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    <title>The Ideology of Contentmaxxing - YouTube</title>
    <dc:date>2026-02-23T04:54:51+00:00</dc:date>
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    <dc:creator>robertogreco</dc:creator><description><![CDATA["The algorithm does to a discussion what Clavicular does to his face — a series of micro-fractures, delivered repeatedly and with precision, in the hopes that it will match a target number that nobody actually wants, but which the machine is thirsty for us to find."

[See also:

"Clavicular and contentmaxxing
the next step after groyperfication" (Aidan Walker)
https://howtodothingswithmemes.substack.com/p/clavicular-and-contentmaxxing

"Clavicular and Fuentes
elder zoomers vs. the young ones" (Aidan Walker)
https://howtodothingswithmemes.substack.com/p/clavicular-and-fuentes

(referenced within) "We are entering the era of Show more
The endless agony of thinking doing being content" (Jamie Cohen)
https://newmediahomework.substack.com/p/we-are-entering-the-era-of-show-more ]]]></description>
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    <dc:date>2023-12-11T19:28:50+00:00</dc:date>
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0:47 - Question 1 on Ibram X. Kendi
2:48 - Answer
16:57 - Question 2 on the Difference Between Generalizations and Stereotypes
19:35 - Answer
30:13 - Question 3 on Frederick Douglass
34:50 - Answer"]]></description>
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    <title>Norman Finkelstein’s lifelong rebellion and new war on woke | The InnerView - YouTube</title>
    <dc:date>2023-10-29T23:41:59+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=I0i0mnhobNs</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The InnerView meets esteemed American political scientist and activist Norman Finkelstein at his home in New York City. Finkelstein discusses why he was compelled to write his latest book, “I’ll Burn That Bridge When I Get to It!” on why he believes modern identity politics, cancel culture and being “woke” are insincere and ineffectual vehicles for true change that have been co-opted by the status quo.

The child of Holocaust survivors, Finkelstein is best known for his staunch criticism of Israel and tells Imran Garda how it feels to be labelled a holocaust denier and self-hating Jew. Finkelstein also addresses his fall from grace within some Palestinian circles after taking issue with the BDS movement.

00:00 Intro
01:10 New Book - ‘I’ll Burn That Bridge When I Get to It!’
02:40 The Bernie Sanders phenomenon
06:35 What is ‘Identity politics’?
09:58 Why the super-rich donate millions of dollars to politicians?
11:34 On Black Lives Matter
12:53 Rosa Luxemburg – True left-wing figure
15:00 A self-hating Jew?
18:30 Earning respect
23:20 The choice. Fame and fortune or truth and justice?
24:06 Former “rockstar” of the Palestinian solidarity movement"]]></description>
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    <title>If I were President w/ Dr. Cornel West - YouTube</title>
    <dc:date>2023-07-22T21:12:09+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=wNdJOX_hk58</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Dr. Cornel West is a prolific author, professor, preacher, and activist.  He is running for US President in 2024. We ask Dr. West how his campaign challenges the brutalities of settler colonialism while also lifting the spirits of people in struggle.

Learn more about his campaign here
https://www.cornelwest24.org/ "]]></description>
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<item rdf:about="https://www.youtube.com/watch?v=oSCj8H4TGTo">
    <title>How Did Anime Become So Popular In the USA? | Subcultured - YouTube</title>
    <dc:date>2022-03-24T17:45:30+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=oSCj8H4TGTo</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Anime has exploded in popularity over the last decade, going from geek to cool.

Audio description is available for this video. Go to Settings - Audio Track - English Descriptive.

In this episode, join Josef as they visit AnimeNYC, an anime convention in New York City, to learn about the anime fandom, cosplay, and how the genre suddenly became so cool. We're also joined by the team behind  @Beyond The Bot , a group of friends that love anime and make videos about it on their own YouTube channel. How did anime become so popular? Let us know what you think of anime in the comments!"]]></description>
<dc:subject>joseflorenzo anime subcultured japan otaku culture subcultures 2022 1988 history fansubbing us translation subtitles import community distribution 1980s 1990s pokemon dragonballz sailormoon yu-gi-oh 1993 hayaomiyazaki studioghibli spiritedaway nerds akira defiance resistance kanyewest mainstream popularity generations 2000s media television tv film manga animation friendship chosenfamilies inclusivity inclusive gundam macross kumikosaito tsutomumiyazaki pokémon</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
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<item rdf:about="https://harpers.org/archive/2015/04/abolish-high-school/">
    <title>[Easy Chair] | Abolish High School, by Rebecca Solnit | Harper's Magazine</title>
    <dc:date>2018-06-10T19:18:41+00:00</dc:date>
    <link>https://harpers.org/archive/2015/04/abolish-high-school/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["I didn’t go to high school. This I think of as one of my proudest accomplishments and one of my greatest escapes, because everyone who grows up in the United States goes to high school. It’s such an inevitable experience that people often mishear me and think I dropped out.

I was a withdrawn, bookish kid all through elementary school, but the difficulty of being a misfit intensified when I started seventh grade. As I left campus at the end of my first day, people shouted insults that ensured I knew my clothes didn’t cut it. Then there was P.E., where I had to don a horrendous turquoise-striped polyester garment that looked like a baby’s onesie and follow orders to run or jump or play ball — which is hard to do when you’re deeply withdrawn — after which I had to get naked, in all my late-bloomer puniness, and take showers in front of strangers. In science class we were graded on crafting notebooks with many colors of pen; in home economics, which was only for girls — boys had shop — we learned to make a new kind of cake by combining pudding mix with cake mix; even in English class I can remember reading only one book: Dickens’s flattest novel, Hard Times. At least the old history teacher in the plaid mohair sweaters let me doze in the front row, so long as I knew the answers when asked.

In junior high, everything became a little more dangerous. Most of my peers seemed to be learning the elaborate dance between the sexes, sometimes literally, at school dances I never dreamed of attending, or in the form of the routines through which girls with pompoms ritually celebrated boys whose own role in that rite consisted of slamming into one another on the field.

I skipped my last year of traditional junior high school, detouring for ninth and tenth grade into a newly created alternative junior high. (The existing alternative high school only took eleventh and twelfth graders.) The district used this new school as a dumping ground for its most insubordinate kids, so I shared two adjoining classrooms with hard-partying teenage girls who dated adult drug dealers, boys who reeked of pot smoke, and other misfits like me. The wild kids impressed me because, unlike the timorous high achievers I’d often been grouped with at the mainstream school, they seemed fearless and free, skeptical about the systems around them.

There were only a few dozen students, and the adults treated us like colleagues. There was friendship and mild scorn but little cruelty, nothing that pitted us against one another or humiliated us, no violence, no clearly inculcated hierarchy. I didn’t gain much conventional knowledge, but I read voraciously and had good conversations. You can learn a lot that way. Besides, I hadn’t been gaining much in regular school either.

I was ravenous to learn. I’d waited for years for a proper chance at it, and the high school in my town didn’t seem like a place where I was going to get it. I passed the G.E.D. test at fifteen, started community college the following fall, and transferred after two semesters to a four-year college, where I began, at last, to get an education commensurate with my appetite.

What was it, I sometimes wonder, that I was supposed to have learned in the years of high school that I avoided? High school is often considered a definitive American experience, in two senses: an experience that nearly everyone shares, and one that can define who you are, for better or worse, for the rest of your life. I’m grateful I escaped the particular definition that high school would have imposed on me, and I wish everyone else who suffered could have escaped it, too.

For a long time I’ve thought that high school should be abolished. I don’t mean that people in their teens should not be educated at public expense. The question is what they are educated in. An abolitionist proposal should begin by acknowledging all the excellent schools and teachers and educations out there; the people who have a pleasant, useful time in high school; and the changes being wrought in the nature of secondary education today. It should also recognize the tremendous variety of schools, including charter and magnet schools in the public system and the private schools — religious, single-sex, military, and prep — that about 10 percent of American students attend, in which the values and pedagogical systems may be radically different. But despite the caveats and anomalies, the good schools and the students who thrive (or at least survive), high school is hell for too many Americans. If this is so, I wonder why people should be automatically consigned to it.

In 2010, Dan Savage began the It Gets Better Project, which has gathered and posted video testimonials from gay and lesbian adults and queer-positive supporters (tens of thousands of them, eventually, including professional sports stars and the president) to address the rash of suicides by young queer people. The testimonials reassure teenagers that there is life after high school, that before long they’ll be able to be who they are without persecution — able to find love, able to live with dignity, and able to get through each day without facing intense harassment. It’s a worthy project, but it implicitly accepts that non-straight kids must spend their formative years passing through a homophobic gauntlet before arriving at a less hostile adult world. Why should they have to wait?

Suicide is the third leading cause of death for teens, responsible for some 4,600 deaths per year. Federal studies report that for every suicide there are at least a hundred attempts — nearly half a million a year. Eight percent of high school students have attempted to kill themselves, and 16 percent have considered trying. That’s a lot of people crying out for something to change.

We tend to think that adolescence is inherently ridden with angst, but much of the misery comes from the cruelty of one’s peers. Twenty-eight percent of public school students and 21 percent of private school students report being bullied, and though inner-city kids are routinely portrayed in the press as menaces, the highest levels of bullying are reported among white kids and in nonurban areas. Victims of bullying are, according to a Yale study, somewhere between two and nine times more likely to attempt suicide. Why should children be confined to institutions in which these experiences are so common?

Antibullying programs have proliferated to such an extent that even the Southern Poverty Law Center has gotten involved, as though high school had joined its list of hate groups. An educational video produced by the S.P.L.C. focuses on the case of Jamie Nabozny, who successfully sued the administrators of his small-town Wisconsin school district for doing nothing to stop — and sometimes even blaming him for — the years of persecution he had suffered, including an attack that ruptured his spleen. As Catherine A. Lugg, an education scholar specializing in public school issues, later wrote, “The Nabozny case clearly illustrates the public school’s historic power as the enforcer of expected norms regarding gender, heteronormativity, and homophobia.”

I once heard Helena Norberg-Hodge, an economic analyst and linguist who studies the impact of globalization on nonindustrialized societies, say that generational segregation was one of the worst kinds of segregation in the United States. The remark made a lasting impression: that segregation was what I escaped all those years ago. My first friends were much older than I was, and then a little older; these days they are all ages. We think it’s natural to sort children into single-year age cohorts and then process them like Fords on an assembly line, but that may be a reflection of the industrialization that long ago sent parents to work away from their children for several hours every day.

Since the 1970s, Norberg-Hodge has been visiting the northern Indian region of Ladakh. When she first arrived such age segregation was unknown there. “Now children are split into different age groups at school,” Norberg-Hodge has written. “This sort of leveling has a very destructive effect. By artificially creating social units in which everyone is the same age, the ability of children to help and to learn from each other is greatly reduced.” Such units automatically create the conditions for competition, pressuring children to be as good as their peers. “In a group of ten children of quite different ages,” Norberg-Hodge argues, “there will naturally be much more cooperation than in a group of ten twelve-year-olds.”

When you are a teenager, your peers judge you by exacting and narrow criteria. But those going through the same life experiences at the same time often have little to teach one another about life. Most of us are safer in our youth in mixed-age groups, and the more time we spend outside our age cohort, the broader our sense of self. It’s not just that adults and children are good for adolescents. The reverse is also true. The freshness, inquisitiveness, and fierce idealism of a wide-awake teenager can be exhilarating, just as the stony apathy of a shut-down teenager can be dismal.

A teenager can act very differently outside his or her peer group than inside it. A large majority of hate crimes and gang rapes are committed by groups of boys and young men, and studies suggest that the perpetrators are more concerned with impressing one another and conforming to their group’s codes than with actual hatred toward outsiders. Attempts to address this issue usually focus on changing the social values to which such groups adhere, but dispersing or diluting these groups seems worth consideration, too.

High school in America is too often a place where one learns to conform or take punishment — and conformity is itself a kind of punishment, one that can flatten out your soul or estrange you from it.

High school, particularly the suburban and small-town varieties, can seem a parade of clichés, so much so that it’s easy to believe that jockocracies (a term used to describe Columbine High School at the time of the 1999 massacre), girls’ rivalries, punitive regimes of conformity and so forth, are anachronistic or unreal, the stuff of bad movies. Then another story reminds us that people are still imprisoned in these clichés. The day I write this, news comes that, yet again, high school football players have been charged with raping a fellow student. This time it’s five boys in Florida. In a 2012 sexual-assault case in Steubenville, Ohio, one of the football players accused of the crime texted a friend that he wasn’t worried about the consequences because his football coach “took care of it.” The victim received death threats for daring to speak up against popular boys, as did a fourteen-year-old in Missouri named Daisy Coleman, who, in the same year, reported being raped by a popular football player named Matt who was three years her senior.

Coleman, who has attempted suicide multiple times, wrote:

<blockquote>When I went to a dance competition I saw a girl there who was wearing a T-shirt she made. It read: matt 1, daisy 0. Matt’s family was very powerful in the state of Missouri and he was also a very popular football player in my town, but I still couldn’t believe it when I was told the charges were dropped. Everyone had told us how strong the case was — including a cell phone video of the rape which showed me incoherent. All records have been sealed in the case, and I was told the video wasn’t found. My brother told me it was passed around school.</blockquote>

I wonder what pieces we’d have to pull away to demolish the system that worked so hard to destroy Coleman.

But abolishing high school would not just benefit those who are at the bottom of its hierarchies. Part of the shared legacy of high school is bemused stories about people who were treated as demigods at seventeen and never recovered. A doctor I hang out with tells me that former classmates who were more socially successful in high school than he was seem baffled that he, a quiet youth who made little impression, could be more professionally successful, as though the qualities that made them popular should have effortlessly floated them through life. It’s easy to laugh, but there is a real human cost. What happens to people who are taught to believe in a teenage greatness that is based on achievements unlikely to matter in later life?

Abolishing high school could mean many things. It could mean compressing the time teenagers have to sort out their hierarchies and pillory outsiders, by turning schools into minimalist places in which people only study and learn. All the elaborate rites of dances and games could take place under other auspices. (Many Europeans and Asians I’ve spoken to went to classes each day and then left school to do other things with other people, forgoing the elaborate excess of extracurricular activities that is found at American schools.) It could mean schools in which age segregation is not so strict, where a twelve-year-old might mentor a seven-year-old and be mentored by a seventeen-year-old; schools in which internships, apprenticeships, and other programs would let older students transition into the adult world before senior year. (Again, there are plenty of precedents from around the world.)

Or it could mean something yet unimagined. I’ve learned from doctors that you don’t have to have a cure before you make a diagnosis. Talk of abolishing high school is just my way of wondering whether so many teenagers have to suffer so much. How much of that suffering is built into a system that is, however ubiquitous, not inevitable? “Every time I drive past a high school, I can feel the oppression. I can feel all those trapped souls who just want to be outside,” a woman recalling her own experience wrote to me recently. “I always say aloud, ‘You poor souls.’ ”"]]></description>
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<item rdf:about="https://petapixel.com/2017/06/01/instagram-created-monster-no-b-s-guide-whats-really-going/">
    <title>Instagram Created a Monster: A No B.S. Guide to What's Really Going On</title>
    <dc:date>2017-06-13T23:16:46+00:00</dc:date>
    <link>https://petapixel.com/2017/06/01/instagram-created-monster-no-b-s-guide-whats-really-going/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Over the last few years Instagram became THE new way to advertise, and money got in the way, creating a toxic number game. Now getting our work seen without playing this game is becoming harder and harder. What once used to be about content and originality is now reduced to some meaningless algorithm dynamics, and whoever has the time and the cash to trick this system wins the game.

I’m sure many of you have no idea what goes on behind the scenes and I’m sure even fewer of you know that some of us are using Instagram as a business tool to help us make a living.

I’m writing this with a heavy heart, as I know I’m a huge hypocrite. I’ve been playing the game for the last 6 moths, and it made me miserable. I tried to play it as ethically as possible, but when you are pushed into a corner and gasping for air, sometimes you have to set ethical aside if you want to survive. But surviving doesn’t mean living, and the artist in me is desperate to feel alive again.

I still care about doing things right. So I think it’s time to stop the bulls**t, come clean, and tell you exactly what’s happening. I owe you that, because if I get to live the life I live today, if I get to do what I love the most — traveling, writing and making art — it’s also thanks to my followers!

So here’s the truth, the whole truth and nothing but the truth: a no bulls**t guide to what’s really going on!"

…

"Why Numbers Matter: Influencers and Advertising…

How It All Started…

How the Game is Played: Tricks to Get Followers and Engagement…
We Buy Followers, Likes, and Comments (I’m Not Guilty)…
We Follow/Unfollow, Like, and Comment on Random People (Partially Guilty)…
We Use Instagress and Co. (I’m Guilty)…
We Go to Instagram Spots (I’m Guilty)…
We Get Featured by Collective Accounts…
We Are Part of Comment Pods (I’m Guilty)…
The Best Kept Secret: The Instagram Mafia and Explorer Page (I’m Not Guilty)…"]]></description>
<dc:subject>instagram algorithms facebooks 2017 saramelotti gamification advertising capitalism latecapitalism commerce influence popularity latestagecapitalism</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
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<item rdf:about="http://www.nytimes.com/2016/04/03/magazine/a-too-perfect-picture.html">
    <title>A Too-Perfect Picture - The New York Times</title>
    <dc:date>2016-04-02T18:35:50+00:00</dc:date>
    <link>http://www.nytimes.com/2016/04/03/magazine/a-too-perfect-picture.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["You know a Steve McCurry picture when you see one. His portrait of an Afghan girl with vivid green eyes, printed on the cover of National Geographic in June 1985, is one of the iconic images of the 20th century. McCurry’s work is stark and direct, with strong colors, a clear emotional appeal and crisp composition. His most recent volume of photographs, “India,” is a compendium of the pictures he took in that country between 1978 and 2014, and it also gives us the essential McCurry. There are Hindu festivals, men in turbans, women in saris, red-robed monks, long mustaches, large beards, preternaturally soulful children and people in rudimentary canoes against dramatic landscapes.

In McCurry’s portraits, the subject looks directly at the camera, wide-eyed and usually marked by some peculiar­ity, like pale irises, face paint or a snake around the neck. And when he shoots a wider scene, the result feels like a certain ideal of photography: the rule of thirds, a neat counterpoise of foreground and background and an obvious point of primary interest, placed just so. Here’s an old-timer with a dyed beard. Here’s a doe-eyed child in a head scarf. The pictures are staged or shot to look as if they were. They are astonishingly boring.

Boring, but also extremely popular: McCurry’s photographs adorn calendars and books, and command vertiginous prices at auction. He has more than a million followers on Instagram. This popularity does not come about merely because of the technical finesse of his pictures. The photographs in “India,” all taken in the last 40 years, are popular in part because they evoke an earlier time in Indian history, as well as old ideas of what photographs of Indians should look like, what the accouterments of their lives should be: umbrellas, looms, sewing machines; not laptops, wireless printers, escalators. In a single photograph, taken in Agra in 1983, the Taj Mahal is in the background, a steam train is in the foreground and two men ride in front of the engine, one of them crouched, white-bearded and wearing a white cap, the other in a loosefitting brown uniform and a red turban. The men are real, of course, but they have also been chosen for how well they work as types.

A defender of McCurry’s work might suggest that he is interested in exploring vanishing cultures. After all, even in the 21st century, not all Indians go to malls or fly in planes. Should he not be celebrated for seeking out the picturesque and using it to show us quintessential India? What is wrong with showing a culture in its most authentic form? The problem is that the uniqueness of any given country is a mixture not only of its indigenous practices and borrowed customs but also of its past and its present. Any given photograph encloses only a section of the world within its borders. A sequence of photographs, taken over many years and carefully arranged, however, reveals a worldview. To consider a place largely from the perspective of a permanent anthropological past, to settle on a notion of authenticity that edits out the present day, is not simply to present an alternative truth: It is to indulge in fantasy.

What a relief it is to move from Steve McCurry’s work to that of someone like Raghubir Singh. Singh worked from the late ’60s until his untimely death in 1999, traveling all over India to create a series of powerful books about his homeland. His work shares formal content with McCurry’s: the subcontinental terrain, the eye-popping color, the human presence. Within these shared parameters, however, Singh gives us photographs charged with life: not only beautiful experiences or painful scenes but also those in-between moments of drift that make up most of our days. Singh had a democratic eye, and he took pictures of everything: cities, towns, villages, shops, rivers, worshipers, workers, construction sites, motorbikes, statues, modern furniture, balconies, suits, dresses and, sure, turbans and saris.

The power of Singh’s pictures lies in part in their capacious content. But it also lies in their composition, which rises well beyond mere competence, as he demonstrated in books like “River of Colour,” “The Ganges” and “Bombay: Gateway of India.” Singh has cited Edgar Degas and the American photographer Helen Levitt as influences, and you can see what he has learned from their highly sophisticated approaches (Degas’s casual grace, Levitt’s sympathetic view of urban oddity and the way both of them let in messiness at the edges of their images — a messiness that reminds us of the life happening outside the frame as well as within it). A photograph like the one Singh made of a crowded intersection in Kolkata in 1987 draws a breathtaking coherence out of the chaos of the everyday. The image, of which the key elements are a green door, a distant statue, an arm and a bus, is slightly surreal. But everything is in its right place. It reads as a moment of truth snipped from the flow of life.

I love even more a photograph Singh made in Mumbai a couple of years later. Taken in a busy shopping district called Kemps Corner, this photograph has less-obvious charms. The picture is divided into four vertical parts by the glass frontage of a leather-goods shop and its open glass door, and within this grid is a scatter of incident. The main figure, if we can call her that, is a woman past middle age who wears a red blouse and a dark floral skirt and carries a cloth bag on a string. She is seen in profile and looks tired. Beyond her and behind are various other walkers in the city, going about their serious business. An overpass cuts across the picture horizontally. The foreground, red with dust, is curiously open, a potential space for people not yet in the picture. The glass on the left is a display of handbags for sale, and the peculiar lighting of the bags indicates that Singh used flash in taking the shot. The image, unforgettable because it stretches compositional coherence nearly to its snapping point, reminds me of Degas’s painting “Place de la Concorde,” another picture in which easy, classically balanced composition is jettisoned for something more exciting and discomfiting and grounded.

How do we know when a photographer caters to life and not to some previous prejudice? One clue is when the picture evades compositional cliché. But there is also the question of what the photograph is for, what role it plays within the economic circulation of images. Some photographs, like Singh’s, are freer of the censorship of the market. Others are taken only to elicit particular conventional responses — images that masquerade as art but fully inhabit the vocabulary of advertising. As Justice Potter Stewart said when pressed to define hard-core pornography in 1964, “I know it when I see it.”

I saw “it” when I recently watched the video for Coldplay’s “Hymn for the Weekend.” The song is typical Coldplay, written for vague uplift but resistant to sense (“You said, ‘Drink from me, drink from me’/When I was so thirsty/Poured on a symphony/Now I just can’t get enough”). Filmed in India, with a cameo by Beyoncé, the video is a kind of exotification bingo, and almost like a live-action version of Steve McCurry’s vision: peacocks, holy men, painted children, incense. Almost nothing in the video allows true contemporaneity to Indians. They seem to have been placed there as a colorful backdrop to the fantasies of Western visitors. A fantasy withers in the sunlight of realism. But as long as realism is held at bay, the fantasy can remain satisfying to an enormous audience. More than a hundred million people have watched the Coldplay video since it was posted at the end of January.

Are we then to cry “appropriation” whenever a Westerner approaches a non-Western subject? Quite the contrary: Some of the most insightful stories about any place can be told by outsiders. I have, for instance, seen few documentary series as moving and humane as “Phantom India,” released in 1969 by the French auteur Louis Malle. Mary Ellen Mark, not Indian herself, did extraordinary work photographing prostitutes in Mumbai. Non-Indians have made images that capture aspects of the endlessly complicated Indian experience, just as have Indian photographers like Ketaki Sheth, Sooni Taraporevala, Raghu Rai and Richard Bartholomew.

Art is always difficult, but it is especially difficult when it comes to telling other people’s stories. And it is ferociously difficult when those others are tangled up in your history and you are tangled up in theirs. What honors those we look at, those whose stories we try to tell, is work that acknowledges their complex sense of their own reality. Good photography, regardless of its style, is always emotionally generous in this way. For this reason, it outlives the moment that occasions it. Weaker photography delivers a quick message — sweetness, pathos, humor — but fails to do more. But more is what we are."]]></description>
<dc:subject>tejucole photography 2016 stevemccurry appropriation india culture authenticity raghubirsingh drift democracy diversity composition edgardegas prejudice censorship markets popularity nationalgeographic exotification realism outsiders louismalle maryellenmark mumbai katakisheth soonitaraporevala raghurai richardbartholomew complexity reality sweetness pathos humor betweenness degas inbetweenness inbetween between drifting</dc:subject>
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<item rdf:about="http://www.designersandgeeks.com/events/popular-versus-brilliant">
    <title>Popular versus Brilliant | Designers + Geeks</title>
    <dc:date>2016-02-21T23:38:19+00:00</dc:date>
    <link>http://www.designersandgeeks.com/events/popular-versus-brilliant</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Jim Bull is worried about the future of design and thinks you should be too. Co-founder and Chief Creative Officer of Moving Brands, Jim dissects an industry where design is judged by the number of its likes and shares, where the focus is on efficiency rather than brilliance, and where one or two companies set the design standard for the globe."

[Direct link to video: https://vimeo.com/155640569 ]

[Tagged “web rococo” because this is the opposite.]

[Not sure why there is no mention of Tibor Kalman and Oliviero Toscani in the Benetton discussion. And there seems to be some tunnel vision here. Sure, the big SV VC backed companies are all looking the same, but they're not the only ones making things on the web. You know, there are many other countries and languages to look to for something other than California Design. Uh, maybe that's more the issue: SV only sees itself and it's not diverse.]

[via: https://twitter.com/soopa/status/700559147247357952 ]]]></description>
<dc:subject>jimbbull californiadesign siliconvalley 2016 branding reverence generic popularity brilliance apple uber medium california graphicdesign webdesign movingbrands productdesign sameness webrococo benetton olivierotoscani tiborkalman design business california-zation homogenization designeducation art differentiation ui ux screens magicleap ar augmentedreality virtualreality packaging vr webdev</dc:subject>
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<item rdf:about="https://www.instagram.com/p/BBs0TrkvVv3/">
    <title>Teju Cole on Instagram: “Seminyak, October 2015. Let like be the emotion and &quot;like&quot; be the Instagram action, the double tap on the picture or the single tap on the blank heart. For some of you, I like that you post, I like the fact of your posting. Rela</title>
    <dc:date>2016-02-14T14:52:37+00:00</dc:date>
    <link>https://www.instagram.com/p/BBs0TrkvVv3/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["_tejucole:

Seminyak, October 2015. 
Let like be the emotion and "like" be the Instagram action, the double tap on the picture or the single tap on the blank heart. For some of you, I like that you post, I like the fact of your posting. Related but not at all the same, I like everything you post (you know who you are). I don't "like" everything anyone posts in part because I want to be able to find things in the "likes" later. I "like" in order to indicate that I like, or to note, or to encourage, or as a thank you. I don't hate-"like." For some of you, I don't like what you post generally, maybe your style doesn't appeal, but I'll "like" a photo you post that I like. I think of a repost as a kind of "superlike" of certain pairings of word and image. Sometimes if I like something a lot, I can't "like" it, because it's too close to my skin. Sometimes, when something makes my spinal cord throb, I'll 🌟 it as well as "like" it, almost helplessly and inadvertently, like a monkey in a psychological experiment. 

If someone should "like" something I post, I don't mentally interrogate their "like"—I simply prefer to assume that they like the picture, the words, the sequence of images I've been presenting, or me, which all comes to the same thing, at least at that moment. I notice how many "likes" a given post of mine receives, up to a certain minimum (which I will not reveal), beyond which a shit I giveth not. A "like" from certain people (you know who you are, except for those of you who don't) I mentally calculate as ten ordinary civilian "likes." I seldom but sometimes post with "likes" in mind, either to garner "likes" or to stymie them. I never shoot with "likes" in mind. 
#_thehive

giache_I:

'superlike' your writings on this activity and these relations of Instagram ✨✨✨

jetudier:

(is it a function of this medium & platform, that I came to at the age that I did, or pure whimsy, that I find the need to write rather than double tap.. this I went private for just such reasons. to not care or be distracted but I find that a tension still exists .. thinking aloud bout this essay. thank you :)

simplymoraa:

On this one my "like" was primarily for the writing.

creetilda:

And I love you.

achp__:

I assumed your liking politics were very specific, but I didn't imagine they'd be that specific. For me, I try to like less and observe more. Sometimes I can't be bothered, and don't like nor observe, and it makes me wonder about the use I do of this space.

1001sarahs:

🌟✨🌟✨🌟
_tejucole:

@achp__ My liking poetics, you mean. 😬 What I realize is also that one likes here, the same way an author signs book. It is one understood (and largely friendly) form of exchange. Until I published books, I hated getting books signed, much less contemplating signing them myself. The purity of literature was the thing! Then things changed and I did too."

[Continued: https://www.instagram.com/p/BBsHGZvvVtv/

"_tejucole

Ubud, October 2015. Within the system of likes which cannot be turned off, and which implicitly sets up a rivalry not only among one photographer's photos, but between different photographers, lending a mild but never to be mentioned element of anxiety into the presentation of every photo, certain forms of sequencing are imperiled. Repetition is imperiled, slow shifts of photographic phase are imperiled. No one imposes these rules. It's only that Instagram, like any society, has unspoken notions of good behavior, of behavior worthy of reward (and even how that reward is to be assessed: relative to total follower count: a hundred likes has different meanings depending on who's getting it). At direct odds with our individual interests in exploration is our individual talent for popularity. "This one will get plenty of likes" is a thought many of us have had, and not always happily. Read the terrain. Certain work can happen here. Certain work cannot happen here. 
#_thehive"]]></description>
<dc:subject>tejucole likes liking favorites favoriting faves socialmedia 2016 instagram psychology gamification terrain behavior popularity motivation photography writing whywewrite whyweshare socialdynamics anxiety rivalry</dc:subject>
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<item rdf:about="https://medium.com/message/you-need-to-hear-this-extremely-rare-recording-27619411e077">
    <title>You Need to Hear This Extremely Rare Recording  — The Message — Medium</title>
    <dc:date>2014-06-11T18:53:31+00:00</dc:date>
    <link>https://medium.com/message/you-need-to-hear-this-extremely-rare-recording-27619411e077</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["A story for the millennials in the room: Once upon a time, owning a rare media object was sorta cool. But some people used these objects to project their cultural superiority, which was pretty lame."

…

"The economics of popularity can be gamed, but scarcity is a devil’s trade."

…

"From snobby obscurist to pretentious scold, from rarity to reaction. As Comic Book Guy shows, you no longer have to be “in the know.” You just have to know what to say."]]></description>
<dc:subject>2014 aesthetics culture commonplace abundance scarcity rarity rare digital reproduction copies popularity obscurity internet web comicbookguy thesimpsons music media caseykasem negativeland rexsorgatz</dc:subject>
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<item rdf:about="http://nymag.com/news/features/high-school-2013-1/#print">
    <title>Why You Never Truly Leave High School: New science on its corrosive, traumatizing effects. -- New York Magazine</title>
    <dc:date>2013-04-29T18:29:42+00:00</dc:date>
    <link>http://nymag.com/news/features/high-school-2013-1/#print</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Our self-image from those years, in other words, is especially adhesive. So, too, are our preferences. “There’s no reason why, at the age of 60, I should still be listening to the Allman Brothers,” Steinberg says. “Yet no matter how old you are, the music you listen to for the rest of your life is probably what you listened to when you were an adolescent.” Only extremely recent advances in neuroscience have begun to help explain why.

It turns out that just before adolescence, the prefrontal cortex—the part of the brain that governs our ability to reason, grasp abstractions, control impulses, and self-­reflect—undergoes a huge flurry of activity, giving young adults the intellectual capacity to form an identity, to develop the notion of a self. Any cultural stimuli we are exposed to during puberty can, therefore, make more of an impression, because we’re now perceiving them discerningly and metacognitively as things to sweep into our self-concepts or reject (I am the kind of person who likes the Allman Brothers). “During times when your identity is in transition,” says Steinberg, “it’s possible you store memories better than you do in times of stability.”"

…

"Until the Great Depression, the majority of American adolescents didn’t even graduate from high school. Once kids hit their teen years, they did a variety of things: farmed, helped run the home, earned a regular wage. Before the banning of child labor, they worked in factories and textile mills and mines. All were different roads to adulthood; many were undesirable, if not outright Dickensian. But these disparate paths did arguably have one virtue in common: They placed adolescent children alongside adults. They were not sequestered as they matured. Now teens live in a biosphere of their own. In their recent book Escaping the Endless Adolescence, psychologists Joseph and Claudia Worrell Allen note that teenagers today spend just 16 hours per week interacting with adults and 60 with their cohort. One century ago, it was almost exactly the reverse.

Something happens when children spend so much time apart from adult company. They start to generate a culture with independent values and priorities. James Coleman, a renowned mid-century sociologist, was among the first to analyze that culture in his seminal 1961 work, The Adolescent Society, and he wasn’t very impressed. “Our society has within its midst a set of small teen-age societies,” he wrote, “which focus teen-age interests and attitudes on things far removed from adult responsibilities.” Yes, his words were prudish, but many parents have had some version of these misgivings ever since, especially those who’ve consciously opted not to send their kids into the Roman amphi­theater. (From the website of the National Home Education Network: “Ironically, one of the reasons many of us have chosen to educate our own is precisely this very issue of socialization! Children spending time with individuals of all ages more closely resembles real life than does a same-age school setting.”)"]]></description>
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<item rdf:about="http://constructingmodernknowledge.com/cmk08/?p=1656">
    <title>Outstanding Video About Modern Knowledge Construction</title>
    <dc:date>2012-09-24T05:07:56+00:00</dc:date>
    <link>http://constructingmodernknowledge.com/cmk08/?p=1656</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["I shot this amateur video at the Constructionism 2012 Conference in Athens, Greece. It is a recording of Dr. Mike Eisenberg‘s remarkable plenary address based on his paper, “Constructionism: New Technologies, New Purposes.”

Anyone interested in learning, emerging technology, creativity, the arts, science or craft would be wise to watch this terrific presentation."

[Direct link to video: https://vimeo.com/49891132 ]]]></description>
<dc:subject>anthropology bedrooms economics displays hangouts traditions rituals interest passion misfits weirdos schooldesign design settings setting popularity uptonsinclair vannevarbush arts art craft doing making deschooling unschooling science projectbasedlearning arduino 3dprinting spaces meaningmaking purpose agency networks activities openstudioproject lcproject environment srg edg glvo education technology learning children constructionist constructionism 2012 mikeeisenberg pbl ritual</dc:subject>
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</item>
<item rdf:about="http://danharmon.tumblr.com/post/23339272200/hey-did-i-miss-anything">
    <title>Dan Harmon Poops, HEY, DID I MISS ANYTHING?</title>
    <dc:date>2012-05-19T22:44:43+00:00</dc:date>
    <link>http://danharmon.tumblr.com/post/23339272200/hey-did-i-miss-anything</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["When I was a kid, sometimes I’d run home to Mommy with a bloody nose and say, “Mom, my friends beat me up,” and my Mom would say “well then they’re not worth having as friends, are they?”  At the time, I figured she was just trying to put a postive spin on having birthed an unpopular pussy.  But this is, after all, the same lady that bought me my first typewriter.  Then later, a Commodore 64.  And later, a 300 baud modem for it.  Through which I met new friends that did like me much, much more.

I’m 39, now.  The friends my Mom warned me about are bigger now, and older, bloodying my nose with old world numbers, and old world tactics, like, oh, I don’t know, sending out press releases to TV Guide at 7pm on a Friday.

But my Commodore 64 is mobile now, like yours, and the modems are invisible, and the internet is the air all around us.  And the good friends, the real friends, are finding each other, and connecting with each other, and my Mom is turning out to be more right than ever."]]></description>
<dc:subject>web online support frienship technology popularity television 2012 internet cv creativity power bullies community danharmon</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:dd77da9eb06d/</dc:identifier>
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</item>
<item rdf:about="http://thenewinquiry.com/essays/against-ted/">
    <title>Against TED – The New Inquiry</title>
    <dc:date>2012-02-19T23:18:18+00:00</dc:date>
    <link>http://thenewinquiry.com/essays/against-ted/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["TED is not simply “engaging” & “entertaining” but a specific type of entertainment that is increasingly out of touch & exclusionary.

…appears that whole TED brand induces laughter from many of those skeptical of corporate speak & techno-jargon. At first, I thought I was laughing alone; however, it turns out that lots of other people are equally unimpressed by the current state of TED…I’m not the only one who does not take TED very seriously or worse, views the whole project as suspect…

Perhaps the biggest complaint I heard was that TED smells of corporatism…

So many of the TED talks take on the form of those famous patent medicine tonic cure-all pitches of previous centuries, as though they must convince you not through the content of what’s being said but through the hyper-engaging style of the delivery…

As Mike Bulajewski pointed out in a Tweet, “TED’s ‘revolutionary ideas’ mask capitalism as usual, giving it a narrative of progress and change.”"
]]></description>
<dc:subject>technology alexismadrigal popularity exclusionary exclusivity bias ideology paulcurrion mikebulajewski evangelism delivery snakeoilsalesmen 2012 epistemology corporatism nathanjurgenson criticism ted</dc:subject>
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<item rdf:about="http://www.subtraction.com/2010/08/04/the-new-who-thing">
    <title>Subtraction.com: The New Who Thing</title>
    <dc:date>2010-08-27T06:37:00+00:00</dc:date>
    <link>http://www.subtraction.com/2010/08/04/the-new-who-thing</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["That’s what was so compelling, I think, about the first few waves of blogs. By and large, they weren’t just venues for the publication of content. They also served as outposts for your identity, a representation of who you were on the World Wide Web. By contrast, Tumblr blogs often seem more like something dishonest — well, dishonest is too strong a word. But when I browse through many of these tumblelogs, they feel as if their authors are trying to get away with something, trying to sneak something past somebody. There’s a sense of evasiveness, or vagueness, of no one really standing behind what’s been published, or no one being sufficiently committed to the content to offer up their name."]]></description>
<dc:subject>tumblr khoivinh identity critique blogging simplicity popularity attribution culture webdesign webdev</dc:subject>
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</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://buildingreputation.com/writings/2008/12/leaderboards_considered_harmfu.html">
    <title>Building Web 2.0 Reputation Systems: The Blog: Leaderboards Considered Harmful</title>
    <dc:date>2008-12-28T23:09:19+00:00</dc:date>
    <link>http://buildingreputation.com/writings/2008/12/leaderboards_considered_harmfu.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["This may be the most insidious artifact of a leaderboard community: the very presence of a leaderboard changes the community dynamic and calls into question the motivations of everyone for any action they might take. If that sounds a bit extreme, consider Twitter: friend counts and followers have become the coins of that realm, and when you get a notification of a new follower...? Aren't you just a little more likely to believe that it's just someone fishing around for a reciprocal 'follow'? Sad, but true. And this is a site that itself has never officially featured a leaderboard. Twitter merely made the statistics known and provided an API to get at them: in doing so, they may have let the genie out of the bottle."
]]></description>
<dc:subject>twitter reputation socialnetworking followers following authority popularity</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:19dac49c4fa5/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:reputation"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:socialnetworking"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:followers"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:following"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:authority"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:popularity"/>
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</item>
<item rdf:about="http://www.powerleague.org.uk/">
    <title>Power League | Home</title>
    <dc:date>2008-06-03T05:58:35+00:00</dc:date>
    <link>http://www.powerleague.org.uk/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Create your own online leagues or use our existing ones (below). Power League is a versatile resource that lets you ask tough questions, stimulates debate and creates a visual league table based on votes gathered across your group. Start your own league
]]></description>
<dc:subject>teaching power influence popularity social groups onlinetoolkit learning technology elearning voting</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:ec481cc7b06e/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:teaching"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:power"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:influence"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:popularity"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:social"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:groups"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:onlinetoolkit"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:learning"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:technology"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:elearning"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:voting"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://www.powerleague.org.uk/global/about.php">
    <title>Power League | About</title>
    <dc:date>2008-03-23T03:17:06+00:00</dc:date>
    <link>http://www.powerleague.org.uk/global/about.php</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["By repeatedly casting votes, students create league, ranked in order of most powerful, important, popular, influential....results often unexpected...surprised to see how peers voted...good starting point for discussion. Why does this person have more pow
]]></description>
<dc:subject>learning teaching via:grahamje power influence voting popularity social groups onlinetoolkit</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:dd49191cdd4c/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:learning"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:teaching"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:via:grahamje"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:power"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:influence"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:voting"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:popularity"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:social"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:groups"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:onlinetoolkit"/>
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</item>
<item rdf:about="http://www.paulgraham.com/nerds.html">
    <title>Why Nerds are Unpopular</title>
    <dc:date>2008-03-20T03:21:08+00:00</dc:date>
    <link>http://www.paulgraham.com/nerds.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["School is strange, artificial thing, half sterile, half feral...Teenage kids used to have more active role in society. In pre-industrial times, they were all apprentices ...weren't left to create own societies....were junior members of adult societies."
]]></description>
<dc:subject>schools society education teens youth apprenticeships learning nerds culture popularity bullying adolescence paulgraham schooling unschooling deschooling lcproject middleschool highschool academics childhood children via:preoccupations</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:7dcd8efe7ee3/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:schools"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:society"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:education"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:teens"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:youth"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:apprenticeships"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:learning"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:nerds"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:culture"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:bullying"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:adolescence"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:paulgraham"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:schooling"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:unschooling"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:deschooling"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:lcproject"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:middleschool"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:highschool"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:academics"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:childhood"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:children"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:via:preoccupations"/>
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</item>
<item rdf:about="http://www.aiderss.com/">
    <title>Read what matters - AideRSS</title>
    <dc:date>2008-02-12T04:26:53+00:00</dc:date>
    <link>http://www.aiderss.com/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["AideRSS is an intelligent assistant that saves time and keeps you on top of the latest news. We research every story and filter out the noise, allowing you to focus on what matters most."
]]></description>
<dc:subject>rss feeds filtering aggregator algorithms attention productivity rankings ratings popularity</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:2c03a0aafd5b/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:rss"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:feeds"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:filtering"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:aggregator"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:algorithms"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:attention"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:productivity"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:rankings"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:ratings"/>
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</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://www.popmatters.com/pm/columns/article/53434/the-design-imperative/">
    <title>PopMatters | Columns | Rob Horning | Marginal Utility | The Design Imperative</title>
    <dc:date>2008-01-29T19:25:21+00:00</dc:date>
    <link>http://www.popmatters.com/pm/columns/article/53434/the-design-imperative/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["We are consigned to communicating through design, but it’s an impoverished language that can only say one thing: “That’s cool.” Design ceases to serve our needs, and the superficial qualities of useful things end up cannibalizing their functionality. The palpability of the design interferes, distracts from the activity an item is supposed to be helping you do. The activity becomes subordinate to the tools. You become the tool."]]></description>
<dc:subject>design critique criticism function form utility popular aesthetics retail target consumerism consumer society competition popularity symbolism industrial products customization hipsters marketing image personality handmade books possessions materialism objects fashion style commerce variety hipsterism</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:392f5e1dcedc/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:critique"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:criticism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:function"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:form"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:utility"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:popular"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:aesthetics"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:retail"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:target"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:consumerism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:consumer"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:society"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:competition"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:symbolism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:industrial"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:products"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:customization"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:hipsters"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:marketing"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:image"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:personality"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:handmade"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:books"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:possessions"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:materialism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:objects"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:fashion"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:style"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:commerce"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:variety"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:hipsterism"/>
</rdf:Bag></taxo:topics>
</item>
</rdf:RDF>