.

To be continued…"]]></description>
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    <title>The Typo Vibe Shift - The Atlantic</title>
    <dc:date>2026-05-27T08:14:04+00:00</dc:date>
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    <dc:creator>robertogreco</dc:creator><description><![CDATA["To some, they’re no longer a sign of laziness but proof of human touch."

[archived:
https://archive.is/GSP0W ]

"Toward the beginning of the 2002 film Secretary, a domineering lawyer (played by James Spader) barges into the office of his assistant (Maggie Gyllenhaal) with evidence of a work infraction: a memo she has written that has “three typing errors.” Spader’s character spits out a reprimand. “Do you know what this makes me look like to the people who receive these letters?”

Setting aside that his screed turns out to be foreplay, Spader’s character was channeling a widespread cultural revulsion: Typos were the ultimate shorthand for careless work. A spelling mistake was proof that the writer hadn’t bothered putting much effort into a piece of correspondence, that their instructions or advice shouldn’t be taken seriously—and perhaps that the recipient shouldn’t invest time in reading their note at all.

More than two decades later, as AI-generated writing has flooded workplaces, social media, and dating apps, old hallmarks of sloppiness—typos chief among them—are getting a new gloss.

Some job applicants are intentionally adding typos to their cover letters to prove that they, and not an AI program, wrote them. Celebrities and CEOs are sending out error-ridden emails and Instagram Stories, and instead of getting a scolding, they are praised for sounding authentic. On some dating apps, where people are, somewhat absurdly, prompted to compose their profiles with AI, typos are apparently no longer an automatic repellant. Nicole Ellison, a University of Michigan professor whose 2006 study showed that dating profiles with spelling mistakes turn people off, now thinks people are warming to the Tinder typo. “A typo maybe signals that you actually do care,” Ellison told Time recently, “because you took the time to write it yourself.” A 2024 study even found that people view customer-service chatbots more warmly when they make and correct errors: A spelling mistake, it seems, is a kind of anthropomorphizing event.

A peculiar reconfiguration of what people consider careless writing is taking place. Although typos and other mistakes don’t suddenly mean that a piece of writing is good or praiseworthy, to some people, they are at least signs that it is worth reading. On a base level, many of us are willing to invest time in reading a long email if we sense that someone actually wrote it, line by line.

***

In England’s early-modern period, starting around the 1500s, readers understood typos to be inevitable technological blunders. Books were produced collaboratively; writers sent off handwritten manuscripts to printers, who transposed them onto a printing press before setting them to paper. In the process, errors were often introduced.

Authors and editors cataloged these mistakes in “errata lists,” paratextual documents that they slipped into the books after publication—a last-ditch attempt to control the reception of their work. In these documents, they might lambaste their printers to explain the circumstance of mistakes, Alice Leonard, a professor at Coventry University who wrote about typos in Error in Shakespeare, told me. Authors would say, “I wasn’t able to be in the printing house at the time of printing,” Leonard said, or even blame the printer and claim that “the printer was drunk, or the printer was absent, or the printer is useless.” Instead of diminishing the book’s validity, errata lists lent an air of credibility; at least, the thinking went, someone had taken the time to point out what was wrong.

Some writers reveled in printing missteps. James Joyce, whose Ulysses contained more than 200 spelling or grammatical errors in an early edition, called his typos artful experiments in language, “beauties of my style hitherto undreamt of.” By that time, though, he was likely already out of step with his peers: The widespread dissemination of typewriters seemed to recast the typo as a hallmark of individual laziness. With typewriters—and, later, personal computers—printed mistakes became a product of the writer’s failure to read their work closely.

Today, of course, anybody can deliver supposedly clean writing by simply funneling their text through AI, which will churn out a version rife with strangely recurring words (delve), opening interjections (Here’s the thing:), and eerie grammar that’s almost too precise for a typical written exchange. The technological development is prompting people to embrace the old understanding of typos, forgiving misspellings as inevitable errors rather than treating them with scorn.

Even for celebrities, the occasional typo in a public statement is sometimes taken as proof that they are speaking from the heart. This spring, the singer Zara Larsson, who made an offhand remark in an interview that angered Taylor Swift fans, posted a defense in an Instagram Story that included at least two typos (among them a misspelling of physical as psychical). Her statement, free of any trace of a publicist or ChatGPT, came across as sincere. “I like this post because it’s littered with typos,” a host of the celebrity-commentary podcast Who Weekly noted at the time. “You can tell she wrote this herself.”

And no one seems to be accusing Donald Trump of writing his error-ridden Truth Social statements with AI. His press office has suggested that spelling mistakes are evidence of his excellence: A spokesperson for the White House recently told The Wall Street Journal, in response to a question about his frequent typos, “President Trump is the greatest and most authentic communicator in the history of American politics.”

Gone, apparently, are the days when the country’s most powerful leaders are expected to deliver flawless written communications. In an email released with the Epstein files, Peter Thiel called Davos, the Swiss town that hosts the World Economic Forum, “Davis,” according to the Journal. In a text that was made public in a Securities and Exchange Commission filing, Paramount Skydance CEO David Ellison referred to David Zaslav, the CEO of the company he was in the process of acquiring, as “Daivd.” And Jack Dorsey, the CEO of the payment app Block, sent an all-staff email about layoffs without capital letters. Business Insider recently went as far as to proclaim that typos are “the new status symbol” for corporate executives.

These executives may not all be thinking about authenticity; a stray typo could be an innocent flub, or it could simply underscore how little they care. But these moments of textual slippage are oddly refreshing amid the general AI overload. More than half of English-language LinkedIn posts are likely written with AI, according to a study by an AI-detection start-up, and so are many of those “feel good” posts that dominate Instagram and Facebook. A Brookings Institution survey last year of more than 1,000 adults found that 35 percent of respondents with a bachelor’s degree used AI to write or edit documents at work. Peter Cardon, a professor of business communication at the University of Southern California who researches AI in the workplace, has been surveying more than 420 randomly selected “knowledge workers” every six months since 2023. More than half of them, he told me, use AI “at least weekly” to write communications such as emails.

That these AI-generated emails invariably arrive with tidy spelling and grammar does not mean they are warmly received. Office workers have told Cardon that, on a pure prose level, AI-generated emails or project statements are easier to read than the average person’s writing style. Yet, according to Cardon, people are ultimately less likely to act on AI-generated emails. A 2024 Journal of Communication study found that people may engage less with narratives that they think are written with AI—a result that squares with Cardon’s own research about workplace interactions. If an employee suspects that their manager, for instance, is using AI, “they’re less likely to think that person is sincere; they’re less likely to think that person is caring,” Cardon said. “They’re even less likely to think that person is competent.” We know what our colleagues sound like, and we can tell when they send out, say, a thank-you note that they didn’t actually write. So what’s the point of clear prose if you don’t feel any more encouraged by the end of it?

This is not to say that everyone has let go of their rancor for typos. They may still be, to many, a paradigmatic writing sin. But for others, the typo resurgence could be clearing the way for the resuscitation of other, old-school symbols of sloppy writing. Perhaps people won’t turn up their nose as quickly at sentences with extraneous prepositions, verbs that disagree with their subjects, or adjectives where they don’t belong. Maybe overwrought prose or sentences loaded with adverbs will one day draw a little less derision.

Across history, hawkers of new communications technologies have expressed a desire to smooth out and speed up human conversation. But their products have a way of estranging their authors from the final output: Printing presses inserted errors that authors themselves didn’t make, and now AI systems create communiqués that sound nothing like the person sending them.

What many people are starting to look for in written communications, whether they’re from a co-worker or a pop star, is voice. They want to hear the distinct cadences of a CEO, an influencer, or a celebrity, so they can believe that they are reading something genuine. Centuries ago, authors wrote errata lists for the same reason job applicants intentionally place typos in their cover letters today—to resist the universalizing force of new technology, and to prove that there is a real human behind their work."]]></description>
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    <title>The Enemy of the Good | The Point Magazine</title>
    <dc:date>2026-02-22T01:22:06+00:00</dc:date>
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    <dc:creator>robertogreco</dc:creator><description><![CDATA["Unlike many critics of effective altruism or polyamory or racking up credit-card points, I really do allow that their proponents have the better of the arguments they take part in. The problem is not with the premise-by-premise arguments, it is with the mindset. What you lose in optimizing morality is the same thing you lose in maximizing your airline-mile spend. In other words, nothing quantifiable—but precisely the chance to escape quantification, to orient toward something that cannot be counted, predicted, analyzed. Such things exist, even if they can’t always be captured in words and numbers. If alternative mindsets were easier to imaginatively inhabit, perhaps we could harness FOMO to greater ends—fear of missing healthier mindset. “The essence of being human is that one does not seek perfection.”"]]></description>
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<item rdf:about="https://walkingtheworld.substack.com/p/modern-life-is-good-actually">
    <title>Modern life is good actually</title>
    <dc:date>2026-01-10T20:22:03+00:00</dc:date>
    <link>https://walkingtheworld.substack.com/p/modern-life-is-good-actually</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Perfection is impossible to achieve, but we might as well keep aiming for it."

...

"It is easy to read this newsletter and think I don’t like modern life, because I focus most of my walks on the disenfranchised (regions and people), but despite our problems, life is as good as it has ever been. Especially if you play the game of “imagine you’re randomly born anywhere in the world.” At almost every point in the past that would mean an above-average chance you would be birthed into poverty, hardship, pain, want, and violence, and your adult life (assuming you made it to that) would be a struggle to stay alive and satiated.

That includes the past of my childhood, in the 60s and 70s, which while it didn’t come with endemic poverty or want (certainly not for me, although there were pockets of deep want, shotgun shacks without running water, and children who went to school in the same outfit every day because that is all they had), it was much poorer, and certainly less enchanting.

My childhood wasn’t normal (we traveled constantly) but when I was home, in our small Florida town1, it was punctuated with long periods of immense boredom. The only books available were those sanctioned by the few libraries, all far from home, and only movies those that came to our theater (seven miles away), a new one once every two weeks.

We filled in that time by playing, including war, if we found enough neighborhood kids, first with imaginary guns, and then when that got to be too frustrating (I shot you, no you didn’t, yes I did) we moved up to BB guns, then pellets, to settle once and for all the who-shot-who disputes. Injury, like maybe losing an eye, was shrugged off as a risk, one that could be mostly eliminated by wearing heavy clothes and perhaps swim goggles, but those cut down your vision, so everyone agreed to not aim for the head, something we mostly accomplished.

That sounds romantic I know, especially to writers, who imagine they would play less war and read more, and while I did a lot of that because my parents had a great library, most people didn’t, and couldn’t. Instead they filled it in with drugs, fights, absurd made-up dramas, mostly about who liked who, and watching whatever slop the three channels provided, regardless of quality.

Organic childhood play, of zooming around town on bikes, crashing into trees, has its moments, but besides the dangers, like the seven year old neighbor who set himself on fire and only survived after six months in the hospital2, it’s not something I would want to force on a kid as the singular option. We had no other options, and options are good.

And I was near the apogee of wealth as an American, a privilege I saw when traveling. A majority of the world lived in grinding poverty, and even those that didn’t, faced periodic and protracted hardships.

South Korea, which is now a wealthy country, when I visited it in the seventies, was dirt poor. As in kids pooping on the streets poor, and meat only a few meals a month poor, which if you know Korean cuisine, is rather different.

Again, one of the most underappreciated things about the recent past was how common boredom was. When I was twelve we went to visit my brother who was living in rural Philippines, working with the local rice farmers. It made my life in Florida seem enchanting by comparison. Everyone was so bored that Friday night fun was getting drunk and shooting rats with shotguns, or on special occasions, walking into town to go to the cockfights where everyone was drunk and at least ten fistfights would break out, and then a week later someone’s wound would go septic and they had to be driven, with great fanfare, into the local hospital where it would be touch and go.

Again, there was something romantic about that I guess, especially for writers, but give me Netflix and an annoying bespoke IPA instead, especially if that is all there is.

Adulation of the past is a misunderstanding of the past, either because of childhood nostalgia, or out of ignorance. Almost every age looks back and says, “it was better than”, and while that can be true, especially around tragedies like wars, in the long run it keeps getting better.

For instance, this is from Barbara Tuchman’s “The Proud Tower3” about the pre WW1 world, and as she writes, the idea that the pre war world was a golden age, was something they believe later in life, not at the time of that golden age.

[screenshot (highlighted portion between **:

<blockquote>"It is not the book I intended to write when I began. Preconceptions dropped off one by one as I investigated. The period was not a Golden Age or Belle Epoque except to a thin crust of the privileged class. It was not a time exclusively of confidence, innocence, comfort, stability, security and peace. All these qualities were certainly present. People were more confident of values and standards, more innocent in the sense of retaining more hope of mankind, than they are today, although they were not more peaceful nor, except for the upper few, more comfortable. Our misconception lies in assuming that doubt and fear, ferment, protest, violence and hate were not equally present. **We have been misled by the people of the time themselves who, in looking back across the gulf of the War, see that earlier half of their lives misted over by a lovely sunset haze of peace and security. It did not seem so golden when they were in the midst of it. Their memories and their nostalgia have conditioned our view of the pre-war era but I can offer the reader a rule based on adequate research: all statements of how lovely it was in that era made by persons contemporary with it will be found to have been made after 1914.**"
</blockquote>]

I especially struggle taking seriously the “modernity sucks” people who lay the blame on technology and seem to idolize the pre-industrial past. Modern technology is wonderful, and our current problems are not because of the machines, but in how we use them.

I was reminded of this with my recent health issue—when a blood test showed I had a risk of prostate cancer, and within two months I was able to walk into a clinic, have a biopsy, and then walk out two hours later, and within a week find out the growths were non-cancerous, and even had they been, my chances of survival were very high.

Modern medicine alone should be reason enough to understand how fortunate we are to be living now, surrounded by technology. At almost any other period of time, having made it to sixty in good health would be a great accomplishment, rather than the normal, and I would be nearing the end of my life, rather than having a decent chance of being here two or more decades4.

That is a lesson I learned early, from my grandmother, who grew up on a Michigan milk farm, loved going into the grocery store and getting Velveeta cheese5, loved her modern conveniences, and would laugh at the “back to nature” hippies as having no idea how hard life was then. Especially as she had lost her husband at the age of thirty-eight, who dropped dead from a blood clot that had gone to his brain, something modern medicine almost certainly would have caught before it killed him.

The problem with modern technology isn’t that it exists, but in how we use it, especially in highly individualistic societies such as the US, which is to go off on our own, into even more solitary lives, removed from community. It is an accelerator of an already existing problem. You can see that in Asian societies with a long-standing cultural emphasis on the communal, such as Vietnam, China, and Indonesia, where a thriving social life still exists, despite the phones.

Technology has enriched our lives in so many ways—extending them, lessening pain and suffering, and providing endless diversions—that having to argue that it is in fact a net good seems like an argument that shouldn’t have to be made, yet a “simpler, more rustic, less technologically advanced” lifestyle is one of those images that always has strong appeal, because we romanticize the simple, while forgetting that the simple has never been easy. The romantic appeal of pre-modern life might be about staying busy through constant toil, but actually growing your own food without machines, washing clothes without machines, and keeping your children alive without machines is not easy. Those are immensely hard, painful, and come with a lot of despair.

It’s interesting that the people most bothered by technology in the West, and most drawn to a prior lifestyle, are the highly individualistic and idiosyncratic intellectuals—not the “normies,” who when given the chance to choose overwhelmingly want the lifestyle anti-modern elites believe is so destructive.

Poor people especially understand something that anti-modernist romantics don’t, which is that every choice involves tradeoffs, and the tradeoff between our current problems and past problems isn’t close.

Show a Cambodian peasant, or a farmer in rural Indonesia, the neon lights and indoor plumbing of Phnom Penh or Jakarta, and they will drop their hoe in a second, happily throw away their low-tech supposedly idyllic life, cram onto a bus and move to be simply near them, even if that means living in a shack on the edge of town. That so many of them are drawn to the spectacle, like moths to a flame, is why these cities in the third world are swelling to the world’s largest, engorged with people seeking more glamorous lives.

The outskirts of Ulaanbaatar is another example of this. The Ger district, extensive and polluted slums that ring Mongolia’s capital, is where thirty percent of the country lives, having tripled in the last thirty years. Not by force, but because people have shown that they prefer being crammed together, next to hospitals, gaming centers, malls packed with Korean electronics, and the bright lights of the city, to the thousand year old long-standing tradition of being out in the sticks, with your Ger, horses, and a Prius6.

People, when allowed to choose, embrace modernity — because they see it as liberation from the hard, bland, boring life of poverty.

The counterargument is that they have not been allowed to choose, because of globalization, and the forces of a capitalism that’s made their past lifestyle impossible. There is truth to that. Policy crafted to maximize production without regard to communal consequences has not surprisingly resulted in more stuff but also devalued the communal7. This isn't the only reason for the rural exodus, and not, I think, the primary one, but it's certainly a large part of the story.

Economic transitions, from agricultural to industrial, and then from low tech industrial to higher tech industrial, always come with a great deal of turmoil, and displacement, that should and can be better managed, but as to whether it's “worth it”, I come down on the side of yes it is. Which I understand isn’t necessarily the most popular side in the online debate.

All of these issues, of progress versus tradition, were debated in England, during the Industrial Revolution, and occupied most of the country’s politics from 1650 to 1850s, and while that period saw a great deal of displacement, confusion, and pain, it also saw an immense increase in living standards. Today, only a few eccentrics argue that things were better before the Industrial Revolution than after, although in the grand calculation of moral right, it certainly came at a significant cost in human suffering.

Debating those questions will never end, and won’t be settled, but it is all academic because you can’t stop progress, that isn’t how humans work. You can manage it so the transition is less unsettling, and that is where the focus should be, not on denying that in totality it is the correct direction.

That modern life, especially the technology, has enabled governments to expand control of its citizens is another good argument, because as China shows, it is partly true, but as a whole package technology is the enemy of authoritarianism, not its friend, because it allows everyone to be informed. That repressive regimes limit what modern inventions the citizens can have, especially blocking the internet, should be evidence enough, that they see modern life as a threat.

That’s not to say modern life doesn’t come with new problems, and that technology can’t be used for ill, but all of that pales in comparison to what people faced in the past. It’s helpful to remember that every now and then.

We cannot ever eliminate despair, because living, while filled with the good, is also hard. There is no utopia, not here on earth at least, and the fruitless quest to try and achieve it is why humans can’t stop progressing, and why they also won’t stop believing it was better before.

The imperfection of the human condition, and our humble place in the universe, can never be eliminated. Not by more and more machines, and also not by denying the additional good they do bring, but only by an acceptance of our limitations.

In that way I suppose I side more with the nostalgics than the full-on modernists, who at least grasp most of that, but then fail to recognize that even a fallen person seeks and needs material comfort.

We might never be able to achieve perfection, but we might as well keep aiming for it, and that means continuing to try and move forward, rather than back, because humans, and living, is fundamentally good. "]]></description>
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<item rdf:about="https://overthefield.substack.com/p/the-enduring-enigma-of-wood">
    <title>The Enduring Enigma of Wood - by Hadden Turner</title>
    <dc:date>2025-07-05T01:55:01+00:00</dc:date>
    <link>https://overthefield.substack.com/p/the-enduring-enigma-of-wood</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The resistance of wood against the Machine"

...

"Let us raise three cheers for wood. In an age where blandness, standardisation, and uniformity — referred to by some as perfection — reign supreme, wood sports all its knots, dimples, and variable colours with pride. Though these surely would be considered unacceptable blemishes in most other products, for some unfathomable reason — to the Machine at least — wood can rest assured that in spite of its prominent blemishes we will still look favourably upon it. And truth be told, it is partly because of these “imperfections” that we aesthetically desire this most natural of products and adorn so much of our homes with the stuff. Wood wouldn’t be wood without its “flaws”.

They are not really flaws anyway. Being a natural product cut directly and without subsequent adulteration from one of creation’s grandest masterpieces, it is to be expected that wood will bear many blemishes from nature. Natural things are subject to endless degrees of variability — sunlight, rain, wind, temperature, genetic mutations… the list goes on. Each of these phenomena leave their marks behind. And nowhere are these marks so evident and prolific than upon immobile creatures such as trees. They cannot hide nor run from all that nature throws at them; they simply stand and bear the brunt of the storm or revel in the sunshine. And as no two trees are ever subject to the exact same suite of conditions and phenomena, it is evident that no two trees will ever be identical; each is a visible expression of the climatic variability they have been exposed to over time, portrayed most notably in how their branches bend towards the prevailing sunlight or away from the prevailing wind.

All this variation is beautifully and uniquely expressed in the patterns of wood. Its blemishes are nature’s signatures: its knots are scars where branches once grew, its rings the disused channels where sap and water once flowed (and whose width records the intensity of that year’s sunlight), and its colour is from the stains of resin and tannins which may have been released to fend off an invading beetle.

We don’t seek to remove these blemishes and patterns when we make or purchase wooden products. Doing so would destroy their essence and would replace beauty with blandness — something our modern-day bureaucrats, architects, and town planners are already too eager to do — they don’t need further encouragement! No, we let these blemishes be and even desire them — the more patterned and knottier the better! Why is this? Well, apart from their obvious beauty, these patterns and blemishes remind us that this table, chair, or door, was once part of a living and magnificent creature (and oh, how we do love trees!). And for another, they remind us that we are dealing with a product of enduring quality and not with artificiality; let me sit in a wooden chair over a plastic one any day.

-----

The fact that we continue to desire wood with all its marks, variable patterns, and knots, is, though, somewhat strange when we come to think about how much we demand flawlessness and uniformity in our modern age. And most certainly, our enduring love for wood is an enigma to the Machine. The Machine has worked hard — expending great energy, power, and precision — to make flawless perfection possible. But we shouldn’t think this is an expression of altruism. The Machine (and those humans standing behind it) have their own interests in mind. Their pursuit of perfection is for efficiencies’ sake. For flawlessness, once mastered, is tremendously efficient and thus tremendously profitable.

This efficiency can be seen most clearly in industrial mass production. Once a standardised blueprint or prototype is designed, and once the machine(s) to implement these designs have been fabricated, then the machines (and their human attendants) can simply be programmed to mindlessly churn out the same flawlessly shaped, coloured, and textured products, whether that be uVPC doors, plain white ceramic crockery, or pink plastic dinosaurs. Economies of scale, cheap inputs, and mass consumerism. All made possible by the wonders of the Machine!

Conversely, having to constantly change to adapt to variable inputs (such as wood) or to create variable and/or ornate creations, costs time and money. Much easier to just create sterile, bland, but flawless productions. This is blatant industrial logic —Machine logic — and you and I have fallen for it. The Machine has conditioned us to desire efficiency and cheapness in our lives, and conditioned us to value, therefore, what is the visible expression of efficiency. Sleek and metallic; geometrically perfect and whitewashed; standardised and uniform. These are the aesthetics of efficiency. These are the aesthetics we see displayed all around us in the modern world. These are the aesthetics we are being conditioned to expect, accept, and even desire.

Our enduring love for wood is thus an enigma to the Machine. Surely after all these years of the Machine’s influence we would have chosen to reject wood and all its blemishes, and instead embraced the aesthetics of efficiency and the products of cheapness. Surely by now we should have accepted the metallic park bench instead of the wooden one; desired plastic, stackable chairs instead of wooden pews; and bought hygienic plastic toys instead of hand carved ones for our children. Surely by now we would prefer cheap and uniform plastic products of mass production than variable and expensive wooden ones. Surely?

But, frustratingly for the Machine, it gives me great joy to say that many of us thankfully still prefer wood. We delight in its blemishes and patterns, its texture and its quality, and thus resist the industrial colonisation of our aesthetic desires by the Machine and its army of plastic minions. Long may that continue. And long may we continue to support those craftsmen and women who work with this most marvellous of materials — a material whose enduring quality is a match made in heaven for their good, skilful, and beautiful craftsmanship.

Wood thus wilfully disobeys the unnatural, totalitarian, and downright bland aesthetic standards of efficiency. It wears its natural blemishes as badges of honour, and we love it for its radical resistance to the Machine. Let us then buy it more often (from the craftsmen, if you can) and delight to fill our homes with the stuff.

Three cheers for wood!"]]></description>
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    <title>Vijay Iyer’s art of listening | Amplify with Lara Downes - YouTube</title>
    <dc:date>2025-05-28T14:12:08+00:00</dc:date>
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    <dc:creator>robertogreco</dc:creator><description><![CDATA["Lara Downes | May 28, 2025

Vijay Iyer’s mind is a little bit terrifying. A MacArthur-certified “genius,” he earned degrees in mathematics and physics from Yale and Berkeley before committing to a career as a pianist and composer. His STEM background profoundly informs his music-making, from using the sequence of Fibonacci numbers to structure his work, to applying theories of embodied and situated cognition in his study of the music of the African diaspora. The New York Times has called Iyer a "social conscience, multimedia collaborator, system builder, rhapsodist, historical thinker and multicultural gateway."

But when I sat down with Vijay for this conversation at the Big Ears Festival in Knoxville, Tenn., (where we each performed during a weekend of music representing a breathtaking array of traditions and aesthetics), I wasn’t really focused on the intimidating power of his remarkable mind. Instead, I was acutely aware of the heart and soul in music — its capacity to create understanding and communication. At Big Ears, you can make your way from a traditional bluegrass set to an Indian jalatharangam performance, traversing continents, cultures and centuries as you cross the street between two venues.

So Vijay and I talked about listening. The alertness of listening in the creative states of improvising, composing and collaborating with other musicians. The importance of listening to your history and lineage, and the agility of listening to the present tense of the world around you. The ability to listen across borders of geography and language, affirming the humanity and empathy that comes with it. In the end, it was Vijay who brought up an emotion that’s the antithesis of anything cerebral. “It feels like family,” he said. “To really hear everything that's happening in the music and also hear what a person is saying and hear what they have to offer as a human being. It's really this deep love that is at the heart of it.”"]]></description>
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<item rdf:about="https://www.youtube.com/watch?v=oFFNahC1rIg">
    <title>Writer Peter Waterhouse: Being Is a Great Activity | Louisiana Channel - YouTube</title>
    <dc:date>2024-12-26T21:50:44+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=oFFNahC1rIg</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Austrian poet and writer Peter Waterhouse explores the concept of time, poetry, and the art of being. Known for his contemplative and philosophical approach, Waterhouse reflects on how the creative process often occurs in moments of stillness and presence, rather than in perpetual motion. 

Poetry, Peter Waterhouse explains, exists both on the page and within the reader: “There are two places at least… but probably everywhere: on the beach, in the water, in museums, in hospitals, in books.” The idea of poetry as limitless echoes throughout the discussion, as he reflects on its capacity to be everywhere, asking the world itself, “Are you poetry?”

Through personal anecdotes, Waterhouse also reflects on identity, memory, and his childhood experience of vast distances: “I was afraid the world was too big”, he says. Being the son of an English diplomat and an Austrian mother, the name Peter Waterhouse often caused problems: “Sometimes I felt ashamed of the name because to me it sounded wrong. Either water or house doesn't really go together.”

The conversation shifts to time, sparked by Waterhouse’s experience with William Kentridge’s installation ‘The Refusal of Time’. Grappling with the concept, he muses, “Time is sort of mixed and confused and doesn’t know what it’s doing… Maybe some people are trying to help time to stop doing this and to be.” For Waterhouse, the role of poetry, and perhaps humanity, lies in helping time extract itself from its confusion, allowing it to simply exist.

Waterhouse also offers an intriguing meditation on bees, their ceaseless labor, and their future-oriented nature: “I worry about them because they’re flying all the time. They never sit… They are directed towards the future. They know the future is promising something dangerous.” He contrasts their industriousness with the importance of stopping, observing, and living in the present: “Everything is there already. There’s not so much need to do so much.”

A profound observation lies at the heart of Waterhouse’s reflections: “Being is a great activity. To be is very active.” This notion of active stillness resonates as a counterpoint to the hurried, forward-moving demands of modern life. Peter Waterhouse also engages with the ideas of Danish poet Inger Christensen and others, emphasizing the importance of imperfection in art and life: “The present moment is part of eternity. Eternity has nothing to do with the future.”

Peter Waterhouse (b. 1956, Berlin) is an acclaimed Austrian poet, translator, and essayist. Renowned for his reflective and multi-lingual works, Waterhouse bridges literature and philosophy, often exploring themes of language, time, and existence. He studied German and English literature at the University of Vienna and later in Los Angeles, where he completed a PhD on Paul Celan. Peter Waterhouse is also the founder of the exceptional translation collective Versatorium at the Univerisity of Vienna. He has received several prestigious literary awards, including the Erich Fried Prize and the Hermann Lenz Prize.

Danish poet Morten Søndergaard interviewed Peter Waterhouse in connection with the Louisiana Literature festival in August 2024 at the Louisiana Museum of Modern Art."]]></description>
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    <title>The AI photo editing era is here - The Verge</title>
    <dc:date>2024-08-19T18:39:18+00:00</dc:date>
    <link>https://www.theverge.com/2024/8/19/24221884/google-photos-magic-editor-ai-reimagine</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["We’re all going to learn how comfortable we are in the AI photo era — and it’s going to happen real fast."

...

"The thing is, imperfection is sometimes the point. Putting in the work to write a heartfelt letter, one word after another, is what makes it meaningful. Smoothing out the edges takes something essentially human away from the final product. I think Gen Z’s gravitation toward disconnected, “dumb” digital cameras reflects a similar impulse. When everything looks too good, then it feels less personal."]]></description>
<dc:subject>allisonjohnson photography ai artificialintelligence perfection realtiy 2024 google</dc:subject>
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    <title>Ideal vs. Real: Searching for Perfection in an Imperfect Universe, by Jack Forster - YouTube</title>
    <dc:date>2024-08-07T05:06:29+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=OGZ2wiGGYXI</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Monday, June 3, 2024
Jack Forster, Global Editorial Director, The 1916 Company (New York, New York)"

[references this interview:
https://www.hodinkee.com/articles/conversation-with-de-bethunes-denis-flageolet-technical-perspective

"A Conversation With De Bethune's Denis Flageollet
The master watchmaker talks balance engineering and more."]]]></description>
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    <title>Amber Case, 2021 Mozilla Fellow | Cool Tools</title>
    <dc:date>2021-10-09T18:50:33+00:00</dc:date>
    <link>https://kk.org/cooltools/amber-case-2021-mozilla-fellow/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[“Our guest this week is Amber Case. Amber studies the interaction between humans and computers and how technology is changing everyday life. Amber was named one of Inc. Magazine’s 30 under 30, and Fast Company’s Most Influential Women in Technology. She was named the National Geographic Emerging Explorer. She won the Claude Shannon Innovation Award from Bell Labs. She was the co-founder and CEO of Geoloqi, a location-based software company. Right now she’s a 2021 Mozilla Fellow and she’s working on the future of money, alternative business models for the web, and creator compensation. She’s an advisor to Unlock Protocol and Puma Browser. You can follow her work on Medium and Twitter @caseorganic.

A light switch
The first tool is very straightforward. It is a light switch. And the reason why I like a light switch is because as a really small kid, it’s something that my parents would lift me up to reach and I could turn on and off the light. And I think as a kid, it gave me a feeling of control over the universe. Let there be light and there was light. But really, it’s interesting because the history of electricity is that you don’t have to be an electrician to use a light switch. Even if you get home late at night, it’s dark, you’re in an unfamiliar place, you can kind of tap the wall and find a few various kinds of light switches. For me, it’s kind of an example of a calm technology, something that’s there when you need it. It doesn’t draw attention to itself when you don’t need it. The complexity is hidden behind the scenes and we really respect the electricity that’s dangerous, but the user interface is straightforward so much that we don’t care. And that invisible technology I think that’s really crucial to kind of reexamine and revisit these mundane objects in our life and consider just how brilliant they are.

A foot pedal
My second cool tool is inside the car and also on sewing machines and also on trash cans. It’s the foot pedal. Foot pedal is something that we’ve forgotten about when we switched into the computer mouse, but Doug Englebart’s early mouse actually did have a foot pedal so you could scroll down the screen. The foot pedal is so cool. Because it makes use of an extra appendage of our body. You can work with it without having to see it. It’s kind of a peripheral tool. And for sewing machines, for social distance door opening, you can press something in, throw something in a trash and especially on a car. We use it all the time. We don’t even think about it. And now gamers are starting to get it back with little pedals that they’re having with their computers so that they can send responses to people funding them on any of these stream platforms. So I love the foot pedal because we all have feet and that’s still a user interface.

Unlock Protocol
We’re switching into super futuristic here. There is a small startup that I discovered called Unlock Protocol. And I met Julian who’s the founder of it back in the IndieWeb days. So I don’t know how much everybody knows about the IndieWeb, but the IndieWeb movement was something that was founded by me and Crystal Beasley and Aaron Perreki. And the idea was that unlike today, where you just post on other services and they keep your information, you would post on your own site and syndicate elsewhere. This would be this kind of going back to run a server in your closet and run your own website. So I was thinking, over time, we went very centralized and so to predict the future, sometimes you can just flip the axis. The future becomes decentralization. Right now, if you want to sponsor somebody online, you use Patreon and Patreon takes a cut. You might make your living on Patreon or eBay or OnlyFans for instance. And it’s very hard. When I was researching as a Mozilla fellow, I was looking at the one of the error codes that was not filled out on the web, which is the 402 payment required error that said, “Reserve for future use.” And I said, “Well, what is this? Why isn’t there a good protocol for the web?” We got eBay and PayPal and Venmo, the zillion different ways to pay people, but there’s a lot of intermediaries. So Unlock Protocol is a protocol that allows you to put a lock of content on your own site and have somebody unlock it with a credit card or crypto, and there’s no intermediary. So even if the company goes out of business, you can still make a living off of sites that you run without all of that extra. You just go to the Unlock Protocol website and you can click on the app. And a lot of people are using MetaMask wallet as a kind of crypto wallet for the web. So you would just authenticate with your web wallet and then you could make a lock and either embed that onto your site, and have some sort of content get unlocked based on that. Or you could have a little miniature checkout page that could basically token gate a link. So let’s say I have a Dropbox doc and I want people to pay a little bit of money for it. They could go through and pay. It’s all live and it’s been live and working since 2018. And so I’d say it’s probably the earliest version of what we’re going to see happen online in terms of kind of token gated communities and peer-to-peer payments and things like that.

Ableton software
The fourth tool is Ableton software. Ableton is a way of processing signals for audio and what it does, it’s a digital audio workstation. But it’s been around since 2001, 20 years ago, and it looks very similar to what it looked like in the past. And it’s very interesting because it was built from homemade software. And I think when we look at music, we look at a lot of software and it’s not always well built, but with audio, you have to do a good job because you’re working with something invisible, like sound is invisible. When you visualize it, it’s waves and all you’re doing with signal process is changing the shape of the wave. And that changes the sound. And then changing more shapes so that when you play multiple sounds at the same time, they don’t conflict with each other and then changing them more to give them a weird overtone or mood that you want to give them. You can record into it. You can arrange it. You can mix, you can master, you can cross fade, you can do whatever, but the reason why I like it is, when you open it up, it is horrifying looking to somebody who’s never used it. It is the most utility-oriented thing. And then what happens is there’s suddenly this aha moment after a couple months of using it. And then everything is exactly in the right shape and place. And it just feels like it matches your brain, everything you want to do. I think it’s just a completely different world that you get into when you’re working with pure aesthetics and moods and feelings. It doesn’t have to be perfect just like a picture. It doesn’t have to be perfect to convey an emotion and to express something that you can’t say declaratively, you can’t say in words. And I think for a lot of programmers who are used to being very articulate and declarative, approaching music from that kind of unknowing perspective is a mystery. And it’s interesting and exciting. And I think Ableton is a fun way to approach it.

About Calm Technology:
I’m a Mozilla fellow, so I’m researching web economics. And part of what I’m studying is a little bit of that 402 payment required error about how can we make money work better online. A little bit of the origin of micropayments and where that came from in the 60s. And then also, that kind of goes along with Interledger and Unlock and all these different new technologies and protocols that are showing up. So that’s part of the work, but I think the larger work is continuing to make strides in Calm Technology, which was a framework developed in the 90s at Xerox PARC, by John Seely Brown and Rich Gold. During my thesis on mobile phones in 2007, 2008, I stumbled upon this just very small research paper by these amazing thinkers. And it was written in a way that just seemed like it was written today. It’s just timeless human technology universals. They say, the fourth era of computing is many devices will share a single person. And then in the beginning, many people shared one device. The maturity is when a device takes the least amount of attention and only when necessary, that you can embed information. I was just reading this and saying, oh my gosh, most of these people died before they saw, the ubiquitous computing era. And then a lot of what we think of as ubiquitous computing and smart objects has been built super poorly. And now as Freud would say in his book Civilization and Its Discontents, “We are marred by a future of ill fitting prosthetics.” And how unfortunate that is because we could have these more harmonious systems around us that don’t have to assume that we need certain things —where we still have agency. We have smarter humans instead of smarter objects. I was super inspired by that. So more recently, very large companies have been showing up and saying, “We have a mono in this market, and now we’re stuck because people don’t like our stuff, what do we do?” And doing little workshops and just trying to revive an era where at Xerox PARC, you could kind of make the future and then understand what problems the future might have, and then write about how these futures could be designed better, I suppose. So that’s kind of the big work that gets applied to pretty much everything I do. And the companies that I advise and the future writing I’m going to work on. The easiest place to go is you could go to calmtech.com, which probably won’t change very much because it’s supposed to be around for 30 or 40 years and not go out of date, hopefully. And then you can go on my medium. I have about 50 articles detailing, various different applications of either web economics or Calm Tech.”]]></description>
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<item rdf:about="https://www.theguardian.com/football/2020/nov/26/maradona-the-footballer-had-no-flaws-maradona-the-man-was-a-victim">
    <title>Maradona the footballer had no flaws – Maradona the man was a victim | Jorge Valdano | Football | The Guardian</title>
    <dc:date>2020-11-28T02:01:57+00:00</dc:date>
    <link>https://www.theguardian.com/football/2020/nov/26/maradona-the-footballer-had-no-flaws-maradona-the-man-was-a-victim</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[“There is something perverse about a life that fulfils all your dreams and Diego suffered the generosity of fate like no other. The terrible journey from human to myth divided him in two”

[original Spanish:
https://www.lanacion.com.ar/deportes/adios-diego-adios-maradona-nid2520809
https://elpais.com/deportes/2020-11-25/adios-a-diego-y-adios-a-maradona.html

also here:
https://english.elpais.com/sports/2020-11-26/adios-to-diego-and-adios-to-maradona.html ]

“Those who screw up their faces sneering as they contemplate the latest incarnation of Maradona, the one who had difficulties walking, struggled to talk, embraced [the Venezuela president Nicolás] Maduro and did whatever he felt like, would be better off abandoning this farewell which embraces the genius and absolves the man. They will not find a single reproach here because the footballer had no flaws and the man was a victim. Of whom? Of me or of you, for example, who at some moment must have eulogised him pitilessly.

There is something perverse about a life that fulfils all your dreams and Diego suffered the generosity of fate like no other. The terrible, terminal journey from human to myth divided him in two: on the one side Diego; on the other Maradona. Fernando Signorini, his fitness coach, a sensitive, intelligent man who may well have known him better than anyone else, used to say: “I would follow Diego to the end of the earth; I wouldn’t follow Maradona to the corner.”

Diego was another product of the poor, humble neighbourhood in which he was born. Fame came young and with it a glorification that set in motion a series of consequences, the worst of which was the inevitable temptation to scale the heights of his legend every day. In an addictive personality, that was a fatal need.

If football is universal, so is Diego, because Maradona and football are synonymous. But at the same time, he was unequivocally Argentinian, which helps to explain the emotional power he has always had in our country, handing him impunity. Because he was a genius he stopped having limits imposed upon him from adolescence and because of where he was from, he grew up proud of his class. Such was his symbolic, sentimental power that with Maradona the poor defeated the rich and the unconditional support that came from below was proportional to the mistrust from above. The rich hate to lose. But in the end even his greatest enemies were forced to bow to him. They had no other choice.

He wasn’t much more than 15 when he began to apply for the post of God of football. He did so, moreover, in a country that embraced him, emotionally, like a messiah because in Argentina this is a game that only reaches the mind via the heart. The fascination for his art, brought from the street to the stadium, transcended fan allegiances. It did not matter what shirt he wore; he was Argentinian and that was sufficient to unleash pride in the people.

As it was his work, not his life, that made him great, let’s start there. There is an early image of Diego, a poor boy in a humble setting, controlling a ball with the concentration of a bureaucrat and the happiness of a child, mastering the toy of his life. First with his left foot, then with his head, he does not let it drop. The scene is like an amiable discussion, a gentle argument with a ball that still occasionally rebels against him, still resists but will soon join him. In the image, it is about to escape but Diego does not let it; instead he controls it, subjects it to his will, wins it over. He does not control it, he tames it. He is not much more than 10 years old, and there is a glimpse of the virtuoso already, but the ball and Diego are still getting to know each other.

The ball and its master: an idyll that grew with time, to the point that watching them together was a spectacle of its own. When he trained, to give but one example, he would send it high into the sky with a touch that only he could understand still less apply and while the ball travelled on its journey, he would do exercises below, as if he couldn’t remember that he had left it hanging up there.

When at last the ball fell to his level, he would look up, acting as if he was surprised to see it there, send it sailing back into the sky and forget about it for a while longer, until it returned to him again. He knew exactly where and when they would be reunited; his precision, his command, ensured that. His infinite repertoire left you with a complex.

We were in Berlin waiting for a game one time when Carlos Bilardo, the Argentina manager, insisted on the need to perfect our technique. As he was never a man to stop short of obsession, he kept repeating that an Argentinian player should live life with the ball permanently at his feet “morning, afternoon, evening and night”. He repeated it day after day, until one day Maradona came out of his room juggling the ball, took a lift juggling the ball, arrived in the dining room juggling the ball, sat down and, without letting it drop, began to nibble at the bread on the table. Bilardo came in, saw him and a smile stretched across his face, proud to be proven right. “See?” he said, “that’s why he’s Maradona.” Every time I told that story it made me smile; today, it comes to me wrapped in sadness.

The virtuosity he reached with the ball, so admired by us all, was taken to the game itself, his understanding such that he made a habit of perfection. He had the peripheral vision of an owl; the elegant nobility of a magician performing an illusion that tricks everyone; the power of a 4x4 to pull away, escaping; flawless passing to combine with teammates; lethal shooting, and a Napoleonic personality with which to go into the greatest battles.

Nowhere was he as happy as on the pitch, where he had a date with his true love: the ball. And yet, out there he also had the ability to dominate the stage, as if he did not feel part of the team, but unique, alone. More like a rock star sending the crowd wild than a footballer. That self-assurance he had with the ball, that abusive superiority over it, dominance, became part of his mentality, forging him until that dark day when the personality became bigger than the person. He was different, he felt different, he behaved differently.

Somewhere in that reflection, two ideas formed that, misunderstood, may offend and which must be clarified. First, when I suggested that he was more singer, more star, than footballer. It is an image that aims to exalt the soloist, there in the spotlight, never to diminish the footballer. He lived and died with a footballer’s soul. Second, his status as a soloist, an individual: he stood out from the team, shining with an incomparable light of his own, but not only did he feel part of the team, he was also generous with his teammates, committed to them. The happiness he felt on the pitch became solidarity, making him brave, talented to the point of exhibitionism and as competitive as a starving man. That is why I am convinced that just being able to tread that 100 x 70-metre carpet of grass, and do so gloriously, made life worthwhile for him.

Given that this account must talk too of Diego’s life of excess, we have to go to Naples, where in eight years lived with the intensity and incident of a century, his football took Napoli to heights they had never known before and brought glory that was new even for him, but where his life went off the rails. Pleasure and pain, light and dark, the tallest peaks and deepest wells. Health, which was football. And sickness, which infected his life. No one that I know of underwent such a long, torturous journey.

At both ends, in both incarnations, on the pitch and in life, resided a superman. On the pitch because, surrounded by normal players, he was stronger even than the referees, the power of the north, Arrigo Sacchi’s Milan, and Naples’ own history of poverty, in sport and society. It was him against the world. And he won.

If Jesus Christ rose again on the third day, which isn’t easy, Maradona rose again at least three times
At the 1986 World Cup, where he played as if in a state of grace, his genius reached its highest peak the day he defeated England. Here we find the words Homer applies to Ulysses, the same descriptions applied to the hero of the Odyssey: sagacious, cunning, astute, shrewd, artful, crafty, deceitful, tricky. Diego’s football was built on beauty, creativity, pride and bravery and, that afternoon against England, upon a deep feeling for Argentina too, as well as on his talent and awareness. Diego scored a goal that was stratospheric and another in which he cheated. And that is the best example of a phrase that gets used so often and in moments less appropriate than this: he was above good and evil.

In his life there resides a superman too because if Jesus Christ rose again on the third day, which isn’t easy, Maradona rose again at least three times, which isn’t easy either. His physical strength was comparable to his footballing genius. All of his many excesses were an attack on his sport, his craft, and yet they still did not ruin his extraordinary talent, nor prevent it from being expressed, even though he sometimes played in alarming condition. In admiration and pity, many different emotions coexist. Today even the ball, the most inclusive, shared of toys, feels alone, inconsolably weeping for the loss of its owner, its master. All of those who love football, real football, cry with it. And those of us who knew him will cry even more for that Diego who, in recent times, had almost disappeared beneath the weight of his legend and his life of excess. Goodbye, great captain.”]]></description>
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    <title>The empty promises of Marie Kondo and the craze for minimalism | Life and style | The Guardian</title>
    <dc:date>2020-01-03T16:51:53+00:00</dc:date>
    <link>https://www.theguardian.com/lifeandstyle/2020/jan/03/empty-promises-marie-kondo-craze-for-minimalism</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[“From the ‘KonMari method’ to Apple’s barely-there design philosophy, we are forever being urged to declutter and simplify our lives. But does minimalism really make us any happier? By Kyle Chayka”

…

“The most famous proponent of minimalism – or at least minimalism as a lifehack – was probably Steve Jobs. In a famous photograph from 1982, Jobs sits on the floor of his living room. He was in his late 20s at the time, and Apple was making $1bn a year. He had just bought a large house in Los Gatos, California, but he kept it totally empty. In Diana Walker’s photo, he is seen cross-legged on a single square of carpet, holding a mug, wearing a simple dark sweater and jeans – his prototypical uniform. A tall lamp by his side casts a perfect circle of light. “This was a very typical time,” Jobs later remembered. “All you needed was a cup of tea, a light and your stereo, you know, and that’s what I had.” Not for him, the usual displays of wealth or status. In the photo he looks content.

Yet the image of simplicity is deceptive. The house Jobs bought was huge for a young, single man with no use for that excess space. Wired magazine later discovered that the stereo setup resting in the corner would have cost $8,200. The lone lamp that illuminates the scene was made by Tiffany. It was a valuable antique, not a utilitarian tool.

Not only is simplicity often less simple than it looks, it can also be much less practical than it seems. People often conflate the phrase “form follows function” – the idea that the external appearance of an object or building should reflect the way that it works – with the self-conscious appearance of minimalism, as in Jobs’s house or the design of Apple’s iPhone. But Jobs’s empty living room was not particularly usable. Instead of the mantra that “form follows function”, Jobs echoes a slogan that could be glimpsed not long ago in one upscale New York shop front: “Fewer, better.” Possess the best things and only the best things, if only you can afford them. It was better to go without a couch than buy one that wasn’t perfect. That commitment to taste might be rarified, but it probably did not endear Jobs to his family, who might have preferred a place to sit.

Apple devices have gradually simplified in appearance over time under designer Jony Ive, who joined the company in 1992, which is why they are so synonymous with minimalism. By 2002, the Apple desktop computer had evolved into a thin, flat screen mounted on an arm connected to a rounded base. Then, into the 2010s, the screen flattened even more and the base vanished until all that was left were two intersecting lines, one with a right angle for the base and another, straight, for the screen. It sometimes seems, as our machines become infinitely thinner and wider, that we will eventually control them by thought alone, because touch would be too dirty, too analogue.

Does this all really constitute simplicity? Apple devices have only a few visual qualities. But it is also an illusion of efficiency. The company strives to make its phones thinner and removes ports – see headphone jacks – any chance it gets. The iPhone’s function depends on an enormous, complex, ugly superstructure of satellites and undersea cables that certainly are not designed in pristine whiteness. Minimalist design encourages us to forget everything a product relies on and imagine, in this case, that the internet consists of carefully shaped glass and steel alone.

The contrast between simple form and complex consequences brings to mind what the British writer Daisy Hildyard called “the second body” in her 2017 book of the same name. The phrase describes the alienated presence that we feel when we are aware of both our individual physical bodies and our collective causation of environmental damage and climate change. While we calmly walk down the street, watch a film or go food shopping, we are also the source of pollution drifting across the Pacific or a tsunami in Indonesia. The second body is the source of an unplaceable anxiety: the problems are undeniably our fault, even though it feels as if we cannot do anything about them because of the sheer difference in scale.

Similarly, we might be able to hold the iPhone in our hands, but we should also be aware that the network of its consequences is vast: server farms absorbing massive amounts of electricity, Chinese factories where workers die by suicide, devastated mud pit mines that produce tin. It is easy to feel like a minimalist when you can order food, summon a car or rent a room using a single brick of steel and silicon. But in reality, it is the opposite. We are taking advantage of a maximalist assemblage. Just because something looks simple does not mean it is; the aesthetics of simplicity cloak artifice, or even unsustainable excess.

This slickness is part of minimalism’s marketing pitch. According to one survey in a magazine called Minimalissimo, you can now buy minimalist coffee tables, water carafes, headphones, sneakers, wristwatches, speakers, scissors and bookends, each in the same monochromatic, severe style familiar from Instagram, and often with pricetags in the hundreds, if not thousands. What they all seem to offer is a kind of mythical just-rightness, the promise that if you just consume this one perfect thing, then you won’t need to buy anything else in the future – at least until the old thing is upgraded and some new level of possible perfection is found.”]]></description>
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<item rdf:about="http://soulellis.com/2014/03/counterpractice2/">
    <title>DE$IGN | Soulellis</title>
    <dc:date>2014-06-16T21:28:59+00:00</dc:date>
    <link>http://soulellis.com/2014/03/counterpractice2/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["I’ve been thinking a lot about value and values.

Design Humility and Counterpractice were first attempts to build a conversation around the value of design and our values as designers. They’re highly personal accounts where I try to articulate my own struggle with the dominant paradigm in design culture today, which I characterize as —

speed
the relentlessness of branding
the spirit of the sell
the focus on product
the focus on perfection

and they include some techniques of resistance that I’ve explored in my recent work, like —

thingness
longevity
slowness (patience)
chance (nature, humility, serendipity)
giving away (generosity echo)

I’ve been calling them techniques, but they’re really more like values, available to any designer or artist. Work produced with these criteria runs cross-grain to the belief that we must produce instantly, broadcast widely and perform perfectly.

Hence, counterpractice. Cross-grain to common assumptions. Questioning.

And as I consider my options (what to do next), I’m seriously contemplating going back to this counterpractice talk as a place to reboot. Could these be seen as principles — as a platform for a new kind of design studio?

I’m not sure. Counterpractice probably need further translation. An idea like ”slowness” certainly won’t resonate for many, outside of an art context. And how does a love for print-on-demand and the web fit in here? Perhaps it’s more about “variable speed” and the “balanced interface” rather than slow vs fast. Slow and fast. Modulated experience. The beauty of a printed book is that it can be scanned quickly or savored forever. These aren’t accidental qualities; they’re built into the design.

[image by John Maeda: "DE$IGN"]

I’m thinking about all of this right now as I re-launch Soulellis Studio as Counterpractice. But if there’s anything that most characterizes my reluctance to get back to client-based work, it’s DE$IGN.

John Maeda, who departed RISD in December, where I am currently teaching, recently delivered a 4-minute TED talk, where he made this statement:

“From Design to DE$IGN.”

He expands that statement with a visual wordmark that is itself designed. What does it mean? I haven’t seen the talk yet so I can only presume, out of context. These articles and Maeda’s blog post at Design and Venture begin to get at it.

Maeda’s three principles for using design in business as stated in the WSJ article are fine. But they don’t need a logo. Designing DE$IGN is a misleading gesture; it’s token branding to sell an idea (in four minutes—the fast read). So what’s the idea behind this visual equation? As a logo, it says so many things:

All caps: DE$IGN is BIG.
It’s not £ or ¥ or 元: DE$IGN is American.
Dollar sign: DE$IGN is money.
∴
DE$IGN is Big American Money.

and in the context of a four-minute TED talk…

DE$IGN is speed (four minutes!)
DE$IGN is the spirit of selling (selling an idea on a stage to a TED audience)
DE$IGN is Helvetica Neue Ultra Light and a soft gradient (Apple)
DE$IGN is a neatly resolved and sellable word-idea. It’s a branded product (and it’s perfect).

In other words, DE$IGN is Silicon Valley. DE$IGN is the perfect embodiment of start-up culture and the ultimate tech dream. Of course it is — this is Maeda’s audience, and it’s his new position. It works within the closed-off reality of $2 billion acquisitions, IPOs, 600-person design teams and Next Big Thing thinking. It’s a crass, aggressive statement that resonates perfectly for its audience.

[Image of stenciled "CAPITALISM IS THE CRI$IS"]

DE$IGN makes me uneasy. The post-OWS dollar sign is loaded with negative associations. It’s a quick trick that borrows from the speed-read language of texting (lol) to turn design into something unsustainable, inward-looking and out-of-touch. But what bothers me most is that it comes from one of our design leaders, someone I follow and respect. Am I missing something?

I can’t help but think of Milton Glaser’s 1977 I<3NY logo here.

[Milton Glaser I<3NY]

Glaser uses a similar trick, but to different effect. By inserting a heart symbol into a plain typographic treatment, he too transformed something ordinary (referencing the typewriter) into a strong visual message. Glaser’s logo says that “heart is at the center of NYC” (and it suggests that love and soul and passion are there too). Or “my love for NYC is authentic” (it comes from the heart). It gives us permission to play with all kinds of associations and visual translations: my heart is in NYC, I am NYC, NYC is the heart of America, the heart of the world, etc. .

Glaser’s mark is old-school, east coast and expansive; it symbolizes ideas and feelings that can be characterized as full and overflowing. And human (the heart). It’s personal (“I”), but all about business: his client was a bankrupt city in crisis, eager to attract tourists against all odds.

Maeda’s mark is new money, west coast and exclusive. It was created for and presented to a small club of privileged innovators who are focused on creating new ways to generate wealth ($) by selling more product.

Clever design tricks aside, here’s my question, which I seem to have been asking for a few years now. Is design humility possible today? Can we build a relevant design practice that produces meaningful, rich work — in a business context — without playing to visions of excess?

I honestly don’t know. I’m grappling with this. I’m not naive and I don’t want to paint myself into a corner. I’d like to think that there’s room to resist DE$IGN. I do this as an artist making books and as an experimental publisher (even Library of the Printed Web is a kind of resistance). But what kind of design practice comes out of this? Certainly one that’s different from the kind of business I built with Soulellis Studio."]]></description>
<dc:subject>paulsoulellis 2014 conterpractice design humility capitalism resistance branding speed slow consumerism sales salesmanship perfection wabi-sabi thingness longevity slowness patience nature chance serendipity generosity potlatch johnmaeda questioning process approach philosophy art print balance thisandthat modulation selling ted tedtalks apple siliconvalley startups culture technology technosolutionsism crisis miltonglaser 1977 love</dc:subject>
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<item rdf:about="http://sparkcamp.com/sparking-connections/">
    <title>Mastering the Art of Sparking Connections</title>
    <dc:date>2013-12-09T19:45:50+00:00</dc:date>
    <link>http://sparkcamp.com/sparking-connections/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["1. People are the key ingredients.

2. The more varied the group, the more valuable the connections and outcome.

3. To foster a spirit of improvisation, create a comfortable environment.

4. We value discussion over presentation

5. Each camp is a series of small and loosely-joined events.

6. We value intimacy over publicity.

7. Productive discussions happen more easily with thoughtful, informed facilitation.

8. End — don't start — with a trust fall.

9. The better the planning, the smoother and more spontaneous the outcome.

10. We value experimentation and evolution over perfection.

…

How Spark Camp Will Evolve"]]></description>
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<item rdf:about="http://counterpractice.tumblr.com/">
    <title>* Resistance *</title>
    <dc:date>2013-11-14T20:50:30+00:00</dc:date>
    <link>http://counterpractice.tumblr.com/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[Blogged by Paul: http://soulellis.com/2013/11/counter-practice/ ]

[More on the Weymouths project and the "generosity echo":
http://soulellis.com/2013/03/the-generosity-echo/
http://weymouths.tumblr.com/ ]]]></description>
<dc:subject>paulsoulellis design 2013 resistance marketing branding hope love promise promises ideology capitalism society culture socialmedia robhorning selling salesmanship edwardthall reassessment reevaluation lawrenceweschler robertirwin art walterlandor garyfriedman restorationhardware facebook instagram identity canon sharing validation twitter designerism entrepreneurship benpieratt quantification quantifiedself attention positioning posturing coding perfection pause pausing wandering instantaneity certainty predictability instantgratification ambiguity presence performance slow seeing noticing loneliness honesty questioning listening observing observation counterpractice thingness unproduct analog consumption tsukomogami place local engagement time memory persistence everyday slowness libraryoftheprintedweb kennethgoldsmith books print papernet johncage chance clementvalla surprise delight storytelling problemsolving responsibility openness uncertainty contentstrategy structure iceland giving givingaway vulnerabi</dc:subject>
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<item rdf:about="http://en.wikipedia.org/wiki/Free_Cinema">
    <title>Free Cinema - Wikipedia</title>
    <dc:date>2012-09-24T05:24:28+00:00</dc:date>
    <link>http://en.wikipedia.org/wiki/Free_Cinema</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Free Cinema was a documentary film movement that emerged in England in the mid-1950s. The term referred to an absence of propagandised intent or deliberate box office appeal. Co-founded by Lindsay Anderson, though he later disdained the 'movement' tag, with Karel Reisz, Tony Richardson and Lorenza Mazzetti…

The manifesto was drawn up by Lindsay Anderson and Lorenza Mazzetti at a Charing Cross cafe called The Soup Kitchen, where Mazzetti worked. It reads:

These films were not made together; nor with the idea of showing them together. But when they came together, we felt they had an attitude in common. Implicit in this attitude is a belief in freedom, in the importance of people and the significance of the everyday.

As filmmakers we believe that
      No film can be too personal.
      The image speaks. Sound amplifies and comments.
      Size is irrelevant. Perfection is not an aim.
      An attitude means a style. A style means an attitude."]]></description>
<dc:subject>tonyrichardson karelreisz directcinema cinémavérité jeanvigo free 1959 1956 1950s manifestos manifesto glvo srg edg filmmaking film style attitude perfection sound small size freedom everyday freecinema documentaries documentary thesoupkitchen lindsayanderson lorenzamazetti wabi-sabi</dc:subject>
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<item rdf:about="http://online.wsj.com/article/SB10001424052970204542404577157290201608630.html?mod=WSJ_Magazine_LEFTSecondStories">
    <title>Made Better in Japan - WSJ.com</title>
    <dc:date>2012-02-20T06:54:10+00:00</dc:date>
    <link>http://online.wsj.com/article/SB10001424052970204542404577157290201608630.html?mod=WSJ_Magazine_LEFTSecondStories</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["For decades, Japan simply imported the wares of foreign cultures, but recession has led to invention. The country has begun creating the finest American denim, French cuisine and Italian espresso in the world. Now is the time to visit."

"During the robust economy of the '80s, Japan's exports ruled, and the country would import the best that money could buy from the rest of the globe, including Italian chefs and French sommeliers. Which made Japan an haute bourgeoisie heaven where luxury manufacturers from the West expected skyrocketing sales forever.

But now 20-plus years of recession have killed that dream. Louis Vuitton sales are plummeting, and magnums of Dom Pérignon are no longer being uncorked at a furious pace. That doesn't mean the Japanese have turned away from the world. They've just started approaching it on their own terms, venturing abroad and returning home with increasingly more international tastes and much higher standards…"

[See also Stateside: http://www.nytimes.com/2012/02/19/magazine/adam-davidson-craft-business.html ]]]></description>
<dc:subject>daikisuzuki engineeredgarments hyperspecialization hospitality hotels apprenticeships tiny small quintessence shuzokishida restaurants kansai tokyo hitoshitsujimoto realmccoy's nylon magazines jeans craft coffee denim detail perfection food fashion lifestyle economics luxury japan scale</dc:subject>
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<item rdf:about="http://vimeo.com/17904563">
    <title>Interview with David Graeber Part One on Vimeo</title>
    <dc:date>2012-02-05T22:06:47+00:00</dc:date>
    <link>http://vimeo.com/17904563</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["David Graeber talks to Lewis Bassett and Richard Houguez while having a haircut at AutoItaliaLive/LuckyPDFTV."

"When you aren't brought up to think it's crazy, it's almost hard not to be an anarchist."

[Part Two: http://vimeo.com/18751385 ]]]></description>
<dc:subject>radicals radicalism directaction democracy perfection methodology idealism practice living antisectarians marxism authority maori madagascar collectivism trust kamikazecapitalism mutualaid bigsociety davidcameron leisurearts labor ows occupywallstreet idleness austerity austeritymeasures affinitygroups revolution history apple creativity creatives lewisbassett reform richardhouguez neoliberalism egalitarianism politics communism exchange greatrecession economics society capitalism anarchy anarchism 2010 davidgraeber artleisure māori globalfinancialcrisis</dc:subject>
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</item>
<item rdf:about="http://www.theawl.com/2011/07/weekend-at-kermies-the-muppets-strange-life-after-death">
    <title>Weekend At Kermie's: The Muppets' Strange Life After Death | The Awl</title>
    <dc:date>2011-07-25T21:20:11+00:00</dc:date>
    <link>http://www.theawl.com/2011/07/weekend-at-kermies-the-muppets-strange-life-after-death</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["A character without specificity is not one."

"To demonize is to become the demon."

"When I say that the Muppets’ art direction is makeshift, I don’t mean that it’s shoddy. But it celebrates human limitation. As we watch one of these movies, we never lose our awareness that these scenes were made by men and women. Craftmanship, the game of how good any one artist can be, is presented—not hidden—and as such it can inspire others."

"What matters in the Muppet universe isn’t perfection, but expression. Dancing across the screen, they embody the philosophy that it is not what you look like that matters, but what you do."]]></description>
<dc:subject>art creativity film copyright muppets puppets perfection human humanism specificity makeshift making craft limitations constraints via:rushtheiceberg doing meaning purpose glvo jasonsegel jimhenson remix remixing remixculture craftsmanship</dc:subject>
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</item>
<item rdf:about="http://us1.campaign-archive2.com/?u=92deb2a6027cf972e7298f939&amp;id=e34ea5e4a3&amp;e=a7e7f16a50">
    <title>PSCS fundraiser: &quot;Learning isn't about being perfect&quot;</title>
    <dc:date>2011-04-27T06:26:12+00:00</dc:date>
    <link>http://us1.campaign-archive2.com/?u=92deb2a6027cf972e7298f939&amp;id=e34ea5e4a3&amp;e=a7e7f16a50</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[Great piece by a PSCS parent, plus…]

"Here's what she took out:

“Lest you think I’m praising too much, let me say it's a growing community there. They have their bumps, and they meet challenges head-on. They try. They stay open to learning and growth.”

This, I think, shines a spotlight on a fundamental problem we face in schools, and highlights an area in which PSCS is so remarkable. For generations, school has been about getting the right answer. It has been about getting an “A,” acing the test, being perfect. Take a tour of some other schools in the city and they’ll show you only the classrooms they want you to see, only the shiniest students, and only the teachers who appear to be perfect. It’s all a part of the myth that says, when you’re learning, mistakes should be avoided at all costs.

That’s not who we are. And that’s not what learning looks like.

Learning means stepping outside your comfort zone and trying something new, then reflecting on the experience."]]></description>
<dc:subject>pscs learning education schools progressive unschooling deschooling stevemiranda pugetsoundcommunityschool lcproject mistakes reflection tcsnmy cv perfection community self-knowledge self-directedlearning 2011</dc:subject>
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<item rdf:about="http://www.slate.com/id/2275596/pagenum/all/">
    <title>If we try to engineer perfect children, will they grow up to be unbearable? - By Katie Roiphe - Slate Magazine</title>
    <dc:date>2010-11-21T18:37:41+00:00</dc:date>
    <link>http://www.slate.com/id/2275596/pagenum/all/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["In the long sticky hours of boredom, in the lonely, unsupervised, unstructured time, something blooms; it was in those margins that we became ourselves…our new ethos of control…contains a vision of right-minded child rearing that is in its own enlightened way as exclusive & conformist…Built into this model of the perfectible child is, of course, an inevitable failure. You can't control everything, the universe offers up rogue moments that will make your child unhappy or sick or ­broken-hearted, there will be faithless friends & failed auditions & bad teachers…All I am suggesting is that it might be time to stand back, pour a drink, & let the children ­torment, or bore or injure each other a little. It might be time to dabble in the laissez faire; to let the imagination run to art instead of art projects; to let the imperfect universe & its imperfect ­children be themselves." [Read it all.]]]></description>
<dc:subject>parenting children imperfection learning identity boredom supervision control unschooling deschooling perfection failure happiness unhappiness risk risktaking laissezfaire imagination glvo self teaching cv unstructuredtime</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:9176efa7d97d/</dc:identifier>
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<item rdf:about="http://en.wikipedia.org/wiki/Wabi-sabi">
    <title>Wabi-sabi - Wikipedia</title>
    <dc:date>2010-08-11T20:13:41+00:00</dc:date>
    <link>http://en.wikipedia.org/wiki/Wabi-sabi</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Wabi-sabi is the most conspicuous & characteristic feature of traditional Japanese beauty & it "occupies roughly the same position in the Japanese pantheon of aesthetic values as do the Greek ideals of beauty & perfection in West." "if an object or expression can bring about, w/in us, a sense of serene melancholy & a spiritual longing, then that object could be said to be wabi-sabi." "[Wabi-sabi] nurtures all that is authentic by acknowledging 3 simple realities: nothing lasts, nothing is finished, & nothing is perfect."

Wabi now connotes rustic simplicity, freshness or quietness, & can be applied to both natural & human-made objects, or understated elegance. It can also refer to quirks & anomalies arising from the process of construction, which add uniqueness & elegance to the object. Sabi is beauty or serenity that comes with age, when the life of the object & its impermanence are evidenced in its patina & wear, or in any visible repairs."]]></description>
<dc:subject>patina beausage imperfection unfinished aesthetics architecture art beauty buddhism design culture japan japanese simplicity perfection poetry philosophy zen wabi-sabi marceltheroux johnconnell jesserichards coding software refinement via:lukeneff melancholy tcsnmy zenbuddhism</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:8f4929aaf33b/</dc:identifier>
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<item rdf:about="http://www.wired.com/techbiz/media/magazine/16-06/st_15th_eno?currentPage=all">
    <title>15th Anniversary: The Brian Eno Evolution</title>
    <dc:date>2010-07-31T21:14:50+00:00</dc:date>
    <link>http://www.wired.com/techbiz/media/magazine/16-06/st_15th_eno?currentPage=all</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["In an age of digital perfectability, it takes quite a lot of courage to say, "Leave it alone" and, if you do decide to make changes, [it takes] quite a lot of judgment to know at which point you stop. A lot of technology offers you the chance to make everything completely, wonderfully perfect, and thus to take out whatever residue of human life there was in the work to start with. It would be as though someone approached Cezanne and said, "You know, if you used Photoshop you could get rid of all those annoying brush marks and just have really nice, flat color surfaces." It's a misunderstanding to think that the traces of human activity — brushstrokes, tuning drift, arrhythmia — are not part of the work. They are the fundamental texture of the work, the fine grain of it."
]]></description>
<dc:subject>via:preoccupations brianeno davidbyrne kevinkelly interviews art imperfection unfinished music writing 2008 perfectability perfection photoshop human texture glvo conversation learning collaboration wabi-sabi</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:4dccdee133ec/</dc:identifier>
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</item>
<item rdf:about="http://www.youtube.com/watch?v=mz91GfoZ-Zs&amp;feature=fvw">
    <title>YouTube - OBSESSIVES: Pizza - CHOW</title>
    <dc:date>2009-12-29T23:35:03+00:00</dc:date>
    <link>http://www.youtube.com/watch?v=mz91GfoZ-Zs&amp;feature=fvw</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["An oven built by hand, tile by tile. Four pizzas on the menu, with no fancy-pants toppings. Anthony Mangieri does one thing at Una Pizza Napoletana, and he does it the very best way he can."
]]></description>
<dc:subject>obsession pizza perfection recipes food specialization anthonymanglieri slow simplicity specialists</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:843940594c4a/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:specialization"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:anthonymanglieri"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:slow"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:simplicity"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:specialists"/>
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</item>
<item rdf:about="http://www.kottke.org/09/02/art-and-fear">
    <title>Art and Fear by David Bayles and Ted Orland</title>
    <dc:date>2009-02-17T19:45:15+00:00</dc:date>
    <link>http://www.kottke.org/09/02/art-and-fear</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The ceramics teacher announced on opening day that he was dividing the class into two groups. All those on the left side of the studio, he said, would be graded solely on the quantity of work they produced, all those on the right solely on its quality. His procedure was simple: on the final day of class he would bring in his bathroom scales and weigh the work of the "quantity" group: fifty pound of pots rated an "A", forty pounds a "B", and so on. Those being graded on "quality", however, needed to produce only one pot -- albeit a perfect one -- to get an "A". Well, came grading time and a curious fact emerged: the works of highest quality were all produced by the group being graded for quantity. It seems that while the "quantity" group was busily churning out piles of work - and learning from their mistakes -- the "quality" group had sat theorizing about perfection, and in the end had little more to show for their efforts than grandiose theories and a pile of dead clay."
]]></description>
<dc:subject>art process procrastination fear perfection learning teaching education craft tcsnmy psychology</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:15dea26d6ada/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:art"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:process"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:procrastination"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:fear"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:perfection"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:learning"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:teaching"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:education"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:craft"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:tcsnmy"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:psychology"/>
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</item>
<item rdf:about="http://sethgodin.typepad.com/seths_blog/2008/01/the-problem-wit.html">
    <title>Seth's Blog: The problem with perfect</title>
    <dc:date>2008-01-18T15:50:17+00:00</dc:date>
    <link>http://sethgodin.typepad.com/seths_blog/2008/01/the-problem-wit.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["I think it's more helpful to focus on texture, on interpersonal interaction, on interesting. Interesting is attainable, and interesting is remarkable. Interesting is fresh every day and interesting leads to word of mouth."
]]></description>
<dc:subject>perfection experience experiencedesign design products services texture interaction business glvo</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:2ad4e59ef274/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:perfection"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:experience"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:experiencedesign"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:design"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:products"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:services"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:texture"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:interaction"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:business"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:glvo"/>
</rdf:Bag></taxo:topics>
</item>
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