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	<rdf:li rdf:resource="https://frankchimero.com/blog/2020/burnout-list/"/>
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    <title>Moving with the city — Open City</title>
    <dc:date>2026-06-29T05:45:55+00:00</dc:date>
    <link>https://open-city.org.uk/events/moving1</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Join Open City for this site-sensing workshop — led by artist Alisa Oleva — where history and urban planning will be discovered through touch, listening and sensations 

By using elements of parkour and low impact movements participants of this workshop — which is open to movers and city explorers of all levels — will explore the architecture of social housing in north London including Highgate New Town designed by Hungarian architect Peter Tábori and Lismore Circus in Gospel Oak through deep listening, mapping and playing."]]></description>
<dc:subject>alisaoleva walking parkour 2021 art listening deeplistening mapping play petertábori lismorecircus sensing sensory walkshops situationist psychogeography</dc:subject>
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<item rdf:about="https://www.buildhollywood.co.uk/features/walk/">
    <title>WALK – monthly urban art walks with Alisa Oleva - BUILDHOLLYWOOD</title>
    <dc:date>2026-06-29T05:44:15+00:00</dc:date>
    <link>https://www.buildhollywood.co.uk/features/walk/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["A series of free monthly urban art walks over a period of one year.

As part of our latest Your Space Or Mine project, we appointed performance and walking artist Alisa Oleva as Artist in Residence, commissioned to work from BUILDHOLLYWOOD’s creative space, The CarWash, in Shoreditch.

“Each month I will host a walk which will start at The CarWash venue and then venture into the surrounding neighbourhood. Every walk will have a different theme, exploring the everyday, sensorial ways of engaging with the city, sounds, textures, memories and histories, emotional map-making, and the politics of public space” – Alisa Oleva.

Where does the city take you? Where do you turn next? Who walks these streets? What’s the sound of your own footsteps? Who owns the city? What’s here, and what do we wish was still here? Where do you find yourself now? These are the questions that Alisa explored on her experimental urban walks.

Over the past 12 months, Alisa’s walks have offered an act of collective close looking and reimagining – opening up spaces we don’t usually notice to make visible different ways of being in, and thinking about, the city.

To celebrate the end of our WALK series, we hosted a final Gathering event on the 20th July, which was an opportunity for past participants and for those who are curious to come together to celebrate over walking, sharing food, map making and conversations. The BUILDHOLLYWOOD CarWash has been the starting and finishing point of each event and we were excited to host the final Gathering at this space once again. "]]></description>
<dc:subject>alisaoleva walking art situationist psychogeography 2024 walkshops senses sensory urban cities memory history maps mapmaking mapping publicspace</dc:subject>
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<item rdf:about="https://akademija.whw.hr/fellows/alisa-oleva">
    <title>WHW Akademija - Alisa Oleva</title>
    <dc:date>2026-06-29T03:42:14+00:00</dc:date>
    <link>https://akademija.whw.hr/fellows/alisa-oleva</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Alisa Oleva is a walking artist based in London. Her practice unfolds within the spaces and streets of the city, exploring the politics of public space, how the city moves and how we move it, urban choreography and urban archaeology, traces and surfaces, borders and inventories, intervals and silences, passages and cracks. Her projects have taken the form of one-to-one and collective performances, walking scores, personal and intimate encounters, gatherings, parkour sessions, walkshops, soundwalks, and audiowalks.

Alisa holds a BA and MA from The Courtauld Institute of Art, London, and an MA in Performance from Goldsmiths, University of London. She is currently undertaking a fully funded practice-based PhD at the University of East London. She has worked with various places and communities, including Dnipro, Mariupol, Belgrade, Minsk, Berlin, Felixstowe, Leeds, Dudlange, La Sauvage, Brussels, Taoyuan, and others. In 2023, she was the recipient of an Another Route bursary and is currently leading a series of monthly art walks in East London, commissioned by BUILDHOLLYWOOD."

...

"Artist statement

Why walking? My impulse to walk stems from my experience of migration, which pushed me out of precarious housing conditions and led me to search for connection and a relationship with a new city through walking it. Over time, it developed into a walking art practice, in which I walk and invite others to walk with me, using walking as a methodology and practice to spark conversations, explore our connection to the everyday, question the politics of public space, and nurture a more sense of belonging and connection to land and place. 

I walk one-to-one with both strangers and friends. I also walk with big groups and small groups. I have organised various simultaneous walks across distances, across places, and across borders. 

Together with others who have also experienced migration, I explore how walking can become a way of home-finding - what routes we weave in our new homes, and what paths from our previous homes we carry with us. I also use counter-mapping as a way to walk the routes we remember but can no longer access.

I often walk at night, exploring the urban nightscape and how the city transforms in darkness. I’m interested in how the experience of walking at night differs for different bodies in different locations. 

In my work as a walking artist, walking is both the medium, the material, and the practice, while the streets, cities, parks, forests, and other kinds of places are both the site and my collaborators."]]></description>
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<item rdf:about="https://hyperallergic.com/alisa-oleva-walking-home-performistanbul/">
    <title>Walk With Me: A Performance Artist Adapts to the Pandemic</title>
    <dc:date>2026-06-29T03:41:03+00:00</dc:date>
    <link>https://hyperallergic.com/alisa-oleva-walking-home-performistanbul/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["For two weeks last fall, performance artist Alisa Oleva walked with 33 different women in Istanbul; sometimes for 30 minutes, sometimes for three hours, but always from 1500 miles away."]]></description>
<dc:subject>2021 alisaoleva istanbul jenniferhattam walking 2020 art situationist psychogeography walkshops</dc:subject>
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<item rdf:about="https://journals.sagepub.com/doi/10.1177/13505068241262923">
    <title>Unveiling urban landscapes: Alisa Oleva’s performances during the pandemic - Raffaella Tartaglia, 2024</title>
    <dc:date>2026-06-29T03:40:03+00:00</dc:date>
    <link>https://journals.sagepub.com/doi/10.1177/13505068241262923</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["This text explores the evolving landscape of performance art in the face of pandemic restrictions, shedding light on the repercussions of audience deprivation and the subsequent exploration of digital platforms as a means of artistic expression. Focusing on some artistic performances of Alisa Oleva, the text investigates how her exploration of touching and walking as a medium influences the understanding of urban landscapes. By using the city as her studio and manipulating everyday life, Oleva uncovers the hidden stories and meanings embedded within inside and outside spaces, to examine questions related to women’s histories, traces, and surfaces. In particular, we focus on Walking Home (2020), a performance that, in addition to providing an interesting example of walking as an aesthetic practice, raises political and activist questions, such as how the pandemic-induced confinement masks deeper issues, namely the safety of the domestic environment for those who identify themself as women. Through various performances, we delve into the theme of seeing and touching, emphasising the significance of sensory perception as embodied human beings. Moreover, the text highlights how our passages and connections with different environments contribute to shaping the very meaning of the places we encounter in the world. In addition, the text acknowledges the transformative power of personal experiences in crafting the narrative of our collective story."]]></description>
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<item rdf:about="https://compassliveart.org.uk/walk-me-there-a-round-up/">
    <title>Walk Me There - A Round Up - Compass Live Art / Compass Festival</title>
    <dc:date>2026-06-29T03:37:12+00:00</dc:date>
    <link>https://compassliveart.org.uk/walk-me-there-a-round-up/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Over Alisa’s residency period in August, she went on one-to-one walks, hosted two group “walkshops” and created some beautiful memories with people living in Leeds: Anastasiia Abramchuk, Madda Moretti, Tatiana, Yuma, Haval, Maja Novak, coni, Mishka and Dasha."]]></description>
<dc:subject>alisaoleva walking situationist psychology walkshops place place-basedlearning art ephermal ephemerality ursulaleguin ursulakleguin leeds cities urban psychogeography</dc:subject>
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<item rdf:about="https://www.youtube.com/watch?v=ljqTo7GC7HM">
    <title>Walking and the Art of Public Space: Alisa Oleva on Cities, Belonging &amp; Nuart Aberdeen - YouTube</title>
    <dc:date>2026-06-29T03:15:35+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=ljqTo7GC7HM</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Walking can be much more than getting from A to B. In this interview from Nuart Aberdeen, walking artist Alisa Oleva talks about how she turns walks through the city into a form of art and a way of seeing places differently.

Alisa describes one-to-one walks with people who are new to a city, helping them explore ideas of home and belonging through everyday routes. She talks about blindfolded walks, long group walks that repeat the same path for hours, and workshops where people try simple exercises like walking differently, touching surfaces or noticing small details. She also explains how  she spends time “deep hanging out” in neighbourhoods. She connects her work to ideas from performance art, psychogeography and parkour. Especially the idea of “desire lines”, the paths people make when they don’t follow the official route.

Contents
00:00 – Walking as an art practice
01:50 – What it feels like on a walk
05:00 – Preparing a walk in a new city 
07:30 – Long-term projects, deep hanging out and working with strangers
10:20 – Simultaneous distant walks (Mariupol and beyond)
12:10 – Covid, virtual walks and “let me be your eyes”
14:30 – Migration, London and how the practice began
18:30 – Parkour, desire lines and small acts of disobedience in the city
21:20 – Performance, liveness and walking scores"

[via:

"Alisa Oleva the Walking Artist Inviting Us to View the City Differently • Inspiring City"
https://inspiringcity.com/2026/06/22/alisa-oleva-the-walking-artist-inviting-us-to-view-the-city-differently/ ]]]></description>
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<item rdf:about="https://alisaoleva.com/">
    <title>Alisa Oleva</title>
    <dc:date>2026-06-29T03:14:01+00:00</dc:date>
    <link>https://alisaoleva.com/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Alisa Oleva is a walking artist based in London who works within the spaces and streets of the city, exploring the politics of public space, how the city moves us and how we move it, urban choreography and urban archaeology, traces and surfaces, borders and inventories, intervals and silences, passages and cracks. She creates one-to-one and collective performances, walking scores, personal and intimate encounters, gatherings, soft parkour sessions, walkshops, soundwalks, and audiowalks.

Alisa holds a BA and MA from The Courtauld Institute of Art and an MA in Performance from Goldsmiths. She is currently doing a fully funded practice-based PhD at the University of East London."]]></description>
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<item rdf:about="https://www.walkinghome.online/">
    <title>Walking Home | Alisa Oleva</title>
    <dc:date>2026-06-29T03:13:38+00:00</dc:date>
    <link>https://www.walkinghome.online/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Sanatçı | Artist Alisa Oleva
Invitation to “Walking Home” from Performistanbul"

...

"Alisa Oleva invites women of Istanbul to participate in her Performance!

The first residency programme of Performistanbul is brought to life! Alisa Oleva is the first artist nominated to the “Artistic Development Programme'' as part of Performistanbul’s artist residency focused on performance artists, the project is conducted with the support of British Council’s #WomenPowerinCulture Grant Scheme, in collaboration with Live Art Development Agency, (LADA, London). Alisa Oleva is a Russian artist living and working in London, presenting her performance Walking Home in two channels both in Istanbul and London. Oleva is searching for women* who self identify themselves as women participants to walk with her towards home. For walking “home” together with Oleva, the final participation date for applications is on the 25thof October 2020. 

At the performance entitled `Walking Home, while the participants will be walking towards the place where they describe as “home” in Istanbul, the artist will accompany each partner within one-to-one sessions from London by connecting via phones without the presence of an audience. In order to designate the starting point of the walking, a map that reads the city through the locations of historical and forensic figures, artefacts and events related to women will guide the participants. In these traces there are such as; the Sultanahmet Square in the remembrance of Halide Edip Adıvar’s  activist and political speech in 1919, Yıldız Park in memory of Gürdal Duyar’s sculpture that represents Istanbul in the form of a woman’s body,  Fındıklı park where Füsun Onur’s 50thyear sculpture that got removed by the city hall crew during the organisation as well as selected places such as Süreyya Opera. 

With the following questions; “If I ask you to walk me home, where would you take me? Does home mean feeling safe? What makes you feel like at home? Is it where you live now or a different place? Or is it not even a place? Now, it is time to walk and find home!", the artist is searching for the answer of what could be the meaning of the notion of “home”. She invites women* living in Istanbul to share her footsteps within that journey. The notion of “home”, that may refer to different meanings such as the nest, safe space, family, escape, indefensible area, self-reflection, is at the centre of the Walking Home performance. The artist will ask several questions to the participants in order to get a response to the meanings of “home”, as a result it could lead to various descriptions such as an actual home; a park, a seaside, a library or a place which reflects that feeling or a person and an object. On the other hand, her questions could also  remain unanswered...  

If you would like to apply to the open call in order to think about the concept of “home” collaboratively, please write to info@performistanbul.org until the 25thof October 2020, Sunday. While the open call continues, the performances will start on the 18thof October and last until the 31stof October. The timetable and all details will be shared with the participants via email and the times will be organised with the artist."

...

"Performistanbul’dan “Eve Yürüyüş” İçin Davet  
Alisa Oleva, İstanbul’daki kadınları Performansa Katılmaya Çağırıyor!

Performistanbul’un ilk misafir sanatçı programı hayata geçiyor! British Council’ın #KültürdeKadınGücü Destek Programı  sayesinde, Live Art Development Agency (LADA, Londra) ile iş birliği yaparak geliştirdiği, performans sanatçılarına özel “Sanatsal Gelişim Programı”na ilk seçilen sanatçı Alisa Oleva oldu. Rus asıllı Londra merkezli performans sanatçısı Alisa Oleva, Eve Yürüyüş (Walking Home) adlı projesini İstanbul ve Londra olmak üzere iki ayaklı olarak sunuyor. Oleva, kendisiyle birlikte yürüyecek İstanbul’daki kadın* ve kendini kadın olarak tanımlayan katılımcıları arıyor. Oleva ile “ev”e doğru yürümek için gerçekleştirilen açık çağrıya son katılım tarihi 25 Ekim 2020.

Birebir yapılacak yürüyüşlerde, katılımcılar İstanbul’da “ev” olarak tanımladıkları yere doğru yürürken, sanatçı Oleva’nın da Londra’dan eşlik edeceği Eve Yürüyüş adlı performansta, aralarındaki bağı telefonları sağlayacak ve süreçler izleyicisiz olarak gerçekleşecek. Kadınların şehre bıraktığı izler üzerinden belirlenen başlangıç noktalarını seçerken, katılımcıya, kadın(lar)la ilgili tarihi ve önemli şahıslar, olaylar, yapıtlar üzerinden şehrin okumasının yapıldığı bir harita kılavuzluk edecek. Bu izler arasında, Halide Edip Adıvar’ın 1919 yılında yaptığı aktivist ve politik bir konuşma anısına Fatih’teki Sultanahmet Meydanı, Gürdal  Duyar’ın İstanbul’u kadın bedeniyle temsil ettiği heykeli anısına Yıldız Parkı, Füsun Onur’un belediye ekipleri tarafından park düzenlemesi sırasında kaldırılan 50. yıl heykeli anısına Fındıklı Parkı ve Süreyya Operası gibi yer ve mekânlar bulunuyor. Süreç dâhilinde her katılımcı, kendi hikâyelerinden bir parkur oluşturarak, bu haritanın bir parçası olarak ortak yaratıcılarından birine dönüşecek. Açık çağrı bir seçim olmadan, çağrıya yanıt veren herkesi kapsayacak ve performans gece veya gündüz fark etmeksizin karşılıklı belirlenen başlangıç noktası ve süresi çerçevesinde hayata geçecek.

Sanatçı “Benimle eve yürümeni istesem, beni nereye götürürdün? Ev, güvende hissetmekle aynı anlamı taşır mı? Sana ev hissini ne verir? Bu yaşadığın yer mi yoksa başka bir yer midir? Bu belki bir yer bile değildir? Şimdi yürümenin ve evi bulmanın zamanı!” sözleriyle “ev” kavramının ne anlama geldiği sorusunun cevaplarını arıyor. İstanbul’da yaşayan kadınları* eve giden yolda, adımlarını paylaşmaya çağırıyor. Yuva, güvenli bölge, aile, kaçış, savunmasız alan, öze dönüş gibi kişi için pek çok tanımı çağrıştırabilecek “ev” kavramı, Eve Yürüyüş adlı performansın merkezini oluşturuyor. Katılımcılara, “ev” kavramını tanımlamak için çeşitli sorular yönlendirecek olan sanatçı, herhangi bir ev tarifi yanıtı alabileceği gibi bir park, deniz kenarı, kütüphane veya bu hissi taşıyan herhangi bir yer, kişi veya nesne gibi pek çok karşılık da bulabilir. Yanıtsız da kalabilir...

Siz de açık çağrıya katılmak ve “ev” kavramını beraber düşünüp sorgulamak için 25 Ekim 2020 Pazar gününe kadar info@performistanbul.org adresine yazabilirsiniz. Açık çağrı devam ederken, 18 Ekim’den itibaren başlayacak performanslar 31 Ekim tarihine kadar devam edecek. Zamanı  sanatçıyla beraber kararlaştırılacak performans ile ilgili detaylı bilgiler başvuran katılımcılarla mail aracılığıyla paylaşılacak."]]></description>
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    <title>&quot;WALKING IS SO SIMPLE YET SO DEEPLY COMPLEX&quot;: IN CONVERSATION WITH ALISA OLEVA</title>
    <dc:date>2026-06-29T03:13:26+00:00</dc:date>
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<item rdf:about="https://inspiringcity.com/2026/06/22/alisa-oleva-the-walking-artist-inviting-us-to-view-the-city-differently/">
    <title>Alisa Oleva the Walking Artist Inviting Us to View the City Differently • Inspiring City</title>
    <dc:date>2026-06-29T02:53:49+00:00</dc:date>
    <link>https://inspiringcity.com/2026/06/22/alisa-oleva-the-walking-artist-inviting-us-to-view-the-city-differently/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[embedded video:

"Walking and the Art of Public Space: Alisa Oleva on Cities, Belonging & Nuart Aberdeen"
https://www.youtube.com/watch?v=ljqTo7GC7HM 

"Walking can be much more than getting from A to B. In this interview from Nuart Aberdeen, walking artist Alisa Oleva talks about how she turns walks through the city into a form of art and a way of seeing places differently.

Alisa describes one-to-one walks with people who are new to a city, helping them explore ideas of home and belonging through everyday routes. She talks about blindfolded walks, long group walks that repeat the same path for hours, and workshops where people try simple exercises like walking differently, touching surfaces or noticing small details. She also explains how  she spends time “deep hanging out” in neighbourhoods. She connects her work to ideas from performance art, psychogeography and parkour. Especially the idea of “desire lines”, the paths people make when they don’t follow the official route.

Contents
00:00 – Walking as an art practice
01:50 – What it feels like on a walk
05:00 – Preparing a walk in a new city 
07:30 – Long-term projects, deep hanging out and working with strangers
10:20 – Simultaneous distant walks (Mariupol and beyond)
12:10 – Covid, virtual walks and “let me be your eyes”
14:30 – Migration, London and how the practice began
18:30 – Parkour, desire lines and small acts of disobedience in the city
21:20 – Performance, liveness and walking scores"]]]></description>
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<item rdf:about="https://www.blind-magazine.com/en/news/vincent-catalas-situationist-drift-in-brazil/">
    <title>Vincent Catala's Situationist Drift in Brazil — Blind Magazine</title>
    <dc:date>2026-06-27T05:58:22+00:00</dc:date>
    <link>https://www.blind-magazine.com/en/news/vincent-catalas-situationist-drift-in-brazil/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["In Charleroi, the photographer is showing “Île Brésil,” the fruit of ten years spent wandering on foot, by bus and by motorbike through the outskirts of the country’s three great cities: São Paulo, Rio, and Brasília. A drift, in the sense Guy Debord gave that word: a voluntary surrender to the pull of the terrain."]]></description>
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<item rdf:about="https://www.commonwealmagazine.org/ward-graham-michel-de-certeau-wounded-walker">
    <title>The Wounded Walker | Commonweal Magazine</title>
    <dc:date>2026-06-25T21:14:53+00:00</dc:date>
    <link>https://www.commonwealmagazine.org/ward-graham-michel-de-certeau-wounded-walker</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Michel de Certeau’s search for the murmuring of the mystical in secular society"

...

"The Czech poet and painter Josef Čapek, who was killed in Bergen-Belsen in 1945, described himself as a limping pilgrim “hobbling through the Gateway to Eternity.” Certeau—and Fern in Nomadland—could be described the same way. In his biography of Certeau, Françoise Dosse calls him “le marcheur blessé,” “the wounded walker.” 

Part of Certeau’s attraction to the Society of Jesus was that he wanted to be a missionary. He did travel widely, but his real wayfaring ended up being internal—an inner movement that could not be stilled or staunched. For Certeau, the transience of desire, including his own, cannot be pinned down but only attested to. We can only trace it in and through its various inscriptions and behaviors. The city may be mapped and its entrances and exits prescribed, but it can be walked in a million different ways. In his numerous and multifaceted investigations, Certeau traces the murmuring of a desire that no secularism can conceal or abrogate. This is the spiritual vision in his work that roamed and transgressed across anthropology, theology, history, sociology, psychoanalysis, ethnography, and what is now known as cultural studies.  

One can understand why Catholic theologians have paid him little attention. Though he wrote about the Church, the Eucharist, and even Christ, he had little interest in dogmatics, philosophical theology, moral theology, or ecclesiology. And his writing style can be forbidding, as we have seen. But beyond its eclecticism and difficulty, Certeau’s work may have been avoided by theologians because of a critical question it raises: To what extent are their theologies themselves “sociocultural productions” reacting to, rather than excavating, secularism? Certeau wants to ask of theology not whether its critique of secularism is right or wrong, but what fears and desires it is itself expressing.

Certeau invented interdisciplinary study before it was fashionable or even had a name. He recognized that the truly big questions—like what makes a belief believable or why one would believe anything—cannot be answered by any one intellectual discipline, including theology, with its siloed modes of inquiry and strictly policed faculty boundaries. And yet such questions tap into the very roots of any religious faith. Certeau was likely not surprised at theologians’ neglect of his work. He would have known from his reading of the mystics that the Church is always wary of lived experience and religious enthusiasm uncontainable by its boundaries."]]></description>
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</item>
<item rdf:about="https://chimeraobscura.com/vm/episode-607-christopher-brown">
    <title>Episode 607 – Christopher Brown – The Virtual Memories Show</title>
    <dc:date>2026-04-20T00:17:54+00:00</dc:date>
    <link>https://chimeraobscura.com/vm/episode-607-christopher-brown</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[also here:
https://podcasts.apple.com/es/podcast/episode-607-christopher-brown/id531173075?i=1000671460976
https://open.spotify.com/episode/1zsmFxKcm9LXxvFbNN5Xy9?
https://www.youtube.com/watch?v=SZt9osYrNQ8 ]

"<blockquote>“I wanted to combine the nature writing style I had been riffing on in my FIELD NOTES newsletter, with the potential for lyrical, descriptive translation of the richness of the world into language, and also provide an effective information delivery vehicle, like classic American non-fiction, and then telling a story in a way that a novel or a good memoir tells a story.”</blockquote>

With his phenomenal new book, A NATURAL HISTORY OF EMPTY LOTS: Field Notes from Urban Edgelands, Back Alleys and Other Wild Places (Timber Press), Christopher Brown shifts from novels into a new mode and I am HERE for it. We talk about the eco-cosmos of East Austin, TX, the years of observation that opened him to the hidden pockets of wildness in urban environments, why solitude in nature is a myth, what we have to gain from taking a long walk, Long Time vs. the short presence of Anglos in Texas, how 2020’s lockdown turned off global capitalism and showed how society might truly change, and how this book mutated from when we talked about it at Readercon 2023. We get into Bruce Sterling’s unforgettable critique of his writing, the process of turning a narrative of colonization into one of decolonization, (eco)psychogeography & the Situationists, why he (begrudgingly) brought the personal/memoiristic into the book and how it helped him come to terms with himself, and what a workshop with horror writers taught him about the truth-telling power of non-redemptive storytelling. We also discuss the design flaws of the agricultural revolution, how his readers in different regions respond to his FIELD NOTES newsletter, the nature of mysticism and writing a narrative about transcending the self, hiking a Massachusetts marsh in summer with Jeff VanderMeer, and plenty more. Give it a listen! And go read A NATURAL HISTORY OF EMPTY LOTS!

<blockquote>“Solitude in nature is a myth. What you find in nature is a much deeper connection with all this other life around you, a connection that precedes language and the alienation that’s embodied in language.”</blockquote>

<blockquote>“To me, the most dramatic lesson of COVID wasn’t how much of nature was out there, hiding in plain sight, but the possibility of change, the immediate, sudden change in how we live and work, the idea that global capitalism could be completely turned off for weeks at a time.”</blockquote>

<blockquote>“Preoccupation with planning for the future is tied up with that preoccupation with accumulating surplus to survive the season and all the unhealthy things that produces, even if that’s the killer app of our civilization.”</blockquote>

<blockquote>“The narrower the aperture, the more plausible the ambition.”</blockquote>"]]></description>
<dc:subject>christopherbrown psychogeography situationist 2024 austin solitude naturalhistory nature wildlife morethanhuman multispecies animals plants</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:b719c1af376b/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:situationist"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:morethanhuman"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:animals"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:plants"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://www.tandfonline.com/doi/full/10.1080/13569783.2025.2576474">
    <title>‘Space is weird…’: contemplative-drifting with student archives as place-based-pedagogy: Research in Drama Education: The Journal of Applied Theatre and Performance: Vol 30 , No 4 - Get Access</title>
    <dc:date>2026-04-14T04:54:12+00:00</dc:date>
    <link>https://www.tandfonline.com/doi/full/10.1080/13569783.2025.2576474</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The Homecoming(s) Project explores a university campus and archives through the application of a hybrid walking-methodology. Having previously applied Nicolás Núñez's contemplative tools alongside solo dérive-inspired practices, the author invites a team of undergraduate researchers to explore the practices’ potential pedagogical applications. Student reflections attest to a re-grounding of experience, learning and research in a dynamic ethic of reciprocity. With these reflections in mind, the article discusses the opportunities for contemplative-critical walking to generatively disrupt the logics of the western archive and one's assumptions of relationship to place. The improvisatory approach of the project provides an embodied and reflective framework which reveals the potential incommensurability between Eurocentric walking-methodologies which foreground reciprocity and their application as tools towards redressing ones’ colonial inheritances."]]></description>
<dc:subject>stevedonnelly 2026 place-basedlearning pedagogy walking derive dérive situationist psychogeography methodology place nicolásnúñez anthropocosmic improvisation decolonization colonialism colonization west archives learning howwelearn reciprocity contemplation reflection place-basededucation land-basedlearning land-basededucation</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:aae1c5795e73/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:place-basedlearning"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:decolonization"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:learning"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:howwelearn"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:reciprocity"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:land-basedlearning"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:land-basededucation"/>
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<item rdf:about="https://papers.ssrn.com/sol3/papers.cfm?abstract_id=6097646">
    <title>Thinking—Fast, Slow, and Artificial: How AI is Reshaping Human Reasoning and the Rise of Cognitive Surrender by Steven D Shaw, Gideon Nave :: SSRN</title>
    <dc:date>2026-03-25T23:46:52+00:00</dc:date>
    <link>https://papers.ssrn.com/sol3/papers.cfm?abstract_id=6097646</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["People increasingly consult generative artificial intelligence (AI) while reasoning. As AI becomes embedded in daily thought, what becomes of human judgment? We introduce Tri-System Theory, extending dual-process accounts of reasoning by positing System 3: artificial cognition that operates outside the brain. System 3 can supplement or supplant internal processes, introducing novel cognitive pathways. A key prediction of the theory is "cognitive surrender"-adopting AI outputs with minimal scrutiny, overriding intuition (System 1) and deliberation (System 2). Across three preregistered experiments using an adapted Cognitive Reflection Test (N = 1,372; 9,593 trials), we randomized AI accuracy via hidden seed prompts. Participants chose to consult an AI assistant on a majority of trials (>50%). Relative to baseline (no System 3 access), accuracy significantly rose when AI was accurate and fell when it erred (+25/-15 percentage points; Study 1), the behavioral signature of cognitive surrender (AI-Accurate vs. AI-Faulty contrast; Cohen's h = 0.81). Engaging System 3 also increased confidence, even following errors. Time pressure (Study 2) and per-item incentives and feedback (Study 3) shifted baseline performance but did not eliminate this pattern: when accurate, AI buffered time-pressure costs and amplified incentive gains; when faulty, it consistently reduced accuracy regardless of situational moderators. Across studies, participants with higher trust in AI and lower need for cognition and fluid intelligence showed greater surrender to System 3. Tri-System Theory thus characterizes a triadic cognitive ecology, revealing how System 3 reframes human reasoning and may reshape autonomy and accountability in the age of AI."]]></description>
<dc:subject>stevenshaw gideonnave 2026 thinking howwethink cognition criticalthinking ai artificialintelligence psychogeography via:javierarbona chatgpt claude gemini cognitiveoffoading</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:13ea5025c5b6/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:cognition"/>
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</item>
<item rdf:about="http://thelrm.org/">
    <title>The LRM - The Loiterers Resistance Movement</title>
    <dc:date>2026-02-27T07:06:38+00:00</dc:date>
    <link>http://thelrm.org/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The LRM (Loiterers Resistance Movement) is a Manchester based not-for-profit collective of artists, activists and urban wanderers  interested in psychogeography, public space and the hidden stories of the city.

We can’t agree on what psychogeography means but we all like plants growing out of the side of buildings, looking at things from new angles, radical history, drinking tea and getting lost; having fun and feeling like a tourist in your home town. Gentrification, advertising and blandness make us sad. We believe there is magick in the mancunian rain.

Our city is wonderful and made for more than shopping. The streets belong to everyone and we want to reclaim them for play and revolutionary fun….

The LRM embark on psychogeographical drifts to decode the palimpsest of the streets, uncover hidden histories and discover the extraordinary in the mundane. We aim to nurture an awareness of everyday space, (re)engaging with, (re)mapping and (re)enchanting the city.

On the first Sunday of every month we go for a wander of some sort and we also organise occasional festivals, exhibitions, shows, spectacles, silliness and other random shenanigans. These range from giant cake maps to games of  CCTV Bingo. Information on forthcoming events is here. We were founded in 2006 by Morag Rose and 2016 we celebrated 10 years of creative mischief with Loitering With Intent: The Art and Politics of Walking at The Peoples History Museum. 

Please walk with us, everyone is welcome. Our events are free and open to all: these are our streets and they are yours too. 

If you have any questions or comments, or have any access needs to discuss (we will do our best to meet them) you can contact us at

Email mlrose@thelrm.or

Comment on the Facebook group the loiterers resistance movement

We hope to see you playing out with us soon xx"]]></description>
<dc:subject>psychogeography manchester situationist walking wandering place resistance loitering art activism lcproject openstudioproject history socialhistory multisensory serendipity</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:2eb5970e2d72/</dc:identifier>
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<item rdf:about="https://psyche.co/ideas/what-rituals-from-the-past-teach-us-about-panic-and-anxiety">
    <title>What rituals from the past teach us about panic and anxiety | Psyche Ideas</title>
    <dc:date>2025-11-22T00:23:09+00:00</dc:date>
    <link>https://psyche.co/ideas/what-rituals-from-the-past-teach-us-about-panic-and-anxiety</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["In the sensory and communal modes of healing that people have used throughout history, there is guidance for today"]]></description>
<dc:subject>senses sensing multisensory mariwmel-kady psychogeography panic anxiety religion ritual community communalism mentalhealth ibnsina hippocrates islam culture ceremony ceremonies trauma shamans calming healing psychiatry medicine hysteria</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:dcd6408319f9/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:mariwmel-kady"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:psychogeography"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:panic"/>
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</item>
<item rdf:about="https://vocal.media/humans/map-demap-and-reroute">
    <title>Map, Demap and Reroute | Humans</title>
    <dc:date>2025-11-22T00:18:12+00:00</dc:date>
    <link>https://vocal.media/humans/map-demap-and-reroute</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Burn all the maps to you for a better life"

...

"Somehow I became known as a psychogeographer. I didn’t even know what psychogeography was never mind that I was a practitioner of it. Of course I had to look it up. I found out that it was to do with the Situationist International, Guy Debord and the rest but that actually apart from the naming it had probably been going on for many many years before the term was formalised by the situationists.

Mapping, remapping and demapping of the real physical world and the world of the mind are all part of psychogeography. You’re probably doing these things every day without even knowing it. It’s when it becomes a conscious decision to do them that perhaps art is taking place. Over the years I’ve done a number of things that might be considered to be psychogeography in practice. I renamed what I do as splacism, splacist activities and explorations. There’s even a Splacist Manifesto which of course is open to change by anyone who would like to do so.

Finding that I was categorised as something that I didn’t even know what it was was in itself like being remapped. I used it to re-examine my psyche. My intentions. I discovered that I work best when I set myself actions that are counter to what is expected not only by others of me but by myself too. Turn left when it says turn right. Go through gates that say ‘No Entry’ but are open and the like.

Navigating the world with maps of places other than where one is is an interesting excercise. Try following the lefts, rights and straight aheads of a tourist tour of Rome whilst in London. Visit the site of the Sistine Chapel but in Birmingham, UK. What might you find. In doing so our own minds take a little remapping too.

I remember beginning to believe that I really was viewing the Fountain of Trevi whilst actually staring at a public toilet in central London. I think I enjoyed it just as much as if I had actually been in Rome. I even turned away from it and threw a coin over my shoulder at the toilet block. I made a wish too but I’m not telling you what it was as that would mean it could never come true.

I have had a brain scan. I’ve had a brain scan twice. Both times the things they were looking for weren’t there or if they were they were hiding. I’m glad as the things they thought might be there were not good at all. What they did find was an enlarged pineal gland, yes, what some call the third eye and this made me think of myself in new and interesting ways. I began to think that I might really be a mystic and that a whole field of new possibilities was opening to me. Perhaps I’d go back to reading the tarot and tea leaves with new vim and vigour. Perhaps I’d go travelling the Astral Plane a little more often than of late. Permission granted by an MRI scan.

So I became what people said I was, a poet, an artist, an urban explorer, a psychogeographer, a splacist warrior. At heart I was still the same me just mapped upon differently by outside influences. I was still husband, son, dad and always will be along with being all the other things and more too. Define me at your peril. And it’s double the peril if I try to define myself.

They say walk in someone else’s shoes to really discover what it is that they do and what makes them tick but what about our own shoes? Perhaps we take our shoes and the steps we take in them a little too much for granted. Yes, some of us monitor our steps to check that we’ve made whatever target the latest health agency or guru says we should be hitting, be it ten thousand steps or otherwise but what about our psychological interactions with the spaces and places we take those steps through and to? And their interactions with us, both the places and spaces themselves and ourselves being transformed one way or another by our journeys, physical and psychological.

Walk for too long in someone else’s shoes and you’re almost bound to get blisters. Walk in your own shoes for too long and complacency will surely set in.

We hobble ourselves a little every day that we don’t think outside of our own footsteps. Take some time to map, remap, demap, reroute and walk at least for a short while without purpose.

Sometimes it’s okay to not quite know exactly where you’re heading. A fully mapped out future might feel cosy but get too cosy and and there’s a danger that we will atrophy, mind and body.

If I ever find the map to and of me I hope I will have the courage to strike a match and burn it."]]></description>
<dc:subject>paulconneally psychogeography 2025 maps mapping illegibility situationist guydebord remapping demapping splacistmanifestowalking</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:8403b080b734/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:paulconneally"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:2025"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:illegibility"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:splacistmanifestowalking"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://pablohelguera.substack.com/p/when-pilgrimage-becomes-form">
    <title>When Pilgrimage Becomes Form - Beautiful Eccentrics</title>
    <dc:date>2025-10-18T06:09:52+00:00</dc:date>
    <link>https://pablohelguera.substack.com/p/when-pilgrimage-becomes-form</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["On peripatetic practices."

...

"I started walking intently, as the writer Lori Waxman calls it, sometime during the pandemic in 2020. The pandemic forced us to radically limit our mobility to the most immediate surroundings. During that period my mind reverted to my childhood, when I was not allowed to leave the house unattended and was dependent of an adult to go beyond a few blocks. Stores and restaurants were closed, and even some public parks; no public transportation was available nor taxicabs. For many of us New Yorkers without a car, the only way to rebel against that imprisonment was to go out and walk through our neighborhoods. The activity became not only a form of exercise, but an attempt to improve our mental health.

Over the past five years this practice has deepened for me, leading to three realizations:


1. Movement and knowledge are inseparable; the act of going toward something generates its own kind of understanding.
2. Art is pilgrimage, and pilgrimage itself is a form of art.
3. Getting lost is not failure but a necessary and undervalued condition.

To survive as human beings requires the ability to move. Our earliest ancestors, 300,000 years ago, depended on hunting and gathering. Immediately, we can understand that this process of gathering is itself a form of learning—whether in a nomadic or sedentary community. The hunter or gatherer requires knowledge of the landscape, ecological systems, and the resources of their environment. What they observe must be shared and transmitted to their community, making this process of gathering an eminently social act.

Movement also connects to another kind of knowledge: spiritual knowledge—the knowledge of the pilgrim. As is well known, the principal reason that pilgrims walk the Camino de Santiago is spiritual, since the lessons gained suggest that difficulties and setbacks must be confronted rather than avoided.

But pilgrimage is not only an act of spiritual realization—it is also an act of knowledge. This is manifest in the Baroque period, ironically in the work of a Hieronimite nun who never traveled outside of the New Spain. I am referring to Sor Juana Inés de la Cruz’s masterpiece, Primero Sueño. In that poem, the narrator imagines her soul rising from her body while dreaming, at which time she is able to capture the totality of divine and human knowledge. But, it being a dream, this knowledge is also an illusion, and she wakes up with that realization.

In art, the way walking has been domesticated, if you will, is by turning it into an act of spiritual/touristic pilgrimage to specific sites.

The museum, often seen as a mausoleum, in other contexts becomes a kind of sanctuary or altar. The experience of visiting an artwork is a hybrid of tourism and spiritual pilgrimage.

Artworks in museums often undergo a double consecration. First, they become commodities, circulating through systems of value until they are enshrined as priceless treasures. Second, once housed in institutions, they acquire the aura of relics: objects to which we make pilgrimages. To stand before the Mona Lisa, for instance, is less an act of aesthetic contemplation than a ritualized performance — waiting in line, jockeying for a glimpse, documenting the encounter with a smartphone. As Benjamin suggested, the museum amplifies aura by staging artworks as sacred presences, and as Carol Duncan has argued, the visit itself functions as a civilizing ritual. Yet in the society of the spectacle (Debord), this ritual is commodified: tourism, ticket sales, and the circulation of selfies transform reverence into revenue. The museum pilgrimage becomes indistinguishable from a consumer experience, a sacred encounter repackaged as leisure.

It was precisely against this cycle of idolatry and fetishism that process-based art emerged. In Happenings, Kaprow shifted attention away from the object and toward the event; performance artists made the body itself the medium; land artists inscribed gestures into the landscape rather than onto a canvas. What mattered was not the relic but the act — the lived moment of participation, risk, or movement.

Walking as an art form crystallizes this ethos. Richard Long’s A Line Made by Walking (1967) turned the most ordinary of actions into a sculptural trace, reimagining the artwork as a fleeting imprint in the landscape. Hamish Fulton built an entire practice on the motto “no walk, no work,” treating walking itself as both medium and message, where the journey is the art. Francis Alÿs, in works such as The Collector (1991) or The Green Line (2004), extended walking into poetic and political registers, where the act of moving through urban space becomes a way of narrating history and conflict. Unlike the pilgrimage to the museum shrine, these works propose a pilgrimage without object: not a journey toward a sacred relic, but toward oneself. To walk as art is to recognize that the sacred lies not in commodities enshrined behind glass, but in the embodied act of moving through the world, where every step is both process and reflection, both artwork and awakening.

In other words: in museums, artworks often become sacred relics. We line up to see them, as if on pilgrimage — think of the Mona Lisa. But this pilgrimage is commodified: ticket sales, gift shops, selfies. The ritual of reverence is packaged as leisure.

Process-based art broke away from that cycle and shifted value from the object to the act. What mattered was the gesture, the event, the body in time.

My own practice has been guided by this spirit. For me, walking is also learning. It is not centered on an object, but it generates many forms: documentation, markers, narratives. The School of Panamerican Unrest was one such walk — a journey from Alaska to Tierra del Fuego, where each stop became a classroom, each encounter a lesson. The project was less about reaching an end point than about creating a living archive of dialogues across the Americas.

So when I walk, I walk to learn. The artwork is not a relic to be enshrined, but a process of exchange — a story that unfolds with every step.

Whenever I think of the act of getting lost, I often think about the Calzada del niño perdido (lost child Causeway) in Mexico City, a street whose name stems from a colonial-era story about an anonymous boy who got lost and was later murdered. The street is today part of the modern-era Eje Central Lázaro Cárdenas in downtown Mexico City.

While getting lost is often associated with anxiety and tragedy, being lost does not constitute failure. On the contrary, it can be the point. As we know, the Situationists sought it intentionally and celebrated it as the dérive—drifting through the city without direction, letting the streets themselves guide you. To lose the map is to let go of habit, to break from the familiar circuits of daily life.

Displacement, whether intentional or accidental, is deeply generative. When we are out of place, we see differently. The city rearranges itself. Our assumptions are unsettled. Suddenly, a side street, a fragment of conversation, a corner café becomes a revelation.

For me, this has always been central: walking is not about efficiency, it is about discovery. To be displaced is to be invited into new ways of perceiving, to reframe perspective and re-examine reality. It is in those moments of disorientation that the real work of art—and of learning—emerges. So walking also means accepting disorientation. Displacement—whether by design or accident—is productive: it unsettles our habits, shifts our perspective, and opens us to what we would otherwise overlook.

To walk, to learn, even to lose our way: these are not detours from art, but the very conditions for it. In displacement we reframe reality; in drifting we encounter the world anew.

For the artist, in particular being lost, more than constituting failure, is condition. To be dislocated, to stand at the margins, is to step into the role of outsider. Walking is our most direct instrument for this task, the line we draw across the world to register where we are and who we are becoming. Each step is a cartography of reality, a way of sketching our fragile bond with place and time.

And it is in the unease of this dislocation — the vertigo of not quite belonging — that some of the most meaningful works of art are made. For to be out of place is also to see differently, to sense more sharply, to discover what the familiar conceals. Walking teaches us that the shrine is not ahead of us, waiting in a temple or a museum. The shrine is the path itself, the movement, the detour, the drift. It is the moment of being lost, and the act of finding anew.

The peripatetic tradition—from Aristotle to Sor Juana, from psychogeography to contemporary art—reminds us that learning and creating are acts in motion.

I close with one last but important note:

In Maurice Maeterlinck’s The Blue Bird, two children set out on a long journey to find happiness. They travel through strange lands—of memory, of night, of the future itself. And when they return, after all that wandering, they realize the blue bird was at home the whole time.

Walking, too, is this kind of quest. We walk not just to get somewhere, but to lose ourselves, to dislocate ourselves, to let the world rearrange itself before our eyes. And yet, at the end, what we discover is not some distant treasure. It is the nearness of what was already here.

The lesson of The Blue Bird is not that the journey was unnecessary. It is that the journey was the only way to truly see what home means. To walk is to go outward in order to return inward. To walk is to trace, step by step, the cartography of belonging. All these distances I walk daily (21,000 daily steps, or 10 miles), that search of happiness of sorts, this long pilgrimage, I have come to realize, is nothing other than an effort to come back to myself. The bird we seek is not distant; it waits quietly at home. The pilgrimage is the form, and the form is the return."]]></description>
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<item rdf:about="https://walklistencreate.org/">
    <title>walk · listen · create – Home of walking artists and artist walkers</title>
    <dc:date>2025-09-30T20:17:03+00:00</dc:date>
    <link>https://walklistencreate.org/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["WLC has been bringing creatives in the field of walking together since 2018. We are the home of the Sound Walk September and Marŝarto Awards, and maintain the largest archive of walking art."

...

"walk · listen · create (WLC) is the home of walking artists and artist walkers, as well as Sound Walk September, the Sound Walk September Awards, the Marŝarto Awards, and Placecloud.

walk · listen · create operates on a plain that is bounded by sound, or audio, place, or location, and technology. Technology is not just mobile phones or computers, it’s also pen & paper, rocks, and anything that can be used as a tool.

We have a particular interest in sound walks, and walking writers. Curious as to what is a sound walk?

WLC was officially founded in 2021 as an NGO in Belgium, but we came together in 2019, around the implementation of the first Sound Walk September, itself a consequence of Sound Walk Sunday 2017.

Interested in supporting us? Learn how to work with us.

Home of walking artists

We catalogue the publications of artists who walk, and provide a place for walking artists to share their work, thoughts, pieces and events. walk · listen · create is maintained by Babak Fakhamzadeh, Geert Vermeire and Andrew Stuck.

Andrew Stuck conceived the idea of Sound Walk September, and has been a podcaster since 2008. He has met and interviewed scores of walking artists and sound walk creatives.

Babak Fakhamzadeh supervises the online platforms of walk · listen · create. Babak is a locative media creative and creates mobile solutions that help individuals to get lost.

Geert Vermeire is a key connector, and founder and convenor of Made of Walking. He has been making locative media, and sound walks in particular, for two decades.

Annemarie Lopez is a writer, walker, digital storyteller, and psychogeographer. She brings her experience as a journalist and editor to communications and social media promotion of WLC activities."]]></description>
<dc:subject>walking creativity art via:javierarbona babakfakhamzadeh geertvermeire andrewstuck annemarielopez sound soundwalks listening psychogeography</dc:subject>
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<item rdf:about="https://www.the-fence.com/london-psychogeographical-association/">
    <title>Mind Invaders - The Fence</title>
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    <link>https://www.the-fence.com/london-psychogeographical-association/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Kidnapping. Boxing. Three-sided football. The art terrorists attack! A thoughtful dérive around the skewed contours of the London Psychogeographical Association."

[via:
https://2ndbreakfast.audreywatters.com/the-raw-and-the-cooked/ ]]]></description>
<dc:subject>psychogeography 2025 thomaspeermohamedlambert art culture london</dc:subject>
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<item rdf:about="https://makingandbreaking.org/article/psychogeographies-of-the-present/">
    <title>Psychogeographies of the Present | By: Jess Henderson, Sebastian Olma | Making &amp; Breaking</title>
    <dc:date>2025-07-05T02:24:29+00:00</dc:date>
    <link>https://makingandbreaking.org/article/psychogeographies-of-the-present/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[via:
https://2ndbreakfast.audreywatters.com/the-raw-and-the-cooked/ ]

"PSYCHOGEOGRAPHIES OF THE PRESENT —Jess Henderson & Sebastian Olma [below]

PSYCHO-DIGITAL GEOGRAPHY —Letizia Chiappini

IT’S ALL A GAME, AND THE GAME IS DEADLY REAL —Max Haiven

SPECULATIVE ARCHITECTURE AGAINST THE CRISIS OF THE IMAGINATION  —Liam Young

NEGATIVITY IS THE MASSAGE —!Mediengruppe Bitnik Selena Savić Gordan Savičić

A PSYCHOGEOGRAPHY OF AI —Dan McQuillan

CAN SUBLETHAL WEAPONS TAKE PICTURES? —Image Acts Duo: Aylin Kuryel & Fırat Yücel

THE DRIFTING LIBRARY —Experimental Jetset

NO FUTURE LIKE THE PAST —Total Refusal

FEELS FUNNY —Tristam Adams"

...

"This issue of Making and Breaking seeks to map out some of the dominant psychogeographies of the present. The Situationist Guy Debord defined psychogeography in 1955 as “the study of the precise laws and specific effects of the geographical environment, consciously organised or not, on the emotions and behaviour of individuals.”1 Another way of putting this is to say that psychogeography was conceived as that which happens when psychology and geography creatively collide.

To stage such creative collisions, the Letterist International (the precursory group to the Situationist International) developed what they called dérive, a method of drifting aimlessly through the urban landscape, registering the “patterns of emotive force-fields” that suffuse a city. Dérive is the artistic procedure that initially produces psychogeography; perhaps aimless in walking route, yet not without a certain methodological rigour. The Letterists and Situationists were fond of wandering the city as artistic strategy, a practice they inherited from a long line of predecessors reaching from the Surrealists back to Daniel Defoe.2 What the Situationists added to this was a revolutionary ambition that was political as much as it was aesthetic. As early as the 1950s, they recognised capital’s tendency to absorb the collective lifeworld into its quantitative homogeneity and understood the destructive potential this entails for a humane society. For them, psychogeography was an attempt to develop subversive forms of knowledge and experience that could contest the reductionism of capital, expressed in the formulations of post-war urban planning. It tried to delineate an experimental space-time where the rules of the game were undercut by radical play, where new ways of being could emerge, outside of the space-time of commodified banality.

Such a level of analytical clairvoyance and political ambition coming out of an artist movement is enormously inspiring in 2025, as we witness how Creative and Smart City policies have turned so much of today’s artistic and cultural production into decorative services that flank the progressive sell-out of our urban infrastructures to financial investors and digital corporations. What do the sheer number of retrospectives, revivals, and publications on the Situationist International and its potential legacy that have been released over the past few decades attest to if not an incredible longing for contemporary manifestations of such aesthetic resilience in and for our own time? Part of this might be melancholia but there is also a strong element in there of what the late Mark Fisher identified in his writing on “hauntology:” the refusal to give up on the desire for the future.3 At a time when it has become intellectually fashionable to celebrate the looming apocalypse as post- or transhuman payback, we urgently need to reinvigorate our desire for the future. In her brilliant The Beach Beneath the Street, McKenzie Wark talks about the Situationist’s attempt at “an exit from the 20th century.”4 It is obvious that we’ve not only missed the exit from the 20th century that the Situationists tried to open but we’ve also taken the wrong entrance into the 21st century. The rabbit-hole we’re tumbling down right now does give us Alice’s terrors and desperation, though without the imagination and wonderland at the end of the tunnel. This is why we agree with Wark when she writes that one could do worse than looking back at those who last tried to dig themselves out of that doomed trajectory of capital’s debilitating an-aesthesia.

Psychogeography and Psychopolitics

It is in this vein that the contributions of this issue of Making and Breaking take up the question of psychogeography once again. Many of the approaches presented within it extend beyond the city and the physical environment, going into the virtual dimensions of digital socialities, social media infrastructures and their affects, exploring shifting sociopolitical grounds and socio-economic factors, identifying new forces of power and potential sources of emancipation. They often include and map out the psychosomatic effects of such expanded understandings of the environment, paying attention to dominant or well-worn feelings, emotions, and behavioural effects, as well as those emergent that might yet to be named.

Digital media plays a crucial role in all of this. While we’re aware of the disastrous effects of social media on the psyche, particularly of the young,5 our online world tends to be pretty good at generating aesthetic means of communication that can be incredibly effective in expressing discomforts, disquiets, joys, or phenomena felt tacitly across the commons. The obvious example here being the meme. Sometimes a meme appears to perfectly illustrate an unnameable tingle of emotion or sociopolitical moment and is taken up en-masse speedily, with a sense of humour and urgency, or better: immediacy, than more elaborate and analytical (let alone academic) explanations seem to have the capacity to do.

Approaching digital phenomena such as memes psychogeographically necessarily involves the question of how to effectively politicise the psychological today. Explicitly politicising the political means engaging in a psychopolitics, which we intend here as the practice of placing ostensibly psychological phenomena and concerns within the register of the political and denoting the extent to which the human psyche is intimately linked to a host of structural forces, be they technological, political, economic, or simply historical. A psychogeography of our times must acknowledge the structural and environmental forces at play in producing these “specific effects… consciously organised or not, on emotions and behaviour.”

Identity, Collectivity, Aesthetics

In letting our psychogeographical gaze intuitively roam across our present social landscape, we witness the rise of a culture fixated with self-diagnosis, self-care, self-development and optimisation, and the admiration of self-experience, as a strange iteration of hyper-individualism inherited from neoliberalism. While the individual psyche remains a crucial reference for any contemporary psychogeography, our understanding of it needs to heed the “therapeutic” groundwork laid out by the inventors of the dérive. To quote McKenzie Wark again:

“Psychogeography made the city subjective and at the same time drew subjectivity out of its individualistic shell. It is a therapy aimed not at the self but at the city itself.”6

What we need to understand is that today’s identitarian movements on the left and right resonate rather harmoniously with the extremist version of the self, produced by decades of neoliberalism. Deconstructing identitarian extremism in all its contemporary forms and conversions is the precondition for an emancipatory psychogeography; otherwise, its political impetus runs the risk of being reduced to notions of individual pathology.

The upside is that there is growing interest in the politics and (new) practices of community and collectivity. Artists increasingly engage with questions of care and interspecies relations, there is a desire for experiences of interconnectedness (via psychedelics, or otherwise), and a new generation is exploring forms of living and working that are less self-centred and more communal (luxury). What they share is a willingness to reach outwards in search of resonance with the greater world and breaking away from the heaviness that comes with dissecting, monitoring, and keeping constant awareness and analysis of one’s own (self-centring) identity.

It seems to us that the challenge for cultural production in our time lies in embracing a sense and practice of exciting, democratic togetherness against the revenge of undead iterations of neoliberal subjectivity. The fields of art and culture have been invaded by pop-psychology speech, disqualifying practices that are vital for its evolution – provocation, passionate debate, and indeed, judgement – as forms of violence. Yet, as Sarah Shulman reminds us, conflict is not abuse.7

The world of cultural production needs conflict, doesn’t it? Hence, if this issue of Making and Breaking engages with psychogeography, it is to raise some rather fundamental questions: Shouldn’t art and culture provide room for unbridled curiosity and possibilities? Isn’t this the space where play, fun, for ills (or silliness) happened, expressed through genres of conviviality, collective joy, absurdity, and humour? The place for speaking truths, fictitious or otherwise, in ways vivacious and carnivalesque, for taking a break, albeit how brief, from “the horror of existence” rather than being stuck in a constant mirror-state of seeing your Self, reflected back at… yourself? Our inkling is that approaching cultural production in psychogeographic terms might help identify what blockages are at play in constraining it to addressing what feels like only a handful of topics, in a handful of ways.

The Contributions

Our stroll through these Psychogeographies of the Present begins with Letizia Chiappini’s proposition of the notion of psycho-digital geography, examining how emerging virtual spaces—from TikTok to Uber Eats, and beyond—are transforming our understanding and experiences of physical urban spaces, social relations, and embodied experiences. From there, Max Haiven takes us into the heart of contemporary capitalism’s unwinnable game, laying out how financialised neoliberalism has gamified itself and, in effect, our lives, and how it incubates fascism. Next Dan McQuillan leads a tour through a psychogeography of AI, which will suck you into a visceral and fantastical—yet oh so real—storytelling walkthrough of the less-visible and less-voiced aspects of what this moment of artificial intelligence’s rapid development really entails, through its current darknesses with insight into where it’s heading.

In our interview with Liam Young, recorded whilst his locale of Los Angeles was ablaze, the speculative architect talks about his exhilarating attempts to stimulate our collective imagination in a way that does justice to the planetary nature and scale of our contemporary challenges. Another type of psychogeographic strategy is presented by !Mediengruppe Bitnik. In collaboration with Selena Savić and Gordan Savičić, they let us into their work on how the prevalence of rating functions amongst digital systems and platforms has led to online ratings, reviews, and comments shaping our perceptions and experiences of offline spaces and services, as accentuated in their exhibition 1 ⭐ Review Tour. We stay with artists and their new psychogeographical practices in the Image Acts duo’s reportage of how Steven Monteau and friends began building new psychographical tools by making cameras out of residual police ammunition they collected, left behind on the streets during the Gilets Jaunes (Yellow Vests) protests in France. The collective Experimental Jetset follows up with their The Drifting Library: Towards a New Biblio-Psychogeography, which meanders the streets of Amsterdam using its DIY outdoor little book exchanges as their guide through a ‘semiotic cityscape’, contemplating the possibility of a dialectical experience within the urban environment, and perhaps even a countering encounter of the notion that “print is dead.”

Our journey starts its exiting descent with a psychogeography of apocalyptic games by the collective Total Refusal, finishing with Tristam Adams’ drawing of a line between the importance of jokes and humour in and for cultural production, what the empathetic aspects of the joke might offer as opportunities for ethical and political practices, and where celebrations of plurality could go in enhancing class consciousness.

We thank you for joining us on this jaunt through Psychogeographies of the Present and continuing to support what Making and Breaking sets out to do. And thank you again to all our contributors for their valuable additions in the expansion of what a contemporary psychogeography could and can do – in all its possible practices, takes, developments, mappings, and applications."]]></description>
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    <dc:date>2025-05-13T18:57:01+00:00</dc:date>
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    <dc:creator>robertogreco</dc:creator><description><![CDATA["Vintagia is a unique deck of 64 cards created to inspire intuitive walking, deepen your connection with the world around you, and spark your creative process. Blending the ancient wisdom of the I Ching with analog futurism, haunting vintage photography, and contemporary methods of creative exploration, this is not just a tool for divination—it’s a companion for artists, writers, musicians, philosophers, therapists, life coaches, community organizers, educators, and anyone seeking to engage the world more intuitively and imaginatively."

[See also:

"Vintagia Surprise Launch Stream!"
https://www.youtube.com/watch?v=EKJf-kB3xLo

"The Kickstarter for Vintagia: I Ching Oracle for Psychogeography and Creative Discovery is now live.

In this stream, we’ll walk through the deck, share some of the card art, and explore how Vintagia works as a tool for creative practice, reflection, and intuitive exploration. This is your first look at the project and a chance to ask questions, learn about the prompts, and see how the deck can be used in real time."]]]></description>
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    <title>A Psychogeography of AI | By: Dan McQuillan | Making &amp; Breaking</title>
    <dc:date>2025-05-09T19:24:37+00:00</dc:date>
    <link>https://makingandbreaking.org/article/psychogeography-of-ai/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[via:
https://2ndbreakfast.audreywatters.com/ai-slop-education/ ]

"Join me, if you will, on a rapid passage through the varied ambiences of AI. Our entry point is the architecture at the heart of all of contemporary artificial intelligence, the artificial neural network. Absorbed into one of these vast and cavernous computational abstractions, the structure arrayed before us is layer upon layer of stacked units, each connected to counterparts in the previous layer by shimmering threads of digital signals, each unit pulsing as it boosts the signal to identical artificial neurons in the next layer. Stacked thousands of stories high, the network is as dizzying as a 19th century power loom scaled to the size of a skyscraper. We pass beneath as it’s being trained, and the crashing symphony of calculations washes back and forth overhead until the final model emerges with optimised grandiosity.

And yet, as we try to discern the emergence of intelligence from this frenzied activity, all we hear are mumbled repetitions and distorted echoes. It seems that the function of the mighty machine that surrounds us is mere pattern recognition; that the purpose of chaining together myriad signals in giant matrices is simply a ping of recognition at the end, or at most an emulation of what came in as training data. If we entered this geography in the spirit of explorers, searching for the source of a deep river of emergent cognition, we are momentarily and somewhat vertiginously stranded. Can AI simply be a giant correlation engine, a remixer of learned patterns, void of any actual intelligence?

Still seeking clues, we step onto one of the passing scrapers that gather data on behalf of our AI and are swept through such a greater variety of internet arcades than any flâneur could possibly imagine. Our steed scoops up everything we pass through, from the wood-panelled and carefully tended libraries of Wikipedia to the gossiping and often sordid taverns of Reddit. It smashes into art collections, seizing everything without asking, then forges out to the urban wastelands of moribund social networks and abandoned personal blogs that flap in the breeze like forgotten flyposting. Here in the raw data, we see the evidence of intelligence, broadly defined, but it’s still unclear by which means it is ordered for the process of pattern recognition; how mathematical formulas are separated from racist graffiti, or how images of traffic lights are demarcated from those of bare street corners.

Responding to our confusion, our psychogeographic shuttle fires us out of another portal in the megamachine, where we race at two-thirds the speed of light along submarine cables to Africa to emerge in a city block in Nairobi. Every part of the building is filled with the crowded cube farms of local workers toiling with mouse and screen in the heat of the poorly air-conditioned afternoon. Stepping carefully along the narrow gaps between the rows of workers we observe that some are indeed labelling images with attentive pedantry, painstakingly tagging every object in frames from a dashcam video, demarcating pedestrians, bicycles and roadside trash, adding to training data for self-driving cars they will never get to ride in. In their well-thumbed printouts of guidance, they’re told that images of people lying on benches should be labelled as “sitting” because the existence of homelessness is not relevant for this purpose. The more unfortunate workers, perhaps in a separate floor of the tower block, are filtering out the worst descriptions of bestiality, child abuse and fascistic fantasies from samples of text intended for large language models like ChatGPT. The results are used to train a different kind of AI called reinforcement learning, which stands guard like Cerberus at the gates of the subsequent training process. These workers’ efforts are paid at $1.30 an hour and will leave them deeply traumatised with no recourse to counselling or support.

So far, our dérive has exposed us to a chilling emptiness inside the models underpinned by the morally-compromised backstreets of data scraping and crowdsourced labour. Somewhat shaken, we strike out for the places where AI is actually applied. Surely, on the application side of our abstract city there must be a carnivalesque parade of image and text generation whose bubbling potential for good relieves at least some of this somber ambience. Getting there, it turns out, means passing through the terraced streets of applied machine learning, even as they are being cleared to make way for AI’s soaring towers. In these narrow passages we find the recipients of welfare benefits sitting disconsonantly, clutching algorithmically-generated letters accusing them of fraud or worse. In passing we note how many seem to be people of colour, but we’re unable to process this as, further down the street, police officers are kicking in more doors on the recommendation of the machine learning. It’s a relief to arrive at the futuristic towers of AI where a facial recognition system opens the sliding glass doors for us as we approach. Settling into the well-lit reception area, we sit in comfy modernist chairs to watch the welcome video. At last, the AI we were promised; a flow of patients is examined by benign-looking clinicians who, consulting their AI screen, direct for them to be wheeled to the next stage of their healthcare journey. But wait; according to the brochure, this AI is optimised for the healthcare insurance company and is alerting the hospital to the earliest plausible moment that patients’ care can be completely cut off.

Throwing the glossy brochure to the floor we flee from our virtual journey to the material reality of a nearby school, certain at least that we will find smiling young faces whose learning potential is being unlocked by the personalised attention of educational AI. Stepping carefully as we enter to avoid the collapsed roof which the school’s already-stretched budget can’t fix, we can’t help detecting an air of desperation. Harried teachers are muttering “well, it’s inevitable isn’t it” as they read the latest management guidance about applying AI to generate lesson plans, one of the last parts of teaching they actually found fulfilling, while students are messaging each other about how to get AI-generated assignments past AI detection software, software which in any case ends up accusing those whose first language isn’t English or whose neurodivergence makes their writing style more stilted than average. Loitering for a moment in an actual lesson, where a passionate young teacher is talking to students about climate change, we’re momentarily struck by her mention of AI. What was it she said – will AI save us from climate change, or will all the data centres make it worse? That sounds like real psychogeography; a drift around the computational cathedrals of AI data centres whose well-lit publicity images show server racks in converging lines like an early Renaissance painting’s experiment with perspective.

Taken to a data centre by an obliging Uber driver, who tells us on the way how his take-home pay is being progressively eroded by the AI behind Uber’s app, we’re surprised that our first encounter is with serried rows of industrial cooling towers, each emitting tendrils of water vapour into the autumn air. Entering the anonymous looking warehouse of the data centre, through several layers of humourless security checks, we immediately understand. So many computers! Each running at full blast! Never mind the gentle warmth that a laptop shares with our thighs as we sit and type, this is fully overclocked heat generation of acres of computers along with their cabling and power supplies. No wonder the place has to pump in thousands of gallons of cooling water a day to keep it from melting. And the noise! The chorused hum of thousands of cooling fans emanates outwards from the data centre, mostly staying below the civic regulation meant to limit late–night parties, while being as persistent as a distantly circling jumbo jet, generating nausea, migraines and depression in unlucky local residents. Have we really found the much-fabled Cloud? Unlike actual clouds, which transport life-giving moisture from the seas to the land, this one clearly sucks up scarce water resources at a voracious rate. Perhaps, instead of “the Cloud,” we should call it “the Drought?” Exiting with relief from a side door, we discover that this data centre has its own electricity substation. A passing worker tells us this is one reason why the building is on the site of a former steel plant, which had its own connection to the grid. “That, and the way the local authority gave us a 10-year exemption from local taxes!” he says with a wink. The lure was a promise thousands of local jobs for this deprived post-industrial area, but it turned out they were mostly just to build it and only a hundred or so engineers like him are needed to run the place. He had been hoping to move to a new housing development to be near work, but that’s on hold as there’s no capacity left in the local electricity supply after the data centre has taken its cut. Heading back inside, he says with a final wink and a cynical chuckle, “Never mind the eye-watering CO2 emissions, we’re covered by carbon offsets!”

Rediscovered by the PR flack whose job it is to herd random psychogeographers who turn up at the gate, we return to the visitor centre and are handed VR goggles to watch a promo video about the brave new world of data centres that the company is establishing at breakneck speed. “Growth is what drives the economy, after all!” he bleats. “But why so many?” we naively ask, briefly removing the goggles, and he runs the numbers for us – the exponential growth in the model size of generative AI and the corresponding explosion in demand for computing power to train and run them. “After all, it’s not for nothing that Nvidia’s share price overtook Apple and Google last year” he says. Admitting our confusion, he points to the glittering chip in a glass display case at the centre of the room; one of the Nvidia H100 GPU microprocessors that are needed in their hundreds of thousands to keep the world of chatbots and image generators afloat. Re-donning the headset, it briefly glitches to show pixelated footage of coltan mines in the eastern Democratic Republic of Congo, where smoke from armed conflict scars the horizon even as the miners hack from the earth the minerals vital to the functioning of GPUs. Wrenching off the headset we run from the bland, low-rise building, hidden in this industrial estate, out past the thrumming wind farm whose renewable resource is fully diverted to boost the data centre’s green credentials, and onwards, panting and breathless, back to the city itself.

Our psychogeographic dérive ends, as so many before it, in a canal-side public house. This one is called “The Sir Geoffrey Hinton” and the pub sign rocking gently in the breeze shows a gold Nobel medal with the inscription “No Insight Here”. Drowning our disillusionment with a pint of the landlord’s finest, we reflect on the day’s events. Can it really be that AI’s giant edifice of sci-fi claims and venture capitalist investment is nothing but a spectacle, completely unable to fix any of society’s obvious failings while intensifying existing injustices in the process? Staggering to the toilet, we spot a scrawled message the cubicle door; “AI is not a collection of algorithms, rather it is a social relation among people, mediated by algorithms” – signed G. Debord. If our marker pen philosopher is right, we may need to construct some situations to disrupt this apparatus. As soon as we leave the refuge of the pub we’ll be plunged back into a world where each datafied action we take risks crossing the invisible decision-boundary of a predictive algorithm, where we never know which apparently human interaction is steered by a script from generative AI, where, indeed, we don’t even know if the regional accent on the other end of the helpline is being synthesised by an AI agent. Outside is where a government desperate for automatised productivity and the populist vote is fine-tuning its algorithmic systems to target migrants and other minorities, cutting costs through preemptive AI pathways that designate some lives as relatively disposable, oblivious to the lingering smell of smoke from recent pogroms. Returning to our seat in despair, we pass by the pub’s back room. Its door is slightly ajar and we can hear the hum of purposeful conversation from what sounds like a large group of people. A cheerful if ruddy face appears abruptly around the door. “Cheer up mate” he says, “it may never happen. Come and join our jolly banter. My names Ludd, by the way, but you can call me Ned.”"]]></description>
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<item rdf:about="https://news.uoregon.edu/content/human-brain-would-rather-look-nature-city-streets">
    <title>The human brain would rather look at nature than city streets | OregonNews</title>
    <dc:date>2025-04-04T17:48:27+00:00</dc:date>
    <link>https://news.uoregon.edu/content/human-brain-would-rather-look-nature-city-streets</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["There is a scientific reason that humans feel better walking through the woods than strolling down a city street, according to a new publication from UO physicist Richard Taylor and an interdisciplinary team of collaborators.

The group examined the question: “What happens in your brain when you walk down the street?” and they concluded that urban environments are not pleasing to the human brain.

The reason is the lack of fractals in modern architecture and spaces. Fractals are patterns that self-repeat at different scales, and they can be found all over nature in objects like trees, rivers, clouds and coastlines.

Because of this prevalence of natural fractals, the human brain has evolved to respond favorably to fractals, and to do so in the blink of an eye. The human brain only needs 50 milliseconds to detect the presence of fractals.

“As soon as we look at nature, it triggers a cascade of automatic responses,” Taylor explained. “Even before we’ve noticed what we’re looking at, we’re responding to it.”

And the response is a positive one. Humans experience less stress and better well-being when looking at nature, and this is driven by fractals. Taylor’s research has found that fractals can reduce stress and mental fatigue for the observer by as much as 60 percent. 

Taylor also points to research that showed hospitalized patients could heal faster when they had access to a window because looking outside, and at all of the natural fractals. helped patients relax their bodies and heal faster.

“People really need aesthetic environments to keep themselves healthy,” Taylor said.

But cities and modern architecture have not been designed to incorporate nature or fractals. Instead, urban environments are heavy on box-shaped buildings, simple corridors and windowless cubicles.

The paper published by the group in Urban Science and covered in the London Times stresses that design should be influenced by research and more buildings and spaces should be human-centered, as it would lead to reduced stress and greater well-being. And while stress currently costs the U.S. economy more than $300 billion a year, it’s an investment that would be worthwhile in many ways, Taylor said.

“Humans do not like looking at boxes,” he said. “We need to reclaim our urban environment and put nature back into it.”

But it’s not as easy as painting a tree on the side of a building and calling it a day. The fractals have to be modified because people respond differently to patterns embedded within the relatively simple surroundings of a building than the complexity of natural scenes.

[image: "Carpeting with a fractal pattern"]

So Taylor is collaborating with UO psychologist Margaret Sereno and architect Ihab Elzeyadi on scientifically informed design projects that incorporate the kind of fractals that are pleasing to the human brain when viewed in the spaces people work and live in. Some examples are the fractal carpets that Taylor’s team designed for the Knight Campus and spaces like workplaces, schools, airports and other places where people experience heightened anxiety.

That same design concept could be integrated into ceilings, window blinds and other parts of modern architecture, Taylor said. The UO collaborators have another project that develops fractal patterns for rooftop solar panels.

He points to a college campus as a prime place to prioritize making architecture and design more human-centered. Imagine, he said, if students were able to look at fractals instead of simple boxes and walls on an exam morning. That would automatically reduce their stress and put their minds in a better place for the test.

“At our biological core is the desire to feel relaxed; it’s an essential need as a human,” Taylor said. “We can derive so many benefits from the stress-reducing quality of nature and we can measurably increase people’s well-being by reintroducing nature to design and architecture.”

—By Emily Halnon, University Communications"]]></description>
<dc:subject>nature urban urbanism cities 2022 emilyhalnon design architecture stress psychogeography psychology ihabelzeyadi margaretsereno richardtaylor brain fractals</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:4147bf9f8503/</dc:identifier>
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<item rdf:about="https://daily.jstor.org/the-art-of-walking/">
    <title>The Art of Walking - JSTOR Daily</title>
    <dc:date>2025-03-26T19:50:15+00:00</dc:date>
    <link>https://daily.jstor.org/the-art-of-walking/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Walking as an art has a deep history. By guiding participants, or their own bodies, on walks, artists encourage us to see the extraordinary in the mundane."]]></description>
<dc:subject>walking art 2018 allisonmeier richardlong 1970s 1960s vitoacconci teresamurak bodies rebeccasolnit carmenpapalia roberleybell 2015 2017 1974 1967 baronhaussmann janetcardiff davidpinder 1999 cities urban urbanism psychogeography situationist andreaphillips nancyforgione</dc:subject>
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<dc:identifier>https://pinboard.in/u:robertogreco/b:9eba9aa45521/</dc:identifier>
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<item rdf:about="https://www.bopsecrets.org/">
    <title>Bureau of Public Secrets website</title>
    <dc:date>2025-01-19T22:32:19+00:00</dc:date>
    <link>https://www.bopsecrets.org/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[See also: https://www.bopsecrets.org/index1.htm ]]]></description>
<dc:subject>kenknapp situationist psychogeography kennethrexroth karlmarx clarencedarrow randolphbourne bertholdbrecht karlkorsch josefweber asgerjorn paulgoodman garysnyder jofreeman simonleys raoulvaneigem ngovan guydebord</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
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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>
<dc:subject>danmacquillan 2025 helenbeetham ai artificialintelligence computing education howweteach teaching highered highereducation resistance situationists colonialism aicolonialism colonization guydebord societyofthespectacle algorithms globalsouth hannaharendt generativeai fascism technology antifascism donaldtrump jdvance transparency opacity marginalization border borders productivity learning howeelearn criticalthinking summarization distraction bubbles aibubble computers generativity noise tools michelfoucault foucault power literacy medialiteracy continuity reductiveness labor work austerity neoliberalism economics politics policy thoughtlessness thinking howwethink decisionmaking decisions process reading howweread business outsourcing luddism luddites neouddites situationist kenknapp buereauofpublicsecrets polycrisis climatecrisis climatechange legitimacy globalwarming climate diversion crises artificialgeneralintelligence surrealists datacenters environment capitalism jeffbezos geoengineering amazon tesla t</dc:subject>
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<item rdf:about="http://netartreview.net/weeklyFeatures/2005_05_22_archive.html">
    <title>ARTISTS AND MAPPING: Situationism and Locative Media by Ana Boa-Ventura - NAR Features</title>
    <dc:date>2024-09-19T19:12:23+00:00</dc:date>
    <link>http://netartreview.net/weeklyFeatures/2005_05_22_archive.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The Situationists were no different from the Dadaists and the Surrealists in their desire to suppress art. Art and culture should be part of everyday life, and it is an interesting component of recent art, that the Situationist International is often associated with emerging locative media, ubiquitous computing and urban life.

The post-war movement Lettrist International, along with Asger Jorn and his International Movement for an Imaginist Bauhaus (IMIB), were precursors of the SI. Jorn, a close friend and collaborator with SI leader Guy Debord, is considered one of the most notable Situationist artists. He was a painter and co-author of many seminal SI images and books with Debord. Early in the genesis of the movement, the Situationists directed their critique to aspects of capitalist society besides its culture. The Lettrist International sought to change the urban landscape by merging poetry and music. Similar concern with the city was present in the London Psychogeographical Society, and it was initially thought that they merged with the two other groups to form the SI, but others disagree to say that the LPS was invented to lay claim the 'international(ist)' nature of the SI.

Wherever the credit lies however, a key practice common to all artists in this movement was the concept of 'detournement' (literally: diversion, or 'detour'). Ideas and objects deflected from the accepted norm through being turned around. The movement dealt with modern culture 'detourning' everything from the innocent family scenes of the 50s and 60s postcards with titles and speech bubbles declaring them anything but innocent, to advertising and entire films. Their new unanticipated context gives the originals humor and makes one laugh or see differently.

The SI's roots in urbanism and architecture are founded in Lettrist Ivan Chtcheglov's essay 'Formulary For A New Urbanism'. In it, he dreams of a city where 'the principle activity of the inhabitants will be the continuous 'derive'.(French: derivation) The concept of 'unitary urbanism' formed by the SI describes their experiments with attaining Chtcheglov’s new city; one that allow its inhabitants to fulfill their desires. In this theory, the 'derive' (drift) was one of the practices that the Situationists used, alongside with detourned collages of maps, and art installations. It consisted of literally drifting without direction or destination through the city, capturing its different sounds and images. Associated with this 'technique' was the concept of 'psychogeography.' The SI tracked their urban environments and how they affected the psyche in varied ephemeral documentations.

The beginning of the end for the SI was also the period that made them most popular and well known to the world: May 68. In 1966 a Strasbourg student union approached the SI with a proposal for a 'critique of student life'. Eventually published as 'On Poverty and Student Life', the document was given away during the ceremony marking the beginning of a new academic year. The court case (that led to the official closedown of the student union) gave the SI international publicity and the document instigated other students' unions to revolt. Later the SI participated in the famous Sorbonne occupations and riots which lead to a nationwide general strike paralyzing business and affecting millions. Charles de Gaulle threatened civil war and, ultimately, the May '68 revolt was a failure. But it was never forgotten. The movement had spread to many other student communities around the world and touched a nerve. However, supporters of Debord left the movment and by 1972, Debord and Gianfranco Sanguinetti were the only active members of the SI. In fact their last SI act was rather telling; they wrote 'The Veritable Split In The International,' a book on the history of the SI and a narrative of its failings and victories.

Following is a recent blog entry on a project about High Wycombe ( U.K.) and the remapping of an area earmarked for town centre re-development, with direct references to both 'psychogeography' and 'derive':

http://remappinghighwycombe.blogspot.com/2004/11/desborough-hundred-psychogeographical.html


'This blog is to track the development of a project by brother and sister team Cathy & John Rogers to remap the area of High Wycombe earmarked for town centre re-development (formerly Project Phoenix). The remapping is to be undertaken in collaboration with community groups in High Wycombe by staging a psychogeograpical event, a walk, a 'derive' within the boundary of the re-development area'

If there is one point of agreement for the Situationists and the artists and practitioners of 'locative media' it is that if we are to make sense of the world, we need new maps.
:::

A very complete list of readings:
http://www.notbored.org/SI-texts.html

Some fundamental books:

The Realization and Suppression of the Situationist International
by Simon Ford
An annotated bibliography containing over 600 references.
1-873176-82-1
AK Press

Guy Debord and the Situationist International
edited by Tom McDonough
0-262-63300-0
MIT Press/ October Books

Leaving the 20th Century:
The Incomplete Work of the Situationist International
Translated and edited by Christopher Gray
Back in print, a classic on the SI.
0-946061-15-7
Rebel Press

::Photo captions:
'may68'
Source: Paris Match,The Renault factory in Boulogne-Billancourt during the May 68 Events shows the scene at the factory as the marchers arrived. The workers are on the roof of the building, the students below in the street.

'camera'
Surveillance Camera Players:their roots in the Situationist Internationale and urban agitprop activism are clear."]]></description>
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    <title>Urban Adventures in the Atlas Game Invite Playfulness and Exploration</title>
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<item rdf:about="https://likeahammerinthesink.wordpress.com/2016/08/07/a-flawed-archive/">
    <title>A flawed archive | likeahammerinthesink</title>
    <dc:date>2024-08-15T05:41:44+00:00</dc:date>
    <link>https://likeahammerinthesink.wordpress.com/2016/08/07/a-flawed-archive/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["I put some pictures of part of my collection of found playing cards up on Instagram, a couple of weeks ago. The layout and pictures were inspired by Graeme Miller’s installation of found cards in Cornelia Parker’s exhibition Found at the Foundling Museum[i]. After I posted the pictures I realized that there was a mistake in the layout as I had substituted a 3 of hearts for a 3 of diamonds. Around the same time a friend made a comment to the effect that the inclusion of a found box was an aesthetic or conceptual error. (Maybe you were right Andy). So. In order to correct these mistakes here are new versions of the photographs. Various substitutions have taken place between these pictures and the Instagram ones and between the photographs of fronts and backs.

[images]

Because I spent some time going through the cards one otherwise directionless Saturday morning I thought I should record some of my ‘findings’ related to the collection. Here they are:

Since whenever it was I started this collection I have found 296 individual or small groups of playing cards. There are two complete packs that are not part of this total. I have found 61 hearts, 64 spades, 69 diamonds, 76 clubs and 26 jokers. I have only found one 5 of diamonds which means that I only have one complete ‘pack’ of various found cards. Apart from jokers, the card I have picked up most often is the jack of diamonds…there are 10 of these. I have found 28 jacks, 28 kings, 25 queens and 25 aces. I have only found 13 5s. I am pretty sure that I found cards in: London, Edinburgh, Rio de Janeiro, New York, Venice, Palermo and Taipei but I don’t know which ones or where else they might have come from.[ii]

Thinking about Miller’s display I was reminded, not just of my own collection, but also of something I had read some years ago – a Situationist strategy enacted in Glasgow involving dérives and found playing cards. But I could remember no more than that so I put the thought aside.

This week, browsing in my not usual local charity shop I came across a copy of a book: ‘8 Metaphors (because the moving image is not a book)’[iii]. I bought the book as its 8 authors and 16 contributors looked interesting and because the publishers (Lux) used to be situated about 100 yards from where I was standing. Leafing through the book later I noticed a conversation between 2 filmmakers, Stina Wirfelt and Deborah Stratman. Wirfelt’s opening gambit is: ‘I’m republishing ‘The Joker’ text I sent to you.’ This rang a bell and, misguidedly, I went online to find this text with no success. On a second look I realised that ‘The Joker’ had been republished in the book I was looking at. Furthermore, the text had been scanned from Stewart Home’s anthology ‘Mind Invaders’[iv]. This was the Situationist strategy that I had half-remembered and I had clearly read it in Home’s book. ‘The Joker’ is credited to ‘Workshop for a Non-linear Architecture’ but no individual author is named. It describes the accident of finding two consecutive cards on consecutive days (the 3 and 4 of diamonds…notably not the 5 of diamonds the card I have only found one of) and the discussion in the Mitre pub in Glasgow that lead to the idea of a game of Urban Poker played across cities and over time. Here is an outline of the rules:

‘Two or more drift teams, containing between one and half a dozen navigators, would begin at a given point in time to search for found playing cards. The cards would naturally have to be the genuine ‘unsolicited object’ (in Breton’s sense of the word), although dishonesty in regard of such matters would be left, as is only natural, to the subjective nature of the individual(s) concerned. Initially each team would seek five cards, a number of which would be burned, or in other words discarded. Once this agreed number had then be refound, the hand would be brought to a close and publicly declared, e.g. Full House, Pair, Ace High, etc., the winning team being the one with the best hand.’[v]

Miller in the label for his playing card collection at the Foundling Museum says: ‘It is hard to avoid the notion that they [the playing cards] convey fateful meaning, yet it is impossible to work out what that meaning is’. ‘The Joker’ makes an explicit reference to walking. These two strands are brought together in this passage from the essay Drifting; Some Journeys Followed by Dominic Paterson in ‘8 Metaphors’:

‘When he was writing his ‘Reveries of the Solitary Walker’ Jean Jacques Rousseau made a note on the back of a playing card: ‘My whole life has been little else than a long reverie divided into chapters by my daily walks’[vi]

Up on the first floor of the Museum there is an old display case showing some of the tokens left between 1741 and 1760 by the mothers of ‘foundling’ children at the hospital. These tokens were intended as a means of identifying the children at some later date. Here is one:

[image]

I thought that the cards I have collected dated from the early 1980s to the present but another friend pointed out that I was doing ‘this kind of thing’ in Dundee in the 70s. So this assemblage of found artefacts is the least useful kind of archive. The objects in the archive have no recorded dates or locations. Of course, this could all be part of a game I have been playing, without knowledge, for 40 years.

Dominic Paterson ends his essay with an account of Ralph Romney’s problematic contribution to the Situationist journal in the form of a psychogeographic study of Venice. (Problematic because its late delivery was the cause of his expulsion from the group). Here is Romney recalling the project:

‘And the thing that struck me most was that when people go to San Marco, they are encouraged to look at the mosaics above their heads. In my case, maybe because I have a slightly hunched back or for whatever reason, I look at the ground.’[vii]

 

 

[i] Miller’s installation is called ‘Picked hand’.‘Found’ at The Foundling Museum, London. 27th May – 4th September 2016.

[ii] My notes. 23rd July 2016.

[iii] ‘8 Metaphors (because the moving image is not a book)’. Luke Fowler, Laura Gannon, Duncan Marquiss, Laure Prouvost, Grace Schwindt, Samuel Stevens, Stina Wirsfelt, Emma Wolukau-Wanambwa. Edited by Isla Leaver-Yap. Lux, London, 2011.

[iv] ‘Mind Invaders’ Edited by Stewart Home. Serpent’s Tail, London,1997.

[v] Quoted in ‘8 Metaphors’. Unpaginated section. ‘Previously issued as a privately circulated pamphlet’.

[vi] Ibid. P 140.

[vii] Quoted in ibid. P 144. (From Romney’s book ‘The Consul’.)"]]></description>
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<item rdf:about="https://wanderprompts.com/">
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    <dc:date>2024-04-16T18:28:05+00:00</dc:date>
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    <dc:creator>robertogreco</dc:creator><description><![CDATA["Wander Prompts are a set of prompts for a slow, observational walk right where you are.

They can guide you to get to know your own city more intimately. Or, just give you an excuse to walk outside.

For example, Last week on Thursday, someone in Mexico City searched for gated buildings. Before that, on Thursday in Mexico City, someone walked into a public building. On Thursday in the morning, someone walked as if they were tough in Mexico City. Someone searched for a construction site in São Paulo on a Sunday in March. On February 1st in Boston, someone lingered on a corner. In Home, someone found a place to listen to people in the morning on a day in January. Before that, 5601 people took walks across 116 cities.
*
Wander Prompts were created by H.Jaramillo and C.Joerges. They were inspired by Derives and Yi-Fu Tuan. We recognize not everyone will always feel safe taking a purposeless walk, but hope this serves as a reminder that you absolutely have the right to do so."]]></description>
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<item rdf:about="https://daily.jstor.org/walkers-in-the-city-and-everywhere/">
    <title>Walkers in the City—and Everywhere - JSTOR Daily</title>
    <dc:date>2023-10-31T09:22:21+00:00</dc:date>
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    <dc:creator>robertogreco</dc:creator><description><![CDATA["Imagine going for a stroll, unencumbered by a phone, preoccupied by the glories of the world around you: the perfume of blossoming flowers, the heat radiating from sidewalks, the sound of wind as it moves through and bounces off towering buildings. You might notice a historical landmark you usually miss in the hustle of getting from A to B. Or spot the construction of luxury apartments where working-class housing formerly stood. Perhaps you realize there are fewer bird calls than there used to be. Consciously or not, you are participating in the practice of psychogeography, a radical method of moving through the world more intentionally, in a way that benefits not only the individual but society as a whole.

Many of the issues we face from climate change to the crisis of loneliness to racial and class injustice are deeply connected to the physical world and our interactions with our immediate surroundings. This can be seen in the redlining of communities of color through decades of discrimination or the planning and placement of working-class communities in the direct path of industrial pollution. As we emerge into post-pandemic public spheres, we have the opportunity to imagine new versions of the public sphere, evident in concepts such as the 15-minute city, in which all needs can be met within a quarter-hour walk; the creation of third spaces to interact outside of home and work; and more broadly in the efforts to make both urban and rural areas greener and more flourishing.

Psychogeography, which combines psychology and geography, was developed during the mid-20th century by the Letterist International and its successor Situationist International, two Europe-based organizations that drew on anarchist and Marxist writings, among others. Guy Debord, a founding member of both bodies, defined psychogeography as an environment’s impact, whether mindful or not, on an individual’s behaviors or emotions. Psychogeography became tangible in the dérive (“drift”), defined by Phil Smith in Cultural Geographies as “an exploratory, destinationless wander through city streets, detecting and mapping ambiences.”

Debord was inspired by Charles Baudelaire’s flâneur, the 19th-century stroller who embodied the image of the leisurely—and inherently—upper-class male wanderer. Influential German-Jewish philosopher Walter Benjamin further fleshed out this concept, with the flâneur serving as “an interesting social type because it points to the centrality of locomotion in social life,” writes Mike Featherstone in Urban Studies. “The stroller is constantly invaded by new streams of experience and develops new perceptions as he moves through the urban landscape and crowds.”

Decades later, the Situationists found themselves grappling with a very different post-war Europe in mid-20th century. In the face of an increasingly capitalistic society, they developed their more political movement with the tenets of Dadaism and Surrealism as anchor. Another of their central concepts was the détournment (“turnabout”): “a deliberate reusing of different elements—like images or text—to form something new,” as A.E. Souzis writes in Cultural Geographies. (A prime example are subversive pranks like defacing an ad in an anti-consumerist stunt.)

The Situationists were already concerned, Souzis says, about “the rise of privatization, big business and shrinking pedestrian-friendly public space,” issues that have continued to shape the development of urban areas, prioritizing commerce over the needs of residents. Amy J. Elias writes in New Literary History that these radicals “sought a utopian, revitalized urban life that could both elude the aesthetic tyranny of spectacularized global capitalism and provide a vital, liberatory model of urban Being.”

While the Situationists might have fizzled following the brief moment of revolutionary fever that overtook France during the May 1968 protest movement, psychogeography has arguably become more relevant in the intervening decades. It has been linked to other movements such as Afro-futurism, eco-feminism, and Indigenous environmentalism, which address the injustices these marginalized communities face. Collective urban gardening, seed bombing to bring back native plants, and guerilla grafting fruit-bearing limbs onto trees all address issues around food insecurity, sustainability, and the restoration of nature in industrialized landscapes. Many psychogeographic endeavors also focus on feminist reclamation of male-controlled public spaces, as seen in Take Back the Night rallies or Lauren Elkin’s 2016 memoir Flâneuse: Women Walk the City in Paris, New York, Tokyo, Venice and London, which explores what it means to be a woman navigating the world.

In the realm of academia, psychogeography has become a ripe tool for analyzing environments, both real and imagined. This ranges from amusement parks (“an image of transition from the spectacle in reality to the spectacle of reality,” as Franco La Polla writes in Revue française d’études américaines) to Berlin’s pre-cellular data telécafes (places largely frequented by immigrant communities where “different politics of borders and border crossings can be investigated,” argues Maria Stehle in Women in German Yearbook) to imagining post-Katrina New Orleans (Aoife Naughton hoped to preserve “this kind of freedom and joy in the open street, even in a booming real estate market”).

Somewhat surprisingly, the online world has also become a space for psychogeographical exploration, particularly in the exciting days of Web 1.0. “Hacker and libertarian manifestoes have often couched utopian ideals within cyberspace rhetoric,” Elias writes. “The spatial field of the web surfer may be either delimited according to search parameters or openly processual according to linked pathways.” As Web 3.0 emerges in a landscape of flailing, and sometimes failing first-wave social media platforms, the opportunity is ripe to forge new ways of building digital spheres that serve and engage communities that might otherwise be unable to connect.

This malleability of psychogeography, from the literal concrete to the stretches of the virtual imagination, has inspired artists across mediums. Blur frontman Damon Albarn, who co-founded Gorillaz, has created both deeply personal music (“His debut solo album, Everyday Robots, is so rich in personal psychogeography that it must be the first record to extract poignancy from Thurrock Lakeside shopping centre,” observed Dorian Lynskey in The Guardian) and built alternative realities. As he told The Fader: “Gorillaz is all about geography, in a sense, because we have this metaverse for a long time. It’s accumulated lots of space, and the psychogeography is quite huge. You can travel around to different eras in different parts of the universe or the world or the island indeed.”

Comic book legend Alan Moore (Watchmen, V for Vendetta, and Batman) has also frequently discussed the role of psychogeography in his work, notably how it can help find purpose in a world that seems to lack meaning. “You can look at the ordinary world around you with the eye of a poet,” he told Wired in 2010. “Finding events which rhyme with other events, what little coincidences or connections can be drawn to these places and people. You can put them into an arrangement that says something new about them.”

More recently, Greek American painter Gerasimos Floratos created a series of collages, drawings, and oil paintings during the pandemic. Titled “Psychogeography,” this oeuvre captures the hectic life around New York City’s Time Square, drawing connections to the equally busy systems within the human body. “For me, psychogeography is about map-making,” Floratos said in the press release for the exhibit, “Mapping the inside of your mind simultaneously with your environment. Not the kind of linear maps we usually use, maps that simultaneously chart sensory data, emotions, memory, the physical body, culture, society etc.”

Andy Howlett, an artist and filmmaker based in Birmingham, United Kingdom, believes that psychogeography is an “inherently creative response to space,” one that’s “playful, subversive, mischievous and rarely takes itself too seriously.” Right before COVID-19 hit, he co-founded Walkspace: Walking in the West Midlands, a collective to promote psychogeography in the landlocked region. While some have framed psychogeography as a solo endeavor, Howlett was passionate about bringing people together and re-discovering a forgotten “richness” in his community. They even made a virtual map where people could add points of interest discovered through their own psychogeographic explorations.

Indeed, the United Kingdom has become a particular hotbed for psychogeography, largely promoted by writers such as Iain Sinclair (notably exploring the impact of the 2012 London Summer Olympics) and Peter Ackroyd (focusing particularly on what one can learn about a city’s history through psychogeography). While much of the attention has focused on London, like the London Circle Walk following the city’s periphery, other less popular places like Birmingham, Liverpool, and Manchester are also getting into the spotlight. Like many major urban areas, Birmingham was designed for car travel in the 20th century and, as Howlett concedes, doesn’t have a unique identity. The city’s motto is Forward and Howlett finds that its history, particularly as an industrial stronghold, is often forgotten in the name of building the biggest, newest thing.

“I think that sense of frustration, balanced with a sense of excitement, is a big part of the psychogeography of the city,” he said. “There’s a sense that you have to really go looking for all the history, for the heritage.”

As a collective, Walkspace has grown to nearly thirty members and organizes Walkspace Erratics, psychogeography-inspired walks. A recent early morning trek, led by a former paramedic, highlighted the unique and often trauma-informed way medical workers experience the city. Walkspace has also collaborated with a walking group in the Indonesian city of Yogyakarta on a Parallel Walking project, exploring the similarities and differences between the two urban areas. This past June, Walkspace held its first group exhibition, featuring paintings, collages, poetry, and a film night by members of the collective.

Howlett’s ideas of psychogeography have inspired projects including a collaborative video in which GoPro photos, snapped every five seconds, were put into a slideshow that visitors watched on a treadmill. The speed of the images would change depending on walking speed. Howlett explains, “I had all the material I could ever need just on my doorstep. I could just leave the house and interact with the city; I can uncover histories and stories and go on adventures.”

While Howlett is excited to see his group grow as well as similar initiatives pop up in other areas, he does not view his work as serving an agenda for political change, at least not for now. In many ways, it’s hard to imagine the impetus it would take for the observations made on a psychogeographical journey to have a tangible impact. How can living communities be completely reimagined as wildfires burn, coastal areas erode, and the pressures of housing insecurity threaten more and more people?

The imaginative potential of psychogeography can play an important role as a catalyst for this seemingly impossible undertaking. Systemic shock forces change; COVID-19 led people to reclaim outdoor spaces to eat together, bike in groups, and take part in other collective activities. This led to concrete measures that have permanently reshaped urban landscapes. Clearly, this desire to thrive rather than merely survive has been brought to the fore, accelerated by the constraints of the pandemic.

Back in 2005, David Pinder wrote about how artistic collectives were using psychogeography to reclaim the city of New York, given “a tightening of surveillance measures and a hardening of the city’s surface, both in terms of security procedures heightened in the wake of 11 September 2001 and in relation to a landscape pitted against the already marginalized and poor.” Pinder focused on a parade by the artistic collective Toyshop, which aimed to use “every means at our disposal to make a city that instigates our creative impulses and fosters the feral spirit.” This event featured bands meant to create a “sound riot” and drew crowds of people to the street, encouraging, as Toyshop put it, “a participatory model for citizens to take part in the physical and social structure of the environment we live in.”

While this event was more creative than political, it’s easy to see the roots of future reclamation movements coming for urban hubs of global capital where economic and social injustice often thrive. These sorts of actions, even on the smallest scale, carry significant meaning when practitioners assert how they wish to inhabit a space, and when they are able to convince others to likewise undertake this reflective process of questioning the status quo.

“To intervene through creative practice in public space today in New York and other cities is to enter into a crucial struggle over the meanings, values and potentialities of that space at a time when its democracy is highly contested,” Pinder says. “Encouragement of vitality and openness in that space is not an innocent demand.”"]]></description>
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    <dc:date>2023-10-24T03:23:19+00:00</dc:date>
    <link>https://thebaffler.com/salvos/forest-against-the-trees-aziza</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Zionist monocrops erase Palestinian history"]]></description>
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    <title>Two or Three Things I Know About Provo, by Experimental Jetset</title>
    <dc:date>2021-08-25T17:41:44+00:00</dc:date>
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    <dc:creator>robertogreco</dc:creator><description><![CDATA[“Introduction

In short, Provo was an Amsterdam anarchist movement that existed for just two years (1965–1967), although its existence resonated for years to come, in the Netherlands and abroad.

Through printed matter, conceptual activism and speculative political proposals (e.g., the ‘White Plans’), the Provo movement captured the imagination of a generation, and forever shaped the Dutch political and cultural landscape. Part art movement and part political party, Provo was a loose-knit collective, consisting of individuals with very different ambitions: subversive agendas, artistic motives, utopian ideas, concrete plans. Between1965 and 1967, these motives and agendas briefly overlapped, enabling a unique movement. A movement that liquidated itself in 1967, in a self-declared act of ‘auto-provocation’.

Looking at the strategies and methods of Provo, we are immediately reminded of a quote by Baudrillard, from ‘Utopia Deferred’ (Semiotexte, 2006):

Walls and words, silk-screen posters and hand-printed flyers, were the true revolutionary media in May 1968. The streets where speech started and was exchanged: everything that is an immediate inscription, given and exchanged. Speech and response, moving in the same time and in the same place, reciprocal and antagonistic.

Obviously, Baudrillard is talking here about the Parisian insurrection of 1968 – while Provo took place three years earlier. But still, we think this particular quote could also be used perfectly to describe the working methods of Provo.

At the heart of Provo is exactly the notion of the streets as a place of immediate “speech and response”. Magazines were distributed in the streets, posters were pasted to the walls, performances (‘happenings’) took place on public squares (and around specific statues and monuments), surreal slogans were being chanted (such as a repeated mantra of “ugh, ugh, ugh”), and pamphlets were handed out to unsuspecting bystanders. In the meantime, the (illegal) printing press of Provo had to be moved constantly, from one location to another, because there was always the danger of confiscation. So the printing press itself was on a constant ‘dérive’ through the city, echoing the way the Provos themselves were drifting through the streets of Amsterdam. In that sense, we do believe that the story of Provo is mainly one about the symbiotic relationship between the city and the printing press.

In fact, we even think that, in the case of Provo, the city itself became a printing press. Through the distribution of magazines and pamphlets, and through the use of site- specific performances (‘happenings’ and ‘situations’), Provo turned the city into a place where ideas were enlarged, multiplied and reproduced. In other words, through Provo, the city revealed itself as a device for reproducing ideas – a metaphorical printing press.

In this regard, a person that needs to be mentioned is Rob Stolk (1946–2001), one of the main founders of Provo. Coming from a socialist working class background, Stolk was involved in activism from a very young age. His involvement in Provo forced him to become a printer; since mainstream printing offices refused to handle the subversive and sometimes illegal Provo material, he had no other option than to print these publications himself. Reflecting on this situation, Stolk often quoted American journalist A. J. Liebling: “Freedom of the press is for those who own one”.”

[See also:
https://2or3things.tumblr.com/

“This online archive is part of an ongoing research project by Amsterdam-based graphic design studio Experimental Jetset (consisting of Marieke Stolk, Erwin Brinkers and Danny van den Dungen) on the subject of the Provo movement (and its post-Provo offshoots). 

So far, this research resulted in a series of exhibitions and installations, most notably ’Two or Three Things I Know About Provo’ (which took place in 2011, at Amsterdam artists’ space W139), ’Two or Three Things / The Brno Edition’ (which took place at the Moravian Gallery in the Czech Republic, as part of the 25th Brno Biennial 2012), and the poster series ‘Concrete Provo’ (made as a contribution to ‘Yes Yes Yes’, a group show at Colli Independent Art Space in Rome, 2015).

‘Provo Station: Models for a Provotarian City’, the most recent installation, took place between March 18 and May 22, 2016, at Galerie für Zeitgenössiche Kunst Leipzig. 

Within this research, the main subject is the relationship between Provo, the city, and the printing press. 

A figure that plays an important role in this narrative is Rob Stolk (1946–2001), one of the main founders of Provo. Coming from a socialist working class background, Stolk was involved in activism from a very young age. His involvement in Provo forced him to become a printer; since mainstream printing offices refused to handle the subversive and sometimes illegal Provo material, he had no other option than to print these publications himself. Reflecting on this situation, Stolk often quoted American journalist A. J. Liebling: “Freedom of the press is for those who own one”.

After the liquidation of Provo, Rob Stolk remained an important figure in various post-Provo movements, most notably in the early squatters’ scene (Woningburo de Kraker), and in Aktiegroep Nieuwmarkt (the action committee that successfully protested against the demolition of the Amsterdam Nieuwmarkt district and surrounding areas). In 1969, he was involved in the occupation of Het Maagdenhuis (the main building of the University of Amsterdam), operating a printing press from within the occupied building. 

From 1976 to 1983, he published the satirical/historical magazine ‘De Tand des Tijds’. In the 1980s and 1990s, he became one of the most prolific cultural printers in Amsterdam, until his untimely death in 2001, when he was only 55 years of age.”

…

“10 Maart: Dag van de Anarchie 
March 10: Day of Anarchy” [poster, in Europa Grotesk Nr 2 SH ExtraBold and Europa Grotesk Nr 2 SH]
https://2or3things.tumblr.com/post/158192023131/10mar1966

…

"Two or Three Things I Know About Provo
A small and personal archive of the Provotarian movement in Amsterdam (1965-1967), as installed by Experimental Jetset"
https://www.experimentaljetset.nl/provo/

…

"Counter Currents: Experimental Jetset on Provo"
https://walkerart.org/magazine/counter-currents-experimental-jetset-on-provo ]]]></description>
<dc:subject>provo amsterdam 1960s 1965 1966 1967 netherlands printing print anarchism anarchy socialmovements art psychogeography dérive robstolk cities urban urbanism situationist sympols signs pamphlets acitvism bikes biking organizing patterns symbolism smoke apples statues typographic greaphicdesign lettering publishing publication lcproject meaning meaningmaking experimentaljetset freedom freedomofspeech drift drifting mariekestolk erwinbrinkers dannyvandendungen provomovement ajliebling activism archivism derive freespeech</dc:subject>
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<item rdf:about="https://mubi.com/lists/aimless-walk-psychogeography-deep-ecology">
    <title>AIMLESS WALK, PSYCHOGEOGRAPHY, DEEP ECOLOGY – Movies List on MUBI</title>
    <dc:date>2021-03-11T01:47:58+00:00</dc:date>
    <link>https://mubi.com/lists/aimless-walk-psychogeography-deep-ecology</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["A list of films relevant to Psychogeography, Deep ecology, Remapping and Dérives.

This list is a work in progress and far from complete. Recommendations welcome.

Films here are not ranked, just listed.

FILMS NOT ON MUBI DATABASE:

Edgelands (2013) Dir. Kieran Evans, trailer – http://www.youtube.com/watch?v=F3Umuutyy0s

Thames Film (1987) Dir. William Raban

Sundial (1992) Dir. William Raban

About Now MMX (2010) Dir. William Raban

News from Nowhere (1976) Dir. Chantal Akerman

Palimpsest (2010?) Dir. Neil Gray, http://vimeo.com/17402900

The London Perambulator (2011?) Dir. John Rogers http://www.youtube.com/watch?v=TNGskCNrBHY (PRETTY MUCH EVERYTHING ELSE BY JOHN ROGERS)

1395 Days Without Red, (2011) Šejla Kamerić, Anri Sala, in collaboration with Ari Benjamin Meyers

The Great Walk (2013) Directed by Clive Austin (PRETTY MUCH EVERYTHING ELSE BY CLIVE AUSTIN)

How We Used to Live (2013), written by Paul Kelly and Travis Elborough"]]></description>
<dc:subject>walking psychogeography dérive deepecology maps mapping film derive</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:701e152d7011/</dc:identifier>
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<item rdf:about="https://www.swiss-miss.com/2020/04/walking.html">
    <title>swissmiss | Walking</title>
    <dc:date>2020-04-10T11:34:32+00:00</dc:date>
    <link>https://www.swiss-miss.com/2020/04/walking.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[“Walking is mapping with your feet. It helps you piece a city together, connecting up neighbourhoods that might otherwise have remained discrete entities, different planets bound to each other, sustained yet remote. I like seeing how in fact they blend into one another, I like noticing the boundaries between them. Walking helps me feel at home. There’s a small pleasure in seeing how well I’ve come to know the city through my wanderings on foot, crossing through different neighbourhoods of the city, some I used to know quite well, others I may not have seen in a while, like getting reacquainted with someone I once met at a party.”

[from https://www.brainpickings.org/2019/05/21/flaneuse-lauren-elkin/]]]></description>
<dc:subject>walking thanks_luke tinarotheisenberg laurenelkin derive flâneuse mapping place noticing cities urban urbanism psychogeography seeing via:lukeneff dérive flaneur flâneurs flaneurs flâneur maps</dc:subject>
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<item rdf:about="https://frankchimero.com/blog/2020/burnout-list/">
    <title>Frank Chimero · The Burnout List</title>
    <dc:date>2020-01-30T19:27:13+00:00</dc:date>
    <link>https://frankchimero.com/blog/2020/burnout-list/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[“I am a man who knows burnout. Last summer, I found myself in the deepest work-related hole I’ve experienced. I spent some time (with help) looking at what parts of my burnout were on me and what parts were outside of my control—the elements of my fatigue that were, you know, out there.

I made a list of these outside components, intending to have it come together into a short essay, but I was never able to have the ideas coalesce. So, rather than have the ideas rot in my Notes app, I thought I’d do a copy/paste job and share them here in their original form.

Reasons for Burnout

1. Achievement culture: believing that identity and safety are only available through high achievement

2. Metastasized independence: America’s supernatural skill to transform systemic problems and inefficiencies into personal problems and responsibilities, e.g. health care, privatization of public services, imperative to “work harder” to overcome gender- and race-based pay gaps, etc.

3. Feelings of futility: a feeling that previous successes will vanish or that progress doesn’t stick, so effort never accumulates or pays dividends, e.g. hamster wheel of demands of time or money growing faster than the capacity to earn income or save time, the investment to learn and reorient to new methods that will be outmodded in close to the amount of time they take to learn, etc.

4. Visibility leading to hyperactive comparison: passivity and visibility locking together to invite comparison and create a debilitating scarcity mindset. Comparisons leading to feelings of inadequacy, inferiority, or fear of failure. Constant self-reproach and self-aggression.

5. Authenticity imperative: pressure to be oneself, but to adapt (distort?) that self to ensure achievement, status, or safety.

6. Angst ⭤ isolation: the more of a mess the world becomes, the more it seems you can only trust yourself. World weariness triggers self-dependency, creating a feedback loop that can only end in burnout.

7. Bullshit tasks and meta-work: admin and management overshadows productive labor. Instead of being tired with one another (like a basketball team) we become tired of one another (like a marketing team). Tasks with tangible outcomes are naturally de-prioritized and people focus on meta-work that is incentivized. (See #3.) [Partially accurate but too jaded, rephrase later?]

8. Lack of ethics: the only ethic is work ethic. Questions no longer ask if something should be done, but if it can be done. Whatever works is permitted, meaning nothing can be ruled out, discounted, or ignored.

9. Self-improvement industrial complex: the mistake of seeing life as a project, despite it being something you can’t solve or get out of. Trying to “jump over your own shadow.” Framing development as “fixing yourself” instead of growth.

10. Abundance problem: too much of everything—over-production, over-achievement, over-communication—leads to the problems of abundance: exhaustion, fatigue, and suffocation—when too much exists.

11. Positivity bias: cultural blindspot of missing problems that are the repercussion of too much of a cherished value, like freedom, communication, and personal responsibility. “The violence of positivity does not deprive, it saturates; it does not exclude, it exhausts.” –Byung-Chul Han’s The Burnout Society [https://www.sup.org/books/title/?id=25725 ]. A disease of abundance requires abstinence, not antidotes.

If you’d like to read more of my thoughts on “total work” and how work isn’t working, this interview with Creative Boom [https://www.creativeboom.com/features/frank-chimero/ ] does a nice job of explaining things in a more cohesive way. Maybe some day I’ll be able to get down things with more clarity.”]]></description>
<dc:subject>burnout frankchimero health angst futility independence individualism latecapitalism achievement success careers happiness self-improvement abundance productivity work authenticity visibility pressure anxiety stress culture society ethics workethic doing slow performance capitalism neoliberalism responsibility privatization economics psychogeography identity comparison byung-chulhan exhaustion fatique latestagecapitalism</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:2d49475a9fcc/</dc:identifier>
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<item rdf:about="https://newrepublic.com/article/152872/millennials-dont-monopoly-burnout">
    <title>Millennials Don’t Have a Monopoly on Burnout | The New Republic</title>
    <dc:date>2019-01-14T22:18:37+00:00</dc:date>
    <link>https://newrepublic.com/article/152872/millennials-dont-monopoly-burnout</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["This is a societal scourge, not a generational one. So how can we solve it?"

…

"Because the causes are systemic, the solution to burnout will need to be too. Peterson noted why “many millennials increasingly identify with democratic socialism and are embracing unions: We are beginning to understand what ails us, and it’s not something an oxygen facial or a treadmill desk can fix.” But overthrowing capitalism isn’t a complete solution, either. The things that cause burnout – from overwork and shoddy management to a lack of recognition – would likely persist in socialist systems. Workers burn out in social democracies like Sweden, too.

We can’t just throw cash at the burnout problem, either, like Don Draper does on “Mad Men” when his younger business partner Peggy Olson complains that her tireless work goes unrecognized. “That’s what the money is for!” he bellows. Of course, workers would benefit from higher wages, but a bigger paycheck won’t keep you from burning out if you’re treated unfairly, or your employer’s values differ from yours, or your boss is a tyrant. Besides, burnout isn’t just a reaction to bad jobs. I had a great job, but there were still problems with my workload and rewards I couldn’t bear over the long term.

And this is where the problem lies: There’s no obvious solution. “Change might come from legislation, or collective action, or continued feminist advocacy, but it’s folly to imagine it will come from companies themselves,” Peterson writes. “Our capacity to burn out and keep working is our greatest value.” But it’s hard to see how Congress could legislate the problem away, especially given that Washington is also keenly interested, for economic reasons, in having as many Americans working as possible—and doing so as efficiently as possible. As for collective action and feminist advocacy, they may help improve employment at the edges, but it’s worth noting that even 9-to-5 workers with generous vacation time can burn out.

It may be impossible to eliminate burnout altogether. As long as we toil, there will be pain. But we can surely ease it. Burnout arises in our organizations, but it’s a product of the unhealthy interpersonal relations we have there. That means it’s not fundamentally an economic or political problem. It’s an ethical one. It stems from the demands we place on others, the recognition we fail to give, the discord between our words and actions. The question can’t just be how I can prevent my burnout; it has to be how I can prevent yours. The answer will entail not just creating better workplaces, but also becoming better people."]]></description>
<dc:subject>burnout 2019 psychogeography work labor jonathanmalesic economics generations annhelenpetersen</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:2a34a7d98473/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:annhelenpetersen"/>
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<item rdf:about="https://ediciones-ineditos.com/2018/04/24/the-psycho-geography-of-gentrification/">
    <title>The Psycho-Geography of Gentrification in L.A. – más allá de la política</title>
    <dc:date>2018-04-29T21:26:58+00:00</dc:date>
    <link>https://ediciones-ineditos.com/2018/04/24/the-psycho-geography-of-gentrification/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Gentrification as the intensification of the psycho-geography of the real subsumption of everything to Capital. No place for cultural remanants outside its logic. The banalisation of all spaces, streamlining consumption. You don't live here, you just buy here. [https://twitter.com/edcns_ineditos/status/988603623276871682 ]

But what does this mean?

Much has been written about gentrification, but simply put it is the name for the rise of property values (and then ipso facto rent prices), resulting in displacement and often cultural erasure of those who were displaced. As Stuart Hall said, “race is the modality in which class is lived” and so by this logic gentrification is also deeply racialized. But what is the cause of this rise is more contentious. Some point to art galleries/spaces; others to international & national real estate speculation looking for new markets to profit off of; some see it is as a natural process of re-vitalization of areas once thought of as blight (if life under Capital could be seen as natural); some see the incursion of the (white) hipster as the cause. Suffice to say the cause is complex and may include all of these.

Now what is psycho-geography? In 1955, Guy Debord [a French anti-state communist who wrote much about art & cinema & The Spectacle] defined it as “the study of the precise laws and specific effects of the geographical environment, consciously organized or not, on the emotions and behavior of individuals.” Of course, as gentrification attests, the physical environment we encounter does not effect all of us in the same way. Later in 1961, he clarified things a bit by saying, “sectors of a city…are decipherable, but the personal meaning they have for us is incommunicable.” We may all be able to see how hostile architecture (as seen below) works to discourage loitering and/or camping by the homeless, though others may not understand why the appearance of a juice bar (also seen below) may be just as offensive to some of us (especially since a Mexican juice & snack shop is right up the street selling the same thing at cheaper prices).

[images]

So psycho-geography could be a way to think about how certain spaces in a city could be seen as either welcoming, hostile or open-ended. Most spaces are very controlled in Los Angeles, though their control is highly racialized. For instance, public drinking is illegal in Los Angeles but curiously at art gallery openings, where a largely white audience take their Tecates or cheap red wine onto the sidewalks or street, there seems to be little enforcement of this law. The video below, take from a 2010 documentary on Skid Row, sheds some light on this racialization:

[video: https://www.youtube.com/watch?v=MB_P3eljq1Y ]

Part of the power of whiteness is that those emboldened by it feel they can and should be able to go anywhere and be safe. Freedom of movement and safety are two things we all desire, but because whiteness is something which demands defense under the White-Supremacist society we live in — that enforcement comes along with an armed gang with a monopoly on violence: The Police. There are countless of stories of white people calling the police on Black or brown people where there was indeed no threat and the Black or brown person ends up being brutalized or killed by the police. One of the clear fears of Black and brown proletarians who live in a neighborhood being gentrified is that with new white neighbors with money, so will come a police force who either would ignore their neighborhood in the past or would already terrorize their neighborhood. What were normal house parties would now attract aggressive police attention (house parties which occur because often bars/clubs prove too expensive for proletarians).

<blockquote>But what does “the real subsumption of everything to Capital” mean? This is a topic which has been explained much better in Ultra-Left communist texts than could be explained here, but briefly as Endnotes note in their second volume: “formal subsumption affects only the immediate labour-process, while real subsumption extends beyond the sphere of production to society as a whole.” Or as Théorie communiste put it, it is “capital becoming capitalist society.”</blockquote>

So, at one point in time Capital only absolutely controlled proletarians when at work, but over time Capital has been able to control proletarians non-labor time as well (“free time)”. Gentrification could very well be seen as the intensification of this control within (typically) the realm of the city. One of the tell-tale signs of gentrification is how what were once old mom-and-pop shops which likely fulfilled a need within a specific ethnic neighborhood (fresh tortillas and tamales!), transition to boutique or high-end shops which fulfill needs much more based on commodity-fetishism: the purchase of things (or services) not so much based on need but based on what they say about the purchaser:

[images]

I buy a coffee at Café de Leche because it says that I have refined taste in coffee and also that I have the disposable income to spend much more for something as banal as coffee, rather than picking up a cup from a Cambodian-owned donut shop for much less. I buy crystals supposedly-imbued with healing or other properties because I see they are part of a trend I've come across on Instagram (and I will post them on Instagram) vs. buying candles in a local botánica from a culture I don't know enough about to spin for social capital.

Interestingly enough many times defenders of gentrification advocates say that the changes brought by gentrification amount to bringing much needed services and/or access to certain commodities to poorer neighborhoods; or some even claim they are bringing culture & difference. The first claim assumes that residents wished they could pay more for the things already for sale in their neighborhoods. This second claim is rather ludicrous as anyone who has visited more than a few gentrified neighborhoods will attest to their sameness: juice shop, high-end café, yoga studio, crystal shop, wine shop, etc. What gentrification is bringing is the blight of middle-class/bourgeois whiteness. A blight which sees itself as the default and cannot imagine that those outside of it could not want what they want.

El Sereno starts to look like Highland Park which looks more and more like Echo Park which inevitably becomes annexed by Silver Lake.

More and more what could have been a street where people hung out on and could buy cheap snacks to pass the time becomes a place where one cannot visit without spending less than $20 (currently LA’s minimum wage can be as low as $10.50/hr). The last remnants of what some would call community disappears. A recent LA Times article on the creeping gentrification faced in Lincoln Heights notes how some people stay in this L.A Eastside neighborhood not just because it is still relatively cheap, but because they have found a place they cherish and call home. For the petit-bourgeois/bourgeois who see themselves as cosmopolitan and shuttle from living in one city to another and then on to another city based on whim or fancy, Lincoln Heights has no historical or personal meaning. Their newly-flipped rental (or mortgage) is just a nice place (with maybe a nice view).

• "Oh you can see Downtown L.A. from here."
• "It's so conveniently close to everything."
• "It feels like a real L.A. neighborhood -- not like Echo Park does now."
• "It's really an up-and-coming neighborhood!"
• "If only it had a Trader Joe's!"

Gentrification is the further realization of the power of Capital over the lives of proletarians. And this realization says one thing loudly & clearly: you don’t matter and your connection to a place does not matter. Perhaps the coming years will continue to show a Los Angeles which says:

FUCK YOU, WE DON'T WANT TO LIVE WITHIN THE LOGIC OF WHAT CAPITAL THINKS MATTERS. WE WANT TO LIVE OUTSIDE OF ITS LOGIC AND WILL DESTROY CAPITAL IF NECESSARY.

Cuz we know when we drive or walk around a gentrifying Los Angeles we know that what we see is akin to a fuck you to the revolt of 1992. Capital is taking the city back and it’s time we remind Capital of what we can and will do."]]></description>
<dc:subject>losangeles gentrification psychogeography 2018 guydebord whiteness capitalism</dc:subject>
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<item rdf:about="https://www.instagram.com/p/Bht03b5hVkd/">
    <title>Teju Cole en Instagram: “⠀⠀⠀⠀⠀⠀⠀⠀⠀ The Starbucks thing hit me harder than I expected. I've been brooding for days. On the face of it, it's inconsequential. It is…”</title>
    <dc:date>2018-04-19T01:50:55+00:00</dc:date>
    <link>https://www.instagram.com/p/Bht03b5hVkd/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The Starbucks thing hit me harder than I expected. I've been brooding for days. On the face of it, it's inconsequential. It is certainly inconsequential in direct comparison to the "newsworthy" horrors we are used to. No one was shot. Nobody died.
⠀⠀⠀⠀⠀⠀⠀⠀⠀
It happened on an ordinary day in an ordinary place. But that's also the reason it stings: precisely because of that ordinariness. Show of hands: who's ever been to a Starbucks? It happened in Starbucks, with their overpriced faux-Italian drinks, to people like us, doing the things we do, waiting for a friend to arrive before ordering.
⠀⠀⠀⠀⠀⠀⠀⠀⠀
Keen-eared Professor Iyer notes that playing overhead during the arrest was Dizzy Gillespie's Salt Peanuts. A compact contemporary history of public space could be written with the title "Black Music, Yes! Black People, No!"
⠀⠀⠀⠀⠀⠀⠀⠀⠀
We are not safe even in the most banal place. We are not equal even in the most common circumstances. We are always five minutes away from having our lives upended. Racism is not about actively doing stuff to you all the time—it's also about passively keeping you on tenterhooks. We are always one sour white away from having the cops arrive. And the cops! The cops are like a machine that can’t stop once set in motion, what Fela called "zombie." When the cops arrive, the human aspect of the encounter is over.
⠀⠀⠀⠀⠀⠀⠀⠀⠀
This is why I always say you can't be a black flaneur. Flanerie is for whites. For blacks in white terrain, all spaces are charged. Cafes, restaurants, museums, shops. Your own front door. This is why we are compelled, instead, to practice psychogeography. We wander alert, and pay a heavy psychic toll for that vigilance. Can't relax, black."]]></description>
<dc:subject>tejucole 2018 starbucks flaneur psychogeography race racism blackness us flâneurs flaneurs flâneur</dc:subject>
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<item rdf:about="http://morning.computer/2017/09/folklore-situationism/">
    <title>Folklore Situationism – MORNING, COMPUTER</title>
    <dc:date>2017-09-25T05:04:27+00:00</dc:date>
    <link>http://morning.computer/2017/09/folklore-situationism/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["NORTHERN EARTH gives me joy.  The September issue has a big, rich piece on psychogeography, phenomenology, landscape writing, history and, most tellingly for me, folklore.  For me, it tied right in to the mechanic of myth in STAR SHIPS – the transmission of lore through story. I’m still thinking about this talk I have to do next month, Myth And The River Of Time.

Moving through America, I always find myself noticing and thinking that American roads and bridges are named after Americans. I live in a country where roads and bridges are named for ghost stories.  Screaming Boy Lane and Boggart’s Bridge.

Dramatising the landscape, which we’ve done since megalithic times and before.

Landscape writing seems to eventually take a turn into nationalism.  I never quite got that. Myth is a commonwealth.  And you know that, somewhere, sometime, someone drives on one of those roads or bridges in America and leans back and tells a myth of the person it’s named for, a truth grown in time, a thing they did or saw that becomes story in the telling.

They have a website where you can buy a year’s subscription for ten pounds British."]]></description>
<dc:subject>warrenellis 2017 folklore situationist landscape writing us naming lore myth psychogeography phenomenology</dc:subject>
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</item>
<item rdf:about="http://www.artspace.com/magazine/art_101/book_report/phaidon-mike-kelley-educational-complex-53094">
    <title>Go Back to School With Mike Kelley's &quot;Educational Complex&quot; | Art for Sale | Artspace</title>
    <dc:date>2015-09-14T05:55:16+00:00</dc:date>
    <link>http://www.artspace.com/magazine/art_101/book_report/phaidon-mike-kelley-educational-complex-53094</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Though he has been based in Los Angeles since 1976, Mike Kelley’s birthplace of Detroit has always been a locus of his practice, as has his working method of creating psychologically charged architecture—as scale models and as life size environments—for chaotic, often scatological accumulations of personal memories and cultural detritus. Examples include works in which an imagined territory gives structure to a larger narrative, as with the landscape photographs in Three Valleys (1980) or the drawings in Monkey Island (1982-83); sculptural landscapes composed of found children’s blankets and pathetic pre-owned dolls or pet toys, such as Mooner or Arena 5 (both 1990); and the sock monkeys and related stuffed animals grouped and organized on generic industrial work tables in Craft Morphology Flow Chart (1991). 

Kelley’s integration of personal, architectural, and cultural memory reached its apotheosis in 1995 with Educational Complex. In American culture of the 1980s and 1990s, the suburban school became a territory heavily charged with symbolism in the wake of several high-profile school shootings and child-abuse cases. Locations such as Columbine, Colorado, and Manhattan Beach, California—home of the McMartin preschool, another subject of Kelley’s—are indelibly etched in the American psyche as painful examples of aggression or “repressed memory syndrome” incubated in neighborhoods that had once held promise for upwardly mobile families fleeing the inner city. In Kelley’s work, this dark and paranoid side of American culture is exploited and filtered through the artist’s own memories of his childhood experiences in Detroit, one of the most economically blighted cities in the United States. Like other American artists, such as Paul McCarthy, who mines the territory of his own Mormon upbringing, or Matthew Barney, who has used the American West as the cinematic backdrop for his epic films, Kelley is interested in icons of the benign relics of his own psyche—in his case, the wishing well, the office, the museum, the classroom.

In 1995, addressing what he calls his “bias against architecture” Kelley created Educational Complex, a tabletop model that delineates the psychogeography of his childhood by reconstructing from memory the schools he attended and the house in which he grew up. “Buildings that I had occupied almost every day for years could barely be recalled. The teachers, courses and activities held within them are a vast undifferentiated swamp.” Generated through a process of drawing and modeling, the complex of structures was a combination of excavation and spatialization of memory. Classrooms, hallways and offices were recalled, drawn, and then matched to actual floorplans. The resulting form became a conflation of the two.

The gaps in memory—the lapses and repressed moments—are represented by actual blanks in the architecture of the model, spaces filled in. Doors recalled as opening on the left are represented as doing so on the right, while other mistakes are left uncorrected, representing what Anthony Vidler has called “a nostalgia for the homely.” As Kelley has said, “In utopian projects, moral and aesthetic dimensions are presented, often openly and dramatically, as mirrors of each other. Of course, my project is a perversion of such an attitude: I present an obviously dystopian architecture, reflecting our true, chaotic social conditions, rather than some idealized dream of wholeness.”"

[See also: http://aaaaarg.fail/thing/55a76208334fe06cd8fdc2cd]]

"One of the most influential artists of our time, Mike Kelley (1954--2012) produced a body of innovative work mining American popular culture as well as modernist and postmodernist art -- relentless examinations of subjectivity and of society that are both sinister and ecstatic. With a wide range of media, Kelley's work explores themes as varied as post-punk politics, religious systems, social class, and repressed memory. Using architectural models to represent schools he attended, his 1995 work, Educational Complex, presents forgotten spaces as frames for private trauma, real or imagined. The work's implications are at once miniature and massive. In this book, John Miller offers an illustrated examination of this milestone work that marked a significant change in Kelley's practice. A "complex" can mean an architectural configuration, a psychological syndrome, or a political apparatus, and Miller approaches Educational Complex through corresponding lines of inquiry, considering the making of the work, examining it in terms of education and trauma (sexual or otherwise), and investigating how it tests the ideological horizon of art as an institution. Miller shows that in Educational Complex, Kelley expands his political and aesthetic focus, including not only such artifacts as generic forms of architecture but (inspired by the infamous McMartin Preschool case) popular fantasies associated with ritual sex abuse and false memory syndrome. Through this archaeology of the contemporary, Miller argues, Kelley examines the mandate for education and the liberal democratic premises underpinning it."]]]></description>
<dc:subject>art architecture childhood schools memory 1995 psychogeography detroit 2015 buildings mikekelley</dc:subject>
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<item rdf:about="http://www.vice.com/es/read/caminar-como-ultimo-acto-de-libertad-que-nos-queda-585">
    <title>Caminar como último acto de libertad que nos queda | VICE | España</title>
    <dc:date>2015-05-13T06:45:42+00:00</dc:date>
    <link>http://www.vice.com/es/read/caminar-como-ultimo-acto-de-libertad-que-nos-queda-585</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[""No hay que olvidar que el trayecto es lo mejor del camino". Así se despide en nuestra entrevista Francisco Navamuel. El fotógrafo decidió crear un grupo en Facebook:Caminar como práctica anarquista, ética, estética y de pensamiento. Ahora reconoce que esta idea se le ha ido un poco de las manos. "Cuando te comento esto tiene que ver con el propio funcionamiento de la red social, en el que la información pasa a una velocidad incompatible con la reflexión".

En estos momentos el grupo cuenta con más de 4.600 seguidores. "Pero no siempre fue así. Arrancar el grupo costó más de tres años. El grupo contaba con unos 150 seguidores y decidí hacer administrador del grupo a todos. Actualmente, el grupo se autogestiona y seguimos creciendo, no solo en cantidad sino en calidad".

¿Y por qué esa necesidad de reivindicar el acto de caminar? "Sobre todo para mí es una manera de relacionarme con el territorio, de conocer en primera persona el espacio que habito, de reconocerme en las personas que voy encontrando cuando camino. Es una forma de conocimiento personal donde el espacio-tiempo confluyen al mismo ritmo que el pensamiento. Caminar tiene la capacidad de igualarnos, de hacernos ciudadanos en la medida que ocupamos y utilizamos un espacio y lo transitamos".

VICE: Entonces, ¿caminar va más allá del acto de desplazarse?

Francisco Navamuel: Caminar es un acto de libertad. Pero también de resistencia frente a las urgencias impuestas y las velocidades ajenas. Caminar se ha convertido en algo subversivo si no se practica para producir o para consumir y me niego a renunciar a esa capacidad transformadora y de conocimiento que recibimos cuando se camina, sea la manera elegida que sea: por placer, por obligación o por salud. Caminar tiene esa parte lúdica y pedagógica que tenemos que recuperar como fuente de conocimiento. Pero también entiendo el caminar como una experiencia estética. El paseo está asociado al paisaje y me interesa la percepción que cada persona tiene sobre cómo interpreta el territorio.

Y el grupo de Facebook, ¿cómo surge?

El grupo surge en un momento en el que comienzo a realizar una tesis doctoral en la que vinculo el caminar, la fotografía y el llamado 'Modelo Barcelona'. Desde el principio empecé a ser consciente de la cantidad de información que existía sobre el caminar desde disciplinas como la antropología, la sociología, el arte, el urbanismo. No todo lo que recopilaba para la tesis me era útil y pensé que ese esfuerzo de investigación y toda esa información no debía quedarse guardada en una pestaña del navegador. Decidí crear el grupo Caminar como práctica anarquista, ética, estética y de pensamiento porque pensaba que podría ser útil a otras personas el poner en común todo lo que generaba la investigación. Al mismo tiempo daba la oportunidad a otros caminantes a compartir sus experiencias, vivencias o conocimientos sobre el tema. Soy partidario de la transmisión de conocimientos de manera horizontal y el grupo permite esa transmisión no jerárquica que existe en espacios como la enseñanza reglada o la académica. Cualquiera puede compartir la información que considere oportuna, desde un paseo alrededor se su casa hasta el último proyecto participativo o la última publicación. Si bien Facebook no es precisamente un espacio de conocimiento, respeto y libertad, sí que permite este flujo de información compartida sobre un mismo tema.

Y el anarquismo del título.

Hay algo en la acción del caminar que lo vinculo con valores del anarquismo. Caminar es una manera de posicionarse en el mundo. Cada persona decide cuáles son los motivos que tiene para caminar, tiene libertad para decidir hacia dónde se desplaza y el mismo acto genera un bien en la comunidad. Las personas que caminan respetan y protegen los espacios por donde transita. Se es solidario con las personas que encuentras a tu paso. Caminar se ha convertido en un acto de resistencia y en muchos momentos de desobediencia, de compromiso y de acción directa. Caminar como experiencia libertaria, de respeto, conocimiento y reconocimiento del 'otro', caminar como acto de rebeldía, como respuesta a la especulación urbana. Caminar como penúltimo acto de dignidad, como último acto de libertad.

¿A qué te refieres cuando hablas de ética y estética?

La ética y la estética están íntimamente relacionadas en la medida que una experiencia estética está cargada de ética. La observación responsable genera pensamiento crítico. Como consecuencia de esa observación el ser humano ha materializado esa experiencia estética en objeto artístico por medio de la literatura, la escultura, la pintura, el dibujo, el sonido o como es en mi caso por medio de la fotografía. Caminar por tu entorno más inmediato te invita a mirar, a percibir, a conocer, a reflexionar y te permite ser crítico hacia las diferentes transformaciones que el poder fáctico impone. Ese conocimiento junto a ese pensamiento crítico genera un compromiso ético.

¿Se pueden cambiar las cosas con el acto de caminar?

Las cosas no se cambian por sí solas simplemente caminando. Se necesita el compromiso de una parte de la sociedad. Las personas que deciden caminar están en continuo cambio y ese movimiento genera unas sinergias que son capaces de transformar cualquier cosa. No basta con salir a la calle a caminar si no va implícito un grado mínimo de compromiso y de acción.

¿Necesitamos volver a ocupar los espacios públicos?

Necesitamos recuperarlos en la medida en que necesitamos socializar el espacio que ya ocupamos, y el desplazarse a pie ayuda a mantener ese equilibrio entre lo privado y lo público. Si algo caracteriza ese espacio público es la posibilidad de transitarlo con total libertad. Un espacio imperfecto y en continua transformación, donde el ser humano debe ser el protagonista frente a la especulación y a los intereses partidistas. El antropólogo Manuel Delgado llega a afirmar que el espacio público no existe en esta sociedad capitalista mientras se excluya de él a las personas y colectivos más vulnerables. Creo incluso que es necesario recuperar el espacio público como espacio de confrontación, donde dejemos de ser simples autómatas obedientes y materialicemos nuestros deseos. Una parte de urbanistas modernos, junto a ciertas políticas neoliberales, se han empeñado en proyectar las calles, las plazas, los barrios de tal manera que todo esté en orden, controlado y vigilado, de crear la ciudad perfecta con la intención de desactivar cualquier tipo de discrepancia y conflicto. Esto va en contra del propio concepto de ciudadano en la medida que se hace ciudad activando y socializando el espacio público.

¿Cómo ha influido tu pasión por caminar en tu proyecto personal?

Esa experiencia estética la materializo a través de mi trabajo artístico por medio de la fotografía y los registros sonoros. Pongo en práctica diferentes maneras de caminar, desde las deambulaciones perceptivas de los surrealistas, las derivas psicogeográficas de los situacionistas hasta las transurbancias que nos propone Francesco Careri con el grupo 'Stalker/Osservatorio Nomade'. De estas experiencias nace el proyecto WALKCELONA, en el que llevo trabajando los últimos siete años. Registro mis desplazamientos por la ciudad, que no dejan de ser pequeños momentos cotidianos, donde el conflicto está presente en sus calles, donde las contradicciones urbanas nos hacen errar en todas direcciones, donde los paisajes lingüísticos nos hace más humanos, sabiendo que la mayoría de las veces acaban censurados, generando muros de estéticas imposibles. Donde la arquitectura nos habla de cómo el espacio se convierte en tiempo y éste en historia, de lugares concretos que la cámara aísla y rescata de su anonimato para ser observados con la tranquilidad que la fotografía nos permite y que el ritmo de la propia ciudad nos arrebata."]]></description>
<dc:subject>walking freedom fernandobernal 2015 via:javierarbona ethics anarchism aesthetics thinking solviturambulando walkcelona psychogeography francisconavamuel barcelona españa spain knowing scale situationist observation criticism criticalthinking publicspace space manueldelgado transurbanism urbanism urban cities anthropology</dc:subject>
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</item>
<item rdf:about="http://jomc.tumblr.com/post/109919795513/types-of-art">
    <title>jomc.links (Types of art)</title>
    <dc:date>2015-02-10T20:27:48+00:00</dc:date>
    <link>http://jomc.tumblr.com/post/109919795513/types-of-art</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Time based media work to examine the stages and transformations of a single loaf #staleart

An inquiry into the everyday realities of large marine cetaceans, including mimicking surface behavior #whaleart

Performances consider the use and distance of unpaved lanes. Often received in the form of a mixture of dried fruits and nuts #trailart

Practice is concerned with colors of low saturation and associated paraphernalia #paleart

Art inspired by a creature entering new homes as territories of resistance. Slime residue traces the pattern of a psychogeographic inquiry #snailart

Gestures involving sedimentary rock as accelerationism of rare systems. Steam injection as provocative enterprise and critique of unsustainable practices. #oilshaleart

Explores coverings of many forms and textures. #veilart

Appropriating tactical reconnaissance substrates. Making underlying power structures hitherto visible. #maleart

(some rando text file I wrote about a year ago. no idea where to put it so i’m putting it here….i also have no idea what the thing was that annoyed me but it apparently was a long complicated joke about surveillance art being a boys club)"

[via: http://notes.caseyagollan.com/post/109923232318/types-of-art ]]]></description>
<dc:subject>joannemcneil 2015 art psychogeography gender whales textures texture coverings veils oilshale systems systemsthinking color humor power patriarchy resistance</dc:subject>
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<item rdf:about="http://sextant.works/">
    <title>Sextant Works - Not Know Because Not Looked For</title>
    <dc:date>2015-02-08T00:28:11+00:00</dc:date>
    <link>http://sextant.works/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Sextant Works (formerly Wanderlust Projects) is an experience design collaboration between N.D. Austin and Ida C. Benedetto.

We practice transgressive placemaking through adventure, intimacy, and exploration."]]></description>
<dc:subject>placemaking psychogeography exploration adventure idabenedetto ndaustin wanderlustprojects art experience place place-based place-basededucation place-basedlearning place-basedpedagogy land-basedlearning land-basededucation</dc:subject>
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<item rdf:about="https://www.youtube.com/watch?v=9RC7KQSdxR0">
    <title>'Pernicious' Effects of Economic Inequality - YouTube</title>
    <dc:date>2014-11-17T05:26:14+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=9RC7KQSdxR0</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["It's been said that money is the root of all evil. Does money make people more likely to lie, cheat and steal? Economics correspondent Paul Solman reports on new research from the University of California, Berkeley about how wealth and inequality affects us psychologically."]]></description>
<dc:subject>wealth inequality generosity psychogeography 2013 behavior ethics economics</dc:subject>
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<item rdf:about="http://www.e-flux.com/journal/in-conversation-with-raoul-vaneigem/">
    <title>In Conversation with Raoul Vaneigem | e-flux</title>
    <dc:date>2014-01-23T08:06:58+00:00</dc:date>
    <link>http://www.e-flux.com/journal/in-conversation-with-raoul-vaneigem/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["HUO: You have written a lot on life, not survival. What is the difference?

RV: Survival is budgeted life. The system of exploitation of nature and man, starting in the Middle Neolithic with intensive farming, caused an involution in which creativity—a quality specific to humans—was supplanted by work, by the production of a covetous power. Creative life, as had begun to unfold during the Paleolithic, declined and gave way to a brutish struggle for subsistence. From then on, predation, which defines animal behavior, became the generator of all economic mechanisms.

HUO: Today, more than forty years after May ‘68, how do you feel life and society have evolved?

RV: We are witnessing the collapse of financial capitalism. This was easily predictable. Even among economists, where one finds even more idiots than in the political sphere, a number had been sounding the alarm for a decade or so. Our situation is paradoxical: never in Europe have the forces of repression been so weakened, yet never have the exploited masses been so passive. Still, insurrectional consciousness always sleeps with one eye open. The arrogance, incompetence, and powerlessness of the governing classes will eventually rouse it from its slumber, as will the progression in hearts and minds of what was most radical about May 1968."

…

"RV: The moralization of profit is an illusion and a fraud. There must be a decisive break with an economic system that has consistently spread ruin and destruction while pretending, amidst constant destitution, to deliver a most hypothetical well-being. Human relations must supersede and cancel out commercial relations. Civil disobedience means disregarding the decisions of a government that embezzles from its citizens to support the embezzlements of financial capitalism. Why pay taxes to the bankster-state, taxes vainly used to try to plug the sinkhole of corruption, when we could allocate them instead to the self-management of free power networks in every local community? The direct democracy of self-managed councils has every right to ignore the decrees of corrupt parliamentary democracy. Civil disobedience towards a state that is plundering us is a right. It is up to us to capitalize on this epochal shift to create communities where desire for life overwhelms the tyranny of money and power. We need concern ourselves neither with government debt, which covers up a massive defrauding of the public interest, nor with that contrivance of profit they call “growth.” From now on, the aim of local communities should be to produce for themselves and by themselves all goods of social value, meeting the needs of all—authentic needs, that is, not needs prefabricated by consumerist propaganda."

…

"RV: The crisis of the ‘30s was an economic crisis. What we are facing today is an implosion of the economy as a management system. It is the collapse of market civilization and the emergence of human civilization. The current turmoil signals a deep shift: the reference points of the old patriarchal world are vanishing. Percolating instead, still just barely and confusedly, are the early markers of a lifestyle that is genuinely human, an alliance with nature that puts an end to its exploitation, rape, and plundering. The worst would be the unawareness of life, the absence of sentient intelligence, violence without conscience. Nothing is more profitable to the racketeering mafias than chaos, despair, suicidal rebellion, and the nihilism that is spread by mercenary greed, in which money, even devalued in a panic, remains the only value."

…

"HUO: My interviews often focus on the connections between art and architecture/urbanism, or literature and architecture/urbanism. Could you tell me about the Bureau of Unitary Urbanism?

RV: That was an idea more than a project. It was about the urgency of rebuilding our social fabric, so damaged by the stranglehold of the market. Such a rebuilding effort goes hand in hand with the rebuilding by individuals of their own daily existence. That is what psychogeography is really about: a passionate and critical deciphering of what in our environment needs to be destroyed, subjected to détournement, rebuilt.

HUO: In your view there is no such thing as urbanism?

RV: Urbanism is the ideological gridding and control of individuals and society by an economic system that exploits man and Earth and transforms life into a commodity. The danger in the self-built housing movement that is growing today would be to pay more attention to saving money than to the poetry of a new style of life.

HUO: How do you see cities in the year 2009? What kind of unitary urbanism for the third millennium? How do you envision the future of cities? What is your favorite city? You call Oarystis the city of desire. Oarystis takes its inspiration from the world of childhood and femininity. Nothing is static in Oarystis. John Cage once said that, like nature, “one never reaches a point of shapedness or finishedness. The situation is in constant unpredictable change.”2 Do you agree with Cage?

RV: I love wandering through Venice and Prague. I appreciate Mantua, Rome, Bologna, Barcelona, and certain districts of Paris. I care less about architecture than about how much human warmth its beauty has been capable of sustaining. Even Brussels, so devastated by real estate developers and disgraceful architects (remember that in the dialect of Brussels, “architect” is an insult), has held on to some wonderful bistros. Strolling from one to the next gives Brussels a charm that urbanism has deprived it of altogether. The Oarystis I describe is not an ideal city or a model space (all models are totalitarian). It is a clumsy and naïve rough draft for an experiment I still hope might one day be undertaken—so I agree with John Cage. This is not a diagram, but an experimental proposition that the creation of an environment is one and the same as the creation by individuals of their own future."

…

"HUO: Will museums be abolished? Could you discuss the amphitheater of memory? A protestation against oblivion?

RV: The museum suffers from being a closed space in which works waste away. Painting, sculpture, music belong to the street, like the façades that contemplate us and come back to life when we greet them. Like life and love, learning is a continuous flow that enjoys the privilege of irrigating and fertilizing our sentient intelligence. Nothing is more contagious than creation. But the past also carries with it all the dross of our inhumanity. What should we do with it? A museum of horrors, of the barbarism of the past? I attempted to answer the question of the “duty of memory” in Ni pardon, ni talion [Neither Forgiveness Nor Retribution]"

[long quote]

HUO: Learning is deserting schools and going to the streets. Are streets becoming Thinkbelts? Cedric Price’s Potteries Thinkbelt used abandoned railroads for pop-up schools. What and where is learning today?

RV: Learning is permanent for all of us regardless of age. Curiosity feeds the desire to know. The call to teach stems from the pleasure of transmitting life: neither an imposition nor a power relation, it is pure gift, like life, from which it flows. Economic totalitarianism has ripped learning away from life, whose creative conscience it ought to be. We want to disseminate everywhere this poetry of knowledge that gives itself. Against school as a closed-off space (a barrack in the past, a slave market nowadays), we must invent nomadic learning.

HUO: How do you foresee the twenty-first-century university?

RV: The demise of the university: it will be liquidated by the quest for and daily practice of a universal learning of which it has always been but a pale travesty.

HUO: Could you tell me about the freeness principle (I am extremely interested in this; as a curator I have always believed museums should be free—Art for All, as Gilbert and George put it).

RV: Freeness is the only absolute weapon capable of shattering the mighty self-destruction machine set in motion by consumer society, whose implosion is still releasing, like a deadly gas, bottom-line mentality, cupidity, financial gain, profit, and predation. Museums and culture should be free, for sure, but so should public services, currently prey to the scamming multinationals and states. Free trains, buses, subways, free healthcare, free schools, free water, air, electricity, free power, all through alternative networks to be set up. As freeness spreads, new solidarity networks will eradicate the stranglehold of the commodity. This is because life is a free gift, a continuous creation that the market’s vile profiteering alone deprives us of."]]></description>
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<item rdf:about="http://tomarmitage.com/2013/11/13/driftwood/">
    <title>Tom Armitage » Driftwood</title>
    <dc:date>2013-11-14T03:08:24+00:00</dc:date>
    <link>http://tomarmitage.com/2013/11/13/driftwood/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["What this means is: I can check into a location and find myself, a year ago, standing there too. Does that make sense?

(The terms and conditions say I can’t imitate other people, but that doesn’t stop me imitating myself, right?)

So there’s me in the present, and also me-a-year-ago brought forward into the present.

What I learned from this is: you can very viscerally remember a year ago. I see old-me somewhere, and remember who I was in that pub with, or why I was at an event, or what terrible film I saw, or how sad – or happy – I was at any particular point in time."

…

"It’s interesting for me to look back on this body of work when considering the final – and perhaps largest – project I’d like to talk about today. It takes a lot of these impulses – the psychogeographic; the act of creating situations; the act of dérive; the use of leftovers; the barely-game – and pieces them together to create a new kind of interaction that played out in the city."

…

"And we wanted to do that in as accessible a way as possible: for the most people, at the largest scale. I’ve worked around ARG-like things before, and to be honest: it’s not that hard to create a cool experience for a few hundred people that’s not very good value for money. Making something fun and immediate for thousands – that’s far harder. But if we were to make the city playable, it had to be at the biggest scale possible.

Firstly, that meant making it super-accessible. An app for a smartphone might be cool and have GPS and that, but it limits your audience. Everybody understands SMS – every mobile phone has SMS – and it’s super-simple to implement now; Twilio does the legwork for us. Superficially unexciting technology made super-simple by web-based services.

And secondly, to use as much of the city as possible without incurring too many costs – we’d need to use things that were already there. We wanted instead to find a way of hijacking the existing infrastructure – we spent a lot of time scouring the city for opportunities. We noticed that a lot of street furniture – lampposts, postboxes, bus stops, cranes, bridges – have unique reference/ maintenance labels. We thought it would be interesting for these objects to be intervention points – something more tangible than GPS and quite commonplace. Just telling us where you are.

At the time, I jokingly said that the Smart City uses technology and systems to work out what its citizens are doing, and the Playable City would just ask you how you are.

What we ended up with was a playful experience where you could text message street furniture, hold a dialogue with it, and find out what other people had been saying."

…

"We heavily “front-loaded” the experience – the first experience of Hello Lamp Post has to be really good. It’s no good putting all the best content behind hours of play – most of it won’t get seen, as a result. So we chose to make the early interactions completely fully-featured – and then treat the players who continued to engage, to come back again and again, to more subtle shifts in behaviour that were still rewarding – but that didn’t hide most of the functionality from casual players. The Playable City had to be playable by everyone."

…

"Now that I look back on it, I can see that Hello Lamp Post acts as a lovely summation of five years of toys and games built around cities. It’s an experience that doesn’t so much interrupt your experience of the city as it layers on top of it, letting you see the paving and the beach all at once. It builds ritual and new interactions into routine. It requires almost nothing to engage with it – and most of the systems it uses – SMS, Twilio, the city – are already built by other people. We just built the middle layer. (Which, in this case, is rather complex. But you get the picture.)

What can we learn from all this?

By building on top of other services, we also create a kind of sustainability. When Noticings closed, the photos were still on Flickr – just with an unusual tag. If the ghostbots break, their activity is still preserved forever.

We don’t destroy the value we’ve created the second we turn it off. Which is more like how a city behaves: it degrades, or is reused, or gentrified, but history becomes another layer of patina on top of it – it isn’t torn down instantly.

We’re not planting fully grown trees and then tearing them out: we’re building an ecosystem, and perhaps other games or tools will build on top of us. We hoped – once people twigged how Hello Lamp Post worked – they might start drawing codes on things, on posters, on street art, in order to attach messages to it.

If the city is a beach, it is littered in driftwood. When I think of driftwood, I think about flotsam and jetsam. Flotsam is that which floats ashore of its own accord; jetsam is that which is deliberately thrown overboard from a boat – man-made detritus, as opposed to natural wastage (or wreckage).

I think those two categories also apply to the materials I’m terming “driftwood” today. And I genuinely believe the things I’m about to describe are materials, just like wood or steel. That might be obvious with regards to some of these – but not all. If a material is something we manipulate and shape as designers, then all these things could be considered materials.

Leftover infrastructures – services like Twitter and Foursquare, more tactile infrastructure like transit networks or maintenance codes on objects. And leftover technologies, too; print-on-demand, SMS, telephony – all are now available over straightforward web APIs. These things have become commoditised and tossed overboard, made available to all.

In this way, we can spend our time working on unique experiences and interactions, rather than the underlying platforms.

If that’s our jetsam, what’s the flotsam – the stuff just floating around?
Data

The city is drowning in data.

I tend to describe data as an exhaust: you give it off whether you like it or not, and it follows you around like a cloud. People give it off; machines give it off; systems give it off. Given all the data we emit by choice – our locations stored in Foursquare, or Twitter, or Facebook; our event attendance tracked by Lanyrd and Eventbrite; as well as that we emit regardless of whether we want to – discount card usage; travelcard usage; online purchasing data – well, what are the experienes you could build around that? This is all there (with end-users permission) for the taking, and it can lead to unusual new ambient interactions.

Environments

What are the environments you can repurpose? Not just the City as a whole but smaller spaces – institutions, establishments, public spaces, parks, transit networks. All these are spaces and contexts to build within, and they all come with their own affordances. Even when they’re controlled or marshalled by others, they are spaces to consider reclaiming and repurposing.

Routine

And just as we can reclaim space, consider Time as a material to be reclaimed to: what are the points of the day we can design for – not just active, 100% concentration, but all the elements where there is surplus attention? We can’t create Debord’s focused, committed dérive – but how can we create a tiny fragment of it, without invading the daily routines we all have to live with?"

…

"I don’t think, ultimately, the city can resist the beach it sits upon. There are so many things we can build atop it, be it on semi-public, semi-private, corporate spaces – or the genuine publics of the city.

To build and make them, we don’t even need to invent architectures and infrastructures – we don’t even have to make it obvious they’re happening. We can use what’s already there - making new experiences out of the driftwood that lives in the city and across the network. Lifting up the paving slabs to reveal the beach underneath."]]></description>
<dc:subject>tomarmitage 2013 driftwood ghostcar hellolamppost muncaster noticing noticings foursquare flickr leftovers playablecity cities derive psychogeography towerbridge toys play fun dérive situationist games</dc:subject>
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</item>
<item rdf:about="http://en.wikipedia.org/wiki/Experimental_travel">
    <title>Experimental travel - Wikipedia</title>
    <dc:date>2013-07-19T02:58:45+00:00</dc:date>
    <link>http://en.wikipedia.org/wiki/Experimental_travel</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Experimental tourism is a novel approach to tourism in which visitors do not visit the ordinary tourist attractions (or, at least not with the ordinary approach), but allow whim to guide them. It is an alternative form of tourism in which destinations are chosen not on their standard touristic merit but on the basis of an idea or experiment. It often involves elements of humor, serendipity, and chance.

There are a number of approaches to experimental tourism:

• Aerotourism - in which a tourist visits the local airport and explores it without going anywhere.

• Alphatourism - in which a tourist finds the first street alphabetically on a map, and the last street alphabetically, draws a straight line (or any other figure they desire) between them, and walk the path between the two points.

• Alternating Travel - in which a tourist leaves their front door, turns right, turns left at the next intersection, turns right at the next, and so on, alternating each direction, until they are unable to continue because of an obstruction.

• Cecitourism - in which a tourist is blindfolded and allows a friend to escort them through the city.

• Contretourism - in which a tourist visits a famous tourist site, but turns their back on the site and takes photos of, or just examines, the view from that direction.

• Erotourism - in which a couple travels separately to the same city and then tries to find each other.

• Monopolytourism - in which a tourist takes the local version of a Monopoly board with them and visits places on the board as determined by a roll of the dice.

• Nyctalotourism - in which the tourist only visits tourist attractions between dusk and dawn.

Other ideas do not have particular names:

• "Touring" a home town. Stay at a youth hostel, backpack through town, meet new people, do not go home until the vacation is over.

• Taking a map of the town being visited, selecting a random map grid, and exploring every bit of the grid.

• Visiting a bar, asking the bartender where their favorite bar is and what they drink there. Visit that bar, do the same with the bartender there, and continue.

The concept of experimental travel was developed by writer Joel Henry, the French director of the Laboratory of Experimental Tourism (Latourex).

In 2005, Lonely Planet published The Lonely Planet Guide to Experimental Travel [http://www.amazon.com/Lonely-Planet-Guide-Experimental-Travel/dp/1741044502 ], which formalised and developed many of Henry's ideas."]]></description>
<dc:subject>travel serendipity experimental experimentaltravel tourism psychogeography situationist chance humor</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:90803a44ee64/</dc:identifier>
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</item>
<item rdf:about="http://www.penguin.co.uk/static/cs/uk/0/pubsetpages/tube150/">
    <title>Penguin Lines - Celebrate 150 years of the London Underground - Penguin Books</title>
    <dc:date>2013-07-01T16:33:48+00:00</dc:date>
    <link>http://www.penguin.co.uk/static/cs/uk/0/pubsetpages/tube150/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The city is filled with stories. For the 150th anniversary of the London Underground, twelve writers tell their tales, each inspired by a different Tube line. Some are personal, some are polemical; every one is unique, showing how we are connected, and how the space in which we live shapes us and our imaginations."]]></description>
<dc:subject>london tube via:debcha penguin penguinlines subways psychogeography 2013 books storytelling</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:3511073c4b49/</dc:identifier>
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</item>
<item rdf:about="http://www.spaceandculture.org/2004/06/01/moving-across-landscapes-and-one-ocean/">
    <title>Space and Culture › Moving across landscapes (and one ocean)</title>
    <dc:date>2013-03-11T19:44:32+00:00</dc:date>
    <link>http://www.spaceandculture.org/2004/06/01/moving-across-landscapes-and-one-ocean/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["At Tesugen, Peter Lindberg takes a close look at Bruce Chatwin’s beautiful novel*, The Songlines. One of my favourite exchanges is this:

Certain phrases, certain combinations of musical notes, are thought to describe the action of the Ancestor’s feet. Once phrase would say, ’salt-pan’; another ‘creek-bed’, ’spinifex,’ ’sandhill,’ ‘mulga scrub,’ ‘rockface’ and so forth. An expert songman, by listening to their order of succession, would count how many times his hero crossed a river, or scaled a ridge–and be able to calculate where, and how far along a songline he was.

“So a musical phrase,” I said, “is a map reference?”

“Music,” said Arkady, “is a memory bank for finding ones’ way about the world.”

Hear hear!"]]></description>
<dc:subject>annegalloway 2004 brucechatwin memory maps mapping wayfinding thesonglines music language words cartography mapmaking place psychology psychogeography landscape</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:6923564e0e3a/</dc:identifier>
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</item>
<item rdf:about="http://www.walkinginplace.org/converge/iprh/index.htm">
    <title>walking as knowing as making</title>
    <dc:date>2013-03-11T17:44:08+00:00</dc:date>
    <link>http://www.walkinginplace.org/converge/iprh/index.htm</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[Intro here: http://www.walkinginplace.org/converge/intro.htm ]

"...sense of place can be seen as a commonplace occurrence, as an ordinary way of engaging one's surroundings and finding them significant. Albert Camus may have said it best. "Sense of place," he wrote, "is not just something that people know and feel, it is something people do". And that realization brings the whole idea rather firmly down to earth, which is plainly, I think, where a sense of place belongs."

Keith Basso (Wisdom Sits in Places)

"Walkscapes deals with strolling as an architecture of landscape. Walking as an autonomous form of art, a primary act in the symbolic transformation of the territory, an aesthetic instrument of knowledge and a physical transformation of the "negotiated" space, which is converted into an urban intervention. From primitive nomadism to Dada and Surrealism, from the Lettrist to the Situationist International, and from Minimalism to Land Art, this book narrates the perception of landscape through a history of the traversed city.

Francesco Careri (Rome, 1966) graduated in architecture in 1993 in Rome. His doctoral research began in Naples in 1996, resulting in a thesis entitled "The Journey". He is a member of the Stalker urban art workshop, an open interdisciplinary structure that conducts research on the city through experiences of transurbance in open spaces and in interaction with the inhabitants. He has taught at the Institut d'Arts Visuels d'Orléans and the Schools of Architecture of Reggio Calabria and Roma Tre, experimenting together with the students on methods of reappropriation and direct intervention in public space. He has recently published a book on Constant and the Situationist city Constant imagined in the late 1950s and early 1960s (Constant / New Babylon, una città nomade, Testo & Immagine, Turin 2001), and participated with Stalker in many international exhibitions of contemporary art and architecture."

http://www.osservatorionomade.net/
http://www.stalkerlab.it/
http://digilander.libero.it/stalkerlab/tarkowsky/manifesto/manifesting.htm


From the intro:

"Despite its ubiquity in the everyday walking is an activity obscured by its own practical functionality. It is employed literally and understood metaphorically as a slow, inefficient, and increasingly anachronistic means to a predetermined end. Rarely is walking considered as a distinct mode of acting, knowing, and making. As its necessity diminishes and its applications rarefy, the potential of walking as critical, creative, and subversive tool appears only to grow. Conceived of as a conversation between the body and the world, walking becomes a reciprocal and simultaneous act of both interpretation and manipulation; an embodied and active way of shaping and being shaped that operates on a scale and at a pace embedded in something seemingly more authentic and real.

Based in Urbana-Champaign at the University of Illinois, Walking as Knowing as Making is a multifaceted effort that seeks to nurture both a theoretical and applied approach to knowing and interpreting place as we experience and construct it through walking. Using the walk as a guiding metaphor the format of this symposium has been designed to encourage a sustained, rigorous, and layered yet experimental, diffuse, and meandering consideration of walking and its associated activities, systems, and values. Between February and May 2005 we will bring to campus a diverse group of scholars, activists, and pedestrians to present ideas, engage in conversation, generate questions, tell stories, and, of course, walk. Supplementing and also weaving together this series of convergences will be a new interdisciplinary course about walking, an informal film series about place, a reading group, a series of informational and experimental walks and tours, production of a monthly sound collage for broadcast on local community radio stations, a museum exhibition, and a digital and print archive of all the events and activities."]]></description>
<dc:subject>architecture culturalstudies culture space walking psychogeography keithbasso francescocareri reggiocalabria situationist urban urbanism cities art transurbance place territory landscape via:anne davidabram dannisbanks timcresswell johnfrancis hamishfulton chellisglendinning davidmacauley trevorpaglen mikepearson danicaphelps andrephelps janerendell davidrothenberg garysnyder christaylor jackturner annewallace msimonlevin laurielong knowing making slow small subversion scale</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:via:anne"/>
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</item>
<item rdf:about="http://cwandt.com/#crows-flight">
    <title>CW&amp;T » Crow's Flight</title>
    <dc:date>2013-03-11T17:30:21+00:00</dc:date>
    <link>http://cwandt.com/#crows-flight</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Crow’s Flight is a GPS compass app for the Android platform. Enter an address and the GPS compass will continuously update your position and point towards the destination. Distance to the point is displayed in meters or kilometers along with a visual distance gauge.

The red line always points north. The triangle points in the direction of the destination. The brightness of the triangle indicates the accuracy of your GPS fix. White being accurate and darker shades being less accurate.

To get it on your android device, go to the Market app on your phone and search for “crowsflight”. or click on the link->crowsFlight (only on Android devices)

Usage:
Go to the menu to record your current location so you can point back to it later.
Enter an address at the top textbox and press go.

crowsFlight is primarily meant for walking. Use it to track where you parked your car, camping, hiking, geocaching, getting lost, finding your way, hiding treasure, etc.

more features coming soon
-closest subway
-mark “here”
-show in maps
Crow’s Flight is open source and FREE.

source: http://code.google.com/p/crowsflight/

If your compass is acting weird, try calibrating it by spinning the phone on a flat surface really fast. Really. It worked for me."]]></description>
<dc:subject>cw&amp;t applications iphone psychogeography location compass directions mobile gps ios che-weiwang taylorlevy compasses</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:58b8163cc8fb/</dc:identifier>
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<item rdf:about="http://www.schizocartography.org/">
    <title>Tina Richardson: Schizocartography</title>
    <dc:date>2013-03-11T17:16:26+00:00</dc:date>
    <link>http://www.schizocartography.org/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Schizocartography is a form of urban critique that studies the aesthetic and psychological response that individuals have to the built environment.

Developed by Tina Richardson - based at the University of Leeds - it encourages individuals to question, and respond to, the outside spaces in which they work and live.

Schizocartography reveals the ideological contradictions that appear in urban space, while simultaneously enabling creative expression for those who inhabit it."

"What is Schizocartography?

I have developed schizocartography from the psychoanalyst Félix Guattari’s term “schizoanalytic cartography”. Schizocartography enables alternative existential modes for individuals in order to challenge dominant representations and power structures. This provides an opportunity for multiple ways of operating in space and reading the environment; it critiques the conventional ways of viewing, interpreting and mapping space. While the term “schizoanalysis” is derived from “schizophrenia”, it does not promote mental illness; rather, “schizo” is used as a way of offering up the possibility of multiple voices, and alternative world-views, amongst other factors.

This is my definition of ‘schizocartography’:

Schizocartography offers a method of cartography that questions dominant power structures and at the same time enables subjective voices to appear from underlying postmodern topography. It is both the process and output of a psychogeography of particular spaces that have been co-opted by various domineering operations, routines or procedures. It attempts to reveal the aesthetic and ideological contradictions that appear in urban space while simultaneously reclaiming the subjectivity of individuals by enabling new modes of creative expression. Schizocartography challenges anti-production, the homogenizing character of overriding forms that work towards silencing heterogeneous voices."]]></description>
<dc:subject>psychogeography schizocartography cartography urban urbanism place builtenvironment via:selinjessa tinarichardson power powerstructures multiplicity ant-production theory geography félixguattari guattari</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:76bb92de8af7/</dc:identifier>
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<item rdf:about="http://www.mis-guide.com/">
    <title>Wrights &amp; Sites</title>
    <dc:date>2013-03-11T17:13:44+00:00</dc:date>
    <link>http://www.mis-guide.com/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Wrights & Sites is a group of artist-researchers with a special relationship to site, city/landscape and walking."

"Formed in UK, 1997, Wrights & Sites are four artist-researchers (Stephen Hodge, Simon Persighetti, Phil Smith and Cathy Turner) whose work is focused on peoples' relationships to places, cities, landscape and walking. We employ disrupted walking strategies as tools for playful debate, collaboration, intervention and spatial meaning-making.

Our work, like walking, is intended to be porous; for others to read into it and connect from it and for the specificities and temporalities of sites to fracture, erode and distress it. We have sought to pass on our dramaturgical strategies to others: to audiences, readers, visitors and passersby.

The outcomes of our work vary from project to project, but frequently include site-specific performance, Mis-Guided Tours (e.g. Stadtverführungen in Wien, Tanzquartier Wien and Wiener Festwochen, Vienna, 2007), published Mis-Guides (e.g. A Mis-Guide To Anywhere, 2006), 'drifts', mythogeographic mapping, public art (e.g. Wonders of Weston, CABE/Situations, Weston-super-Mare, 2010) or installations (e.g. mis-guided, Belluard Bollwerk International Festival, Fribourg, 2008), and public presentations and articles.

Today, walking and exploring the everyday remains at the heart of all we do, and what we make seeks to facilitate walker-artists, walker-makers and everyday pedestrians to become partners in ascribing significance to place."]]></description>
<dc:subject>psychogeography art landscape stephenhodge simonpersighetti philsmith cathyturner place walking porosity exploring exploration via:anne wrights&amp;sights sensemaking meaningmaking spatial situationist makingsense</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:feb874633ee0/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:philsmith"/>
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<item rdf:about="http://en.wikipedia.org/wiki/Deep_map">
    <title>Deep map - Wikipedia</title>
    <dc:date>2013-03-09T06:08:21+00:00</dc:date>
    <link>http://en.wikipedia.org/wiki/Deep_map</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Deep map refers to an emerging practical method of intensive topographical exploration, popularised by author William Least Heat-Moon with his book PrairyErth: A Deep Map. (1991).

A deep map work most often takes the form of engaged documentary writing of literary quality; although it can equally well be done in long-form on radio. It does not preclude the combination of writing with photography and illustration. Its subject is a particular place, usually quite small and limited, and usually rural.

Some[who?] call the approach 'vertical travel writing', while archeologist Michael Shanks compares it to the eclectic approaches of 18th and early 19th century antiquarian topographers or to the psychogeographic excursions of the early Situationist International[1] http://www.mshanks.com/2012/07/10/chorography-then-and-now/ [2] http://documents.stanford.edu/michaelshanks/51.

A deep map goes beyond simple landscape/history-based topographical writing – to include and interweave autobiography, archeology, stories, memories, folklore, traces, reportage, weather, interviews, natural history, science, and intuition. In its best form, the resulting work arrives at a subtle, multi-layered and 'deep' map of a small area of the earth.

In North America it is a method claimed by those interested in bioregionalism. The best known U.S. examples are Wallace Stegner's Wolf Willow (1962) and Heat-Moon's PrairyErth (1991).

In Great Britain, the method is used by those who use the terms 'spirit of place' and 'local distinctiveness'. BBC Radio 4 has recently undertaken several series of radio documentaries that are deep maps. These are inspired by the 'sense of place' work of the Common Ground organisation."]]></description>
<dc:subject>via:selinjessa writing williamleastheat-moon verticaltravelwriting documentary documentation radio photography illustration place rural michaelshanks topography psychogeography situationist autobiography archaeology stories storytelling memory memories weather interviews naturalhistory bioregionalism parairyerth wolfwillow wallacestegner localdistinctiveness bbcradio bbs radio4 deepmaps maps mapping commonground folklore science intuition</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:4b7b41b3ffa2/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:situationist"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:bioregionalism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:parairyerth"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:wolfwillow"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:wallacestegner"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:localdistinctiveness"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:bbcradio"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:bbs"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:radio4"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:deepmaps"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:maps"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:mapping"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:commonground"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:folklore"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:science"/>
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</item>
<item rdf:about="http://makingmaps.net/2009/06/22/making-psychogeography-maps/">
    <title>Making Psychogeography Maps | Making Maps: DIY Cartography</title>
    <dc:date>2013-03-06T00:20:46+00:00</dc:date>
    <link>http://makingmaps.net/2009/06/22/making-psychogeography-maps/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["During the week of June 15-19 (2009) five intrepid Ohio students and myself engaged in improvisational psychogeography, culminating in the map opening this post. A printable 11″ x 17″ (300dpi 1.4mb) PDF of the map is here [http://mappingweirdstuff.files.wordpress.com/2009/06/owjl-finalmap2.pdf ]."]]></description>
<dc:subject>derive dérive maps mapping psychogeography situationist mapmaking cartography</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:ec199e9a47eb/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:dérive"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:maps"/>
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</item>
<item rdf:about="http://www.arthurmag.com/2012/08/03/d-i-y-magic-book-by-anthony-alvarado/">
    <title>DIY Magic book by Anthony Alvarado | ARTHUR MAGAZINE</title>
    <dc:date>2012-08-21T00:16:21+00:00</dc:date>
    <link>http://www.arthurmag.com/2012/08/03/d-i-y-magic-book-by-anthony-alvarado/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["In short, rather than advertise this as a book of magick, it could just as well have been labeled a book of psychology hacking. Or a cookbook. Think of it as jail-breaking the iPhone of your mind. Teaching it to do things that its basic programming was never set up for. Advanced self-psychology."

“Anthony Alvarado has concocted a cookbook for vivid living: poetry that’s lived rather than written. His “spells” are actually practical suggestions by which the reader may coax the extraordinary from the everyday—and from themselves.” – Lord Breaulove Swells Whimsy, author of The Affected Provincial’s Companion

“Few books are as immediately useful as this delightful, inspirational tips ‘n’ tricks tome. I’m having a backyard betel nut party in five minutes and everyone’s invited!” -Jay Babcock, editor of Arthur Magazine

[See also: http://www.arthurmag.com/contributors/diy-magic-by-anthony-alvarado/ AND http://www.floatingworldcomics.com/main/2012/02/23/d-i-y-magic-by-anthony-alvarado/ ]]]></description>
<dc:subject>senses perception self-psychology howto psychogeography arthurmagazine toread 2012 mindhacks psychology books anthonyalvarado</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:f3f08ca12108/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:perception"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:self-psychology"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:howto"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:psychogeography"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:arthurmagazine"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:toread"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:2012"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:mindhacks"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:psychology"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:books"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:anthonyalvarado"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://www.wired.com/design/2012/06/ios6-maps-from-our-dreams/">
    <title>Directions From our Dreams: Imagining a More Amazing iOS 6 Maps App | Wired Design | Wired.com</title>
    <dc:date>2012-06-20T18:01:48+00:00</dc:date>
    <link>http://www.wired.com/design/2012/06/ios6-maps-from-our-dreams/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Buried in Baio’s post was this intriguing tidbit: “Developers can specify a category (Car, Bus, Train, Subway, Streetcar, Plane, Bike, Ferry, Taxi, Pedestrian, Other).”

“Other”? What kind of thing can you do with “other”? Media inventor Robin Sloan saw it first.

"So Apple’s iOS 6 Maps delegates public transit to third-party apps. That, my friends, is a storytelling opportunity. Two words: Catbus app."

Yes! Why limit ourselves to mundane, workaday transit (especially given how hellish this is for developers) when now we can map anything.

With that in mind, we humbly present this list of suggestions:

* An app that routes your trip via LA’s lost streetcars.
* A psychogeography directions app, perhaps a port of Near Future Laboratory’s Drift deck, which directs aimless wandering around a city.
* An app to help The Warriors get home.
* An app to celebrate Bloomsday by following James Joyce’s Leopold Bloom through Dublin.
* An app for Batman that routes by rooftop."]]></description>
<dc:subject>publictransit api mapping wandering batman jamesjoyce bloomsday driftdeck psychogeography catbus apple ios6 ios mapsoftheimagination maps robinsloan timmaly 2012 andybaio</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:968c64e29980/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:api"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:mapping"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:wandering"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:batman"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:jamesjoyce"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:bloomsday"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:driftdeck"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:psychogeography"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:catbus"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:apple"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:ios6"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:ios"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:mapsoftheimagination"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:maps"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:robinsloan"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:timmaly"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:2012"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:andybaio"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://www.societyforexploratoryresearch.com/">
    <title>The Society for Exploratory Research</title>
    <dc:date>2012-06-11T08:01:12+00:00</dc:date>
    <link>http://www.societyforexploratoryresearch.com/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The Society sends out a variety of exploration assignments on a semi-regular basis. These assignments are designed to encourage non-traditional exploration of your immediate environment, or an environment of your choosing. Assignments are completely optional."

"…began as an underground organization sometime around the beginning of the 20th century. While it is still a relatively unknown entity, the Society is rumored to have included some of the most brilliant thinkers of the last century as members.

Despite the organization's amorphous nature, it's central preoccupations appear to be a dedication to the non-conventional exploration & documentation of unexplored, unnoticed or unused landscapes within a local or wider community, as well as the development of new, non-conventional exploratory techniques. Members believe that learning is best accomplished through direct experience."

[Guide: http://www.societyforexploratoryresearch.com/tactical_guide_sfer.pdf ]]]></description>
<dc:subject>observation place landscape research yi-futuan learning societyforexploratoryresearch noticing situationist psychogeography local edg srg glvo exploration kerismith</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:27d43cde6b04/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:place"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:landscape"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:research"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:yi-futuan"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:learning"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:societyforexploratoryresearch"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:noticing"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:situationist"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:psychogeography"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:local"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:edg"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:srg"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:glvo"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:exploration"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:kerismith"/>
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</item>
<item rdf:about="http://www.brokencitylab.org/drift/">
    <title>Drift: an app for getting lost in familiar places | Broken City Lab</title>
    <dc:date>2012-05-28T05:53:42+00:00</dc:date>
    <link>http://www.brokencitylab.org/drift/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Finally launched and available in the iOS App Store! [http://itunes.apple.com/us/app/drift/id524083174 ]

Drift helps you get lost in familiar places by guiding you on a walk using randomly assembled instructions. Each instruction will ask you to move in a specific direction and, using the compass, look for something normally hidden or unnoticed in our everyday experiences.

As you find these hidden or unnoticed things, you will be asked to document them with the camera, creating a photographic record of you walk. Drift also keeps track of where and when you took the photos and makes your documentation optionally available for others to view through the Drift website.

Drift was made possible with the generous support from the Ontario Arts Council Media Arts Grant for Emerging Artists.

Drift was developed by Justin Langlois in collaboration with Broken City Lab.

This project was generously supported by the Ontario Arts Council Media Arts Grant for Emerging Artists."]]></description>
<dc:subject>2012 observation documentation photography justinlanglois psychogeography experience everydaylife everyday compass cities brokencitylab drift iphone ios applications noticing exploration walking situationist flaneur derive dérive flâneurs flaneurs flâneur compasses drifting</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:6bd380347f43/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:observation"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:documentation"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:photography"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:justinlanglois"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:psychogeography"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:experience"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:everydaylife"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:everyday"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:compass"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:cities"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:brokencitylab"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:drift"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:iphone"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:ios"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:applications"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:noticing"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:exploration"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:situationist"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:flaneur"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:derive"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:dérive"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:flâneurs"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:flaneurs"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:flâneur"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:compasses"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:drifting"/>
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</item>
<item rdf:about="http://www.ribbonfarm.com/2012/04/11/how-do-you-run-away-from-home/">
    <title>How Do You Run Away from Home?</title>
    <dc:date>2012-04-11T23:54:50+00:00</dc:date>
    <link>http://www.ribbonfarm.com/2012/04/11/how-do-you-run-away-from-home/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["For some people, psychological home has clearly moved online. I recall an op-ed somewhere several years ago, comparing cellphones to pacifiers. Appropriate, if they represent a connection to psychological ‘home.’ Putting your phone away is like suddenly being teleported away from home to a strange new place.

For others, the three R’s still dominate the idea of home. Online life is not satisfying for these people. I think this segment will shrink, just as the number of people who are attached to paper books is shrinking.

For a speculative third category, we have the sitcom-ish idea of interchangeable people in roles. I am not sure this category is real yet. I see some evidence for it in my own life, but it is not compelling.

But for a fourth category of people, the need for a psychological home itself is reduced. A utilitarian home is enough. The getting away drive has irreversibly altered psychology."]]></description>
<dc:subject>psychogeography 2012 davidgraeber gettingaway thirdculture runningaway interchangability offline internet web digital online belonging culture anarchism existentialism libertarianism francisfukuyama robertsapolsky psychology history place homes home rootedness identity individualism venkateshrao</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:57aa285c3991/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:psychogeography"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:2012"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:davidgraeber"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:gettingaway"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:thirdculture"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:runningaway"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:interchangability"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:offline"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:internet"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:web"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:digital"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:online"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:belonging"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:culture"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:anarchism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:existentialism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:libertarianism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:francisfukuyama"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:robertsapolsky"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:psychology"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:history"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:place"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:homes"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:home"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:rootedness"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:identity"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:individualism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:venkateshrao"/>
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</item>
<item rdf:about="http://www.kunstakademiet.dk/more.php?id=174_0_2_0_M41">
    <title>Det Kongelige Danske Kunstakademie Billedkunstskolerne</title>
    <dc:date>2012-04-09T22:25:08+00:00</dc:date>
    <link>http://www.kunstakademiet.dk/more.php?id=174_0_2_0_M41</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The School of Walls & Space investigates contemporary notions of space, its production, privatization & the role of the artist as a critical and political agent within it, & uses both traditional & more experimental pedagogical methods.

The School is a multi-layered micro-institution that encourages the development of an inter-disciplinary research-based practice. It balances individual mentoring w/ collective group activities. The school uses traditional pedagogical methods: group & one-to-one crits, seminars and talks, in conjunction w/ the exploration of more experimental collaborative teaching models which the School researches and develops collectively as a group. These include brain storming techniques, games, charettes, group activities, actions & happenings. It also explores historical practices, such as psychogeography & the derive, & the experimental teaching methods of Paolo Freire, Roy Ascott, Paul Goodman, & Colin Ward…"

[See also: http://wallsandspace.wordpress.com/ ]]]></description>
<dc:subject>copenhagen theschoolofwallsandspace 2837university lcproject derive collaborativeteaching collaborative charettes arteducation situationist psychogeography colinward paulgoodman royascott nilsnorman permaculture denmark art space education place pedagogy dérive</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:38d946389e55/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:copenhagen"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:theschoolofwallsandspace"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:2837university"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:lcproject"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:derive"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:collaborativeteaching"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:collaborative"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:charettes"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:arteducation"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:situationist"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:psychogeography"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:colinward"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:paulgoodman"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:royascott"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:nilsnorman"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:permaculture"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:denmark"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:art"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:place"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:pedagogy"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:dérive"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://kunstakademiet.dk/images/uploads/Utopia-reader.pdf">
    <title>Utopia Seminar A Reader The School of Walls and Space Copenhagen 2010 [.pdf]</title>
    <dc:date>2012-04-09T22:11:26+00:00</dc:date>
    <link>http://kunstakademiet.dk/images/uploads/Utopia-reader.pdf</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["This course explores the history, concepts and the real and imaginary worlds of Utopia. As an extension of Nils Norman’s ongoing research of Utopia, the Utopic World will be investigated using a broad artistic, rather than academic, method of inquiry.
 
Utopia is nowhere, but historically and conceptually it cannot be just anywhere. The course will navigate the analytic study and long tradition of mainly Western Utopia going back to the Ancient Greeks, through the Judeo-Christian tradition of Millenarianism, sailing past the Utopias of the 16C, and on towards the mad and fantastic plans and programs of Utopian Socialists like Charles Fourier, Robert Owen and Saint Simon. From there we will steer towards the history of communalism in the United States, feminist utopias, the communitarian experiments of the 60s and 70s, and the intentional communities of the present."]]></description>
<dc:subject>karlmarx marxism socialism ecology intentionalcommunities communitarian saintsimon robertowen charlesfourier millenarianism anarchist anarchism utopia place space psychogeography situationist art denmark copenhagen theschoolofwallsandspace 2010 nilsnorman</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:2de6e61edc97/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:karlmarx"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:marxism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:socialism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:ecology"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:intentionalcommunities"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:communitarian"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:saintsimon"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:robertowen"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:charlesfourier"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:millenarianism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:anarchist"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:anarchism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:utopia"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:place"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:space"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:psychogeography"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:situationist"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:art"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:denmark"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:nilsnorman"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://www.guardian.co.uk/books/2012/mar/30/will-self-walking-cities-foot">
    <title>Will Self: Walking is political | Books | The Guardian</title>
    <dc:date>2012-04-01T18:59:33+00:00</dc:date>
    <link>http://www.guardian.co.uk/books/2012/mar/30/will-self-walking-cities-foot</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["A century ago, 90% of Londoners' journeys under six miles were made on foot. Now we are alienated from the physical reality of our cities. Will Self on the importance of walking in the fight against corporate control"

"Borges's animals and beggars are those who still seek the disciplines of physical geography – we understand that to walk the city and its environs is, in a very powerful sense, to use it. The contemporary flâneur is by nature and inclination a democratising force who seeks equality of access, freedom of movement and the dissolution of corporate and state control."]]></description>
<dc:subject>humanconnection humanconnectivity connectivity human society indifference friedrichengels gps london thomasdequincey moritzretszch edgarallanpoe wandering wanderlust rebeccasolnit epicurus thecityishereforyoutouse geography democracy freedomofmovement freedom access movement flaneur borges cities place space limitedspace psychogeography urbanism urban transportation control corporatism willself 2012 walking flâneurs flaneurs flâneur</dc:subject>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:transportation"/>
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<item rdf:about="http://iam.peteashton.com/flaneurism-shouldnt-be-easy/">
    <title>Flaneurism shouldn’t be easy | I Am Pete Ashton</title>
    <dc:date>2012-02-19T21:20:11+00:00</dc:date>
    <link>http://iam.peteashton.com/flaneurism-shouldnt-be-easy/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["When you think about it, relying on the likes of Google, YouTube, Facebook et al stand up for the niche and the curious is pretty naive. Where their interests coincide they will side with the mainstream, and those interests will coincide more and more. We can’t rely on large Internet companies to look after this stuff – Yahoo’s half-arsed custody of Flickr should have taught us that. If we’re going to have an infrastructure that enables the spirit of the cyberflaneur to thrive we’re going to have to build and maintain it ourselves, above and beyond the financial blinkers of the mainstream.

One of the most surprising things about the Internet is how people think there’s a single monolithic culture. There used to be, back when access was difficult and determined by circumstance. But it’s not like that now. The Internet is for everything and everyone, which means it’s like everything else, prone to mediocrity and abuses of power…"

]]></description>
<dc:subject>monoculture discovery diy serendipity stateoftheweb exploration psychogeography web flaneur cyberflaneurism 2012 evgenymorozov peteashton online flâneurs flaneurs flâneur</dc:subject>
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</item>
<item rdf:about="http://popupcity.net/2012/02/awol-a-guide-to-getting-lost/">
    <title>AWOL — A Guide To Getting Lost — The Pop-Up City</title>
    <dc:date>2012-02-07T08:16:50+00:00</dc:date>
    <link>http://popupcity.net/2012/02/awol-a-guide-to-getting-lost/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Recent Chelsea College of Art & Design graduate Dan Cottrell has created a guide for the sole aim of getting lost. Pyschogeography is nothing new, but AWOL provides a beautifully simple design approach to the subject.

AWOL comes as a pack, consisting of a compass that doesn’t work, a simple poster and and a map that feature algorithmic walks, which always lovingly return you to your departure point – ensuring you can explore your surroundings worry-free."]]></description>
<dc:subject>awol dancottrell 2012 psychogeography anti-navigation navigation situationist</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:c0e1233236e1/</dc:identifier>
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