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    <title>Literary Hub » On Joan Didion and the Art of Looking Back</title>
    <dc:date>2026-07-04T12:33:13+00:00</dc:date>
    <link>https://lithub.com/on-joan-didion-and-the-art-of-looking-back/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Maggie McKinley Rereads One of America’s Great Nostalgists"

...

"In Thomas Wolfe’s posthumously published novel You Can’t Go Home Again (1940), protagonist George Webber finds himself in Germany amid the rise of Nazism in the 1930s and “face to face with something old and genuinely evil in the spirit of man.” Upon his return to America, Webber acknowledges that the darkness he has witnessed is not confined to Germany but is everywhere around him, a realization that “shook his inner world to its foundations.” Disillusioned, Webber reflects on the inability to return to a previous worldview, a previous self, or a previous innocence, though his realization remains tinged with longing:

<blockquote>You can’t go back home to your family, back home to your childhood, back home to romantic love, back home to a young man’s dreams of glory and fame, back home to exile, to escape to Europe and some foreign land, back home to lyricism, to singing just for singing’s sake, back home to aestheticism, to one’s youthful idea of “the artist” and the all-sufficiency of “art” and “beauty” and “love” . . . away from all the strife and conflict of the world . . . back home to someone who can help you, save you, ease you, ease the burden for you, back home to the old forms and systems of things which once seemed everlasting but which are changing all the time—back home to the escapes of Time and Memory.</blockquote>

Webber’s unsettling revelations do not end in defeatism, however; rather, he is inspired toward “a definite sense of new direction.” While he possesses a keen awareness of the corruption that surrounds him, he also exhibits a distinct optimism for the future, particularly the future of America, which he believes still has the capacity to conquer evil, and in the end he insists that “this glorious assurance is not only our living hope, but our dream to be accomplished.” Webber’s conception of the future is thus one that simultaneously encompasses and rejects a nostalgic view of the past, as his forward-looking vision is shaped by a longing for the return of a past moment that collides with the realization of its impossibility.

Of course, Wolfe is not the only American writer to contend with a nostalgic impulse that is deeply connected to experiences of chaos and change. As social, industrial, and technological shifts continued to inform art, politics, and commerce over the course of the twentieth century, writers ranging from F. Scott Fitzgerald to Toni Morrison also examined the allure of looking back, of yearning for a purportedly more stable past. Yet I would argue that there are few contemporary American writers who examine the complexity of nostalgia with more depth, breadth, curiosity, and prescience than Joan Didion. Like Wolfe before her, Didion acknowledges the multitude of ways we might define “home,” and recognizes the inevitable pull of nostalgia for a particular time, place, aesthetic, hope, ideology, or feeling even as she, too, harbors an increasing mistrust of past narratives that “once seemed everlasting.”

Yet Didion takes these ideas much further than Wolfe—and further than most writers, for that matter. Her engagement with nostalgia is not confined to a single character, publication, or era, but defines her fiction and nonfiction across decades, informing her discussions of politics, gender, rhetoric, media, and much more. Her nostalgia also becomes increasingly future-oriented, in a way that is more cautious than that of a character like George Webber, but which nevertheless undermines assessments of her worldview as nihilistic or fatalistic, and complicates common understandings of nostalgia as a purely conservative impulse."

...

"Indeed, nostalgia is at the center of nearly everything she wrote, and I argue that by investigating the various ways she engages with and defines the concept in both fiction and nonfiction, we can better understand the contradictory terms that have come to define Didion’s writing and literary persona: fatalistic and hopeful, fragile and strong, detached and connected, feminist icon and antifeminist, humble and haughty, conservative and liberal. Reading Didion’s work through the lens of nostalgia theory allows us to better understand the source of these tensions, and to reevaluate her views on American history, regional identity, hubris and imperialism, gender, political theater, the counterculture, national rhetoric, grief and loss, and more."

...

"While Didion’s cultural observations are often filtered through a personal experience of nostalgia, more often the latter functions as a critical lens that she discerningly turns onto twentieth-century American culture. At the same time, nostalgia theory becomes a tool we might turn back onto Didion’s work, useful in probing not only her own enigmatic ideas but also the ways modern American history has been narrativized, and how that impacts our cultural and political discussions in the present moment.

An interrogation of nostalgia is also, I would argue, part of her own truth-seeking project as a New Journalist, and her exploration of the allure and menace of nostalgia takes on new dimensions as she directs her gaze outward. Indeed, the nature of New Journalism as a genre allows Didion to demonstrate an acute awareness of her own narrative construction; she draws attention to the fact that her cultural criticism might be tinged with nostalgia and then proceeds to critique this tendency in herself."

...

"In both fiction and nonfiction, she documents the ways that America has used nostalgia to “pernicious” effect on a political and imperial level, a factor that continues to shape our national mythos (Where I Was From). As a nearly ubiquitous presence, nostalgia becomes a recurring theme, a character trait, a narrative perspective, a subject of her criticism, and a critical device in her work. Didion’s work emphasizes that while nostalgia can be paralyzing and foster stagnation when wielded at the institutional level and as an unquestioned worldview, political tactic, or marketing technique, it is also a natural inclination, one that allows us to make sense of our place in the world at any given moment, and can be a tool for uncovering personal truths and identifying cultural and national myths."]]></description>
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    <title>Trauma is a Time Machine: A Cinematic Primer with Kwasu D. Tembo - YouTube</title>
    <dc:date>2026-06-08T05:32:55+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=n1-hhZUcGJY</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["If you could go back in time, would you change the past, even if it meant changing who you are? Is existing in time itself traumatic? Is power over time a cinematic endeavour, and what makes a good director an even better time traveller? This week on Acid Horizon we're joined by Kwasu D. Tembo to talk about his latest book Trauma in 21st-Century Time Travel Cinema, discussing the philosophy of time travel in films such as Primer, Timecrimes, and Predestination; as well as how the experience of time transcendentally conditions the structure of the psyche.

Buy Baz's book, Trauma in 21st-Century Time Travel Cinema
Being (a)Part: https://www.bloomsbury.com/uk/trauma-in-21stcentury-time-travel-cinema-9781978768734/

<blockquote>Kwasu D. Tembo unites approaches from disciplines as wide-ranging as physics, mathematics, cinema, philosophy, and media theory to pose critical questions concerning time, change, and (un)becoming in contemporary time-travel cinema.

In his analyses of 21st-century cinematic time-travel narratives, Tembo situates human life in time as a palimpsest, with time acting as scriptor and stylus. A time machine, then, functions as a fantasy that allows for this pace to be slowed or accelerated so as to appear entirely suspended, with the potentials of the “Now” (re)opened to the traveler.

As the manipulation of time lends the traveler increased agency-and perhaps the conditions to see themselves more clearly amid a claustrophobic sea of information and content-Tembo contends that we must carefully consider the psycho-emotional affectivity of both the motivations and the potentially traumatic consequences of such a jarring shift in perspective. The results lend critical insight into human understandings of how we experience time and, ultimately, what these understandings permit and disallow in terms of how (it is) to be in time.</blockquote>

Phasmid Press: https://phasmidpress.org/ "]]></description>
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<item rdf:about="https://shop.ayinpress.org/products/surviva-a-future-ancestral-field-guide">
    <title>SURVIVA: A Future Ancestral Field Guide – Ayin Press</title>
    <dc:date>2026-06-02T05:17:07+00:00</dc:date>
    <link>https://shop.ayinpress.org/products/surviva-a-future-ancestral-field-guide</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Winner of the 2026 PEN/Jean Stein Award

An ambitious, world-envisioning work of Indigenous futurism.

Since 2015—through a proliferation of forms including sculpture, regalia, film, photography, poetry, painting, and installation—acclaimed multimedia artist Cannupa Hanska Luger has been weaving together strands of a new myth. Collectively referred to as Future Ancestral Technologies, this sprawling series of interrelated works seeks to reimagine Indigenous life and culture in a postcolonial world where space exploration has reduced and reconfigured the earth’s population.

Part graphic novel, part art book, SURVIVA: A Future Ancestral Field Guide offers readers a view beneath, beyond, and between the lines of Luger’s ever-expanding artistic universe. In this ecstatically hybrid work, Luger transforms a 1970s military survival guide through poetic redaction, speculative fiction, and iterative line drawing—deftly surfacing and disrupting the colonial subconscious that haunts this vexed source text. An epic and timely meditation on planetary life in the midst of transformation, SURVIVA boldly presents an earth-based, demilitarized futuredream that foregrounds Indigenous knowledge as critical to humanity’s survival.

SURVIVA is the first title from Aora Books, a publishing imprint dedicated to exploring transformational thought and culture that transcends borders, disciplines, and traditions. Rooted in an ethos of polyvocality and planetary consciousness, Aora publishes works that forge bold connections across time, place, ideas, and beings often seen as separate.

About the Author

Cannupa Hanska Luger is a multidisciplinary artist who creates monumental installations, sculpture, and performance to communicate urgent stories of twenty-first-century Indigeneity. Born on the Standing Rock Reservation in North Dakota, Luger is an enrolled member of the Three Affiliated Tribes of Fort Berthold and is Mandan, Hidatsa, Arikara, and Lakota. Luger’s bold visual storytelling presents new ways of seeing our collective humanity while foregrounding an Indigenous worldview. His work is in numerous permanent museum collections and has been exhibited around the world, including at the Sharjah Biennial 16, United Arab Emirates; the 81st Whitney Biennial, New York; the 14th Shanghai Biennale; and at the National Gallery of Art in Washington, DC; the Metropolitan Museum of Art in New York; the Gardiner Museum in Toronto; and the National Center for Civil and Human Rights in Georgia. Luger has been awarded fellowships from the Guggenheim Memorial Foundation, United States Artists, Creative Capital, the Smithsonian Institution, the Open Society Foundation, and the Joan Mitchell Foundation, among others. Luger currently lives and works in Glorieta, NM.

Praise for SURVIVA

“Cannupa Hanska Luger has created a wondrous book of survivance, a story to carry in pocket and study at every opportunity. At once a dystopia (earth is near destroyed) and a postcolonial fantasy (the colonizers abandon the planet for good), SURVIVA is a work of artistic brilliance that draws our attention to the simultaneity of ruins and futures. Rich with dreampower and evocation, these pages illustrate the mysteries of space-time, the dissolution of boundaries, and the relational universe described by Indigenous quantum mechanics. Read carefully, SURVIVA has the power to bend time itself, lifting us from past and present into futures innumerable.”
—Philip J. Deloria, Leverett Saltonstall Professor of History at Harvard University and author of Playing Indian

“SURVIVA offers Indigenous wisdom for a shared future built on ancestral knowledge in radical relation. This is a survival guide like none other.”
—Candice Hopkins, curator of the Forge Project

“SURVIVA is not just another riff on a sci-fi depiction of some imagined future. Luger’s poetic and visual interventions are clear directives for all of us to ready our minds, bodies, and spirits as we continue to move through the future together.”
—Jeffrey Gibson, artist and editor of An Indigenous Present

“Cannupa Hanska Luger’s SURVIVA: A Future Ancestral Field Guide boldly reimagines our conceptions of time and history as it interweaves past, present, and future. This inventive work challenges our collective narratives, pushing us to rethink the art of survival through a lens of transformation.”
—Hank Willis Thomas, artist and cofounder of For Freedoms

“Cannupa Hanska Luger is a mad genius able to weave parables from tomorrow with lessons from yesterday into a stunningly prescient and wise field guide you should read right now. This is not a book. This is a time machine.”
—Jordan Klepper, The Daily Show, Comedy Central

“SURVIVA feels everlasting and also like it will self-destruct after you read it.”
—Sterlin Harjo, filmmaker, Reservation Dogs (Hulu/FX)

“A hybrid work from a plain 1970s field guide found in an army surplus store, Luger transforms the book through unexpected redacting, speculative fiction, and informative and artistic line drawing.”
—Sandra Hale Schulman, ICT News

“Interdisciplinary Native American artist Luger delivers a daring work of speculative fiction set in a future in which the wealthy and non-Indigenous have fled the Earth they ravaged.”
—Publishers Weekly

“*SURVIVA *****provides text with new and old Indigenous lessons intermingled, while time is wonky and permeable, and the world must be rebirthed, or re-membered in a postcolonial way. This is a message from both our future and past ancestors. The thread is one and the same.”
—Soph Myers-Kelley, Graphic Medicine

Book Details
160 pages | Paperback | 8.3 x 5.4 in. | ISBN: 9781961814264 | e-ISBN: 9781961814271
Publication date: September 2nd, 2025

Product Photography by Jackson Krule"

[via: 

"Red Power Hour - Learning what we already know - YouTube"
https://www.youtube.com/watch?v=K9LiED_5Rj8

"RPH is back! Co-hosts Elena Ortiz and Melanie Yazzie discuss Cannupa Hanska Luger's Surviva: A Future Ancestral Field Guide (2025), a hybrid art piece/survival manual exploring indigenous futurism, decolonization, and relationality through redacted military text and Indigenous artwork." ]]]></description>
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    <title>Red Power Hour - Learning what we already know - YouTube</title>
    <dc:date>2026-06-02T05:16:37+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=K9LiED_5Rj8</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["RPH is back! Co-hosts Elena Ortiz and Melanie Yazzie discuss Cannupa Hanska Luger's Surviva: A Future Ancestral Field Guide (2025),  a hybrid art piece/survival manual exploring indigenous futurism, decolonization, and relationality through redacted military text and Indigenous artwork."

[book link:
https://shop.ayinpress.org/products/surviva-a-future-ancestral-field-guide ]]]></description>
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<item rdf:about="https://pure.qub.ac.uk/en/publications/ghosts-in-the-head-and-ghost-towns-in-the-field-ethnography-and-t/">
    <title>‘Ghosts in the Head and Ghost Towns in the Field: Ethnography and the Experience of Presence and Absence’ by Jonathan Skinner (2008) - Queen's University Belfast</title>
    <dc:date>2026-05-07T20:33:31+00:00</dc:date>
    <link>https://pure.qub.ac.uk/en/publications/ghosts-in-the-head-and-ghost-towns-in-the-field-ethnography-and-t/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["This article is about an anthropologist coming to terms with the field and fieldwork. In 1995, I left – was evacuated from – my fieldsite as a volcanic eruption started just as my period of fieldwork drew to a close. These eruptions dramatically and instantaneously altered life on the island of Montserrat, a British colony in the Caribbean. While Montserrat the land, and Montserratians the people, migrated and moved on with their lives, Montserrat and Montserratians were preserved in my mind and in my anthropological writings as from “back home.” Revisiting Montserrat several years into the volcano crisis, I drove through the villages and roads leading to the former capital of the island, where I had worked from. My route to this modern-day Pompeii threw up a stark contrast between absence and presence, the imagined past and the experienced present. This is understood, in part, by examining the literary work of two other travelers through Montserrat, Henry Coleridge and Pete McCarthy, both of whom have a very different experience of the place and the people."]]></description>
<dc:subject>jonathanskinner anthropology ethnography montserrat caribbean 2008 presence absence imagination past present experience henrycoleridge petemccarthy land migration 1995 volcaniceruptions volcanoes</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>
<dc:subject>2026 mattjones time azeemazhar ai artificialintelligence technology programming work screens chatbots steveyegge colinrobinson ux epthompson jamescarey capitalism timezones clocks timekeeping davidrooney synchronization railways rail history schools factories modernity carolynmarvin félixguattari hartmutrosa paulvirilio dromology present future velocity speed perception infrastructure trains brainfry bullethell gastown danmaku touhou dodonpachi ikaruga mihalycsikszentmihalyi flow play legibility reversibility niconicodouga georgemiller furyroad sarahsharma temporalsovereignty braid benmathes madmax claude claudecode anthropic guattari</dc:subject>
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<item rdf:about="https://www.youtube.com/watch?v=FRxBCd4q9Lc">
    <title>Why modern life is designed to keep you anxious — and what to do about it | The Gray Area - YouTube</title>
    <dc:date>2026-03-03T06:43:41+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=FRxBCd4q9Lc</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["We use the word “anxiety” to describe stress, dread, worry, panic, even vibes. Which just goes to show: We really don’t know what anxiety is, or where it comes from, or what we’re supposed to do with it.

Today’s guest is philosopher Samir Chopra, author of Anxiety: A Philosophical Guide. Chopra argues that anxiety is a permanent feature of being human and the price of being a free, self-conscious creature in an uncertain world. Sean and Samir talk about the difference between fear and anxiety, why modern life seems engineered to keep us on edge, and what Buddhism, existentialism, and Freud can teach us about the anxious mind.

Host: Sean Illing (@SeanIlling)
Guest: Samir Chopra, author of Anxiety: A Philosophical Guide

1:22 What is anxiety?
9:30 Are we an anxious generation?
13:05 Buddhism and anxiety
18:55 Acceptance vs. resignation
22:05 The existentialist view on anxiety
26:50 Freud and the psychoanalytic view of anxiety
30:23 How can philosophy help you with anxiety?
31:56 Practical advice for dealing with anxiety"

[Lauren Berland, affect theory, and cruel optimism not mentioned within, but I was thinking of all that as I listened, so those tags are for that.]]]></description>
<dc:subject>seanilling thegrayarea 2026 samirchopra anxiety philosophy buddhism acceptance stress worry dread fear life living interdependence interconnected interconnectedness existentialism freud resignation consciousness psychology finance panic vibes time presence future human humanism curiosity control change everythingchanges modernity humans parenting thinking howwethink wonder awe terror freedom activism problemsolving uncertainty complextity inquiry emotions society affect crueloptimism affecttheory mind signalanxiety power loss relationships love hope security suffering outdoors prescribingnature death dying social embodiement boides mindfulness culture sublime present mysticism beauty selflessness objects</dc:subject>
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    <dc:creator>robertogreco</dc:creator><description><![CDATA["In the 19th century, the linear idea of time became dominant – with profound implications for how we experience the world"]]></description>
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    <title>Everything Was Already AI - YouTube</title>
    <dc:date>2026-01-09T19:34:30+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=Km2bn0HvUwg</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Feedback welcome, hope you enjoy this video which was a lot of fun to make (albeit late)

References (in rough order of appearance)

How to Make Realistic Predictions About AI, Tantham
https://curveshift.net/p/how-to-make-realistic-predictions

Silicon Valley Insider EXPOSES Cult-Like AI Companies | Aaron Bastani Meets Karen Hao 
https://www.youtube.com/watch?v=8enXRDlWguU

‘Large AI models are cultural and social technologies’, Farrell et al.
https://www.science.org/doi/10.1126/science.adt9819

Artificial Intelligences, Herbert Simon

Debunking Economics, Keen 
https://en.wikipedia.org/wiki/Debunking_Economics

Scientists Just Discovered Why All Pop Music Sounds Exactly the Same
https://www.mic.com/articles/107896/scientists-finally-prove-why-pop-music-all-sounds-the-same

The Dorito Effect, Shatzker
https://www.simonandschuster.com/books/The-Dorito-Effect/Mark-Schatzker/9781476724232

How Corporations Hijacked Anti-AI Backlash 
https://www.youtube.com/watch?v=lRq0pESKJgg

The Stock Market is a Conventional Wisdom Processor: Why Trump’s Tariffs Crashed the Stock Market While the Trump Musk Payments Crisis Hasn’t (Yet), Tankus
https://www.crisesnotes.com/content/files/2025/04/The-Stock-Market-is-a-Conventional-Wisdom-Processor-Why-Trump-s-Tariffs-Crashed-the-Stock-Market-While-the-Trump-Musk-Payments-Crisis-Hasn-t--Yet-.pdf

Elon Musk’s Billionaire Games - Between the Scenes | The Daily Show 
https://www.youtube.com/watch?v=Gqlbn2nPO-A

The Job Market Is Hell: Young people are using ChatGPT to write their applications; HR is using AI to read them; no one is getting hired. By Annie Lowrey
https://www.theatlantic.com/ideas/archive/2025/09/job-market-hell/684133/

What's Wrong with Capitalism (Part 1) | ContraPoints 
https://www.youtube.com/watch?v=gJW4-cOZt8A

Disney is Perfectly Happy With Their Catastrophic Downfall
https://www.youtube.com/watch?v=GW2Zr8Q6Xqw  

Mr. Plinkett's What Happened To Star Wars?
https://www.youtube.com/watch?v=0xeMak4RqJA

AI Slop Is Destroying The Internet
https://www.youtube.com/watch?v=_zfN9wnPvU0

Artificial Intelligence and the Digital Economy - with Dr Stuart Mills
https://www.youtube.com/watch?v=9E6p3J9dko8

An Existing, Ecologically-Successful Genus Of Collectively Intelligent Artificial Creatures, Kuipers
https://arxiv.org/abs/1204.4116
https://web.eecs.umich.edu/~kuipers/papers/Kuipers-ci-12.pdf

AI Integration Is the New Moat, Tim O’Reilly
https://www.oreilly.com/radar/integration-is-the-new-moat/

Dirty Little Marketing Secrets That Always Work - Rory Sutherland (4K)
https://www.youtube.com/watch?v=qvpw4_O25eU

The Time for Cybernetics Has Come - with Daniel Davies
https://www.youtube.com/watch?v=y3HpdNGvJDc

notes on the industrialisation of decision making, Davies
https://backofmind.substack.com/p/notes-on-the-industrialisation-of

the only message the channel can carry is a scream, Davies
https://backofmind.substack.com/p/the-only-message-the-channel-can

The AI Circular Economy, Blakeley
https://graceblakeley.substack.com/p/the-ai-circular-economy

The Case Against Generative AI, Zitron
https://www.wheresyoured.at/the-case-against-generative-ai/

The Map is Eating the Territory: The Political Economy of AI, Farrell
https://www.programmablemutter.com/p/the-political-economy-of-ai

the ending of every 7 hour video essay
https://www.youtube.com/watch?v=d8reiauyQCM 

Further reading

AI: What Could Go Wrong? with Geoffrey Hinton - The Weekly Show with Jon Stewart | Podcast on Spotify
https://open.spotify.com/episode/4pWuwQq8M8Gzf9F9U0AYZW

Transformers, the tech behind LLMs | Deep Learning Chapter 5 
https://www.youtube.com/watch?v=wjZofJX0v4M

You're Being Lied To About Private Equity | Truth Complex 
https://www.youtube.com/watch?v=6pzLhWCxH_g 

AI As a Normal Technology, Arvind Narayanan & Sayash Kapoor
https://knightcolumbia.org/content/ai-as-normal-technology "]]></description>
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    <title>CITY LIGHTS LIVE! Rasheedah Phillips with Fred Moten - YouTube</title>
    <dc:date>2025-10-06T20:56:15+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=AdR-ypBxY_U</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["AK Press and City Lights celebrate the publication of 

Dismantling the Master’s Clock On Race, Space, and Time 
By Rasheedah Phillips 
Published by AK Press 

Purchase the book at this link:
https://citylights.com/dismantling-the-masters-clock-on-race

A radical new treatise on time, quantum physics, and racial justice from world-renowned artist and advocate Rasheedah Phillips of Black Quantum Futurism.

Why do some processes—like aging, birth, and car crashes—occur in only one direction in time, when by the fundamental symmetry of the universe, we should experience time both forward and backward? Our dominant perception of time owes more to Western history and social order than to a fact of nature, argues writer Rasheedah Phillips, delving into Black and Afrodiasporic conceptions of time, where the past, present, and future interact in more numerous constellations.

Phillips unfolds the history of time and its legacy of racial oppression, from colonial exploration and the plantation system to the establishment of Daylight Savings. Yet Black communities have long subverted space-time through such tools of resistance as Juneteenth, tenant organizing, ritual, and time travel. What could Black liberation look like if the past were as changeable as the future?

Drawing on philosophy, archival research, quantum physics, and Phillips’s own art practice and work on housing policy, Dismantling the Master’s Clock expands the horizons of what can be imagined and, ultimately, achieved.

Rasheedah Phillips is a queer housing advocate, lawyer, parent, and interdisciplinary artist working through a Black futurist lens. Phillips is the founder of the AfroFuturist Affair, founding member of the Metropolarity Queer Speculative Fiction Collective, and co-creator of the art duo Black Quantum Futurism. Phillips’ work has been featured in the New York Times, The Wire, New York Magazine, Boston Review, Hyperallergic, and e-flux.

Fred Moten studies the social practice of poetry/criticism. He lives in New York and teaches at New York University. His most recent work, in collaboration with Brandon López and Gerald Cleaver, is the blacksmiths, the flowers (Reading Group Records, 2024).

Praise for Dismantling the Master’s Clock:

“The straightening and whitening of time are as viciously colonial, as brutally geocidal and genocidal, as the settling and owning of space. Rasheedah Phillips brilliantly and rigorously alerts us to this condition while also showing us how we walk with and wait on one another in rhythm. Dismantling the Master’s Clock is a queer, black, reconstructive tour de force.” —Fred Moten, co-author of The Undercommons: Fugitive Planning and Black Study

“This book is a fruitful offering to a world with ever-increasing anxiety about the future. With incredible precision, the text delivers an invitation to reconstruct all that we accept in relation to time and existence. The brilliant Rasheedah Phillips untangles and explores history, memory, and quantum perspectives like so few others can.” —Kimberly Drew, author of Black Futures

“I often speak to friends about a virtual workshop I attended guided by a Black woman on how to time travel. How I sat in awe experiencing a life-altering experimentation with time. I am utterly blown away by the work of Rasheedah Phillips and Black Quantum Futurism. Phillips’ … bold declarations about time, Blackness, and the power of space feels like a special, underground portal silently healing us and shifting culture. Dismantling the Master’s Clock is our path to deep connection and power. This is revolutionary work.” —Tricia Hersey, author of Rest Is Resistance: Free Yourself from Grind Culture and Reframe Your Life

“Whether the device in hand is a quantum time capsule, a newly crafted time zone protocol, or instruments for bending the arrow of time, the praxis is one of grounded theory, laser-focused on changing the material conditions of possibility for reconfiguring geographies, architectures, calendars, and constellations … Phillips invites us into a real-world laboratory of situated analysis and experimentation that takes seriously the material nature of imaginings.” —Karen Barad, author of Meeting the Universe Halfway: Quantum Physics and the Entanglement of Matter and Meaning

“In this well-researched and expansive text, Rasheedah Phillips offers a detailed history of how standardized colonial time constricts Black life and decolonial freedom … The time you will spend with this book will not drag you from point A to point B; it will expand into the field of deep black contemplation we’ve been waiting for.” —Alexis Pauline Gumbs, author of Survival Is a Promise: The Eternal Life of Audre Lorde


This event was originally broadcast on Monday, March 3, 2025"]]></description>
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    <title>Ursula Le Guin's Anarchist Alternative - YouTube</title>
    <dc:date>2025-10-02T16:10:20+00:00</dc:date>
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    <dc:creator>robertogreco</dc:creator><description><![CDATA["In this Conversation on Anarres, we celebrate the 50th anniversary of the publication of Ursula K. Le Guin's classic novel, The Dispossessed. We talk with Dr. Alexis Shotwell who is working to spell out Le Guin's anarchist philosophy. Shotwell speculates as to the features of "Odoian anarchism"--what values it expresses and how it is related to other classical anarchist thinkers such as Emma Goldman and Peter Kropotkin-- and she envisions what lessons it might have for our political organizing today."]]></description>
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<item rdf:about="https://vimeo.com/1064446435">
    <title>Dismantling the Master's Clock: On Race, Space, and Time book launch on Vimeo</title>
    <dc:date>2025-09-22T18:13:48+00:00</dc:date>
    <link>https://vimeo.com/1064446435</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["AK Press and the Vera List Center for Art and Politics celebrate the launch of artist and advocate Rasheedah Phillips’s expansive new book, Dismantling the Master’s Clock: On Race, Space, and Time (AK Press 2025). [https://www.akpress.org/dismantling-the-masters-clock.html ]

Our dominant perception of time owes more to Western history and social order than to nature, argues Rasheedah Phillips, delving into Black and Afrodiasporic conceptions of time, where the past, present, and future interact in more numerous constellations. Drawing on philosophy, archival research, quantum physics, and Phillips’s art and law practice on housing policy, Dismantling the Master’s Clock expands the horizons of what can be imagined and, ultimately, achieved.

This collaborative event doubles as the soft launch of As for Protocols [https://www.veralistcenter.org/publications/as-for-protocols/ ]—a book by the Vera List Center and Amherst College Press in which an essay by Phillips elaborates on her 2020–2022 VLC Fellowship project, Time Zone Protocols, and maps out her ongoing practice as a member of Black Quantum Futurism to examine the political agendas that uphold Westernized time constructs. Phillips is joined in conversation by writer and VLC Assistant Director of Editorial Initiatives Re’al Christian, co-editor of As for Protocols.

Uploaded on Mar 10, 2025 at 1:08 pm"

[See also:
https://www.veralistcenter.org/events/dismantling-the-masters-clock-on-race-space-and-time ]]]></description>
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</item>
<item rdf:about="https://www.youtube.com/watch?v=CFaTxvlMWuY">
    <title>The Wisdom of Not Knowing (with Pico Iyer and Nathan Gardels) - YouTube</title>
    <dc:date>2025-09-16T17:16:11+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=CFaTxvlMWuY</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["We live in a culture hooked on speed and certainty. Hot takes, quick fixes, and algorithms that claim to know us better than we know ourselves. Yet despite all the information at our fingertips, the world seems to make less sense by the day.

In this episode, renowned travel writer Pico Iyer describes how globalization – which offered up the mirage of a global monoculture – has instead led to a clash of civilizations and identity. For Pico, wisdom resides not in mastery but in doubt. From his decades of constant travel to his retreats in silence, Iyer describes how humility and stillness can open a clearer view of the world than certainty ever could.

Chapters
0:00 Intro
2:15 What’s in a Name
4:28 Travel and Stillness
7:19 The Contemplative Life
9:02 The Mirage of Globalization
14:06 The Inward Clash of Civilizations
17:36 The Nation of No Nation
24:24 The Return of the Strong Gods
26:54 Science, Spirituality, and the Dalai Lama
31:36 Leonard Cohen and the Half-Known Life
40:50 Ego and Undeludedness
43:00 Living in the Moment
46:41 Fire and Impermanence
52:19 The Danger of Certainty"]]></description>
<dc:subject>picoiyer 2025 nathangardels dawnnakagawa travel zoominginandout wisdom modernity global local stillness globalization place science dalailama ego undeludedness presence impermanence certainty uncertainty notknowing knowing knoweledge sameness silence humility speed slow monasteries bigsur attention retreats monoculture diversity doubt christianity buddhism hinduism islam judaism theosophy names naming religion benadictines self memory quiet insight experience meaning meaningmaking movement perspective byung-chulhan contemplation interiority world informationage communication moevement harukimurakami japan west westernization culture turkey iran russia china differences smallness distance howweread understanding depth nepal materialism affluence 1986 pacificcentury bollywood baseball india 1985 1980s civilization society multiculturalism barackobama malcolmgladwell zadiesmith naomiosaka 1983 shinto surfaces palestine israel us uk popculture translation history context politics emotion identity technology econo</dc:subject>
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<dc:identifier>https://pinboard.in/u:robertogreco/b:e501fb627c6a/</dc:identifier>
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</item>
<item rdf:about="https://www.beyondthedial.com/post/e23-how-a-watchs-design-affects-our-perception-of-time/">
    <title>Podcast Insights E13 - How a Watch's Design Affects Our Perception of Time - BEYOND THE DIAL</title>
    <dc:date>2025-07-25T00:05:00+00:00</dc:date>
    <link>https://www.beyondthedial.com/post/e23-how-a-watchs-design-affects-our-perception-of-time/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Allen takes a deep dive into the phenomenological perspective and clarifies how it can actually operate as a way to examine watches by performing subjective reports on four watches, a Nomos Club, a vintage Seiko Weekdater, an Aquadive Bathescaphe, and a Moser Streamliner. By looking at how quantum gravitational theorists have shown that time doesn't exist, but is instead a subjective phenomenon - that is: a product of our minds - Allen then explores the fluid ways we perceive time, and how watches affect that perception."

[Also here:
https://podcasts.apple.com/us/podcast/insights-e13-how-a-watchs-design-affects-our/id1472733566?i=1000469511757
https://open.spotify.com/episode/5vVNknh11mqPi7TwIeb7Rj ]]]></description>
<dc:subject>allenfarmelo 2020 phenomenology watches time perception quantumtheory experience design designtheory colortheory aesthetics architecture objectivity subjectivity seiko nomos nomosclub aquadive edmundhusserl perspective carlorovelli relativity alberteinstein theoryofrelativity entropy now present past future reality hmoser quantumphysics quantummechanics alfredgell anthropology watchcanon timeflow flow aestheticrevolution</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:ff1c883f3d0a/</dc:identifier>
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</item>
<item rdf:about="https://thejaymo.net/2025/07/05/2517-its-beginning-to-feel-a-bit-like-the-future/">
    <title>It's Beginning to Feel a Bit Like The Future | 2517 - thejaymo</title>
    <dc:date>2025-07-05T16:51:57+00:00</dc:date>
    <link>https://thejaymo.net/2025/07/05/2517-its-beginning-to-feel-a-bit-like-the-future/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["I turn 40 in a few weeks, and I’ve realised something.

That it’s beginning to feel a bit like the future.

Looking around in 2025, the future I was sold as a turn of the millennium teen has arrived: pocket supercomputers, wireless internet, AR glasses, VR goggles, and synthetic minds [https://thejaymo.net/category/ai/ ]. Yet, the part I needed: an affordable home, a stable climate, data privacy, and fresh water free of microplastic, never really showed up.

The future worth growing old in was drowned in a bucket in the name of profit.

It feels like the future has run out of road. 

Vanessa Andreotti calls this moment [https://decolonialfutures.net/hospicingmodernity/ ] “the storm where ways of knowing are dying”. Where the tarmac ends, the work of hospicing modernity begins. We must stay by the bedside of a story that can no longer walk. 

Dougald Hine [https://dougald.substack.com/ ] says that the condition of modernity can be measured by a society’s proximity to the future. How close it feels and how much of it is sensed ahead. Bruce Sterling made a similar point in his closing keynote at Interaction 2011 [https://web.archive.org/web/20110306171125/http://www.ixda.org/resources/bruce-sterling-closing-keynote ], noting how, for the Victorians, media was full of future: in postcards, Jules-Verne and world-fair dioramas etc.

“You could hardly open a magazine in the 1890s without stumbling over a chrome-and-steam vision of the year 2000” he said.

Late-Victorian culture was an era of high colonial modernity, and as a consequence of that worldview, they lived with a surplus of future. Their future’s horizon was more than a century ahead. We, meanwhile, struggle to even picture five years ahead, we have mislaid our sense of the long now.

The Victorians overdosed on a ‘single story of forward’ and it influenced all that came after. Our task is to hospice their dying stories and midwife what may come next.

I was in my twenties when I fell into Solarpunk [https://thejaymo.net/solarpunk/ ], and I’ve spent much of the last decade arguing that we must re-future society [https://thejaymo.net/2024/06/21/solarpunk-means-dreaming-green-human-entities-2024/ ]. Imagine new possibilities, new ways of living and being in the world [https://thejaymo.net/long-form/solarpunk-rusted-chrome/ ]. It’s not, and has never been, a call to rekindle the logic of modernity, or to push back the future’s horizon. But instead it’s an invitation to sketch out the landscape on the other side, to speculate on whatever’s coming.

We need to reconnect our 2000 year old eschatological hunger and obsession with teleological progress – the sense of movement along a timeline – back into culture. We don’t need a single straight line, nor to make predictions. Instead we must refill the future with possibility. 

On July the 2nd we passed a midpoint; every sunrise now places us closer to 2050 than to 2000. 

I’ve been reading Colette Shade’s book: Y2K: How the 2000s Became Everything [https://bookshop.org/p/books/y2k-how-the-2000s-became-everything-essays-on-a-future-that-never-was-colette-shade/21416954 ]. Essays on the Future That Never Was, and having lived through that era, I realise the year 2000 now feels as distant as 1975 did at the time. forever ago. 

Perhaps this distance explains the resurgence of Y2K [https://thejaymo.net/2023/11/12/301-2337-like-we-did-in-y2k/ ].

Since the crash of 2008 our culture has swung on a Janus-shaped hinge: once future-oriented, it pivoted towards the past. But now box-office returns for Marvel films are sliding; Star Wars soon turns fifty; and corporate media continues to culturally frack the last millennium [https://thejaymo.net/tag/cultural-fracking/ ] while fashion loops nostalgia ever faster.

Hardly anyone is talking about 2050, let alone 2100.

In my adult lifetime we’ve become a civilisation that looks backwards, and this pivot from future to past is (I think) a consequence of fraying narratives and ossified economic structures. 

We stopped looking toward the future, and instead stare at the past because we cannot bear to face the present.

Yet it is precisely from the now—from an honest reckoning with the present—that possible new futures emerge. And we must fill them with spirit and story, and both can only arise from living ground.

In the book of Genesis, Lot’s wife looks back at Sodom, and is struck down by God, turned into a pillar of salt. I have always read this as an allegory for nostalgia. A gaze turned toward a past robbed of vitality. Salt, inert and crystalline, entombs her longing; she does not perish by fire but by inertia. 

Nostalgia evokes history without life. It treats the past as though it were no longer alive, yet in reality, the present is nothing but the living outcome of that past. And if we linger too long on an inert yesterday, we too risk sharing Lot’s wife’s fate.

Sterling’s 2011 challenge still stands: “try to find a picture of 2100 today and the page is blank.”

Which is why we must at least attempt to reclaim some proximity to the future. We must try to fully inhabit possible futures. We have to stop strip-mining yesterday and act as though the future is already here, because in many ways it is.

We do not need 2100’s chrome skylines sketched out in neon; we need conversation, and kitchen gardens, and mutual aid that practises 2100’s ethics today. We must also try to midwife the not-yet future without suffocating it with recycled utopias. 

Every morning now tips us further into the un-imagined. Possibility is underfoot, not over the horizon.

Solarpunk [https://thejaymo.net/solarpunk/ ], at its best, is part of this midwifery: a seed catalogue rather than a master plan."]]></description>
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    <title>Laurie Anderson's Hack in Making Art | Louisiana Channel - YouTube</title>
    <dc:date>2025-02-23T19:47:46+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=Rlm9xNQkjpA</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Multimedia artist Laurie Anderson shares a meditation she uses as an artist: “Switch ‘the’ to ‘a’ and the world changes.” Anderson argues that you begin to get a sense of the mystery of the world by a simple device such as switching articles.

Laurie Anderson (b. 1947) is an internationally renowned experimental performance artist, composer, musician and film director. She is considered a pioneer of electronic music and is praised for her unique spoken word albums and multimedia art pieces. 

Laurie Anderson was interviewed by Christian Lund at the Louisiana Museum of Modern Art, Denmark, in May 2016. 

Watch the full film Laurie Anderson Interview: A Life of Stories here on YouTube."]]></description>
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<item rdf:about="https://heracliteanfire.net/2010/04/20/the-church-of-the-long-now/">
    <title>The Church of the Long Now – Heraclitean Fire</title>
    <dc:date>2025-02-02T04:11:38+00:00</dc:date>
    <link>https://heracliteanfire.net/2010/04/20/the-church-of-the-long-now/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The Clock of the Long Now is a very interesting book about the idea of building

<blockquote>a large (think Stonehenge) mechanical clock, powered by seasonal temperature changes. It ticks once a year, bongs once a century, and the cuckoo comes out every millennium.</blockquote>

This is not just an interesting engineering project. The idea is that the clock could act as a symbol of the ‘long now’: that is, a way of looking at the world which sees us within the long context of history.

Because ‘now’ means different things is different contexts: ‘I’m hungry now’; ‘tartan skirts are fashionable now’; ‘The United States is now the world’s only superpower’; ‘India is now moving northward into Asia, forming the Himalayas’.

[image]

The Long Now Foundation is actually building this clock; it’s not just a thought experiment. The idea is to promote long-term thinking: the kind of long term planning and policy making that might help to prepare for the risk of a hurricane hitting New Orleans, or to mitigate the economic impacts of an ageing population. Or, of course, try to minimise global warming.

These kinds of problems do not lend themselves to the five-year cycles of democratic politics, let alone to the ever-shorter cycles of 24 hour news media.

I remember it as a thought-provoking book, although I think I left my copy in Japan*. I don’t know whether it is really possible to make people take very long term planning seriously, for psychological as well as pragmatic reasons. But it’s an interesting idea.

[image]

I’ve been thinking about the Long Now recently because of a particular current news story. If there is any human institution that lends itself to Long Now thinking, it is the Catholic church. Their holy book is 2000 years old, and they still refer back to theologians like Thomas Aquinas and St. Augustine, from 700 and 1600 years ago respectively. I recently went round the V&A’s newly refurbished Medieval and Renaissance galleries, and they are a reminder that the church was a wealthy and powerful organisation before the Norman Conquest. It is nowhere near as wealthy or powerful now, in relative terms, as it was back in the middle ages; but it’s not doing badly.

Perhaps that’s why their PR in response to child abuse stories has seemed so woefully inept: when you operate over a timescale of centuries, a scathing article in the New York Times doesn’t seem like such a big deal. An organisation which has survived the Great Schism, the Reformation and the Enlightenment, not to mention the crusades, the Spanish Inquisition and a whole load of religious wars, is not going to throw around the word ‘crisis’ lightly.

And strategically speaking, they’re probably right: Benedict XVI is the 265th pope. Does anyone really think there won’t be a 266th? And by the time we get to 269 or 270, these scandals will be very old news indeed.

[image]

It’s not necessarily a morally bankrupt attitude; it’s not the same as ignoring the problem and waiting for it to go away. It might be nice to see them reaching out to the victims a little better and show a bit more public remorse, but the most important thing is to ensure that those kind of cover-ups don’t happen in future, and they say they have reformed the system to prevent it happening again.

I find it fascinating, looking at the world in this way. For example, I think it is an important principle of human rights and human dignity that women should be treated as full human beings with all the same rights and responsibilities as men. So if I was pope — an odd thought, admittedly — I would allow women to be priests. But from the long view of the Catholic church, with 20 centuries of institutional and theological tradition to draw on, the women’s rights movement could turn out to be a passing phase. Hell, there aren’t many countries where women have even had the vote for one century.†

And if I was pope, I’d allow gay marriage, contraception, and abortion. But I don’t expect the church to agree with me any time soon. And even though I disagree with everything they believe, from the existence of God downwards, there is something deeply intriguing about that kind of institutional continuity. You can see why some people find it seductive.

The Catholic church may be old-fashioned, but it has been old-fashioned for hundreds of years now; entire empires have risen and fallen while the church trundled on, being old-fashioned. It may be ludicrously archaic that important church documents are still issued in Latin, but the church was communicating in Latin before the English language even existed, and the church is still here. They are hardly going to be stung by the accusation that they’re not keeping up with the times.

* if only I’d had the long-term perspective to realise I would want to write a blog post about it several years later…

† In chronological order: The Pitcairn Islands, The Isle of Man, The Cook Islands, New Zealand, Australia, and Finland. According to Wikipedia.

» From top to bottom, the images are: the first prototype of the Clock of the Long Now, a C9th-10th crucifix reliquary from the V&A, and Titian’s portrait of Poe Paul III."

[comment from "Peter":

"Great analogy.

I had never head of “the clock of the long now.” What a concept:

“Because ‘now’ means different things is different contexts: ‘I’m hungry now’; ‘tartan skirts are fashionable now’; ‘The United States is now the world’s only superpower’; ‘India is now moving northward into Asia, forming the Himalayas’.”

The idea is “to promote long-term thinking,” you point out. I wonder what long-term thinking is based on. Is it always based on an unseen model, something others may see as fictions, meanings we posit on the world to make sense of it (e.g., the Roman Catholic Church or generational history models like Howe’s Generations)? Is it also often based on common sense? Are some people or personality types more prone to long-term thinking? Is it built into our heads, as it is with squirrels or even ants? Are we too complicated or at least too fractured as societies to agree on what proper long-term thinking is in a given situation? Are cultures with stronger ties to the past than ours has better at it? Does long-term thinking become ingrained in certain cultures so that it isn’t even called long-term thinking until a particular habit or tradition or norm is lost?

How can we be so short-sighted as a culture without the corresponding benefit of living in the moment?"]]]></description>
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    <dc:creator>robertogreco</dc:creator><description><![CDATA["Attentive to the loss of age-old ecological relationships as “wild clocks” fall out of synchronization with each other, David Farrier imagines an opportunity to renew the rhythms by which we live."

]]></description>
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<item rdf:about="https://helenbeetham.substack.com/p/the-dan-macquillan-episode">
    <title>The Dan MacQuillan episode - by Helen Beetham</title>
    <dc:date>2025-01-17T18:23:55+00:00</dc:date>
    <link>https://helenbeetham.substack.com/p/the-dan-macquillan-episode</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["In this episode I talk to Dan MacQuillan, Lecturer in Creative Computing at Goldsmiths, and author of Resisting AI: an Anti-fascist Approach to Artificial Intelligence. I read this in 2022, as soon as it was published, and it remains for me one of the most vivid, provocative and relevant critiques of ‘artificial intelligence’ as a project. Here, Dan speaks about the continuities between today’s machine learning models and earlier projects of categorising and disciplining people. We discuss how education is implicated in these architectures and how educators might resist. Dan has been a star of podcasts with tens of thousands of listeners, so I am deeply grateful that he made time to talk to me on this first episode of Imperfect Offerings in sound.

Links

Dan’s home page: https://www.gold.ac.uk/computing/people/d-mcquillan/

Resisting AI: and Anti-Fascist Approach to Artificial Intelligence from Bristol University Press: https://bristoluniversitypress.co.uk/resisting-ai

Dan’s ‘other’ podcasts on Resisting AI: https://www.transformingsociety.co.uk/2023/07/17/the-extensive-and-unconventional-reach-of-dan-mcquillans-resisting-ai/

On Arendt’s diagnosis of ‘thoughtlessness’ as a feature and an enabler of fascism: https://danmcquillan.org/arendtandalgorithms.html

On AI colonialism and the likely impacts on the Global South: https://foreignpolicy.com/2024/12/17/ai-global-south-inequality/ or https://www.technologyreview.com/supertopic/ai-colonialism-supertopic/

On algorithmic states of exception: https://research.gold.ac.uk/id/eprint/11079/

Wikipedia article on the Situationists: https://en.wikipedia.org/wiki/Situationist_International

And on Guy Debord’s Society of the Spectacle: https://en.wikipedia.org/wiki/The_Society_of_the_Spectacle

“All that was once directly lived has become mere representation”"]]></description>
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    <title>Dismantling the Master's Clock (Preorder)</title>
    <dc:date>2025-01-10T05:51:58+00:00</dc:date>
    <link>https://www.akpress.org/dismantling-the-masters-clock.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Publisher: AK Press
Format: Book
Binding: pb
Pages: 392
Released: January 28, 2025
ISBN-13: 9781849355612

A radical new treatise on time, quantum physics, and racial justice from world-renowned artist and advocate Rasheedah Phillips of Black Quantum Futurism.

Why do some processes—like aging, birth, and car crashes—occur in only one direction in time, when by the fundamental symmetry of the universe, we should experience time both forward and backward? Our dominant perception of time owes more to Western history and social order than to a fact of nature, argues writer Rasheedah Phillips, delving into Black and Afrodiasporic conceptions of time, where the past, present, and future interact in more numerous constellations.

Phillips unfolds the history of time and its legacy of racial oppression, from colonial exploration and the plantation system to the establishment of Daylight Savings. Yet Black communities have long subverted space-time through such tools of resistance as Juneteenth, tenant organizing, ritual, and time travel. What could Black liberation look like if the past were as changeable as the future?

Drawing on philosophy, archival research, quantum physics, and Phillips’s own art practice and work on housing policy, Dismantling the Master’s Clock expands the horizons of what can be imagined and, ultimately, achieved.

Praise for Dismantling the Master's Clock:

"The straightening and whitening of time are as viciously colonial, as brutally geocidal and genocidal, as the settling and owning of space. Rasheedah Phillips brilliantly and rigorously alerts us to this condition while also showing us how we walk with and wait on one another in rhythm. Dismantling the Master’s Clock is a queer, black, reconstructive tour de force." —Fred Moten, co-author of The Undercommons: Fugitive Planning and Black Study

“This book is a fruitful offering to a world with ever-increasing anxiety about the future. With incredible precision, the text delivers an invitation to reconstruct all that we accept in relation to time and existence. The brilliant Rasheedah Phillips untangles and explores history, memory, and quantum perspectives like so few others can.” —Kimberly Drew, author of Black Futures

"I often speak to friends about a virtual workshop I attended guided by a Black woman on how to time travel. How I sat in awe experiencing a life-altering experimentation with time. I am utterly blown away by the work of Rasheedah Phillips and Black Quantum Futurism. Phillips’ ... bold declarations about time, Blackness, and the power of space feels like a special, underground portal silently healing us and shifting culture. Dismantling the Master's Clock is our path to deep connection and power. This is revolutionary work." —Tricia Hersey, author of Rest Is Resistance: Free Yourself from Grind Culture and Reframe Your Life

"Whether the device in hand is a quantum time capsule, a newly crafted time zone protocol, or instruments for bending the arrow of time, the praxis is one of grounded theory, laser-focused on changing the material conditions of possibility for reconfiguring geographies, architectures, calendars, and constellations ... Phillips invites us into a real-world laboratory of situated analysis and experimentation that takes seriously the material nature of imaginings." —Karen Barad, author of Meeting the Universe Halfway: Quantum Physics and the Entanglement of Matter and Meaning

"In this well-researched and expansive text, Rasheedah Phillips offers a detailed history of how standardized colonial time constricts Black life and decolonial freedom ... The time you will spend with this book will not drag you from point A to point B; it will expand into the field of deep black contemplation we've been waiting for." —Alexis Pauline Gumbs, author of Survival Is a Promise: The Eternal Life of Audre Lorde

"Dismantling the Master's Clock is a gorgeous weaving of art, science and activism. Rasheedah Phillips inspires the mind and recharges the heart with this volume."—Michelle M. Wright, author of Physics of Blackness: Beyond the Middle Passage Epistemology

“Dismantling the Master’s Clock reorganizes … the bereft economies of juridical time, which function to unhouse and displace according to linear and measured schedules … by bringing into sharp focus alternative tempos, promises, and cadences.” —Katherine McKittrick, author of Dear Science and Other Stories

“When the world is collapsing in grief and we enter into the billionth year of being told that we’re all about to die or maybe dead already, Phillips insists on a renegotiation of space and time that uplifts and loves Black people, holding us tenderly in a space where we can thrive. This is a call to mutiny against the violence of colonized, imperial, genocidal time. Amen!” —Legacy Russell, author of Black Meme: A History of the Images that Make Us

Rasheedah Phillips is a queer housing advocate, lawyer, parent, and interdisciplinary artist working through a Black futurist lens. Phillips is the founder of the AfroFuturist Affair, founding member of the Metropolarity Queer Speculative Fiction Collective, and co-creator of the art duo Black Quantum Futurism. Phillips’ work has been featured in the New York Times, The Wire, New York Magazine, Boston Review, Hyperallergic, and e-flux."]]></description>
<dc:subject>rasheedahphillips time 2025 justice race racialjustice quantumphysics philosophy physics quantummechanics memory history art liberation timetravel ritual resistance past present future quantumtheory</dc:subject>
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    <title>En la punta de la lengua: Nicanor Parra, 100 años de antipoesía. - YouTube</title>
    <dc:date>2025-01-03T01:51:10+00:00</dc:date>
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    <dc:creator>robertogreco</dc:creator><description><![CDATA["Este programa nos invita al gozo de la lectura y la creatividad. Nicanor Parra nos recuerda, utilizando un lenguaje coloquial de raíz popular, que todos somos parte de la poesía de la vida misma. En su anti-poesía, “los poetas bajaron del Olimpo”,  la risa y el gozo del lector o el oyente es el mejor indicador de aceptación y  éxito. Viajamos hasta Santiago de Chile para visitar la magna exposición de los 100 años de Nicanor Parra y conocer más a fondo su vida y obra. Conversamos con el escritor chileno Antonio Skármeta, el poeta y critico César Cuadra, la filosofa chilena Carla Cordúa, entre otros. Encontramos que muchos jóvenes en Chile lo consideran una estrella de rock de la palabra."]]></description>
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    <title>Writer Peter Waterhouse: Being Is a Great Activity | Louisiana Channel - YouTube</title>
    <dc:date>2024-12-26T21:50:44+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=oFFNahC1rIg</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Austrian poet and writer Peter Waterhouse explores the concept of time, poetry, and the art of being. Known for his contemplative and philosophical approach, Waterhouse reflects on how the creative process often occurs in moments of stillness and presence, rather than in perpetual motion. 

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

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

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

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

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

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

Danish poet Morten Søndergaard interviewed Peter Waterhouse in connection with the Louisiana Literature festival in August 2024 at the Louisiana Museum of Modern Art."]]></description>
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<item rdf:about="https://adamtooze.substack.com/p/chartbook-342-are-we-all-dead-in">
    <title>Chartbook 342 Are we all dead in the long run? John Maynard Keynes and the politics of time</title>
    <dc:date>2024-12-22T20:31:02+00:00</dc:date>
    <link>https://adamtooze.substack.com/p/chartbook-342-are-we-all-dead-in</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Guest essay by Stefan Eich"]]></description>
<dc:subject>johnmaynarkeynes time 2024 stefaneich economics present politics future temporality capitalism uncertainty action charlessabel presentism experimentalism alberthirschman keynesianism reinhartkoselleck socialism liberalism marxism kingsleymartin democracy efficiency vanessabell virginiawoolf jackhills walterheadlam socialchange society lorenzopecchi gustavopiga utopianism thomasrobertmalthus richardbrinsleysheridan edmundburke freud psychology anxiety hope geoffmann zacharycarter greenkeynesianism robertskidelsky antonionegri</dc:subject>
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<item rdf:about="https://www.youtube.com/watch?v=B2Zzu1GnDJ4">
    <title>An Introduction to the Problem Called the Past: Film, Communism, and Former Yugoslavia - YouTube</title>
    <dc:date>2024-11-26T06:36:00+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=B2Zzu1GnDJ4</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["This will be a book discussion of the book Past: An Introduction to the Problem which is distributed through our friends at Iskrabooks.org: https://www.iskrabooks.org/past

We will be joined by Boris Buden, Olivera Jokić, Zoran Pantelic, & Dubravka Sekulić to discuss the book, thinking with the Yugoslavian Socialist past, film including "The Black Wave," and filmmaker Želimir Žilnik's work and thought specifically.

The book Past • An Introduction to the Problem is also a part of the research program of Center_kuda.org and associates that examines the social, cultural, and intellectual heritage of former Yugoslavia. This program is carried out through the projects “The Continuous Art Class,” “Media Ontology,” and “Political practices of (post-) Yugoslavian art.” These projects provide a new reading of the progressive practices of the Neo-Avant Garde for today, and open a new way of communication between these practices and contemporary art production.

Boris Buden is a writer, cultural theorist and translator based in Berlin. Born in former Yugoslavia he studied philosophy in Zagreb and received his PhD in cultural theory from Humboldt University in Berlin. Since the beginning of the 1980s Buden publishes essays and books on critical and cultural theory, psychoanalysis, politics and contemporary art in Croatian, German and English. He is permanent fellow at The European Institute for Progressive Cultural Policies in Vienna, and teaches at various universities in Europe. Recently published: Transition to Nowhere: Art in History After 1989, Berlin 2020.

Olivera Jokić helped Past: An Introduction to the Problem appear in English with new appendices and orientation aids. She spends a lot of her days in New York City. 

Zoran Pantelić artist, producer, curator and program editor in kuda.org. He founded artistic association Apsolutno (Absolutely) in 1993. The art collective was active in the nineties in the field of interdisciplinary art projects and media pluralism (www.apsolutno.net). In 2000 Zoran founded kuda.org_new media center, in Novi Sad, the collective dedicated to new technologies, art, education, activism and politics. Zoran is dedicated and focused on experimentation in arts and cross disciplinary works. That is why in his research he always initiates inter-disciplinary lines that can overlap to create projects that explore processes and techniques, address social, political, cultural and critical issues.

Dubravka Sekulić is an educator and spatial theorist born in Yugoslavia. Focused on issues of solidarity and liberation, her work explores the connection between spatial literacy and collective political emancipation. She is currently writing a book under the tentative title City Against the City - Minor Planning for the Liberated Future. In 2009, with Gal Kirn and Žiga Testen, she initiated the project Surfing the Black - Yugoslav Black Cinema and its transgressive moments, which culminated with the book published in 2012 by Jan van Eyck Academie. The book can be found here. She works as a programme lead for MA City Design at Royal College Art.

https://www.kuda.org/en

The book was produced by
Boris Buden, who wrote the essays and conducted conversations with Želimir Žilnik
Želimir Žilnik, who answered Boris Buden’s questions, orally and in writing
Hito Steyerl, who recorded conversations between BB and ŽŽ
Olivera Jokić, who translated the book into English, re-edited and significantly improved the text
kuda.org, the book’s initiators - who edited, redacted, and coordinated the work of book creation

Publishers:
New Media Center_kuda.org, Novi Sad, Serbia, ISBN 978-86-88567-41-1
Multimedia Institute — MaMa, Zagreb, Croatia, ISBN 978-953-8469-13-8
Iskra Books, Madison, Wisconsin, USA, ISBN 979-8-8691-9071-0

Previous discussions on Yugoslavia - 
“Deciding and Building Their Everyday Society” Reflections on Yugoslavia With Gal Kirn and Dubravka Sekulić: https://millennialsarekillingcapitalism.libsyn.com/deciding-and-building-their-everyday-society-reflections-on-yugoslavia-with-gal-kirn-and-dubravka-sekuli

Yugoslavia and Constructing Non-Alignment with Gal Kirn and Dubravka Sekulić: https://millennialsarekillingcapitalism.libsyn.com/yugoslavia-and-constructing-non-alignment-with-gal-kirn-and-dubravka-sekuli "

[See also:

https://www.iskrabooks.org/past
https://www.iskrabooks.org/_files/ugd/ec1faf_60e3d0d72ff54aaaa8324753f5928194.pdf
https://www.zilnikzelimir.net/project/past-an-introduction-to-the-problem

"Who can know what is in the past? Is it what historians can tell us? Should we also trust what we can remember?

Past: An Introduction to the Problem proposes that the problem of the past now concerns everyone. Visions of a different, brighter future defeated in the Cold War and its heated afterlives, we are being offered the past as the only horizon of possibility.

And what are we supposed to find in that past?

Philosopher Boris Buden considers these questions in a series of essays and conversations with filmmaker Želimir Žilnik, one of the most prominent filmmakers of the "Black Wave" of 1960s socialist Yugoslavia—a child of communists and an internationally successful artist using resources available to all in the socialist state, Žilnik remains a constant critic of political systems that seek to curb artists' reflections on the world being built. Treating Žilnik as a rare witness of a past for which his work is uncommon documentation, Past: An Introduction to the Problem asks crucial questions about ways we can know the past, how the past informs our experience, and how it defines our sense of possibility."]]]></description>
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<item rdf:about="https://www.youtube.com/watch?v=JMeuMznCMgo">
    <title>El futuro de las historias - Javier Argüello y Rafael Gumucio | Valparaíso 2024 - YouTube</title>
    <dc:date>2024-11-23T20:00:06+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=JMeuMznCMgo</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["En esta conversación, los escritores Javier Argüello y Rafael Gumucio abordarán el oficio de escribir y cómo las narrativas configuran nuestra visión del mundo. Se explorará el poder del relato científico como la narrativa dominante en la actualidad, así como el papel de la memoria en la reconstrucción de la realidad familiar y social. 

En un contexto marcado por la inteligencia artificial, las redes sociales y los modelos generativos, se reflexionará sobre el papel y el futuro de las historias en una era de transformación tecnológica, invitando al público a repensar la creación literaria en el mundo contemporáneo.

Presenta Colbún y Coopeuch. Proyecto financiado por PAOCC"]]></description>
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<item rdf:about="https://www.youtube.com/watch?v=Y3hMSZqatHI">
    <title>Paul Kingsnorth: &quot;Against Christian Civilization&quot; | 2024 Erasmus Lecture - YouTube</title>
    <dc:date>2024-11-22T18:19:09+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=Y3hMSZqatHI</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[via:
https://morefullyalive.substack.com/p/is-god-a-culture-warrior
https://blog.ayjay.org/46909-2/

also here:
https://paulkingsnorth.substack.com/p/against-christian-civilisation-ea2

"Western culture appears more and more insecure by the year. Social and political schism, economic malaise and spiritual emptiness are more and more apparent. In response, voices can be increasingly heard calling for a return to something called ‘Christian civilization.’ Religion, we increasingly hear, is a ’social glue’ than can bind us together, regardless of its actual truth.

In this talk, the 2024 Erasmus Lecture given in New York City on 28th October 20204, I argue that this idea, far from being a solution to our malaise, is a deadly trap that Christians should avoid."]]]></description>
<dc:subject>paulkingsnorth 2024 christianity civilization politics religion indigeneity indigenous west westernculture jesus christ jesuschrist charlesalexandereastman capitalism colonialism colonization genocide us uk indigineity collapse globalhegemony hegemony decline fragmentation oswaldspangler arnoldtoynbee morality community inversion christopherdawson faith matthewarnold culture genesis tomholland bible history charleseastman christiancivilization power god humanity human humans christopherlasch arthurcclarke richarddawkins atheism newatheism science reason liberalrelativism ayaanhirsiali stevebannon christiannationalism culturewars civilizationalchristianity jordanpeterson josephcampbell culturalmarxism wants needs life living church feminism socialjustice climagechange globalwarming growth accumulation cities urbanization urbanism urban inequality wealth technology lifeexpectancy humility pride identity greed envy lust gluttony sloth wrath war ohiyesa agriculture ohíyes'a presence present materialism progres</dc:subject>
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<item rdf:about="https://www.youtube.com/watch?v=mSNuacj7iqY">
    <title>THE GIFT OF TIME - YouTube</title>
    <dc:date>2024-11-05T18:58:35+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=mSNuacj7iqY</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["“THE GIFT OF TIME,” a short film from Seiko, explores Japan’s deep connection with time, as seen through the eyes of its cultural icons. Once a moment passes, it can never be recaptured. That is why life’s greatest luxury is spending time in nature or surrounded by friends and family, sharing generously with your community or pursuing the work and art you love most. The film, shot in culturally significant locations throughout Japan, shares the essence of Japanese luxury—craftsmanship, timelessness, and harmony with nature—with the world, urging viewers to embrace the beauty of the present moment, the four seasons, and the passing years. 

＜special website＞
https://www.seiko.co.jp/thegiftoftime/ "

[via:

"How Seiko’s “Gift of Time” short documentary has made me appreciate my most prized watch even more"
https://timeandtidewatches.com/seiko-gift-of-time-short-documetary-film-video/ 

"This past weekend, Grand Seiko held its annual GS9 Club USA Experience event in New York City, where a vast range of Grand Seiko creations were on display, various insightful panels were held, and, of course, exceptional food (courtesy of panellist Ivan Orkin known for his world-renowned ramen) and drinks (courtesy of Suntory) were served. But, amongst the large event packed with devout Grand Seiko collectors and prestigious guests, the thing I really took away with me once the festivities ended was the premiere of Seiko’s new short documentary Gift of Time, directed by Paula Chowles.

In our horological hooliganism, I have seen the watch community poke fun at Grand Seiko’s romantic interpretations and expressions of time now and again. Regretfully, I may have been guilty of this myself in the past. The brand’s motto, The Nature of Time, and its consistent leverage of nature to inspire its dials can, at times, be the brunt of jests – in particular, the communication around them. With repetition, the Western world may generate scepticism, reducing a meticulous detailing of a bamboo forest to a romantic excuse or dollar-driven marketing effort to drum up interest in a new dial.

While I understand how the poetic communication of Grand Seiko’s muses can cause some to think it is simply a mere marketing tactic, I do not feel that strong, genuine intention and strong marketing are mutually exclusive. To understand how these seemingly opposing things run parallel, and are perhaps why Seiko and Grand Seiko have developed such a cult following, I highly recommend watching the 25-minute documentary that showcases various Japanese cultural icons sharing the importance of time within their lives and professions. The thoughts they share and express ultimately show that the romantic interpretation and thoughtful consideration of time we often see communicated by the Seiko Corporation is not derived from the brand nor born out of commercial motives. Rather, it is an ingrained way of life and mindset woven in each artist or individual through Japanese culture – which, as an American, I could not help but envy as I watched.

While I found many insights shared during the film very interesting, I would like to share one concept, integral within Japanese culture, that really stood out to me to give you a taste of what is explored in the film.

“Ma“: The space between things

Ma refers to the space between things, and artists utilise these spaces and gaps to create meaning, experiences, and more, For example, architect Kengo Kuma, who notably designed Grand Seiko Studio Studio Shizukuishi, introduces the concept of ma in the film as he explains his strategic implementation of gaps in a temple he designed in Minato, Japan: Zuishō-ji. In the film, you can see that each element within the space has ample breathing room between them.

“The spaces surrounding the pond and gravel were intentionally designed with a lot of breathing room,” Kengo Kuma explains. “To have such deliberate emptiness right in the midst of a city is incredibly rare… Ma is revered as a crucial element, valued both for its presence and its absence. It is central to Japanese culture.”

As a result of these gaps and spaces, Kuma believes Zuishō-ji exudes the most serenity of any temple he has designed. The emptiness allows the mind to be empty, clear, and present, in stark contrast to the bustling city surrounding it – packed with buildings and objects and people racing to get to the next destination. As a result, time, in a certain respect, slows in serene spaces like Zushō-Ji to best support mindfulness. This serenity is born out of Kuma’s mindfulness of space and his cadence and frequency for placing things within the space he created. There is a reason why clean and open spaces are more conducive to creativity and productivity, regardless of the type of task at hand – whether prayer or preparing documents in an office.

The film then transitions away from ma as it pertains to architecture, with Japanese singer MISIA conveying its prevalence in music and the power of silence (gaps) between notes.

“The human ear is fascinating. We can hear the flapping of an insect’s wings. Their wings can flap 1,000 times in a second, which means we can perceive a thousandth of a second. That’s how sensitive we are to ma,” MISIA explains. “As musicians, when we are in sync with one another’s ma, it feels wondrous. Slow music has a long ma, and fast music has a short ma. In these pauses or spaces, a musician expresses their feelings, thoughts, and groove, all of which play a significant role in their style. Songs with beautifully designed ma are masterpieces.”

In the same manner the cadence of objects introduced into an architectural design can change how someone engages with a physical space, the cadence of notes and the gaps between them bear great effect on how we interpret music and sound. Short, abrupt sounds are associated with actions, while longer, drawn-out sounds are associated with emotion and passion. The silences between them create emphasis, and when introduced at the right time it makes a given piece of music that much more powerful. The devilish chime of Bulgari’s latest tritone minute repeaters is a wonderful example of such musicality in practice within watchmaking. Swiss conductor Lorenzo Viotti, through introducing the tritone, made a traditionally innocent sound more tense – creating a new experience for a wearer to engage with a chiming watch.

Closer to home, as Grand Seiko nerds will likely already know, the constant-force tourbillon mechanism within the Grand Seiko ‘Kodo’ produces a sound akin to a musical 16th note – creating a more vivid sense of a heartbeat (which Kodo translates to in English).

To tie it all back further to watchmaking and watch design, my introduction to the concept of ma , through both Kuma and MISIA words in the film, gave me a better understanding of why I am so drawn to my Credor Eichi II – the most coveted watch in my collection. The Eichi II is, aesthetically, the embodiment of simplicity, and I have always been very appreciative of its calm and serene quality. The vast majority of the dial is a crisp white porcelain, with minimal interruptions to its deep, largely empty surface.

As someone who likes to precisely set his watch in synchronisation with a reference clock, like my iPhone, the Eichi II, limited to just hour indices with no index for each minute/second, means I have to set the watch on a 5th minute or the hour to synchronise. You can picture me pulling out the crown upon the second hand at zero, lining the minutes hand perfectly with the appropriate hour index, and then having to wait minutes before I can push the crown back in.

It is a very small price to pay for such a stunning dial, but my newfound understanding of ma has left me looking at these gaps with a new sense of appreciation. The ritual of setting the time perfectly, in effect, slows me down. Calms me. And, with Spring Drive powering the watch, the gaps between the index best showcase the serene glide of the second’s hand – allowing the passage of time to be centre stage rather than having a very clear-cut discernable minute. As the hand hits each index, it is as if the hand is calmly and precisely arriving at its destination. Not too fast, nor too slow. Moving at just the right thoughtful pace.

The empty space, or, rather, the vast calming porcelain backdrop, also allows the full shadow of the passing central seconds hand, the crescent-shaped counterweight of the hand in particular, to clearly be seen on the dial – a visual quality I appreciate more and more with each wear.

It is a bit ironic that a watch, with no outer minutes track and minimal indexes, is so precise – in my experience, gaining at most a second any given month. In the past, I simply associated the serenity of the Eichi II with its plain white dial and Spring Drive movement. In learning about ma, however, I now have an appreciation for the gaps between the indices that once were seen as a neusance born as a casualty of design rather than a source of appreciation and heightened serenity.

I hope this has been far more indicative of the benefit of learning about Japanese culture regarding better understanding Seiko’s design and philosophy rather than a sermon delivered at a cyph. If, to you, it seemed more so the latter, then I encourage you to watch Gift of Time with even greater enthusiasm. I promise it is well worth it."]]]></description>
<dc:subject>seiko time film watches luxury craftsmanship timelessness harmony nature presence seasons japan paulachowles ma design grandseiko grandseikokodo credor kodo zachblass enoura light cycles cyclical life living bodies misia precision ginza odawara memory hiroshisugimoto kyoto shunichitokura mountfuji trains travel blossoms shinjihattori kintarohattori seikosha tokyo measurement clocks days hours moments kengokuma nara buddhism buddha human music generations humanness present ikigai being environment temporary ephemeral humans serenity emptiness inbetween nothingness mu wood materials tea culture senses multisensory change 1923 existence universe naturalhistory industrialrevolution history watchmaking altruism reliability credibility flow ephemerality inbetweenness betweenness between</dc:subject>
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<item rdf:about="https://interconnected.org/home/2024/10/11/filtered">
    <title>Filtered for time and false memory (Interconnected)</title>
    <dc:date>2024-10-11T18:27:41+00:00</dc:date>
    <link>https://interconnected.org/home/2024/10/11/filtered</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>mattwebb 2024 internetarchive libraries libraryofalexandria history alexandria memory time falsememory georgeorwell 1984 nineteeneighty-four evidence present past simonwillison ai artificialintelligence web online internet wikipedia bitcoin satoshinakamoto</dc:subject>
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<item rdf:about="https://blog.ayjay.org/moonbound-revisited/">
    <title>Moonbound revisited – The Homebound Symphony</title>
    <dc:date>2024-07-10T04:50:26+00:00</dc:date>
    <link>https://blog.ayjay.org/moonbound-revisited/</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>robinsloan 2024 moonbound alanjacobs williamgibson williamfaulkner future past present stories storytelling</dc:subject>
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<item rdf:about="https://nearfuturelaboratory.com/blog/2024/06/episode-089-near-future-laboratory-podcast/">
    <title>Silvio Lorusso Design &amp; Disillusion - Podcast Episode 089 - Near Future Laboratory Podcast</title>
    <dc:date>2024-06-26T16:58:48+00:00</dc:date>
    <link>https://nearfuturelaboratory.com/blog/2024/06/episode-089-near-future-laboratory-podcast/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["In Episode 089 I get into an in-depth conversation with guest Silvio Lorusso, a designer, artist, and writer based in Lisbon. Our discussion centers around the complex relationship between design, disillusionment, and the evolving role of design in society, as Silvio has articulated in his recent book What Design Can’t Do, a critique of the rhetorical expectations placed upon design. We consider the future and past inspirations relevant to the field of Design and cover various facets of design culture, including the loss of material practices, the socio-economic impacts of design evolution, and the melancholic nostalgia among designers today. We bet into the cultural significance of memes, the backlash against crypto art, and the generational gap in the perception of technological advancements. We also get to share personal anecdotes from our professional experiences, and come to share a kind of hopeful aspiration mixed with skepticism towards the promises of modern design and technology. A fun conversation!

I’ve added What Design Can’t Do to the gradually growing archive of the hundreds of books in and around the Near Future Laboratory Studio Library.

Highlights

00:00 Introduction to Design and Disillusion
01:11 Personal Journey and Design Evolution
02:33 The Detachment from Material Practice
04:21 Challenges in Modern Design
12:26 The Everyday Designer
15:23 Historical Perspective on Design Rhetoric
25:08 Generational Reflections on Design
32:04 The Shift in Dreams
32:31 Imagination and Dystopia
34:52 Radical Imagination and the Past
39:39 Crypto and Community Vibes
49:47 The Role of Memes in Culture
50:54 Conclusion and Reflections"

[Also here:
https://podcasts.apple.com/us/podcast/n-089-silvio-lorusso-design-disillusion/id1546452193?i=1000659924904
https://open.spotify.com/episode/5zHWqplDnCSXjSpXxDmC6y ]]]></description>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:prediction"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:williammmorris"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:history"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:conservatism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:socialism"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:crypto"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:bitcoin"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:valuecreation"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:daos"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:images"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:howweread"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:writing"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:reading"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:conviviality"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:survivorshipbias"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:gen"/>
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</item>
<item rdf:about="https://eliotpeper.substack.com/p/robin-sloan-binding-the-moon">
    <title>Robin Sloan: Binding the Moon - Eliot Peper</title>
    <dc:date>2024-06-12T18:10:08+00:00</dc:date>
    <link>https://eliotpeper.substack.com/p/robin-sloan-binding-the-moon</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[via:
https://www.robinsloan.com/newsletters/breath-of-the-gods/
https://blog.ayjay.org/moonbound-revisited/ ]]]></description>
<dc:subject>robinsloan eliotpeper 2024 moonbound future past present sciencefiction scifi alanjacobs williamfaulkner williamgibson time temporality</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:2f160e8dc10d/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:2024"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:moonbound"/>
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</item>
<item rdf:about="https://fo.am/blog/2024/03/30/a-wabi-sabi-guide/">
    <title>A Wabi-sabi Guide | FoAM</title>
    <dc:date>2024-04-02T06:03:38+00:00</dc:date>
    <link>https://fo.am/blog/2024/03/30/a-wabi-sabi-guide/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Introduction to FoAM's edited reader and guide to the wabi-sabi route, which dwells with the transient, incomplete, and unnoticed.

This route allows you to wander and observe. Watching, abiding, it’s a chance to defer the temptation to intervene, and let things unfold. An invitation to seek out places of enchantment and seclusion, it can support reflection on transitions, liminality, and the often neglected art of bringing things to an end."]]></description>
<dc:subject>2024 majakuzmanović nikgaffney justinpickard theunkarelse enchantment seclusion liminality observation transience unfinished unnoticied noticing notknowing fallowing tangpingism seasons transitions timelessness time presence being seeing meditation meditating landing lingering leaving bodies walking dwelling morethanhuman multispecies magic occult ritual mysticism animism present care caring portals conviviality isolation repair maintenance death gardening wabi-sabi liminal</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:2a427e8ea822/</dc:identifier>
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</item>
<item rdf:about="https://aschenblumen.tumblr.com/post/727828755488374784/d%C3%A9jame-decirlo-como-lo-hubiera-hecho-poe-los">
    <title>Wer ist unsichtbar genug, euch zu sehen? — Déjame decirlo como lo hubiera hecho Poe: los...</title>
    <dc:date>2024-02-08T02:21:56+00:00</dc:date>
    <link>https://aschenblumen.tumblr.com/post/727828755488374784/d%C3%A9jame-decirlo-como-lo-hubiera-hecho-poe-los</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Déjame decirlo como lo hubiera hecho Poe: los sonidos son sepulcros animados. Uno ejerce, con ellos, ritos de resurrección, deambula por panteones, alza monumentos a ruinas venideras. Y así interrumpe, o cree interrumpir, el fin que al final fenece. Y lo que hace con gracia, lanzándose al vacío como esas hormigas de pompas fúnebres, sin saber que no se avanza hacia adelante sino hacia atrás. El único discurso legítimo es la pérdida. La única insolencia, la infancia. La única certeza, la invisibilidad del presente."

—María Negroni, Objeto Satie.

[via:
https://mykristeva.tumblr.com/post/741584384146194432

more María Negroni
https://aschenblumen.tumblr.com/tagged/mar%C3%ADa%20negroni
https://amuleto-verde.tumblr.com/tagged/mar%C3%ADa%20negroni ]]]></description>
<dc:subject>maríanegroni edgarallanpoe poetry loss childhood time present</dc:subject>
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</item>
<item rdf:about="https://www.youtube.com/watch?v=wwSzpaTHyS8">
    <title>Did The Future Already Happen? - The Paradox of Time - YouTube</title>
    <dc:date>2024-02-01T18:17:54+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=wwSzpaTHyS8</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>time paradox future past present blockuniverse universe 2024 space theoryofrelativity timepassage</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:6883d73f1159/</dc:identifier>
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</item>
<item rdf:about="https://www.theatlantic.com/podcasts/how-to-build-a-happy-life/">
    <title>How to Keep Time - The Atlantic [bookmarking for Season 5, &quot;How to Keep Time&quot; - this podcast covered other topics before that.]</title>
    <dc:date>2024-01-23T05:11:04+00:00</dc:date>
    <link>https://www.theatlantic.com/podcasts/how-to-build-a-happy-life/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[Direct link to Season 5:
https://www.theatlantic.com/podcasts/how-to-build-a-happy-life/?season=5 ]

"A series exploring our complex relationship with the clock"

...

"About How to Keep Time

On this season of How to Keep Time, co-hosts Becca Rashid and Ian Bogost explore our relationship with time and how to reclaim it. Why is it so important to be productive? Why can it feel like there’s never enough time in a day? Why are so many of us conditioned to believe that being more productive makes us better people?

Produced by Becca Rashid. Co-hosted by Becca Rashid and Ian Bogost. Editing by Jocelyn Frank. Fact-check by Ena Alvarado. Engineering by Rob Smerciak. The executive producer of Audio is Claudine Ebeid; the managing editor of Audio is Andrea Valdez."


[Transcripts:

Episode 1
"How to Keep Time: Try Wasting It
How to Waste Time: Wasting time could be the best way to use it.
In a culture obsessed with productivity, what would it mean to commit to letting it go?"
https://www.theatlantic.com/podcasts/archive/2023/12/how-to-waste-time/676187/

"Co-hosts Becca Rashid and Ian Bogost explore our relationship with time and how to reclaim it. Why is it so important to be productive? Why can it feel like there’s never enough time in a day? Why are so many of us conditioned to believe that being more productive makes us better people? [includes interview with Oliver Burkeman]"

Episode 2
"How to Keep Time: Look Busy
If time is a luxury, why don’t we flaunt it?"
https://www.theatlantic.com/podcasts/archive/2023/12/how-to-look-busy/676195/

"Many of us complain about being too busy—and about not having enough time to do the things we really want to do. But has busyness become an excuse for our inability to focus on what matters?

According to Neeru Paharia, a marketing professor at Arizona State University, time is a sort of luxury good—the more of it you have, the more valuable you are. But her research also revealed that, for many Americans, having less time and being busy can be a status symbol for others to notice. And when it comes to the signals we create for ourselves, sociologist Melissa Mazmanian reveals a few myths that may be keeping us from living the lives we want with the meaningful connections we crave."

Episode 3
"How to Leave Work Time at Work: Time to Break Up With Your 9-to-5
Sometimes workplace culture requires you to leave the rest of your life at the door. What if there are better ways to structure time?"
https://www.theatlantic.com/podcasts/archive/2023/12/how-to-leave-work-time-at-work/676196/

"Before laptops allowed us to take the office home and smartphones could light up with notifications at any hour, work time and “life” time had clearer boundaries. Today, work is not done exclusively in the workplace, and that makes it harder to leave work at work.

Co-hosts Becca Rashid and Ian Bogost examine the habits that shrink our available time, and Ignacio Sánchez Prado, a professor of Latin American Studies at Washington University in St. Louis, offers his reflections on American culture and shares suggestions for how to use the time we do have, for life."

Episode 4
"How to Rest. What Is Rest, Anyway?
There’s a difference between leisure and laziness."
https://www.theatlantic.com/podcasts/archive/2024/01/how-to-rest/676197/

"Between making time for work, family, friends, exercise, chores, shopping—the list goes on and on—it can feel like a huge accomplishment to just take a few minutes to read a book or watch TV before bed. All that busyness can lead to poor sleep quality when we finally do get to put our head down.

How does our relationship with rest affect our ability to gain real benefits from it? And how can we use our free time to rest in a culture that often moralizes rest as laziness? Alex Soojung-Kim Pang, the author of several books on rest and director of global programs at 4 Day Week Global, explains what rest is and how anyone can start doing it more effectively."

Episode 5
"Time-Management Tips From the Universe
It could help to examine the cosmos."
https://www.theatlantic.com/podcasts/archive/2024/01/time-management-tips-from-the-universe/676199/ 

"Time can feel like a subjective experience—different at different points in our lives. It’s also a real, measurable thing. The universe may be too big to fully comprehend, but what we do know could help inform the ways we approach our understanding of ourselves, our purpose, and our time.

Theoretical physicist and black-hole expert Janna Levin explains how the science of time can inspire new thinking and fresh perspectives on a much larger scale."

Episode 6
"Can We Keep Time?
Do photos, social posts, and diaries actually help us remember better?
https://www.theatlantic.com/podcasts/archive/2024/01/can-we-keep-time/676198/

It can be tough to face our own mortality. Keeping diaries, posting to social media, and taking photos are all tools that can help to minimize the discomfort that comes with realizing we have limited time on Earth. But how exactly does documenting our lives impact how we live and remember them?

In this episode, diarist and author Sarah Manguso reflects on the benefits and limitations of keeping track of time, and Charan Ranganath, a professor of psychology and researcher at the UC Davis Center for Neuroscience, discusses what research reveals about how memories work and how we can better keep time."]]]></description>
<dc:subject>time clocks ianbogost beccarashid 2023 2024 podcasts psychology productivity us age aging social rest work busyness control future anxiety idleness oliverburkeman hobbies kieransetiya listening zen mindfulness happiness presence leisure laziness neerupaharia melissamazmanian ignaciosánchezprado waiting slow slowness culture society alexsoojung-kimpang downtime boredom jannalevin patience charanranganath sarahmanguso behavior addiction actions neuroscience mentalhealth luxury scarcity status italy humblebragging thorsteinveblen veblengoods socialmobility diamonds money self-worth self-importance compulsion overscheduling plans planning spontaneity avoidance multitasking taskswitching unschooling schooliness balance presentationofself guilt parenting timemanagement capitalism overwork stress success failure deadlines life living anticipation optimism pleasure satisfaction erinreid west burnout gender eviatarzerubavel mothers benedictinemonks monks spirituality industrialrevolution freetime scheduling calenda</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:536b77c372f2/</dc:identifier>
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<item rdf:about="https://www.youtube.com/watch?v=57hqmqyQfdk">
    <title>RESONANCE AND ALIENATION. TWO MODES OF EXPERIENCING TIME? - YouTube</title>
    <dc:date>2024-01-10T07:07:08+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=57hqmqyQfdk</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["By Hartmut Rosa for TimeWorld 2019, the International congress on Time.
https://timeworldevent.com/1/accueil/

Hartmut Rosa is Professor of Sociology and Social Theory at Friedrich-Schiller-University in Jena, Germany, and Director of the Max-Weber-Kolleg at the University of Erfurt. He is also Associate Professor in the Department of Sociology at the New School for Social Research in New York. In 1997, he received his doctorate in political science from Berlin's Humboldt University. He subsequently held several professorships at the Universities of Mannheim, Jena, Augsburg and Essen, and was Vice-Chairman and Secretary General of the COCTA (Commitee of Conceptual and Terminological Analysis) Research Committee 35 of the ISA (International Sociological Association) and one of the directors of the annual International Conference on Philosophy, Research and the Social Sciences in Prague. In 2016, he was a visiting professor at FMSH / EHESS (Fondation Maison des sciences de l'Homme / École des hautes études en sciences sociales) in Paris. He is editor-in-chief of the international journal Time and Society. His publications focus on social acceleration, the resonance and temporal structures of modernity, and the political theory of communitarianism.

Conference: Resonance and alienation. Two ways of experiencing time?
Modern societies are characterized by the fact that they can only function in a dynamic stabilization mode, i.e., they are obliged to constantly grow, accelerate and innovate to maintain their structure and institutional status quo. This mode of stabilization is linked to a particular way of using and experiencing time: it becomes the rarest commodity of all. However, this way of conceptualizing and using time brings with it the risk of a profound form of alienation: social actors lack the capacity to truly "take hold" of time and usefully link their lives to the past and the future. In short, in the age of acceleration, it's becoming increasingly difficult to link the time of our daily lives to the time of our biographical lives and to the time of the historical epoch in which we live.On the other hand, if we operate in a mode of resonance, which has also become a central modern aspiration, the experience of time changes fundamentally in character: resonance is a mode of relating to the world of things, people, self and life as a totality in which a transformative appropriation of time is possible. Its characteristic feature is a living "link" between past, present and future, an opening of the temporal horizon and an immersion in time that contrasts sharply with the mercantile stance. We might well ask, then, whether alienation and resonance have become two alternative ways of relating to and perceiving time?

TimeWorld will display aspects of time from different perspectives, from theory to fact and from the past to the future. Challenging questions will be discussed by industrial actors, researchers and the general public. Everyone’s expertise will help solve a complex situation and solutions will merge in order to find new ideas and create new projects. More than inviting people to think together, TimeWorld is also the opportunity to participate in contests, workshops, playful scientific and artistic activities and exceptional shows.

Soutenir Ideas in Science, c’est se soucier des autres ! C'est prendre part à la construction d’une mémoire de savoirs en science, multiculturelle et accessible sans contrepartie. Par science, entendez mathématiques, physique, chimie, biologie, neurosciences, géologie, paléontologie, aéronautique, exploration spatiale... mais aussi sociologie, psychologie, philosophie des sciences, histoire des sciences et éthique.  

Parce qu'Ideas in Science ne se construira qu'avec vous... C'est un immense merci que nous vous adressons pour vos dons ! https://ideasinscience.org/fr/ "]]></description>
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<item rdf:about="https://www.youtube.com/watch?v=wNdJOX_hk58">
    <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>
<dc:subject>nickestes cornelwest 2023 imperialism us politics economics palestine israel indigenous indigeneity elections justice decline revolution civilwar slavery apartheid genocide ecology environment land landback culture memory history parties democrats republicans struggle liberation freedom oppression africa asia roma latinamerica internationalism cynicism demoralization standingrock spiritualism spirituality dispossession reservations slums ghettos socialmovements socialjustice christianity society commodification brasil brazil liberationtheology philosophy soulcraft theology purpose motivation music sound blackness preaching church pain blackmusic expression lifeofthemind bodies memories communities integrity courage love families utilitarianism secularism left leftism contemplation prayer ceremony tradition blackpantherparty blackpanthers blackfreedommovement resistance movements wisdom ideology science scientism immeasurables measurement objectivity conviction virtue character characterformation humility radi</dc:subject>
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    <title>California Builds the Future, for Good and Bad. What’s Next? - The New York Times</title>
    <dc:date>2023-06-04T17:52:51+00:00</dc:date>
    <link>https://www.nytimes.com/2023/05/30/magazine/california-future.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["From reparations to tax revolts, the Golden State tries out new ideas all the time. What roads will its latest experiments send us down?"]]></description>
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<item rdf:about="https://aeon.co/essays/can-the-liquid-motion-of-the-octopus-radicalise-our-ideas-about-time">
    <title>Can the liquid motion of the octopus radicalise our ideas about time? | Aeon Essays</title>
    <dc:date>2023-05-18T01:11:12+00:00</dc:date>
    <link>https://aeon.co/essays/can-the-liquid-motion-of-the-octopus-radicalise-our-ideas-about-time</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["We humans are forward-facing, gravity-bound plodders. Can the liquid motion of the octopus radicalise our ideas about time?"

...

"how would an octopus, who can easily see and move in all directions, conceptualise time? Current research methods may be able to take us only part of the way toward an answer, but it’s far enough to consider a radical possibility: if we became more like an octopus, could we free time, metaphorically speaking, from its constraints? Could we experience it as multidimensional, fluid and free?"

...

"If embodied interactions with our surroundings ground human metaphors for time, one can only imagine the metaphors an octopus might use. Given it has equal competence interacting with objects behind or in front of its body, past events could be, metaphorically speaking, just as manipulable as future ones. Expressions like ‘let’s put the past behind us’ would be meaningless for the octopus. Moreover, given the octopus can change its visual perspective of its surroundings by swimming upward, all events in time – the past, present and future – could be surveyed from one metaphorical wide-view vantage point, allowing for the identification of patterns in events that occur across long periods time.

If humans were to adopt octopus-inspired metaphors for time, our relationship to our personal past might become more meaningful. It would allow our past to be causally linked to the present. It might allow our attention to shift away from the culturally conditioned obsession with future-focused progress. It might allow historical ideas to be excavated and used as sources of innovation for everything from medicine to politics. And it might allow a more expansive conceptualisation of events that can be considered meaningful, all due to metaphors of time that are free from constraints."

...

"In many ways, the octopus represents a challenge, or a profound limit, to our conventional ways of thinking about time and death. But it’s more than a challenge. It’s also an invitation. With its unconstrained movements and semelparous lifecycle, the octopus offers a radically different perspective on the fluidity and flexibility of existence. Could we learn to move through time as an octopus moves through space? With equal access to the past, present and future – viewed wide or with sharp focus – we might better navigate the challenges of living and dying on Earth. The octopus invites us to think in a way that dissolves the boundaries between the present and the future, understanding our ‘ending’ less as a fixed point and more as a fluid process stretching across generations. As the boundary between life and death dissolves and becomes more porous, so do the boundaries between ourselves and others. The metaphors we used to inhabit our time here may seem impoverished, but there’s another way. It’s in the unconstrained movements of an octopus travelling through space – fluid, flexible and free."]]></description>
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<item rdf:about="https://vimeo.com/772225816">
    <title>Eyeo 2022 - Jen Lowe &amp; Patricio Gonzalez on Vimeo</title>
    <dc:date>2023-01-02T07:59:41+00:00</dc:date>
    <link>https://vimeo.com/772225816</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["THE STARS ARE FREE: TIME PORTALS AND HOLISTIC TECHNOLOGY
| Jen Lowe and Patricio Gonzalez at Eyeo 2022 |

A talk about ancient and traditional practices of time and divination, and imagine a possible future that requires a return to holistic technologies, and globally connected local communities. We’ll show projects of folks who are preparing for that possible future by building atomic modular technology and practicing reuse technology as emerging technology. We’ll cover some lessons learned making our own atomic modular tools, like glsl viewer, and the alchemy of making our own digital art with recycled e-waste. Our inspirations include: birds, clouds, Octavia Butler, Rasheedah Philllips and Black Quantum Futurism, Ursula Franklin, Hundred Rabbits artist collective, the Solar Protocol project, and Precious Plastic’s localized global recycling network."]]></description>
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<item rdf:about="https://theconvivialsociety.substack.com/p/from-common-sense-to-bespoke-realities">
    <title>From Common Sense to Bespoke Realities - by L. M. Sacasas</title>
    <dc:date>2022-07-14T16:04:16+00:00</dc:date>
    <link>https://theconvivialsociety.substack.com/p/from-common-sense-to-bespoke-realities</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["“Since the analogies are rot
Our senses based belief upon,
We have no means of learning what
Is really going on.”

— W. H. Auden, “Friday’s Child”

Here’s one way to frame our situation with regards to information, knowledge, and the public sphere in three stages:

Pre-modern information environments were locally shared common worlds mediated chiefly by our embodied experience.

Modernity offered instead a de-situated public sphere built on a shared institutional and expert knowledge mediated by print and mass media.

What we are now living through is the collapse of the modern arrangement and the emergence of virtually shared common worlds mediated chiefly by digital media.

I grant those are pretty dense statements and also very broad generalizations. You can tell me whether or not they do some useful descriptive work. But first let me unpack them just a bit.

In the first claim, I have in mind Hannah Arendt’s discussion of common sense and a common world.1 “Only the experience of sharing a common human world with others who look at it from different perspectives,” she wrote in The Human Condition, “can enable us to see reality in the round and to develop a shared common sense.”

Arendt also insisted that to live an “entirely private life means above all to be deprived of things essential to a truly human life,” by which she meant that one is “deprived of the reality that comes from being seen and heard by others, to be deprived of an ‘objective’ relationship with them that comes from being related to and separated from them through the intermediary of a common world of things.”

Understood this way, “common sense” might better be called a “communal sense” to distinguish it from what usually comes to mind when most of us hear the phrase. Under these conditions, to know is to share a world. A world in this case is more than just the things out there. It is a community of interpretation.

What all of this presupposes is that our body (and its sensory apparatus) is the focal point of our experience. We perceive a common world and thus cultivate a common sense, or a sense of the world we have in common. The upshot here is not necessarily that I as an individual possess an infallibly true account of the world, but that I share an account of the world with my neighbors. Knowledge is not merely an accumulation of abstract bits of information, it is also, for the local community at least, a binding agent.

Thinking about this state of affairs, I’m also reminded of an observation offered by the Chinese-American geographer Yi-Fu Tuan in Space and Place: “In the past, news that reached me from afar was old news. Now, with instantaneous transmission, all news is contemporary. I live in the present, surrounded by present time, whereas not so long ago, the present where I am was an island surrounded by the pasts that deepened with distance.”

Or to put it another way, before the advent of electronic communication, the regulation of information was partly a function of our being bodies in place. Immediacy was structured by place rather than time.

Throughout the modern era, however, especially after the advent of electronic media, knowledge, place, and the public sphere begin to diverge. While local realities still loomed large epistemically and politically, there was a drift toward more abstract knowledge and more abstract communities (some might say “imagined communities”). The nation is a more abstract reality to inhabit than, say, the village or the county. The public sphere becomes a metaphor rather than a shared place. It named the multifarious ways that issues are taken up in the press and through mass media. Similarly, in a democratic context, the knowledge presumed of the informed citizen expands in scope and detail, and it is often wholly divorced from their everyday experience. These conditions generated a growing dependence on an expert class and knowledge institutions to certify the epistemic foundation for informed public discourse.

Mass society of the mid- to late-20th century is the apotheosis of the modern media environment. In the absence of a shared communal sense, it sustained the appearance of consensus. Interestingly, consensus is a mid-19th century term whose etymology suggests feeling or sensing together. We might say, then, that consensus mediated by knowledge institutions and experts supplants what Arendt called common sense. Although, perhaps supplants isn’t the best way of putting it. That suggests some kind of intentionality. The development is rather a function of the scale of human action enabled by modern technology. At every point the relationship is dialectical. Electronic media extend the individual’s perceptual capacity beyond the limits of their embodiment, inadvertently disrupting the bonds of common sense and later generating the appearance of consensus.

At this point in the story, we reach a certain homeostasis, but it is short lived. What often gets overlooked in discussions about the state of the public sphere is just how brief and tenuous the age of consensus really was. First through novel applications of traditional mass media (such as cable and satellite television) and then definitively with the emergence of digital media, we enter a splintering age. And we should not miss how one era prepared the ground for the other. The age of the mass media spectacle prepared us for the age of the participatory spectacle that was social media. The loneliness of mass society drove us to embrace the promise of ubiquitous connection. The valorization of information led us to indiscriminately embrace the disorienting conditions of information superabundance.

While, for better and for worse, the multiplicity and scale of digital media effectively brought the age of consensus to an end, it did not return us to an age of common sense. There is no imagined community to encompass the body politic, and our perceptual capacities are still untethered from our bodies. The worlds we now inhabit are digitized realms incapable by their nature and design of generating a broadly shared experience of reality. This can be lamented, if one is so inclined, but it cannot be undone.

Arendt argued that to live an “entirely private life means above all to be deprived of things essential to a truly human life.” Digital media has made it possible to live an even more intensely private life, inhabiting what Renee DiResta once called “bespoke realities.” And, as McLuhan warned us, “Once we have surrendered our senses and nervous systems to the private manipulation of those who would try to benefit from taking a lease on our eyes and ears and nerves, we don't really have any rights left.”"]]></description>
<dc:subject>lmsacasas hannaharendt 2022 polarization modernity socialmedia online internet marshallmcluhan reneediresta reality existence society canon participation democracy local place bodies embodiment digital splintering massmedia tv television radio time knowledge information experts institutions senses allthesenses perception whauden commonality publicsphere media perspective difference privatelives relationships commonsense community experience yi-futuan past present future news communication immediacy everyday intentionality</dc:subject>
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<item rdf:about="https://www.newyorker.com/magazine/2022/02/28/wendell-berrys-advice-for-a-cataclysmic-age">
    <title>Wendell Berry’s Advice for a Cataclysmic Age | The New Yorker</title>
    <dc:date>2022-05-14T19:15:18+00:00</dc:date>
    <link>https://www.newyorker.com/magazine/2022/02/28/wendell-berrys-advice-for-a-cataclysmic-age</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Sixty years after renouncing modernity, the writer is still contemplating a better way forward."

...

"The place was so inviting, I wondered if anyone had ever broken in—seeking, perhaps, a little food and a furtive night’s rest. “Yes, once,” Berry said. He was pretty sure he knew the culprit. “Someone took out a few panes and tried to get into my safe. I wrote him a note—‘Dear Thief, if you’re in trouble, don’t tear this place up. Come to the house, and I’ll give you what you need.’”

From this sliver of vanishing America, Berry cultivates the unfashionable virtues of neighborliness and compassion. He divides his time between writing and farmwork, continuing his vocation of championing sustainable agriculture in a country fuelled by industrial behemoths, while striving to insure that rural Americans—a mocked, despised, and ever-dwindling minority—do not perish altogether. Whenever the country struggles with a new man-made emergency, Berry is rediscovered. A Twitter feed called @WendellDaily recently circulated one of his maxims: “Rats and roaches live by competition under the law of supply and demand; it is the privilege of human beings to live under the laws of justice and mercy.”

Berry’s admirers call him an Isaiah-like prophet. Michael Pollan and Alice Waters say that he changed their lives with five words: “Eating is an agricultural act.” Pollan became a scourge of the meat industry, genetically modified food, and factory farms; Waters launched the farm-to-table movement. The cultural critic bell hooks, another Kentuckian, began reading Berry in college, finding his work “fundamentally radical and eclectic.” Decades later, she visited him at his farm to talk about the importance of home and community and the complexities of America’s racial divide.

Berry’s critics see him as a utopian or a crank, a Luddite who never met a technological innovation he admired. In “Why I Am Not Going to Buy a Computer,” an infamous 1987 essay that ran in Harper’s, he announced, “I do not see that computers are bringing us one step nearer to anything that does matter to me: peace, economic justice, ecological health, political honesty, family and community stability, good work.” When indignant readers sent a blizzard of letters to the editor, Berry noted in reply that one man, who called him “a fool” and “doubly a fool,” had “fortunately misspelled my name, leaving me a speck of hope that I am not the ‘Wendell Barry’ he was talking about.”"

...

"In the early sixties, the Berrys seemed to be launched on a very different life. After Wendell received a Guggenheim Fellowship, they lived for a year in Tuscany and southern France, then moved with their children, Mary and Den, to New York, where Wendell taught at New York University. In 1964, he announced to his astonished colleagues that he had accepted a professorship at the University of Kentucky, in Lexington, and that he was going to take up farming near his family’s “home place.” That year, he and Tanya bought their house and their first twelve acres. His New York friends, imagining him surrounded by moonshine-swilling hillbillies and feuding clans, were sure he had consigned himself to intellectual death. He set out to prove them wrong, even as he admitted, “I seem to have been born with an aptitude for a way of life that was doomed.”

He found a kind of salvation, and a subject, in stewardship of the land. With renunciative discipline, he tilled his fields as his father and grandfather had, using a team of horses and a plow. And he took up organic gardening. I’d learned from the letters that it was my father who introduced Berry to the practice, sending him Leonard’s book “Gardening with Nature,” and recommending the works of Sir Albert Howard. An early-twentieth-century English botanist, Howard had studied traditional farming methods in India and emerged as an evangelist for sustainable agriculture. In 1977, Berry quoted Howard, his defining guide on the topic, as “treating the whole problem of health in soil, plant, animal, and man as one great subject.”

I confessed that I’d never read Howard. Berry, turning professorial, retrieved “An Agricultural Testament” and read aloud, enunciating each word: “ ‘Mother Earth never attempts to farm without livestock; she always raises mixed crops; great pains are taken to preserve the soil and to prevent erosion; the mixed vegetable and animal wastes are converted into humus; there is no waste.’ ” Berry closed the book. “That’s it,” he said. “That’s the pinch of the hourglass.”"

...

"When Wendell and his three siblings were young, Henry County was famous for a light-leafed, unusually fragrant crop known as burley tobacco. The small farmers of the “burley belt”—including parts of Kentucky, Missouri, Indiana, Ohio, and West Virginia—saw themselves as part of a centuries-old culture that produced the most labor-intensive agricultural product in the world. In “Tobacco Harvest: An Elegy,” a book of photographs that Berry’s college friend James Baker Hall took in 1973 at a neighbor’s farm, Berry writes about the cultivation of tobacco as “a sort of agrarian passion, because of its beauty at nearly every stage of production and because of the artistry required to produce it.” At harvest time, neighbors “swapped work,” as they did when putting up hay or killing hogs, undertakings that took days and required intense collective labor. In one story, Andy Catlett, Wendell’s fictional counterpart, tells a young helper, “If you don’t have people, a lot of people, whose hands can make order of whatever they pick up, you’re going to be shit out of luck.”

I had always associated tobacco with lung cancer. Seeing that I needed help understanding it as a cultural touchstone, Berry said, “I’d better tell you about my daddy.” His father, John Marshall Berry, had a searing early experience that shaped his life, as well as the lives of his children and grandchildren. In January, 1907, when John was six, he woke up in what he called “the black of midnight” to the sound of his father’s horse on the gravel driveway. He was heading for the annual tobacco auction, in Louisville. The family had sat around the fire earlier, speculating about how much he would get for the year’s crop, and how they would use the money to pay down their debts. Instead, he returned empty-handed. The American Tobacco Company, a trust run by the tycoon James B. Duke, had forced the price of tobacco below the cost of production and transport. Wendell said, “My dad saw grown men leaving the warehouses crying.”

John Berry became an attorney, married Virginia Erdman Perry, from Port Royal, and established himself as a prominent citizen of Henry County. According to Tom Grissom, who is writing a book about the local history of tobacco, Berry was a member of his town’s bank board, a trustee of his college, and a Sunday-school teacher at the Baptist church. He was also a fervent advocate of a new organization, the Burley Tobacco Growers Cooperative Association. It enabled farmers to free themselves from the grip of the trust by establishing production controls and parity prices, and by selling their tobacco directly to manufacturers.

In 1933, as prices plummeted during the Great Depression, the Franklin D. Roosevelt Administration passed the Agricultural Adjustment Act, to save farmers from ruin. The act introduced production controls in return for price supports—a federal version of the regional Burley Association. John Berry served as the association’s president from 1957 until 1975, and insisted that the programs were not handouts but the equivalent of a minimum wage. Wendell maintained that the purpose of the Burley Association was to “achieve fair prices, fairly determined, and with minimal help from the government.”

Berry often writes of trying to nurture a “human economy”—the antithesis of America’s “total economy,” run by latter-day robber barons and the politicians who count on their donations. By his definition, a corporation is “a pile of money to which a number of persons have sold their moral allegiance.” Objecting to Supreme Court rulings that treat corporations as persons, Berry argues that “the limitless destructiveness of this economy comes about precisely because a corporation is not a person.” In other words, “It can experience no personal hope or remorse, no change of heart. It cannot humble itself. It goes about its business as if it were immortal, with the single purpose of becoming a bigger pile of money.”"

...

"School held little interest for Wendell. “I didn’t like confinement,” he said. Second-grade teachers gave boys knives for perfect attendance, but he spurned the bribe, and by the eighth grade was earning F’s in conduct. When he was fourteen, his parents, determined to see their bright children buckle down, sent him and John to Millersburg Military Institute; their younger sisters, Mary Jo and Markie, later went to a private school in Virginia.

Millersburg had an effect on Wendell, but not the one his parents had intended. “The highest aim of the school was to produce a perfectly obedient, militarist, puritanical moron who could play football,” Berry writes in “The Long-Legged House.” His greatest lesson from those years: “Take a simpleton and give him power and confront him with intelligence—and you have a tyrant.” Each year, when school let out for the summer, Wendell headed to his great-uncle Curran’s camp with an axe and a scythe, to mow the wild grass and horseweed. “It was some instinctive love of wilderness that would always bring me back here,” he wrote, “but it was by the instincts of a farmer that I established myself.”

He turned himself around at the University of Kentucky, where he earned undergraduate and master’s degrees in English. He studied creative writing with Robert Hazel, a charismatic poet and novelist with a gift for shaping raw talents, including Ed McClanahan, James Baker Hall, Gurney Norman, and Bobbie Ann Mason. Wendell recalled, “He did me the great service of never allowing me to be satisfied with any work I showed him.”"

...

"In 1958, Berry was awarded a Wallace Stegner writing fellowship at Stanford. He and Tanya packed their things and three-month-old Mary in their Plymouth and drove across the country. Berry prized his seminars with Stegner, whom he considers the West’s foremost “storyteller, historian, critic, conservator and loyal citizen.” In a Jefferson Lecture in 2012, he quoted Stegner’s description of Americans as one of two basic types, “boomers” and “stickers.” Boomers are “those who pillage and run,” who “make a killing and end up on Easy Street.” Stickers are “those who settle, and love the life they have made and the place they have made it in.” They are “placed people,” in Berry’s term—forever attached to the look of the sky, the smell of native plants, and the vernacular of home."

...

"lthough Berry is enviably prolific, he doesn’t find writing easy. When I asked about his process, he replied with a parable. On a bitterly cold winter day, he had to leave the comfort of the house: his livestock was out, and a fence had to be mended. His gloves made his fingers clumsy, so he took them off, freezing his hands as he twisted the wire. “What’s curious to me is that, once started, you’re interested, you’re into it, you’re doing your work, and you’re happy,” he said. “That applies to writing. Sometimes I don’t believe I can stand it another day, but then I’m working at problems I know how to deal with, to an extent.”"

...

"In 1977, as my father was being ushered into retirement, Berry was told that it was time to find a new publisher. Two years later, he said, North Point Press “adopted me.” North Point was a new venture in Berkeley, co-founded by Jack Shoemaker, a thirty-three-year-old former bookseller. Shoemaker, who now edits Berry at Counterpoint Press, told me that his books were popular with environmentalists, hippies, and civil-rights advocates: “Wendell was a hero to those people, saying the unsayable out loud.” His ideas about the virtues of agrarian societies had sweeping implications—to solve the problems of the modern world required thoroughly reconceiving how we live. Wallace Stegner once wrote to him, “Your books seem conservative. They are actually profoundly revolutionary.”

Berry distrusts political movements, which, he writes, “soon decline from any possibility of reasonable discourse to slogans, shouts, and a merely hateful contention in the capitols and streets.” Still, he is a lifelong protester. In 1967, he helped lead the Sierra Club’s successful effort to block the Red River Gorge Dam, in east-central Kentucky. The following year, he marched against the Vietnam War in Lexington, where he told the crowd that, as a member of the human race, he was “in the worst possible company: communists, fascists and totalitarians of all sorts, militarists and tyrants, exploiters, vandals, gluttons, ignoramuses, murderers.” But, he insisted, he was given hope by people “who through all the sad destructive centuries of our history have kept alive the vision of peace and kindness and generosity and humility and freedom.”

On Valentine’s Day weekend, 2011, Berry joined a small group of activists to occupy Governor Steve Beshear’s office in Frankfort, as hundreds more marched outside with “I Love Mountains” placards. They aimed to convince the Governor to withdraw from a lawsuit that the Kentucky Coal Association had filed against the E.P.A. for its efforts to clean up waters polluted by toxic mining runoff. Beshear agreed to visit a few particularly afflicted towns. In Hueysville, a resident named Ricky Handshoe took him to Raccoon Creek, which had turned a fluorescent orange. Aghast, Beshear asked, “But you’re on city water, aren’t you?” Handshoe said recently that the Governor meant well, but was no match for the coal lobby: “After he left, nothing much happened.”

Berry puts his faith in citizens who are committed to restoring their communities. One of the people at the sit-in was his friend Herb E. Smith, from a family of miners in Whitesburg. In 1969, at the age of seventeen, Smith and seven other young people helped found a film workshop, called Appalshop, to produce stories about eastern Kentucky that countered the conventional narrative about benighted Appalachians. Smith told me that in the past half century, as coal jobs have disappeared, Appalshop has grown. With support from government agencies and foundations, it runs a radio station, a theatre program, an art gallery, a filmmaking institute, and a record label. Another nonprofit in town provides health care to the uninsured. A bakery up the road employs recovering opioid addicts. Addressing political disagreements in a solidly red state, Smith said, “These are people with deep concerns about community survival, even in places thought of as full of reactionaries. In reality, people accommodate each other.”

Berry hailed the concentration of talent, work, and courage in Whitesburg, citing its most famous resident, Harry Caudill, whose history of Appalachia, “Night Comes to the Cumberlands,” came out in 1963 and “brought the war on poverty to eastern Kentucky.” He also talked about a married couple, Tom and Pat Gish, who in 1956 bought the local newspaper, the Mountain Eagle, and ran it for fifty-two years. Their first decision was to replace its anodyne motto, “A Friendly Non-Partisan Weekly Newspaper,” with “It Screams.” Not everyone welcomed the paper’s candor about the hazards of mining and the misdeeds of corrupt officials. In 1974, someone threw a firebomb into its offices. The Gishes moved the paper’s operations to their house and got out the next issue. Chuckling, Berry noted that the only thing they changed was the slogan: “It Still Screams.” He added, “That story has been worth a lot to me. And so much has gathered there and kept on right in the presence of the permanent destruction of the world.”"

...

"Despite Berry’s veneration of his ancestors, he can be unsparing about their sins. “I am forever being crept up on and newly startled by the realization that my people established themselves here by killing or driving out the original possessors, by the awareness that people were once bought and sold here by my people, by the sense of the violence they have done to their own kind and to each other and to the earth,” he wrote in his 1968 essay “A Native Hill.” He saw the rapacious practices of modern agribusiness, Big Coal, the military-industrial complex, and Wall Street as the perpetuation of “some intransigent destructiveness” that drove the European settlers in America.

That year, Berry began writing “The Hidden Wound,” a book that examines racism as “an emotional dynamics which has disordered both the heart of the society as a whole and of every person in the society.” The title refers to an ugly story handed down through generations of Berrys, in which John J. Berry sold a slave who, the story went, was “too defiant and rebellious to do anything with.” Although it showed the “innate violence of the slave system,” it was relayed “as a bit of interesting history.” Berry admitted, “I have told it that way many times myself. And so the wound has lived beneath the skin.”"

...

"
Thomas Friedman, of the Times, is scolded for a preening column in which he calls himself a “green capitalist” and blames Congress for not cracking down on coal, oil, and gas producers. Berry observes, “The deal we are being offered appears to be that we can change the world without changing ourselves.” This kind of thinking enables us to continue using too much energy “of whatever color,” hoping that “fields of solar panels and ranks of gigantic wind machines” will absolve us of guilt as consumers. Which is not to say that Berry renounces the use of green energy. He posed for a photograph several years ago in front of the solar panels by his house, grinning and flashing a peace sign.

Berry summons writers, from Homer to Twain, who extended “understanding and sympathy to enemies, sinners, and outcasts: sometimes to people who happen to be on the other side or the wrong side, sometimes to people who have done really terrible things.” In this spirit, he offers an assessment of Robert E. Lee, whom he calls “one of the great tragic figures of our history.” He presents Lee as a white supremacist and a slaveholder, but also as a reluctant soldier who opposed secession and was forced to choose between conflicting loyalties: his country and his people. “Lee said, ‘I cannot raise my hand against my birthplace, my home, my children,’ ” Berry writes. “For him, the words ‘birthplace’ and ‘home’ and even ‘children’ had a complexity and vibrance of meaning that at present most of us have lost.”

Berry wants readers to hate Lee’s sins but love the sinner, or at least understand his motives. War, he suggests, begins in a failure of acceptance. He writes of exchanging friendly talk with Trump voters at Port Royal’s farm-supply store, a kind of tolerance that is necessary in a small town: “If two neighbors know that they may seriously disagree, but that either of them, given even a small change of circumstances, may desperately need the other, should they not keep between them a sort of pre-paid forgiveness? They ought to keep it ready to hand, like a fire extinguisher.” Without this, we risk conflagration: “A society with an absurdly attenuated sense of sin starts talking then of civil war or holy war.”

If readers were incredulous about Berry’s claim that a pencil was a better tool than a computer, it’s not hard to imagine how many will react to his plea that we extend sympathy to a general whose army fought to perpetuate slavery in America. Several of Berry’s friends urged him to abandon the book, anticipating Twitter eruptions and withering reviews. He writes, “My friends, I think, were afraid, now that I am old, that I am at risk of some dire breach of political etiquette by feebleness of mind or some fit of ill-advised candor.” He listened, and fretted, but kept going. “They are asking me to lay aside my old effort to tell the truth, as it is given to me by my own knowledge and judgment, in order to take up another art, which is that of public relations.” In a letter, he told me that he didn’t want to offend “against truth or goodness,” although the book “at times certainly does offend, I think necessarily, against political correctness.” Tanya crisply told him, “It’s too late for it to ruin your whole life.”"

...

"Mary told Wendell that she imagined a liberal-arts program that would teach students how to raise livestock and grow diversified crops, and encourage them to pursue farming as a life’s work. Wendell said to her, “It sounds like you’re starting a center.” Mary had no idea how to run a nonprofit, but, she told me, “I had what was left of a pretty good farm culture and a well-watered landscape.”

She admits that growing up on her parents’ farm wasn’t easy: the outdoor composting privy, the absence of vacations, the mandatory chores that pulled her out of bed each morning before dawn. “It was a subsistence farm,” she said. “Mom and Dad were producing eighty to eighty-five per cent of what we were eating.” She thought that they were poor: “We didn’t live in a ranch house, drink Coke, or have a TV.” A friend, taking pity on her, got on the phone each week to offer a running narration of popular shows. Mary complained to her father, “Why do we always have to do things the hardest way?” But she never considered moving away.

The Berry Center, with a staff of eight and a board of ten, attracts visitors from around the world who share many Americans’ sense of deracination. “They want to know how to belong to a place,” Mary told me. When they express alarm about climate change, she tells them, “You can’t throw up your hands in despair. You’re not responsible for solving the whole problem—you just do what you can do.”

Four years ago, the Berry Center and Sterling College, an “experiential learning” school in Craftsbury, Vermont, started the Wendell Berry Farming Program, which provides twelve students tuition-free study on Henry County farms. Leah Bayens, the program’s dean, told me that the students spend much of their time working outside. “Ultimately, we’re using the curriculum as a way for farmers to make decisions informed by poetry, history, and literature, as well as the hard sciences.”"

...

"Berry’s writing, like the seasons, has a cyclical quality, returning again and again to the same ideas. Tanya once told him that his knack for repeating himself is his principal asset as a writer. He noted a few years ago, “That insight has instructed and amused me very much, because she is right and so forthrightly right.” In his new book, he has a characteristically bittersweet message: “Because the age of global search and discovery now is ending—because by now we have so thoroughly ransacked, appropriated, and diminished the globe’s original wealth—we can see how generous and abounding is the commonwealth of life.” But he has never suggested that everyone flee the city and the suburbs and take up farming. “I am suggesting,” he once wrote, “that most people now are living on the far side of a broken connection, and that this is potentially catastrophic.”

I asked him if he retains any of his youthful hope that humanity can avoid a cataclysm. He replied that he’s become more careful in his use of the word “hope”: “Jesus said, ‘Take no thought for the morrow,’ which I take to mean that if we do the right things today, we’ll have done all we really can for tomorrow. OK. So I hope to do the right things today.”

At the old Ford acreage, he showed me where the tobacco was taken after the harvest. He opened the barn doors onto a cavernous space, where light filtered through the siding boards. Craning my neck, I could imagine how the tobacco sticks, laden with heavy leaves, were once hung on the rafters to dry. It was a perilous undertaking called “housing tobacco”—each man supporting a sheaf of leaves larger than he was, balancing on a beam like a circus performer as he set the stick in place.

Wendell picked up a maul, which Meb had made from a hickory tree. It had a smooth handle and a bulbous head, squared off at the end. “With it,” he told me, “you can deliver a blow of tremendous force to a stake or a splitting wedge.” Thinking about a modern sledgehammer, I asked how the handle was inserted into the head. He put his hand on my shoulder and said, “No, no, honey,” then hastily explained himself: “That’s our way of taking the sting out of it, you see, when we correct someone.” He showed me the swirling grain of the maul’s head, chopped from the roots of a tree, and swung it over his shoulder to demonstrate how it becomes a natural extension of the body.

When I was back home, he sent me a diagram and explained how the strength of the wood came from the tree’s immersion in the soil: “The growth of roots makes the grain gnarly, gnurly, snurly: unsplittable.” After you cut the tree, you square off the root end. Then, above the roots, where the grain isn’t snurly, you saw inward a little at a time, “splitting off long, straight splinters to reduce the log to the diameter of a handle comfortable to hold. And so you’ve made your maul. It is all one piece, impossible for the strongest man (or of course woman) to break.” He scrawled at the bottom of the page, “There is a kind of genius in that maul, that belongs to a placed people: to make of what is at hand a fine, durable tool at the cost only of skill and work.”"]]></description>
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    <title>PODCAST: Adolph Reed, Jr. on “The South: Jim Crow and its Afterlives”</title>
    <dc:date>2022-04-08T18:34:23+00:00</dc:date>
    <link>https://www.progressivecity.net/single-post/podcast-adolph-reed-jr-on-the-south-jim-crow-and-its-afterlives</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["In Episode Twenty-Two of Ear to the Pavement — the first in a new series about the American South — Allison talks with Professor Adolph Reed, Jr. about his new book, “The South: Jim Crow and its Afterlives,” published in 2022 by Verso. In the book, Reed speaks as a member of the last generation with a living memory of the Jim Crow order, offering a corrective to our increasingly caricatured notions of what the order actually was. By weaving together his own personal stories of growing up under Jim Crow with his signature political analysis, Reed shows us that it was the stuff of ordinary, everyday life that held the system together."]]></description>
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    <title>Nonlinear Delivery Options: The Times of &quot;Station Eleven&quot;</title>
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    <title>Telling time and the decline of analogue. - YouTube</title>
    <dc:date>2021-12-25T06:40:19+00:00</dc:date>
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    <dc:creator>robertogreco</dc:creator><description><![CDATA["Thanks to digital devices many kids can no longer read analogue time. But should we mourn this development."]]></description>
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<item rdf:about="https://www.thenation.com/article/culture/dan-sherrell-warmth-qa/">
    <title>The Trap of Climate Optimism | The Nation</title>
    <dc:date>2021-12-24T15:36:54+00:00</dc:date>
    <link>https://www.thenation.com/article/culture/dan-sherrell-warmth-qa/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["So how do we live? How do we live with ourselves, and what is incumbent on us to do? For me, this book was a way to deepen and expand what organizing means beyond raw leftist materialism or numb scientific empiricism. People aren’t just political actors; we’re not just rational automatons. We need narrative, and we need emotional sustenance, and we need to feel meaning and location in the universe in order to survive. We should be scouring our cultural history and talking with each other, and reading and thinking and processing and emoting, to try to create the cultural and spiritual resources that will see us through the crisis.

That said, I’m wary of the ways that faith doctrines don’t actually map onto the crisis. One of the challenges posed by the climate crisis is that it’s very resistant to narrative. But we love a good narrative! Think about how conspiracy theories work: They give people these sort of lizard brain sublimations of the kinds of non-narrative political and economic precarity that’s always bubbling at the peripheries of their worldviews. Things we can feel, but a narrative can’t encompass. When you’re handed this incredibly sexy and compelling messianic narrative that seems to explain everything very simply, that becomes a seductive alternative to reality.

But messianic narratives dangle the carrot of an ending in front of us, promising some final reckoning. The cookie will crumble, and we’ll finally know how it all turned out. But with the climate crisis, that’s a red herring. This thing will never end. We have to keep living with it, and through it, for the rest of our lives and probably for many centuries to come. I’m interested in how we do that."

...

"But apocalypse narratives tend to force people into one of two directions, both of them bad. On the one hand, there’s the fatalism of “Well, we’re doomed, so why bother?” And I struggle with that myself sometimes! But there’s also complacency, where we’ve seen the end of the world so many times on TV that we look out our window, and it doesn’t really look like that. The world appears mundane and normal. So that leads us to assume that we’ll just jump into action when the time comes. But the time is now!

Neither of those things is what we need, politically. What we need is something that balances patience with urgency. What we need is to feel real possibility without being blinded by facile optimism or crushing despair."

...

"The other reason that I called it “the problem” is that in some ways the materiality of the climate crisis—the accumulation of CO2 molecules in the atmosphere—is more of a symptom, an emergent property of a deeper problem. We’ve created a civilization that, to its own severe detriment, has devalued and withdrawn attention from certain kinds of people and from large swaths of the natural world. We’ve blinded ourselves—or capitalism has blinded us—to how critical to our survival it is to pay attention to those things, and care for them."

...

"In most investment models, there’s something called the “discount rate,” which is when investment calculations presume that future generations are going to be smarter and more technologically advanced than us. So that means that a problem of a certain scale in this generation is going to weigh proportionately less on future generations. As a form of can-kicking, neoliberal magical thinking, this allows us to say that a small benefit to our generation is worth potentially massive costs to future generations. In that way, we convince ourselves that it won’t be such a big cost. But it devalues future generations in a way that makes no sense, if you believe—as most major religions do—that every human life is equally inherently valuable.

Or think about how the fossil fuel industry fuels a certain kind of lifestyle, but only for a certain portion of the globe. That’s a massive wedge driven between the rich and poor people on this planet. You can see it at the extraction sites—the immense harm to the environment, from the Amazon to the Bight of Biafra to West Virginia—and in the way the global climate crisis will, first and foremost, impact people who have been made invisible or otherwise devalued politically. Chevron and Exxon have been given free rein to just bulldoze their rights and economies and livelihoods completely.

We’ve also radically devalued those species that we don’t rely on for protein. The ratio between the living biomass represented by cows and chickens and literally every other species is a frightening statistic.

I could go on. But we have this myopic worldview that has tried to squeeze the world through the tiny little bottleneck of monetization. And as it turns out, that works incredibly poorly. Certain Indigenous civilizations have sustained themselves for tens of thousands of years, but after only a few hundred years, the civilization created by the Industrial Revolution is collapsing in on itself. We have the wrong model.

I was very averse to landing on a “take” in this book, but if I were to extract one now, it would be that what the climate crisis requires of us—morally, but also for survival—is to massively expand the bounds of our attention and our love. This isn’t a woo-woo thing; it’s the deepest pragmatism. We have an ecological gun to our head. If we’re not able to pay attention, as a polity, to those people who have been made invisible, and to the many species that have been made invisible—let alone the inorganic circuitry that runs our environment, like the seasons, the oceans, and even things like rates of sedimentation—if we’re not able to encompass all of that in the sphere of what we really do care about and treat it all not as externalities to be sacrificed or saved, but as indivisible and constituent parts of what we are, then we’re going to go down in flames.

The climate crisis presents us with a spiritual and intellectual crucible. We can choose to move through that and come out with a radically rebuilt world, or we can choose to cling to the world that got us into this mess in the first place and just go down with the ship. And it seems like much of the conservative right wants to do exactly that, or can’t imagine doing anything but that."

...

"Optimism is the feeling that things are going to work out in the end, and I don’t have that feeling—at all. I think we have to be real with ourselves about the possibility that political systems could fail to rise to the occasion and climatic feedback loops could start to set in, and the 21st century could become very, very scary.

But hope, for me, is equivalent to indeterminacy or anti-fatalism. What I outlined above is one potential pathway, but we really don’t know how this thing is going to go. There are a range of possible outcomes between 1.5 degrees Celsius of warming and 4 or 5 degrees, and the difference between those two worlds is night and day. But we do still have the ability to shape where the dial lands between those two poles. That is hope: the ongoing feeling that the future is not predetermined and that we can help shape it. There’s a truism in the climate movement that says hope is a discipline, and you have to actively cultivate it. Hope isn’t “Liquid hydrogen will come in and save us all.” Hope is knowing that every increment we move the thermometer in one direction or the other saves or consigns millions of people to life or death. I can’t imagine higher stakes than that. And I can’t imagine anything that would invest a human life with more meaning than that struggle."

...

"In part, I did write this book because the window in which I could call myself a youth activist was closing. I needed some new story that would carry me into the second phase of my life. Nobody invokes “the middle-age climate activist”; it’s only “the youth climate movement.” The climate movement of my dreams would support people moving through each stage of their life. There would be infrastructure to organize parents around this, infrastructure to organize empty nesters and retirees, each as meaningful and vivid as what it means to be a high schooler in Sunrise right now. The idea that only the youth have the energy and the idealism to take this thing on, while the rest of us fade into the background as we age—that’s just not a good model for intergenerational solidarity, for movement sustainability, or for movement power. But the same stories that sustained me in my teens and 20s—and I just recently turned 30—are not going to sustain me as I consider having children, starting a family. And it’s going to be a long, messy century of two steps forward, one step back. There’s not going to be a point at which we can demobilize."]]></description>
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<item rdf:about="https://www.youtube.com/watch?v=D16xz_tXWC4">
    <title>Goodbye Internet: Infinite Detail - YouTube</title>
    <dc:date>2021-11-25T19:55:06+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=D16xz_tXWC4</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Tim Maughan’s (UK/CA) science fiction novel Infinite Detail (2019) tells the story of a near future Bristol where activists and artists have set up their own alternative digital network in the area of Stokes Croft, cutting off all connections to Big Tech. But when an anonymous group of hackers pulls out the plug of the internet worldwide, chaos ensues. In Infinite Detail, Tim Maughan outlines a possible future when the internet stops working and the impact it has on our hypernetworked world.  

During this event, the author will get into conversation with artist and researcher Ingrid Burrington (US). Ingrid Burrington’s work focuses on mapping, documenting and identifying digital networks while pointing out hidden elements of the internet. By researching the geographical context and material reality of the network she wants to unravel this system as well as underlying power structures. In 2016 she published Networks of New York, exploring the question of what the internet actually looks like.  

Together they will discuss science fiction, hidden digital infrastructures and the impact of unmeasurable late capitalist systems."]]></description>
<dc:subject>timmaughan ingridburrington liekewouters 2021 infinitedetail internet complexity infrastructure meshnetworks systems sciencefiction scifi economics capitalism capital systemsthinking colonialism expectations entitlement jgballard williamgibson davidgraeber brucesterling democracy anarchism anarchy mutualaid climatechange future nearfuture present adjacentfuture parallelfuture fiction exploitation optimism pessimism utopia dystopia superflux anabjain cyberpunk snowcrash neuromancer nealstephenson play networkedculture prediction online love grief neoliberalism brendanbyrne howwewrite writing howwethink alternatehistory inevitability malleability history change speculativefiction speculativedesign supplychains bleakness globalization precarity resilience astrataylor activism art organizing politicalchange culture smartphones corydoctorow davidbyrne narrative ursulaleguin hope hopefulness technology bigtech metaverse ursulakleguin</dc:subject>
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<dc:identifier>https://pinboard.in/u:robertogreco/b:7aa98f73056b/</dc:identifier>
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    <title>Untimely Futures</title>
    <dc:date>2021-11-11T06:55:37+00:00</dc:date>
    <link>https://placesjournal.org/article/black-homelessness-in-oakland/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["In Oakland, California, when it comes to Black homelessness and dispossession, dystopia is already here."
]]></description>
<dc:subject>bandisummers 2021 olalekanjeyifous oakland bayarea history present future race housing homeless homelessness dispossession dystopia speculativedesign westoakland gentrification urbanism policy realestate capitalism racialcapitalism displacement urbanrenewal redlining freeways octaviabutler dionnebrand ananyaroy</dc:subject>
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<item rdf:about="https://www.youtube.com/watch?v=jks2UFhvQqc">
    <title>Star Trek vs. The Matrix - What's Our Future? w/ Yanis Varoufakis - YouTube</title>
    <dc:date>2021-10-28T23:56:18+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=jks2UFhvQqc</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["This week, Briahna Joy Gray fulfills a longtime ambition: Chatting with former Greek finance minister Yanis Varoufakis about Star Trek. The two Trekkies discuss utopias, the future of capitalism, Noam Chomsky's viral vaccine mandate take, and what's left for the left."]]></description>
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<item rdf:about="https://www.youtube.com/watch?v=RPxiNiVYLZs">
    <title>Post-Election Discussion and the Future of Leftist Politics with Cornel West and Adolph Reed - YouTube</title>
    <dc:date>2021-03-06T22:09:37+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=RPxiNiVYLZs</link>
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<item rdf:about="https://www.youtube.com/watch?v=vkRZwD-dDuI">
    <title>DiEM TV: Another Now with Yanis Varoufakis - YouTube</title>
    <dc:date>2021-01-28T23:21:13+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=vkRZwD-dDuI</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[“In this episode of Another Now, Yanis Varoufakis will focus on one of the most powerful companies in the world – Amazon / with a 30min Q&A.”

[See also:
https://medium.com/dark-mountain/diem-tv-another-now-with-yanis-varoufakis-a62c71b5a254 ]]]></description>
<dc:subject>diem25 yanisvaroufakis 2020 economics future present politics policy governance government capitalism pandemic covid-19 coronavirus inequality jeffbezos amazon</dc:subject>
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<item rdf:about="https://www.nytimes.com/2020/04/10/opinion/sunday/swimming-covid.html">
    <title>Opinion | What I Miss During the Coronavirus Pandemic? Swimming. - The New York Times</title>
    <dc:date>2021-01-17T02:06:10+00:00</dc:date>
    <link>https://www.nytimes.com/2020/04/10/opinion/sunday/swimming-covid.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[“Immersion, even just thinking about it, is the balm we need right now.

It’s on the opening pages of “Moby-Dick.”

“Yes, as everyone knows,” Ishmael declares, “meditation and water are wedded forever.”

He calls our attention to the crowds of dreamy water gazers gathered along the shores of Manhattan on a Sabbath afternoon. They prove him right: The ocean’s liquid fingers have a way of transfixing us in thought. Ishmael points out that the ancient Persians call the sea holy, that the Greeks give it a powerful deity of its very own. A maiden voyage sings with a kind of “mystical vibration.” But what exactly is the magic of water, and what does it do to us? It’s a mystery.

When we peer into a lake, river or ocean, we find that water encourages a particular kind of reverie. Perhaps its depths can enhance our consciousness even more if instead of just looking, we get in and swim.

We jump into that water and find ourselves in a curious liminal space. Here we are, suspended, yet moving; floating, yet ever in danger of sinking. And if we swim with the current, instead of fighting against it, we find a momentary state, one of motion and yet paradoxical stillness that is flow.

There’s a poignancy to being a swimmer now, in that we’re not able to do it just when we need it most. But even though public pools are closed and we are limited in the wild places where we can swim, thinking about immersion in our favorite watering holes is still a balm. As the writer Heather Hansman pointed out to me recently, there is value in those places even (and especially) when we’re not in them — it’s what Wallace Stegner called “the geography of hope.”

The focused immediacy of swimming encourages a mind-set that reminds me of how my young children think: It’s an ever-presentness. Every past moment is immediately replaced by a new one: a constant stream of now, and now and now that doesn’t allow much room to dwell too long on things past or what’s to come. Living in the now is a state of being that my busy brain finds challenging — but I desire it. Swimming is an antidote for the existential anxiety from which I suffer.

In “Waterlog,” his celebrated chronicle of swimming through Britain’s waterways, the naturalist Roger Deakin described swimming as having a transformative, Alice-in-Wonderland quality; it was an activity that had power over his perception of self and of time. “When you enter the water, something like metamorphosis happens,” he wrote. “Leaving behind the land, you go through the looking-glass surface and enter a new world.” You’ve crossed a boundary, and the experience of life while swimming is intensely different from any other. Your sense of the present, he added, “is overwhelming.”

In its power to produce an altered state, the legendary long-distance swimmer Lynne Cox explained to me, swimming is like a drug. Sometimes we zero in on something with unparalleled lucidity, and we gain the ability to tune out the extraneous stuff; other times the focus is fuzzy, and one thought leads to another, without interruption. “Who needs psychedelics,” she said, “when you can just go for a swim in the ocean?”

What is it like inside Ms. Cox’s head when she’s swimming?

“It’s a state between a dream state and an awake state,” she told me. Maybe, she said, we can call it “sea-dreaming.” The rhythm of swimming lulls your body — which, well trained, seems to keep moving on its own — and your brain is allowed to go wherever it wants.

“Maybe you smell the coffee someone is drinking on the pier,” Ms. Cox told me. “There’s this awareness of the ripples of water, the pelicans sliding right by. Maybe your heart stops as you see a wave of silvery anchovies swimming below you.” In the hushed oceanic roar, you can choose to filter some things out and to focus on others.

Cognitive scientists have shown that water sounds — the rhythmic hum of the ocean, the rush of a waterfall — are calming to the human brain. We experience a drop in heart rate and blood pressure and an increase in alpha-wave activity — those brain wavelengths associated with relaxation and boosted serotonin — as well as creative thinking. While tooling around on the Spotify music-streaming service one day, I found that white-noise water sounds are some of the biggest hits there; a track called “Rolling Ocean Waves” has been played nearly 60 million times.

Walks in the woods are all well and good, as Thoreau illustrated in his transcendentalist classic, “Walden.” But during the two years, two months and two days that he spent living in that cabin at Walden Pond, he also got up early every morning to swim; he described it as “a religious exercise, and one of the best things which I did.” Each of his swims stimulated body and mind. Each day’s routine of rousing early to do so was a way to enact his desire to “live deliberately” in the New England forest.

Much has been made of the walk as the instrument for big thinkers: Charles Darwin; Albert Einstein; Amos Tversky and Daniel Kahneman, who famously rambled together and revolutionized our understanding of the psychology of decision-making. Less has been explicitly made of swimming — a similar kind of aid, more medium than tool — for channeling the inner life and improving the flow of thoughts.

The physical action matters just as much as the environment does. “The way we move our bodies further changes the nature of our thoughts, and vice versa,” the science journalist Ferris Jabr notes in an essay titled “Why Walking Helps Us Think.” It follows that the pace of swimming, because of its fluid continuity, encourages a specific kind of thinking. There are the same changes to our body chemistry in swimming as there are in land exercise: faster heartbeat, increased circulation, more blood and oxygen to muscles and brain.

Mr. Jabr invokes the peripatetics of Clarissa Dalloway, Virginia Woolf’s famously musing, ambulatory character, as someone who “does not merely perceive the city around her. Rather, she dips in and out of her past.” Woolf herself, writing in her diary about the stimulating energy of walking through London, used energetic, aquatic language to describe the immersive experience as “being on the highest crest of the biggest wave, right in the centre & swim of things.”

In his detailing of Stanford University research experiments on the relationship between walking and creativity, Mr. Jabr writes that walking set “the mind adrift on a frothing sea of thought.” For Mr. Jabr, Woolf and others, the choice of words betrays them. They talk of “ideas bubbling up,” the tumbling of them, the “wrinkling water” in a current of thought. Walking is conducive to thinking, but swimming is just as true a conduit.

As human swimmers, we can never really be the fish. You and I, we know that. We don’t have to remind ourselves that it’s water around us. But we get glimpses of what it’s like to be the fish. We get flashes of forgetting the water. In the forgetting, we can drift. Daydreaming is critical to problem-solving and creativity. Scientists now know that when our minds are wandering without any particular external focus, the brain’s “default-mode network” is active. It’s what makes fresh, unexpected connections possible. And it’s the reason you get some of your best ideas in the shower.

The marine biologist and author Wallace J. Nichols is an evangelist for achieving what he calls “blue mind,” which emphasizes the importance of drifting to discovery, and water as a way to enable that process. “Being around water provides a sensory-rich environment with enough ‘soft fascination’ to let our focused attention rest and the default-mode network to kick in,” he writes. In these times of stress and social distancing, he emphasizes that water is essential medicine more than ever.

“Use your wild waters if you can safely and legally,” he told me. “Make sure you have a daily ritual involving domesticated waters” — pools, tubs, baths, spas, showers — “and embrace all types of virtual waters.” Even looking at water will take you to a better, calmer place.

To live deliberately as a swimmer means that you are a seeker: a chaser of the ocean’s blue corduroy, a follower of river veins. The science writer Florence Williams notes that “place matters” — something that poets and philosophers from Aristotle to Wordsworth have been telling us for ages. “Our nervous systems are built to resonate with set points in the environment,” Ms. Williams writes in her book “The Nature Fix.” “Science is now bearing out what the Romantics knew to be true.” And because “our brains especially love water,” we seek out blue spaces.

The Romantic poet Lord Byron knew it; he swam after this feeling and wrote about it whenever he could. We want to be near the ocean, the lake, the river. We build houses on the beach despite hurricane warnings and sea-level rise because that view does something to us. In a fast-moving world that encourages hyperconnectivity without meaning, we dare to risk for the reward of regaining moments of self — fading, water-stained postcards from the solitary, slow-paced thinkers we once were and dearly miss. In doing so, we hold on to Stegner’s geography of hope — the idea that we will one day find our way back.”]]></description>
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    <title>We Live in a Society | Online Only | n+1</title>
    <dc:date>2020-12-19T09:37:52+00:00</dc:date>
    <link>https://nplusonemag.com/online-only/online-only/we-live-in-a-society/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[“OVER THE PAST FOUR YEARS, while arguments about Trump’s fascism occupied a narrow intellectual stratum, the market for books on tyranny, populism, and autocracy exploded, as liberal readers and commentators sought to grasp the contours of a crisis that resisted their methodological apparatus. Six weeks after the inauguration, Timothy Snyder—a prominent scholar of war and genocide in 20th-century eastern Europe—published a book entitled On Tyranny, organized around “twenty lessons from the twentieth century” about how to resist. Many of these lessons are perfectly good on their own terms: “do not obey in advance”; “believe in truth”; “contribute to good causes.” Me, I try to do all these. But as a code of conduct it’s impotent, and the reason is obvious: it’s addressed to the individual, and it is accordingly apolitical. It’s nice to be nice, but it has no immediate bearing on the disposition of political power. “Make new friends and march with them,” says Snyder. Certainly! But whom should I befriend, and where should we march? What should we do if the police attack us? These are the decisive questions, to which On Tyranny provided no answers. It was, however, a number-one New York Times bestseller.

Now, with Trump ejected from the White House by legitimate procedure, the conservationist efforts have won a victory. The platitudes have prevailed. But the country remains stuck in quite a bad mess, indicated by how the Republican Party continues to claim its opponents are not legitimate citizens eligible to cast valid votes. What Gramsci described as an “organic crisis” will persist no matter how much Democratic Party elders wish to will it away and relive their fond memories instead. “A crisis occurs sometimes lasting for decades,” Gramsci wrote.

<blockquote>This exceptional duration means that incurable structural contradictions have revealed themselves and that despite this the political forces which are struggling to conserve and defend the existing structure itself are making every effort to cure them within certain limits and to overcome them. These incessant and persistent efforts (since no social formation will concede that it has been superseded) form the terrain of the conjunctural, and it is upon this terrain that the opposition organizes.</blockquote>

Though this passage was written about interwar Italy and appropriated to great effect by Stuart Hall to explain the rise of Thatcherism in Britain, it is difficult not to recognize our moment in it.

In Riley’s reading, an organic crisis is a systemic political dissociation between represented and representative. Political leadership forfeits the acknowledged legitimacy of its constituency. Such a scenario may or may not call forth a novel political formation, depending on the development of civil society—which he finds an autonomous and contingent matter. Hall, however, adds another element: he distinguishes between the “conjunctural” and the “organic,” observing that a crisis only passes from the merely conjunctural to the organic when the “efforts” described by Gramsci cease to be restorationist and take on an inventive character, aiming to establish a new “hegemony” on the basis of a new social bloc. Per Riley, this is only possible on the basis of civic association, which he sees as largely absent across our political spectrum.

Certainly skepticism about the possibility of resolution to the crisis is warranted. Even the unlikely victory of both Democratic candidates in Georgia’s January senate races won’t transform the underlying fact of American politics: the ungovernability of the country. That, in turn, can only mean that the crisis will not be resolved in the near term. It’s true that efforts to resolve the crisis from the right have, for the moment, been beaten back. But Trump’s failure to cohere what Gramsci would call a hegemonic “historic bloc” across class lines is no guarantee that the right will not produce such a formation successfully in the near future: one can see the outlines of it in Trump’s barely defeated coalition and the fervid, if ineffectual, resistance to the election outcome—and can easily imagine its triumph in the absence of Covid-19.

Looking to the other side, it goes without saying that the current leaders of the Democratic Party are fundamentally incapable of resolving the impasse. As the weeks since the election have revealed, the party’s directorate wishes desperately to convey to its public a willingness to accommodate the police and the system of white supremacy of which they are the visible and contested face. This is nothing other than an announcement of an intention not to contest for hegemony—since the rival far-right hegemony coheres precisely around the slogan “Blue Lives Matter.”

At the same time, and more promisingly, the disarticulated elements of a left-wing hegemony also appeared in 2020—not together, but rather in sequence. First the Sanders campaign, and then the spring-and-summer uprising against the police, each expressed a fragment of a new historic bloc. The relative social disconnection between the different parts of this hypothetical bloc, itself emerging from the disorganization of the American working class, is the reason it appeared in two parts rather than one. Each half has its own internal structures of organization. Virtually every city in America and many smaller towns are now home to what is a national panoply of Black activist organizations that emerged or grew this summer, some associated directly with larger national groups, some local specialties. Their reach, depth, and radicalism vary, but we still have yet to fully digest the scale of their achievement this year in pure organizational terms. Similarly Democratic Socialists of America and related local groups such as the tenants’ unions that have emerged in cities across the country, the Sunrise Movement, Reclaim Philadelphia, Reclaim Rhode Island, Lancaster Stands Up—and even more moderate cousins like the Working Families Party, Justice Democrats, and Indivisible—have seen very broad rank-and-file participation over the past four years. There are points of intersection between these halves, particularly promisingly among young Latinos and in the struggle against the deportation machine. There are individual people who straddle them in a sustained way, and voters and activists from one who will turn out for the other. But the overall pattern of separation at the associational level is unmistakable.

In the moments of celebration after Biden’s victory was announced, however, one could faintly glimpse a new level of unity emerging. As people filled the streets both to defend the election result and to exult in it, a new bloc began to show its face. Trade unions, largely absent from the year’s earlier movements, figured centrally in demonstrations in Philadelphia, as they had done in the election campaign beforehand. The energy and solidarity of the summer uprising were present as well, transposed into a more joyful key. The decisive role of cities like Philly, Detroit, and Minneapolis in the defeat of the right points toward the possibility of leadership for the emerging socialist and abolitionist politics based in the young activist centers of those cities, and embodied on the electoral stage by Ilhan Omar, Rashida Tlaib, Cori Bush, Alexandria Ocasio-Cortez, Jamaal Bowman, and of course Nikil Saval. A socialist program that confronts white supremacy as its immediate object—rather than trying to find a majority by navigating around the edifice of white supremacy—is the principle of unity for this bloc. Its social basis lies in an alliance of low-wage workers and high-debt workers, disproportionately young, who are concentrated together in cities and increasingly in suburbs. It is not that such an alliance on its own constitutes a majority; it is that it forms a potentially solid social foundation from which to provide rational answers to the structural problems of American society, and thus to recruit the more disparate elements needed to resolve the crisis. Join together these parts, and you have a big enough resonator.

Still, to achieve this coherence will be a task of enormous conflict—with the forces of direct repression in the streets, which will not be discouraged by the presidential transition, and with the conservationist Democrats. Organization is the entire question—the building of relationships and trust across the forms of social difference that have thus far prevented the socialist message from resonating as widely as it might. For this, as it happens, Snyder had some advice, although he perhaps didn’t realize this was what he meant: “put your body in unfamiliar places with unfamiliar people.” Or, as Phil Agnew put it—knowing exactly what he meant—“squeeze a hand.””]]></description>
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<item rdf:about="https://muse.jhu.edu/article/732317">
    <title>Project MUSE - &quot;Agent of Revolutionary Thought&quot;: Bambara and Black Girlhood for a Poetics of Being and Becoming Human</title>
    <dc:date>2020-12-15T07:13:16+00:00</dc:date>
    <link>https://muse.jhu.edu/article/732317</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["In "Gorilla, My Love," Toni Cade Bambara's Black girl narrator reverses the traditional adult gaze on the child to disrupt our taken-for-granted notions of childhood, adulthood, and their relations. Read through the lens of Sylvia Wynter's poetics of being and becoming human and Avery Gordon's utopian margins, this story serves as a counter-narrative to that of the hegemonic child and inspires new narratives as part of enacting liberation. Through Hazel's unruly resistance against capital, white supremacy, and patriarchy, Bambara recuperates the alterity of childhood in a way that reveals the joy and revolutionary transformation lurking in the present."]]></description>
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<item rdf:about="https://www.thenewatlantis.com/publications/the-analog-city-and-the-digital-city">
    <title>The Analog City and the Digital City — The New Atlantis</title>
    <dc:date>2020-11-08T23:13:43+00:00</dc:date>
    <link>https://www.thenewatlantis.com/publications/the-analog-city-and-the-digital-city</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["One way to understand our moment is to recognize that digital technology is reconfiguring the nature of the self that enters into the political arena, even as it restructures the arena itself. The contrast between those who mainly inhabit the Digital City and those who still primarily inhabit the Analog City becomes increasingly stark. Simple appeals to conventions and solutions grounded in the Analog City now ring hollow. The old virtues and ideals, as well as the institutions they sustained, have lost their purchase on the imagination. They have lost their “self-evident” character. Like the early moderns, our reigning world picture has shattered and we are casting about for new ways of building consensus, new ways of coping with the challenges of pluralism, new ways of ordering society toward the common good. At the moment, however, it appears that digital media tends toward political and epistemic fragmentation, not consensus, and toward the implausibility of any substantive account of the common good. In other words, it may be that things will get worse before they get better.

In a 1982 talk on the cultural and political consequences of computation, Ivan Illich issued a warning that is even more urgent today:

<blockquote>The machine-like behavior of people chained to electronics constitutes a degradation of their well-being and of their dignity which, for most people in the long run, becomes intolerable. Observations of the sickening effect of programmed environments show that people in them become indolent, impotent, narcissistic and apolitical. The political process breaks down, because people cease to be able to govern themselves; they demand to be managed.</blockquote>

We have focused on how digital media transforms the subjective experience of individuals. The political corollary is that it enables and empowers regimes of algorithmic governance, predictive analytics, and social credit. The profound erosion of trust in the Digital City leaves a vacuum, and we look to our tools to fill it. We seem set upon interlocking trajectories: of ever greater swaths of the human experience being computationally managed, and of intractable human subjects increasingly breaking down or revolting against these conditions.

From another vantage point, however, we might see this as a hopeful moment, full of promise and opportunity. Another path also seems possible. Freed from certain unsustainable illusions about the nature of the self and the world, we may now be called back to reckon with reality in a new, more chastened and more responsible manner. It is possible that the Promethean aspirations that characterized the modern self and modern society may now yield to a more sober assessment of the limits within which genuine human flourishing might occur. It is possible, too, that we may learn once again the necessity of virtues, public and private — that we will no longer, as T. S. Eliot put it, be “dreaming of systems so perfect that no one will need to be good.”"]]></description>
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<item rdf:about="https://quillandquire.com/omni/qa-canisia-lubrin-speaks-to-dionne-brand-about-her-two-new-books-the-blue-clerk-and-theory/">
    <title>Q&amp;A: Canisia Lubrin speaks to Dionne Brand about her two new books, The Blue Clerk and Theory | Quill and Quire</title>
    <dc:date>2020-07-13T22:43:18+00:00</dc:date>
    <link>https://quillandquire.com/omni/qa-canisia-lubrin-speaks-to-dionne-brand-about-her-two-new-books-the-blue-clerk-and-theory/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Dionne Brand, winner of the Griffin Poetry Prize, the Governor General’s Literary Award, the Trillium Book Award, member of the Order of Canada, and one of the country’s most respected and beloved writers, returns this fall with two books: The Blue Clerk and Theory.

The former, the writer’s latest poetry collection, is composed of a sequence of versos, or left-hand pages, that cumulatively form an ars poetica in which Brand forwards a meta-theory about the act of writing poetry. Brand’s blue-ink-stained clerk lives on a lonely wharf where she presides over bales of paper that comprise the poet’s accumulated pages – things unwritten, withheld, or unexpressed. This book-length conversation between Brand and her clerk is a mix of memoir, poetry, criticism, theory, and philosophy.

Theory is a slim philosophical novel that focuses on a narrator who is attempting to complete a PhD thesis despite becoming disillusioned by the promise of the academy. The novel investigates contemporary realms of the intellect, the body, and the spirit by way of the narrator’s reminiscences regarding three ex-lovers who respectively symbolize these three ontological elements.

Canisia Lubrin: Regarding The Blue Clerk, I have no questions. What I have are 242 pages of comments. Why don’t we start with time and place.

Dionne Brand: The Blue Clerk is an attempt to observe time and not place. Therefore, the materials that the clerk excavates/collects are not hinged to place. The clerk lives in nowness. The clerk lives in the continuum of the present. The author is stuck in place.

CL: In Verso 2, you write that you have spent “years and years actually trying to write in the centre of your life.” How does this work in the context of a book that tries to interrogate the practice of poetry within the context of a poetic language?

DB: Writing this clerk called for a degree of ruthless honesty, which was sometimes difficult. The things one has left unwritten or unsaid [in earlier work] would lead to a set of confrontations that would expose all the compromises, self-corrections, self-censorships, and sometimes nefarious and cowardly reasons for leaving the things unwritten and unsaid. So that’s a difficult process: to revisit the decisions of language, to revisit and critique the choices made even if those choices seemed, at the time, perfectly legitimate.

CL: And can I posit that you created the clerk as a mechanism for self-criticism?

DB: Poetry is pressure on the page, on space, on time. This is a diacritical text – an accenting, overwriting, and underwriting of what the poet has produced so far. A process that changes the tone, quality, texture, lines, shape. The clerk has thrown out all of the methods that the author has used so far, but what is created is a strange synthesis, a scansion of all the poet has written, pointing to the unstressed.

CL: I wonder if we can talk about Guyanese writer Wilson Harris’s idea of the unfinished work of the imagination in The Blue Clerk.

DB: I return to Harris’s essay “The Unfinished Genesis of the Imagination,” because for me it opens up ways of knowing that haven’t been suppressed by colonial logics. Likewise, his phrase “the originality of the future” is so rich and for me it seems to get at a set of knowledges that have yet to declare themselves fully.

CL: You say also that the clerk isn’t burdened by the blank page. There’s a freedom there that insists toward possibility. That seems to be a dismissal of the idea of the Black diaspora as an absolutely tragic place.

DB: The clerk’s manifest speaks to the business of full possibility in spite of all the regimes that seek to strangle that fullness – the regimes of white supremacy, racism, capitalism, sexism. These are not terms the clerk would use since the clerk lives in time and not in narrow place. This place we live in is narrow, meagre, and reductive. The clerk has a kind of knowledge and, perhaps, cynicism of this world whose conditions are paltry. The clerk thinks the author is slightly cowardly. The clerk is stringent. She feels that the author with all her beautiful finishes never manages to de-centre what she strives to de-centre because she pays too much attention to and, therefore, inadvertently capitulates to those logics. The clerk reformulates what to consider, what to think of as knowledge.

CL: Some versos question how we use language to animate space and how we in turn are animated in space.

DB: I try to listen to the actual sound of a place, not the official sound or the official narrative. The space the poet occupies is against the official narrative. The poet collects the sounds, the meanings, and through accumulation something appears. The job of the poet is to notice.

CL:  To be alive, then, is to collect? We live and accumulate.

DB: This collecting is involuntary on the part of the clerk. And the clerk would rather not. The author has an archive; the clerk has a living library whose records are always undone, always changing. That living, breathing, elliptical, complicated, undone thing is [the subject of] the actual discussion that they’re having.

The clerk is not a tool of the author. One might think it is the other way around, yet I think that the relationship is far less knowable. In this sense, their argument is not a dialectic in the way of Socratic dialogues. Perhaps it approaches Kamau Brathwaite’s Tidalectics – cyclical rather than linear. The exchanges between the author and the clerk are wave-like and oceanic, petering out or explosive.

CL: In Theory, the desire of the protagonist is to create something – by way of a dissertation – so radical as to change the world in a concrete way. Does the narrator exemplify what the clerk might be on this side – our side – of the wharf?

DB: No. The clerk is a creature of the air of the wharf; she’s pure poetry, in a sense. Theory is a different matter altogether – an experiment in an experiment.

CL: The narrator’s life in Theory is refracted through the intellect. The novel exposes how living a critical life is often in conflict with a person’s way of being in the world.

DB: The narrator really doesn’t have a grasp of the social. When the novel opens, the character has already been through those social experiments with the lovers, who have inculcated a kind of mystery. The narrator is rigorous and very bright but also vain. For the narrator, the social and the intellectual are at odds with each other.

CL: It’s a portrait of someone who has turned life into an experiment.

DB: Yes, in a sense.

CL: Theory seems a way of trying to escape ideology, pushing back against hierarchy and its dangerous normativities and conformities.

DB: Theory is a novel of ideas. This isn’t a new thing. The form of the dissertation crosses into the form of the novel. Gradually, the thesis that the narrator tries to attend to walks into the novel; the thesis is performed in the novel.

CL: Would you say this is an approach to eliding narrative?

DB: Definitely. Yes. You can say that the novel comments on the regularity of a certain kind of narrative that has locked the reader into expectations about the creation of a physical world. Certainly, in North America, [this] is the logic of novels. Everywhere else, forms of narrative are expanding. In entering Theory, both the reader and author must be generous in understanding that the universe is 13.772 billion years old. 

CL: The book plays with this idea of what kind of academic the narrator is, what space the narrator occupies. The idea of honesty as it appears in the novel (“mistaking honesty for cruelty”) seems to set up a false dichotomy.

DB: Adjacency, I think, is what the narrator would call it. The narrator is aware of context and treats life as an academic question and enterprise. The character comes from a kind of middle class but practises a form of living that is not suitable enough. There are proscriptions that must be adhered to. The narrator is a rigorous academic, even in the personal.

CL: The narrator’s encounters with the past are humorous, calling up figures like Dickens, Shakespeare, Walcott, Naipaul. Hilarious and so true.

DB: Yes.

CL: The book is quite something.

DB: I had a lovely time writing it."]]></description>
<dc:subject>2018 dionnebrand howwewrite interviews canisialubrin present presence narrative theory ideology hierarchy norms conforming life living conflict experimentation poetry change kamaubrathwaite tidalectics collecting accumulation noticing place language knowledge imagination wilsonharris theblueclerk fiction writing time</dc:subject>
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<item rdf:about="http://xiaoweiwang.com/spicytakes/2019-05-01/post">
    <title>notes from the periphery | spicytakes [Futures/futurities for The Redirect at SFMOMA]</title>
    <dc:date>2019-08-27T19:05:12+00:00</dc:date>
    <link>http://xiaoweiwang.com/spicytakes/2019-05-01/post</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["For this talk, I was asked to present a vision of the future, guided by a series of questions sent to me. I am very grateful for these questions, the chance to present a vision. But I was unable to conjure a vision of the future.

Instead, I will try the difficult task of describing the present as I see it, and perhaps somewhere our views might overlap – difficult these days. For me, traveling through the world, through China, through the US can be time travel enough.

I see the hyperspeed of the Bay Area, as a black Tesla scrapes against a parked car in slow motion, outside a historic black church in Oakland, next to a new brunch spot. Churchgoers and Sunday brunchers mix in a line that goes around the corner, spirituality and community threaded. A homeless man sells print media, as brunchers are glued to their phones. Depending on who you ask these days, Oakland is in the middle of a tech induced decline or a creative renaissance, or both. Survival at the edges.

I can describe to you a warp speed visit to Shenzhen, in its tech culture that remixes and hacks parts into new forms of hardware, hardware that hold an exuberant virality. In Shenzhen’s lack of intellectual property rights, I see entirely modular phones that make repair easy, unlike the cypher of an iPhone. There are phones with built in compasses that point to Mecca, earbuds that sell like hotcakes in Nairobi, co-designed by young Kenyan and Chinese entrepreneurs.

The death of intellectual property rights means a death to a human right, the assumed human right towards claiming invention. It spells a death to the elevated, individual genius. In much of Western media this death is noted as deeply problematic: copy cat culture in Shenzhen, the Chinese inability to innovate, only steal.

In Shenzhen I interview a prominent member of the maker movement who calls herself a cyborg. She brings up the deep contradictions of Western views on innovation. Why was it, she tells me, that the girls she grew up with in Shenzhen, who went on to work as factory girls in electronics factories were seen as mindless drones, while a few miles away, she soldered on Youtube and was heralded as a maker movement star? In this challenge to an Enlightenment era construction of humanity, of a purity of invention, I think of Sylvia Wynter’s wise words. “…The struggle of our new millennium will be one between the ongoing imperative of securing the well-being of our present ethnoclass (i.e., Western bourgeois) conception of the human”, she writes. And this line between security and uncertainty I believe, marks so much of our relationship to technology. the moment, as the computer scientist Terry Winogrand writes about, as the moment where we ascribe rationality to machine and the ongoing obsession with who is human.

I travel to another fold in time, rural Shandong China, in a Taobao village. In this village, over 70% of households make products at home for Taobao.com, an e-commerce platform made by the Chinese tech giant Alibaba. In rural Taobao land, the laws of Taobao supersede government laws. Farmers toil in the fields and during holiday seasons, they make costumes in home workshops for customers from Shanghai to Hanoi. One farmer is now a millionaire. I wander through fields, judging and gauging, ready to indict the viscitudes of platform capitalism, worried of a future where an entire village uses Alibaba’s mobile payment system, of tech led credit ratings. Of being beholden to Alibaba forever, amidst a village Taobao kindergarten and a Taobao hotel. The number of Taobao villages have skyrocketed, with more to come under Alibaba’s Rural Development Strategy. Other companies, like Foxconn are beginning to understand this spatial fix, this moving inward into the countryside, leaving expensive cities, like Shenzhen. Last year, Foxconn opened a 300,000 person iphone factory in Henan. All of this, under a loose policy by the government of “rural revitalization” – a nod to the rise of industrialized farming and the tech economy that must replace it.

I ask one farmer, who is also a Taobao producer, about his concerns for the future of his village’s close ties to Taobao.

He tells me that “the future” is a concept created if you believe that everything in the present is imperfect. He says that here, in the fields, in the long dark of winters, is the revelation that the universe is perfect as is. It is up to us to maintain it. There is no future, because every day depends on precariously balancing the present.

So if the future is produced, what does it mean to hold still the present? When we speak of crisis and apocalypse in the future, what needs do those words serve? Who’s needs do they serve? I think of an interview with indigenous sci-fi writer Rebecca Roanhorse. In it, she says “I think Native folks have already experienced an apocalypse, all the sort of dystopian tropes you see in movies, we’ve experienced those — our land lost, our children taken away, sent to schools and things like that. And we’ve survived.”

To hold still the present for a moment, means facing the different threads of time that weave our understanding of technology, of who we construct as the human, of what we construct as technology to begin with. After all, technology itself is a produced concept, as historian Ruth Oldenziel has documented: it was Thorsten Veblen who came up with the idea that technology is something that engineers produce. Before that, the loose umbrella of how-to was an unelevated, technical art that anyone (including) could attend to.

In a constructed futurity: who has the right to the future, who is left to steward the present? I think of software and how its builders dream of changing the world, while underneath, labor and geographic peripheries power copper mines and data centers. I think of how much work we have if we commit to the project of revolution, and who really does the work.

I wonder who are the people who must agree to the fictions someone else wrote, and those who are powerful enough to write fictions for the rest of us? I am not good at inscribing fiction, because I am still unlearning everyday the concrete and psychological fictions someone else has written.

And spending time in the Chinese countryside trying to unravel rural technology use, economic prosperity and nationalism, I begin to realize my questions are all insufficient. The mismatch is my urban understanding of time, the fictions that I have learned. Life in one village still centers around the agricultural calendar. In the agricultural calendar there are nine days in a week. Because of this, I never get the market days right.

When I finally figure out the days, I walk by people stirring sesame oil in a giant wok, all sorts of contraptions to distill, boil, assemble, nourish. If Veblen could divide realms into technology or not, surely these contraptions can be technologies too. And if we already live in a world where time travel is possible simply by traveling through multiple understandings of time and talking to others, what happens when there are multiple understandings of technology? If we embrace multitudes, what happens to the desire for a singular future, for reassurance, or our even our desires for certainty?"]]></description>
<dc:subject>xiaoweiwang 2019 rural shenzhen china manufacturing alibaba taobao capitalism platformcapitalism ruraldevelopmentstrategy foxconn revitalization ruralrevitalization future bayarea oakland peripheries nairobi present futures countryside</dc:subject>
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<item rdf:about="https://orionmagazine.org/article/beyond-hope/">
    <title>Orion Magazine | Beyond Hope</title>
    <dc:date>2019-03-05T18:54:44+00:00</dc:date>
    <link>https://orionmagazine.org/article/beyond-hope/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["THE MOST COMMON WORDS I hear spoken by any environmentalists anywhere are, We’re fucked. Most of these environmentalists are fighting desperately, using whatever tools they have — or rather whatever legal tools they have, which means whatever tools those in power grant them the right to use, which means whatever tools will be ultimately ineffective — to try to protect some piece of ground, to try to stop the manufacture or release of poisons, to try to stop civilized humans from tormenting some group of plants or animals. Sometimes they’re reduced to trying to protect just one tree.

Here’s how John Osborn, an extraordinary activist and friend, sums up his reasons for doing the work: “As things become increasingly chaotic, I want to make sure some doors remain open. If grizzly bears are still alive in twenty, thirty, and forty years, they may still be alive in fifty. If they’re gone in twenty, they’ll be gone forever.”

But no matter what environmentalists do, our best efforts are insufficient. We’re losing badly, on every front. Those in power are hell-bent on destroying the planet, and most people don’t care.

Frankly, I don’t have much hope. But I think that’s a good thing. Hope is what keeps us chained to the system, the conglomerate of people and ideas and ideals that is causing the destruction of the Earth.

To start, there is the false hope that suddenly somehow the system may inexplicably change. Or technology will save us. Or the Great Mother. Or beings from Alpha Centauri. Or Jesus Christ. Or Santa Claus. All of these false hopes lead to inaction, or at least to ineffectiveness. One reason my mother stayed with my abusive father was that there were no battered women’s shelters in the ’50s and ’60s, but another was her false hope that he would change. False hopes bind us to unlivable situations, and blind us to real possibilities.

Does anyone really believe that Weyerhaeuser is going to stop deforesting because we ask nicely? Does anyone really believe that Monsanto will stop Monsantoing because we ask nicely? If only we get a Democrat in the White House, things will be okay. If only we pass this or that piece of legislation, things will be okay. If only we defeat this or that piece of legislation, things will be okay. Nonsense. Things will not be okay. They are already not okay, and they’re getting worse. Rapidly.

But it isn’t only false hopes that keep those who go along enchained. It is hope itself. Hope, we are told, is our beacon in the dark. It is our light at the end of a long, dark tunnel. It is the beam of light that makes its way into our prison cells. It is our reason for persevering, our protection against despair (which must be avoided at all costs). How can we continue if we do not have hope?

We’ve all been taught that hope in some future condition — like hope in some future heaven — is and must be our refuge in current sorrow. I’m sure you remember the story of Pandora. She was given a tightly sealed box and was told never to open it. But, being curious, she did, and out flew plagues, sorrow, and mischief, probably not in that order. Too late she clamped down the lid. Only one thing remained in the box: hope. Hope, the story goes, was the only good the casket held among many evils, and it remains to this day mankind’s sole comfort in misfortune. No mention here of action being a comfort in misfortune, or of actually doing something to alleviate or eliminate one’s misfortune.

The more I understand hope, the more I realize that all along it deserved to be in the box with the plagues, sorrow, and mischief; that it serves the needs of those in power as surely as belief in a distant heaven; that hope is really nothing more than a secular way of keeping us in line.

Hope is, in fact, a curse, a bane. I say this not only because of the lovely Buddhist saying “Hope and fear chase each other’s tails,” not only because hope leads us away from the present, away from who and where we are right now and toward some imaginary future state. I say this because of what hope is.

More or less all of us yammer on more or less endlessly about hope. You wouldn’t believe — or maybe you would — how many magazine editors have asked me to write about the apocalypse, then enjoined me to leave readers with a sense of hope. But what, precisely, is hope? At a talk I gave last spring, someone asked me to define it. I turned the question back on the audience, and here’s the definition we all came up with: hope is a longing for a future condition over which you have no agency; it means you are essentially powerless.

I’m not, for example, going to say I hope I eat something tomorrow. I just will. I don’t hope I take another breath right now, nor that I finish writing this sentence. I just do them. On the other hand, I do hope that the next time I get on a plane, it doesn’t crash. To hope for some result means you have given up any agency concerning it. Many people say they hope the dominant culture stops destroying the world. By saying that, they’ve assumed that the destruction will continue, at least in the short term, and they’ve stepped away from their own ability to participate in stopping it.

I do not hope coho salmon survive. I will do whatever it takes to make sure the dominant culture doesn’t drive them extinct. If coho want to leave us because they don’t like how they’re being treated — and who could blame them? — I will say goodbye, and I will miss them, but if they do not want to leave, I will not allow civilization to kill them off.

When we realize the degree of agency we actually do have, we no longer have to “hope” at all. We simply do the work. We make sure salmon survive. We make sure prairie dogs survive. We make sure grizzlies survive. We do whatever it takes.

When we stop hoping for external assistance, when we stop hoping that the awful situation we’re in will somehow resolve itself, when we stop hoping the situation will somehow not get worse, then we are finally free — truly free — to honestly start working to resolve it. I would say that when hope dies, action begins.

PEOPLE SOMETIMES ASK ME, “If things are so bad, why don’t you just kill yourself?” The answer is that life is really, really good. I am a complex enough being that I can hold in my heart the understanding that we are really, really fucked, and at the same time that life is really, really good. I am full of rage, sorrow, joy, love, hate, despair, happiness, satisfaction, dissatisfaction, and a thousand other feelings. We are really fucked. Life is still really good.

Many people are afraid to feel despair. They fear that if they allow themselves to perceive how desperate our situation really is, they must then be perpetually miserable. They forget that it is possible to feel many things at once. They also forget that despair is an entirely appropriate response to a desperate situation. Many people probably also fear that if they allow themselves to perceive how desperate things are, they may be forced to do something about it.

Another question people sometimes ask me is, “If things are so bad, why don’t you just party?” Well, the first answer is that I don’t really like to party. The second is that I’m already having a great deal of fun. I love my life. I love life. This is true for most activists I know. We are doing what we love, fighting for what (and whom) we love.

I have no patience for those who use our desperate situation as an excuse for inaction. I’ve learned that if you deprive most of these people of that particular excuse they just find another, then another, then another. The use of this excuse to justify inaction — the use of any excuse to justify inaction — reveals nothing more nor less than an incapacity to love.

At one of my recent talks someone stood up during the Q and A and announced that the only reason people ever become activists is to feel better about themselves. Effectiveness really doesn’t matter, he said, and it’s egotistical to think it does.

I told him I disagreed.

Doesn’t activism make you feel good? he asked.

Of course, I said, but that’s not why I do it. If I only want to feel good, I can just masturbate. But I want to accomplish something in the real world.

Why?

Because I’m in love. With salmon, with trees outside my window, with baby lampreys living in sandy streambottoms, with slender salamanders crawling through the duff. And if you love, you act to defend your beloved. Of course results matter to you, but they don’t determine whether or not you make the effort. You don’t simply hope your beloved survives and thrives. You do what it takes. If my love doesn’t cause me to protect those I love, it’s not love.

A WONDERFUL THING happens when you give up on hope, which is that you realize you never needed it in the first place. You realize that giving up on hope didn’t kill you. It didn’t even make you less effective. In fact it made you more effective, because you ceased relying on someone or something else to solve your problems — you ceased hoping your problems would somehow get solved through the magical assistance of God, the Great Mother, the Sierra Club, valiant tree-sitters, brave salmon, or even the Earth itself — and you just began doing whatever it takes to solve those problems yourself.

When you give up on hope, something even better happens than it not killing you, which is that in some sense it does kill you. You die. And there’s a wonderful thing about being dead, which is that they — those in power — cannot really touch you anymore. Not through promises, not through threats, not through violence itself. Once you’re dead in this way, you can still sing, you can still dance, you can still make love, you can still fight like hell — you can still live because you are still alive, more alive in fact than ever before. You come to realize that when hope died, the you who died with the hope was not you, but was the you who depended on those who exploit you, the you who believed that those who exploit you will somehow stop on their own, the you who believed in the mythologies propagated by those who exploit you in order to facilitate that exploitation. The socially constructed you died. The civilized you died. The manufactured, fabricated, stamped, molded you died. The victim died.

And who is left when that you dies? You are left. Animal you. Naked you. Vulnerable (and invulnerable) you. Mortal you. Survivor you. The you who thinks not what the culture taught you to think but what you think. The you who feels not what the culture taught you to feel but what you feel. The you who is not who the culture taught you to be but who you are. The you who can say yes, the you who can say no. The you who is a part of the land where you live. The you who will fight (or not) to defend your family. The you who will fight (or not) to defend those you love. The you who will fight (or not) to defend the land upon which your life and the lives of those you love depends. The you whose morality is not based on what you have been taught by the culture that is killing the planet, killing you, but on your own animal feelings of love and connection to your family, your friends, your landbase — not to your family as self-identified civilized beings but as animals who require a landbase, animals who are being killed by chemicals, animals who have been formed and deformed to fit the needs of the culture.

When you give up on hope — when you are dead in this way, and by so being are really alive — you make yourself no longer vulnerable to the cooption of rationality and fear that Nazis inflicted on Jews and others, that abusers like my father inflict on their victims, that the dominant culture inflicts on all of us. Or is it rather the case that these exploiters frame physical, social, and emotional circumstances such that victims perceive themselves as having no choice but to inflict this cooption on themselves?

But when you give up on hope, this exploiter/victim relationship is broken. You become like the Jews who participated in the Warsaw Ghetto Uprising.

When you give up on hope, you turn away from fear.

And when you quit relying on hope, and instead begin to protect the people, things, and places you love, you become very dangerous indeed to those in power.

In case you’re wondering, that’s a very good thing."]]></description>
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<item rdf:about="http://robinderosa.net/uncategorized/the-library-is-open-palakeynote/">
    <title>The Library is Open: Keynote for the 2018 Pennsylvania Library Association Conference – actualham</title>
    <dc:date>2018-10-21T01:04:53+00:00</dc:date>
    <link>http://robinderosa.net/uncategorized/the-library-is-open-palakeynote/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["So I am trying to think about ways in. Ways in to places. Ways in to places that don’t eschew the complexity of their histories and how those histories inflect the different ways the places are experienced. I am thinking that helping learners see how places are made and remade, and helping them see that every interpretation they draw up–of their places and the places that refuse to be theirs– remake those places every hour.

This for me, is at the heart of open education.

Open to the past.

Open to the place.

Open at the seams.

Open to the public.

PUBLIC

So there is our final word, “PUBLIC.” You know, it’s not that easy to find out what a public library is. I googled it in preparation for this talk. It’s like a public museum. It might be open to the public, but does that make it public? But you know, it’s not that easy to find out what what a public university is. For example, mine. Which is in New Hampshire, the state which is proudly 50th in the nation for public funding of higher education. My college is about 9% state funded. Is that a public institution?

I think we may be starting backwards if we try to think of “public” in terms of funding. We need to think of public in terms of a relationship between the institution and the public (and the public good) and the economics of these relationships can be (will be! should be!) reflective of those relationships, rather than generative of them. What is the relationship of a public library or university– or a public university library– to the public? And could that relationship be the same for any college library regardless of whether the college is public or private?

Publics are places, situated in space and time but never pinned or frozen to either. Publics are the connective tissue between people, and as Noble points out, corporate interest in the web has attempted to co-opt that tissue and privatize our publics. A similar interest in education has attempted to do the same with our learning channels. Libraries exist in a critical proximity to the internet and to learning. But because they are places, that proximity flows through the people who make and remake the library by using (or not using) it. This is not a transcendent or romantic view of libraries. Recent work by folks like Sam Popowich and Fobazi Ettarh remind us that vocational awe is misguided, because libraries, like humans and the communities they bounce around in, are not inherently good or sacred. But this is not a critique of libraries. Or in other words, these messy seams where things fall apart, this is the strength of libraries because libraries are not everywhere; they are here.

I know this is an awful lot of abstraction wrapped up in some poetry and some deflection. So let me try to find some concrete practice-oriented ideas to leave you with.

You know textbooks cost way, way too much, and lots of that money goes to commercial publishers.

Textbook costs are not incidental to the real cost of college. We can fix this problem by weaning off commercial textbooks and adopting Open Educational Resources. OER also lets us rethink the relationship between learners and learning materials; the open license lets us understand knowledge as something that is continually reshaped as new perspectives are introduced into the field.

We can engage in open pedagogical practices to highlight students as contributors to the world of knowledge, and to shape a knowledge commons that is a healthier ecosystem for learning than a system that commercializes, paywalls, or gates knowledge. And all of this is related to other wrap-around services that students need in order to be successful (childcare, transportation, food, etc), and all of that is related to labor markets, and all of that is related to whether students should be training for or transforming those markets.

As we focus on broadening access to knowledge and access to knowledge creation, we can think about the broader implications for open learning ecosystems.

What kind of academic publishing channels do we need to assure quality and transparent peer review and open access to research by other researchers and by the public at large? What kinds of tools and platforms and expertise do we need to share course materials and research, and who should pay for them and host them and make them available? What kind of centralized standards do we need for interoperability and search and retrieval, and what kind of decentralization must remain in order to allow communities to expand in organic ways?

I’d like to see academic libraries stand up and be proud to be tied to contexts and particulars. I’d like to see them care about the material conditions that shape the communities that surround and infuse them. I’d like them to own the racism and other oppressive systems and structures that infuse their own histories and practices, and model inclusive priorities that center marginalized voices. I’d like them to insist that human need is paramount. Humans need to know, learn, share, revise. I’d like them to focus on sustainability rather than growth; the first is a community-based term, the second is a market-based term. Libraries work for people, and that should make them a public good. A public resource. This is not about how we are funded; it is about how we are founded and refounded.

Helping your faculty move to OER is not about cost-savings. You all know there are much easier ways to save money. They are just really crappy for learning. Moving to OER is about committing to learning environments that respect the realities of place, that engage with the contexts for learning, that challenge barriers that try to co-opt public channels for private gain, and that see learning as a fundamentally infinite process that benefits from human interaction. Sure, technology helps us do some of that better, and technology is central to OER. But technology also sabotages a lot of our human connections: infiltrates them with impersonating bots; manipulates and monetizes them for corporate gain; subverts them for agendas that undercut the network’s transparency; skews the flow toward the privileged and cuts away the margins inhabited by the nondominant voices– the perspectives that urge change, improvement, growth, paradigm shift. So it’s not the technology, just like it’s not the cost-savings, that matters. It’s not the new furniture or the Starbucks that makes your library the place to be. It’s the public that matters. It is a place for that public to be.

Libraries are places. Libraries, especially academic libraries, are public places. They should be open for the public. Help your faculty understand open in all its complexity. Help them understand the people that make your place. Help your place shape itself around the humans who need it.:]]></description>
<dc:subject>open libraries access openaccess 2018 oer publishing knowledge textbooks college universities robinderosa place past present future web internet online learning howwelearn education highered highereducation joemurphy nextgen safiyaumojanoble deomcracyb inequality donnalanclos davidlewis racism algorithms ralphwaldoemerson thoreau control power equality accessibility safiyanoble</dc:subject>
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<item rdf:about="https://www.newyorker.com/elements/lab-notes/why-nouns-slow-us-down-and-why-linguistics-might-be-in-a-bubble">
    <title>Why Nouns Slow Us Down, and Why Linguistics Might Be in a Bubble | The New Yorker</title>
    <dc:date>2018-05-21T03:25:52+00:00</dc:date>
    <link>https://www.newyorker.com/elements/lab-notes/why-nouns-slow-us-down-and-why-linguistics-might-be-in-a-bubble</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Writers and language geeks inherit a ranking system of sorts: verbs good, adjectives bad, nouns sadly unavoidable. Verbs are action, verve! “I ate the day / Deliberately, that its tang / Might quicken me into verb, pure verb,” Seamus Heaney writes, in “Oysters.” A sentence can be a sentence without nouns or adjectives, but never without a verb. For the most part.

But nouns deserve more cognitive credit. A study published this week in the Proceedings of the National Academy of Sciences found that nouns actually take longer to spit out than verbs do, presumably because they require more thought to produce. In the study, researchers led by Frank Seifart, a linguist at the University of Amsterdam, and Balthasar Bickel, of the University of Zurich, analyzed hundreds of recordings of spontaneous speech from nine very different languages from around the world: English and Dutch, as well as several others from as far afield as Amazonia, Siberia, the Kalahari, and Tibet. They picked out and compared the spoken renditions of the nouns and verbs, focussing not on how long it took for each word to be spoken but on what was happening in the half-second preceding each word. That tiny window is informative: cognitive scientists have concluded that it takes the brain about that long to formulate its next word, which happens even as a current word or phrase is being spoken.

Which is to say, the future word casts a shadow over the present one. And that shadow is measurable: the researchers found that, in all nine languages, the speech immediately preceding a noun is three-and-a-half-per-cent slower than the speech preceding a verb. And in eight of nine languages, the speaker was about twice as likely to introduce a pause before a noun than before a verb—either a brief silence or a filler, such as “uh” or “um” or their non-English equivalents. That future word, when it’s a noun, is more of a footfall than a shadow, creating a hole in the phrase right before it.

Seifart and Bickel think that this has to do with the different roles that nouns and verbs play in language. Nouns require more planning to say because they more often convey novel information, Seifart told me—that’s one reason why we quickly transition from nouns to pronouns when speaking. Listeners are sensitive to those tiny pauses before a noun, and interpret them as indicating that what follows will be something new or important.

Unlike nouns and pronouns, verbs don’t have “proverbs” to pick up the pace, although we cheat a little with sentences such as, “Susan drank wine and Mary did, too.” Verbs are grammatically more complex than nouns but have less to reveal. When you’re about to say a verb, you’re less likely to be saying something new, so your brain doesn’t have to slow down what it’s already doing to plan for it.

Oddly enough, the one language that doesn’t seem to pre-think its nouns as thoroughly as its verbs is English, Seifart and Bickel found. Although English speakers do slow down their speech immediately before a noun, they use fewer pauses beforehand, not more, when compared to verbs.

“English is peculiar,” Seifart said. English is less useful than we might imagine for understanding what our speech has to say about how we think: “It can never be representative of human language in general,” he said. “To make claims about human language in general, we need to look at much broader array of them.”

In recent years, scientists have grown concerned that much of the literature on human psychology and behavior is derived from studies carried out in Western, educated, industrialized, rich, democratic countries. These results aren’t necessarily indicative of how humans as a whole actually function. Linguistics may face a similar challenge—the science is in a bubble, talking to itself. “This is what makes people like me realize the unique value of small, often endangered languages and documenting them for as long as they can still be observed,” Seifart said. “In a few generations, they will not be spoken anymore.” In the years to come, as society grows more complex, the number of nouns available to us may grow exponentially. The diversity of its speakers, not so much."]]></description>
<dc:subject>language languages weird nouns verbs communication linguistics 2018 alanburdick action frankseifart balthasarbickel future present speed speaking english</dc:subject>
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<item rdf:about="https://web.archive.org/web/20170517123210/http://www.vadikmarmeladov.com/">
    <title>Vadik Marmeladov</title>
    <dc:date>2018-04-09T01:24:50+00:00</dc:date>
    <link>https://web.archive.org/web/20170517123210/http://www.vadikmarmeladov.com/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["I design the most beautiful products. Before scrolling down to the pictures, please read our Codes of Practice:

1. Wear the uniform
2. Think long term (like 30 years from now)
3. Build stories and languages, not things
4. Create your own universe (or join ours)
5. Collect samples
6. Be a sample for somebody else 
7. Look for loyalty, not for a skill set
8. Do not build utilitarian products. However, use them as a medium to express yourself
9. Do not exploit introverts — doesn't work long term. Learn to be an introvert yourself 
10. Travel more
11. Do not work for corporations. Old corporations were meaningful when their founders were alive, but now, they have outlived their relevancy. They exist only to keep their numbers growing
12. New corporations are no better. They have scaled up features, and today’s founders want hyper-growth for growth’s sake (it seems like every line of code, every feature deserves its own corporation — it sure doesn't)
13. So, fuck the corporations
14. Tell the truth (bullshit never works long term)
15. Study and research fashion
16. Your phone is a temporary feature — don’t spend your life on it (like you wouldn’t spend it on a fax machine)
17. Fuck likes, followers, fake lives, fake friends
18. Remake your environment. Build it for yourself, and people will come 
19. Only trust those who make things you love
20. Move to LA 
21. Don’t buy property
22. Don’t go to Mars (just yet)
23. Use only one font, just a few colors, and just a few shapes
24. Use spreadsheets, but only to map out 30 cells — one for each year of the rest of your life
25. The next three are the most important
26. The past doesn’t exist — don’t get stuck in it
27. Don’t go to Silicon Valley (it’s not for you if you’re still reading this)
28. Remind yourself daily: you and everyone you know will die
29. We must build the most beautiful things
30. We are 2046 kids"

[via Warren Ellis's Orbital Operations newsletter, 8 April 2018:

"LOT 2046 [https://www.lot2046.com/ ] continues to be magnificent.  This is actually a really strong duffel bag. You just never know what you're going to get.

Incidentally, culture watchers, keep an eye on this - the LOT 2046 user-in-residence programme [https://www.lot2046.com/360/11/875c4f ].  This feels like a small start to a significant idea. Vadik thinks long-term. He once had the following Codes Of Practise list from his previous business on his personal website, preserved by the sainted Wayback Machine:"]]]></description>
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<item rdf:about="https://en.wikipedia.org/wiki/Diogenes">
    <title>Diogenes - Wikipedia</title>
    <dc:date>2018-03-11T20:02:24+00:00</dc:date>
    <link>https://en.wikipedia.org/wiki/Diogenes</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Diogenes (/daɪˈɒdʒəˌniːz/; Greek: Διογένης, Diogenēs [di.oɡénɛ͜ɛs]), also known as Diogenes the Cynic (Ancient Greek: Διογένης ὁ Κυνικός, Diogenēs ho Kunikos), was a Greek philosopher and one of the founders of Cynic philosophy. He was born in Sinope, an Ionian colony on the Black Sea,[1] in 412 or 404 B.C. and died at Corinth in 323 B.C.[2]

Diogenes was a controversial figure. His father minted coins for a living, and Diogenes was banished from Sinope when he took to debasement of currency.[1] After being exiled, he moved to Athens and criticized many cultural conventions of the city. He modelled himself on the example of Heracles, and believed that virtue was better revealed in action than in theory. He used his simple life-style and behaviour to criticize the social values and institutions of what he saw as a corrupt, confused society. He had a reputation for sleeping and eating wherever he chose in a highly non-traditional fashion, and took to toughening himself against nature. He declared himself a cosmopolitan and a citizen of the world rather than claiming allegiance to just one place. There are many tales about his dogging Antisthenes' footsteps and becoming his "faithful hound".[3]

Diogenes made a virtue of poverty. He begged for a living and often slept in a large ceramic jar in the marketplace.[4] He became notorious for his philosophical stunts, such as carrying a lamp during the day, claiming to be looking for an honest man. He criticized Plato, disputed his interpretation of Socrates, and sabotaged his lectures, sometimes distracting attenders by bringing food and eating during the discussions. Diogenes was also noted for having publicly mocked Alexander the Great.[5][6][7]

Diogenes was captured by pirates and sold into slavery, eventually settling in Corinth. There he passed his philosophy of Cynicism to Crates, who taught it to Zeno of Citium, who fashioned it into the school of Stoicism, one of the most enduring schools of Greek philosophy. None of Diogenes' writings have survived, but there are some details of his life from anecdotes (chreia), especially from Diogenes Laërtius' book Lives and Opinions of Eminent Philosophers and some other sources.[8]"

…

"Death

There are conflicting accounts of Diogenes' death. He is alleged variously to have held his breath; to have become ill from eating raw octopus;[36] or to have suffered an infected dog bite.[37] When asked how he wished to be buried, he left instructions to be thrown outside the city wall so wild animals could feast on his body. When asked if he minded this, he said, "Not at all, as long as you provide me with a stick to chase the creatures away!" When asked how he could use the stick since he would lack awareness, he replied "If I lack awareness, then why should I care what happens to me when I am dead?"[38] At the end, Diogenes made fun of people's excessive concern with the "proper" treatment of the dead. The Corinthians erected to his memory a pillar on which rested a dog of Parian marble.[39]"

…

"Cynicism

Along with Antisthenes and Crates of Thebes, Diogenes is considered one of the founders of Cynicism. The ideas of Diogenes, like those of most other Cynics, must be arrived at indirectly. No writings of Diogenes survive even though he is reported to have authored over ten books, a volume of letters and seven tragedies.[40] Cynic ideas are inseparable from Cynic practice; therefore what we know about Diogenes is contained in anecdotes concerning his life and sayings attributed to him in a number of scattered classical sources.

Diogenes maintained that all the artificial growths of society were incompatible with happiness and that morality implies a return to the simplicity of nature. So great was his austerity and simplicity that the Stoics would later claim him to be a wise man or "sophos". In his words, "Humans have complicated every simple gift of the gods."[41] Although Socrates had previously identified himself as belonging to the world, rather than a city,[42] Diogenes is credited with the first known use of the word "cosmopolitan". When he was asked from where he came, he replied, "I am a citizen of the world (cosmopolites)".[43] This was a radical claim in a world where a man's identity was intimately tied to his citizenship of a particular city-state. An exile and an outcast, a man with no social identity, Diogenes made a mark on his contemporaries.

Diogenes had nothing but disdain for Plato and his abstract philosophy.[44] Diogenes viewed Antisthenes as the true heir to Socrates, and shared his love of virtue and indifference to wealth,[45] together with a disdain for general opinion.[46] Diogenes shared Socrates's belief that he could function as doctor to men's souls and improve them morally, while at the same time holding contempt for their obtuseness. Plato once described Diogenes as "a Socrates gone mad."[47]

Obscenity

Diogenes taught by living example. He tried to demonstrate that wisdom and happiness belong to the man who is independent of society and that civilization is regressive. He scorned not only family and political social organization, but also property rights and reputation. He even rejected normal ideas about human decency. Diogenes is said to have eaten in the marketplace,[48] urinated on some people who insulted him,[49] defecated in the theatre,[50] and masturbated in public. When asked about his eating in public he said, "If taking breakfast is nothing out of place, then it is nothing out of place in the marketplace. But taking breakfast is nothing out of place, therefore it is nothing out of place to take breakfast in the marketplace." [51] On the indecency of his masturbating in public he would say, "If only it were as easy to banish hunger by rubbing my belly."[52][53]

Diogenes as dogged or dog-like

Many anecdotes of Diogenes refer to his dog-like behavior, and his praise of a dog's virtues. It is not known whether Diogenes was insulted with the epithet "doggish" and made a virtue of it, or whether he first took up the dog theme himself. When asked why he was called a dog he replied, "I fawn on those who give me anything, I yelp at those who refuse, and I set my teeth in rascals."[20] Diogenes believed human beings live artificially and hypocritically and would do well to study the dog. Besides performing natural body functions in public with ease, a dog will eat anything, and make no fuss about where to sleep. Dogs live in the present without anxiety, and have no use for the pretensions of abstract philosophy. In addition to these virtues, dogs are thought to know instinctively who is friend and who is foe.[54] Unlike human beings who either dupe others or are duped, dogs will give an honest bark at the truth. Diogenes stated that "other dogs bite their enemies, I bite my friends to save them."[55]

The term "cynic" itself derives from the Greek word κυνικός, kynikos, "dog-like" and that from κύων, kyôn, "dog" (genitive: kynos).[56] One explanation offered in ancient times for why the Cynics were called dogs was because Antisthenes taught in the Cynosarges gymnasium at Athens.[57] The word Cynosarges means the place of the white dog. Later Cynics also sought to turn the word to their advantage, as a later commentator explained:

<blockquote>There are four reasons why the Cynics are so named. First because of the indifference of their way of life, for they make a cult of indifference and, like dogs, eat and make love in public, go barefoot, and sleep in tubs and at crossroads. The second reason is that the dog is a shameless animal, and they make a cult of shamelessness, not as being beneath modesty, but as superior to it. The third reason is that the dog is a good guard, and they guard the tenets of their philosophy. The fourth reason is that the dog is a discriminating animal which can distinguish between its friends and enemies. So do they recognize as friends those who are suited to philosophy, and receive them kindly, while those unfitted they drive away, like dogs, by barking at them.[58]</blockquote>

As noted (see Death), Diogenes' association with dogs was memorialized by the Corinthians, who erected to his memory a pillar on which rested a dog of Parian marble.[39]"]]></description>
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<item rdf:about="https://www.psychologytoday.com/blog/freedom-learn/201712/the-joy-and-sorrow-rereading-holt-s-how-children-learn">
    <title>The Joy and Sorrow of Rereading Holt’s &quot;How Children Learn&quot; | Psychology Today</title>
    <dc:date>2017-12-31T05:22:25+00:00</dc:date>
    <link>https://www.psychologytoday.com/blog/freedom-learn/201712/the-joy-and-sorrow-rereading-holt-s-how-children-learn</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[Also here: https://medium.com/the-mission/the-joy-and-sorrow-of-rereading-holts-how-children-learn-ffb4f46485e9 ]

"Holt was an astute and brilliant observer of children.  If he had studied some species of animal, instead of human children, we would call him a naturalist.  He observed children in their natural, free, might I even say wild condition, where they were not being controlled by a teacher in a classroom or an experimenter in a laboratory.  This is something that far too few developmental psychologists or educational researchers have done.  He became close to and observed the children of his relatives and friends when they were playing and exploring, and he observed children in schools during breaks in their formal lessons.  Through such observations, he came to certain profound conclusions about children's learning.  Here is a summary of them, which I extracted from the pages of How Children Learn.

•  Children don’t choose to learn in order to do things in the future.  They choose to do right now what others in their world do, and through doing they learn.

Schools try to teach children skills and knowledge that may benefit them at some unknown time in the future.  But children are interested in now, not the future.  They want to do real things now.  By doing what they want to do they also prepare themselves wonderfully for the future, but that is a side effect.  This, I think, is the main insight of the book; most of the other ideas are more or less corollaries. 

Children are brilliant learners because they don’t think of themselves as learning; they think of themselves as doing.  They want to engage in whole, meaningful activities, like the activities they see around them, and they aren’t afraid to try.  They want to walk, like other people do, but at first they aren’t good at it. So they keep trying, day after day, and their walking keeps getting better.  They want to talk, like other people do, but at first they don’t know about the relationships of sounds to meanings.  Their sentences come across to us as babbled nonsense, but in the child’s mind he or she is talking (as Holt suggests, on p 75).  Improvement comes because the child attends to others’ talking, gradually picks up some of the repeated sounds and their meanings, and works them into his or her own utterances in increasingly appropriate ways.

As children grow older they continue to attend to others' activities around them and, in unpredictable ways at unpredictable times, choose those that they want to do and start doing them.  Children start reading, because they see that others read, and if they are read to they discover that reading is a route to the enjoyment of stories.  Children don’t become readers by first learning to read; they start right off by reading.  They may read signs, which they recognize.  They may recite, verbatim, the words in a memorized little book, as they turn the pages; or they may turn the pages of an unfamiliar book and say whatever comes to mind.  We may not call that reading, but to the child it is reading.  Over time, the child begins to recognize certain words, even in new contexts, and begins to infer the relationships between letters and sounds.  In this way, the child’s reading improves.

Walking, talking, and reading are skills that pretty much everyone picks up in our culture because they are so prevalent.  Other skills are picked up more selectively, by those who somehow become fascinated by them.  Holt gives an example of a six-year-old girl who became interested in typing, with an electric typewriter (this was the 1960s).  She would type fast, like the adults in her family, but without attention to the fact that the letters on the page were random.  She would produce whole documents this way.  Over time she began to realize that her documents differed from those of adults in that they were not readable, and then she began to pay attention to which keys she would strike and to the effect this had on the sheet of paper. She began to type very carefully rather than fast.  Before long she was typing out readable statements.

You and I might say that the child is learning to walk, talk, read, or type; but from the child’s view that would be wrong.  The child is walking with the very first step, talking with the first cooed or babbled utterance, reading with the first recognition of “stop” on a sign, and typing with the first striking of keys.  The child isn’t learning to do these; he or she is doing them, right from the beginning, and in the process is getting better at them.

My colleague Kerry McDonald made this point very well recently in an essay about her young unschooled daughter who loves to bake (here).  In Kerry’s words, “When people ask her what she wants to be when she grows up, she responds breezily, ‘A baker, but I already am one.”

•  Children go from whole to parts in their learning, not from parts to whole.

This clearly is a corollary of the point that children learn because they are motivated to do the things they see others do.  They are, of course, motivated to do whole things, not pieces abstracted out of the whole.  They are motivated to speak meaningful sentences, not phonemes. Nobody speaks phonemes.  They are motivated to read interesting stories, not memorize grapheme-phoneme relationships or be drilled on sight words.  As Holt points out repeatedly, one of our biggest mistakes in schools is to break tasks down into components and try to get children to practice the components isolated from the whole.  In doing so we turn what would be meaningful and exciting into something meaningless and boring.  Children pick up the components (e.g. grapheme-phoneme relationships) naturally, incidentally, as they go along in their exciting work of doing things that are real, meaningful, and whole.

•  Children learn by making mistakes and then noticing and correcting their own mistakes.

Children are motivated not just to do what they see others do, but to do those things well.  They are not afraid to do what they cannot yet do well, but they are not blind to the mismatches between their own performance and that of the experts they see around them.  So, they start right off doing, but then, as they repeat what they did, they work at improving.  In Holt’s words (p 34), “Very young children seem to have what could be called an instinct of Workmanship.  We tend not to see it, because they are unskillful and their materials are crude. But watch the loving care with which a little child smooths off a sand cake or pats and shapes a mud pie.”  And later (p 198), “When they are not bribed or bullied, they want to do whatever they are doing better than they did it before.”

We adult have a strong tendency to correct children, to point out their mistakes, in the belief that we are helping them learn.  But when we do this, according to Holt, we are in effect belittling the child, telling the child that he or she isn't doing it right and we can do it better.  We are causing the child to feel judged, and therefore anxious, thereby taking away some of his or her fearlessness about trying this or any other new activity. We may be causing the child to turn away from the very activity that we wanted to support.  When a child first starts an activity, the child can’t worry about mistakes, because to do so would make it impossible to start.  Only the child knows when he or she is ready to attend to mistakes and make corrections.

Holt points out that we don’t need to correct children, because they are very good at correcting themselves.  They are continually trying to improve what they do, on their own schedules, in their own ways.  As illustration, Holt described his observation of a little girl misreading certain words as she read a story aloud, but then she corrected her own mistakes in subsequent re-readings, as she figured out what made sense and what didn’t.  In Holt’s words (p 140), “Left alone, not hurried, not made anxious, she was able to find and correct most of the mistakes herself.”

• Children may learn better by watching older children than by watching adults.

Holt points out that young children are well aware of the ways that they are not as competent as the adults around them, and this can be a source of shame and anxiety, even if the adults don't rub it in.  He writes (p 123), “Parents who do everything well may not always be good examples for their children; sometimes such children feel, since they can never hope to be as good as their parents, there is no use in even trying.” This, he says, is why children may learn better by watching somewhat older children than by watching adults.  As one example, he describes (p 182) how young boys naturally and efficiently improved their softball skills by observing somewhat older and more experienced boys, who were better than they but not so much better as to be out of reach.  This observation fits very well with findings from my research on the value of age-mixed play (see here and here). 

• Fantasy provides children the means to do and learn from activities that they can’t yet do in reality.

A number of psychologists, I included, have written about the cognitive value of fantasy, how it underlies the highest form of human thinking, hypothetical reasoning (e.g. here).  But Holt brings us another insight about fantasy; it provides a means of “doing” what the child cannot do in reality.  In his discussion of fantasy, Holt criticizes the view, held by Maria Montessori and some of her followers, that fantasy should be discouraged in children because it is escape from reality.  Holt, in contrast, writes (p 228), “Children use fantasy not to get out of, but to get into, the real world.”

A little child can’t really drive a truck, but in fantasy he can be a truck driver. Through such fantasy he can learn a lot about trucks and even something about driving one as he makes his toy truck imitate what real trucks do.  Holt points out that children playing fantasy games usually choose roles that exist in the adult world around them.  They pretend to be mommies or daddies, truck drivers, train conductors, pilots, doctors, teachers, police officers, or the like.  In their play they model, as close as they can, their understanding of what adults in those roles do.  I have learned from anthropologists that such fantasy is normal for children everywhere.  For example, young hunter-gatherer boys imagine themselves to be courageous big game hunters as they stalk butterflies or small rodents and try to hit them with their small arrows.  They are practicing what it feels like to be a hunter, and they are also developing real hunting skills.  That is so much more exciting than, say, engaging in target practice.

This point about fantasy is another elaboration of Holt’s main point that children learn by doing what they want to do right now, not by practicing for the future.  In fantasy, the child can, right now, do things that nature or authority won’t permit him or her to do in reality.

• Children make sense of the world by creating mental models and assimilating new information to those models. 

As children interact with the world their minds are continually active.  They are trying to make sense of things.  Holt points out, as have others (including, most famously, Piaget), that children are truly scientists, developing hunches (hypotheses) and then testing those hunches and accepting, modifying, or rejecting them based on experience.  But the motivation must come from within the child; it can’t be imposed.  As illustration, Holt describes cases where children who were allowed to just “mess around” with balance beams and pendulums, when they wanted to, learned much more, in a lasting way, about the natural laws of balance and pendulum action than did those who were taught explicitly.

Children often use mental models that they developed from previous activities to help them make sense of new activities.  Holt gives a wonderful example of a boy who loved trains and knew a lot about them.  When this boy began to get interested in reading he noticed that a printed sentence is like a train, with a front end and a back end, going in a certain direction.  He called the capital letter at the beginning the “engine” and the period at the end the “caboose.”  This model, of course, was one uniquely useful to this boy.  Among other things, it helped him transfer his love of trains into a love of reading.  But the model had to come from the boy himself.  If a teacher had imposed it on him, it would probably have come across to him as artificial and would have subverted his own attempt to make sense of sentences.  And if a teacher tried to use this analogy between a sentence and a train in teaching children who had no particular interest in trains, that would be just silly.

How Teaching Interferes with Children’s Learning

When Holt wrote the first edition of How Children Learn (published in 1967), he was still trying to figure out how to become a better teacher.  When he revised the book for the second edition (published in 1983) he inserted many corrections, which revealed his growing belief that teaching of any sort is usually a mistake, except in response to a student’s explicit request for help.  Here, for example, is one of his 1983 insertions (p 112):  “When we teach without being asked we are saying in effect, ‘You’re not smart enough to know that you should know this, and not smart enough to learn it.”  And a few pages later (p 126), he inserted, “The spirit of independence in learning is one of the most valuable assets a learner can have, and we who want to help children’s learning at home or in school, must learn to respect and encourage it.”

Children naturally resist being taught because it undermines their independence and their confidence in their own abilities to figure things out and to ask for help, themselves, when they need it.  Moreover, no teacher—certainly not one in a classroom of more than a few children—can get into each child’s head and understand that child’s motives, mental models, and passions at the time.  Only the child has access to all of this, which is why children learn best when they are allowed complete control of their own learning.  Or, as the child would say, when they are allowed complete control of their own doing."]]></description>
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    <dc:date>2017-11-14T06:32:57+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=o341S4xh1r0</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[Embedded here: http://impakt.nl/festival/reports/impakt-festival-2017/impakt-festival-2017-anab-jain/ ]

"'Everything is Beautiful and Nothing Hurts': @anab_jain's expansive keynote @impaktfestival weaves threads through death, transcience, uncertainty, growthism, technological determinism, precarity, imagination and truths. Thanks to @jonardern for masterful advise on 'modelling reality', and @tobias_revell and @ndkane for the invitation."
https://www.instagram.com/p/BbctTcRFlFI/ ]]]></description>
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<item rdf:about="https://onbeing.org/blog/miguel-clark-mallet-weve-hoped-our-way-into-our-current-crisis/">
    <title>We’ve Hoped Our Way Into Our Current Crisis | On Being</title>
    <dc:date>2017-09-25T03:29:48+00:00</dc:date>
    <link>https://onbeing.org/blog/miguel-clark-mallet-weve-hoped-our-way-into-our-current-crisis/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Those are some of my oldest memories, my literal “dark night of the soul.” The heightened turmoil we’re living through these days echoes my despair from that time. I think of it when so often we’re urged to embrace hope as an antidote. Hope for a brighter day. Hope for justice. Hope for peace. Hope that compassion will win out. But speaking for myself, I’m giving up hope.

Not that I don’t understand the impulse. It’s tempting to think that looking to the future will get me through hardship. But in my life’s struggles, hope hasn’t worked out that way. Too often hope has hardened into anticipation and expectation for specific outcomes. At times, I’ve believed that if only I could reach that next achievement — an age, a job, a relationship, a house, a car, an academic degree, a lifestyle — then I’d be content.

Similarly, our culture encourages us to believe that reaching the next societal goal will create the utopia (or a reasonable facsimile) that we crave. Getting this court decision, passing that law, having this candidate elected will mean we’ve finally arrived. We’ll become in reality the country we’ve always pretended to be.

But I think we’ve hoped our way into this current crisis. Rather than facing the hard truths about our historical and continuing inequality and doing the hard work of examining our institutions, our traditions, and ourselves, we’ve floated along hoping things would inevitably get better. We’ve lived too much in the rosy future and far too little in the messy present. And we’ve allowed the hope-turned-expectation of progress to blind us.

This oblivious hope explains why so many were blindsided by rising racist rhetoric, by the videos of police shootings, by last year’s election, and by the national dissension that has exploded since November. People marginalized by racism, misogyny, homophobia, ableism, and other forms of oppression have tried to get the nation’s attention for decades.

The response? “We’re America. Have hope.” Before our eyes, that view is being unmasked for the fantasy it is.

But if not hope, then what? Do we let ourselves wallow in bitterness and despair, throw up our hands and resign ourselves to injustice and oppression?

I have no one-size-fits-all prescription; that’s been part of our problem — and part of the problem with hope. It encourages us to think that if we do certain things, take certain steps, achieve certain milestones, we will get the outcomes we want. It assumes that we have the solutions and we can control the future.

That’s not how the universe works. Nothing we can do will give us complete control. If history has taught us anything, it should have taught us that. Hoping and despairing about what we can’t control only distracts us from what we can: our actions in the present. Right now.

When I recall the asthmatic child I once was, I remember that though I had hopes and dreams about the future, that’s not what kept me going. I read incessantly: books and newspapers, my mother’s Ladies Home Journal and Redbook, Catholic missionary magazines and comic books. I began writing stories and journals while in elementary school. I watched films, inhaling the structures of narrative, the music of language. I listened to how people talked: their accents and inflections, their changes of register and style, their ways of arguing, praying, cursing. I thought about why people did what they did, what motivated them. I spent time alone, walking in nature, reflecting on and wrestling with myself.

At the time I didn’t know I was making myself a writer. I just responded to what called me.

Parenting, too, has taught me about hope. Like so many parents, I’ve indulged hopes about how my children will be at a given point in their lives. But, children being children, things turn out differently. Eventually I learned that I feel calmer and parent better when I focus on what they need in the present. I spend less time mentally playing sepia-toned, soft focus futures of achievement, and concentrate on clothing them, feeding them, and giving them boundaries and the love they need right now. I realized that if I valued being a good parent, if I loved them, I had no other choice.

You see, whether I get what I want turns out to not actually be my business. This insight came as quite a surprise, living as we do in a culture of control (not to say domination), a culture that deifies power over people, nature, possessions, aging, time, even death. But I don’t control whether I get what I want because I don’t control the universe; I live within it.

So I don’t need hope (or control) to act. I don’t need hope to figure out what I should do and how I should live. I have values. I have beliefs. I can examine whether they’re grounded in reality. And I can use those values to ask myself with each choice, “Am I being — right now — the person I believe I should be? Am I acting in line with truth, with reality, with the way I think life should be lived?”

If I believe in justice, do I express that belief? Do I work against injustice? Do I choose to undermine oppression or further it? Not because I know I’ll “win” or “succeed,” but because I’ve committed myself to living the way I think I should live.

At my best, I answer what each moment and my values call me to do. Sometimes it’s to rest, to reflect. Sometimes it’s to play. Sometimes it’s to connect with friends and loved ones. Sometimes it’s to struggle, critique, speak out. Sometimes to listen. Sometimes to celebrate. Sometimes to grieve. Each moment makes its demand, and I’m seeking the kind of life where I hear and answer that need as often as I can.

Contrary to our control-obsessed culture, the alternative to hope isn’t passivity or despair. It’s living. It’s being humble and real. It’s being here."]]></description>
<dc:subject>miguelclarkmallet hope everyday passivity despair 2017 life living engagement justice integrity control domination power humanism parenting achievement injustice oppression marginalization us utopia society progress progressivism present presence</dc:subject>
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<item rdf:about="http://thediagram.com/2_1/str_boredom.html">
    <title>DIAGRAM &gt;&gt; The Structure of Boredom</title>
    <dc:date>2017-06-25T02:17:12+00:00</dc:date>
    <link>http://thediagram.com/2_1/str_boredom.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Part III, the structure of boredom, analogously, is as follows: The self (1) relates to the now or present actuality in the mode of immediate experiencing (2). When that present (3) is symbolized as being devoid of values regarded as necessary for one's existence, one experiences boredom (5). Boredom is the awareness that the essential values through which one fulfills himself are not able to be actualized under these present circumstances. To the degree to which these limited values are elevated to absolutes which appear to be unactualizable (6), one is vulnerable to intensive, depressive, demonic boredom."

[via: https://twitter.com/salrandolph/status/877349051049619457 ]]]></description>
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