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    <title>Moving with the city — Open City</title>
    <dc:date>2026-06-29T05:45:55+00:00</dc:date>
    <link>https://open-city.org.uk/events/moving1</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Join Open City for this site-sensing workshop — led by artist Alisa Oleva — where history and urban planning will be discovered through touch, listening and sensations 

By using elements of parkour and low impact movements participants of this workshop — which is open to movers and city explorers of all levels — will explore the architecture of social housing in north London including Highgate New Town designed by Hungarian architect Peter Tábori and Lismore Circus in Gospel Oak through deep listening, mapping and playing."]]></description>
<dc:subject>alisaoleva walking parkour 2021 art listening deeplistening mapping play petertábori lismorecircus sensing sensory walkshops situationist psychogeography</dc:subject>
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    <title>Jerry's Map</title>
    <dc:date>2026-06-24T07:41:46+00:00</dc:date>
    <link>https://www.jerrysmap.com/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[See also:

https://en.wikipedia.org/wiki/Jerry_Gretzinger
https://www.youtube.com/@jerrygretzinger9861/videos
https://vimeo.com/user2352465

https://www.itsnicethat.com/articles/jerrys-map
https://www.wired.com/2013/09/jerry-gretzinger-map-ukrania/
https://www.theatlantic.com/video/2011/09/the-mysterious-life-of-jerrys-map/469446/
https://art.org/exhibitions/jerrys-map

https://vimeo.com/6745866
https://vimeo.com/13596774

"#9 - Jerry Gretzinger" (The Story Podcast)
https://www.youtube.com/watch?v=5ZthLRfCsMA

"He Won’t Stop Building a Map to an Imaginary Place"
https://www.youtube.com/watch?v=Is8N7B9b0GQ

"The remarkable story of Jerry Gretzinger and the map he's dedicated his life to making.

00:00 - What is Jerry's Map?
01:19 - How the map gets made
13:34 - Day 1: The build begins
20:14 - The deck of cards
24:55 - Day 2: We resemble prawns
35:45 - Day 3: The final panels
41:24 - Watch our companion video!"

via:
https://www.openculture.com/2026/06/this-man-has-been-drawing-a-map-of-an-imaginary-land-since-1963.html

"At one time or another, we all feel twinges of anxiety about what will constitute the legacy we leave behind. Jerry Gretzinger may well be subject to just the same discomfort, but at least he can point to the Map: an enormous representation, made of thousands and thousands of individually created and continually modified panels, of an entirely fictional land called Ukrania. You can see Jerry’s Map painstakingly laid out in its most up-to-date state in the new People Make Games video above. As interesting as the product is so far, the work that goes into it is just as compelling, which Gretzinger performs every day according to a complex and strictly defined set of procedures dictated by a deck of heavily modified playing cards.

It would take an astute listener to grasp the rules of the project the first time through, but they’re also available for supplementary study at the official site of Gretzinger’s map. They may bring to mind Brian Eno’s Oblique Strategies, the deck of cards printed with suggestions meant to dislodge creative jams in the music studio or elsewhere.

The map itself may look more reminiscent of the work of Henry Darger, another “outsider artist” who produced riots of color and haphazard-looking materials with an obsessive underlying order of their own. But unlike Darger, who died in obscurity only for his askew epics to be discovered among his belongings, Gretzinger has become famous for his creation in his lifetime, so much so that there exists an active subreddit of amateurs following his example.

Still, the Map did first have to be rediscovered. What Gretzinger began as the expansion of idle doodles in urban form made during breaks at the ball bearing factory in 1963 had to be shelved in the eighties, when a clothing business he’d started with his wife took off. A couple of decades thereafter, his son’s discovery of the Map in the attic inspired Gretzinger to resume work on it, which has continued apace ever since. When interviewed, he sounds less like a creator than an observer, helplessly watching as the city of Ukrania becomes more abstract as it grows — and as great swathes are inexorably consumed by a white space, made of scraps of his own correspondence and other life artifacts, that he portentously calls “the Void.” Now that he’s in his mid-eighties, Gretzinger appears to find it all more freighted with meaning than ever. Sooner or later, alas the Void comes for us all; what’s left to us is how we prepare for it.]

"What is it?

In the summer of 1963 Jerry began drawing a map of an imaginary city. The work started as a doodle done in the spare time he had while working at a tedious job. He continued to add to that map through the years until, in 1983, he set it aside to put his free time to other use.

It was stored in the attic of his home in Cold Spring, New York. It gathered dust. Jerry’s son, Henry, found it one day while rummaging around. He brought it down and asked what it was. Seeing it then triggered Jerry to dust it off and continue the project.

Years later, the Map is now a two-dimensional “virtual world” art project which is now comprised of over 4000 individual eight by ten inch panels. When assembled, these panels form an approximate circle. The panel locations are defined by N, S, E, and W coordinates that originate at the center of the circle. The locations in the matrix do not change, but the panels themselves are continually revised based on instructions drawn from the artist’s custom deck of cards.

Its execution, in acrylic, marker, colored pencil, ink, collage, and inkjet print on heavy paper, is dictated by the interplay between an elaborate set of rules and randomly generated instructions.

Jerry maintained a blog about the project for many years. He no longer updates it, but the old posts are still available on Blogger. And also be sure to check out r/jerrymapping,  an interesting  subreddit devoted to map making in the style of Jerry's Map**.**

The Creative Process

The Card Deck

The entire process is driven by instructions on a card drawn from a special deck created by the artist. Each cycle begins only when the artist’s tasks from the previous card are complete. This could take anywhere from a few minutes to a few days.

The cards were first introduced as a simple random number generator. When Jerry was first creating the map it was simple enough to work sheet to sheet, but as the map grew to hundreds of individual panels it became very tedious to make his way through the set.

“I wanted to move through the stack faster, and the easiest random number system I could come up with was a deck of cards. I’d draw a card and move down that many panels in the stack.” 

As Jerry began working on ways of systematizing the process of working on the map he began to incorporate instructions on the cards. The contemporary deck of cards has been adapted from playing cards and the total number varies as cards have been added, revised, and removed. Currently there are approximately 100 cards.

“Sometimes I have feelings about the deck of cards. There’s a message in those cards. There’s no big man with a beard who has ordered the cards, but I’m very interested in seeing what comes out of it. There’s a reality in there waiting to get out. It’s the map’s future predictor and as it is always changing its alive…My hand puts the paint on the paper, I’ll step back and look at the sheets as though I wasn’t the perpetrator but merely the observer.”

The Principles

These are the instructions and rules which guide the Artist in the creation of the map:

• Each card has a large black or red number in an upper corner. A "task" is defined as the completion of the number of work units as specified by the number on the card that is drawn. A work unit is the number of one inch squares to be covered. The number drawn and the effort required can be highly variable, so a day's work could consist of one card’s work units, or just a portion of one. Work on an incomplete work unit continues at the next work session.
• When a card is drawn you must follow the specific instructions on the card, but those instructions may be changed for the next time that card is drawn.
• Work direction is determined by color of the drawn card - black is clockwise, red is counter-clockwise.
• Every page has a "center" point from which the work emanates. The "center" of the new page is the same as the parent’s.
• New panels are generated by drawing a "new panel" card, or a new panel is required to complete a section of art.
• When a new page is added, the new page will use the "color of the day".
• The location of the new page is determined by placing a compass point in the "center" of the parent page and determining the closest edge of the map (this keeps the map roughly circular and growing generally equally in all directions).
• Master map shows the locations of the panels as defined by coordinates.
• Colors are more abstract and do not necessarily represent the physical world. Colors may be applied with either paint or markers, or by using collage. The 42 colors are continually remixed to ensure a spectrum of paints.
• New artwork is never applied on top of existing original artwork, it is only added to a new version of the page.

The Layers

The Map is expressed, over time, in successive layers, each one replacing its predecessor. The process of developing and revising a panel results in several iterations of that panel.

The Base Layer is divided into four phases:

A. The blank page is an 8 by 10 inch patchwork of paperboard or is a sheet of heavy paper on which is a photo or a lumen print.

B. The blank is gradually covered in successive bands of painted color.

C. The paint is replaced by 1" squares of paper collage.

D. The collage is replaced by 1" city squares in:
1. Green with 400 new inhabitants
2. Red with 800 new inhabitants
3. Grey with 1200 new inhabitants
4. Black with 2400 new inhabitants

The next layer is The Void. Its initial phase is composed of irregular pieces of plain, white collage. That is followed by a layer of 2" squares of black-and-white collage. On that layer 1" squares of grey city form followed by 1" squares of black city.

The third layer is called The Red Dimension and is expressed by irregular flame-shaped solid red collage.

Black Ness, composed of 2" squares of black collage, supercedes The Red Dimension.

Then follows The Ziggurat Phase in which successively smaller squares of collage, starting with 2 by 2, are stacked on top of each other. That layer, and the ones that follow, have yet to manifest themselves on The Map.

The Flood, represented by irregular pieces of blue collage, and Re-Birth, composed of hand-torn pieces of kraft paper, are the final stages in the Map cycle.

Then the whole process starts over with new Paint Bands.

The Evolution of the Process

The map has been constantly evolving with Jerry over the years from the earliest iterations to its present state. This evolution has been driven by three primary factors. First, the media used in the production of the map panels has changed over time. Second, as the map grew larger mechanisms such as the use of the deck of instruction cards automated the map and changed Jerry's role as the author. Finally, the introduction of the system of layers."]]></description>
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<item rdf:about="https://www.youtube.com/watch?v=Is8N7B9b0GQ">
    <title>He Won’t Stop Building a Map to an Imaginary Place - YouTube</title>
    <dc:date>2026-06-24T07:40:50+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=Is8N7B9b0GQ</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The remarkable story of Jerry Gretzinger and the map he's dedicated his life to making.

00:00 - What is Jerry's Map?
01:19 - How the map gets made
13:34 - Day 1: The build begins
20:14 - The deck of cards
24:55 - Day 2: We resemble prawns
35:45 - Day 3: The final panels
41:24 - Watch our companion video!"

[See also: 

https://www.jerrysmap.com/
https://en.wikipedia.org/wiki/Jerry_Gretzinger
https://www.youtube.com/@jerrygretzinger9861/videos
https://vimeo.com/user2352465

https://www.itsnicethat.com/articles/jerrys-map
https://www.wired.com/2013/09/jerry-gretzinger-map-ukrania/
https://www.theatlantic.com/video/2011/09/the-mysterious-life-of-jerrys-map/469446/
https://art.org/exhibitions/jerrys-map

https://vimeo.com/6745866
https://vimeo.com/13596774

"#9 - Jerry Gretzinger" (The Story Podcast)
https://www.youtube.com/watch?v=5ZthLRfCsMA

via:
https://www.openculture.com/2026/06/this-man-has-been-drawing-a-map-of-an-imaginary-land-since-1963.html

"At one time or another, we all feel twinges of anxiety about what will constitute the legacy we leave behind. Jerry Gretzinger may well be subject to just the same discomfort, but at least he can point to the Map: an enormous representation, made of thousands and thousands of individually created and continually modified panels, of an entirely fictional land called Ukrania. You can see Jerry’s Map painstakingly laid out in its most up-to-date state in the new People Make Games video above. As interesting as the product is so far, the work that goes into it is just as compelling, which Gretzinger performs every day according to a complex and strictly defined set of procedures dictated by a deck of heavily modified playing cards.

It would take an astute listener to grasp the rules of the project the first time through, but they’re also available for supplementary study at the official site of Gretzinger’s map. They may bring to mind Brian Eno’s Oblique Strategies, the deck of cards printed with suggestions meant to dislodge creative jams in the music studio or elsewhere.

The map itself may look more reminiscent of the work of Henry Darger, another “outsider artist” who produced riots of color and haphazard-looking materials with an obsessive underlying order of their own. But unlike Darger, who died in obscurity only for his askew epics to be discovered among his belongings, Gretzinger has become famous for his creation in his lifetime, so much so that there exists an active subreddit of amateurs following his example.

Still, the Map did first have to be rediscovered. What Gretzinger began as the expansion of idle doodles in urban form made during breaks at the ball bearing factory in 1963 had to be shelved in the eighties, when a clothing business he’d started with his wife took off. A couple of decades thereafter, his son’s discovery of the Map in the attic inspired Gretzinger to resume work on it, which has continued apace ever since. When interviewed, he sounds less like a creator than an observer, helplessly watching as the city of Ukrania becomes more abstract as it grows — and as great swathes are inexorably consumed by a white space, made of scraps of his own correspondence and other life artifacts, that he portentously calls “the Void.” Now that he’s in his mid-eighties, Gretzinger appears to find it all more freighted with meaning than ever. Sooner or later, alas the Void comes for us all; what’s left to us is how we prepare for it."]]]></description>
<dc:subject>jerrygretzinger maps mapping fiction obliquestrategies 2026 art brianeno henrydarger making imagination creativity rules systems systemsthinking games play gaming worldbuilding arts accretion persistence peoplemakegames lore change random randomness uncertainty unrest future disorder order cards carddecks productivity generativeart generative</dc:subject>
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<item rdf:about="https://pablohelguera.substack.com/p/building-strange-oases">
    <title>Building Strange Oases - Beautiful Eccentrics</title>
    <dc:date>2026-06-05T05:34:51+00:00</dc:date>
    <link>https://pablohelguera.substack.com/p/building-strange-oases</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["What we often call creativity, innovation, research, or artistic practice may be understood as socially sanctioned forms of play. The adult does not stop playing; the adult learns to disguise play under other names.

This realization has important implications for participatory art. Too often, participatory projects assume that they must teach participants something entirely new. But perhaps the task is subtler. Perhaps the role of participatory art is not to introduce play into people’s lives but to reveal forms of play that are already present there.

In this sense, participatory art resembles the Platonic concept of anamnesis: the idea that learning is not the acquisition of new knowledge but the recollection of something we already possess. The teacher does not deposit knowledge into the student. Rather, the teacher creates the conditions through which the student recognizes something that was already latent within them.

The same may be true of participation. A successful participatory artwork does not force people into unfamiliar territory. It helps them become conscious of capacities they already exercise every day: imagining alternatives, inhabiting different perspectives, negotiating rules, collaborating with others, and navigating uncertainty. The artwork becomes a mirror in which participants encounter forms of knowledge they already possess but rarely have the opportunity to see.

I sometimes wonder whether the growing interest in participation, interactivity, social practice, and collaborative forms of art reflects a broader condition of contemporary life. We spend much of our time being evaluated, measured, categorized, and asked to justify our actions through tangible outcomes. Under such conditions, spaces in which exploration can occur without immediate consequence become increasingly rare.

What artists often create, consciously or unconsciously, are temporary refuges from these pressures. Not escapes from reality, but suspensions of some of reality’s demands. Spaces in which people can momentarily set aside the need to be correct, efficient, productive, or certain.

The most successful participatory works are rarely those that ask people to do something entirely unfamiliar. Rather, they offer recognizable frameworks—stores, libraries, classrooms, games, celebrations, performances, archives, playgrounds. We know how to inhabit these forms. The artist’s task is not to invent a world from nothing but to subtly reorganize a familiar one.

Play grants us permission. Permission to imagine alternatives. Permission to experiment without certainty. Permission to occupy different roles. Permission to ask “what if?” Permission, for a moment, to stop performing adulthood and to engage with the world through curiosity rather than obligation.

In this sense, the artistic oasis is not a place where we become children again. It is a place where we remember capacities that adulthood has taught us to conceal.

That, I believe, is the deepest promise of participatory art. Not that it teaches us something we did not know, but that it helps us recognize something we have known all along.

Perhaps that is why Pessoa’s garden continues to resonate. It was never simply a place from childhood. It was a reminder that somewhere within ordinary life there remains a territory governed by different rules. We enter it briefly, and then return. But for a moment, play is its master."]]></description>
<dc:subject>pablohelguera art play 2026 participation participatory interactive interaction uncertainty socialpracticeart collaboration life society exploration permission adulthood children childhood reseacrh innovation johanhuizenga homoludens playgrounds rules dwwinnicott jeromebruner psychology education action improvisation experimentation hypotheticals entertainment federicodamorais marianpedrosa eugenfink fernadopessoa álvarodecampos intelligence joy museums thinking howwethink freedom agency artwork</dc:subject>
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<item rdf:about="https://emergencemagazine.org/essay/what-are-we-where-are-we/">
    <title>What Are We? Where Are We? – Charles Foster</title>
    <dc:date>2026-05-31T21:59:18+00:00</dc:date>
    <link>https://emergencemagazine.org/essay/what-are-we-where-are-we/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Contemplating the age-old question of what it means to be human, Charles Foster contends that we are most fundamentally ourselves at the edges of certainty and comfort."]]></description>
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    <link>https://publicdomainreview.org/collection/pushball/</link>
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    <title>Children need stress and discomfort in order to grow up | Aeon Essays</title>
    <dc:date>2026-05-11T20:07:13+00:00</dc:date>
    <link>https://aeon.co/essays/children-need-stress-and-discomfort-in-order-to-grow-up</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The emotional and practical skills of adulthood can only be learned from (appropriate) levels of discomfort and stress"]]></description>
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<item rdf:about="https://theconversation.com/denmarks-hands-off-approach-to-parenting-could-offer-a-blueprint-for-raising-more-resilient-self-reliant-kids-281485">
    <title>Denmark’s ‘hands-off’ approach to parenting could offer a blueprint for raising more resilient, self-reliant kids</title>
    <dc:date>2026-05-11T20:04:55+00:00</dc:date>
    <link>https://theconversation.com/denmarks-hands-off-approach-to-parenting-could-offer-a-blueprint-for-raising-more-resilient-self-reliant-kids-281485</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Much has been written about Denmark’s consistently high scores in global happiness rankings, so it might not come as a surprise that Denmark is also rated the best place to raise children, according to U.S. News and World Report. The small Scandinavian nation also scores near the top for child well-being, a measure of physical health, mental health, education and social relationships.

Government policies like generous parental leave, robust public investment in education and universal healthcare have certainly played a role in these rankings. Danes also score high on social trust, with 74% of Danes agreeing that most people can be trusted, whereas only 37% of Americans say the same.

But another factor could be contributing to Danish children’s well-being: They’re often encouraged to take part in risky, unstructured play.

This might seem at odds with a parent’s desire to do what they can to keep their kids safe. But as a native of Denmark and a psychologist, I’ve explored how the country’s hands-off parenting style may be one key to raising more resilient, self-reliant kids.

The benefits of unstructured play

Danes have two words for the English word “play.” There’s “leg,” which refers to unstructured play; and “spille,” which is used for games or activities with pre-established rules, such as playing soccer, chess or the violin.

Each type of play has benefits. But studies have shown that unstructured, spontaneous play requires more compromise and creativity, since kids have the freedom to change or make up the rules. Children learn to take turns and work through problems – skills that are harder to develop when adults step in or when the rules are predetermined.

Then there’s risky play, a form of unstructured play that involves exciting activities with a possibility of physical injury. On a playground, this might mean climbing tall towers, going headfirst down a slide or roughhousing. Off the playground it might involve building a fire, swimming, biking or using tools like saws, hammers and knives.

Norwegian early childhood education researcher Ellen Beate Hansen Sandseter pioneered the study of risky play. She’s explored its evolutionary functions – specifically, how it helps children become competent, independent adults. Other researchers have shown that risky play boosts mental health by teaching children to be more resilient and manage their emotions.
Positive risks vs. negative ones

When it comes to risky play, it’s useful to distinguish between positive risks and negative ones.

On a playground, a positive risk is a challenge that a child can recognize and decide to take. They can weigh if they want to try a zip line, or determine when they’ve reached their limit while ascending a climbing net for the first time. The goal is for the child to explore boundaries and learn to manage emotions like fear and anxiety. Sure, there’s the risk of scrapes and bumps. But success can breed more self-confidence.

A negative risk, on the other hand, is a danger that the child does not have the experience or knowledge to foresee. Using playground equipment that has rotted wood, wielding a tool like a drill without proper instruction or swimming in rapids could lead to serious accidents without any learning benefits.

Many playgrounds in Denmark are designed to encourage positive risks. The country has become known for its junk playgrounds, the first of which was created during World War II. These are play areas built with discarded tires, boards and ropes instead of fixed equipment. Kids are often given access to tools so they can build structures and remake the space on their own terms.
Black and white photo of boy kneeling in a ditch and using a hammer.

The point ultimately isn’t to put kids in harm’s way. It’s to let them explore on their own, test their limits and try new things.
The competent child

Of course, no parent wants to see their child get injured. But research suggests that Danish parents and American parents have distinct perceptions of risk – and different thresholds for what they consider dangerous.

One study compared U.S. and Danish mothers’ reactions to pictures showing a child engaged in 30 different types of play, such as sledding, biking, using a saw to cut wood and climbing a tall tree. It found that Danish mothers, on average, were more likely to say that they would be comfortable with their own child in these situations. In subsequent interviews, Danish mothers were also more likely to talk about practicing risky activities with their kids, such as how to use tools. (One described how she showed her 5-year-old to use an axe to chop wood.)

In fact, Danish daycares often teach children how to use a sharp knife, with some handing out knife diplomas once children have learned the skill. Learning how to ride a bike, meanwhile, can be practiced on what are known as “traffic playgrounds,” which have child-sized streets, bike lanes, traffic lights and signs.

This difference in risk tolerance could stem from differences in parenting approaches. Danish parents see their children as innately competent, meaning they trust their ability to navigate risks and challenges. Adults, in turn, try to create environments for these natural competencies to flourish; they work to encourage cooperation instead of using control.

In contrast, American parents are more likely to see kids as vulnerable and in need of protection. Mental health is a major concern, with 40% of American parents extremely or very worried that their child will suffer from anxiety or depression at some point, according to a 2023 Pew Research Survey. Somewhat ironically, kids who have less independence are more likely to have mental health challenges.

Letting kids take the lead can work well, but sometimes they can’t see or anticipate certain risks.

Danish youth, for example, drink more alcohol than their European peers. A recent survey showed that almost 7 out of 10 Danish ninth grade students had consumed alcohol in the last month, and 1 out of 3 had been drunk in the past month. One study found that Danish parents who are stricter about alcohol consumption are less likely to have teens who frequently drink. Danish culture, overall, has a very permissive attitude toward drinking alcohol, so those parents are few and far between.

Furthermore, Danish 10-year-olds have among the highest rate of smartphone ownership in the world, even as studies have shown that smartphone ownership among children is associated with higher rates of depression, stress and anxiety, as well as less sleep.

But these statistics don’t relate to risky play, which even emergency physicians and nurses champion. Instead, they show how permissive parenting styles can sometimes have negative effects.

The benefits of risky play – like learning to tolerate failure, distress and uncertainty – aren’t just important parts of being a kid. They’re important parts of being human."]]></description>
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    <title>Have online worlds become the last free places for children? | Psyche Ideas</title>
    <dc:date>2026-05-05T14:22:52+00:00</dc:date>
    <link>https://psyche.co/ideas/have-online-worlds-become-the-last-free-places-for-children</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Children have lost the freedom to explore and play independently. They now seek out autonomy in digital landscapes"]]></description>
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<item rdf:about="https://www.unrulyplay.com/">
    <title>Unruly Play — Curated by Imagination of Things</title>
    <dc:date>2026-04-26T08:27:51+00:00</dc:date>
    <link>https://www.unrulyplay.com/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["A collection of 169 works of play in unlikely places. Games about unusual things. Unexpected encounters. Curated by Imagination of Things."

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

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

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

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

Fully interactive, the project is searchable by theme or browsable through a shuffle feature. To dive deeper into the power of play, check out this compendium of artist-designed spaces."]]]></description>
<dc:subject>play playgrounds games children nature publicart architecture archive digital installation performance public art sculpture</dc:subject>
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<item rdf:about="https://patrickfarenga.substack.com/p/learning-yes-of-course-education">
    <title>Learning? Yes, of course. Education? No thanks.</title>
    <dc:date>2026-04-26T08:05:02+00:00</dc:date>
    <link>https://patrickfarenga.substack.com/p/learning-yes-of-course-education</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[part 2:
https://patrickfarenga.substack.com/p/learning-of-course-education-no-thanks ]

"The legal reasons for forcing people to attend school, created in the 19th century and still in operation today, are based on the logic that school attendance creates good citizens, good workers, and provides a place where children can be while their parents work. While compulsory school laws can be cited for its part in increasing literacy and math skills, these increases are also due to forces outside of school, such as families, tutors, and friends, the growth of mass media, guilds and unions, museums, public libraries, and government and business policies that increase people’s wellbeing and skills. There is little evidence that just graduating elementary, high school, or college makes people better citizens or workers.

Nonetheless, we continue to promote education as the solution for nearly all our problems without questioning if education, as we’ve structured it, is the best way to help children learn and adults to teach. We can question the tools of education—curricula, evaluation, teacher training—but we can’t question the reason education exists as an institution that takes up so much of our time and money: “How would society progress without education?”

Teaching and learning are human activities that existed long before they became professionalized and regulated into education. But learning skills and knowledge for personal gain is no longer the emphasis for getting a degree. School has become the vehicle for education to create social justice, better jobs, better living, better morals, more intelligent government policies. Higher education, in particular, is where you learn how to change the world!

[screenshot]

Nonetheless, bad citizens and workers continue to graduate and influence society. Further, as many school critiques note, schooling often reproduces social class differences and promotes herd behavior over independent democratic engagement.

The usual efforts to reform school—more schools, more intensive curricula—continue to be insufficient. The National Assessment of Educational Progress (“the Nation’s Report Card”) shows that U.S. student performance has been stalled or slightly down in reading, math, and science for the past 20 years.1 Plus, the introduction of system-wide school practices, such as New Math in the 1960s or the Units of Study reading program in 2003, often confuse or diminish learning for many students (and confounds some teachers too!).

Higher education is no better. Legacy admissions and nepotism undermine the chances for less wealthy but more worthy students to get into elite schools. Further, a large and growing number of published academic research is being challenged or revoked based on citing fake studies and plagiarism.2 It is no surprise that students use AI and paper mills to write research papers and essays since their elders do so and get rewarded for it.

Why is it so hard for schools to fix these problems? Perhaps it is due to Upton Sinclair’s observation: “It is difficult to get a man to understand something, when his salary depends on his not understanding it.”

Dr. Seymour Sarason, in his book The Culture of the School and the Problem of Change (Allyn and Bacon, 1971), argues that school reforms confront existing behavioral and programmatic regularities, yet the intended outcomes are seldom clearly stated and often disappear during the change process. As a result, reforms frequently reproduce old practices. Sarason writes, “It certainly was not an intended outcome of the introduction of new math that it should be taught precisely the way the old math was taught. But that has been the outcome, and it would be surprising if it were otherwise. … Discerning overt behavior or programmatic regularities requires that one look at the school culture from a nonjudgmental, non-interpretive stance, a requirement that is not natural to us. We are so used to thinking about what other people are thinking that we pay little attention to what is there to see. (PF: My emphasis.) (p.3)

Though it is obscured by educators’ claims that schooling is the only way children can learn to be productive citizens in modern times, if we remove school’s rose-tinted glasses we can see that compulsory education’s main purpose—to make children obey authority—is well documented through history and research. If education can get off this track and focus on a mission of enabling and appreciating learning in all its forms, instead of just results from inside school, we can start to see what else is possible besides more intensive instruction and forced attendance.

This has been the impetus for many people to create their own schools, such as Bronson Alcott in the 19th century US and A.S. Neil (UK), Maria Montessori (Italy,) and Rudolph Steiner (Germany) in the 20th. These founders saw that children learn in many different modes and places, and though they have different methods and theories for teaching and learning and, in some cases, have become expensive private schools, they are all still suspect in the eyes of professional educators.

What, exactly, does education mean? Aaron Falbel wrote how John Holt defined education:

<blockquote>In 1982, a British interviewer asked John Holt how he defined the word “education.” He responded: “It’s not a word I personally use. … The word “education” is a word much used, and different people mean different things by it. But on the whole, it seems to me what most people mean by “education” has got some ideas built into it or contains certain assumptions, and one of them is that learning is an activity which is separate from the rest of life and done best of all when we are not doing anything else and best of all in places where nothing else is done–learning places, places especially constructed for learning. Another assumption is that education is a designed process in which some people do things to other people or get other people to do things which will presumably be for their own good. Education means that some A is doing something to somebody else B. I guess that, basically, is what most people understand education to be about” The interviewer pressed John further: “Very well, but what is your definition?” John replied: “I don’t know of any definition of it that would seem to me to be acceptable. I wrote a book called Instead of Education, and what I mean by this is instead of this designed process which is carried on in specially constructed places under various kinds of bribe and threat. I don’t know what single word I’d put [in its place]. I would talk about a process in which we become more informed, intelligent, curious, competent, skillful, aware by our interaction with the world around us, because of the mainstream of life, so to speak. In other words, I learn a great deal, but I do it in the process of living, working, playing, being with friends. There is no division in my life between learning, work, play, etc. These things are all one. I don’t have a word which I could easily put in the place of “education,” unless it might be “living.”3</blockquote>

Children and adults have lived and learned successfully in the flow of community and family life throughout human history without compulsory schooling. We know that people who are talented or knowledgeable can share their wisdom with others in a variety of settings, not just in special places reserved for professional teaching and learning. But our laws, customs, and mind sets have been directed away from our heritage of learning towards the regime of instruction.

John Holt’s book Instead of Education: Ways to Help People Do Things Better provides not just an analysis of the limits of schooling but also examples of other places, institutions, people, and experiences that exist or could be created for children and adults to learn and grow throughout their lives. What also makes this book interesting is how it ends with a call for people to take their children out of school and teach them in their homes and local communities if the schools are not helping their children. This statement led people from around the world who were already teaching their own children to contact John, and this became the impetus for him to found Growing Without Schooling magazine in 1977.

John was certainly influenced by Illich’s work and book Deschooling Society (Harper & Row, 1971) and he moved his own work from theory to practice when he founded Growing Without Schooling magazine in 1977. 49 years have passed since GWS was founded and homeschooling has grown from the 25,000 estimate John used in 1981 to an estimate of 3.5 million children taught at home in the United States in 2026.4 John hoped school, like a business seeing it’s sales decline, would alter its course and let families that want to use school on an as-needed basis to do so.

Holt wrote about children learning in their communities, in play, sports, projects, and theatrical efforts, from neighbors, friends, and family, and places like the Peckham Center in London—a combined medical research and health support program with a lively community center/cafeteria/gymnasium for working class adults and children. Rather than try to incorporate these and other ideas that expand what education can be, our government and school policymakers continue to double down on the existing structure: more tests, more instruction, and more after-school tutoring to make sure students stay focused on task.

One thing most school administrators and teachers agree upon is that children need more time in school, which became terribly clear during the pandemic. Few educators thought to provide children with social or learning opportunities outdoors during the pandemic, in a schoolyard or public park. Instead they decided to keep students glued to their computer screens while they were being marched through the school curriculum in their homes. This shows how devotion to theories of education subsume common sense about what engenders learning, self-esteem, and social activity, which are entwined.

I’m reminded about all this due to a provocative education policy paper I read in NORRAG, the Global Education Center of the Geneva Graduate Institute: Fighting Against Education: No Alternatives Within the Educated Mind. The authors are united as “Le Goliard: A collective, nomadic, de-professionalized intellectual who wanders erratically on the fringes of dominant certainties and institutions.” It is a strong polemic, as these quotes show:"]]></description>
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</item>
<item rdf:about="https://www.oaklandreviewofbooks.org/sideshow-history-oakland/">
    <title>The noise about sideshows</title>
    <dc:date>2026-04-08T06:36:35+00:00</dc:date>
    <link>https://www.oaklandreviewofbooks.org/sideshow-history-oakland/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The screeching moral panic over the sideshow hides what it really is: an event, shaped by cops and capital flight, where Oakland youth fights for a place to play."

[See also:

"Black sonic politics in Oakland, in nine sounds: A playlist.
Alex Werth (as told to Tommy Craggs)"
https://www.oaklandreviewofbooks.org/black-sonic-politics-in-oakland-in-nine-sounds/ ]]]></description>
<dc:subject>2026 bayarea oakland sideshows alexwerth sound play 2025 police policing tommycraggs</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
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</item>
<item rdf:about="https://www.killscreen.com/anna-nygren-blush-river-fox-language-as-play/">
    <title>Can Language Be a Game? Anna Nygren Thinks So</title>
    <dc:date>2026-04-01T03:50:05+00:00</dc:date>
    <link>https://www.killscreen.com/anna-nygren-blush-river-fox-language-as-play/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Swedish writer Anna Nygren's blush / river / fox treats language like a game system—where translation gaps become mechanics and meaning emerges from interplay, not definition."]]></description>
<dc:subject>annanygren jaminwarren language play 2026 games gaming translation swedish poetry howwewrite writing gamedesign morissayoung fluency wordplay linguistics bodies senses english multispecies editing collaboration</dc:subject>
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<item rdf:about="https://www.mediapolisjournal.com/2025/11/urban-investors/">
    <title>Urban Investors’ Play with Time: Stakes of the Game and Waiting as Playful Strategy – Mediapolis</title>
    <dc:date>2026-03-30T20:19:59+00:00</dc:date>
    <link>https://www.mediapolisjournal.com/2025/11/urban-investors/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Anthony Albright and Frans Willem Korsten discuss the playful appropriation of a vacant building by a squatters’ group as part of an effort to recapture urban environments from the profit-oriented ‘game’ of waiting by investors."]]></description>
<dc:subject>anthonyalbright franswillemkorsten 2025 squatters time cities urban urbanism play investors investment housing appropriation utrecht</dc:subject>
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</item>
<item rdf:about="https://www.mediapolisjournal.com/dossier-playable-cities/">
    <title>Dossier: Playable Cities – Mediapolis</title>
    <dc:date>2026-03-30T20:07:51+00:00</dc:date>
    <link>https://www.mediapolisjournal.com/dossier-playable-cities/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Dossier editors: Carolyn Birdsall, Linda Kopitz, and Alex Gekker

Carolyn Birdsall, Linda Kopitz and Alex Gekker, Playable Cities: An Introduction
https://www.mediapolisjournal.com/2025/11/playable-cities-intro/

The city is a playground. But is it really? This introduction to the Playable Cities dossier discusses how cities are built, how cities are navigated, and how cities are resisted with and through play.

Anthony T. Albright and Frans Willem Korsten, Urban Investors’ Play with Time: Stakes of the Game and Waiting as Playful Strategy
https://www.mediapolisjournal.com/2025/11/urban-investors/

Anthony Albright and Frans Willem Korsten discuss the playful appropriation of a vacant building by a squatters’ group as part of an effort to recapture urban environments from the profit-oriented ‘game’ of waiting by investors.

Alison Stenning, When Cities Aren’t Playable: Placing Children’s Play in Urban Environments
https://www.mediapolisjournal.com/2025/11/cities-playable/

Contrasting the visibility of playful art installations with a decline in funding for public infrastructures, Alison Stenning discusses how playability of ordinary urban environments is often ignored, devalued and undermined in urban planning.

Aylin Kartal, Come Out and Play: A Historical Exploration of Street Play and Urbanization in the Etiler Neighborhood in Istanbul
https://www.mediapolisjournal.com/2025/11/come-out-and-play/

Focusing on Istanbul’s Etiler neighborhood, Aylin Kartal follows different waves of urban transformation from the 1950s onwards, connecting street play, urban planning and collective memory.

Alia ElKattan, Seeing like a Skater: Skateboarding as Poetic Technology
https://www.mediapolisjournal.com/2025/11/seeing-like-a-skater/

Reflecting on her experiences of skateboarding in Cairo, New York and other cities as a form of ‘rolling ethnography’, Alia ElKattan positions ‘seeing like a skater’ as a new way to approach urban landscapes.

Paul O’Connor, Julian Mcallister Groves, Yingxin Du and Tina Sze Nga Ho, Colourful Play in Hong Kong’s Rainbow Estate
https://www.mediapolisjournal.com/2025/11/colorful-play/

From playable to instagrammable: Paul O’Connor, Julian Mcallister Groves, Yingxin Du and Tina Sze Nga Ho trace the ‘colorful’ history of the Choi Hung Public housing estate, and what that might mean for its future.

Laura Vermeeren, Babyccinos and Reel Making: Who Is Really Playing?
https://www.mediapolisjournal.com/2025/11/babyccinos/

A children’s menu, a play kitchen, a coloring book: Is that what makes a space #kidsproof? Laura Vermeeren explores how Instagram’s aestheticized content increasingly shapes what family leisure in the city should look like.

Conor Moloney, Beyond Nice: Mediating Urban Life through Play and Counter-play
https://www.mediapolisjournal.com/2025/11/beyond-nice/

Are we playing … or are we being played? In this conceptual contribution, Conor Moloney maps the tensions between public and counterpublic, culture and counterculture, play and counterplay in relation to urban experience.

Photini Vrikki and Giota Alevizou, Framing London: Vernacular Photography and the Playable City in Student Life
https://www.mediapolisjournal.com/2025/11/framing-london/

Seeing and knowing a city are not necessarily the same: based on an interactive workshop with international students in London, Photini Vrikki and Giota Alevizou position photographic practices as a critical part of urban play.

Hsin Hsieh, Too Rich City: A Sinofuturist Playground
https://www.mediapolisjournal.com/2025/11/too-rich-city/

The artwork Too Rich City transforms China’s housing crisis into a virtual playground, where NFT properties and augmented reality offer young people alternative forms of urban belonging. Hsin Hsieh both embraces and critiques this artwork.

Radmila Radojevic, Simeona Petkova and Núria Arbonés Aran, Defamiliarizing the City: Play, Affect, and the Activation of Imaginaries
https://www.mediapolisjournal.com/2025/11/defamiliarizing-city/

Play activates our imagination, but it can also fall short in fostering real change. Radmila Radojevic, Simeona Petkova and Núria Arbonés Aran reflect on this tension in relation to rapidly changing neighborhoods.

Christoph Borbach and Max Kanderske, Playful Resistance: The Politics of Sensor Counter-Practices in Urban Technospheres
https://www.mediapolisjournal.com/2025/11/playful-resistance/

Bringing together artistic interventions and urban acts of resistance under the umbrella of ‘sensor games,’ Christoph Borbach and Max Kanderske explore playful practices that strategically engage with and expose surveillance infrastructures.

Connor Cook, Gamespace Odyssey: Notes on the Procedural Transformation of Athens
https://www.mediapolisjournal.com/2025/11/gamespace-odyssey/

Games and cities are shaped by protocols and procedures. Drawing on the concept of ‘Gamespace,’ Connor Cook discusses how gamic principles are applied to urban planning and how these might be playfully resisted in turn.

Sam Hind, Playing Domains: Codes, Cities, and Cultures in the Viral World of Machine Learning
https://www.mediapolisjournal.com/2025/11/playing-domains/

What happens when cities become datasets for AI competitions? Sam Hind shows how machine learning’s scoreboards distance practitioners from the real-world impacts of their work."]]></description>
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<item rdf:about="https://www.mediapolisjournal.com/2025/11/cities-playable/">
    <title>When Cities Aren’t Playable: Placing Children’s Play in Urban Environments – Mediapolis</title>
    <dc:date>2026-03-30T20:07:17+00:00</dc:date>
    <link>https://www.mediapolisjournal.com/2025/11/cities-playable/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Contrasting the visibility of playful art installations with a decline in funding for public infrastructures, Alison Stenning discusses how playability of ordinary urban environments is often ignored, devalued and undermined in urban planning."]]></description>
<dc:subject>alsionstenning 2025 play cities playgrounds art infrastructure urban urbanism urbanplanning children</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:aee84f3dc156/</dc:identifier>
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<item rdf:about="https://www.mediapolisjournal.com/2025/11/come-out-and-play/">
    <title>Come Out and Play: A Historical Exploration of Street Play and Urbanization in the Etiler Neighborhood in Istanbul – Mediapolis</title>
    <dc:date>2026-03-30T20:06:18+00:00</dc:date>
    <link>https://www.mediapolisjournal.com/2025/11/come-out-and-play/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Focusing on Istanbul’s Etiler neighborhood, Aylin Kartal follows different waves of urban transformation from the 1950s onwards, connecting street play, urban planning and collective memory."]]></description>
<dc:subject>istanbul 2025 aylinkartal streetplay play streets collectivememory memory childhood children cities urban urbanism playgrounds</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:295407ede7ee/</dc:identifier>
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<item rdf:about="https://www.mediapolisjournal.com/2025/11/seeing-like-a-skater/">
    <title>Seeing Like a Skater: Skateboarding as Poetic Technology – Mediapolis</title>
    <dc:date>2026-03-30T20:05:10+00:00</dc:date>
    <link>https://www.mediapolisjournal.com/2025/11/seeing-like-a-skater/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Reflecting on her experiences of skateboarding in Cairo, New York and other cities as a form of ‘rolling ethnography’, Alia ElKattan positions ‘seeing like a skater’ as a new way to approach urban landscapes."]]></description>
<dc:subject>aliaelkattan 2025 skating skateboarding cities landscape play urbanism experience playgrounds ethnography cairo nyc danielpaese davidgraeber josephweizenbaum heidegger brunolatour tahririsquare gypt jamescscott seeinglikeastate nikadubrovsky madrid sanfrancisco ljubljana miguelsicart</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:b125f569ec95/</dc:identifier>
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<item rdf:about="https://walklistencreate.org/2026/03/24/scrambling-for-maps/">
    <title>Scrambling for maps – walk · listen · create</title>
    <dc:date>2026-03-24T20:48:51+00:00</dc:date>
    <link>https://walklistencreate.org/2026/03/24/scrambling-for-maps/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["March 2026 we are holding 3 online Map Scrambles, in which artists will be discussing when and why they use maps or mapping to document their walking art.

Map Scramble 1 (Monday 23 7pm GMT)  

Map Scramble 2 (Wednesday 25 7pm GMT)

Map Scramble 3 (Thursday 26 7pm GMT)

Each events part of the EU Create Europe funded Walking Arts & Local Communities project and the events are free to join. After each event, a summary of that event, and the questions and discussion points raised by attendees and posted in the event chat will be added below. An edited recording of each event is available from our video archive or the event page. There are links above to the further Map Scrambles and should you wish to leave comments please go to the event page, to add these there (merely scroll to the bottom of the pertinent event page).

Presenters were invited to respond to 5 questions during their 3-4 minute recorded presentation – the five questions were:

A) Who you are and what was your walking piece that you documented with a map? 
B) Why you chose a map to document your piece?
C) What was the process of creating the map?
D) What were the plus points from having the map?
E) On reflection, what would you have done differently to improve on what you did, and why?"]]></description>
<dc:subject>maps mapping 2026 andrewstruck davidhaley lucyfurlong janettekerr emilyartinian art poetry photography storytelling sound history place landscape play</dc:subject>
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<item rdf:about="https://petafloptimism.com/2026/03/14/gas-town-and-bullet-hell/">
    <title>Gas Town and Bullet Hell – Petafloptimism</title>
    <dc:date>2026-03-23T04:36:27+00:00</dc:date>
    <link>https://petafloptimism.com/2026/03/14/gas-town-and-bullet-hell/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Warning: a collection of half-formed thoughts about time, screens, AI agents, and a surprisingly relevant Japanese arcade genre."]]></description>
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<item rdf:about="https://wikigacha.com/">
    <title>Wikipedia Gacha</title>
    <dc:date>2026-03-19T05:29:22+00:00</dc:date>
    <link>https://wikigacha.com/</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>wikipedia play games</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:f78c4370339a/</dc:identifier>
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<item rdf:about="https://pablohelguera.substack.com/p/a-conversation-with-jerome-bruner">
    <title>A Conversation with Jerome Bruner - Beautiful Eccentrics</title>
    <dc:date>2026-03-13T05:09:02+00:00</dc:date>
    <link>https://pablohelguera.substack.com/p/a-conversation-with-jerome-bruner</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["On possibility, dialogue, and the creative nature of learning."]]></description>
<dc:subject>jeromebruner pablohelguera 2026 learning howardgardner cognition reggioemilia children childhood education knowledge dialogue process howwelearn nielbohr bauhaus imagination creativity wendywoon play playfulness curiosity art experience</dc:subject>
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<item rdf:about="https://www.thisiscolossal.com/2026/03/isamu-noguchi-animated-unbuilt-playgrounds/">
    <title>An Animated Look at Noguchi's Experimental Playgrounds That Were Never Built — Colossal</title>
    <dc:date>2026-03-10T20:30:29+00:00</dc:date>
    <link>https://www.thisiscolossal.com/2026/03/isamu-noguchi-animated-unbuilt-playgrounds/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["“I think of playgrounds as a primer of shapes and functions; simple, mysterious and evocative; thus educational,” Isamu Noguchi said in a pamphlet about his Playscapes. Perhaps best known for his stone sculptures and Akari lamps, the Japanese artist and designer always had an eye on the spaces that define childhood, particularly public playgrounds and their influence on the young mind.

In 1933, Noguchi proposed redeveloping an entire New York City block into “Play Mountain,” an enormous topographical project that would be unstructured and open-ended. Rather than have swings and swift metal slides, for example, Noguchi wanted earthen steps, a bandshell, and a large hill for sledding and gathering. The idea was that it could be just as fun in the winter as in the summer and stimulate kids’ imaginations more than the prescriptive equipment typical in urban parks. Then-Parks Commissioner Robert Moses rejected the plan, though, and despite efforts to have the project and others of Noguchi’s designs built in New York, none were ever realized in the city.

[embed: notes below]

"A series of short animations recreates this lesser-known history. Using hand-painted celluloid under a Rostrum camera, Eastend Western imagines what these never-built playgrounds would have looked like—and how children may have interacted with the unconventional structures. There are concrete mounds with cavernous openings, labyrinthine sand gardens, and asymmetrical equipment that could teach users that “the rate of swing is determined by the length of the pendulum,” the film says.

The animations were produced in conjunction with the exhibition Noguchi’s New York, which is on view through September 13 at The Noguchi Museum. There’s also a new monograph that dives into the artist’s playgrounds and is a companion to a major retrospective at the High Museum of Art, available for pre-order on Bookshop. Find the full film series on YouTube."

[embed notes:

playlist:

"Noguchi's New York — Animated Playgrounds (2026) - YouTube"
https://www.youtube.com/playlist?list=PLjjwFd0wbYEi2PcyVJJR8B3Us2k27aetX

"Eastend Western presents five animated films entirely hand painted over 1,800 celluloids, inspired by Isamu Noguchi's unrealized playground proposals for the city of New York. They were produced as part of the exhibition ‘Noguchi’s New York', curated by Kate Wiener, and on display February 4 — September 13, 2026 at the Noguchi Museum."

The playlist contains the following short animations.

"Play Mountain 1933 — Noguchi's New York Animations"
https://www.youtube.com/watch?v=tRtr6kc_hhM

"Noguchi’s first major proposal for New York City was Play Mountain (1933), an ultimately unrealized design for a mountain playground meant to occupy a full city block or a section of Central Park. Replete with graded steps for climbing, a water slide, a slope for sledding in winter, a bandshell, and an indoor family center, Play Mountain was envisioned as a multifunctional landscape for open-ended play, exploration, and gathering. This animated film imagines how kids would have interacted with Play Mountain on a snowy day.

This film was entirely hand painted on celluloid and captured under a rostrum camera.

Directed by Nicolas Ménard & Jack Cunningham, Eastend Western

Produced as part of the exhibition ‘Noguchi’s New York'
The Noguchi Museum
February 4 — September 13, 2026
Curated by Kate Wiener, Noguchi Museum Curator

https://www.noguchi.org/museum/exhibitions/view/noguchis-new-york/

Composer: James Hatley
Animator: Isaac Holland
Painting Assistants: Laura N-Tamara, Laurence Thérien"

"Playground Equipment 1940 — Noguchi's New York Animations"
https://www.youtube.com/watch?v=XDFV6xOKhxw

"In 1941, Noguchi presented the New York City Parks Department with newly designed models for “playground equipment,” which he had initially conceived for a park in Hawaii. He hoped these playable sculptures would be both fun and educational—the multiple-length swings, for instance, could teach a child that “the rate of swing is determined by the length of the pendulum.” Although these designs were more in line with the conventional playgrounds promoted by Parks Commissioner Robert Moses, they were still deemed too experimental and potentially dangerous. This animated film explores how Noguchi used lines and solid shapes as building blocks for his sculptures' graphic language."

"Contoured Playground 1941 — Noguchi's New York Animations"
https://www.youtube.com/watch?v=3pg0w_ssEh4&list=PLjjwFd0wbYEi2PcyVJJR8B3Us2k27aetX&index=4

"In defiant response to the New York City Parks Department’s rejection of his “playground equipment,” which they considered too experimental and potentially dangerous, Noguchi conceived of Contoured Playground (1941). He considered this playable landscape “made entirely of earth modulations” to be “fail-proof for the simple reason that there was nothing to fall off.” Noguchi envisioned children freely exploring Contoured Playground’s mounds and depressions without explicit instructions, empowered to “confront the earth as perhaps early man confronted it.” A photograph of the model shows that Noguchi also experimented with adding play equipment including a seesaw, swing set, and climbable tree. Although there was some initial interest in placing Noguchi’s proposal in Central Park, the outbreak of World War II arrested any progress. After the war, Noguchi continued lobbying Moses to consider Contoured Playground, but to no avail. This animated film is a poetic investigation of Noguchi's vision, a journey from a moon-like landscape to the middle of the city."

"United Nations Playground 1951-52 — Noguchi's New York Animations"
https://www.youtube.com/watch?v=aHffNz0djyY

"In 1951, Noguchi attempted to construct a playground on the New York City campus of the United Nations Headquarters. Working with architect Julian Whittlesey, Noguchi designed a wonderland of mounds, tunnels, caves, slides, and climbing structures for open-ended exploration. Although outside funds had been raised, United Nations officials ultimately caved to pressure to kill the project from Parks Commissioner Robert Moses, who was acting as a liaison between the UN and the city. This animated film explores different angles of some of the most interesting elements from that playground."

"Riverside Playground 1961-65 — Noguchi's New York Animations"
https://www.youtube.com/watch?v=B-7yk1znFBM

"Over the course of five years, Noguchi worked with architect Louis Kahn on designs for a four-block sculptural landscape for Riverside Park. Kahn and Noguchi devised plans for a subterranean community center surrounded by sculptural elements for congregation, exploration, and play, including triangular steps, a maze-like sand garden, an amphitheater, a slide mountain, and a band of concrete play sculptures. The project progressively shrunk in scale as they tried to appease demands from the City Art Commission, the Parks Department, and local community members, some of whom vehemently opposed what they saw as a desecration of parkland. By 1965, Noguchi was the closest he would ever come to fulfilling his decades-long dream of sculpting a playground for the city. Blueprints were drawn, funds secured, and a city contract signed, but the project ultimately fell through. Half the budget was promised from the city, and between a taxpayers’ lawsuit and objections from incoming mayor John V. Lindsay, who had vowed to address New York’s fiscal problems, plans were abandoned. Noguchi would later lament, “My best things have never been built.” This animated film offers a bird's-eye overview of parts of his original plan."

"Post Credit Scene — Noguchi's New York Animations"
https://www.youtube.com/watch?v=vWVkgsXxGik

"Drinking tea with the kids as they rest from a full day of playground activities, by the soft glow of Noguchi's Akari light sculptures."]]]></description>
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<item rdf:about="https://www.youtube.com/watch?v=U8dcFhF0Dlk">
    <title>Suno, AI Music, and the Bad Future - YouTube</title>
    <dc:date>2026-02-09T16:51:18+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=U8dcFhF0Dlk</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Sources:
https://docs.google.com/document/d/1my3jJ96cyKmHubZu5mTLgp3wzEWtXKJkqfP0kKcF6kE/edit?tab=t.0

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

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

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

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

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

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

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

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

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

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

I happened to come across Adam’s video yesterday just after watching Julian Lage and his bandmates perform “Something More” [https://youtu.be/AECKSq8r2OM?si=WCJ4gW-viCdlYjAX ] — what a beautiful song, and look at that, it’s just four people in a room making that beauty happen. I only wish they were coming my way sometime soon."]]]></description>
<dc:subject>adamneely suno ai artificialintelligence art artmaking music musicmaking slow friction chatgpt howwethink thinking loneliness narcissism work labor effort isolation friendship influences copyright deskilling learning howwelearn humanism human humans tecnhooptimism movefastandmakethings futurism technology songwriting culture relationships community movefastandbreakthings efficiency impatience patience optimization dystopia craft mikeyshulman howwemake making howwewrite writing rickrubin taste skill skills rolemodels inspiration lineage influence improvisation alanjacobs evil techmooptimism siliconvalley arthurcclarke ip intellectualproperty streaming internet web online creativity sharedexperience experience disruption fun humanity chess play craftsmanship turingtest jamming sychophancy capitalism technodeterminism technologicaldeterminism tressiemcmillancottom control power marketing mohinidey education vc venturecapital artseducation musiceducation italianfuturism filippomarinetti marcandreessen nickland pr</dc:subject>
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<item rdf:about="https://www.youtube.com/watch?v=2yVJffNplJc">
    <title>The New Satanic Panic Is Here - YouTube</title>
    <dc:date>2026-01-24T17:16:13+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=2yVJffNplJc</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[See also:
https://www.usermag.co/p/the-new-satanic-panic-is-here ]

"Are Smartphones & Social Media Really Causing a Teen Mental Health Crisis?

Are smartphones and social media actually destroying teen mental health, or is this just another moral panic? I critically examine the growing narrative that phones, apps, and screen time are responsible for rising anxiety, depression, and harm among teenagers. 
 
These claims, popularized by politicians, journalists, interest groups like the Heritage Foundation, and authors like Jonathan Haidt (The Anxious Generation), are being used to justify mass surveillance laws, deplatforming marginalized people, and implementing policies that actually harm kids and reward big tech. 
 
They allow lawmakers to scapegoat users, and institute draconian surveillance laws instead of enacting meaningful regulation. Haidt and others boosting this moral panic have pushed debunked claims about how social media can turn kids LGBTQ. Haidt has pushed false and misogynistic claims that young liberal women suffer from more "anxiety." He is on the board of Bari Weiss' unaccredited reactionary right wing University. 

Using peer-reviewed studies, media analysis, and real-world examples, this episode breaks down:

- Why smartphones became the default scapegoat for teen mental health
- How correlation is repeatedly confused with causation
- Ho weak and misleading data is driving major public policy decisions
- How moral panics spread through podcasts, news media, and social platforms
- Who is actually harmed by phone bans and social media crackdowns
- Why girls, LGBTQ youth, and marginalized teens are the most harmed

I also explore how internet scares like the Momo Challenge illustrate the dangers of fear-based policy making, and why banning technology doesn’t solve any of the root issues of kids' mental health issues like social isolation, economic stress, lack of mental health care, and inequality.

If you’re interested in:

- Teen mental health
- Social media & smartphones
- Internet culture and moral panics
- Education policy and school phone bans
- Digital rights and youth safety

this video will challenge what you’ve been told by the mainstream media, but please keep an open mind!"]]></description>
<dc:subject>taylorlorenz 2026 socialmedia jonathanhait web internet online mentalhealth conservatism censorship inequality momochallenge smartphones moralpanic mashablackburn lgbtq policy bariweiss heritagefoundation anxiety reactionaries screentime depression teens youth research media technology change history novels comicbooks comics telephones phones television tv radio fredricwertham children childhood adolescence addiction beepers columbine videogames games gaming bans tiktok isolation fear danahboyd mobility walkability suburbia freetime leisure homework play parenting panic surveillance economics wealthdisparity work labor pandemic covid-19 coronavirus misogyny rightwing right recession economy unemployment instability capitalism publicpolicy poverty precarity guns stress mainstreammedia social connection</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:082a3d9fbf89/</dc:identifier>
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</item>
<item rdf:about="https://www.frontporchrepublic.com/2025/12/still-asking-berrys-question/">
    <title>Still Asking Berry’s Question - Front Porch Republic</title>
    <dc:date>2025-12-30T20:14:19+00:00</dc:date>
    <link>https://www.frontporchrepublic.com/2025/12/still-asking-berrys-question/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The promise of liberation from drudgery quickly becomes liberation from purpose."

...

"Wendell Berry asked a question that modernity hates because it cannot be monetized: What are people for? The industrial age answered without blushing: people are for the economy. They are for the factory, for the spreadsheet, for the gross domestic product, for the “growth curve.” And because modernity is very sure of itself, it named this clear and quantifiable purpose “progress.” Berry, being a sane man, said no. People are not raw material. The farm is not a mine. The town is not a labor pool. The land is not “natural resources.” The creature is not a “human resource.” People are for love, for neighborliness, for covenant, for the stewardship of place, for the worship of God. The economy is for people, not the other way around.

Now we have entered a new chapter in the same old story. The factory was thick steel and soot; the algorithm is clean glass and the promise of frictionless living. But the question has not changed. What are people for? If you listen to the evangelists of ubiquitous AI, you can hear the old answer updated for a sleeker age: people are for optimizing the system. People are for feeding the model. People are for “upskilling” to stay relevant. People are for consumption while machines produce. We are for being managed, curated, nudged, entertained, medicated, subsidized, and finally rendered unnecessary…except perhaps as data points.

We should not pretend this is a neutral development. A tool is never just a tool. Every tool is a moral proposal. The plow proposes a certain kind of farming. The automobile proposes a certain kind of city. The smartphone proposes a certain kind of attention span. And AI proposes a certain kind of humanity. Powerful tools do not merely serve us; they slowly train us to serve them. And if the only virtues we value are efficiency and expediency, we will bow to any machine that offers more of both.

The ideologues of automation speak with a kind of missionary zeal. AI will free us from drudgery. AI will remove human error. AI will multiply economic output. AI will personalize education, healthcare, entertainment, companionship. AI will be the “next electricity,” they say, and so it must be everywhere, in everything, all at once. And then the pious conclusion: anyone raising a hand in caution is anti-progress, anti-science, afraid of the future.

But there is another word for the future they are selling: displacement. The question is not whether AI can do certain tasks as well as humans. Of course it can, and increasingly it will. The question is whether a society that systematically replaces human labor with machine labor is still a society ordered to human good. The promise of liberation from drudgery quickly becomes liberation from purpose. And purpose is not an optional accessory. It is a necessity of being human. A man without meaningful work is not a man who has been freed; he is a man who has been cut loose.

“Work” here does not mean mere wage-earning. It means the human vocation to make and keep, to cultivate and guard, to build what is worth inheriting. Work is the way love takes shape in the world. A father works to provide. A mother works to nurture. A neighbor works to repair what is broken. A farmer works to husband the soil. A teacher works to pass on wisdom. A carpenter works to make shelter. A church member works to bear burdens. These are not interchangeable economic units. They are acts of embodied responsibility. Berry’s complaint against abstraction is precisely this: once people become “labor” in the system, their particular loves and particular places no longer matter.

Ubiquitous AI accelerates abstraction like gasoline on a brushfire. The more that work is done by disembodied systems, the less work is tied to place. And the less work is tied to place, the weaker the ties of membership become. The logic is brutal and simple: if a machine can do it cheaper, humans shouldn’t. If a town is inefficient, the market will bypass it. If a craft is slow, an algorithm will swallow it. If a family is fragile, a platform will replace it with services. We are invited to live in a world of permanent outsourcing, where the friction of being human is treated as a bug to be fixed.

And the social consequences are not hard to predict because many of them are already here. First comes automation. Then comes permanent unemployability for a wide class of people; not because they’re lazy, but because the ladder has been kicked away. “Learn to code” was the pep talk of the last decade; now AI codes. “Go into design” was the assurance of the creative economy; now AI designs. “Do knowledge work” was the shelter from industrial replacement; now AI writes, summarizes, drafts, advises. The goalposts will keep moving because the goal is not human flourishing. The goal is maximal efficiency.

What happens to a people whose sense of worth is tethered to usefulness, when usefulness is mechanized away? We should be honest enough to answer: despair. Aimlessness. Addiction. Political hysteria. A general lowering of the national mood. In some cases, yes, rebellion. In other cases, a dull flotation in entertainment and substances. You cannot turn the human being into a dependent and expect him to remain a citizen. You cannot treat him as superfluous and expect him to remain sane.

“Universal basic income will solve that,” we are told. Money for nothing; a subsidy to float those who have been made redundant. But here again is Berry’s question in another costume. What are people for? If the answer is “for consuming products and staying quiet while machines do the meaningful stuff,” then yes, UBI is a tidy solution. It is also a polite form of social euthanasia. Bread without work is not dignity; it is sedation. The Christian tradition does not say, “If a man does not work, let him receive a check so he can endlessly scroll.” It says, “If a man does not work, neither shall he eat”—not to be cruel, but because work is woven into the fabric of a meaningful life. We were made to bear responsibility. We were made to put our love to work in the service of God and neighbor. A society that tries to offload that need is not merciful; it is vandalizing the soul.

The defenders of ubiquitous AI assume that meaning is something you can invent once the machines handle the necessities. “People will be free to pursue art, leisure, relationships, play.” But leisure is only leisure after labor. Play only means something because there is something serious to play from. Art is not a default state produced by free time; it is the fruit of disciplined attention, usually learned under the patient hand of a community. Relationships fray when no one is needed. If we take away the ordinary callings that knit people to one another, we don’t create a paradise of creativity. We create a petri dish for narcissism.

The deeper issue is theological before it is economic. God made man in His image. That image includes the charge to rule, name, cultivate, and create. We are not gods, but we are makers under God. We were not fashioned to be ornamental. When the machine becomes the primary actor in the world and the human becomes a passive recipient, the image is insulted. The cult of AI is not just a business strategy. It is an anthropology: a doctrine about what humans are. And its doctrine is that humans are error-prone meat devices. The system is wise. Trust the system. Give over agency. Let the optimization proceed.

Berry’s resistance to industrialism was never about nostalgia for hard labor. It was about fidelity to creaturely limits and local loves. The point is not that we should forbid every use of machine intelligence. The point is that we must never enthrone it. Tools are gifts when they remain tools. They are curses when they become masters.

So what does it mean to refuse subservience to the tool?

It means we stop speaking as though inevitability were the same as righteousness. “AI is coming, so we must adapt,” is not an argument. Plagues come too. Pornography comes too. Tyrants come too. The question is not what is coming, but what is good. And goodness is measured by whether human beings become more fully human in their homes, churches, and towns.

It means we choose…deliberately, even stubbornly…to preserve human-centered work where it matters. A community that keeps teachers teaching, craftsmen crafting, nurses nursing, pastors pastoring, and parents parenting is not inefficient; it is sane. It is recognizing that the speed of a machine is not the same thing as the health of a people.

It means we re-localize what AI tries to de-localize. The more our economy is mediated by distant, opaque systems, the less accountable it becomes. AI concentrates power because it concentrates knowledge and production into the hands of those who own the models and compute. If Berry taught us anything, it is that concentrated power is always a threat to the land and the people. The antidote is smallness, transparency, and face-to-face responsibility.

It means we insist that education is for forming persons not “training users.” If AI shortcuts every hard mental hill, it does not make students free; it makes them dependent. Wisdom grows through struggle, through memory, through attention, through the risk of being wrong. A classroom ruled by AI tutoring as the default is a classroom that has quietly replaced the teacher’s moral authority with the machine’s efficiency. That is a bad bargain.

It means we regard the family and church as the primary economies of meaning. A man who is needed at home and in his congregation is not easily replaced by an algorithm. A village that sees its young people as future members rather than future data labor is harder to colonize by tech inevitability. You can’t build that kind of belonging with a push notification.

Some will call this reactionary. Fine. The Hebrews have been “reactionary” against idolatry since Pharaoh, and the Christians followed their example in Rome. We are not against tools. We are against false gods. We give thanks for whatever genuinely helps a mother care for her kids, a doctor diagnose disease, a farmer steward soil, a teacher teach clearly. But we refuse to live in a world where the human is downstream from the machine. We refuse to trade our birthright for convenience.

Berry’s question presses us toward a final clarity. People are not for AI. People are not for the market. People are not for the state. People are not for the machine. People are for God, and therefore for one another, and for the care of the earth that God has placed beneath our feet. Everything else is a tool. And if the tool demands that we become smaller, thinner, more passive, less responsible, and less bound to place and neighbor, then the tool is not helping. It is devouring.

So in this new industrial moment, the old counsel holds: put the living at the center. Keep the machines in the shed. Let them serve actual communities, actual households, actual farms, actual schools, actual churches. And when efficiency asks to be worshiped, laugh at it like Elijah laughed at the prophets of Baal. We were not made to be optimized. We were made to be faithful."]]></description>
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    <title>Playing with Consciousness - JSTOR Daily</title>
    <dc:date>2025-12-10T20:55:39+00:00</dc:date>
    <link>https://daily.jstor.org/playing-with-consciousness/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Out-of-the-ordinary mental states are the goal of many religious rituals, but they’re also important in “playful” situations like kids’ games and fraternal hazing."]]></description>
<dc:subject>consciousness 2025 play ritual rituals children games hazing</dc:subject>
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    <title>Dying to Work | Commonweal Magazine</title>
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    <link>https://www.commonwealmagazine.org/dying-work</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Byung-Chul Han and the legacy of the Catholic Worker"

...

"The issues that occupied the Catholic Worker movement beginning in the 1930s are, in some obvious ways, still with us: the injustice of laissez-faire capitalism, communism, factory industrialism, and mechanized society. Dorothy Day and Peter Maurin confronted these upheavals, taking Catholic social teaching as the basis of their philosophy and inflecting it with the insights of Marxists, critical theorists, anarchists like Pyotr Kropotkin and Nikolai Berdyaev, the English distributists, and French personalists such as Emmanuel Mounier. But the critiques developed out of these influences might seem hard to apply to a socioeconomic climate that has changed so quickly and so destructively over the past century. Does their work still speak to a world dominated by social media, finance capital, artificial intelligence, and virtual reality?

One contemporary philosopher stands out as a bridge connecting the Catholic Worker worldview to the contemporary world. Born in South Korea and educated in Germany, Byung-Chul Han has produced more than twenty short books during the past ten years. This considerable body of work has made him one of the leading European philosophers of his generation, but he is still not as well-known as he should be in the United States. His books bring continental philosophy to bear on late modern culture, especially in its economic and technological aspects. Han, himself a Catholic, brings out the fact that the Catholic Worker’s deepest critique of our present regime operates not on the level of economic theory at all but in its prodigal way of life.

*** 

Taking his cue from the Marxist tradition, Han sees contemporary society as dominated by the means of production. The order of the day is incessant work in service of maximal productivity, and this industrial ideal has slowly spread throughout the culture. Even as most workers, in developed countries like the United States at least, have left the physical confines of the factory behind, the factory-like spirit of totalized work has come to dominate us. Efficiency, Han argues, is our ideology, incarnate in the ubiquitous technology that just is the contemporary world, and in whose image we remake and enslave ourselves.

We know this in our bones, if not in our heads. We feel guilty for relaxing; we are constantly harried in the name of productivity; we calumniate those, like the homeless, we suspect of laziness; and we fill our lives and homes with as much “smart” technology as possible to maximize efficiency and convenience. A good “work ethic” and financial prudence are among the top values we want to instill in our children. The very fact that we talk about morality in terms of our “values” reflects the primacy of the economic. All this, for Han, indicates that the industrial ideal has taken up bodily residence in us. We live to work.

This is a familiar line of argument for Catholic Workers. It extends the personalist critiques of Mounier and Arthur Penty—two of Maurin’s biggest influences—who saw technocracy colonizing not only the external world but our affects, habits, and tastes as well. Han’s critique also echoes that great line of Rerum novarum: industrialism had produced conditions “little better than slavery itself.” 

Han consistently argues that the move to the digital world is not a move away from the factory drudgery with which Marx and Day contended, but rather its totalization. We no longer spend our time producing only things, but, internalizing the factory ethos, we unendingly produce ourselves. “Accordingly,” he writes in his book Psychopolitics, “industrial capitalism has now mutated into neoliberalism and financial capitalism, which are implementing a post-industrial, immaterial mode of production…. People are now master and slave in one.” Life online demands constant optimization of our image, portfolios, profiles, platforms, credit ratings, histories, etc., to the point that we become our own products. So “now the illusion prevails that every person—as a project free to fashion him- or herself at will—is capable of unlimited self-production.” We spend our lives selling ourselves, and unlike in the factory, we do this work under self-supervision and, if we’re not self-monetizing influencers, for free. Self-oppression, or self-slavery, becomes today’s dominant social form. We are approaching the prospect of the fully capitalized human being. 

Here, Han puts his finger on a theme that the social encyclicals, and especially distributists like G. K. Chesterton and Hilaire Belloc, have occasionally broached but never systematically developed. Work, Han points out, is at base concerned with the preservation of bodily life; it is necessary for our survival. In this way, it is intimately connected with the possibility and fear of death. When we are working to acquire the means to life, we are working to push death away, whether we think of it that way or not. The goal of work is the maintenance of what Han, following the Italian philosopher Giorgio Agamben, calls “bare life.”

Han contrasts bare life with other forms of life that have usually been recognized as essential for genuinely human life: art, beauty, literature, philosophy, liturgy, community, the spirit, relationships, and contemplation. These cultural expressions arise not out of a concern for the body or a fear of death but from leisure, celebration, festivity, play, enjoyment, fun, devotion, and love. “As forms of play, festivals…are characterized by an excess, an expression of overflowing life that does not aim at a goal,” Han writes in The Disappearance of Rituals. “This is what lies behind their intensity. They are an intense form of life. In the festival, life relates to itself instead of subordinating itself to exterior purposes.” These forms of life are what the encyclicals call “higher goods,” and Berdyaev and Mounier call “the life of the spirit.” They are not concerned with efficiency, and they are about much more than “mere” biological life and the means necessary to reproduce it. 

They are, you might say, prodigal in the face of death and the body’s requirements. For when we engage in these forms of life, we are often wasteful—and sometimes extravagantly so—of time and materials that could be used to prevent death. Think of the building of our churches or the expenditures of a symphony. In these activities, we are not just staying alive; we are living. But when work becomes totalized, the mundane, mere biological existence, bare life, becomes all-important. It colonizes our minds, becoming the unconscious goal of all we do until we can no longer live in the prodigal sense but only work. 

In these circumstances, work and the accumulation of capital come to seem like a defense, even an antidote, to death. We are under the illusion that if work holds off bodily death by what we get from it, then the more we do of it—the more we apply it to every facet of our lives—the more resources, and hence the more life, we have. “We produce against the feeling of lack,” Han writes in his book Vita Contemplativa. “Capital is a form of survival. Capitalism is nurtured by the illusion that more capital creates more life, increases the capacity to live. But this life is a bare life, a survival.” This logic of totalized work to fend off a totalized fear of death, Han argues, governs our cultural discourse, occupations, and institutions. They concern themselves with the mere maintenance of bodily life through production and consumption. Deriving their legitimacy from the fear of death, they instill that fear in us all the more deeply.

This account both underwrites key insights of the Catholic Worker philosophy of work and extends it, showing the tradition to be more applicable today than ever. Day and Maurin, in concert with the social encyclicals, always stressed that there was a kind of work that is a created good. They even developed a certain spirituality around it. The Catholic Worker promoted the revitalization of small-craft economies, manual labor, and a return to the land, in service of a “functional society” where economic activity is subordinated to those noneconomic “higher” goods of the local community enumerated above. Like Gandhi, Maurin thought that everyone should do at least some manual labor, and alluding to Marx, he wanted the “workers to be scholars and the scholars to be workers.” This kind of work was to be distinguished sharply from the degraded factory work available under industrialism. Day and Maurin positively encouraged people to get out of those jobs. 

Han shows how much more challenging working for higher goods has become today. The transmuted factory of “self-production” usurps ever more of our opportunities to work collectively at a small scale. Without small-scale contributions to a functional economy in service of festivity and worship, we fall short of genuinely human culture and submit ourselves to totalized capitalism.

***

Han also helps us see the way that Catholic Worker theory and practice are related. The most radical critiques of our social order, he shows, come from those who refuse to submit to the demand that we spend our lives trying to get out of life alive. In this way, Day’s and Maurin’s prodigal lives made them walking rejections of the order of totalized work. 

The early Catholic Workers took as their heroes the first Christian communities and set themselves to the literal practice of the Sermon on the Mount. They shared what little they had, embraced and preached voluntary poverty (including recommending it to families), and lived in community with the poor. They had no insurance, no budget, and Day’s financial plan was “another miracle please, St. Joseph.” She lived in close proximity to bodily harm, fights and weapons being commonplace at St. Joseph’s House. And yet, consistent with her pacifism, she placed a strict ban on calling the police. Such laid-back prodigality is a “festive” or “playful” way of life—in stark contrast to the anxious capital accumulation and obsession with health and safety so typical of our age. Han pinpoints exactly what made Day’s life so radical: she refused to try to work her way free of death. 

The totalized factory-society aims not only at limitless production but at total controlby technical, financial, and, as Han argues in Psychopolitics, psychological means. But Catholic Workers, by their precarious, “irresponsible” existence, lived against this totalized work ethic by living out of control. Here is not tightfisted accumulation, but “taking no thought for tomorrow.” Here are not health and security clung to desperately, but, as Day often said, abandonment to divine providence. 

By living outside the frenzy of production and self-production, Day represents a form of what Han calls “the politics of inactivity.” In Vita Contemplativa, he writes:

<blockquote>Capital is the pure form of activity. It is the transcendence that takes hold of the immanence of life and exploits it completely. From life, it separates bare life, life that works. The human being is degraded into an animal laborans. Freedom is exploited, too. According to Marx, free competition is nothing but “the relation of capital to itself as another capital”…. The politics of inactivity [by contrast] liberates the immanence of life from the transcendence that alienates life from itself. Only in inactivity do we become aware of the ground on which we rest.</blockquote>

Inactivity, in this sense, is what distinguishes those noneconomic practices that make life truly human. Catholic Workers’ lives are fundamentally playful and celebratory, heedless of the conventional (factory) wisdom of maximizing control, optimizing efficiency, and living by holding off death. 

Of course, Day’s life simply was her practice of Catholicism, living the age-old but radical precepts of the Gospel. It’s important not to construe her faith, as is sometimes done, as an instrument for reforming the social order or the economy. That would be to reinscribe it within totalized capitalism, to place it in the service of an order in constant retreat from death. Rather than flight from death, the Gospel represents an embrace of death.

Together, Day and Han help us remember that this embrace structures Christianity from top to bottom. In her journals and chronicles of her daily life and travels, Day regularly refers to the martyrs, to the need to put ourselves to death, and to the embrace of the cross itself. With Han’s help we can see that Day’s prodigal practices—voluntary poverty and the sharing of possessions—are intelligible only as part of a community constituted by its liberation from the hegemony of death. The radical precepts of the Sermon on the Mount are just the “economic” application of the way of the cross. The radical forms of economic life Day encouraged are the concrete and quotidian way Christians go about believing in the Resurrection. 

In other words, by being “irresponsible” with her money and her physical safety, Day was refusing the lie that we must try to ensure our lives turn out right by submitting to the current economic order. Her refusal to abide by the dictates of economic efficiency and to let her life be run by “risk” are training in martyrdom. She reminds us that the early Christians were not simply martyred for a “religious belief” detachable from their daily lives; they went to their deaths prepared by an alternative social life that spurned the fear of death. 

Han’s work thus not only demonstrates the continued—and even heightened—relevance of the Catholic Worker’s philosophy of labor for a digital age. He also unearths the intimate connection between radical Christian social practices and the very center of our faith—the Paschal Mystery. If those practices sometimes seem a little too radical for us ordinary Christians, it’s worth recalling that Day herself often pointed out that the way she lived was not for the religious elite, but for everybody. Her own inspiration came from the simple truths Christians share and with which we are marked in our baptism: we have already died, and so we have nothing to lose; we have already risen, and so we can live without fear.  "]]></description>
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    <title>What '67' Reveals About Childhood Creativity - Atlas Obscura</title>
    <dc:date>2025-11-24T05:08:59+00:00</dc:date>
    <link>https://www.atlasobscura.com/articles/67-meme-childrens-lore-iona-peter-opie</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The work of Iona and Peter Opie, two pioneering researchers in postwar Britain, can help us understand the epitome of 2025 memes."]]></description>
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<item rdf:about="https://pablohelguera.substack.com/p/the-lexiconic">
    <title>The Lexiconic - Beautiful Eccentrics</title>
    <dc:date>2025-11-14T05:57:58+00:00</dc:date>
    <link>https://pablohelguera.substack.com/p/the-lexiconic</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["(An introduction to an imaginary theory book)

For several years I have entertained the peculiar hobby of designing covers and writing introductions to books that I will never write. Each preface is a small act of wishful thinking—a threshold to a volume that will remain forever unwritten. The task suits me: it allows the pleasure of invention without the tyranny of completion. This text, then, belongs to that lineage of imagined prologues. It introduces not a finished theory but the promise of one, an unwritten book that might be called The Lexiconic, devoted to the porous border between words and images, where art and writing exchange their roles and lose their names.

If this essay functions as an introduction, it is because every introduction points toward an absence—a body of thought that is yet to come or perhaps never will. The Lexiconic remains, for now, an unwritten book, but also a provocation: an invitation to read art as language and to see language as art. What follows, in whatever form it may take, should not seek to resolve that tension but to dwell within it—to inhabit the space between the page and the picture, between what can be said and what insists on being seen.

Contemporary visual artists are often discipline intruders. We drift into territories that once seemed securely belonging to others—anthropology, activism, history, therapy, wellness—claiming them as raw material for our practice. I have sometimes felt ambivalent about these touristic forays, especially when they involve education. As I argued years ago in an essay titled Pretend Play, practices must be actual, not merely symbolic; and actual practice requires knowledge, skill, and the humility of apprenticeship. Yet I have rarely turned that same critical lens on my own incursions. Over the years I have never quite confronted, nor even attempted to define, my relationship to writing as an artistic practice.

It is a relationship as complex as it is essential—one that could easily be accused of the same dilettantism I often criticize in others. I am not a novelist, nor a poet, nor even a proper essayist. So what, then, is my position as a writer who operates through art, or as an artist who writes? This is the question I want to explore here, under the sign of what I call the Lexiconic.

The relationship between text and image has always been contentious. One is almost always made to serve the other: the image as illustration, the text as caption. The two have been kept in a hierarchy that privileges either the eye or the word, but rarely both. Early twentieth-century avant-gardes recognized and exploited this friction. The Surrealists blurred language and vision to destabilize meaning itself, turning captions into riddles and metaphors into traps. The Constructivists deployed words as weapons, instruments for social transformation rather than vehicles of description. Later, Minimalist and Conceptual artists reduced language to its barest material state, treating it as object, as matter, as art in itself. And the practitioners of institutional critique—figures such as Hans Haacke, Martha Rosler, or Barbara Kruger—weaponized text once again, this time to expose the ideological machinery behind the image and its circulation. Throughout, the struggle between word and image remained unresolved, a productive antagonism that continues to shape how we read art and how art reads us.

It is important to note that conceptual artists who incorporated text into their work rarely considered themselves writers or authors. In fact, many actively recoiled at the idea that their work could be construed as poetry or literature. Lawrence Weiner was explicit about this distinction when he said, “I’m not a poet. Poets use language to describe a state of mind. I use language to describe a relationship in the world.” From the 1970s onward, Weiner articulated a position in which words were not expressive vehicles but construction materials—elements to be arranged, displaced, or installed in space. This view proved profoundly influential for later generations of artists who wished to employ language without being subsumed by the interpretive frameworks of literary theory or criticism. For them, text was neither illustration nor metaphor, but an extension of the visual field—another means of composition and inquiry within the visual arts. By severing language from its traditional literary obligations, Weiner and his contemporaries made it possible to approach writing as sculpture, drawing, architecture, or site—thus opening the way for a practice in which the act of writing could be, paradoxically, visual.

A question that has long troubled me is how we determine the legitimacy of cross-disciplinary claims in art. I have often argued that when artists declare their work to be educational, it is fair—indeed necessary—to evaluate it through the parameters of education. If one claims to teach, then one should be accountable to the standards and responsibilities of teaching: rigor, continuity, care, and the production of actual learning. Art that merely illustrates or parodies pedagogy cannot be excused from those criteria if it also insists on calling itself education.

Yet when it comes to artists who use language, I find myself in a more uncertain position. Why am I comfortable invoking pedagogical criteria to assess art-as-education, but reluctant to use literary criticism to assess art-as-writing? Part of the reason, I suspect, lies in the kind of claim the work makes. Conceptual artists who employ words as material seldom claim authorship in the literary sense; they do not promise the reader a text, but rather propose a structure or situation in which language operates visually, spatially, or conceptually. Their accountability is to art, not literature. The same logic that obliges the “educational artist” to answer to pedagogy frees the “lexiconic artist” from answering to literary theory—unless, of course, they themselves claim to be authors.

When Miguel de Unamuno was criticized for his unconventional approach to the novel, he refused to defend himself within the inherited parameters of literary form. Instead, he coined a new word—nivolas—to describe what he was doing. The gesture was less about creating a new genre than about reclaiming the authority to name one’s own practice. I recognize something of that impulse in my own past attempts to define a “playformance,” a term I once used to avoid committing to either play or performance art. I wanted to acknowledge that what I was doing existed somewhere in between, in the untranslatable zone where form resists taxonomy. But such coinages are never entirely successful. They can be useful clarifications, yet they also risk being evasions—a way of sidestepping rather than confronting the interpretive frameworks that will, inevitably, be applied to the work. In the end, the world will read a piece through the vocabularies it already possesses.

Still, there is value in naming the territory, even provisionally. The Lexiconic, as I understand it, is not a genre but a field of operation: a way of locating artistic practices that use language neither as literature nor as pure visual form, but as an autonomous medium of thought and construction. To invoke the Lexiconic is not to escape judgment but to clarify the grounds upon which judgment can take place—to propose a lexicon for those works that dwell between reading and seeing, between naming and making.

I hope this book may serve as a guide for readers who, like myself, have often wandered through the uncertain borderlands between disciplines. I am reminded of an intellectual figure who loomed large in the Mexican cultural milieu of my childhood: Ramón Xirau. A Catalan philosopher exiled to Mexico during the Spanish Civil War, Xirau authored Introducción a la historia de la filosofía, one of the most enduring Spanish-language introductions to philosophy. His peers affectionately described him as “a poet among philosophers and a philosopher among poets.” My brother used to joke that the phrase was a double-edged compliment, implying that Xirau was never fully accepted as neither philosopher nor poet. Yet I have come to see that liminal space as a site of possibility rather than deficiency. Like Unamuno’s nivolas, it invites us to embrace ambiguity and heterodoxy—not as compromises, but as methods. In that spirit, I welcome the vibrant, unsettled practice of the Lexiconic."]]></description>
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<item rdf:about="https://liberatedtexts.com/reviews/a-pedagogy-of-the-collective-from-the-soviet-union-to-latin-america-makarenko-his-life-and-work/">
    <title>A Pedagogy of the Collective – From the Soviet Union to Latin America: Makarenko, His Life and Work, Alex Turrall (2021) — Liberated Texts</title>
    <dc:date>2025-11-14T04:23:27+00:00</dc:date>
    <link>https://liberatedtexts.com/reviews/a-pedagogy-of-the-collective-from-the-soviet-union-to-latin-america-makarenko-his-life-and-work/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[Book is here:
https://www.marxists.org/reference/archive/makarenko/works/life-and-work.pdf
https://www.are.na/block/41102121 ]]]></description>
<dc:subject>alexturrall 2021 makarenko pedagogy collectivism marlizimmerman paulofreire johndewey levvygotsky antonsemyonovichmakarenko ynmedinsky antonmakarenko educarinstitute vanderlúciasimplicio mst brazil brasil collectives individualism academia teaching learning howweteach howwelearn collectivity alienation community communitybuilding manuallabor relationships self-governance governance rubneuzaleandro latinamerica cuba children psychology gorkycolony semerrinha fidelcastro cheguevara literacy makarenkoinstitute ukraine elenagilizquierdo campesinos ussr sovietunion josémartí ideology capitalism communism communalism humility mutualrespect responsibility communes sexeducation parentaldiscipline educationalphilosophy friendship interdependence play felxibility nikolaiferre kladviaboriskina dzerzhinskycommune alyoshaziryansky maximgorky philosophy pedagogyoftheoppressed</dc:subject>
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    <title>Anji Play | The DO Lectures</title>
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    <link>https://thedolectures.com/talks/anji-play/</link>
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    <title>The Run Up</title>
    <dc:date>2025-10-28T03:00:12+00:00</dc:date>
    <link>https://2ndbreakfast.audreywatters.com/the-run-up/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Jazz -- watching, playing -- feels like one of the ultimate acts of AI resistance right now: an art form about play and unpredictability; about great skill and careful listening; about giving others space to experiment without losing group cohesion; about syncopation that both follows and defies counting; about history that has never been fully recognized or recorded but that is lived. Live."]]></description>
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<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:4568c70f55ad/</dc:identifier>
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<item rdf:about="https://www.tokyoweekender.com/entertainment/middle-aged-man-trading-cards-go-viral-in-japan/">
    <title>Middle-Aged Man Trading Cards Go Viral in Rural Japan Town</title>
    <dc:date>2025-10-18T02:53:32+00:00</dc:date>
    <link>https://www.tokyoweekender.com/entertainment/middle-aged-man-trading-cards-go-viral-in-japan/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Why kids in Fukuoka are obsessed with collecting cards with middle-aged men on them"]]></description>
<dc:subject>cards carddecks tradingcards 2025 ynessarahfilleul everyday games play gaming japan culture social rural fukuoka baseballcards</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
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<item rdf:about="https://playb.it/">
    <title>playbit</title>
    <dc:date>2025-10-17T05:35:25+00:00</dc:date>
    <link>https://playb.it/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Playbit is an operating system & development environment which encourages playful learning, building & sharing of local-first software on a personal scale.

communal technology

playbit is built on a collaborative foundation with a shared file system and multiplayer. Building collaborative software together with other people should feel natural. 

Creating in a playful way leads to more interesting ideas;
playbit gives us a "safety net" for our software adventures.

approachable collaborative open playful powerful reliable safe human modular systematic simple flexible posix webgpu local-first 

Guiding principles

Approachable
Collaborative & Open
Playful
Powerful
Safe exploration
Human
Modular
Systematic
Simple & flexible
Balanced
Consistent

The zen of playbit

Playbit is delightful and invites exploration.
Exploration is always safe, but not at the expense of flexibility.
It is in many ways a tool for getting the job done; a means to an end, but not at the expense of delight or playful exploration.
Explicit is better than implicit.
Simple is better than complex.
Simple is better than easy.
Easy is better than having to make many choices.
Simplicity does not mean easy, but it may mean straight-forward or uncomplicated.
Just because something may be simple, don’t mistake it for crude.
Simplicity is a goal, not a by-product.
Choose simplicity over completeness. There is an exponential cost in completeness.
Complex is better than complicated.
Flat is better than nested.
Special cases aren't special enough to break the rules, although practicality beats purity.
Errors should never pass silently, unless explicitly silenced.
Mutable state is hard.
Immutable data can be safely shared and reasoned about.
Isolated data is safe.
Namespaces are a brilliant idea."]]></description>
<dc:subject>computers computing programming software hardware os simplicity playbit collaborative approachability play local communal operatingsystems leaning building sharing scale small</dc:subject>
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<dc:identifier>https://pinboard.in/u:robertogreco/b:f294d26ae16f/</dc:identifier>
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</item>
<item rdf:about="https://www.youtube.com/watch?v=SwnzlcGYJnA">
    <title>The Woman Who Redefined Street Photography - YouTube</title>
    <dc:date>2025-10-01T16:45:56+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=SwnzlcGYJnA</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>helenlevitt faizalwestcott 2025 streetphotography photography nyc documentation history noticing seeing curiosity walkerevans henricartier-bresson storytelling everyday looking children play imagination color intimacy dignity empathy observation</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:67c2054553e5/</dc:identifier>
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<item rdf:about="https://thereader.mitpress.mit.edu/the-queer-lives-of-frogs/">
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    <dc:date>2025-09-11T21:03:24+00:00</dc:date>
    <link>https://thereader.mitpress.mit.edu/the-queer-lives-of-frogs/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["What frogs teach us about sex, science, and why biology is messier than we think."]]></description>
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    <dc:date>2025-09-03T21:15:46+00:00</dc:date>
    <link>https://www.killscreen.com/long-games-and-the-pursuit-of-lost-time/</link>
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<item rdf:about="https://www.smithsonianmag.com/smart-news/whales-and-dolphins-interact-more-often-than-scientists-thought-engaging-in-mutual-play-study-suggets-180987198/">
    <title>Whales and Dolphins Interact More Often Than Scientists Thought, Engaging in Mutual Play, Study Suggests</title>
    <dc:date>2025-08-21T02:14:36+00:00</dc:date>
    <link>https://www.smithsonianmag.com/smart-news/whales-and-dolphins-interact-more-often-than-scientists-thought-engaging-in-mutual-play-study-suggets-180987198/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Researchers analyzed nearly 200 videos and photographs documenting interactions between the various kinds of cetaceans"]]></description>
<dc:subject>whales cetaceans 2025 multispecies morethanhuman play social sarahashemi</dc:subject>
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<item rdf:about="https://daily.jstor.org/changing-playground-design-changing-how-children-play/">
    <title>Changing Playground Design, Changing How Children Play - JSTOR Daily</title>
    <dc:date>2025-08-13T19:31:41+00:00</dc:date>
    <link>https://daily.jstor.org/changing-playground-design-changing-how-children-play/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The built environment of the playground influences children’s play styles, and even small interventions can affect cognitive and social-emotional development."]]></description>
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<item rdf:about="https://www.theatlantic.com/ideas/archive/2025/08/kids-smartphones-play-freedom/683742/">
    <title>One Way Parents Can Fight the Phone-Based Childhood - The Atlantic</title>
    <dc:date>2025-08-08T18:28:13+00:00</dc:date>
    <link>https://www.theatlantic.com/ideas/archive/2025/08/kids-smartphones-play-freedom/683742/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Children who were raised on screens need more freedom out in the real world."

...

"One common explanation for why children spend so much of their free time on screens goes like this: Smartphones and social-media platforms are addicting them. Kids stare at their devices and socialize online instead of in person because that’s what tech has trained them to want.

But this misses a key part of the story. The three of us collaborated with the Harris Poll to survey a group of Americans whose perspectives don’t often show up in national data: children. What they told us offers a comprehensive picture of how American childhood is changing—and, more important, how to make it better.

In March, the Harris Poll surveyed more than 500 children ages 8 to 12 across the United States, who were assured that their answers would remain private. They offered unmistakable evidence that the phone-based childhood is in full force. A majority reported having smartphones, and about half of the 10-to-12-year-olds said that most or all of their friends use social media.

This digital technology has given kids access to virtual worlds, where they’re allowed to roam far more freely than in the real one. About 75 percent of kids ages 9 to 12 regularly play the online game Roblox, where they can interact with friends and even strangers. But most of the children in our survey said that they aren’t allowed to be out in public at all without an adult. Fewer than half of the 8- and 9-year-olds have gone down a grocery-store aisle alone; more than a quarter aren’t allowed to play unsupervised even in their own front yard.

Yet these are exactly the kinds of freedoms that kids told us they long for. We asked them to pick their favorite way to spend time with friends: unstructured play, such as shooting hoops and exploring their neighborhood; participating in activities organized by adults, such as playing Little League and doing ballet; or socializing online. There was a clear winner.

[chart]

Children want to meet up in person, no screens or supervision. But because so many parents restrict their ability to socialize in the real world on their own, kids resort to the one thing that allows them to hang out with no adults hovering: their phones.

Since the 1980s, parents have grown more and more afraid that unsupervised time will expose their kids to physical or emotional harm. In another recent Harris Poll, we asked parents what they thought would happen if two 10-year-olds played in a local park without adults around. Sixty percent thought the children would likely get injured. Half thought they would likely get abducted.

These intuitions don’t even begin to resemble reality. According to Warwick Cairns, the author of How to Live Dangerously, kidnapping in the United States is so rare that a child would have to be outside unsupervised for, on average, 750,000 years before being snatched by a stranger. Parents know their neighborhoods best, of course, and should assess them carefully. But the tendency to overestimate risk comes with its own danger. Without real-world freedom, children don’t get the chance to develop competence, confidence, and the ability to solve everyday problems. Indeed, independence and unsupervised play are associated with positive mental-health outcomes.

Still, parents spend more time supervising their kids than parents did in the 1960s, even though they now work more and have fewer children. Across all income levels, families have come to believe that organized activities are the key to kids’ safety and success. So sandlot games gave way to travel baseball. Cartwheels at the park gave way to competitive cheer teams. Kids have been strapped into the back seat of their lives—dropped off, picked up, and overhelped. As their independence has dwindled, their anxiety and depression have spiked. And they aren’t the only ones suffering. In 2023, the surgeon general cited intensive caregiving as one reason today’s parents are more stressed than ever.

Kids will always have more spare hours than adults can supervise—a gap that devices now fill. “Go outside” has been quietly replaced with “Go online.” The internet is one of the only escape hatches from childhoods grown anxious, small, and sad. We certainly don’t blame parents for this. The social norms, communities, infrastructure, and institutions that once facilitated free play have eroded. Telling children to go outside doesn’t work so well when no one else’s kids are there.

That’s why we’re so glad that groups around the country are experimenting with ways to rebuild American childhood, rooting it in freedom, responsibility, and friendship. In Piedmont, California, a network of parents started dropping their kids off at the park every Friday to play unsupervised. Sometimes the kids argue or get bored—which is good. Learning to handle boredom and conflict is an essential part of child development. Elsewhere, churches, libraries, and schools are creating screen-free “play clubs.” To ease the transition away from screens and supervision, the Outside Play Lab at the University of British Columbia developed a free online tool that helps parents figure out how to give their kids more outdoor time, and why they should.

More than a thousand schools nationwide have begun using a free program from Let Grow, a nonprofit that two of us—Lenore and Jon—helped found to foster children’s independence. K–12 students in the program get a monthly homework assignment: Do something new on your own, with your parents’ permission but without their help. Kids use the prompt to run errands, climb trees, cook meals. Some finally learn how to tie their own shoes. Here’s what one fourth grader with intellectual disabilities wrote—in her own words and spelling:

<blockquote>This is my fist let it gow project. I went shoping by myself. I handle it wheel but the ceckout was a lit hard but it was fun to do. I leand that I am brave and can go shop by myself. I loved my porject.</blockquote>

Other hopeful signs are emerging. The New Jersey–based Balance Project is helping 50 communities reduce screen time and restore free play for kids, employing the “four new norms” that Jon lays out in The Anxious Generation. This summer, Newburyport, Massachusetts, is handing out prizes each week to kids who try something new on their own. (Let Grow has a tool kit for other communities that want to do the same.) The Boy Scouts—now rebranded as Scouting America, and open to all young people—is finally growing again. We could go on.

What we see in the data and from the stories parents send us is both simple and poignant: Kids being raised on screens long for real freedom. It’s like they’re homesick for a world they’ve never known.

Granting them more freedom may feel uncomfortable at first. But if parents want their kids to put down their phones, they need to open the front door. Nearly three-quarters of the children in our survey agreed with the statement “I would spend less time online if there were more friends in my neighborhood to play with in person.”

If nothing changes, Silicon Valley will keep supplying kids with ever more sophisticated AI “friends” that are always available and will cater to a child’s every whim. But AI will never fulfill children’s deepest desires. Even this generation of digital natives still longs for what most of their parents had: time with friends, in person, without adults.

Today’s kids want to spend their childhood in the real world. Let’s give it back to them."]]></description>
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<item rdf:about="https://www.youtube.com/watch?v=kZDpsGO_siY">
    <title>Becoming Worthy of the Event: Deleuze, Nietzsche, and Revolutionary Ethics with Justin - YouTube</title>
    <dc:date>2025-07-18T05:05:48+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=kZDpsGO_siY</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["What does it mean to become worthy of the event? In this episode, we’re joined by Justin, longtime collaborator and host of our current reading group on Pierre Klossowski’s Living Currency. Together, we explore Deleuze’s stoic metaphysics, Nietzsche’s ethics of affirmation, and the revolutionary stakes of releasing ourselves from resentment. Along the way, we consider how play, pedagogy, and the dissolution of the self open us to the transformative force of the event."]]></description>
<dc:subject>acidhorizon nietzsche ethics revolutionaryethics pierreklossiwski affirmation play pedagogy will 2025 self metaphysics resentment events experience childhood earlychildhood playfulness education worthiness culture stoicism goodwill ontology revenge action expression necessity determinism interactions finality modernity hypermodernity capitalism fascism joy authoritarianism paternalism boides aesthetics asceticism revolution abstraction self-reflection judgement gillesdeleuze deleuze children watchfulness paulofreire objectification teaching howweteach chance chaos willtopower microfascism contradiction resentfulness resentfulliving repression mediocrity monstrosity collectivism individualism affect selflessness giving sacrifice memory emotions feelings thoughts perceptions tendencies introspection credit debt reckoning retribution cruelty vindictiveness joyfulness revolutionaries</dc:subject>
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<item rdf:about="https://www.theverge.com/tech/705269/nex-playground-kid-friendly-gaming-console-amazon-prime-day-deal">
    <title>This great kid-friendly gaming console is $60 off for Prime Day | The Verge</title>
    <dc:date>2025-07-12T02:31:30+00:00</dc:date>
    <link>https://www.theverge.com/tech/705269/nex-playground-kid-friendly-gaming-console-amazon-prime-day-deal</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The gorgeous, little motion-controlled console is the key to easier family time (and exhausting your little ones)."]]></description>
<dc:subject>toys children gifts games play cameronfaulkner 2025 movement gaming</dc:subject>
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<item rdf:about="https://bsky.app/profile/timclare.bsky.social/post/3lswl3tfdt22r">
    <title>Tim Clare: &quot;16 years ago, I found myself in the back garden of a couple I'd just met, as they showed me their pillow fighting arena. The lesson they taught me about games - especially competitive ones - has stayed with me ever since, but I forgot to menti</title>
    <dc:date>2025-07-09T04:23:02+00:00</dc:date>
    <link>https://bsky.app/profile/timclare.bsky.social/post/3lswl3tfdt22r</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["16 years ago, I found myself in the back garden of a couple I'd just met, as they showed me their pillow fighting arena. The lesson they taught me about games - especially competitive ones - has stayed with me ever since, but I forgot to mention it in interviews when asked if competition is bad. So:

context, I was doing a 2 month project going around open mics all round the country (& a bit of Europe as it turned out). I did at least 1 a night for 2 months, sometimes more, talking to performers, doing standup, music, poetry. I thought I'd write a book about it, or a show.
‪
This isn't too relevant to the story, but anyway it was an intense time. I did a lot of not-great gigs to varying audiences, I was still pretty green, I got dumped, I also met some amazing, lovely people & got much better at performing. Anyway, this particular couple ran an open mic.
‪
They also regularly hosted social work students doing 3-month residencies. At the end of the stay, they would hold a ceremony where the students fought each other on a log suspended over a mud pit, by bashing each other with pillows. As you do.
‪
They told me: 'You can tell how well they've bonded by how they fight. If they're just acquaintances, they'll do these gentle taps. If they're best friends... they leather each other.' Beating the crap out of your friend to knock them face first into mud was the ultimate demonstration of love.
‪
Sometimes in interviews I get asked about 'competitive' or 'aggressive' games vs 'cooperative' games. Often they're teeing me up to reassure listeners that not all games are about crushing your opponents. That you can have friendly, cooperative experiences. But here's the thing.
‪
The distinction is a false one. All games are cooperative. The very act of agreeing to & honouring rules, & the deeper compact, of temporarily engaging in the roleplay that the drama taking place on the table is *important* - this is a fundamentally cooperative enterprise.
‪
You see this in rap battles - an often misunderstood medium by people outside the scene - which *do not work* if one participant shoves or punches the other. They require a huge amount of cooperation & mutual adherence to a bunch of rules. Chess is not so different. It's a collaboration.
‪
I spent a lot of time in my book covering a Japanese card game called kyogi karuta, which involves a mix of memory & slapping cards off the tatami before your opponent. It's *very* intense, mentally & physically draining & completely zero sum. It's played in formal competitions.
‪
It requires total sustained concentration & the pressure brings out a lot of emotion. Players can come off as very intimidating. When I first played I was informed in no uncertain terms that my opponent would not be going easy on me, would not be holding back on my account at all, in fact.

Karuta also has one of the warmest, most respectful, most *loving* communities of any game I've ever encountered. The moment the round ends, there's a culture of mutual admiration, mentorship & encouragement. The competitiveness is possible because of the culture of trust.
‪
I felt deeply accepted when I played someone willing to beat the metaphorical stuffing out of me. To not go easy. To show me their true face. There's an intimacy in that, & I felt honoured & grateful. The collaboration of true competition is a rich & rare human experience.
‪
Allowing sides of your personality out like assertiveness, ambition, aggression, guile, dominance can be scary for some people. Many people, in many cultures, learn that exhibiting these traits is shameful, a form of moral failure. Women in particular often have competitiveness stigmatised.
‪
It is a generous, beautiful thing indeed to make space for people to explore the fullness of their character, not just in safety but with approval. Be angry. Be devious. Try to crush me. Deceive me. Let's celebrate these aspects of our characters, especially if society has taught us to hide them.
‪
Naturally, successful, enriching competition needs safety tools, codes of conduct, an explicit shared ethos. I see much overlap between the worlds of kink, larp & nontoxic competitive play in terms of how they foreground & prioritize consent, boundaries & a common vocabulary.
‪
I love nothing more than receiving an earthy four-letter insult from a dear friend in response to a move I just made in-game; to being lied to by a trusted colleague; to finding myself in a situation where two of us are going all-out to destroy one another. These are delicious artistic experiences.
‪
I don't accept that cooperative gaming is the more enlightened, mature side of play because I don't accept that noncooperative play truly exists. It's a contradiction in terms. Just watch a great table tennis rally. It's one of the most spellbinding collaborative acts humans can do.
‪
Oh, & if you found this thread interesting you'll probably like my book on tabletop games & how play makes us human & shaped civilization.
The Game Changers (UK): https://www.waterstones.com/book/the-game-changers/tim-clare/9781805301349
Across the Board (US): https://store.abramsbooks.com/products/across-the-board "]]></description>
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<item rdf:about="https://www.newyorker.com/magazine/2025/07/07/how-we-grow-up-understanding-adolescence-matt-richtel-book-review">
    <title>“How We Grow Up: Understanding Adolescence,” Reviewed | The New Yorker</title>
    <dc:date>2025-07-06T19:05:26+00:00</dc:date>
    <link>https://www.newyorker.com/magazine/2025/07/07/how-we-grow-up-understanding-adolescence-matt-richtel-book-review</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["In recent years, an irresistibly intuitive hypothesis has both salved and fuelled parental anxieties: it’s the phones."

...

"Fear is a note rarely absent from generational analysis of teens. “Always emphasize that you want to help them, that you’re on their side, and that the feedback you’re offering is to help them succeed,” Twenge counsels the managers of iGen employees, sounding a bit like she’s giving advice to novice zookeepers on entering a big-cat enclosure. Haidt’s book, meanwhile, begins with an extended analogy in which kids are pestering their parents to let them move to Mars, possibly never to return. The dominant strain of anxiety at present focusses less on the outright monstrous (as with nineties fantasies of teen-age “superpredators”) than on the brainwashed or body-snatched. “I’m a Liberal Professor, and My Liberal Students Terrify Me” read the headline of a widely circulated Vox article from 2015, amid the period of campus culture wars that Haidt took on in “Coddling.” Technology is a vector; it transmits whatever ills and ideologies a parent imagines might lure a child beyond reach. Like the ongoing debate over kids and gender, the teens-and-phones discourse taps into a dread that your kid might stumble onto new ideas, very likely online, and be irreversibly transformed."

[archived:
https://archive.ph/oZUZR ]]]></description>
<dc:subject>2025 mollyfischer technology teens youth mattrichtel jeantwenge jonathanhaidt mentalhealth anxiety smarthphones childhood play safety psychology lenoreskenazy socialmedia greglukianoff helicopterparenting helicopterparents parenting marypipher generations fear coddling conservatism genz generationz geny generationy millennials moralpanics zoomers</dc:subject>
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<item rdf:about="https://2ndbreakfast.audreywatters.com/bird-of-pray/">
    <title>Bird of Pray</title>
    <dc:date>2025-06-13T17:35:27+00:00</dc:date>
    <link>https://2ndbreakfast.audreywatters.com/bird-of-pray/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Again, we battle for Los Angeles. We battle in every community, for every community. There are protests everywhere this weekend, and I encourage you – if you are able – to join one. Fascism will not be defeated by memes, by looking at our phones, by clicking on things. Fascism will not be defeated digitally, even though it is certainly growing and wielding its power digitally – through the surveillance mechanisms that a vast collection of data and incredible computational resources have been building for decades, through the algorithmic control that "AI" is now streamlining.

As Mr. Howie's viral video reminds us, this is happening at schools and near schools. It is happening to schools. It is happening to the children and the teachers and the staff, to the families and the communities.

It is happening to everyone. If you think it is not happening to you – bless your heart – you are mistaken. "Nobody's free until everybody's free," as Fannie Lou Hamer reminded us.

But maybe you weren't listening when she said it (or even alive – so fair enough). Maybe you didn't think you needed to pay attention. Maybe you're one of those people who can write things online like "AI has revealed how our education system is failing," never having noticed, I guess, the people and communities for whom the system has repeatedly failed – those for whom it was never designed to help succeed (or those whose success has prompted powerful people to now dismantle institutions and destroy opportunities it has afforded).

Maybe you believe that "AI" is going to magically fix things, because you don't want to / have to struggle, because you don't actually believe in human capacity or human agency – for you, people are the problem, not the solution. Maybe you believe that "AI" poised to unlock a superior intelligence, or maybe you believe it will simply enhance human cognition, all while you shield your eyes, while you refuse to recognize the humanity of the people you refuse to see – the suffering, the harms that "AI" is perpetuating throughout the world, particularly to the most marginalized and most vulnerable among us.

Who is your "AI" really for? Who are you for?

From Wired's interview with Demis Hassabis, the head of Google's DeepMind:

<blockquote>Tell me what you envision when you look at our future in 20 years and, according to your prediction, AGI is everywhere?

If everything goes well, then we should be in an era of radical abundance, a kind of golden era. AGI can solve what I call root-node problems in the world—curing terrible diseases, much healthier and longer lifespans, finding new energy sources. If that all happens, then it should be an era of maximum human flourishing, where we travel to the stars and colonize the galaxy. I think that will begin to happen in 2030.</blockquote>

"We will colonize the galaxy." This is the vision of empire, as Karen Hao rightly observes in her book Empire of AI – a vision of ever-expanding scale and power, a vision of extraction and rapaciousness, a vision of total monopoly and total control. Oh but it is a "gentle singularity," OpenAI's Sam Altman writes – this empire will be painless, he assures us; and those who are racing to adopt "AI" surely hope that they and their children are spared the violence, that they and their children can still come out on the ruling side of this new imperial order.

But there is no education at the end of the world, no education once – to put it in Altman's words (and his investment portfolio) – "we plug in." They say they're building "a brain for the world." But they're not building schools, you'll notice; they're building bunkers.

In five years time, when we have AGI (LOL), Altman predicts that "people will still love their families, express their creativity, play games, and swim in lakes." I do wonder which lakes, as "AI" depletes the planet's resources. After all, the chief scientist of OpenAI has said that he believes "it's pretty likely the entire surface of the planet will be covered with data centers and solar panels." In five years time, as environmental catastrophe hastens, which people will be afforded this rather dull little vision of the future Altman paints, and which will have been severed from their families, from their creativity, from play?

Who among us will be dispossessed – of land, of work, of love, of learning?

For there is no education, even in a "gentle singularity" – why would there be?

Oh sure, these men and their "AI" industry make gestures at education today – but, in the end, mostly education as a market, students and professors as sources of data, increasingly compelled to live and learn as such – a "technofeudal education," as Matt Seybold puts it.

[image]

One of the problem with education technology – and phew, there are many – is that its advocates (its researchers not just its entrepreneurs and funders) seem to have become so enamored with the gadgetry that makes up the last half of the phrase that they seem to have forgotten that the purpose of ed-tech resides, ostensibly at least, with the other word: with education. Technology has become the means and the end and the everything.

Lots of people are spending lots of time coming up with potential use cases for products that, quite literally, threaten to destroy everything. Lots of people are extending more intellectual generosity to some of the most well-funded companies in history than they are to their own colleagues whose jobs and funding have been eliminated. Lots of people are busy rationalizing why "AI" is good (and when it doesn't work, why that's fun and weird), even as it churns out endless bullshit, even as it renders flawed and dangerous judgments. Lots of people exalt some fictitious vision of human-machine "collaboration," while other meanings for "collaborator" seem more and more relevant: as Trump demands institutional acquiescence and ICE rounds up students and teachers alike.

We have bent education – its budgets, its practices – to meet the demands of an industry, one that has neatly profited from the neoliberal push to diminish and now utterly dismantle public funding. The learning management systems. The productivity suites. The testing. The feedback. The surveillance. The surveillance. The surveillance. And now, the slop – all at the expense of dignity. The personalization and the individualization – all at the expense of community and solidarity.

We have bent education to meet the demands of an industry that hates education, that lauds the ivy-league autodidact, the affluent drop-out (that hates teachers, that hates women).

There is no education in the "AI" eschatology of Altman and Amodei et al because they are building a future for money and machines, not for people (certainly not for all people). "AI" is steering the world towards greater inequality, more consolidated power – a monopoly that seeks to design and engineer and optimize all aspects of our lives. There is no education in this future – certainly not as a practice of freedom, but not even as a hollowed-out practice of competence.

But here the "AI" eschatology comes – and comes to compel its version of "reasoning" – emerging after decades of working challenging what "competence" and "reason" might even mean. Students and teachers have fought for schools to make space for diverse bodies and diverse minds. And we made a little! But now the ol' bell curve is back. Instead of the richness of neurodiversity, the freedom of non-binary, a multiplicity of rhythms and curiosities and tongues, we are threatened with the violence of culture war, with the discipline of a technological "normal."

Education isn't a curve or a line or a scan or a graph. It isn't an output, a product. It is a process, sure. But to conceive of education as a process of knowing that can be engineered and fine-tuned is still to speak in the metaphors of the machine.

Education is immeasurable; it is messy.

Education is a practice of caring for one another – who we were and who we can become.

Education is a relationship among people – among the people of the past, present, and future. It is a relationship among the people we live with, the people we come from, the people we love, and the people we do not yet know we love.

Love the world enough, love yourself enough to fight for a human future.

Fight, or at least support the fighters."]]></description>
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<item rdf:about="https://tis.so/lightness">
    <title>Lightness - tis.so</title>
    <dc:date>2025-05-27T02:33:03+00:00</dc:date>
    <link>https://tis.so/lightness</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Have you browsed /r/ultralight? They get obsessed with shaving mere ounces off their pack and end up with super elegant tent designs, where you reuse your hiking poles as the structural props for your tent (e.g.). Not being burdened by a pack (not bringing your bag with your gear everywhere) and its relationship to freedom.

There’s a way in which the ultralight people end up becoming heavy about lightness. Being light about lightness means being ok with taking a $1 bandana with you and using it to wrap a sandwich and then when you’ve eaten the sandwich using it to blow your nose. Being heavy about lightness is weighing the bandana on a scale and paying $70 for microfiber cloth that is half an ounce lighter"

[via:
https://www.are.na/block/36983758 ]

"I keep thinking about buying a projector so I can watch movies at home more comfortably, but my calculus so far has been towards a lifestyle of going to the theater… Suburbanization is a sickness.

People are bringing weight into their life to avoid the public cinema. I’ve only liked going to the cinema since I realized the best films all played at a cinema near my house, where the box office is on the street and the atrium is only feet deep. Taking the train to the multiplex, and then going up three escalators to get to the screen? It’s starting to get heavier than the projector.

Part of the lightness thesis is that what cannot be made light should be made into public infrastructure."

[via:
https://www.are.na/block/36983703 ]

"I wonder how levity of mood connects with freedom—something about playfulness meaning you’re not locked into a habituated or socially-mandated mode of response? Open-ended rather than closed.

“The spiritual style of Bresson’s heroes is one variety or other of unself-consciousness. Consciousness of self is the ‘gravity’ that burdens the spirit; the surpassing of the consciousness of self is ‘grace’ or spiritual lightness.”"

[via:
https://www.are.na/block/36983761 ]

"Another word for lightness is “economy”.

“Economy of effort.” Both the exchange of labor, and the withholding of labor.

Another way to view this question is as one of what should be weighty in a life. I posit we should be held down by our commitments to others, but not by the task of living."

[via:
https://www.are.na/block/36983738 ]]]></description>
<dc:subject>lightness minimalism cristóbalsciuttorodríguez 2024 economy labor effort life living play playfulness gravity burden utility public suburbia suburbs film community conviviality lifestyle sharing mutualaid</dc:subject>
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<item rdf:about="https://sarahendren.substack.com/p/now-it-springs-up">
    <title>now it springs up! - by Sara Hendren</title>
    <dc:date>2025-05-22T18:21:24+00:00</dc:date>
    <link>https://sarahendren.substack.com/p/now-it-springs-up</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["prototyping is witnessing a birth
Sara Hendren
May 21, 2025

[image: "image of students in Paul Ruvolo’s lab-classroom at Olin via (https://www.olin.edu/articles/story-accessible-design) , three students work together on a cardboard prototype in a classroom, with hot glue and screws and scissors and other supplies strewn around the table"]

Prototyping, you may know, is the early try-and-see process that ushers some new idea into being. It takes whatever materials are ready at hand and makes a three-dimensional “sketch” of what’s being proposed—a way to think through your idea and test its merits before you commit to building the real thing. Prototyping generates the messy tabletop version, the wobbly fledgling creature: a tennis ball and a rubber glove, say, and dowels and staples, maybe some hastily patched duct tape. You have to squint to see what’s being offered, but it’s there. I learned to love prototyping at Olin College of Engineering, where I was a professor between 2014 and 2023. I’m not an engineer, and that may be why I could see prototyping with a beginner’s mind. I never fully grasped the details of engineering mechanics, so I never got caught up in the minutiae of the parts-and-systems. It was always the poetry that got me.

The poetry of prototyping is the vulnerable attempt, the tangible trying. The willingness to venture, knowing it might fail. The investment of commitment to even the most sloppy version of a possible newness. A thing being prototyped is trying to get born, unfolding right there in front of you. And all the conversations around that thing have the quality of willed belief: What if it was half as big? Twice as long? A different shape around its edges? Dozens of questions that are all really just versions of the best and only question in design, at the end of the day: Could it be otherwise?

[image: "prototyping at Olin College via (https://www.flickr.com/photos/olin/ ), A student kneels on the floor working on a paper prototype of a large duck or platypus head, mouth open to catch game parts. Made of paper, wire, and taped folds, it is the most lightweight version of the possible idea."]

One class I team-taught at Olin was called Design Nature, a course all first-year students take that includes one solo and one group design assignment, both inspired by mechanical operations found in living biological systems. The group assignment is to make a play experience for fourth graders based on animal behavior — an interactive game based on, say, the way goat kids leap, or the way honey bees waggle. The students interview parents and teachers of fourth graders, do some developmental research, and then start prototyping. Like that image above — you build something so that you can think with that thing. So you can ask yourself candidly: Is the scale in my head really working in dimensional space? What are its functional qualities, and what are its dramatic qualities? Can you use that open mouth to catch balls? How easily, or how awkwardly, or how efficiently should it operate? What’s this experience supposed to work like, but also: what should it feel like? The prototype will teach you.

And then, near the end of the semester, local fourth graders come to campus and play the fully designed games. Hilarity ensues! Or maybe it doesn’t. Designing something charismatically playful is hard. I mean—have you tried?

[image: "Design Nature demo day via (https://www.flickr.com/photos/olin/ ), Fourth graders wearing winged game costumes surround a tabletop game, while students look on, in a large hallway lined with games and students."]

It’s a quest to find the right combination of timing, surprise, and absurdity. No amount of mechanical prowess will guarantee you the sensibilities you need to design these qualitative features.

All the fourth graders get clipboards and forms to fill out about students’ games. Kids won’t flatter your ego. If it’s not fun, you’ll know.

[image: "Design Nature demo day via (https://www.flickr.com/photos/olin/ ), Fourth grade students bend their heads over clipboards with pens ready."]

Jennifer Banks (https://yalebooks.yale.edu/about-us/editors/jennifer-banks/ ) helped me see that prototyping takes place inside a grander thing: natality, the ongoing creative force of newness that powers the world. In her book, Banks says most of us are lopsided in turning so much of our attention to the universality of death. We should and do reckon with mortality, mourning the many endings all around us. But we let death obscure the counterpart universality of birth, of natality. Birth “has long hovered in death’s shadow, quietly performing its under-recognized labor,” she writes. She means human birth itself, yes, but also the small-b births that form a pattern of everyday newnesses, the dying and rising that shapes our nights and days and seasons.

Kafka announced to us long ago that the meaning of life is that it stops. True enough. But Banks walks the reader alongside seven intellectuals who took seriously the bookend of starting: new life, fecundity and generativity — and, in my mind, our many distributed practices of creative midwifery that get new ideas off the ground. Hannah Arendt is one of Banks’s chief companions on natality. She thought our creative beginnings are not just universal but necessary, a strong stance against authoritarianism, a rebuke to brute force power. Natality, for Arendt, embodies the amor mundi, an outwardness and expectation of beginnings, of making room for others. She called it “the miracle that saves the world, the realm of human affairs, from its normal ‘natural’ ruin.” And the amor mundi has to start somewhere. Not just the endless talking about what the world should be like. Prototyping is beautifully restless and insistent: Show me how. Let’s start.

Do I make too much of a small thing? Maybe. In my own native practices of artmaking and writing, there are plenty of easy words for things like prototypes: drafts and sketches and studies. But those practices were so long in my habits that I’d stopped seeing them. I was out of place in the lab, bewildered at the white boards covered in equations, the arcane physics jokes, the tangled rainbow of wires extending from a circuit board. The messiness was joyful and familiar, but the tools and detritus were new. Engineering was both muse and stranger. But prototyping I recognized.

[image: "Prototyping at Olin College via (https://www.flickr.com/photos/olin/ ), A table top holds a dozen small gadgets built of particle board and spring kits, all built to maximize a hopping mechanism. Students hands reach into the frame, and one student stands on top of the table, only feet and legs visible."]

In my faith tradition, birth is joined to death across the liturgical year, and it’s seldom without emotion that I can speak aloud the ancient text from Isaiah (https://www.biblestudytools.com/isaiah/43.html ) when its recitation comes around. Prophetic verse offered in the present tense:

See, I am doing a new thing! Now it springs up; do you not perceive it?

A newness arriving now, and now, and now — natality as a fundamentally generous and emergent architecture of the world. We look the many faces of death square in the eye. But birth, too, is death’s (and our) companion."]]></description>
<dc:subject>sarahendren 2025 prototyping jenniferbanks death birth mourning natality art artmaking making beginnings newness emergence emergent hannaharendt design prototypes paulruvolo teaching howweteach pedagogy process howwelearn learning engineering poetry vulnerability tangible tangibility speculativedesign play experience</dc:subject>
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    <link>https://www.theverge.com/games-review/664363/despelote-review-ps5-xbox-pc</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["﻿A short, dreamlike game about soccer and memories."]]></description>
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    <dc:date>2025-04-30T19:47:20+00:00</dc:date>
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    <dc:creator>robertogreco</dc:creator><description><![CDATA["Pulitzer Prize-winning author Viet Thanh Nguyen reflects on the first 100 days of the second Trump administration, the president’s chaotic trade war, detentions and deportations of pro-Palestinian advocates and more. Nguyen has just released a new book of essays, originally delivered as lectures, that explore otherness and belonging in U.S. history. “I think otherness is a universal condition,” says Nguyen. “I’m sure we all have, at one time or another, thought ourselves to be odd or alienated or not fitting in in some way. But the difference for certain people is that otherness is constantly imposed on us.”"

[transcript:
https://www.democracynow.org/2025/4/30/viet_thanh_nguyen_otherness ]]]></description>
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    <dc:creator>robertogreco</dc:creator><description><![CDATA["The following is an excerpt from part three of a three-part series of interviews of educator Cheng Xueqin conducted by journalist Cheng Jie for “Early Childhood Education Magazine” (Xueqian Jiaoyu Zazhi). Part two is here (https://www.anjiplay.co/cheng-interview-20250409 ) and part three is here (https://www.anjiplay.co/cheng-interview-20250410 )."]]></description>
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    <title>How evolution favoured costly and frivolous animal play | Aeon Essays</title>
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    <dc:creator>robertogreco</dc:creator><description><![CDATA["Here’s a puzzle: how could evolution favour such a costly, frivolous and fun activity as animal play?"]]></description>
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<item rdf:about="https://lithub.com/babies-dont-need-to-be-built-alex-bollen-on-the-danger-of-the-good-mother-myth/">
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    <link>https://lithub.com/babies-dont-need-to-be-built-alex-bollen-on-the-danger-of-the-good-mother-myth/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[The Author of “Motherdom” Explores Brain Development, Play, and Why Restrictive Moralizing Hurts All Parents]]></description>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:hilaryrose"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:benjaminspock"/>
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<item rdf:about="https://theanarchistlibrary.org/library/david-graeber-anarchy-in-a-manner-of-speaking">
    <title>Anarchy — In a Manner of Speaking, by David Graeber (2020) | The Anarchist Library</title>
    <dc:date>2025-03-18T19:08:36+00:00</dc:date>
    <link>https://theanarchistlibrary.org/library/david-graeber-anarchy-in-a-manner-of-speaking</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Conversations with Mehdi Belhaj Kacem, Nika Dubrovsky, and Assia Turquier-Zauberman"

...

"[Contents]

Foreword: A dialogue that doesn’t cover up its traces
Introduction to anarchy—all the things it is not
Reins on the imagination—the illusion of impossibility
Revolutions in common sense
Feminist ethics in anarchy—working with incommensurable perspectives
The three characteristics of statehood and their independence (two for us, one for the cosmos)
America 1—not a democracy, never meant to be
America 2—the indigenous critique & freedom works fine but it’s a terrible idea & Lewis Henry Morgan invents anthropology because he’s nostalgic & Americans are legal fanatics because of their broken relationship to the land, which they stole
With great responsibility comes precarious tongue-tied intellectuals
Anthropology as art
Anthropology and economics
Freedom 1—which finite resources?
Freedom 2—property and Kant’s chiasmic structure of freedom
Freedom 3—friendship, play and quantification
Freedom 4—critical realism, emergent levels of freedom
Freedom 5—negotiating the rules of the game
Play fascism
Leave, disobey, reshuffle
Great man theory and historical necessity
Theories of desire
Graeber reads MBK and proposes a three-way dialectic that ends in care
Art and atrocity
Vampires, cults, hippies
Utopia
Rules of engagement
Dual sovereignty
Against the politics of opinion
The world upside down (and the mind always upward)
God as transgression and anarchy as God"]]></description>
<dc:subject>davidgraeber mehdielhajkacem nikadubrivsky assiaturquier-zauberman anarchism anarchy 2020 freedom kant care caring hippies cults vampires sovereignty economics anthropology friendship play rules quantificationc us feminism utopia transparenct commonsense revolution critique lewishenrymorgan indigeneity indigenous property art fascism disobedience necessity history atrocity softbank masayoshison cheguevara marxism truth abuse immanuelkant</dc:subject>
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<item rdf:about="https://share.transistor.fm/s/b83b4ff5">
    <title>University of Minnesota Press | Playhouses and the architecture of childhood.</title>
    <dc:date>2025-03-10T01:25:31+00:00</dc:date>
    <link>https://share.transistor.fm/s/b83b4ff5</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Between the 1850s and 1930s, before playhouses for children reached the mainstream, they were often fully functional cottages designed by well-known architects for British royalty, American industrialists, and Hollywood stars. Recognizing the playhouse in this era as a stage for the purposeful performance of upper-class identity, Abigail A. Van Slyck illuminates their role as carefully planned architectural manifestations of adult concerns, from Queen Victoria and Prince Albert’s Swiss Cottage (1853) to the children’s cottage on the grounds of Cornelius Vanderbilt’s Newport mansion (1886) to the glass-block playhouse given to Shirley Temple in 1936, and many more in between. Here, Van Slyck is joined in conversation with Annmarie Adams, Marta Gutman, and Kate Solomonson.


Abigail A. Van Slyck is the Dayton Professor Emeritus of Art History at Connecticut College and author of Playhouses and Privilege: The Architecture of Elite Childhood; A Manufactured Wilderness: Summer Camps and the Shaping of American Youth, 1890-1960; and Free to All: Carnegie Libraries and American Culture, 1890-1920.

Annmarie Adams is an architectural historian at McGill University in Montreal. Adams is author of Medicine by Design: The Architect and the Modern Hospital, 1893-1943; Architecture in the Family Way: Doctors, Houses, and Women, 1870-1900; and coauthor of Designing Women: Gender and the Architectural Profession.

Marta Gutman is dean and professor in the Bernard and Anne Spitzer School of Architecture at the City College of New York. Gutman is author of A City for Children: Women, Architecture, and the Charitable Landscapes of Oakland, 1850-1950.

Kate Solomonson is architectural historian and professor emeritus in the Department of Architecture at the University of Minnesota. Solomonson is coeditor, with Van Slyck, of the Architecture, Landscape, and American Culture series with University of Minnesota Press.



EPISODE REFERENCES:
-Hanover estate: Osborne (Swiss Cottage), Isle of Wight, UK. For Queen Victoria and Prince Albert.
-Vanderbilt estate: The Breakers, Newport, Rhode Island. For Cornelius Vanderbilt II and Alice Claypoole Gwynne Vanderbilt.
-Dow estate: Foxhollow Farm (Fallsburgh), Rhinebeck, New York. For Tracy Dows and Alice Olin Dows.
-Whitney estate: Greentree, Manhasset, Long Island. For Payne Whitney and Helen Hay Whitney.
-Dodge estate: Meadow Brook Hall (since 1929, Knole Cottage; before 1929, Hilltop Lodge), Rochester, Michigan. For Alfred Wilson and Matilda Dodge Wilson.
-Ford estate: Gaukler Pointe, Grosse Pointe, Michigan. For Edsel Ford and Eleanor Clay Ford.
Designing the Creative Child / Amy F. Ogata
Pastoral Capitalism / Louise Mozingo
The research of Barbara Penner (Bartlett School of Architecture, London)



Praise for the book:

"Beautifully written, impeccably researched, and profusely illustrated, Playhouses and Privilege is a must-read for anyone interested in the study of children, architecture, privilege, and play."
—Marta Gutman, dean, Spitzer School of Architecture, CUNY

"Small spaces can host big stories. In charting the spatial components of social prestige, Abigail A. Van Slyck delineates shifting conceptions of childhood, modulating gender politics, charged interactions between parents and children, and popular representations of youthful celebrity. This is a riveting read—focused and yet expansive, innovative, and insightful at every turn."
—Simon Sleight, coeditor of A Cultural History of Youth in the Modern Age



Playhouses and Privilege: The Architecture of Elite Childhood by Abigail A. Van Slyck is available from University of Minnesota Press."]]></description>
<dc:subject>playhouses childood children archaeology via:javierarbona 2025 abigailvanslyck history play martagutman annamarieadams katesolomon</dc:subject>
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<item rdf:about="https://aeon.co/videos/havanas-streets-become-racetracks-in-this-exhilarating-portrait-of-children-at-play">
    <title>Havana’s streets become racetracks in this exhilarating portrait of children at play | Aeon Videos</title>
    <dc:date>2025-02-19T21:03:30+00:00</dc:date>
    <link>https://aeon.co/videos/havanas-streets-become-racetracks-in-this-exhilarating-portrait-of-children-at-play</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["In his ongoing Children’s Games series, the Belgian-born, Mexico-based artist Francis Alÿs documents the diverse games children play across the globe. In this instalment from the streets of Havana, Cuba, Alÿs captures an exhilarating race of chivichanas – handmade carts built from repurposed wood and ball bearings, and nailed together with stones used as hammers. Capturing the event from the perspectives of both participants and onlookers, Alÿs immerses viewers in the kinetic rattle of the race, as a group of young boys transforms colourful-yet-quiet neighbourhood streets into an urban racetrack, drawing an eager crowd of children and adults in the process. The spectacle seems to speak to both the resourcefulness of the young participants and their willingness to risk broken bones – or at the very least some gnarly scrapes – to compete at seriously high speeds."]]></description>
<dc:subject>francisalÿs cuba children play making 2025 havana toys carts rikimbili video film riquimbili lahabana</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
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<item rdf:about="https://www.bloomberg.com/news/articles/2024-12-31/to-ease-parenting-burdens-we-need-better-housing-and-street-designs-too">
    <title>To Ease Parenting Burdens, We Need Better Housing and Street Designs, Too - Bloomberg</title>
    <dc:date>2025-02-04T00:03:45+00:00</dc:date>
    <link>https://www.bloomberg.com/news/articles/2024-12-31/to-ease-parenting-burdens-we-need-better-housing-and-street-designs-too</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Family life has always been stressful. But a recent declaration by the US Surgeon General that parenting is a public health crisis has reignited conversations about how families might stop the endless spiral of expectation. What’s been less discussed is how the physical design of housing, transportation and public space makes life harder by increasing commute times, reducing communal play spaces and creating barriers to children’s mobility.

Parenting experts say children need to learn independence and resilience. But cities and suburbs don’t offer safe pedestrian and bike routes to school, malls kick teenagers out on the weekends, and free time disappears under a spreadsheet of activities. All of those “musts” take more of the parents’ time or money to navigate, because the child can’t do it on their own.

As Darby Saxbe, a clinical psychologist, recently wrote in the New York Times, “underparenting requires structural change.” Unlike most political pundits, she’s not just talking about economic policies like family leave and subsidized child care. She’s talking about actual physical structures, and the cultural change required to populate them. We need to “build back our tolerance for children in public spaces,” she writes, “and create safe environments where lightly supervised kids can roam freely.”

Calls for such environments increased during the pandemic, as cities nonsensically closed playgrounds, and families found themselves pinched between remote work and remote school. Philadelphia’s Parks & Recreation department moved summer camp to the street, while parents whose kids had previously been too busy to socialize found driveways, garages and cul-de-sacs made great play zones when no one was driving in and out.

While many temporary fixes disappeared once the pandemic was declared over, Queens’s Paseo Park, a 1.3-mile-long corridor in family-heavy Jackson Heights, is finally getting a permanent open streets design to reduce car traffic after people experienced the joys of not having to text to make plans, pay for organized after-school activities, or battle with cars when learning to ride a bike.

Cities, already in dire need of more affordable housing and ways to retain families, should look to the past: History has no shortage of other examples of designs that foster more spontaneous interactions and spaces for play. Indeed, urban planners have been trying to design dense, connected, family-friendly neighborhoods since the turn of the last century.

Progressive-Era transit-oriented suburbs like Radburn, New Jersey, turned the cul-de-sac inside out, creating a connected greenspace on the doorstep of dozens of homes, and banishing cars to the periphery. Denser versions built in the 1970s, with stacks of mid-rise apartments rather than single-family homes overlooking an open green, also proved so successful that people haven’t wanted to abandon their community — even after the children are long gone.

Unlike most postwar suburbs, these developments prioritized common space over individual square footage, with small private yards and few bonus rooms; birthday parties happened in the common house, and child-led play on the common playground. You don’t need your own swing set when the community provides.

The same kind of thinking prevails in family-oriented urban buildings: While developers do need to provide more three-bedroom apartments, shared amenities like playrooms, courtyards, and party rooms can take the pressure off individual apartments. Cohousing, a longstanding intentional community model, usually adds shared guest apartments and a big kitchen to the mix to encourage group activity and make smaller apartment sizes acceptable.

A town doesn’t need to redesign its housing stock to achieve many of the same ends. Widening sidewalks, closing streets for play on afternoons and weekends, adding speed humps and opening schoolyards after hours can immediately provide the same ease for impromptu hang-outs, with even more potential playmates. Neighborhoods that mix housing with retail and offices have built-in amenities that make such spaces more conducive to child independence and whole-family convenience: Corner stores for coffee and snacks, shops for running errands before, after or during play, and often more ambitious and more varied play equipment.

Additional conveniences along daily routes can and should be built into street designs. In 2019, the National Association of City Transportation Officials, released the report Designing Streets for Kids, which underlined two major design imperatives: increased and independent mobility, and more spaces to pause and rest. The report stresses the physical and mental benefits of streets designed with kids in mind, but also warns that “children’s bodies and brains are less developed and more vulnerable to the environment in which they live,” and that they need an “environment in which unhealthy risks from the street” — traffic violence, pollution and noise — are minimized, while opportunities for play, independent movement, and social interactions are maximized. As transportation scholar Tara Goddard said in a recent episode of The War on Cars, “We want to have places, especially in our dense urban areas, where, you know what? It’s OK if a kid darts out. …We need to build an environment that is more forgiving of that.”

While open streets and open schoolyards are nice, families also crave no- and low-cost indoor activities. In winter, it can be difficult to squeeze in a park visit before dark, so cities need to invest in good lighting, both for the equipment and, in a larger park, on the paths from sidewalk to playground. Some new park designs address this by adding indoor-outdoor spaces: In its masterplan for Tucson’s Reid Park, Sasaki leveraged the redesign of a restroom pavilion into a large overhanging roof, creating a shaded space with tables and chairs next to a playground with a brand-new splash pad.

As the planet warms, low- and no-cost climate-controlled spaces like community centers and public libraries also need to be considered family amenities — and built to accommodate physical play as well as story time and craft classes. There are fewer shopping malls than there used to be, yet they have also long served both the very young and very old in extreme weather, with hot and iced drinks, bathrooms and plenty of seating.

For teens, public amenities can provide needed opportunities to take their interactions offline. Hanging out in groups is not necessarily prohibited in urban parks the way it is in playgrounds with age restrictions, parking lots with “no loitering” signs, and malls with curfews and parental escort policies. In cities, they don’t need drivers’ licenses and cars to meet up. But parks also need to be designed for these uses, with conversational seating, bigger and riskier swings and climbing structures, and young adult-centric programming like skate parks. Passive supervision in these spaces — from concessionaires, older skaters, or just good lighting and circulation — can help to defuse the inevitable “teens can’t handle it” pushback.

If children have been raised for independence — walking or riding to school, rather than being driven, for example — the transition from childhood to adolescence, and the ability to access first the block, then the neighborhood, then the city, is much smoother. Psychologist Jacqueline Nesi noted in a recent edition of her Techno Sapiens newsletter, “We often lament kids’ filling their free time with screens, but here’s the thing: we need to be providing them with alternatives.”

American childhood has become so privatized that political parties fight child-care subsidies. In this climate, child-friendly street improvements, much less teen-centric hangout spots, may seem like a bridge too far. But most of the amenities that would make having a family easier benefit everyone. You might not care about slow streets, shaded benches, or walkable shops now, but you are one pregnancy, knee operation, or visit from an older relative away from becoming suddenly, even painfully, aware of the location of every bench, elevator, ramp and bathroom on your daily commute.

A city of singles and young marrieds is a city that is constantly reintroducing itself to the world, chasing dollars with brunches and happy hours, and then having to do it all over again as those couples depart for places with affordable three-bedrooms and trees within reach.

Parenthood is a time when adults should naturally become more rooted in place, as they re-experience the built environment at toddler pace, and a time when they often seek community with other new parents. Urban areas, built right, could support families by making their lives easier — one courtyard, speed bump and playground at a time."

[via:
https://sarahendren.com/2025/02/03/children-in-public-spaces/

"Everyone loves to complain about helicopter parenting. Folks to my left want state-provided, kinda-structured free-range play; folks to my right want homeschooling cooperatives. But so many designed solutions for free outdoor play are ready to hand, if communities can just rally around them. People of the USA, I beg you: build parks, good sidewalks, shaded indoor-outdoor spaces — not just fenced yards. These spaces make neighborhoods, which are the real user interface.

via Jarrett Fuller [https://scratchingthesurface.fm/263-nicolay-boyadjiev ]"]]]></description>
<dc:subject>alexandralange urban urbanism children parents parenting 2024 independence resilience darbysaxbe psychology builtenvironment cities transit transportation cars density parks playgrounds cohousing courtyards planning urbanplanning taragoddard environment schools schoolyards childhood parenthood jacquelinenesi play walkability slowstreets publicspace civics autonomy helicopterparenting sidewalks shade outdoors mobility adolescence youth helicopterparents</dc:subject>
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<item rdf:about="https://chrishedges.substack.com/p/technofeudalism-what-killed-capitalism">
    <title>Technofeudalism: What Killed Capitalism (with Yanis Varoufakis) | The Chris Hedges Report</title>
    <dc:date>2025-01-29T20:37:46+00:00</dc:date>
    <link>https://chrishedges.substack.com/p/technofeudalism-what-killed-capitalism</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The year 2008 signaled to many the weak foundations of modern capitalism in the hands of the greedy, untethered financial sector—the “vampire squid” investment banks as journalist Matt Taibbi called them. Rising from the ashes of the crash, these banks used government money—”socialism for the bankers”—to enrich themselves and Big Business. This money never got to the masses. Instead shares were bought back in traditional capitalist industries and an emerging powerful bloc—the Jeff Bezos’s, the Microsoft’s, the Google’s of the world—invested in what guest Yanis Varoufakis calls, “cloud capital.”

Former member of the Greek parliament and Minister of Finance Yanis Varoufakis joins host Chris Hedges on this episode of The Chris Hedges Report to explain how capitalism is dead and a new form of capital, the title of his new book, “Technofeudalism,” has arisen and holds power akin to the feudal lords of medieval times.

Varoufakis argues that the two pillars of capitalism, markets and profits, have now been replaced and a familiar system of fiefdoms and serfs has emerged. “Markets have been replaced by these digital platforms that look like markets but are not markets. They're more like digital or cloud fiefdoms like Amazon.com or Alibaba, where you have a digital fence keeping within it producers, consumers, artisans, intellectuals, and we are all essentially producing value for the owner of that digital fiefdom, Jeff Bezos in this particular case, in the case of Amazon, who charges ground rent, but of course it's cloud rent,” Varoufakis tells Hedges.

The huge amount of investment in phones, laptops, cell towers, server farms and thousands of miles of optical fiber cables has brought about a system that now dominates all parts of life, including even behavior modification in individual people. The most common platforms used today—Instagram, Google, Amazon, etc.—use their automated systems to produce “tailor-made advertisements which are in a dialectical relationship with us,” Varoufakis says. “We train them to train us, to train them to train us, to convince us that we want something.”

Varoufakis discusses this and more, including how private equity companies like BlackRock, State Street and Vanguard also tap into this system of rentier capitalism and do away with competition, parasitically exploiting working people and traditional capitalists alike."

[full transcript on page]

direct link to YouTube:
https://www.youtube.com/watch?v=sZDh8JvUG1Q ]]]></description>
<dc:subject>yanisvaroufakis 2025 chrishedges cloudcapital technofeudalism feudialism capitalism amazon google meta facebook jeffbezos elonmusk tesla markzuckerberg markets profits fiefdoms blackrock alibaba adamsmith economics history instagram statestreet vanguard globalization rent exploitation labor work 2008 globalfinancialcrisis greatrecession capital privateequity robots bots automation industrialrevolution tencent technoserfs netherlands caymanislands ireland aws luddites luddism china us microsoft nyse byd capitalization alexa spotify williammorris experientiallabor madmen bethlehemsteel gm generalmotors manufacturing freedom ads advertising liberty egalitarianism fairness mcdonalds generalelectric ge tiktok kalrmarx liberation marxism socialism cambodia vietnam russia feminism guantanamobay wwii ww2 left leftism noamchomsky bolsheviks gosplan germany austria uk ussr sovietunion apple miltonfriedman friedrichvonhayek wallstreet derivatives vw volkswagen nvidia intel policy syriza greece finance surveillance data</dc:subject>
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</item>
<item rdf:about="https://www.youtube.com/watch?v=ncH0-q9OXco">
    <title>The Situationist International (full documentary) - YouTube</title>
    <dc:date>2025-01-14T17:16:31+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=ncH0-q9OXco</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["On the Passage of a Few People Through a Rather Brief Moment in Time: The Situationist International 1956-1972

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

Directed and produced by Branka Bogdanov in 1989."]]></description>
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    <title>Advice For Young Artists - YouTube</title>
    <dc:date>2024-12-29T03:21:34+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=qQUs8cNmDOI</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["An extensive reflection on the conception and construction of Alec Soth's most recent book, "Advice For Young Artists."

Come for the book analysis, stay for the balloon party!

ps. I finally figured out how to add subtitles."]]></description>
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<item rdf:about="https://apnews.com/article/mexico-prison-game-poleana-0f97564967c44dfd8a4df5bdb2aa036b">
    <title>A board game born in Mexican prisons is bringing together people from all walks of life | AP News</title>
    <dc:date>2024-12-26T03:36:18+00:00</dc:date>
    <link>https://apnews.com/article/mexico-prison-game-poleana-0f97564967c44dfd8a4df5bdb2aa036b</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[video:
https://www.youtube.com/watch?v=L7xppncksFY

"Poleana, a board game with ancient roots that established a foothold nearly a century ago in Mexican prisons, is spreading in popularity outside the walls. The game requires mental dexterity and rapid calculations: while chance plays a role, mathematical skills are also key."]
]]></description>
<dc:subject>boardgames mexico prisons incarceration via:javierarbona 2024 poleana play games</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
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<item rdf:about="https://www.bostonreview.net/forum_response/ais-walking-dog/">
    <title>AI’s Walking Dog - Boston Review</title>
    <dc:date>2024-12-08T19:04:09+00:00</dc:date>
    <link>https://www.bostonreview.net/forum_response/ais-walking-dog/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Today’s tech inverts the value of the creative process."

...

"Thoreau’s adage “beware of all enterprises that require new clothes” should perhaps be updated to “beware of all enterprises that require venture capital.”

Morozov argues that AI itself has much to offer, but it has not lived up to its potential to serve the public good, and the context of AI’s development explains why. I agree. My own misgivings about AI have less to do with the technology itself than with the problematic nature of who owns it, and what they want to do with it. Venture capitalist Marc Andreessen’s wildly hubristic visions of the future are par for the course in West Coast technology in that they downplay even the possibility of any downsides, brusquely dismissing these as “safety-ism.” I for one wish there had been a few more “safety-ists” around when the algorithms for social media were being crafted.

The magic of play is seeing the commonplace transforming into the meaningful.
If a company is run primarily for profit, you’ll get entirely different outcomes than if it’s run for the public good—despite what the true believers in the “invisible hand” of the market preach. Social media provides the best example, and the experience of what happened with social media is a bad omen for what might happen (and is happening!) with AI. Two words—“maximize engagement,” code for “maximize profits”—were all that was needed to send social media into the abyss of spleen-venting hostility where it now wallows. 

The drive for more profits (or increasing “market share,” which is the same thing) produces many distortions. It means, for example, that a product must be brought to market as fast as possible, even if that means cutting corners in terms of understanding social impacts; it means social value and security are secondary by a long margin. The result is a Hollywood shootout fantasy, except it’s a fantasy we have to live in.

AI today inverts the value of the creative process. The magic of play is seeing the commonplace transforming into the meaningful. For that transformation to take place we need to be aware of the provenance of the commonplace. We need to sense the humble beginnings before we can be awed by what they turn into—the greatest achievement of creative imagination is the self-discovery that begins in the ordinary and can connect us to the other, and to others.

Yet AI is part of the wave of technologies that are making it easier for people to live their lives in complete independence from each other, and even from their own inner lives and self-interest. The issue of provenance is critically important in the creative process, but not for AI today. Where something came from, and how and why it came into existence, are major parts of our feelings about it. We feel differently about a piece of music played by an orchestra in a concert hall than we do about exactly the same piece of music made by a kid in a bedroom with a good sample bank. The backstory matters! The event matters! The intentions matter! We have no idea of the actual origin of the text AI delivers to us. Does it matter that what we’ve scraped off the ether to feed our AIs is not by any means the whole of the world’s knowledge, but just the part that happened to have been published in printed books by the small sliver of the English-speaking world that happened to publish them—and made them available to AI bots? What kind of sausage is that? Surely Weisswurst, made of available scraps on the butcher’s floor.

AI is always stunning at first encounter: one is amazed that something nonhuman can make something that seems so similar to what humans make. But it’s a little like Samuel Johnson’s comment about a dog walking on its hind legs: we are impressed not by the quality of the walking but by the fact it can walk that way at all. After a short time it rapidly goes from awesome to funny to slightly ridiculous—and then to grotesque. Does it not also matter that the walking dog has no intentionality—doesn’t “know” what it’s doing?

In my own experience as an artist, experimenting with AI has mixed results. I’ve used several “songwriting” AIs and similar “picture-making” AIs. I’m intrigued and bored at the same time: I find it quickly becomes quite tedious. I have a sort of inner dissatisfaction when I play with it, a little like the feeling I get from eating a lot of confectionery when I’m hungry. I suspect this is because the joy of art isn’t only the pleasure of an end result but also the experience of going through the process of having made it. When you go out for a walk it isn’t just (or even primarily) for the pleasure of reaching a destination, but for the process of doing the walking. For me, using AI all too often feels like I’m engaging in a socially useless process, in which I learn almost nothing and then pass on my non-learning to others. It’s like getting the postcard instead of the holiday. Of course, it is possible that people find beauty and value in the Weisswurst, but that says more about the power of the human imagination than the cleverness of AI.

All that said, I do believe that AI tools can be very useful to an artist in making it possible to devise systems that see patterns in what you are making and drawing them to your attention, being able to nudge you into territory that is unfamiliar and yet interestingly connected. I say this having had some good experiences in my own (pre-AI) experiments with Markov chain generators and various crude randomizing procedures. Any reservations about AI get you dismissed as a Luddite—though it’s worth remembering that it was the Luddites, not the mill owners, who understood more holistically what the impact of the new mill machinery would be.

To make anything surprising and beautiful using AI you need to prepare your prompts extremely carefully, studiously closing off all the yawning, magnetic chasms of Hallmark mediocrity. If you don’t want to get moon rhyming with June, you have to give explicit instructions like, “Don’t rhyme moon with June!” And then, at the other end of the process, you need to rigorously filter the results. Now and again, something unexpected emerges. But even with that effort, why would a system whose primary programming is telling it to take the next most probable step produce surprising results? The surprise is primarily the speed and the volume, not the content. 

In an era when “cultivated” people purport to care so much about the origins of the stuff they put into their mouths, will they be as cautious with the stuff they put into their minds? Will they be able to resist the information sausage meat that AI is about to serve them?"

]]></description>
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<item rdf:about="https://www.youtube.com/watch?v=2-y7ToCAvYU">
    <title>'The Philosophy of Movement: An Introduction' with Thomas Nail - YouTube</title>
    <dc:date>2024-11-13T02:48:45+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=2-y7ToCAvYU</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Buy Thomas' book:
https://www.upress.umn.edu/9781517917456/the-philosophy-of-movement/

About 'The Philosophy of Movement: An Introduction': 

Why are city dwellers worldwide walking on average ten percent faster than they were a decade ago? Why are newcomer immigrant groups so often maligned when migration has always constituted civilization? To analyze and understand the depth of the reasons, Thomas Nail suggests that it serves us well to turn to a philosophy of movement. Synthesizing and extending many years of his influential work, The Philosophy of Movement is a comprehensive argument for how motion is the primary force in human and natural history.

Nail critiques the bias toward stasis at the core of Western thought, asking: what would a philosophy that began with the primacy of movement look like? Interrogating the consequences of movement throughout history and in daily life in the twenty-first century, he draws connections and traces patterns between scales of reality, periods of history, and fields of knowledge. In our age of rapid movements shaped by accelerating climate change and ensuing mass global migration, as well as ubiquitous digital media, Nail provides a contemporary philosophy that helps us understand how we got here and how to grapple with these interlocking challenges.

With a foreword by philosopher Daniel W. Smith, The Philosophy of Movement: An Introduction is a must-read for scholars and students not only of philosophy but also history, anthropology, science and technology studies, mobility studies, and other fields across the humanities and social sciences. "]]></description>
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<item rdf:about="https://www.universiteitleiden.nl/en/research/research-output/humanities/imagining-urban-complexity">
    <title>Imagining Urban Complexity. A Humanities Approach in Tropes, Media, and Genres - Leiden University</title>
    <dc:date>2024-10-19T05:15:08+00:00</dc:date>
    <link>https://www.universiteitleiden.nl/en/research/research-output/humanities/imagining-urban-complexity</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Imagining Urban Complexity introduces passionate and critical perspectives on the link between the humanities and urban studies."

...

"Author: Frans-Willem Korsten and Anthony T. Albright
Date: 13 September 2024 

More information [https://www.routledge.com/Imagining-Urban-Complexity-A-Humanities-Approach-in-Tropes-Media-and-Genres/Korsten-Albright/p/book/9781032735276 ]

It emphasizes tropes, media, and genres as cultural techniques that shape complexity in urban environments by distributing affordances, modes of sensing, and modes of sense-making. The book grew out of Frans-Willem and Anthony’s teaching experiences in The Hague. The course from which the book emerged, Imagining the City, was initially designed by Frans-Willem for first-year students in the university’s new Urban Studies program. This program attracted a different type of student, one that forced all participants in the program to rethink more fundamentally what a humanities approach to urbanism could or should look like. The result was a period of intense interdisciplinary research, with the classroom as a field of experiments. In 2021, Anthony entered this field as the book’s editor, translator, and eventually co-author, co-researcher, and co-teacher. It took another three years of intense interdisciplinary research, rewriting, deleting, and adding to get to the end result. 

The overarching objective for the book and the course has been for students to take an active and critical attitude toward everyday life: to reflect on how dominant ways of sensing cities, and foundational assumptions about urban life, are political at heart. We also seek to extend this critical attitude to the university classroom situation itself, where one of the more specific aims of Imagining the City is to defamiliarize the habits of passive absorption and tactical memorization in which many of our students have been so effectively trained by Dutch and international high school curricula. 

To this end, we recently replaced the traditional final exam for Imagining the City with a portfolio project in which students are asked to analyze photographic case studies from within ongoing scholarly debates presented in the book. Crucial, the methodological program of our book proposes, is to begin with what one sees: to describe the urban case study, in all of its possible obscurities or inconsistencies, without forcing it into a pre-established theoretical mold. Theories, we emphasize, are not just nice ideas waiting to be exemplified, and real life does not just take place in between more serious obligations."

[from
https://www.routledge.com/Imagining-Urban-Complexity-A-Humanities-Approach-in-Tropes-Media-and-Genres/Korsten-Albright/p/book/9781032735276 

"Description

Imagining Urban Complexity introduces passionate and critical perspectives on the link between the humanities and urban studies. It emphasizes tropes, media, and genres as cultural techniques that shape complexity in urban environments by distributing affordances, modes of sensing, and modes of sense-making.

Focusing on urban political and cultural dynamics in 24 global cities, the book shows that urban environments are thematized in literature and art, but are also entities that are shaped, perceived, interpreted, and experienced through sense-making techniques that have long been central concerns of the humanities. These techniques, the book argues, activate a dialectic between urban imaginations and cancellations. Tropes, media, and genres are aesthetically and politically powerful: they propel imaginations and open up multiplicities of urban possibilities, they naturalize actualized orders, and they cancel alternatives. The book moves between close readings of city spaces and more systemic and infrastructural approaches to urban environments, providing tools and strategies that can be adapted and extended to understand urban complexity in different cultural and political contexts.

The book speaks to global audiences from a continental philosophical tradition. It is relevant to undergraduates, postgraduates, and academic researchers in the fields of critical urban studies, urban design, comparative literature, cultural studies, cultural analysis, ecocriticism, political theory, and ethics.

Table of Contents

Preamble
Urban complexities: a humanities toolkit of tropes, media, genres

I Tropes

1. What holds cities together?
Body Politic - Network - Belt: Hong Kong & Atlanta

2. Cities as paradigms of nature-culture
Jungle - Desert - Garden : Mexico City & Canberra

3. Urban distributions of access
Archive - Labyrinth - Zone: Istanbul & Moscow

4. Cities as centers of expectation and disillusion
Utopia - Dystopia - Non-Place: Paris & Brasilia

II Media

5. Bringing urban selves and world into perspective
Theatre - Spectacle: Amsterdam & Naples

6. Connecting the private and the masses
Newspaper - Radio: Chicago & Caïro

7. Battlegrounds of representation and motors of desire
Television - Cinema: Beijing & Bangkok

8. Media relating dividuals and scapes
Digital - Social Media: Mumbai & Nairobi


III Genres

9. Cities as forms of emplotment
Narrative – Documentary: Rio de Janeiro & Seattle

10. Urban life fragmented and improvized
Collage – Play: Lagos & Barcelona

11. Who does a city address and what do its rhythms express?
Lyric – Poetry: Isfahan & Jakarta

12. City secret, city trauma and the unrepresentable
Allegory – Comics: Jerusalem & Hiroshima


Postscript
The smart city: archipelagos of tests

Author(s) Biography

Frans-Willem Korsten is professor of Literature, Culture, and Law at the Leiden University Centre for the Arts in Society and professor of Literature and Society at the Erasmus School of Philosophy. He was responsible for the Dutch Research Council (NWO) internationalization program "Precarity and Post-Autonomia: The Global Heritage" and took part in the NWO/Research Foundation Flanders (FWO)–funded program "Imagineering Techniques in the Early Modern Period." He currently takes part in a program funded by the NWO entitled "Playing Politics: Media Platforms, Making Worlds." He published extensively on the Dutch Republican baroque, theatricality, and sovereignty (A Dutch Republican Baroque; 2017), and on the relation between literature, art, politics, justice, and law—Art as an Interface of Law and Justice: Affirmation, Disturbance, Disruption (2021) and Cultural Interactions: Conflict and Cooperation (2022).

Anthony T. Albright is a PhD candidate and lecturer at the Leiden University Center for the Arts in Society. He received a bachelor of arts (BA) with a concentration in English and Comparative Literature from Columbia University and a master of arts (MA) in Media Studies from Leiden University."]]]></description>
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<item rdf:about="https://thomasjbevan.substack.com/p/walking-as-inactivity">
    <title>Walking as Inactivity - by Thomas J Bevan - The Commonplace</title>
    <dc:date>2024-10-18T22:44:12+00:00</dc:date>
    <link>https://thomasjbevan.substack.com/p/walking-as-inactivity</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Sunday. The day of rest. I’m down by the Quayside, walking. It’s near lunchtime and the walkways on either side of the water’s edge are teeming with couples and clusters of families, both on foot and on pushbikes. There are pedaloes cutting through the still water and waitresses running out trays of tall lattes to eager pensioners nestled under the parasols jutting out from the centre of round metal tables. Beyond them a seersuckered trad jazz band blow away to the mild delight of a smattering of swaying onlookers. The sun is out, the sky is clear and blue and the breeze is a gentle comfort against the heat. And yet something isn’t quite right. Despite the day, despite the time of year and the favourable, couldn’t-be-better weather there is a tension here, just below the surface.

I stroll the banks but I am the only one who is strolling. As I amble and look and linger at the sight of various waterbirds I am overtaken time and again. I watch the cable ferry for a minute, I contemplate the various centuries old brick buildings and imagine what this place would’ve been like when it was a place of sail ships and exchange and empire. And I am overtaken and overtaken as if there were a minimum speed limit that I was flagrantly disrespecting by moving so slowly. See, though this is a place of leisure and today is the designated day of rest people are marching purposefully as if they have somewhere else to be. Rigid gait, eyes on the path ahead, stimulant of choice at hand- either takeaway coffee or sickly sweet cake or both, while some of the university age walkers forgo these and instead blow vape-pen clouds into the cloudless sky. There is something going on here. Am I the only one who knows how to bimble, how to promenade, how to saunter? Is this now a lost art? And if so, what does this mean, what does this say about us and the way we are living?

The vital thing to understand- and the point that I want to stress the most- is that walking is not an activity. Or rather, it should not be conceptualised as and reduced to being a mere activity. It is much more than that because it is much less than that. Walking is one of the great forms of inactivity and in a world of striving and consumerism and grasping and impatience it is one of only very few potential forms of inactivity left. It is that makes it precious.

You see, when you walk slowly and with no real destination in mind you are not doing, you are just being. Such walking, such contemplation is the beginning of freedom, it is the necessary pre-condition for having your own thoughts and as such for truly living your own life.

Which is why it is such a shame when people pollute their potentially edifying walks by turning to their ever-present phones. When I walk the streets and alleys of my city I constantly see people either shouting inanities into their phones1 or else using them to wirelessly pump music or podcasts into their eager ears. Walking thus becomes reduced to a mere mode of transportation for the carless and these reluctant pedestrians become- like so many other one-person-per-vehicle drivers- detached and isolated units moving through space2. The audio and the journeying cancel each other out and it all bleeds into one, it becomes a blur that blots out the boredom of not being at your destination yet. Worse still is when this is combined with step counting apps or wristwatches which tragically instrumentalise the beautiful art of wandering around and turn walking into a metricated means of merely keeping the body alive and in some sort of working order. Such devices reduce us to machines, and one of the great tricks of Capitalism or The System or however you want to conceive it is that it not only turns us into machines for consumption and generating wealth for The Economy, but it also burdens us with the upkeep of the machinery that we have been reduced to becoming.

It reminds me of the great rant that the anarchist Bob Black got into about free time in his seminal essay The Abolition of Work3

“Free time is mostly devoted to getting ready for work, going to work, returning from work, and recovering from work. Free time is a euphemism for the peculiar way labor, as a factor of production, not only transports itself at its own expense to and from the workplace, but assumes primary responsibility for its own maintenance and repair. Coal and steel don’t do that. Lathes and typewriters don’t do that.”

When you start tracking your step count when you go for your daily constitutional you turn the walk into ‘free time’ in this sense. It becomes an Activity, something that is Good For You. And this only compounds if you listen to some manner of Educational Podcast as you do so. The thrillingly, daringly subversive non-activity of moseying around the neighbourhood for no reason other than the sheer pleasure of being alive, able to walk and out of doors degenerates into just another means of being visibly productive. Because eking out maximum amounts of productivity from every moment of our days has been working out so great for us thus far. All work and no play makes Jack a dull boy and we are all so play-deprived that many of us are becoming passive, disembodied viewers of our own on-screen lives.

It may seem that I am getting worked up about a series of trivialities here. To point out how people turn their recreational activities into photoshoots of themselves acting out their recreational activities may strikes some as petty. To highlight the ubiquitous phones and SUVs that people use to transport them the short distances to and from the walking spots may even seem a little mean spirited. Like I am nit-picking relatively unimportant and unremarkable things to try and find some significance in them. But I truly think that there is a lot more going on here. Everyday things are worthy of serious consideration because they are so common and unremarked upon.

So what does it say then when walking- something that is already complete and requires no thought or effort or expense- is polluted and diminished into just another opportunity to consume and document said consumption? What does it say when we so thoughtlessly desecrate our leisure like this? I would argue that to do these things is more than a little dehumanising.

Animals survive and act and react but only humans can opt out of this cycle and into the higher realm of inactivity. Just as silences make music more beautiful and pauses make conversations richer in meaning, it is inactivity- that is the moving beyond doing into being- that makes life human. Responding to stimuli alone, satisfying needs as they arise alone makes life nothing more than a cycle of biological survival.

The beauty is in the gaps. Art and culture arise from the blank spaces (which may be why these vital spheres in particular seem to be diminishing in this time of always on, always available activity). Uselessness and purposelessness4 are true luxury, true wealth. Look at any heart-stirring ceremony or custom or event- they are filled with detours and excesses, they are far from efficient. You could easily workshop a way of getting to the same basic endpoint much, much quicker and in doing so you would kill everything that made that ceremony unique and beautiful and, well, ceremonial.

The luxury of the aimless walk is one of the most accessible and readily available blank spaces we have. It is no coincidence that such a stroll will all of itself produce ideas and insights and new observations. In the absence of a task the mind will begin to play. It will be free. This is why walking and creativity go absolutely hand in hand. Insight comes to the contemplative and contemplation comes from inactivity, from not trying to generate insights, or indeed trying to do much of anything at all. In a try-hard world this is a difficult truth to convince people of. Because it asks for patience. It asks for more than mere effort. It asks for participation in the world as it is, which for the mind that has always trained itself to be busy is a big ask indeed. But it is the only way to be free."]]></description>
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<item rdf:about="https://www.theatlantic.com/health/archive/2024/06/pickup-basketball-sociology/678677/">
    <title>The Secret Code of Pickup Basketball - The Atlantic</title>
    <dc:date>2024-09-27T23:22:35+00:00</dc:date>
    <link>https://www.theatlantic.com/health/archive/2024/06/pickup-basketball-sociology/678677/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The game presents a social problem: How does one find comity among a group of jostling strangers?"

...

"The only immovable object on my weekly calendar is a Sunday-night basketball game. We play in a rented gym in Washington, D.C., usually at a high school, because we’re all conserving cartilage and the local middle schools don’t place much cushioning underneath the hardwood. The game has been running for more than 20 years, but it wasn’t always on Sunday nights, and none of the original players is still around. When people get hurt or move away, they’re replaced like planks on the Ship of Theseus. The continuity of the game is the important thing. It has to stay in motion, but not because anyone is trying to get somewhere. None of our regulars retains any ambition of climbing up to some higher echelon of organized basketball, at least I hope not. That’s part of the game’s magic. The enlivening competitive energies that it summons have no higher purpose. They are entirely internal to the game. Play in earliest childhood has this quality.

In 2015, Nick Rogers, now a sociologist at the University of Pittsburgh, conducted an ethnography of a pickup-basketball game. Like an anthropologist who heads into the bush to live with tribe members, Rogers became one of the game’s regulars. During breaks, he took hurried notes on his iPhone. (Nice work, if you can get it.) Rogers wanted to understand the paradox of pickup basketball. Its culture is aggressively masculine. Its players tend to be diverse in age, race, and class. They jostle one another, elbow to elbow. They collide with full force. They get loud. And yet, fights are relatively rare. Rogers believes that this carefully pitched intensity is enabled by a special set of norms. These aren’t etched into stone like the Ten Commandments, he told me, but the players he interviewed on the sidelines were all fluent in them, and even reverent toward them. This unspoken code keeps the game from tipping over into violence. It allows a small group of perfect strangers with little in common besides basketball to experience a flow state—a brief, but intense, form of group transcendence.

Ethnographers like him have infiltrated nearly every part of the sports world. They have embedded themselves in locker rooms, team buses, and even vendor booths at baseball-card shows. One slipped into the cold Pacific along California’s coast on early mornings, for months, to study how surfers take turns. Pickup basketball has attracted particular attention from sociologists because it is such a social game. To play it well, five people—which is to say, a group roughly the size of a rock band, a hunting party, or a nuclear family—must move together in a way that can be improvised in real time. They may all be strangers, and yet the ball will pass among them as though controlled by one mind. I’ve been an intermittent part of these games for most of my adult life without ever really thinking through what they represent, or how they come together. One aspect of the paradox of pickup basketball is its invisibility to those who play.

The sociologist Jason Jimerson conducted the first participant-observer study of pickup basketball, in the 1990s. He was inspired by a pair of writers who had traveled across the United States in search of the country’s best games. As a master’s student at the University of Virginia, Jimerson played every week at a gym near campus. He later published a paper describing how players maximized time on the court and quality of play. As a Ph.D. student at the University of Chicago, he returned to the subject for his dissertation. He began playing in a lunchtime game at the YMCA in Waukegan, a suburb just outside the city.

“Basketball started at the Y,” Jimerson told me. This one was right next to a courthouse. A judge and probation officer would sometimes play with someone who had recently been imprisoned. Between games, Jimerson dictated notes into a tape recorder. He even filmed some of the action. He wanted to compare different basketball cultures. He started playing at Cabrini-Green, a Chicago housing project that has since been torn down. When Jimerson’s colleagues told him that they feared for his safety, he sensed a touch of racism, but still, he took precautions. To endear himself to his fellow players, he bought a pair of expensive leather basketballs and brought them to games. “I knew there was a reason we let you study us,” one of them told him.

Jimerson has a poetic and plainspoken definition of sociology: He calls it “the science of people doing things together.” He took on pickup basketball as a research subject because it’s a very difficult thing that groups of people do together—even when they are very different from one another. If good feelings pass frequently among them, that helps. Rogers was interested in how players generate this atmosphere of fellow feeling. He had read Jimerson’s work; he was a prepared observer. He noticed that teammates maintained a strong norm of mutual encouragement, even—or especially—when one of them wasn’t very good. “Someone would miss a shot, and instead of their teammates saying, ‘Don’t shoot anymore, loser,’ they would say, ‘Keep shooting, shooter,’” Rogers told me. Players who dribbled endlessly, or attempted low-percentage fadeaway three-pointers, were also dealt with gently. Someone might communicate their displeasure by rolling their eyes, subtly, to other teammates or bystanders. But they wouldn’t confront those players directly.

To keep the larger game from breaking down, players also have to cooperate with their opponents, especially in the absence of neutral referees. The difficulty of this task depends on how many players are waiting on the sidelines, Jimerson told me. If there are just a few, then most people get to play again immediately whether they win or lose. As a consequence, they aren’t as competitive. The quality of the game diminishes, but there aren’t as many conflicts. The more players who are waiting, the higher the stakes, because losing may mean sitting through two games—and when stakes are too high, Jimerson said, “people really start fouling.”

The larger social order is most endangered during competitive games. Disputes may begin when players disagree about the score, or whether someone traveled or stepped out of bounds, but most happen when people argue about fouls. In pickup basketball, individual players must announce when they’ve been smacked, shoved, or otherwise touched inappropriately. Like any responsible sociologist, Jimerson is hesitant to traffic in universals, but he told me that nearly all pickup-basketball players have a norm against calling “ticky tack” fouls, which are too light to have really affected a person’s shot. The whole point of pickup basketball is to keep the game moving, he said. (Group flow states are a core interest for Jimerson; he has also done ethnographic research on musicians who perform in impromptu jam sessions.) This is why no one shoots free throws in pickup; it would interrupt the game. But so do extended arguments. In my Sunday-night game, we have an explicit norm that if a player says they were fouled, opposing players are supposed to respect the call, even if they disagree.

Such norms are standard in pickup basketball, but any player can tell you that they’re sometimes broken. Michael DeLand, a sociologist at Gonzaga University, told me that he observed extended disputes while playing in a long-running pickup game in Santa Monica. He chose it because it was more intimate than the world-famous games just down the coast at Venice Beach. He wanted to get to know the players. “There were Orthodox Jewish guys playing with businessmen, bartenders, bouncer types, rappers, and actors,” DeLand said. They arrived by foot, bike, bus, and car. Some became friends. DeLand noticed that when players engaged in extended arguments on the court, a folk legal process played out. People appealed to precedent. They made statements of evidence. Those who were waiting on the sidelines for the next game served as a jury, although their verdict wasn’t necessarily dispositive. Players on the blacktop would sometimes say, “Fuck you, you don’t get a say,” DeLand told me.

Rogers also studied disputes at the state-school gym where he played. He noticed upper limits to the intensity of verbal disagreement. Players were hesitant to use the sort of homophobic or misogynistic slurs that are common in, say, an online game of Call of Duty, because they would prolong the argument and make violence more likely. Even at their angriest, players would try to give off some signal that they weren’t taking the dispute so seriously, Rogers told me. They could be nose to nose, screaming at each other, but they would also smile subtly, or find another way to convey that they weren’t looking to escalate into a fight. In many instances, when players reached an impasse, someone would shoot to settle the matter. Rogers stressed that this was “more than just a semi-random way to resolve the dispute.” Players seemed to have a mystical belief that the basketball gods would dictate the outcome of the shot, expressed in an axiom familiar to almost all pickup-basketball players: “Ball don’t lie.”

Jimerson told me that he thinks of basketball as “a third place,” apart from home and work. In a third place, the usual social hierarchies are suppressed. People feel comfortable being themselves around strangers, and relating to others. That’s why a good regular game is a beautiful and fragile thing. I count myself lucky to have had a spot in one (or more) for nearly all of my adult life, and plan to keep it that way for as long as possible. I’ve known several guys who played into their 60s. It didn’t surprise me to learn that Jimerson is one of them. His last years on the court were some of his favorite. “Old guys have a different understanding of the game,” he told me. They know how to use back cuts and how to pass. They get into fewer disputes. They keep the game moving. The luckiest ones stay healthy long enough to play pickup with their adult kids.

Injuries give players a taste of dreaded, but inevitable, retirement. For the past few months, a friend I play with in a different game has been healing from a torn calf muscle. His doctor has barred him from the hardwood. He described this experience to me as a disturbance of the soul. Basketball is where he gets his exercise but also human connection. He shows up to the game with his full self, and he knows that others will too. “I love watching these grown-ass men limping around, giving every ounce of their energy to try to win,” he told me. On many holidays, he drops a message of gratitude into our WhatsApp group. He thanks us for the many blessings of the game and the microcommunity it has created. He talks about how much he cherishes it. Last week, he sent over a different message, an announcement. He described it as long overdue. He had been cleared to start stretching. By early July, he said, he’d be back on the court. It will be good to see him."]]></description>
<dc:subject>social pickupgames basketball flow 2024 rossandersen urban society rules codesofconduct transcendence nickrogers 2015 ethnography paradox culture play sports norms michaeldeland sociology jasonjimerson</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
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<item rdf:about="https://www.youtube.com/watch?v=JqxL3Jw7Abg">
    <title>GeoGuessr star player Trevor Rainbolt’s tips for success in the popular geography game - YouTube</title>
    <dc:date>2024-09-16T00:05:37+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=JqxL3Jw7Abg</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["A popular online geography game is taking players around the globe, one Google Street View image at a time. John Yang speaks with Trevor Rainbolt, perhaps the game’s most famous player, for a look inside the world of GeoGuessr."
]]></description>
<dc:subject>geoguessr streetview geography maps landscape games gaming play 2024 rainbolt googlestreetview mapping</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:fceb94228522/</dc:identifier>
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<item rdf:about="https://www.youtube.com/watch?v=-d8sNML3WT8">
    <title>Why Lego Is So Expensive | So Expensive | Business Insider - YouTube</title>
    <dc:date>2024-09-06T22:28:00+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=-d8sNML3WT8</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Lego is the world's largest toy company but it's gained a reputation for being an expensive hobby. Since 2007, Lego has released dozens of sets that cost over $300. The most expensive Star Wars sets cost $850. And prices for vintage Lego sets can reach over $1,000. These high prices have caught the attention of thieves, who in some cases have stolen about $300,000 worth of Lego. So, how did we get here? How did Lego go from a children's toy to a collector's item? And why is it so expensive?

00:00 - Intro
01:12 - Lego's Rise
02:39 - The Lego System
05:39 - Lego's Fall
07:39 - Adult Fans Of Lego
13:07 - Conventions
14:32 - Lego Resale Market
17:34 - Lego's Rise (Again)
19:37 - Products For Kids And Adults
22:54 - Why Lego Is So Expensive
25:51 - Will Lego's Success Last?
28:04 - Credits"]]></description>
<dc:subject>lego toys markets economics business 2024 collecting via:sophia fans fandom enthusiasts afol collectors creativity investment speculation artificialscarcity grassroots internet web online forums licensing kidult nerdom weirdness subcultures nostalgia problemsolving play fun ingenuity manufacturedscarcity</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
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<item rdf:about="https://despelote.game/">
    <title>Despelote. Un juego de Julián Cordero y Sebastián Valbuena.</title>
    <dc:date>2024-08-27T20:46:17+00:00</dc:date>
    <link>https://despelote.game/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Un juego de Julián Cordero y Sebastián Valbuena. Coming 2024 to PlayStation, Xbox, and PC. Charming 3D and 2D slice-of-life adventure about childhood and the magical grip fútbol held over the people of Quito Ecuador in 2001, as the nation came the closest to qualifying for the World Cup.

...

Despelote is a soccer game about people.

Get immersed in the streets and parks of Quito through the eyes and ears of eight year old Julián.

Dribble, pass and shoot your soccer ball around town, and see what happens when you kick it someone's way. Feel the city change as Ecuador comes closer than ever to qualifying for the World Cup."

[See also:
https://www.youtube.com/watch?v=sVTn7ns7jmU
"espelote is now set to kickoff in early 2025! Enjoy a new trailer for this wonderful slice-of-life adventure. 

A game by Julián Cordero and Sebastián Valbuena. Produced by Gabe Cuzzillo, with sound design by Ian Berman. Programming by Niall Tessier-Lavigne. Presented by Panic. Coming Early 2025 to PS5, PS4, Xbox, and PC. [also on Steam]"

https://www.youtube.com/watch?v=EF8qGI3f7Rk

https://www.youtube.com/watch?v=aPVNSAFGrI4

"Developer Julián Cordero, artist and musician Sebastián Valbuena, and producer and developer Gabe Cuzillo sit down to chat about the making of Despelote, and update us on the release of this wonderful slice-of-life adventure!"]]]></description>
<dc:subject>games gaming videogames futbol soccer ecuador quito 2024 juliáncordero sebastiánvalbuena despelote childhood football sports play memories memory</dc:subject>
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<item rdf:about="https://theanarchistlibrary.org/library/bob-black-the-abolition-of-work">
    <title>The Abolition of Work | The Anarchist Library</title>
    <dc:date>2024-08-15T06:23:29+00:00</dc:date>
    <link>https://theanarchistlibrary.org/library/bob-black-the-abolition-of-work</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["This essay originated as a speech in 1980. A revised and enlarged version was published as a pamphlet in 1985, and in the first edition of The Abolition of Work and Other Essays (Loompanics Unlimited, 1986). It has also appeared in many periodicals and anthologies, including translations into French, German, Italian, Dutch and Slovene. Revised by the author for the Inspiracy Press edition. | The 1985 original is available on https://web.archive.org."

[See also:
https://www.ludozofi.com/home/library/the-abolition-of-work/ ]]]></description>
<dc:subject>anarchism capitalism labor 1985 bobblack play 1986 1980 work</dc:subject>
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