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    <title>The Slow Line: Art Through Train Travel and Public Transit Spaces</title>
    <dc:date>2026-06-04T08:01:13+00:00</dc:date>
    <link>https://summer-university.udk-berlin.de/?id=653</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["#artisticpractice #publicspace

A site-based class turning trains, stations, and movement into artistic material. Through fieldwork, theory, and public encounters, participants create works for a final exhibition at railway stations

The Slow Line invites participants to explore how artistic practice can expand beyond institutional frameworks into public space, mobility, and actual travel experience. Set in and around railway stations in Berlin and Brandenburg, the class turns travel, waiting, and the rhythms of movement into inspiration for artistic practices. It culminates in a public exhibition at stations and light-based interventions in a historic tower, visible to commuters and passing trains.

The theme ENOUGH acts as critique and invitation: enough of institutional hierarchies, closed selection systems, and sterile white cubes. Instead, we shift the focus toward artistic work that grows from travel experience and direct engagement with the public realm. Participants develop site-responsive works on platforms, trains, and inside dormant railway structures, addressing the social, poetic, and ecological dimensions of travel.

Train journeys function as both method and metaphor: slow, collective movement as an alternative to acceleration, and as a gesture toward sustainability in times of climate urgency. The train becomes a mobile classroom in which perception sharpens, conversations unfold, and artistic ideas emerge organically, meeting railway employees and other creatives working in a relevant context.

The course combines theory, fieldwork, and experimentation. Readings - including Schivelbusch’s The Railway Journey and Bachelard’s Poetics of Space - frame discussions on perception, infrastructure, and spatial transformation. Guided visits to unique railway sites, supported by Deutsche Bahn and local railway communities, provide access to spaces rarely open to the public. These encounters form the foundation for individual artistic responses through photography, sound, video, writing, installation, interdisciplinary formats and more.

The workshop fosters autonomous production through exchange among participants from diverse backgrounds. The final exhibition offers a portfolio-strengthening opportunity rooted not in institutional mediation but in a hands on public exhibition practice.

Schedule

Days 1–4 – Introduction; theory inputs; first station observations; fieldwalks; train travel and train-based fieldwork; railway site visits; material collection; concept sketches; peer feedback; meetings with creatives working in the railway context and with railway employees.

Day 5 – Pause / individual planning.

Days 6–10 – Production phase; individual and group work; exhibition setup and light intervention; public exhibitions; closing reflections.
 
Prior application requirements

Short statement (max. 1 page) on your interest in mobility, public space, or site-specific work; Brief note on what you hope to explore during the class; CV.

Knowledge requirements

No prior railway or public art knowledge needed

Basic familiarity with artistic or creative research methods helpful

Openness to working process oriented, outdoors and in transit is essential

Equipment requirements

Computer (laptop) for editing, writing, and documentation

Any tools relevant to your own artistic practice, depending on what you plan to work with during the course (e.g., sketching materials, sound-recording devices, camera, video equipment, drawing tablets, etc.)

Natalia Irina Roman is an artist, curator, and researcher whose work investigates how mobility infrastructures - especially railways - shape perception, public space, and collective experience. She has developed an innovative teaching method that turns train journeys into artistic practices through observational travel, multi-sensory fieldwork in motion, and site-responsive production on trains, platforms, and in dormant railway architectures. She has been teaching at Bauhaus University Weimar and Berlin University of Arts.

Her Fulbright Fellowship in New York City deepened her research into interlocking towers and transit thresholds, informing ongoing collaborations in Berlin and Brandenburg with railway organisations and local communities. These partnerships open restricted infrastructures - signal towers, lock sheds, service areas - for artistic and curatorial experimentation. Roman designs teaching formats in these contexts, including classes conducted on trains and workshops situated in active stations. Her railway-related projects and past classes can be viewed under www.instagram.com/sitespecificideas.

She currently leads an international Creative Europe cooperation project, an artist in residency on trains across Europe, she has created public artworks supported by the Hauptstadtkulturfonds, and has worked in cultural education since 2017. Roman also serves on juries for public art and interdisciplinary cultural programmes, advocating for accessible, transparent and context-sensitive evaluation practices.

www.nataliairinaroman.eu "]]></description>
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    <title>Sara Hendren: Who Is the Built World Actually Built For? - Art of Inquiry | Podcast on Spotify</title>
    <dc:date>2026-05-05T14:11:09+00:00</dc:date>
    <link>https://open.spotify.com/episode/11zlpahmklfgr8YOUrtLnY</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Sara Hendren didn't start out in engineering. She started as a visual artist, then moved into cultural history, studying objects, artifacts, and what they say about the world that made them. Then life brought her into pediatric spaces filled with a new kind of object: gadgets and tools designed for a child's body, yes, but also doing quiet therapeutic work, covered in butterflies and bugs, useful and expressive all at once. She found herself asking: what is an object broadcasting beyond its user? What does it mean that eyeglasses get sold as fashion while hearing aids are hidden away as clinical? That was the moment everything snapped together, her training in the history of artifacts, the politics of disability, and the material culture of prosthetics all converging at once. In this free-flowing conversation, Sara walks us through the space between mechanical design and design for expression, why the logical and meticulous side of making art and the creative side of meaningful engineering are really the same instinct. As the world asks more and more from its engineers, Sara brings it all back to a question that feels more urgent than ever: can a designed object change not just how we move through the world, but how we see it?"

[via:
https://ablerism.micro.blog/2026/04/29/i-had-fun-speaking-on.html

"I had fun speaking on the Art of Inquiry, a podcast created by two Northeastern engineering students interested in the arts and humanities. My strange career path, my mentor Krzysztof Wodiczko introducing me to interrogative design, raising a child with Down syndrome, studio + lab culture, more."]]]></description>
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<item rdf:about="https://www.unrulyplay.com/">
    <title>Unruly Play — Curated by Imagination of Things</title>
    <dc:date>2026-04-26T08:27:51+00:00</dc:date>
    <link>https://www.unrulyplay.com/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["A collection of 169 works of play in unlikely places. Games about unusual things. Unexpected encounters. Curated by Imagination of Things."

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

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

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

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

Fully interactive, the project is searchable by theme or browsable through a shuffle feature. To dive deeper into the power of play, check out this compendium of artist-designed spaces."]]]></description>
<dc:subject>play playgrounds games children nature publicart architecture archive digital installation performance public art sculpture</dc:subject>
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<item rdf:about="https://placesjournal.org/article/the-disappearance-of-the-public-bench/">
    <title>The Disappearance of the Public Bench</title>
    <dc:date>2026-04-22T03:16:14+00:00</dc:date>
    <link>https://placesjournal.org/article/the-disappearance-of-the-public-bench/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Benches are microcosms of an expansive debate about who belongs in urban public spaces. When they are removed or made uninviting, we lose more than just a place to rest."]]></description>
<dc:subject>gabriellebruney publicspaces publicspace publicbenches benches urban urbanism community communities powelessness inclusion inclusivity garbagecans commons urbanplanning accessibility access marginalization visibility invisibility pops public</dc:subject>
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<item rdf:about="https://kyla.substack.com/p/the-ozempicization-of-the-economy">
    <title>The Ozempicization of Everything - by kyla scanlon</title>
    <dc:date>2026-03-30T05:02:52+00:00</dc:date>
    <link>https://kyla.substack.com/p/the-ozempicization-of-the-economy</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Biohacking, gambling, and war"]]></description>
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<item rdf:about="https://buzzmachine.com/2026/03/16/habermas-and-his-coffeehouses/">
    <title>Habermas and his coffeehouses — BuzzMachine</title>
    <dc:date>2026-03-23T04:15:40+00:00</dc:date>
    <link>https://buzzmachine.com/2026/03/16/habermas-and-his-coffeehouses/</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>jürgenhabermas coffeehouses jeffjarvis 2026 publicsphere public habermas</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
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<item rdf:about="https://walkingtheworld.substack.com/p/america-and-public-disorder">
    <title>America and Public Disorder - Chris Arnade Walks the World</title>
    <dc:date>2026-03-10T07:31:00+00:00</dc:date>
    <link>https://walkingtheworld.substack.com/p/america-and-public-disorder</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Our biggest social flaw should be addressed"]]></description>
<dc:subject>chrisarnade 2025 publicdisorder disorder us cities public publictransit sharedspace mentalhealth stability community trust behavior drugs society mentalilliness seoul korea individualism addiction drugaddiction freedom crime safety policy pubictrust</dc:subject>
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<item rdf:about="https://www.thenerdreich.com/the-cult-of-venture-capital-wants-your-future/">
    <title>The Cult of Venture Capital Wants Your Future</title>
    <dc:date>2026-01-02T22:59:11+00:00</dc:date>
    <link>https://www.thenerdreich.com/the-cult-of-venture-capital-wants-your-future/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["“The rational fear of those who dislike economic inequality is that the rich will convert their economic power into political power: that they’ll tilt elections, or pay bribes for pardons, or buy up the news media to promote their views. I used to be able to claim that tech billionaires didn’t actually do this—that they just wanted to refine their gadgets. But unfortunately in the current administration we’ve seen all three.”

Paul Graham, a famed tech investor who co-founded the Y Combinator startup accelerator, posted these words today on X. It’s a stunning admission. But not even Silicon Valley can ignore the political corruption and radicalization rising in its midst.

In today’s episode of the Nerd Reich podcast, Dr. Olivier Jutel and I discuss this very subject: how the cult of Silicon venture capital has become an existential threat to both democracy and humanity.

We explore how VCs became the “de facto state planners” of American capitalism, why they’re now desperately betting on government bailouts to save their failed investments, and how their Network State ideology aims to extract maximum value from our country before exiting to their own private sovereignties.

Spoiler: they don’t plan for the rest of us to come along for the ride."

[direct link to video:

"Inside the Tech Cult: How Venture Capital Plans to Exit Democracy"
https://www.youtube.com/watch?v=u-fThWjJP8A ]]]></description>
<dc:subject>gilduran nerdreich 2026 olivierjutel siliconvalley paulgraham democracy humanity billionaires oligarchy tescreal transhumanism extropianism singularitarianism singularity cosmism rationalism effectivealtruism longtermism networkstate corruption politics policy deregulation radicalization maga donaldtrump trumpism peterthiel jdvance balajisrinivasan inequality economics greed economy eugenics ideology sovereignty govenment governance us vc venturecapital marcandreessen drapergaitheranderson california californianideology libertarianism joebiden regulation militaryindustrialcomplex catherinebracy nfts crypto cryptocurrencies airbnb doordash instacart uber wealth trust public yevgenymorozov nvidia finance imperialism stablecoins sec barackobama greatrecession globalfinancialcrisis web3 chrisdixon entrepreneurship entrepreneurialism stevehilton chrislarsen ripple rightwing farright vr ai artificialintelligence monarchism google facebook meta ethereum blockchain roblox speculation gambling graybrechin sanfrancisco</dc:subject>
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<item rdf:about="https://missionlocal.org/2025/12/pge-san-francisco-eminent-domain-blackout/">
    <title>'Fire sale': San Francisco's yearslong quest to buy out PG&amp;E</title>
    <dc:date>2025-12-29T21:00:17+00:00</dc:date>
    <link>https://missionlocal.org/2025/12/pge-san-francisco-eminent-domain-blackout/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Public power: It’s not just for lefty conspiracy theorists anymore. Could this city use eminent domain to break up with PG&E and municipalize electric service? It may yet try."]]></description>
<dc:subject>joeeskenazi pg&amp;e electricity public 2025 sanfrancisco</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
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<item rdf:about="https://timothyburke.substack.com/p/the-news-fool-me-all-the-time-i-must">
    <title>The News: Fool Me All the Time? I Must Be an Editor of the New York Times</title>
    <dc:date>2025-12-25T17:03:23+00:00</dc:date>
    <link>https://timothyburke.substack.com/p/the-news-fool-me-all-the-time-i-must</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["In the waning years of apartheid, the New York Times bureau chief in Johannesburg was Christopher Wren. His coverage used to drive me nuts, because Wren always worked from the premise that what the government said was the starting point for the news, even if it was the apartheid government, a government that had a singular ideological perspective that it dogmatically enforced at all times. That wasn’t just a in-public commitment, either. In the last decade, I’ve been working on the Cold War era in sub-Saharan Africa primarily through American and UK archives and whether I’m reading in the mid-1950s all the way into the 1980s, I come across American and British officials, many of them politically conservative and fairly racist in their own right, expressing exasperation to one another over the delusional stridency of government officials from Pretoria in any meeting or conference they were included in. In Wren’s reportage, this meant that anything that people from the ANC, UDF, or other opposition group said about events in South Africa was treated as the biased opinion of people who had a reason to bend the truth and anything the government said at least started as factual. In either case, Wren might accept that his reportage had an investigative responsibility, but it went in different directions. To move from the government’s truth took investigative work to prove it false; to move from the opposition’s truth took investigative work to prove that it had some degree of accuracy.

I happened to be in the audience at an event where Wren spoke about his career after retirement. I took the opportunity to ask him why he had shaped his reporting in that way, given that after the end of apartheid, much of what he took to be rumor or ideologically-motivated claims about government-coordinated violence and apartheid propaganda were verified, and the depths of apartheid malfeasance, even with the destruction of many official records in the early 1990s, was revealed. I think the question confused him. I don’t think I was confusing in how I asked it. Inasmuch as he had an answer, it was that this is how reporting, especially foreign correspondence, worked. Governments had to be the starting place. A reporter, especially from somewhere else, couldn’t be expected to have a situational and local understanding of who to trust and who not to trust.

With many American dailies in the last half of the 20th Century, it wasn’t quite that straightforward. The Cold War provided one kind of structuring principle. Communist governments were presumed by reporters to be engaged in deception, Western governments were not. (Even though a fair number of American and European journalists were fully aware that the UK, US and French governments had sustained projects aimed at creating disinformation about their perceived adversaries.) Often this extended to the Global South: postcolonial governments were also assumed to be at the least unreliable in the information they provided, and this was a view that extended to individuals—often on the belief that both officials and ordinary people were simply not competent curators of information nor responsible witnesses to events.

This is a foundational perspective that remains in place in the mainstream legacy media in the United States. I’ve come to the conclusion that one reason the New York Times in particular is proving to be so accommodating to Trumpism is not any affection for Trump himself but that the upper editorial staff were feeling increasingly disoriented and frightened by pressures to change these kinds of deep assumptions—that they increasingly felt that an initiative like the 1619 Project had been an alien and unwanted intrusion into the correct way to see the world.

There have been other moments of similar disorientation in the history of mainstream American media. The struggle over whether to print the Pentagon Papers, whether to report on the COINTELPRO revelations, or whether to continue to investigate Watergate was not just about fear of legal and political retaliation, it was that all these stories made the world topsy-turvy. The government’s information was full of lies; the whistle-blowers and the leftist activists were the only place to get something like the truth. Later on, when Raymond Bonner and Alma Guillermoprieto reported in 1982 for the New York Times and Washington Post respectively that the Reagan-supported government in El Salvador had massacred over 800 villagers in El Mozote, both reporters were criticized not just by the American government but by some journalists for putting what ordinary people and the guerillas opposing the government said about what had happened ahead of official accounts. The editor at the NYT, Abe Rosenthal, was notorious for his intense anti-Communism, and eventually pulled Bonner from the assignment. And of course the American press, including Bill Keller of the New York Times, were notoriously devoted to reproducing what the US government said about the post 9/11 wars in Iraq and Afghanistan as truth until long after it became clear just how much was being concealed from the public—and once again, this involved a very deliberate ordering of truth that saw all criticism as fundamentally ideological, motivated and biased, whereas government-provided information started as default truth and had to be proven to be false or inaccurate before reporters could begin to deviate from its account of events.

I don’t think this is just the ideological bent of reporters and editors, Abe Rosenthal’s anti-Communism or Bill Keller’s liberal-hawk desire to demonstrate his patriotism notwithstanding. Mainstream journalists are here just a peninsula of a vast mainland that also counts among its inhabitants historians. No matter how determined I might be to read against the grain and render history “from below”, the fact is that as a historian of the 19th and 20th Centuries, most of my work rests on the vast torrents of information produced by governments, both for their publics and for themselves. Even the archives that trace their origin back to civil society live in the shadow of information flowing from and to governments. The professionalization of expertise in the 20th Century has almost always involved some form of quasi-statutory blessing by governments: a license, a credential, a testing process, the provision of data about expert or regulatory activity. (This is why it is so notable when a particular branch of government or a particular group of experts aggressively exempt themselves from requirements to produce official, authenticated data about their activities—say, in the resistance of U.S. police forces to tracking their discharge of weapons while on the job.)

Over time, however, most people whose jobs center on producing information and knowledge have learned how to keep their distance from and lessen their dependence on government-provisioned information—to think more critically about how archives came to be, how data is created and stored, how the world looks from inside of official power, to understand how classification regimes shape what circulates and what remains hidden.

Mainstream American journalists, on the other hand, are if anything worse at this aspect of their jobs at the present moment than at any time after the Pandora’s Box of Watergate was fully opened. That epiphany swung both ways for journalists in the 1980s and 1990s. It made many of them face just how much they’d facilitated substantive and consequential lies by political leaders in the past, not so much to cultivate their sources but just because that’s what you did if you were one of the boys. It made many of them recognize that starting from a default position that the government provided the truth you had to dig into was naive. Despite the reversion to form after 9/11, the profession seemed like it might be headed to the position that truth might start anywhere, that you really didn’t know what version of truth to stand behind until you dug into it with as few priors as possible.

Now, on the other hand, we’re faced with a mainstream press that gets lied to as a routine matter in the most unpracticed and amateurish ways, but that still insists on starting from what they’re told as a default.

Are Somalis garbage people who hate America? We’re looking into it! Did the Secretary of War order another attack on people clinging to a destroyed boat? We’ll check it out! Are tariffs are part of a coordinated plan to bring high-paying industrial jobs back to the United States? Well, despite there being no evidence of something you might call a plan, we’ll act as if this is the case until it’s proven otherwise.

Journalists, pundits and public commenters keep marveling that somehow the Trump White House gets away with it, that blatant lies and laughable delusions that would have brought any previous regime crashing down don’t amount to anything. If I were to witness a fatal hit-and-run accident and I wrote down the license plate of the car that sped off, I’m not entitled to marvel that the driver got away with it if I didn’t tell the police that I was a witness and didn’t provide the license number. The driver didn’t get away with it. I chose to help him escape the consequences.

I understand the point that pervasive, reflexive mistrust of every claim made by government officials and mainstream institutions has been one of the major reasons why disinformation and conspiracy theory have flourished in the last two decades. But this is not the fault of people who moved to a more skeptical regard for governmental authority and more openness to the truth-value of everyday witnessing and interpretation in the wider society. It is the fault of governments that lied while claiming to tell the truth, the fault of institutions that let lawyers tell them how to minimize liability rather than keep faith with their publics, the fault of politicians and public figures trying to escape the consequences for misconduct.

We are not going to re-establish trust in public knowledge because mainstream legacy journalists simply decide that they’ll return to reporting what the government says as the starting point for truth even when its falsehood is evident, or treating truth as something that has to be matched exactly to the distribution of voting preferences or partisan loyalties. It’s not even-handedness to treat each successive statement by an assembly of known liars as if this time it might be true until it is shown otherwise. It’s not just that the political appointees in the Administration lie routinely, it is that they are engaged in a systematic effort to destroy or contaminate the many forms of government-published data and evidence that have previously made it possible to evaluate the relative truthfulness or probity of government officials. There has never been a time where it is more urgently necessary to flip the script: if the Trump Administration says it, presume it’s an instrumental and conscious lie, and require them to produce reliable, objective, independent evidence to the contrary for the story to be written as anything different.

That’s the job. It doesn’t even take the courage that journalists in more thoroughly authoritarian states have to muster in order to do that job. At least not yet. I don’t think papers like the New York Times are managing their risk or feeling out the boundaries for what they can get away with. I think they’re stuck in long-set habits of thought and feeling righteously resentful about recent attempts to shake those habits loose. Now is not the time to get hung up on the time that the new reporter piously corrected the senior editor about the proper way to talk about transwomen. Don’t lecture people about the dangers of playing with matches while there’s a five-alarm fire happening right behind you. "]]></description>
<dc:subject>2025 nytimes mainstreammedia media journalism reporting christopherwren accuracy trust globalsouth southafrica apartheid propaganda government coldwar uk us france trumpism cointelpro raymondbonner almaguillermoprieto 1982 wapo washingtonpost ronaldreagan elmozote elsalvador billkller patriotism aberosenthal liberalism politics somalia donaldtrump maga publicknowledge objectivity misconduct institutions disinformation conspiracytheories authoritarianism authority governance truth pundits 1980s 1990s petehegseth 9/11 watergate expertise civilsociety society public iraq afghanistan iraqwar ideology whistleblowers information anticommunism</dc:subject>
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<item rdf:about="https://daily.jstor.org/on-the-meaning-and-value-of-public-spaces/">
    <title>On the Meaning and Value of Public Spaces - JSTOR Daily</title>
    <dc:date>2025-11-12T06:23:41+00:00</dc:date>
    <link>https://daily.jstor.org/on-the-meaning-and-value-of-public-spaces/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["What is public space? How is it produced, and why is that production important for our social and political lives?"

[See also:

"Perspectives on Public Space: A Reading List

This list introduces some of the main debates about public space, from park politics to political protest, public expressions of sexuality to safety and security."
https://daily.jstor.org/perspectives-on-public-space-a-reading-list/ 

Full series here:
https://daily.jstor.org/series/perspectives-on-public-space/ ]]]></description>
<dc:subject>publicspace 2025 saraivry sethalow libraries streets public plazas parks urbanplanning urban cities latinamerica california nyc costarica culture annabarker atmosphere environment social socialinteraction interaction us architecture hostilearchitecture centralpark privatization gowanuscanal brooklyn grandcentralstation baltimore losangeles washingtondc sanjosé benches pops capitalism ownership hudsonyards covid-19 coronavirus pandemic sanjose</dc:subject>
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<item rdf:about="https://www.phoenixprojectnow.com/phoenix-review/blog/billionaire-s-budget-part-i">
    <title>Billionaire’s Budget: Part I - The Phoenix Project</title>
    <dc:date>2025-06-22T03:00:53+00:00</dc:date>
    <link>https://www.phoenixprojectnow.com/phoenix-review/blog/billionaire-s-budget-part-i</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Mayor Daniel Lurie recently debuted his nearly $16 billion budget for fiscal year 2025-2026. Mayor Lurie’s proposed budget will close an $800 million-plus budget deficit at the expense of the working class and the city’s most vulnerable.

The People’s Budget Committee has released a list of the programs on the chopping block. Among them are City College of San Francisco, which offers job training and a route to the state college and University of California systems for many low-income residents, will see nearly a quarter of its budget cut. MUNI, relied on by working San Franciscans, will reduce routes at a time when bus ridership has risen to pre-pandemic levels. 

The immigrant community is being particularly hard hit at a time when it is under assault from the policies of President Donald Trump. San Francisco’s Office of Civic Engagement and Community Affairs, which plays a direct role in serving immigrants, will see a 7% reduction over the next two years. The Public Defender’s Office has been denied additional funding for its Immigration Defense Unit as it braces for an onslaught in cases.

Nonprofits, serving struggling San Franciscans and with a mission broader than legal services, will feel much of the pain. The mayor has proposed slashing $182 million in contracts and nonprofit spending. For 20 years the city has offloaded essential services onto nonprofits in the name of cost-savings. It awards contracts to community nonprofits to do the gritty, exhausting and underpaid work of serving those most in need: The homeless, the hungry, the elderly and the disabled, many of whom are disproportionately Black, Indigenous, people of color and LGBTQIA+. 

At the same time, the city is facing the looming threat of federal funding cuts to absolutely vital programs like Medicaid, Supplemental Nutrition Assistance Program (SNAP), Section 8 and other housing assistance, education, and HIV grants and research. San Francisco receives as much as $2 billion in federal funding each year. Mayor Lurie’s $400 million set-aside will do little to mitigate the harm.

Many times, a nonprofit worker is the first point of contact for a San Franciscan in trouble. During the COVID-19 pandemic, Reina Tello, a community organizer with PODER (People Organizing to Demand Environmental & Economic Rights) provided direct outreach to a growing RV community at Candlestick Point. “It took a lot of work and trust building for them to even open their doors,” Tello said. “We found that it was actually people who were working that had fallen into hard times.”

Tello eventually secured a promise for more permanent housing at a new homeless shelter in Bayview. Before the spots became available, the RV site was cleared. Now Mayor Lurie wants to eliminate overnight RV parking in San Francisco altogether, yet another assault on vulnerable communities.

While social service programs are on the chopping block, SFPD’s budget will be protected along with that of other public safety agencies. Lurie’s is an elitist view of public safety. Community safety comes from community investment.  “The real impact is an increase in poverty,” said Jose Pavona, a care manager at housing nonprofit HOMEY. “We're already seeing jails overloaded. We're going to see an increase in violence. This is not public safety. Disassembling and bulldozing the public infrastructure that the city has built is reckless and dangerous for everybody at any class level.”

PODER is one of the nonprofits in the People’s Budget Coalition calling on Mayor Lurie and the Board of Supervisors to refrain from balancing the budget on the backs of the most vulnerable and the working class. People’s Budget member and former Supervisor John Avalos says, “This year’s budget—shaped by a Mayor and Board majority more focused on appeasing the wealthy and powerful than meeting the needs of our most vulnerable — mirrors the federal government’s fascist agenda: Dismantling the public commons and shredding the social safety net to fund deportations, state repression of civil rights, tax breaks to billionaires, consolidated power in the hands of an oligarchy.”

Missing from Mayor Lurie’s budget is any attempt to increase taxes on the city’s wealthiest. San Francisco’s business leaders have been loath to foot the bill for city services. In fact, Airbnb has filed a series of lawsuits against the city, one claiming that it is owed $125 million in back taxes collected from Proposition C, the homelessness services tax. Airbnb founder and chief executive Brian Chesky is among those advising Mayor Lurie.

Another worthwhile proposal is dipping into one-time funding sources. Two years ago, San Francisco received a $230 million settlement from Walgreens for the role it played in the opioid addiction crisis. The money has gone to Department of Public Health programs focusing on those suffering from addiction, a prime example of how one-time funding sources can be effectively deployed. 

San Francisco voters elected Lurie, in large part, because he promised an end to pay-to-play politics, a malady that grew to epidemic proportions under former Mayor Willie Brown and his proteges Gavin Newsom, Ed Lee and London Breed. Now, Lurie has delivered a budget that is a gift to his wealthy friends."]]></description>
<dc:subject>leamcgeever 2025 sanfrancisco daniellurie inequality government governance muni sfmta public publictransit transit transportation healthcare ccsf education donaldtrump billionaires nonprofit nonprofits snap section8 housing reinatello poder homeless homlessness budger johhnavalos brianchesky airbnb williebrown londonbreed edlee gavinnewsom politics policy</dc:subject>
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<item rdf:about="https://tis.so/lightness">
    <title>Lightness - tis.so</title>
    <dc:date>2025-05-27T02:33:03+00:00</dc:date>
    <link>https://tis.so/lightness</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Have you browsed /r/ultralight? They get obsessed with shaving mere ounces off their pack and end up with super elegant tent designs, where you reuse your hiking poles as the structural props for your tent (e.g.). Not being burdened by a pack (not bringing your bag with your gear everywhere) and its relationship to freedom.

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

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

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

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

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

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

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

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

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

"Another word for lightness is “economy”.

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

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

[via:
https://www.are.na/block/36983738 ]]]></description>
<dc:subject>lightness minimalism cristóbalsciuttorodríguez 2024 economy labor effort life living play playfulness gravity burden utility public suburbia suburbs film community conviviality lifestyle sharing mutualaid</dc:subject>
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<item rdf:about="https://www.kqed.org/arts/13974401/r-evolution-marco-cochrane-embarcadero-plaza-nude-woman-sculpture">
    <title>At Embarcadero Plaza, a Giant Nude Sculpture Nobody Asked For | KQED</title>
    <dc:date>2025-04-13T17:40:24+00:00</dc:date>
    <link>https://www.kqed.org/arts/13974401/r-evolution-marco-cochrane-embarcadero-plaza-nude-woman-sculpture</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["On April 10, Marco Cochrane’s 45-foot-tall metal sculpture of a nude woman, titled R-Evolution, was unveiled to the public at San Francisco’s Embarcadero Plaza. She will stand there, her butt facing the Ferry Building, her mechanized chest “breathing” for one hour each day, for at least six months, possibly a whole year.

As I gazed up at this monumental steel and mesh sculpture on Thursday, I felt embarrassed for the city of San Francisco.

Look, I don’t write negative reviews often. When I do pan something, it’s in the interest of public service (should you pay $40 for that?), and with the acknowledgement that I might not be the intended audience of a certain thing.

One of several problems with R-Evolution is that we are all the audience for this thing, and no one asked us if we wanted it.

I admit, the Burning Man aesthetic is not my aesthetic. While R-Evolution is certainly a feat of engineering and fabrication, it doesn’t succeed for me as a standalone artwork removed from the stark landscape and pounding EDM of the Playa. Also, why would we seek to occlude our hard-won view of the Ferry Building?

Embarcadero Plaza, shadeless, polarizing, is a complex site filled with real pieces of architectural and cultural history. (Save the Vaillancourt Fountain!) R-Evolution, made for a party in the desert, has no relationship to its new urban surroundings and everyday city life.

And then there’s the “feminism” of it all.

San Francisco, like all American cities, has a major gender imbalance when it comes to its public art — both in terms of who’s represented by it and who made it. We even passed a 2018 ordinance declaring that a meager 30% of statues, street signs and parks on city-owned property should honor historical women. Since then, we’ve added just one such monument to our Civic Art Collection.

And though R-Evolution is based on real-life model Deja Solis (as impossibly proportioned as she seems), she is neither a historical figure nor named. That may be Alma de Bretteville Spreckels atop the Dewey Monument in Union Square, but really she’s just a symbol of colonial military victory. People are tired of retrograde symbols; according to San Francisco’s Monuments and Memorials Advisory Committee, the Dewey Monument is one of the least-liked monuments in the Civic Art Collection.

R-Evolution, in a very old-fashioned way, is not a singular person, but a self-declared symbol of “divine feminine energy” — a giant nude sculpture of a woman made by a man. We should know by now that a depiction of a woman is not inherently feminist.

But when we give our public space over to third-party art agencies and privately funded artwork, maybe all we can expect is out-of-place aesthetics and half-baked messages of representation. (Similarly plopped-down temporary artworks now dot the Great Highway and JFK Drive, thanks to agencies like Building 180 and Illuminate.)

So how did R-Evolution even get here?

The sculpture, which was built on Treasure Island and debuted at Burning Man in 2015, was originally meant for temporary installation at Union Square. The Union Square Alliance, which includes neighborhood business owners, was very excited for the attention (and foot traffic) the sculpture might bring to the beleaguered commercial district. But at the last minute, engineers deemed the 32,000-pound sculpture too heavy for the plaza tiles and the garage below.

The Recreation and Parks Department pivoted to another location: Embarcadero Plaza. In a March 3 meeting, when the San Francisco Arts Commission approved the installation in an 11-to-1 vote, several commissioners noted the sculpture is “controversial.”

Commissioner JD Beltran, the lone nay, noted that had this been an SFAC commission, “one of the things that we do, that has not been done … is that we seek pretty extensive public comment about the effect of the statue on the community.”

Because R-Evolution is a temporary installation, privately funded by the Sijbrandij Foundation, organized by Building 180, and hosted by Recreation and Parks, it did not go through a period of public feedback. The commission received just three emails prior to their March 3 meeting, most worried about the sculpture’s effect on plaza vendors.

In contrast, the Potrero Yard Modernization Project, a bus maintenance facility and affordable housing development set to be built across the street from KQED, allowed for two weeks of comment on its public art components. Posters put up around the neighborhood made sure everyone in the vicinity knew how to add their two cents.

Ultimately the review panel for the bus depot may not choose the art I would like to see from my office window, but that’s OK. My opinion was requested and absorbed by someone at some point in the decision-making process. I am the public, I had a say in my art.

R-Evolution is public art only in the most literal sense: It exists in public space. But the public — as in, the people — had nothing to do with it."]]></description>
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<item rdf:about="https://www.youtube.com/watch?v=q9SJc5sRq80">
    <title>Evgeny Morozov: Democracy, Technology and the City - YouTube</title>
    <dc:date>2025-04-13T16:44:38+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=q9SJc5sRq80</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[See also:
https://www.cccb.org/en/activities/file/democracy-technology-and-city/217682

"Which challenges and threats emerge as public spaces "smart", integrating sensors, cameras, and various means of algorithmic regulation? Technology companies, having optimized the public sphere, are increasingly offering to optimize our cities. Yet the terms of such "optimization" remain ambiguous and opaque, often presenting the business agendas of technology vendors as inevitable features of digitization. As we transition to the post-Snowden era, the costs of ubiquitous computing left in the hands of private companies have become painfully clear. How could cities take advantage of digital technologies without succumbing to the optimization excesses of the "smart city"?

Opening lecture of the series "Open City", in which will also participate Josep Maria Benet i Jornet, Marta Segarra, Manuel Forcano, Bruce Bégout, Rafael Chirbes, Erri de Luca, Richard Sennett and Kamila Shamsie.

Presenters: Joan Subirats

Participants: Evgeny Morozov

This activity is part of Open City, The Barcelona Debate"]]]></description>
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<item rdf:about="https://www.youtube.com/watch?v=8nRVtCXqtvA">
    <title>Late Fascist Aesthetics [Katie Ebner-Landy]: A Theory of the Online Forum - YouTube</title>
    <dc:date>2025-03-24T20:25:28+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=8nRVtCXqtvA</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["When we think of “early fascist” aesthetics, we think of uniforms, visual symbols, and crowds. “Late fascist” aesthetics – though not without symbols and crowds – has another tool at its disposal: the online forum. Join us to examine the use of the online forum by the contemporary far right to move from fiction to reality in ways that other political aesthetics have long dreamed of."
]]></description>
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    <title>Save the Library, Save the World - Socialism Conference - Apple Podcasts</title>
    <dc:date>2025-03-17T23:54:58+00:00</dc:date>
    <link>https://podcasts.apple.com/us/podcast/save-the-library-save-the-world/id1648960830?i=1000683085784</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Emily Drabinski and Mariame Kaba speak in this session recorded at Socialism 2024. This session was sponsored by Social Justice Initiative. The public library is an example of the world we want. Everything from books and media to cake pans and garden tools are held in common and shared equitably, expanding the public good and access to it. This is precisely why libraries are under attack, and why we must organize to win the library and, in turn, the world. The next Socialism Conference will be held in Chicago, July 3-6. Learn more about the Socialism Conference at www.socialismconference.org. Buy books from Haymarket: www.haymarketbooks.org Follow Haymarket on podcast platforms for regular event recordings, book talks, political analyses and poetry readings!"]]></description>
<dc:subject>2024 emiliydrabinski mariamekaba libraries books media publicgoods publiclibraries us librarians socialism organizing bookbans libraryboards politics unions unionization governance public funding equity left sustainability socialwork communities community rightwing centerleft farright power mobilization publicgood infrastructure maintenance exlibris education publicschools schools prisons prisonabolition commons publicparks privatization commoning softbank masayoshison cheguevara marxism truth abuse</dc:subject>
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<item rdf:about="https://vimeo.com/1033148903">
    <title>Barry McGee &amp; Margaret Kilgallen in “Place” - Season 1 | “Art in the Twenty-First Century&quot; on Vimeo</title>
    <dc:date>2025-03-17T08:27:53+00:00</dc:date>
    <link>https://vimeo.com/1033148903</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Art21 proudly presents an artist segment, featuring Barry McGee & Margaret Kilgallen, from the "Place" episode in Season 1 of the "Art in the Twenty-First Century" series.

"Place" premiered in September 2001 on PBS.

This segment follows Barry McGee and Margaret Kilgallen to the local train yards where the artists point out their favorite markings and leave some of their own, contributing to a graphic conversation that spans train cars across the nation.

Margaret Kilgallen was born in 1967 in Washington, D.C., and lived in San Francisco, with her husband, Barry McGee, where she passed away in 2001. Learn more about the artist at: https://art21.org/artist/margaret-kilgallen


Barry McGee was born in 1966 in San Francisco, California, where he currently lives and works. Learn more about the artist at: https://art21.org/artist/barry-mcgee/ "]]></description>
<dc:subject>2002 barrymcgee art streetart graffiti folkart typograph lettering art21 sanfrancisco missiondistrict themission place trains trainyards rail railways railroads letterpress painting printmaking human imperfection money artworld access public missionschool margaretkilgallen softbank masayoshison cheguevara marxism truth abuse</dc:subject>
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<item rdf:about="https://www.youtube.com/watch?v=oQZuzIzY8YQ">
    <title>How the Media Walked us into Autocracy (with Ralph Nader) | The Chris Hedges Report - YouTube</title>
    <dc:date>2025-03-07T04:53:31+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=oQZuzIzY8YQ</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The American corporate coup d'état is almost complete as the first weeks of the Trump administration exemplify. If there has been one person who saw this coming, and has taken courageous action over the years to prevent it, it would be Ralph Nader. The former presidential candidate, consumer advocate and corporate critic joins host Chris Hedges on this episode of The Chris Hedges Report to chronicle his life’s work battling the corporate takeover of the country and how Americans can still fight back today despite the growing repression from the White House."

[transcript:
https://chrishedges.substack.com/p/how-the-media-walked-us-into-autocracy ]]]></description>
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<item rdf:about="https://www.nytimes.com/2025/02/03/opinion/philanthropy-charity-billionaires-math.html">
    <title>Opinion | The Impossible Math of Philanthropy - The New York Times</title>
    <dc:date>2025-02-23T03:43:23+00:00</dc:date>
    <link>https://www.nytimes.com/2025/02/03/opinion/philanthropy-charity-billionaires-math.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The Lower East Side of Manhattan is home to some of the oldest and most storied charities in the country, founded at the dawn of the Progressive era. University Settlement, established in 1886, opened one of the first public baths in New York City. In 1893, Henry Street Settlement began offering health care to neighborhood residents and later convened the conference that led to the formation of the N.A.A.C.P.

Today, New Yorkers in need continue to depend on these charities for housing assistance, child and elder care, food security, education and employment training. Yet poverty on the Lower East Side has been increasing for decades, and Manhattan has the most unequal income distribution of any large county in America.

It’s a similar story across the country. In recent years, Bill Gates, Warren Buffett, Michael Bloomberg and many others have poured billions into fighting poverty, protecting the environment and improving health outcomes. Corporate giving has also grown significantly over the past 5 years. Yet despite these efforts, income inequality is worse than it’s been since before the Great Depression, and poverty and its associated social pathologies remain stubbornly pervasive. What gives?

There’s a simple answer, one you’ll never hear in the grand halls of the charity gala circuit: The math of philanthropy simply doesn’t work. And it never will.

Americans typically understand charities as organizations that pick up where the government leaves off — championing the poor, the environment, the sick and the marginalized. But this framing is incomplete, and frankly misleading.

More often than not, charities work to mitigate harms caused by business. Every year, corporations externalize trillions in costs to society and the planet. Nonprofits form to absorb those costs, but have at their disposal only a tiny portion of the profits that corporations were able to generate by externalizing those costs in the first place. This is what makes charity such a good deal for businesses and their owners: They can earn moral credit for donating a penny to a problem they made a dollar creating.

Take the fast-food industry, where wages are so low that a majority of workers’ families are enrolled in public assistance. When an underpaid McDonald’s worker seeks a free meal at a soup kitchen, the soup kitchen is, in effect, stepping in to supplement a legal but inadequate wage. The lower the wage, the greater the profits for McDonald’s, which puts the soup kitchen in the position of indirectly subsidizing those profits.

According to census data, about half of Americans earn less than a living wage, which we estimate conservatively at $75,000 for a family of three. For every family to earn a living wage, we estimate that employers would need to pay at least $1.9 trillion more in wages and salaries. But in 2023, only $77 billion of all American charitable dollars went toward so-called human service organizations such as food banks and homeless shelters. Employers will never choose to make up that difference, because keeping wages low is what fuels so much of the profits their shareholders demand.

Government welfare programs play a much larger role than charity in bridging the $1.9 trillion gap, but they are also insufficient. Total spending on economic security programs by the U.S. government in 2023 was $545 billion, still a small fraction of what it would take for all Americans to meet their basic needs. If the Trump administration fulfills its plan to slash social services such as food stamps and child care assistance, while diverting more wealth to the rich through tax cuts, the math will get only worse and the pressure on charities will compound.

A similar predicament exists for environmental cleanup.

Think about Coca-Cola, which, up until the 1970s, was sold mostly in refillable glass bottles. In the 1980s and ’90s, it switched to plastic — effectively outsourcing the cost of recycling to municipalities, or, more accurately, the cost of plastic pollution to the world.

Last year, researchers identified Coca-Cola as the single largest branded plastic polluter on the planet. The long-term environmental costs of plastic pollution are enormous — $3.7 trillion per year, according to one study. Based on its share of plastic production, that means Coca-Cola’s plastic alone inflicts some $30 billion in annual environmental damage. That’s about three times the company’s net income in 2022. How much did it donate to charitable causes that year? Not quite $95 million, a small share of which went toward recycling programs.

That leaves governments on the hook for the rest of the damage, but here, too, public spending is grossly insufficient, and it is almost certain to become more so under the Trump administration. The total proposed budget for the Environmental Protection Agency in the current fiscal year is less than $11 billion; as of 2018, states and local governments contributed about $32 billion a year to protect natural resources — but again, that’s a tiny fraction of what it would cost to fix the damage corporations inflict on the environment each year.

These calculations reveal why so many good and seemingly well-funded causes fail to move the needle. The health and environmental costs from the food industry exceed the revenue it generates. The cost in the United States of health care from smoking is several times the revenue of the cigarette industry. The costs of mental illness, misinformation and political discord created by the social media industry are immeasurable.

Nonprofits that work to reverse obesity, prevent addiction or treat anxiety will never have anywhere near the resources they need to fully meet their missions.

Building a more equitable world would require addressing the damage that for-profit companies cause at the root. As the European Union has shown through a variety of new laws in recent years, regulation can be used to force businesses to internalize their hidden social costs. Alternatively, corporations could be legally rechartered so that their bylaws compel them to put public interests ahead of their shareholders. Both approaches would hurt companies’ profit margins.

For this to work, the public would also need to develop greater skepticism of the rich entrepreneurs who, with more cash than they could ever spend, donate portions of their wealth to favored causes. Lionized for their achievements and revered for their compassion, they bask in their status as society’s saviors. Meanwhile, the corporations they own extract wealth and externalize costs on a scale that dwarfs their largess. With one hand they generate supernormal profits by plundering society, and with the other they dole out a few crumbs to “save the world.” But they never will. The math simply doesn’t work."

[archived:
https://archive.ph/OjBEA

via:
https://48hills.org/2025/02/lurie-wants-to-ask-his-rich-friends-to-fund-his-programs-heres-why-it-wont-work/ ]]]></description>
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</item>
<item rdf:about="https://www.programmablemutter.com/p/were-getting-the-social-media-crisis">
    <title>We're getting the social media crisis wrong</title>
    <dc:date>2025-01-12T01:19:12+00:00</dc:date>
    <link>https://www.programmablemutter.com/p/were-getting-the-social-media-crisis</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The bigger problem isn't disinformation. It's degraded democratic publics"
]]></description>
<dc:subject>socialmedia internet online 2025 henryfarrell fragmentation disinformation misinformation individualism democracy information society elonmusk twitter meta facebook markzuckerberg power control governance government inequality publics public</dc:subject>
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</item>
<item rdf:about="https://midwesthetic.substack.com/p/third-space-you-cant-handle-a-third">
    <title>Third Space? You Can't Handle a Third Space.</title>
    <dc:date>2025-01-10T03:16:31+00:00</dc:date>
    <link>https://midwesthetic.substack.com/p/third-space-you-cant-handle-a-third</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Sitting and Waiting Does Not Equal Community

I think unknowingly or not, we don’t realize that fruit to be yielded from a third space comes from the fact that it is not a one-note, solely catered environment. I think the conversation around building more meaningful connections within our neighborhoods, cities, etc, especially between those in the younger generations is huge and extraordinarily necessary.

The community is there, it’s just not being delivered in a steady, hyper-tailored algorithmic drip. The community is for you, it’s just not fyp.

A third space won’t always exist the exact way we want it, that’s the beauty of it.

Our penchant for black and white thinking, thinking that often alienates us from each other for things both big and small causes us to be averse to spaces like this. (And some of which, within reason. I’m not saying we should explore places so different from core values, lived experience, etc that they become dangerous.) Community more often than not, will not court us. We initially engage with it and then it begins to engage with us. It’s something built, not ‘followed.’

Did That Train of Thought Make Sense?

Back to the impetus of this conversation, when discourse between pleasantries online becomes so divisive we’re saying “fuck you” to each other over “hello.” I think we need a breath of fresh air and a pulse-check. As I sit here, firmly logged-on, eyes to screen I almost find myself a little worried that people will be mad at me for this take. I worry it’s become normal to tense-up and wait for the comment gut-punch, explaining why you’re not only wrong, but inherently evil.

(If you’re listening to the audio version right now, enjoy my fuck up 🙏🏻)

All to say, build community at your own pace (or don’t!) You are not obligated as a retail employee to braid customers hair and listen to their woes ad nauseam (that is literally, so weird.) Be nice as often as possible (sorry, no alternative option here!) And don’t be mad at me. (You can be, just do it in private please.)"]]></description>
<dc:subject>thirdspaces thirdplaces annapompilo 2024 community public</dc:subject>
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<item rdf:about="https://www.youtube.com/watch?v=p8PH3CLoCsg">
    <title>The Origins and Impacts of YIMBYism with Jemma DeCristo &amp; Toshio Meronek of Sad Francisco - YouTube</title>
    <dc:date>2024-10-15T23:09:13+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=p8PH3CLoCsg</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["In this episode we're collaborating with Toshio Meronek and Jemma DeCristo to discuss the YIMBY "movement" and the impacts that it has had on already marginalized people in San Francisco. We'll talk about where this "movement" comes from, what its aims are, and the impacts it has on both poor and low income residents of major cities, and on radical organizing spaces. We'll also talk about how Kamala Harris' housing plans might be thought of in relation to YIMBYism. 

Jemma DeCristo is the author of the forthcoming book The Aesthetic Character of Blackness. She is a frequent contributor to the podcast Sad Francisco and an organizer in San Francisco.

Toshio Meronek’s writing has appeared in Al Jazeera, The Nation, them, Truthout, Vice News, and more. They host the podcast Sad Francisco, and their book Miss Major Speaks is out now from Verso.

Fundraisers:

Dahnoun Mutual Aid - https://drive.google.com/file/d/1yOp3t_TYjqM4iq1P4wMqWaeZ0BcJIAxI/view

Bay to Gaza Mutual Aid Collective - https://www.bay2gaza.org/fundraisers

Sad Francisco: https://www.patreon.com/sadfrancisco (and wherever you get your podcasts)

Miss Major Speaks: https://www.versobooks.com/products/2787-miss-major-speaks

Jemma DeCristo previously joined us for a discussion with Eric A. Stanley on "What Really Makes a San Francisco Liberal Dangerous": https://www.youtube.com/watch?v=PlhdMF9yvNQ "]]></description>
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<item rdf:about="https://www.nytimes.com/2024/06/08/opinion/covid-fauci-hearings-health.html">
    <title>Opinion | A Lesson From Covid on How to Destroy Public Trust - The New York Times</title>
    <dc:date>2024-06-08T18:29:05+00:00</dc:date>
    <link>https://www.nytimes.com/2024/06/08/opinion/covid-fauci-hearings-health.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Big chunks of the history of the Covid pandemic were rewritten over the last month or so in a way that will have terrible consequences for many years to come.

Under questioning by a congressional subcommittee, top officials from the National Institutes of Health, along with Dr. Anthony Fauci, acknowledged that some key parts of the public health guidance their agencies promoted during the first year of the Covid-19 pandemic were not backed up by solid science. What’s more, inconvenient information was kept from the public — suppressed, denied or disparaged as crackpot nonsense.

Remember the rule that we should all stay at least six feet apart? “It sort of just appeared,” Fauci said during a preliminary interview for the subcommittee hearing, adding that he “was not aware of any studies” that supported it. Remember the insistence that the virus was primarily spread by droplets that quickly fell to the floor? During his recent public hearing, he acknowledged that to the contrary, the virus is airborne.

As for the repeated assertion that Covid originated in a “wet market” in Wuhan, China, not in an infectious diseases laboratory there, N.I.H. officials were privately expressing alarm over that lab’s lax biosafety practices and risky research. In his public testimony, Fauci conceded that even now there “has not been definitive proof one way or the other” of Covid-19’s origins.

Officials didn’t just spread these dubious ideas, they also demeaned anyone who dared to question them. “Dr. Fauci Throws Cold Water on Conspiracy Theory That Coronavirus Was Created in a Chinese Lab” was one typical headline. At the hearings, it emerged that Dr. David Morens, a senior N.I.H. figure, was deleting emails that discussed pandemic origins and using his personal account so as to avoid public oversight. “We’re all smart enough to know to never have smoking guns, and if we did we wouldn’t put them in emails and if we found them we’d delete them,” he wrote to the head of a nonprofit involved in research at the Wuhan lab.

I wish I could say these were all just examples of the science evolving in real time, but they actually demonstrate obstinacy, arrogance and cowardice. Instead of circling the wagons, these officials should have been responsibly and transparently informing the public to the best of their knowledge and abilities.

Their delays, falsehoods and misrepresentations had terrible real-time effects on the lives of Americans. Failure to acknowledge the basic facts of Covid transmission led the authorities to pointlessly close beaches and parks, leaving city dwellers to huddle in the much more dangerous confines of cramped and poorly ventilated apartments. The same failure also delayed the opening of schools and caused untold millions of dollars to be wasted on plexiglass barriers (that likely made things worse) rather than effective air filters that would have helped kids to return to one another’s company.

Beaches and schools are open again, but the most severe ramifications of these failures may last for decades, because they gave people cause to doubt the word of scientific and public health authorities.

If the government misled people about how Covid is transmitted, why would Americans believe what it says about vaccines or bird flu or H.I.V.? How should people distinguish between wild conspiracy theories and actual conspiracies?

I started reporting on Covid in February 2020. It was already clear that a catastrophe was hurtling toward us. But people who took that fact seriously were often pooh-poohed as alarmist, doomers or preppers because many health officials were, at that point, downplaying the threat.

The next month, startled by the official claims that masks were harmful, I begged the authorities to level with the public about the potential benefits of masking rather than seemingly tailoring their message to avoid panic over the supply shortage. That strategy, I noted, was sure to backfire — as it did.

The questions around masks led me to the six-foot rule and the debate over how Covid was spread. “FACT CHECK: Covid-19 is NOT airborne,” the World Health Organization declared on social media — even though SARS, a virus very much like Covid, had long since been understood to be airborne. Frustrated scientists pleaded with the C.D.C. and the W.H.O. to take into account the new evidence. By the way, as of this writing, that “FACT CHECK” post is still up.

I later implored the authorities to open parks (that was April 2020) as well as to recognize airborne transmission and the protective effect of ventilation and to stop shaming people for going to the beach (both July 2020). I even joined some of those scientists to write articles in peer-reviewed scientific journals.

But as I reported on these topics, one theme kept coming up: High-level officials were afraid to tell the truth — or just to admit that they didn’t have all the answers — lest they spook the public.

It emerged during these congressional hearings that U.S. scientific authorities had no idea what viruses the Wuhan lab was using or what work it was doing. So how could they issue all those confident assurances?

The hearings occasionally turned into a clown show, with some lawmakers looking to score cheap political points. But others pulled their punches, no doubt worried about validating the misinformation that swirls around these issues. This attitude reflects a fundamental and very dangerous misunderstanding.

Misinformation is not something that can be overcome solely by spelling out facts just the right way. Defeating it requires earning and keeping the public’s trust.

During Fauci’s testimony this week, Representative Kweisi Mfume brought up the Tuskegee experiment, in which Black men with syphilis were denied treatment so doctors could study how the disease progressed. Ironically, he claimed they were deliberately injected with syphilis — which is false, and a conspiracy theory, but that fact check is irrelevant to the main question: Can vulnerable populations trust that the medical establishment will inform and protect them?

During the pandemic, research showed that many African Americans were reluctant to get vaccines, but it wasn’t because they were all Covid denialists. Many were continuing to take precautions such as wearing masks and avoiding crowds. They just didn’t trust that scientists had leveled with the public about the risks of vaccination.

When I visited London in 2021, I was amazed that people didn’t generally know which vaccine they had taken or when they would get their booster. They answered my question with a shrug and said they would just go whenever they were told they had an appointment. They, too, had a polarizing, Trump-like leader and the usual swirl of social media conspiracies. But they rolled up their sleeves when the National Health Service called because it was cashing in the trust it had built over decades.

It was the same for me, here in the U.S.: When I broke my strict isolation to volunteer at a vaccine clinic early in the pandemic and later, when I gleefully rolled up my own sleeve, I was elated but not because I had personally verified every single claim about vaccines. Instead, I felt I had reason to trust that the manufacturer hadn’t cheated in the trials, that the scientists overseeing the process weren’t corrupt and that if something untoward had happened, it wouldn’t have been covered up. I trusted that the vials were properly filled and handled, and that the nurse had injected them appropriately.

Trust, not information, was the key. But just when it was needed most, some of the officials in charge of our Covid response undermined it. And as Deborah Ross, a Democratic member of the House from North Carolina, said during the hearings, “When people don’t trust scientists, they don’t trust the science.” And studies have shown that once people lose trust in institutions, they become more open to conspiracy theories — not just about whatever specific topic might be in dispute, but across the board.

Opportunists and “do your own research” chaos agents will take advantage of these lapses for a long time to come, fueling conspiracy theories and bad ideas of every stripe. The newest one I’ve heard is that Covid is ravaging people’s immune systems on a mass scale comparable to that of H.I.V. On what authority can such a falsehood now be debunked?

As the expression goes, trust is built in drops and lost in buckets, and this bucket is going to take a very long time to refill.

I hope the pandemic, both as lived experience and now as rewritten history, has proved that paternalistic, infantilizing messaging backfires. Transparency and accountability work.

In the four-plus years since Covid emerged, millions of people died, but so did something harder to quantify: the trust of a great many people in the science of public health. The authorities will have to live with the consequences, and so, unfortunately, will all the rest of us."]]></description>
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<item rdf:about="https://extraextramagazine.com/talk/lauren-berlant-on-intimacy-as-world-making/">
    <title>Lauren Berlant on Intimacy as World-Making - Extra Extra Magazine</title>
    <dc:date>2024-04-10T01:44:01+00:00</dc:date>
    <link>https://extraextramagazine.com/talk/lauren-berlant-on-intimacy-as-world-making/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Intimacy builds worlds, says Lauren Berlant. Their work tracks how people have come to identify life with intimacy, and how the latter came to be privatised in stories of the romantic heteronormative couple as an object of desire for unconflicted personhood: the fantasy that love and life will be transparent, reciprocal and stable. In the book Cruel Optimism (2011), Berlant discusses how remaining attached to such a fantasy becomes an obstacle to flourishing in times when crisis becomes ordinary. Their method is both critical of normativity without fully rejecting it and understanding of people’s aspirations to it without fully indulging them. But as a theorist, Berlant is also invested in repurposing intimacy and making it involve all relations that are treated as a matter of course. One of the great invitations of their work, then, is to ask its readers what else they need to flourish besides dominant fantasies of the good life. What other spaces of enjoyment and relationality can we imagine, and how can we build on those attachments and patterns in order to create a world of curiosity and play that is more meaningful than the one we are living in now? This question also has political resonance: which lives count as a (good) life? In our conversation, the private and the public intersect because, as Berlant’s work convincingly demonstrates, in lived experience there is no way of telling them apart."]]></description>
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<item rdf:about="https://www.youtube.com/watch?v=BDjSQVV1XmA">
    <title>Cory Doctorow shares a provocation at the 2021 New_ Public Festival - YouTube</title>
    <dc:date>2023-09-02T18:04:54+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=BDjSQVV1XmA</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Cory Doctorow is a Special Advisor to the Electronic Frontier Foundation and the author of ATTACK SURFACE.

About the video:

This video is an excerpt from a Zoom meeting recorded on January 13, 2021.

This excerpt belongs to the ""Public Imagination"" neighborhood of the festival program.

The ""Public Imagination"" neighborhood features world cafes, evening experiences, and epic worldbuilding sessions for us to come together to create momentum around the idea of digital public space.

About the festival:

The New_ Public Festival explores and demonstrates the principles of productive and healthy virtual space.

Through unique interfaces, experiential elements, different conversation formats, and brilliant thinkers from a number of disciplines, the New_ Public Festival seeds a dialogue about the history and transformation of public space, amplifies current seeds of inspiration, and collectively imagines ways we might build more vital public spaces online.

Visit newpublic.org/festival for more information.

About the host:

New_ Public is bringing together community experts, technologists, designers, futurists, and civic entrepreneurs to build digital public spaces for everyone."]]></description>
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<item rdf:about="https://www.thealternative.org.uk/dailyalternative/2022/1/30/what-is-the-case-for-public-luxury">
    <title>What do we mean by public luxury? Glorious spaces that people can use and enjoy freely, cutting consumption and increasing connection — THE ALTERNATIVE UK</title>
    <dc:date>2022-02-07T18:19:16+00:00</dc:date>
    <link>https://www.thealternative.org.uk/dailyalternative/2022/1/30/what-is-the-case-for-public-luxury</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Sharp and ideas-crammed piece from the Scottish green consultant James MacKenzie, who is riffing on George Monbiot’s idea of public luxury for the Dundee Courier [https://www.thecourier.co.uk/fp/opinion/2923173/public-luxury-saving-world-without-personal-sacrifices/ ]. An extract below: 

Does saving the world really require major personal sacrifices? There’s a strand of environmentalism which believes it does, and that we should talk more about that. Hair shirt environmentalism may not be persuasive, they argue, but it’s necessary.

There’s no doubt we’re in a crisis. And we will need to make radical changes to find a fair way out of it. But “living well with less” is especially off-putting to people who already live and work in precarious situations.

The rich consume far more, of course. I remember flying over an affluent part of the New Jersey suburbs years ago, seeing row after row of properties, each with their own empty backyard swimming pool.

We must also continue to resist the decades-long efforts by businesses and regulators to persuade us that their failures are our fault. The radical changes required cannot be delivered by a few more people going vegan, or by the committed taking long-haul trains rather than flights.

But what changes could we make to our way of life that would make it happier while also less carbon-intensive and more resource-efficient?

One idea is the pursuit of “public luxury”, especially in cities and larger towns. It’s something George Monbiot has talked about a lot.

And it’s one way we can live more enjoyable – even more decadent – lives that are more affordable too, both financially and environmentally.


THE CASE FOR SHARED SPACE IN PUBLIC PLACES
Right now our public facilities are typically threadbare, underfunded, and anything but luxurio

I get very distressed when I hear libraries are under threat. But I think I’ve been to my local library once in the last decade. It hasn’t always been so.

This country used to build more glorious public spaces, especially in the late Victorian period of municipal Fabian idealism. For a totemic Scottish example, think of the People’s Palace in Glasgow, now in a miserable state of disrepair.

But imagine every city dotted with reimagined libraries. Imagine if they included free-to-access stylish co-working spaces, fast free wifi, screens for those who need them, alongside access to books and media.

These “people’s palaces” could be leisure spaces, as well as places for freelancers to work outside the home. Throw in some fancier sport and fitness spaces with open (bookable) access and free pool tables, perhaps steam baths too.

Include cafes where you don’t get frowned at for bringing your own packed lunch, and the possibilities of true public luxury start to become clear. We can make them places where people would actively want to spend time, paid for through progressive taxation.

Or think about personal transportation. The most urgent steps may be making our towns and cities accessible for walking and wheeling, with better public transport and town planning that doesn’t build in vast commutes.

But there will always be legitimate needs that can only really be met by a car or similar, and not just for disabled people. Replacing every petrol car with an electric is not the answer.

But what if cars could be provided as a public luxury? Each local authority could provide a car club, predominantly electrics, with a couple of hours free each week for every local resident.

Car clubs already work well for people committed enough to sign up, but the numbers remain small. For everyone else, sorting out tax, MOT, insurance, and repairs is an expensive pain – especially since each car is then used about 4% of the time.

It might feel like a treat to pick the right communally-owned vehicle for the occasion (a big van? a sleek estate? a wee runabout?), all well-looked after, and with all the paperwork taken care of for you. A national system of this sort might be the best possible carrot to help people make the shift.

For these ideas to work, we need to discard the Thatcherite myth that socialism means worse lives for the people.

The same ideology tells us that public assets must be tatty fallbacks for people who haven’t come out on top, as per the probably apocryphal quote calling anyone on a bus over the age of 30 a failure.

I’m reminded of a scene in the wonderful 1988 Channel 4 drama A Very British Coup, which imagines the victory of a leftwing Labour leader, Harry Perkins. He’s on the train from Sheffield the day after, and a journalist asks him if he wants to abolish first class travel.

With a twinkle in his eye, he says “no, I’ll abolish second class: I think everyone’s first class, don’t you?”"]]></description>
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<item rdf:about="https://www.inputmag.com/culture/forget-amazon-prime-reading-public-libraries-are-more-important-than-ever">
    <title>Forget Prime Reading, public libraries are still as important as ever</title>
    <dc:date>2021-01-20T21:04:25+00:00</dc:date>
    <link>https://www.inputmag.com/culture/forget-amazon-prime-reading-public-libraries-are-more-important-than-ever</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[“Amazon’s new Prime Reading subscription aims to run civic institutions out of business.

It’s hard to think of an idea more on-brand for Amazon than “privatize the public library.” It almost boggles the mind.

On January 4, Bezos and company shut down the Amazon Lending Library after ten years of “diminished” returns (“diminished” in quotations, because, honestly, it’s hard to believe the service ever turned any major profits for Amazon). That didn’t seem to be much of an issue in the lead-up given how Jeff Bezos and everyone at the top of the company appeared to be doing just dandy. Essentially a free perk for Kindle users, offering eBook titles whose rights Amazon already secured, it was the least the company could do for its customers.

In its stead, people can now opt into Prime Reading, which is “free” to existing Prime members (already paying $119 a year) but costs $10 per month to non-Prime users. Prime Reading allows you to check out up to eight titles across its eBook and audiobook catalogs, which is more than Amazon tossed us in its Lending Library era, but these titles are selected from a vastly smaller range of releases.

Two years back, a classist piece of hate-clickbait made the rounds via Forbes contributor, Panos Mourdoukoutas, arguing that Amazon should simply start buying up all the “failing” libraries in the country to save taxpayers’ money. Public outrage was both predictable and swift, with Forbes soon retracting the piece while others pointed out that cutting all libraries would only save each American about $36. Still, with the usage of civic institutions often divided along socio-economic lines, it’s easy to imagine many out there feeling the same way as Mourdoukoutas. Programs like Amazon’s Prime Reading may seem trivial, but they point towards the larger strategy in mega-corporations’ ongoing war to privatize virtually every aspect of what remains of American public institutions.

So far, it’s proven a winning strategy. In the span of one night in July, Bezos added $10 billion to his net worth. At the beginning of January, his company announced its acquisition of eleven additional gently-used airplanes from Delta and WestJet in anticipation of a delivery logistics service to rival UPS and FedEx that’s slated to launch next year. With the USPS already overloaded and underfunded even before the pandemic, Prime Sky (or whatever other moniker Bezos bestows it) will take to the air in hopes of convincing the public it needs one less civic service. And we’ll probably buy it.

That’s what makes something like Prime Reading all the more insidious. Amazon rose to power by amassing a monopoly across multiple ailing industries by choking out the competition and taking advantage of our own civic failures, then presenting itself as one of the only viable means for commerce, entertainment, and communication.

Meanwhile, public libraries are still rolling along, but they aren’t getting the adequate funding they deserve. When its parts are routinely serviced and its gears oiled, the public library is a nearly perfect machine and has been for some time now. A recent report shows that now over 118 million Americans attend library programs each year, a number that has steadily grown over time. Patrons visited their libraries about 1.4 billion times in 2017 to access hundreds of millions of circulation items, including roughly 463.5 million eBooks, and rural access to these library materials continues to skyrocket. And while traditional services like in-person visitation, circulation, and reference consultations have declined over the past decade, programming continues to increase, particularly for children and young adults.

[two graphs]

Publicly available data show public libraries have offered an increasing number of programs attended by increasing numbers of patrons at libraries serving varying population sizes and in various locales. The concrete numbers won’t be known for some time, but even with in-person library work shuttered this past year due to COVID-19, the rise of eBook usage will assuredly be astounding.

Amazon wants to charge $120 a year for access to a few thousand titles that you can only access through its Kindle eReaders and app (aka Amazon-branded data harvesting machines). All the while, there is a functional, reliable service in pretty much every town in America whose membership fees are already taken care of by way of your taxes, and offers hundreds of times more physical and digital materials. Love reading on a tablet or Kindle? Cool. The Overdrive service exists for most devices and even comes pre-loaded onto Kindle competitors like Rakuten’s Kobo eReaders (which we love, by the way) for the sole purpose of accessing online library titles.

What’s particularly interesting about Prime Reading is that it brings nothing new to the “reading” experience nor the concept of a “library.” Prime Reading isn’t some ingenious business plan but a thinly veiled shakedown scheme. It is an attempt by Bezos to see just how much mileage he can truly get out of that smiley-arrow logo.

Unfortunately, it will be difficult to undermine as simple a con as Prime Reading. The profit margin is just too easily attainable to convince Amazon it would ever need to shutter the thing. But avoiding it entirely can show the limits of Amazon’s efficacy in privatizing every single aspect of our lives. Aspects that, somewhere along the way, we all forgot should be the rights of any citizen.”]]></description>
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<item rdf:about="https://twitter.com/stevesalaita/status/1344744900756180992">
    <title>Steven Salaita on Twitter: &quot;My politics have changed since I left (&quot;left&quot;) academe. You don't really understand the depth of conditioning into imperialism (and into relentless self-importance) until you're free to think beyond the industry's insidious, pe</title>
    <dc:date>2021-01-01T20:53:36+00:00</dc:date>
    <link>https://twitter.com/stevesalaita/status/1344744900756180992</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[“My politics have changed since I left (“left”) academe. You don’t really understand the depth of conditioning into imperialism (and into relentless self-importance) until you’re free to think beyond the industry’s insidious, pervasive structure of rewards.

One thing you never learn in academe: it’s okay to shut the fuck up every now and again; nobody in the Global South is actually waiting around for your opinion.

https://twitter.com/jaybeware/status/1344779448369876992
“we’re all addicted to being graded, which is to say degraded” –Fred Moten

https://twitter.com/jwillia2/status/1344761080493572096
The marketing of self is really rampant. I’ve never been into it within the academy. I try hard to share my thinking and writing with the public at large since they drive change and in need of ways to conceptualize the problems we all face. They are my tutors as well.

https://twitter.com/GrosMorne29/status/1344765636627427328
it seems that the self-marketing has gone over the top in the new age of twitter, no? i don’t remember it to be this insistent - even a year ago. maybe it’s a side effect of the Rona?

https://twitter.com/stevesalaita/status/1344783811276648448
It seems like it, yes. I suspect it has to do with the subscriber economy. Everyone’s a little corporation unto themselves.

https://twitter.com/GrosMorne29/status/1344799799938224129
that’s exactly it! (this has me i’m thinking about the patreon model, too!)

https://twitter.com/crawjo_1/status/1344753621225906181Me too. I went from being an academic to becoming a middle school teacher. That leap really underscored how destructive the culture actually is, and how relentlessly it rewards self-importance. I had no desire or ability to market myself, so I “left.” Well, fine.

https://twitter.com/bruce9876/status/1345068407696338946
Exactly. And people have financial motivations on places like Substack to go over the top, the main fin motivation is uniqueness, not accuracy or political effectiveness.

I call the phenomena Taibbism.”]]></description>
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<item rdf:about="https://newrepublic.com/article/159233/end-university">
    <title>The End of the University | The New Republic</title>
    <dc:date>2020-09-11T05:17:59+00:00</dc:date>
    <link>https://newrepublic.com/article/159233/end-university</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[“As the educator Jason Wozniak pointed out to me, the Greek word scholé means free time, suspension, contemplation, and delay. School, in this sense, is not so much a place as a circumstance, one with a distinct time frame. It may be that the pandemic shifted people’s collective sense of time in ways that allowed some to face and reflect on truths they might, under normal conditions, continue to avoid—truths about oppression, exploitation, vulnerability, and interdependence. The moment also calls to mind an insight from historian Robin D.G. Kelley: “Social movements generate new knowledge, new theories, new questions. The most radical ideas often grow out of a concrete intellectual engagement with the problems of aggrieved populations confronting systems of oppression.” Learning has never been an activity confined to campus; it often happens in the streets and through struggle. Because of the pandemic, millions of people were able to pay serious and sustained attention to the causes and the stakes of these protests. The university as it is currently constructed validates and cultivates certain kinds of erudition and expertise while discounting other forms of knowledge and experience. The protests for Black lives, the attempts by Rutgers staff to change their working conditions, and the Debt Collective’s ongoing student debt strike are all pedagogical experiments that open space for participants to be thinking, engaged democratic subjects.

Even when they have been shut down, colleges have been implicated in the uprisings. On June 2, the Los Angeles Police Department turned UCLA’s Jackie Robinson Stadium into a field jail, where it detained protesters who were demonstrating past curfew. Hannah Appel is part of a coalition of faculty members who denounced the collaboration. “Universities have turned racial justice into a brand,” she told me. But truly supporting racial justice means doing much more that naming buildings for civil rights icons and then arresting demonstrators in their shadows. A more profound transformation is required.

During the Debt Collective’s dialogue, Barbara Ransby invoked the concept of abolition in the context of education, noting that abolition is a framework that conjures not merely the dismantling of oppressive systems but the creation of social arrangements of solidarity and care. “We know a lot of bad things and bad structures exist,” Ransby said. “We’re not as rehearsed in what to replace them with.” Simply canceling student debt and eliminating tuition are not enough to yield educational equity in a society serrated by inequality. Instead, we need schools that are not only free in cost, but also aimed at widening the sphere of democratic freedom. Appel articulated this clearly when we spoke: “Just because you don’t pay for it doesn’t mean it’s free of white supremacy. It doesn’t mean it’s free of repressive cops or that it is a sanctuary from state violence.” Tuition-free school isn’t enough if only elites can successfully compete for limited spots, or if schools that serve poor and working students remain immiserated and understaffed. That is why Christopher Newfield, one of the foremost chroniclers of the political economy of higher education, argues that advocates must set their sights not just on free public college but on more equitable funding structures. He suggests $20,000 per student per year as a spending floor to guarantee that disadvantaged students have a fair shot at academic success.

If the Covid crisis has revealed anything, it is that we have the money. It is possible to reverse decades of privatization. The pandemic has also revealed that the only democratic and sustainable revenue source for higher education is public funds. (A debate about whether private colleges should exist—they don’t in many countries—is long overdue.) Universities may be subject to austerity at the state level, but the federal government recently made trillions of dollars appear out of thin air. “There is scarcity,” economist Stephanie Kelton, who has worked on College for All legislation, explained at the Debt Collective’s gathering in Los Angeles. But this scarcity is material, not monetary. “The one thing that the federal government can’t run out of is its own currency.… Elected officials have enormous power to take out their pens and their pads and to sit down and to look at that budget line by line and decide where to invest public money.” A budget, Kelton often says, is a moral document, a reflection of social priorities. The financing is the easy part; mustering the political will and enough congressional votes to make it happen is hard. That will require a militant mass movement ready to challenge not only Republicans (this summer, Trump took to Twitter threatening to cut university funding) but centrist Democrats who have perpetuated policy failures instead of addressing root problems.

This country has made bold moves before, and not only at the federal level. In 1930, in the throes of the Great Depression, Brooklyn College was founded. “The school was envisioned as a stepping-stone for the sons and daughters of immigrants and working-class people toward a better life through a superb—and at the time, free—college education,” the official website declares. In the 1960s, Black and Puerto Rican students across the City University of New York system faced police repression to push things further, demanding open admissions so their working-class peers could have the same opportunities. They won their case, and the student body rapidly diversified. But as was the case in California, a combination of racist backlash and recession-driven austerity thwarted progress, undoing the activists’ hard-won reforms.

Half a century later, the CUNY students’ vision for higher education still resonates: They insisted that universities should be both free and open, that public institutions should reflect and serve their communities, and that students should play a role in university decision-making. They also critiqued the concept of meritocracy, insisting that vital knowledge is produced both inside and outside the ivory tower. The students who called for open admissions at CUNY understood that rejecting meritocracy did not mean rejecting rigor or discipline, but rather acknowledging that traditional conceptions of merit veil class and race inequities. They wanted to democratize access to academic excellence on the grounds that education is a right, not a privilege or a commodity. The state, they maintained, should subsidize curiosity. And yet even if we revolutionized higher education in line with their prescriptions and went even further—shutting down for-profits, eliminating tuition, opening admissions, improving and equalizing access and quality across the board—many social problems would persist. More and better education alone will not solve our economic woes; an abundance of college degrees will not make more and better-paying jobs magically appear. If that is our goal, we need a federal jobs guarantee and stronger unions, not more undergraduates. In any case, a college degree, even a free one, should not be a prerequisite to a fair wage and dignified life.

Covid-19 is a crisis of terrifying proportions; the struggle ahead is over how we respond to it. Given America’s history, this response will be shaped, to a large degree, by the persistence of structural racism, on the one hand, and our commitment to racial justice, on the other. We can seize this moment and remake the university into something that is inclusive and liberating, or reinforce long-standing and destructive inequities. If we choose the former path, everyone will benefit. It is clear that millions of working- and middle-class white people also pay a steep price to maintain the racist, segregated status quo.

Public colleges and universities were free not that long ago; they can be free again. But as Hannah Appel told me, we need to define our terms. What does “public” mean? “The unqualified public has always been the white male public in this country,” Appel said. That’s why she argues that we must insist not just on universal public goods but reparative ones. We need systems designed not just to acknowledge our unequal past but to actively repair and redress ongoing harms. Only if we do that can the university live up to its name, embodying the Latin universitas, which means “the whole” or “the world”—a space for everyone, where no subject is off limits.”]]></description>
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    <title>Why Libraries Have a Public Spirit That Most Museums Lack</title>
    <dc:date>2019-11-08T04:28:50+00:00</dc:date>
    <link>https://hyperallergic.com/525985/why-libraries-have-a-public-spirit-that-most-museums-lack/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["A broad swath of society seems to feel more welcome in a public library rather than a museum. I examined the Brooklyn Public Library as a model of heightened engagement through collective knowledge creation."

...

"At a time when museums are being held accountable by a variety of publics for every aspect of their operations — from programming and exhibition-making to financial support and governance structures — perhaps it is useful to look at parallel institutions that are doing similar work for guidance on alternative ways of working.

I have spent a great deal of time thinking about the relationship between museums and public libraries, to understand what makes libraries feel different from museums. Why do they have a public spirit that most museums don’t? Why are there lines around the block at some NYC library branches at 9 am? I’ve been reading about the roots of both institutions in the United States, and they have evolved in similar ways; so how do they diverge? And is this divergence relevant to the ways in which a stunningly broad swath of society feels welcome within a public library and not a museum?

John Cotton Dana, the Progressive Era thinker and radical re-imaginer of public libraries, wrote a particularly important essay in 1917 titled “The Gloom of the Museum.” It includes a section about expertise that is particularly germane today:

<blockquote>They become enamoured of rarity, of history … They become lost in their specialties and forget their museum. They become lost in their idea of a museum and forget its purpose. They become lost in working out their idea of a museum and forget their public. And soon, not being brought constantly in touch with the life of their community … they become entirely separated from it and go on making beautifully complete and very expensive collections but never construct a living, active, and effective institution.</blockquote>

Museums and libraries in the US originated in similar places and via similar patronage models with their foundational collections coming largely from wealthy collectors of books and art objects, sometimes in conjunction with institutions of higher learning. However, the word “public” remains embedded in what we call the library. And while some branches are named for generous funders, these are secondary to the overall system. In fact, the Queens Public Library system, the largest in the nation, boasts of a branch within a mile of every Queens resident."]]></description>
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<item rdf:about="http://www.dilettantearmy.com/articles/6-kinds-of-public">
    <title>6 Kinds of Public - Dilettante Army</title>
    <dc:date>2019-04-28T20:29:43+00:00</dc:date>
    <link>http://www.dilettantearmy.com/articles/6-kinds-of-public</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[Long ago, I adopted the moniker “dilettante ventures” as a frame for my cultural activity. At the time it was envisioned as a collective comprised of three other art and curatorial collectives. Much like this journal seeks to do, I spent a fair amount of time trying to rehabilitate the word “dilettante.” Lately though, I’ve given up on worrying about that sort of framing, because now I have to rehabilitate another word—“republican.” In November 2018, I was elected to the Vermont State Legislature. As a candidate, I appeared on the ballot as the nominee of two political parties—the Democrats and the Progressives. But to be accurate about my political philosophy, I am a decentralist communitarian republican. Identifying as small-r republican, even though it isn’t the same as being a capital-r Republican, can be problematic for me. On my winding trajectory from an artist-that-doesn’t-make-art to a librarian/legislator, I’ve investigated how republican themes of interdependence, virtue, and civic responsibility might be usefully employed in the (neo)liberal political quagmire we find ourselves. Here are the key concepts I use to understand the links between art and community-making in a new era of progressive politics:

Public Art, new genre

…

Public Culture

…

Public Good, scale of

…

Public Library

…

Public Philosophy

…

Public Realm

…

Public Work

…

Public work brings me back to the inadequacy of social practice (art). I have proposed “social poiesis” as an alternative. “Poiesis” is a word, mostly used in literary theory, that describes creative production, in particular the creation of a work of art. “Social poiesis,” then, encompasses not only the production of art and art environments, but also the creative production of society through things like urban planning, sports leagues, communes, be-ins, residencies, raves, state fairs, theme parks, cults, encounter groups, Chautauquas, and even legislating. Governance, properly undertaken, is public work, positing “citizens as co-creators of the world.” This world of artistic citizenship demands a variety of public actions and inquiry, some of which I’ve touched on here. Above all it demands a reevaluation of the promise and potential of a revived republican spirit."]]></description>
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</item>
<item rdf:about="http://scratchingthesurface.fm/post/181237427850/104-cab-broskoski-and-chris-sherron">
    <title>Scratching the Surface — 104. Cab Broskoski and Chris Sherron</title>
    <dc:date>2019-01-11T20:22:24+00:00</dc:date>
    <link>http://scratchingthesurface.fm/post/181237427850/104-cab-broskoski-and-chris-sherron</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Cab Broskoski and Chris Sherron are two of the founders of Are.na, a knowledge sharing platform that combines the creative back-and-forth of social media with the focus of a productivity tool. Before working on Arena, Cab was a digital artist and Chris a graphic designer and in this episode, they talk about their desire for a new type of bookmarking tool and building a platform for collaborative, interdisciplinary research as well as larger questions around open source tools, research as artistic practice, and subverting the norms of social media."

[direct link to audio:
https://soundcloud.com/scratchingthesurfacefm/104-cab-broskoski-and-chris-sherron ]]]></description>
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</item>
<item rdf:about="https://github.com/SFPC/finance-and-administration">
    <title>GitHub - SFPC/finance-and-administration: &quot;To radical openness and generosity.&quot; Public data and reflections on finance and administration from the School for Poetic Computation.</title>
    <dc:date>2018-10-13T19:04:26+00:00</dc:date>
    <link>https://github.com/SFPC/finance-and-administration</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[""To radical openness and generosity." Public data and reflections on finance and administration from the School for Poetic Computation."

[See also: https://github.com/SFPC/finance-and-administration/blob/master/01/readme.md ]]]></description>
<dc:subject>caseygollan sfpc finances opensourcefinances opensource transparency public data github money nonprofit nonprofits schoolforpoeticcomputation</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:d8620aaa381c/</dc:identifier>
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</item>
<item rdf:about="https://www.newyorker.com/magazine/2018/08/06/private-dreams-and-public-ideals-in-san-francisco">
    <title>Private Dreams and Public Ideals in San Francisco | The New Yorker</title>
    <dc:date>2018-08-10T19:05:09+00:00</dc:date>
    <link>https://www.newyorker.com/magazine/2018/08/06/private-dreams-and-public-ideals-in-san-francisco</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["If you were a kid in San Francisco during the nineties, there was much to get away with, and a flurry of ragged-edged mainstream commerce helped transmute these escapes into local fellow-feeling. Geeks with T-shirts past their elbows tried to open up the world in Linux consoles. Zines were made at Kinko’s. Music, in defiance of the polish of the eighties, met the airwaves with garage-band roughness: hard, bossy, confident, and yet—’Cause I want to be someone who believes—unweary and upbeat. In town, you could watch the dive bars becoming lunch spots that served portobello sandwiches with garlic fries; visit new museums and new stadiums; see empty industrial buildings turn into cafés where the smell of grinding dark roast chased you past the patrons with gauged ears and thick-rimmed glasses into the wide, light-gray drizzle outside. It was a civic project homemade by an energetic new tribe of like-minded locals, and undertaken through bold dreaming in the private sphere. It seemed to us a shared effort to turn the city bright.

People in power appeared to understand. In the mid-nineties, urban planners, architects, economists, transportation consultants, real-estate experts, and government wonks collaborated on a renovation strategy for the Ferry Building. The first floor, they decided, should mix commercial space and travel concourses. The top would remain offices. In between would be public space, a foyer looking out over the water. This vision was reiterated in the port’s immense Waterfront Land Use Plan, adopted in 1997, which aimed to create an “outdoor living room.” As part of the plan, the Ferry Building would have “activities available at different price levels” and no “conventional shopping center or tourist-oriented retail.”

By 1998, the concept had begun, quietly, to change. Four developers submitted plans focussed on making the bottom floor what one reporter called a “global marketplace.” The winning proposal included high-end food shops, restaurants, and more than a hundred and fifty thousand square feet of premium office space. Commercial imperatives took hold. “If you made artisan cheese, you didn’t want to share a space with a low-quality bread shop,” one of the building’s architects explained. As the value of the complex rose, its ownership travelled among private hands. Last year, its current owner, the multinational Blackstone Group, announced that it was trying to sell off the remaining five decades of the master lease for an estimated three hundred million dollars; so far, there has been no sale.

The nineties were not the first time that California’s public resources flowed into the private sector. But the decade marked a turn. Power, as never before, rested with people who had come of age after the atomization of American culture: the boomers, with their vapors of radical individualism, and the my-way-oriented Generation X. While the Ghirardelli Square model of public-private development had emerged from integrative pluralism, the Ferry Building, like the Sea Ranch, evolved to gratify a new and widespread tribal life-style ideal. It is impossible to go inside the building now without entering the shops and ogling premium grass-fed meats, artisanal coffee, or the very popular Humboldt Fog cheese, available for thirty dollars a pound. To partake of public life in San Francisco today is to be funnelled toward a particular kind of living."

…

"American opportunity is notoriously a path of unequal resistance. Test scores track with parental income; Zip Codes predict life expectancies. What these data do not capture is the fortuity and betrayal even in the smooth progress we seek. We say, We’re doing something for our children and our children’s children. We say, We want to give our kids the things we didn’t have. But every palace is someone’s prison; every era’s victory the future’s baseline for amendment. Our children and our children’s children: they will leave our dreams behind.

Long before the founding of Rome, the Etruscans measured time by something called the saeculum. A saeculum spanned from a given moment until the last people who lived through that moment had died. It was the extent of firsthand memory for human events—the way it felt to be there then—and it reminds us of the shallowness of American history. Alarmingly few saecula have passed since students of the Enlightenment took human slaves. We are approaching the end of the saeculum of people who remember what it feels like to be entered into total war. The concept is useful because it helps announce a certain kind of loss: the moment when the lessons that cannot be captured in the record disappear.

The saeculum that shaped the current Bay Area started soon after the Second World War and will end shortly. The lessons that it offers should be clear to anyone who lived across that span. To have grown up through San Francisco’s recent history is to be haunted by the visions of progressivism that did not end up where they were supposed to, that did not think far enough ahead and skidded past the better world they planned. It’s to be paranoid about second- and third-order social effects, to distrust endeavors that cheer on sensibility more than sense. It’s to have seen how swiftly righteous dreams turn into cloister gates; to notice how destructive it can be to shape a future on the premise of having found your people, rather than finding people who aren’t yours. The city, today, is the seat of an atomized new private order. The lessons of the saeculum have not stuck."]]></description>
<dc:subject>nathanheller 2018 sanfrancisco change public private marin ronaldreagan cities urban urbanism generations marincounty</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
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<item rdf:about="https://www.nytimes.com/interactive/2018/04/27/nyregion/newyork-parks-photos.html">
    <title>Scenes Unseen: The Summer of ’78 - The New York Times</title>
    <dc:date>2018-04-29T20:56:35+00:00</dc:date>
    <link>https://www.nytimes.com/interactive/2018/04/27/nyregion/newyork-parks-photos.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Six months ago, a conservancy official cleaning out an office came across two cardboard boxes that had been sitting around for decades.

Inside were 2,924 color slides, pictures made in parks across New York City’s five boroughs late in the summer of 1978. No one had looked at them for 40 years.

Here are multitudes.

…

Until now, none of these images have ever been displayed or published. A selection of them are here and in a special print section. More will be on view from May 3 through June 14 at the Arsenal Gallery in Central Park, 830 Fifth Avenue, near 64th Street.

These images were the work of eight staff photographers whose pictures normally ran in The New York Times, but who were idled for nearly three months in 1978 by a strike at the city’s newspapers.

Not long after the strike began that August, a contingent of the photographers — Neal Boenzi, Joyce Dopkeen, D. Gorton, Eddie Hausner, Paul Hosefros, Bob Klein, Larry Morris, and Gary Settle — met with Gordon J. Davis, the city parks commissioner.

They proposed to wander the city and make pictures of the parks and the people in them.

No one holds a smartphone.

Life, uncurated.

“I was skeptical,” Mr. Davis said, “but what they came back with made me cry.”

…

The city was a financial ruin and stuff was busted and it seemed it would be that way forever.

…

No one is sure, any more, how long the photographers worked or how much they were paid. Probably not long and not much.

Mr. Davis, then less than a year into his job as commissioner, remembered the emotional jolt of reviewing a few sample frames.
“Then they all disappeared,” he said.

The infamous wretched New York of the 1970s and 1980s can be glimpsed here, true to the pages of outlaw history.

But that version has never been truth enough.

The photos speak a commanding, unwritten narrative of escape and discovery.
“You see that people were not going to the parks just to get away from it all, but also to find other people,” said Jonathan Kuhn, the director of art and antiquities for the department.

From the trove, Mr. Kuhn has selected 65 pictures to mount for the exhibit at the Arsenal Gallery, which is open Monday through Friday, 9 a.m. to 5 p.m.

Like the starlight that travels millions of years before we see it, the four little boys stand in their underpants at Coney Island on an August day in 1978, and it is only now, in a found photograph, that we behold them."]]></description>
<dc:subject>photography 1978 nyc jimdwyer parks publicspace public community humans connection cities urban urbanism humanity people</dc:subject>
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<item rdf:about="https://publicknowledge.sfmoma.org/">
    <title>Public Knowledge</title>
    <dc:date>2017-09-24T22:56:35+00:00</dc:date>
    <link>https://publicknowledge.sfmoma.org/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Public Knowledge is an expansive, multi-faceted project that aims to promote public dialogue about the cultural impact of urban and technological change and the role of public institutions in these turbulent times in San Francisco and the Bay Area. Bringing together artists, librarians, scholars, and community collaborators and partners from many backgrounds, it is spearheaded by the San Francisco Museum of Modern Art in partnership with the San Francisco Public Library.

The Public Knowledge initiative explores the tectonic economic, social, and cultural shifts transforming San Francisco, the factors involved in the changes taking place, and the stakes involved in surviving, resisting, adapting, and trying to shape these changes. Valuing the unique contribution that artistic thinking and practice can make to public conversations, the project will unfold over two years of artists in residence, free talks, discussions, workshops, performances, and other events in neighborhoods and libraries throughout the city. Together we will explore how contemporary art can illuminate issues of concern to our community, and create spaces for new conversations, both locally and farther afield.

In a time when providing access to public information and social engagement, once a key role of public institutions, is now being taken over by technology, the Public Knowledge project recognizes that people seem to be abandoning public institutions, and ambitiously seeks to examine the historic role of public institutions and reinvigorate their relevance today. By experimenting with new ways of forging relationships and nurturing connections, we look to act as a catalyst for participants to exchange ideas and learn from one another, and together to develop new approaches to strengthening the fabric of civic life.

The project will have a physical location at a new pop-up Public Knowledge Library, a temporary branch of the public library at SFMOMA where visitors can engage with all kinds of related materials, and an online location where anyone interested can learn more and participate.

Public Knowledge is organized by the San Francisco Museum of Modern Art in partnership with the San Francisco Public Library. The project has been made possible in part by a major Public Humanities Projects, Community Conversations grant from the National Endowment for the Humanities: Exploring the Human Endeavor."

[See also: https://www.sfmoma.org/artists-artworks/public-dialogue/public-knowledge/

"Launched in April 2017, Public Knowledge is a two-year project that aims to promote public dialogue on the cultural impact of urban change. Through artist projects, research collaborations, public programs, and publishing, it builds new connections between ideas, individuals, and communities. Public Knowledge is based in San Francisco and takes place at multiple locations in the city.

The project grew in response to the profound changes taking place in the San Francisco Bay Area due to the rapid growth of the technology industry. While many have benefited from the resulting boom, it has also led to increasing inequality. Rising costs and unevenly distributed gains create ever greater difficulties for those excluded: a fraying sense of community as everyday life becomes more precarious; the disappearance of an inclusive and diverse cultural ecology as nonprofit organizations and cultural spaces are priced out of neighborhoods; and the loss of cultural memory for those without the means to represent themselves.

San Francisco may be an extreme instance of this process of hyper-gentrification, but it is not unique. Many other cities in the United States and around the world have shared similar experiences. The changes are so fast and so deep that it can be hard to interpret and respond to their impact on public life.

At the same time, the technology industry, with both a deep local impact and a global reach, has disrupted what knowledge is, how it is produced, and how it is circulated. As information and resources are increasingly privatized and public trust is eroded, how can the forms and institutions of public knowledge be maintained?

Public Knowledge brings together artists, scholars, librarians, community organizers, and San Francisco residents to consider these questions. By sharing their varied expertise and creating new knowledge through the project’s activities, participants can learn from each other and, collectively, begin to develop new approaches to strengthening the fabric of civic life.

Public Knowledge is co-curated by Deena Chalabi, Barbara and Stephan Vermut Associate Curator of Public Dialogue, and Dominic Willsdon, Leanne and George Roberts Curator of Education and Public Practice. Stella Lochman, Program Associate, Public Dialogue, is head of production.

Participating artists include Burak Arikan, Bik Van der Pol, Minerva Cuevas, Josh Kun, and Stephanie Syjuco.

Participating scholars include Julia Bryan-Wilson, Jon Christensen, Teddy Cruz, Fonna Forman, Jennifer A. González, Shannon Jackson, and Fred Turner."]

[via: https://twitter.com/shannonmattern/status/911987274497380353 ]]]></description>
<dc:subject>sfmoma sanfrancisco art public bayarea libraries community sfpl economics society culture place change thinking practice conversation publicinstitutions institutions</dc:subject>
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<item rdf:about="https://www.nytimes.com/2017/04/28/arts/design/vito-acconci-dead-performance-artist.html">
    <title>Vito Acconci, Performance Artist and Uncommon Architect, Dies at 77 - The New York Times</title>
    <dc:date>2017-04-29T19:05:03+00:00</dc:date>
    <link>https://www.nytimes.com/2017/04/28/arts/design/vito-acconci-dead-performance-artist.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Some performances might have gotten him arrested, though Mr. Acconci also seemed to possess the instincts of a cat burglar. In one of his most famous early works, “Following Piece,” from 1969, he spent each day for almost a month following a person picked at random on the streets of Manhattan, sometimes taking a friend along to photograph the action. The rules were only that Mr. Acconci had to keep following the person until he or she entered a private place where he couldn’t go in.

Mr. Acconci saw himself not as a stalker but as an unmoored soul searching for direction.

“It was sort of a way to get myself off the writer’s desk and into the city,” he once told the musician Thurston Moore. “It was like I was praying for people to take me somewhere I didn’t know how to go myself.”

The dozens of performance pieces that followed through the early 1970s, many of them now little-known, featured varying elements of bodily discomfort, exhibitionism and gender play — elements he shared with other artists of the time, particularly female — as well as a devious wit and a Svengali aura that were Mr. Acconci’s own.

In “Seedbed” (1972) — Mr. Acconci’s most infamous piece, which came to overshadow much of his other work — he constructed an angled false floor at the Sonnabend Gallery in SoHo and hid himself beneath it with a microphone; as people walked above him he spoke to them as he masturbated. The piece became a touchstone of performance art in part because of its sheer, outlandish audacity.

But it also underscored Mr. Acconci’s abiding interest in art that did not exist as an object set apart from the world, in a frame or on a plinth, but as something deeply embedded in everyday life.

“I wanted people to go through space somehow, not to have people in front of space, looking at something, bowing down to something,” he said of the performance in an interview with The New York Times in 2016 on the occasion of a retrospective at MoMA PS 1 in Queens. “I wanted space people could be involved in.”

That ambition took hold fully in the mid-1970s, when, in a radical career turn, he abandoned the gallery world and remade himself as a highly unorthodox architect and designer, creating works like public parks, airport rest areas and even an artificial island on a river in Austria.

The move confused his peers and caused his profile in the art world to recede, to the point where many younger artists who were indirectly influenced by his work had little idea who had created it. In his later years, Mr. Acconci sometimes agonized over this situation, but he said he had no choice but to follow his interests where they took him — which was no less than an ambition to change the way people lived.

“I wish we could make buildings that could constantly explode and come back in different ways,” he said in one interview. “The idea of a changing environment suggests that if your environment changes all the time, then maybe your ideas will change all the time. I think architecture should have loose ends. This might be another problem with Modernism — it’s too complete within itself.”

Vito Hannibal Acconci was born on Jan. 4, 1940, and raised in the Bronx in a tightly knit Italian-Catholic family. His father, Hamilcar — Hamilcar Barca was the father of the Carthaginian general Hannibal, hence Mr. Acconci’s unusual middle name — was a bathrobe manufacturer whose business was never very good. His mother, Chiara, known as Catherine, worked as a school cafeteria attendant to help makes ends meet.

Mr. Acconci spoke often about how his father’s unusual name, and his love of literature and opera, sparked a fierce interest in words at an early age. (“I prefer Hannibal to Vito,” he once told an interviewer, “but, then again, that was before ‘Silence of the Lambs.’”)

His father died when Mr. Acconci was in his early 20s. He said he was spoiled and protected long into adulthood by his mother, whom he labored to keep in ignorance of the shocking specifics of his work.

In 1962, he enrolled in the graduate writing program at the University of Iowa, in thrall to postmodern writers like Alain Robbe-Grillet and John Hawkes. He married a fellow artist, Rosemary Mayer (they divorced in the late 1960s), and with her sister, the poet and artist Bernadette Mayer, he published a journal called “0 to 9,” after the numeral paintings of Jasper Johns.

By 1969, in what he called “a kind of fever,” he was making performances at a rate of sometimes several a week, documenting them in a decidedly analog archive of metal filing cabinets that grew vast toward the end of his life, taking up a large room in the studio in the Dumbo neighborhood of Brooklyn, where he and Maria Acconci ran Acconci Studios, a design and architecture firm.

Holland Cotter, describing Mr. Acconci’s sui-generis performance persona in The Times in 2016, wrote: “Thirty-something, hirsute, in slack shape, he looks and acts the part of sleazoid voyeur, stand-up comic, psychopath and self-martyred saint.”

He added: “In ways not so different from Cindy Sherman’s in photography, he was creating multiple characters who happened to share a body — his — that he wanted both to explore and escape, and that was coming apart under stress.”

In 1980, the Museum of Contemporary Art in Chicago organized a retrospective, and by that time videos, photographic documentations and other works of his had entered numerous important public collections, including those of the Museum of Modern Art and the Whitney Museum of American Art.

To support himself throughout a career that was never careerist, he taught and lectured in art schools around New York, and his classroom presence became legendary, a kind of performance work itself — with his long unruly hair, his all-black wardrobe, his gravel-bed voice with its distinctive loping stutter and, before he quit, the endless cigarettes he would light, stub out, pocket, retrieve and light again.

Even when thinking about the end of his life, he seemed to conceive of it as consonant with his work, a performance. In a letter to an unknown recipient in 1971, he spoke of his fears of dying on a plane trip to Canada and stated that before the flight he would deposit an envelope with a key to his apartment at the registrar’s desk at the School of Visual Arts.

“In the event of my death,” the letter, a kind of will, concluded, “the envelope can be picked up by the first person who calls for it; he will be free to use my apartment, and its contents, any way he wishes.”"]]></description>
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<item rdf:about="http://openset.printedweb.org/">
    <title>Web-to-print-to-street</title>
    <dc:date>2016-08-03T05:54:49+00:00</dc:date>
    <link>http://openset.printedweb.org/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["1
An experiment in making public by Paul Soulellis 
OPEN SET Summer Design School 
V2 INSTITUTE FOR THE UNSTABLE MEDIA 
3 AUG 2016 10–18

When considering the future of publishing, why not look to the street? Tracing the act of “making public” in physical space is a trajectory that stretches back as far as urbanity itself. Spoken, written and visual language evolved in spaces of assembly and commercial activity, and flourished along trade routes; the distribution of media is intimately tangled up with the history of built environments and the movement of people, goods and services. And it’s this connection between the physical body and the circulation of information that bears examining: since material now flows along immaterial networks, might we look to the artist performing in public as a new site, or perhaps a re-siting, of publishing activity? 

Let’s re-visit the street as a modality for making public. If we define publishing as the filtering and amplification of material, then public space is an obvious place to find this activity, bound up in material and performative notions. The urban street is a market of materialities: a mesh of connected systems, infrastructure, and networks. Like the internet, the public street is an open, flowing landscape where extreme conditions of chance and restriction exist in constant negotiation. These distinctions between physical and immaterial space, once easy, now break down in the street, where every citizen is a node on the network. 

“Web-to-print-to-street” is a one-day workshop where we will take an inventory of possible moves in the street, from posting to stacking to dropping to hand delivery. Publishing is performed continuously on social media, so as material boundaries blur and blend, let’s consider the literal translation of network culture into physical space as an acta diurna (a daily act). Our site is the city of Rotterdam and we have countless publics available to us. For a few hours, we’ll examine our own networks and feeds for worthy material, considering the effects of selection and printing on the value of our work. We will experiment with simple moves that “de-amplify” our content, moving it from fast social media to slower rooms of sociability. Our goal is discovery: what kinds of publics and performative techniques are possible? What are new strategies for slowing down attention in the physical encounter?

READINGS

Workshop PDF 
Michael Warner, “Publics and Counterpublics,” 2002. 
Annette Gilbert (ed.), Publishing as Artistic Practice, Sternberg Press, 2016.
Susan Stallman, “The Ethos of the Edition: The Stacks of Felix Gonzalez-Torres,” Arts Magazine 66, 1991.
Michael Bhaskar, The Content Machine: Towards a Theory of Publishing from the Printing Press to the Digital Network. New York: Anthem Press, 2013.
Seth Price, “Dispersion,” 2002. 
Paul Soulellis, “Performing Publishing: Infrathin Tales from the Printed Web,” 2015.

2 
REFERENCES

Post 
Jenny Holzer 
Norman B. Colp 
Stephanie Syjuco 
Brian William Green 
Julia Weist 
Drop 
Flugblätter (flying leaves) 
Aram Bartholl Dead Drops 
Sal Randolph’s Free Words 
Anastasia Kubrak 
Little Free Library 
Stack 
Edson Chagas / Tankboys 
Felix Gonzalez-Torres 
Perform 
Town crier 
David Horvitz pickpockets an art fair 
Weymouths 
Anouk Kruithof’s Pixel Stress 
Facebook Live Map

3 
WORKSHOP

10–11:15 Introduction and discussion 
11:15–12:15 Filtering 
12:15–13:30 Break 
13:30–14:30 Production (Print! Assemble!) 
14:30–17 Amplification! Make public. 
17–18 Share, celebrate, publish."]]></description>
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<item rdf:about="http://newhive.com/lilianafarber/the-device-is-the-message">
    <title>The Device is the Message</title>
    <dc:date>2016-07-09T09:52:02+00:00</dc:date>
    <link>http://newhive.com/lilianafarber/the-device-is-the-message</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[["THE-DEVICE-IS-THE-MESSAGE_PART_I"
http://blog.newhive.com/the-device-is-the-message_part_i/v

"The Device is the Message by Liliana Farber

Storage Un.it is a small project space located in a storage unit @ arebyte Gallery in London. The space features a series of projects, which take place online and investigate the relationship between the URL & IRL. The space was initiated in Nov 2015 as part of ‘The Wrong’ online Biennale.

The second residency in storage-un.it is artist Liliana Farber and her work titled the-device-is-the-message_Part_I.

The work focuses on the idea of the smartphone as an active agent in the way we interact with the real world, the art world and the online world, but also with each other. Confrontations become digitized and repercussions between the machine and its user are staged virtually.

In relation to the way in which the smartphone has become integral to the modern world, Farber will interrogate how this reliance affects real interactions — but also how the specific language of the virtual is shaping our perceptions of time, space and place in the real. The symbiotic relationship between the user, the machine and the notion of privacy is of interest for the artist and will be explored further via recordings and research with relation to her personal data usage.

A precise intimacy is at play between the user and the screen; private experiences are created but can also become part of the public domain. This idea of the boundaries between public and private can be seen by the way in which Farber is conducting her research and documenting the project’s progress. All aspects are continually updated via NewHive, and viewers can watch the project update in real time through September 10th, 2016.

Once the online residency is completed, the research undertaken will be presented in an exhibition displayed through the smartphone screen – both reflecting on the temporal nature of imagery and our constant exposure to content, a comment on the sub-sequential reliance on the screen to divulge information."]]]></description>
<dc:subject>thedeviceisthemessage lilianafarber newhive smartphones mobile art 2016 privacy online internet phones time space place public private imagery netart</dc:subject>
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<item rdf:about="http://text-patterns.thenewatlantis.com/2014/09/intimacy-gradients.html">
    <title>intimacy gradients - Text Patterns - The New Atlantis</title>
    <dc:date>2016-04-08T03:05:47+00:00</dc:date>
    <link>http://text-patterns.thenewatlantis.com/2014/09/intimacy-gradients.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Pay attention to the links here: Tim Maly pointed me to this 2004 post by Christopher Allen that draws on the famous 1977 architectural treatise A Pattern Language to talk about online life.

Got all that?

The key concept is intimacy gradients. In a well-known passage from A Pattern Language the authors write,

<blockquote>The street cafe provides a unique setting, special to cities: a place where people can sit lazily, legitimately, be on view, and watch the world go by... Encourage local cafes to spring up in each neighborhood. Make them intimate places, with several rooms, open to a busy path, where people can sit with coffee or a drink and watch the world go by. Build the front of the cafe so that a set of tables stretch out of the cafe, right into the street.
</blockquote>

That's the passage as quoted in the book's Wikipedia page. But if you actually look at that section of the book, you'll see that the authors place a great deal of emphasis on the need for the ideal street café to create intimacy as well as public openness. Few people want always to "be on view"; some people almost never do. Therefore,


<blockquote>In addition to the terrace which is open to the street, the cafe contains several other spaces: with games, fire, soft chairs, newspapers.... This allows a variety of people to start using it, according to slightly different social styles.
</blockquote>

And "When these conditions are present" — all of these conditions, the full appropriate range of intimacy gradients — "and the cafe takes hold, it offers something unique to the lives of the people who use it: it offers a setting for discussions of great spirit — talks, two-bit lectures, half-public, half-private learning, exchange of thought."

Twitter actually has a pretty highly developed set of intimacy gradients: public and private accounts, replies that will be seen automatically only by the person you’re replying to and people who are connected to both of you, direct messages, and so on. Where it fails is in the provision of “intimate places”: smaller rooms where friends can talk without being interrupted. It gives you the absolute privacy of one-to-one conversations (DMs) and it gives you all that comes with “being on view” at a table that extends “right into the street,” where anyone who happens to go by can listen in or make comments; but, for public accounts anyway, not much in between. 

And you know, if you’re using a public Twitter account, you can’t really complain about this. If you tweet something hoping that your friends will notice and respond, that’s fine; but you’re not in a small room with just your friends, you’re in a vast public space — you’re in the street. And when you stand in the street and make a statement through a megaphone, you can’t reasonably be offended if total strangers have something so say in reply. If you want to speak only to your friends, you need to invite them into a more intimate space. 

And as far as I can tell, that’s what private Twitter accounts provide: a place to talk just with friends, where you can’t be overheard. 

Now, private accounts tend to work against the grain of Twitter as self-promotion, Twitter as self-branding, Twitter as “being on view.” And if we had to choose, many of us might forego community for presentation. But we don’t have to choose: it’s possible to do both, to have a private and a public presence. For some that will be too much to manage; for others, perhaps for many others, that could be where Twitter is headed. 

Okay, I’m done talking about Twitter. Coming up in the next week: book reports."]]></description>
<dc:subject>alanjacobs 2014 intimacygradients apatternlanguage christopheralexander cities twitter society sociology internet culture architecture space public private privacy</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:0fd218821e6b/</dc:identifier>
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</item>
<item rdf:about="http://deborahmeier.com/2015/11/20/democracy-and-the-common-good/">
    <title>Democracy and the common good | Deborah Meier on Education</title>
    <dc:date>2015-11-28T00:42:15+00:00</dc:date>
    <link>http://deborahmeier.com/2015/11/20/democracy-and-the-common-good/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["I am taking note of all the ways we are privatizing our society and abandoning our belief in democracy,  the “common good”, the public space, call it what you will. The New York Times (Nov 2nd) had a front page headline on the “Privatization of the Justice System.” We have always known it helps sway the judge and jury if you are rich, have top lawyers, etc. But this is about the many areas in which people often unwittingly agree to give up their right to ever see a judge and jury if they have a grievance, but are forced to use private arbitrators and cannot sign on to any class-action suit.

The more egalitarian our definition of citizenship the more concern there is by some about the “idea” of one person, one vote.  Too many of the choices the privatizers are now suggesting open up more possibilities for some than others.  The choice of going to a private school with a voucher is not actually a choice if you haven’t the means to pay the difference or aren’t “chosen.” Yes, you have a choice of cars to buy…but. The data I have read about the number of poor people who do not have the choice of a lawyer to represent their interests. No surprise: some choices cost a lot ore than others.

The idea of democracy comes out of an idea of the “common good”—a way to hold rulers accountable to all. However who belonged to that “all” was not everyone.  Sometimes it was, in fact, a very small proportion of the entire population.  But it assumed that among those who had full citizenship there was good reason to have considerable trust. It assumed that most citizens had their peers interest at heart, even if they interpreted it differently. It assumed free speech, free assembly, and mutual respect— win some, lose some. It was an answer to royal inherited power—instead “the people” had the power.  When we expanded full citizenship to include men without property, women, former slaves, etc. it naturally become harder to identity what our “common interests” were.  Some “wins” seemed too dangerous to those with more power to let free choice play itself out. It was not obvious to some parents, for example, that “their” precious child was of equal interest to those who determined school policy.

That is what we are struggling with these days in school “reform”—and it will not be easily solved in a society that holds private space as more precious than public space, especially when some have a lot more private space than others have, in the order of thousands of times more."]]></description>
<dc:subject>deborahmeier 2015 society democracy commongood public publicspace publicgood citizenship civics commoninterests individualism privatization capitalism publicgoods</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:8d2f82482cef/</dc:identifier>
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</item>
<item rdf:about="http://www.washingtonpost.com/opinions/we-dont-trust-drinking-fountains-anymore-and-thats-bad-for-our-health/2015/07/02/24eca9bc-15f0-11e5-9ddc-e3353542100c_story.html?hpid=z2">
    <title>We don’t trust drinking fountains anymore, and that’s bad for our health - The Washington Post</title>
    <dc:date>2015-07-15T06:15:39+00:00</dc:date>
    <link>http://www.washingtonpost.com/opinions/we-dont-trust-drinking-fountains-anymore-and-thats-bad-for-our-health/2015/07/02/24eca9bc-15f0-11e5-9ddc-e3353542100c_story.html?hpid=z2</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Fountains were once a revered feature of urban life, a celebration of the tremendous technological and political capital it takes to provide clean drinking water to a community. Today, they’re in crisis. Though no one tracks the number of public fountains nationally, researchers say they’re fading from America’s parks, schools and stadiums. “Water fountains have been disappearing from public spaces throughout the country over the last few decades,” lamented Nancy Stoner, an administrator in the Environmental Protection Agency’s water office. Water scholar Peter Gleick writes that they’ve become “an anachronism, or even a liability.” Jim Salzman, author of “Drinking Water: A History,” says they’re “going the way of pay phones.”

Even the International Plumbing Code, followed by builders in most American cities, has signaled that the fountain is out of style. In the 2015 edition of the manual, which lays out recommendations on matters such as the number of bathrooms an office should have and how pipes should work, authors slashed the number of required fountains for each building by half.

This loss isn’t a result of some major technological disruption. While U.S. consumption of bottled water quadrupled between 1993 and 2012 (reaching 9.67 billion gallons annually), that’s more a symptom than a cause. What’s changed in the past two decades is our attitude toward public space, government and water itself. “Most people over the age of 40 have really positive stories of drinking fountains as kids,” says Scott Francisco, who helped organize the Union Square event with Pilot Projects, an urban design company. The sense today, though, is that “they’re dangerous, they’re not maintained and they’re dirty.”

In short, we don’t trust public fountains anymore. And it’s making us poorer, less healthy and less green."

…

"The disappearance of water fountains has hurt public health. Centers for Disease Control researcher Stephen Onufrak has found that the less young people trust water fountains, the more sugary beverages they drink. Studies have found that kids who consume sugary drinks regularly are 60 percent more likely to be obese, and adults who do so are 26 percent more likely to develop Type 2 diabetes.

The reliance on bottled water rather than fountains also has serious environmental effects. According to the Earth Policy Institute, it takes about 1.5 million barrels of oil to create the 50 billion plastic water bottles Americans use each year. (That’s enough oil to fuel 100,000 cars for a year.) Less than a quarter of those bottles are recycled. And these statistics don’t even account for the fuel used in transporting the water around the country and the world.

Bottled water is also expensive. Drinking eight glasses of tap water a day costs about 49 cents a year. If you got that hydration exclusively from bottles, you’d pay about $1,400, or 2,900 times more. If you’re living at the poverty line, that’s 10 percent of your income.

The transition away from fountains has also made it harder to access water in public. For example, in 2007, the University of Central Florida built a 45,000-seat stadium with no fountains. The university claimed they were too expensive to install and maintain. Selling bottled water at $3 a bottle, meanwhile, would generate profits. But at the opening game, with temperatures reaching near 100 degrees, vendors ran out of water. Some 60 attendees were treated for heat-related issues; 18 were hospitalized for heat exhaustion. The university eventually installed 50 fountains.

There is some good news. Some cities are slowly bringing back — or at least increasing maintenance of — water fountains. In 2013, Los Angeles put together a comprehensive plan to upgrade and restore public water fountains. In 2008, Minneapolis spent $500,000 on 10 new fountains designed by local artists. In Washington, the nonprofit group TapIt promotes access to tap water by pushing businesses to provide free water-bottle-refilling stations. Other cities, including New York, Seattle and San Francisco, have taken steps to stop using bottled water in government buildings.

Evelyn Wendel launched WeTap, a Los Angeles-based nonprofit dedicated to public water promotion, after noticing that the fountains at the park where her kids played were frequently broken or dirty. “We can make improvements by teaching how valuable our municipal water is and making it available in schools and parks,” she says. “It’s a measurement of the success of humanity when you have free water for the community.”"]]></description>
<dc:subject>ater drinkingfountains us 2015 health sustainability public publicgood bottledwater publicgoods</dc:subject>
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<item rdf:about="https://ello.co/illllllllllllli/post/Z1KMj5ZB3fLnsHNhxxicCQ">
    <title>Ello | illllllllllllli</title>
    <dc:date>2015-07-12T21:36:10+00:00</dc:date>
    <link>https://ello.co/illllllllllllli/post/Z1KMj5ZB3fLnsHNhxxicCQ</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["national public radio

let's start with the notion "public", 
no, it's a disturbing half-measure.

national, be serious it is a federation,
you have these wyoming pyramids broad-
casting new york city programs

and radio? it's mostly online 
these days.

Zero for Three. Or Oh for Three 
as they say in baseball."]]></description>
<dc:subject>npr radio public 2015 poetry baseball humor via:javierarbona</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
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<item rdf:about="https://vimeo.com/122363654">
    <title>FutureEverything 2015: Alexis Lloyd &amp; Matt Boggie on Vimeo</title>
    <dc:date>2015-03-24T20:07:07+00:00</dc:date>
    <link>https://vimeo.com/122363654</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["From New York Times R&D Labs, Alexis Lloyd and Matt Boggie talk about our possible media futures, following the early days of the web - where growth was propelled forward by those making their own spaces online - to the present, where social platforms are starting to close down, tightening the possibilities whilst our dependency on them is increasing. Explaining how internet users are in fact participatory creators, not just consumers, Alexis and Matt ask where playing with news media can allow for a new means of expression and commentary by audiences."]]></description>
<dc:subject>public media internet web online walledgardens participation participatory 2015 facebook snapchat open openness alexisloyd mattboggie publishing blogs blogging history audience creativity content expression socialnetworks sociamedia onlinemedia appropriation remixing critique connection consumption creation sharing participatoryculture collage engagement tv television film art games gaming videogames twitch performance social discussion conversation meaningmaking vine twitter commentary news commenting reuse community culturecreation latoyapeterson communication nytimes agneschang netowrkedculture nytimesr&amp;dlabs bots quips nytlabs compendium storytelling decentralization meshnetworking peertopeer ows occupywallstreet firechat censorship tor bittorrent security neutrality privacy iot internetofthings surveillance networkedcitizenship localnetworks networks hertziantribes behavior communities context empowerment agency maelstrom p2p cookieswapping information policy infrastructure technology remixculture</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
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<item rdf:about="http://laundromatproject.org/">
    <title>The Laundromat Project</title>
    <dc:date>2015-02-04T03:33:19+00:00</dc:date>
    <link>http://laundromatproject.org/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Mission & Vision

We amplify the creativity that already exists within communities by using arts and culture to build community networks, solve problems, and enhance our sense of ownership in the places where we live, work, and grow.
 
We envision a world in which artists are understood as valuable assets in every community and everyday people know the power of their own creative capacity to transform their lives, their relationships, and their surroundings.

Theory of Change

The Laundromat Project believes art, culture, and engaged imaginations can change the way people see their world, open them up to new ideas, and connect them with their neighbors. When artists have the opportunity to build and contribute their unique skills and perspectives to the needs of their neighborhoods, they can be invaluable assets in furthering community wellbeing. When the skills and strategies for igniting creativity are made broadly available to everyday people and purposefully applied as tools for visioning a new and better world, these can be powerful forces for positive, transformative change. We know we have been successful when, over time, our neighbors—artists and everyday people, newcomers and old-timers, individually and collectively—become more involved in the civic and cultural affairs of their communities, feel more deeply connected to the places and people where they live and work, and bring a sense of creativity to community concerns.

Values

The Laundromat Project achieves its mission by bringing socially relevant and socially engaged arts programming to laundromats and other everyday community spaces in order to reach as many of our neighbors as possible. We are particularly committed to long-term and sustained investment in communities of color as well as those living on modest incomes.
 
As we strive to achieve our mission and embody our vision, the following values infuse all of our work. We are:
 
Creative Catalysts
We see artists as unique connectors who build bridges among disparate ideas, cultures, and points of view. Their ability to bring unconventional perspectives and creative solutions to challenges and situations makes artists dynamic and powerful assets in our communities.
 
Community-Centered
We believe that creativity is best activated where people already are—such as their local laundromat and other everyday spaces—and while addressing the issues we care about most.
 
Neighborly
We believe arts, culture, and creative expression are powerful engines for turning strangers into neighbors. A community of neighbors helps make the strong, resilient communities in which we all deserve to live. We strive to be good neighbors always.
 
People Powered
We are inspired by the diverse, creative, passionate people with whom we work. Even when we face the challenges of inequity or injustice—be they driven by race, class, gender, education, or geography/environment—we believe in the inherent, creative capacity of us all to dream a new world and bring it into being.
 
Active Listeners and Learners
We do our best work when we listen to understand and learn, not just to hear or recite. Furthermore, learning, like creativity, requires a willingness to experiment, reconsider, and refine. These two skills are cornerstones for creating positive, transformative change.
 
Collaborative and Cross-Pollinating by Design
We believe in the full creative force of our communities to solve challenges and envision new ways of being. This is powered by working collectively and leveraging the wide-spectrum of experiences, knowledge, and skills each community member brings to and across the table.
 
Propelled by Love
Our work is fueled by a love of our communities, the principles of justice, and a joy powerful enough to help shape the world we dream of together. Love is a radical and essential tool of power and protest. We embrace it."]]></description>
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<item rdf:about="https://placesjournal.org/article/library-as-infrastructure/">
    <title>Library as Infrastructure</title>
    <dc:date>2014-12-04T19:59:19+00:00</dc:date>
    <link>https://placesjournal.org/article/library-as-infrastructure/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["For millennia libraries have acquired resources, organized them, preserved them and made them accessible (or not) to patrons. But the forms of those resources have changed — from scrolls and codices; to LPs and LaserDiscs; to e-books, electronic databases and open data sets. Libraries have had at least to comprehend, if not become a key node within, evolving systems of media production and distribution. Consider the medieval scriptoria where manuscripts were produced; the evolution of the publishing industry and book trade after Gutenberg; the rise of information technology and its webs of wires, protocols and regulations. 1 At every stage, the contexts — spatial, political, economic, cultural — in which libraries function have shifted; so they are continuously reinventing themselves and the means by which they provide those vital information services.

Libraries have also assumed a host of ever-changing social and symbolic functions. They have been expected to symbolize the eminence of a ruler or state, to integrally link “knowledge” and “power” — and, more recently, to serve as “community centers,” “public squares” or “think tanks.” Even those seemingly modern metaphors have deep histories. The ancient Library of Alexandria was a prototypical think tank, 2 and the early Carnegie buildings of the 1880s were community centers with swimming pools and public baths, bowling alleys, billiard rooms, even rifle ranges, as well as book stacks. 3 As the Carnegie funding program expanded internationally — to more than 2,500 libraries worldwide — secretary James Bertram standardized the design in his 1911 pamphlet “Notes on the Erection of Library Buildings,” which offered grantees a choice of six models, believed to be the work of architect Edward Tilton. Notably, they all included a lecture room.

In short, the library has always been a place where informational and social infrastructures intersect within a physical infrastructure that (ideally) supports that program.

Now we are seeing the rise of a new metaphor: the library as “platform” — a buzzy word that refers to a base upon which developers create new applications, technologies and processes. In an influential 2012 article in Library Journal, David Weinberger proposed that we think of libraries as “open platforms” — not only for the creation of software, but also for the development of knowledge and community. 4 Weinberger argued that libraries should open up their entire collections, all their metadata, and any technologies they’ve created, and allow anyone to build new products and services on top of that foundation. The platform model, he wrote, “focuses our attention away from the provisioning of resources to the foment” — the “messy, rich networks of people and ideas” — that “those resources engender.” Thus the ancient Library of Alexandria, part of a larger museum with botanical gardens, laboratories, living quarters and dining halls, was a platform not only for the translation and copying of myriad texts and the compilation of a magnificent collection, but also for the launch of works by Euclid, Archimedes, Eratosthenes and their peers."

…

"Partly because of their skill in reaching populations that others miss, libraries have recently reported record circulation and visitation, despite severe budget cuts, decreased hours and the threatened closure or sale of “underperforming” branches. 9 Meanwhile the Pew Research Center has released a series of studies about the materials and services Americans want their libraries to provide. Among the findings: 90 percent of respondents say the closure of their local public library would have an impact on their community, and 63 percent describe that impact as “major.”"

…

"Again, we need to look to the infrastructural ecology — the larger network of public services and knowledge institutions of which each library is a part. How might towns, cities and regions assess what their various public (and private) institutions are uniquely qualified and sufficiently resourced to do, and then deploy those resources most effectively? Should we regard the library as the territory of the civic mind and ask other social services to attend to the civic body? The assignment of social responsibility isn’t so black and white — nor are the boundaries between mind and body, cognition and affect — but libraries do need to collaborate with other institutions to determine how they leverage the resources of the infrastructural ecology to serve their publics, with each institution and organization contributing what it’s best equipped to contribute — and each operating with a clear sense of its mission and obligation."

…

"Libraries need to stay focused on their long-term cultural goals — which should hold true regardless of what Google decides to do tomorrow — and on their place within the larger infrastructural ecology. They also need to consider how their various infrastructural identities map onto each other, or don’t. Can an institution whose technical and physical infrastructure is governed by the pursuit of innovation also fulfill its obligations as a social infrastructure serving the disenfranchised? What ethics are embodied in the single-minded pursuit of “the latest” technologies, or the equation of learning with entrepreneurialism?

As Zadie Smith argued beautifully in the New York Review of Books, we risk losing the library’s role as a “different kind of social reality (of the three dimensional kind), which by its very existence teaches a system of values beyond the fiscal.” Barbara Fister, a librarian at Gustavus Adolphus College, offered an equally eloquent plea for the library as a space of exception:

<blockquote>Libraries are not, or at least should not be, engines of productivity. If anything, they should slow people down and seduce them with the unexpected, the irrelevant, the odd and the unexplainable. Productivity is a destructive way to justify the individual’s value in a system that is naturally communal, not an individualistic or entrepreneurial zero-sum game to be won by the most industrious.</blockquote>

Libraries, she argued, “will always be at a disadvantage” to Google and Amazon because they value privacy; they refuse to exploit users’ private data to improve the search experience. Yet libraries’ failure to compete in efficiency is what affords them the opportunity to offer a “different kind of social reality.” I’d venture that there is room for entrepreneurial learning in the library, but there also has to be room for that alternate reality where knowledge needn’t have monetary value, where learning isn’t driven by a profit motive. We can accommodate both spaces for entrepreneurship and spaces of exception, provided the institution has a strong epistemic framing that encompasses both. This means that the library needs to know how to read itself as a social-technical-intellectual infrastructure."

…

"In libraries like BiblioTech — and the Digital Public Library of America — the collection itself is off-site. Do patrons wonder where, exactly, all those books and periodicals and cloud-based materials live? What’s under, or floating above, the “platform”? Do they think about the algorithms that lead them to particular library materials, and the conduits and protocols through which they access them? Do they consider what it means to supplant bookstacks with server stacks — whose metal racks we can’t kick, lights we can’t adjust, knobs we can’t fiddle with? Do they think about the librarians negotiating access licenses and adding metadata to “digital assets,” or the engineers maintaining the servers? With the increasing recession of these technical infrastructures — and the human labor that supports them — further off-site, behind the interface, deeper inside the black box, how can we understand the ways in which those structures structure our intellect and sociality?

We need to develop — both among library patrons and librarians themselves — new critical capacities to understand the distributed physical, technical and social architectures that scaffold our institutions of knowledge and program our values. And we must consider where those infrastructures intersect — where they should be, and perhaps aren’t, mutually reinforcing one another. When do our social obligations compromise our intellectual aspirations, or vice versa? And when do those social or intellectual aspirations for the library exceed — or fail to fully exploit — the capacities of our architectural and technological infrastructures? Ultimately, we need to ensure that we have a strong epistemological framework — a narrative that explains how the library promotes learning and stewards knowledge — so that everything hangs together, so there’s some institutional coherence. We need to sync the library’s intersecting infrastructures so that they work together to support our shared intellectual and ethical goals."]]></description>
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<item rdf:about="http://www.jeanneworks.net/">
    <title>Jeanne van Heeswijk</title>
    <dc:date>2014-10-20T03:23:07+00:00</dc:date>
    <link>http://www.jeanneworks.net/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Jeanne van Heeswijk is a visual artist who facilitates the creation of dynamic and diversified public spaces in order to “radicalize the local”. Van Heeswijk embeds herself as an active citizen in communities, often working for years at a time. These long-scale projects, which have occurred in many different countries, transcend the traditional boundaries of art in duration, space and media and questions art’s autonomy by combining performative actions, meetings, discussions, seminars and other forms of organizing and pedagogy. Inspired by a particular current event, cultural context or intractable social problem, she dynamically involves neighbors and community members in the planning and realization of a given project. As an “urban curator”, van Heeswijk’s work often unravels invisible legislation, governmental codes and social institutions, in order to enable communities to take control over their own futures. Noted projects include Hotel New York P.S. 1 in New York (September 1998 to August 1999); De Strip (The Strip) in Westwijk, Vlaardingen (May 2002 - May 2004); Het Blauwe Huis (The Blue House) in Amsterdam (May 2005 - December 2009); and 2Up 2Down/Homebaked in Liverpool (Novmeber 2011 - present); Freehouse, Radicalizing the Local in Rotterdam (September 2008- present).

Her work has also been featured in numerous books and publications worldwide, as well as internationally renowned biennials such as those of Liverpool, Busan, Taipei, Shanghai, and Venice. She has received a host of accolades and awards for her work including most recently the 2012 Curry Stone Prize for Social Design Pioneers, and in 2011, the Leonore Annenberg Prize for Art and Social Change."

[See also:
http://en.wikipedia.org/wiki/Jeanne_van_Heeswijk
https://www.youtube.com/watch?v=i4qdugEpQio
http://www.spatialagency.net/database/van-heeswijk
http://www.freehouse.nl/ + https://vimeo.com/32154833
https://vimeo.com/search/page:3/sort:relevant/format:thumbnail?type=videos&q=Jeanne+van+Heeswijk
http://creativetime.org/summit/author/jeanne-van-heeswijk/

http://www.designindaba.com/profiles/jeanne-van-heeswijk
http://www.designindaba.com/videos/conference-talks/jeanne-van-heeswijk-community-development-co-production
http://www.designindaba.com/articles/interviews/stop-waiting-start-making-lessons-liveability-jeanne-van-heeswijk
http://www.designindaba.com/videos/interviews/jeanne-van-heeswijk-becoming-co-producers-our-own-future ]]]></description>
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<item rdf:about="https://medium.com/message/what-is-public-f33b16d780f9">
    <title>What Is Public? — The Message — Medium</title>
    <dc:date>2014-07-31T18:25:57+00:00</dc:date>
    <link>https://medium.com/message/what-is-public-f33b16d780f9</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Public is not simply defined. Public is not just what can be viewed by others, but a fragile set of social conventions about what behaviors are acceptable and appropriate. There are people determined to profit from expanding and redefining what’s public, working to treat nearly everything we say or do as a public work they can exploit. They may succeed before we even put up a fight."

…

"Ultimately, we rely on a set of unspoken social agreements to make it possible to live in public and semi-public spaces. If we vent about our bosses to a friend at a coffee shop, we’re trusting that no one will run in with a camera crew and put that conversation on national TV.

And similarly, in a personal dialogue with friends online, any of us might throw in a hashtag to gather our thoughts or indicate that there’s a larger context to an issue being discussed. But as we’ve seen with moments such as #yesallwomen, what starts as a conversation between friends or within a community can grow to be both expanded and exploited without the consent of its creator.

When people, especially those in marginalized communities, have conversations with one another online, the fact that it’s possible to view those conversations might make them “public” by some definition. But certainly we can’t concede that every utterance we make in the presence of others is automatically fodder for aggregation and monetization by media and tech companies, without our consent or even the opportunity for remuneration. But while the ethical issues of, for example, outing victims of sexual assault in a media story without their consent has been discussed, there are far less dramatic circumstances that should still be raising questions. In the rare cases when these issues are discussed, the framing predictably becomes about a definition of “private”, rather than what our obligations are around something that is public.

The business models of some of the most powerful forces in society are increasingly dependent on our complicity in making our conversations, our creations, and our communities public whenever they can exploit them. Given that reality, understanding exactly what “public” means is the only way to protect the public’s interest."

[reply by danah boyd: https://medium.com/message/what-is-privacy-5ed72c66aa86 ]]]></description>
<dc:subject>culture privacy 2014 anildash socialconventions danahboyd public</dc:subject>
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<item rdf:about="http://c4ss.org/content/28153">
    <title>Center for a Stateless Society » A Modest Proposal</title>
    <dc:date>2014-06-28T06:28:51+00:00</dc:date>
    <link>http://c4ss.org/content/28153</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Al Jazeera recently covered Chattanooga, Tennessee’s high-speed Internet service (“As Internet behemoths rise, Chattanooga highlights a different path,” June 6). [http://america.aljazeera.com/articles/2014/5/29/chattanooga-net-neutrality.html ] The “Gig,” as it’s affectionately known, operates at one gigabyte per second — about fifty times the U.S. average — charging each customer about $70 a month. It uses a preexisting fiber-optic infrastructure originally built for the electrical power utility.

A couple of little-known facts regarding local Internet infrastructure:  Telecommunications companies were given billions in subsidies and phone service rate hikes back in the ’90s based on their promise to build local fiber-optic infrastructure for high-speed Internet access — then they simply pocketed the money and never built that infrastructure. The original promise was something like the kind of ultra-high-speed, low-price Internet service available in most of Western Europe.

You can get a lot of the facts at the website Teletruth.org. Today, telecommunications infrastructure construction by these companies is down by about 60%, while revenues are way up. Instead of near-instant page loads for $40 a month, it’s typical to get gouged for more than $100 and suffer slow speeds and wireless connections that constantly fade out. Believe me, I know — I get my wireless service from AT&T U-verse, and they suck more than a galactic-size black hole. This is a classic example of the oligopoly style Paul Goodman described of the companies in an industry carefully spooning out improvements over many years, while colluding to mark up prices. The telecoms, far from building out their infrastructure to increase capacity, are strip-mining their existing infrastructure and using it as a cash cow while using oligopoly pricing to guarantee enormous profits on shoddy service.

Hundreds of cities around the United States have high-capacity municipal fiber-optic networks just like Chattanooga’s, originally built to support local government communication functions, but they’re forbidden by law in most states (passed in response to telecom lobbying) from using those to offer Internet service to the general public. Not only that, the telecommunications industry raises hell in the state legislatures even when local school districts propose using their own fiber-optic infrastructure to provide Internet service to the public schools instead of paying Verizon, Cox or AT&T for their sorry producst. These telecom companies — which received billions on subsidies for a service they failed to deliver — have the nerve to whine that it’s unfair for them to have to compete with a service subsidized by the taxpayers.

So here’s my proposal: In any community like Chattanooga, with an existing fiber-optic infrastructure capable of providing better quality Internet service to a significant part of town, this infrastructure should immediately be put to use for this purpose, with rates set at actual cost of provision. But instead of being administered by the city government, it should be spun off as a consumer cooperative owned and governed by the users.

In Cory Doctorow’s novel Someone Comes to Town, Someone Leaves Town, dumpster-diving hardware hackers in Toronto attempt to construct a free wireless meshwork using open-source routers built from discarded electronics, persuading neighborhood businesses to host the routers at the cost of electricity. In the real world, schools, public libraries and municipal buildings could host such routers and provide free wireless access to those in the areas covered.

In fact, why not take it a step further? Forty years ago, in “Confiscation and the Homestead Principle,” Murray Rothbard argued that government property should be treated as unowned, that it should be claimed (via homesteading) as the property of those actually occupying and using it, and that government services should accordingly be reorganized as consumer or worker cooperatives. Further, he argued that the property of “private” corporations that get most of their profits from state intervention should get the same treatment.

The way I see it, the telecom companies that pocketed those subsidies and rate increases back in the ’90s owe customers about $200-odd billion, plus all the profits they’ve subsequently collected via price-gouging. So when local communities with municipal fiber-optic infrastructure organize those Internet service cooperatives like I describe above, they might as well go ahead and void out the telecom companies’ property claims to the “private” infrastructure as well and incorporate that infrastructure into the consumer cooperatives.

Those who follow the “net neutrality” debate are rightly outraged that Internet service providers are threatening to gouge customers based entirely on their ability to pay, simply because they can. But the proper expression of this outrage is not hacking at the branches through regulatory legislation. It’s striking at the root: The ability of the telecom companies, thanks to government subsidies and privilege, to get away with such behavior.

It’s time to expropriate the expropriators."]]></description>
<dc:subject>broadband telecoms infrastructure internet connectivity 2014 subsidies law legal public private chattanooga teletruth money government policy internetaccess digitaldivide netneutrality kevincarson isp</dc:subject>
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<item rdf:about="http://www.youtube.com/watch?v=U7gFj8PxxT0">
    <title>▶ Artists as Public Intellectuals: Carol Becker Guest Speaker - YouTube</title>
    <dc:date>2013-11-26T02:52:28+00:00</dc:date>
    <link>http://www.youtube.com/watch?v=U7gFj8PxxT0</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>carolbecker art audience society publicspace individualism collectivism spectacle public visibility humans isolation socialconnection ows occupywallstreet 2012 events tinosehgal marinaabramović private privacy protest publicsquares politics egypt collectivity internet debate individual commons good architecture urban design urbanism adbusters moveon.org local global activism capitalism artists audiencesofone flashmobs performance humaninteraction statusquo media education subversion autonomy provocateurs homogenization suburbanization sanitization intimacy security museums disorder stillness theartistispresent moma buddhism performativespaces collaboration relationalaesthetics situationist interactivity simplicity meditation aversion place action intervention utopias gandhi microutopias austerity tahrirsquare janineantoni nicolasbourriaud utopia pocketsofutopia</dc:subject>
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<item rdf:about="http://www.cityofsound.com/blog/2013/10/sketchbook-fabrica-2013-informal-annual-review-exhibitions.html">
    <title>cityofsound: Sketchbook: Fabrica 2013 Informal Annual Review: Exhibitions</title>
    <dc:date>2013-10-16T15:38:23+00:00</dc:date>
    <link>http://www.cityofsound.com/blog/2013/10/sketchbook-fabrica-2013-informal-annual-review-exhibitions.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["So Sam's team devised some modular furniture elements, a modular graphic system, and a modular web service, each of which related to the other but could be taken apart by incoming teams subsequently. Then, working with local students, a series of furniture elements emerged—benches, shelves, chairs, crates and so on—with customised graphic identities alongside.

This of course ticks several boxes for me, such as modular, adaptive components, collaborative design processes, open platforms and so on. But better was to see the buzz of activity when I visited on the closing Saturday and Sunday, with highly imaginative adaptations created in collaboration."

…

"What's Sam's studio does very well is use exhibitions to drive the rhythm of the studio. By giving themselves these immovable deadline of showing in public, they get stuff done. It's hard work, but productive, and the researchers really appreciate that. As do I.

We're increasingly using exhibitions to get Fabrica out and about, and watch out for more on that front, big and small. For instance, we're currently working hard on a very big, very top secret, quite design fiction-esque exhibition, for next February. More when I have it, but that is also using an exhibition to develop particular new skills and new perspectives inside Fabrica, through partnering with great design firms, and homing in on new thematic areas.

Another post along shortly.

Insights
Use exhibitions to turn Fabrica inside-out.
Use exhibitions to drive the rhythm of the studio.
Use exhibitions to acquire new skills, new perspectives."]]></description>
<dc:subject>exhibitions 2013 danhill cityofsound fabrica sambaron modular modularity adaptability collaboration design openplatforms open studioclassroom studios tcsnmy presentationsoflearning rhythm howwework deadlines productivity openstudioproject lcproject learning howwelearn public workinginpublic projectorientedorganizations</dc:subject>
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</item>
<item rdf:about="http://isamuseum.org/">
    <title>What #isamuseum | Sam Durant</title>
    <dc:date>2013-06-12T18:02:49+00:00</dc:date>
    <link>http://isamuseum.org/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Is a museum a school?
Is a museum political?
Is a museum truthful?
Is a museum fun?
Is a museum for everyone?

Sam Durant, the 2013 Getty Artists Program invitee, is a multimedia artist whose work explores the relationships between politics and culture. His socially engaged practice addresses subjects as diverse as the civil rights movement, Southern rock music, and modernism.

For his project, What #isamuseum?, Durant continues to investigate these ideas by engaging Museum visitors and staff in an exploration of the roles and functions of a museum. Through a call-and-response format, visitors discover a series of artist-designed questions placed in unexpected locations throughout the Getty Center. With these questions, Durant invites reflections on and responses to the expectations and preconceptions of what a museum is. Individual responses can be shared on www.isamuseum.org, and visitors can input their answers at an iPad hub site located in the Museum Entrance Hall. Social-media outlets, such as Twitter, Facebook, and the Getty Voices project, also serve as channels to discuss the questions and broaden the discourse.

According to Durant, "By expanding the conversation and encouraging different forms of response, participants can become active within the project and even change the debate around the initial issue.”"

[See also (tags here are for that too): https://www.youtube.com/watch?v=kQoEP3pPPjg ]
[Via: http://nomadicity.tumblr.com/post/52793583244/http-isamuseum-org-what-isamuseum-hes-asked ]

[Mentioned in the video: Caroline Woolard's Exchange Cafe at MoMA http://www.moma.org/visit/calendar/exhibitions/1364 

here too
http://www.kcet.org/arts/artbound/counties/los-angeles/sam-durant-social-media-getty-what-isamuseum.html ]]]></description>
<dc:subject>museums samdurant art politics culture education #isamuseum getty purpose 2013 googleartproject pablohelguera robertsain lacmalab sandiego google ncm gettyartistsprogram tobytannenbaum jessicacusick moma centerforlivingarts glvo cv why learning artists chrisburden engagement community children children'smuseums public exchangecafe institutions openstudioproject lcproject participation cocreation collaboration participatory metrics outcomes success civics schools future candychang civicengagement law legal carolinewoolard cafes ncmideas participatoryart</dc:subject>
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<item rdf:about="http://www.youtube.com/watch?v=_YOR69TBxBA">
    <title>danah boyd at the 2013 NAIS Annual Conference - YouTube</title>
    <dc:date>2013-04-15T22:36:47+00:00</dc:date>
    <link>http://www.youtube.com/watch?v=_YOR69TBxBA</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>codeswitching teaching socialmedia public private privacy danahboyd culture 2013 steganography parenting youth teens facebook</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
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</item>
<item rdf:about="http://www.onthemedia.org/2013/mar/08/plagiarism-maybe-its-not-so-bad/">
    <title>Plagiarism: Maybe It's Not So Bad - On The Media</title>
    <dc:date>2013-03-11T16:14:56+00:00</dc:date>
    <link>http://www.onthemedia.org/2013/mar/08/plagiarism-maybe-its-not-so-bad/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Artists often draw inspiration from other sources. Musicians sample songs. Painters recreate existing masterpieces. Kenneth Goldsmith believes writers should catch-up with other mediums and embrace plagiarism in their work. Brooke talks with Goldsmith, MoMA’s new Poet Laureate, about how he plagiarizes in his own poetry and asks if appropriation is something best left in the art world."

[Full show here: http://www.onthemedia.org/2013/mar/08/ ]

"A special hour on our changing understanding of ownership and how it is affected by the law. An author and professor who encourages creative writing through plagiarism, 3D printing, fan fiction & fair use, and the strange tale of who owns "The Happy Birthday Song""]]></description>
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<dc:identifier>https://pinboard.in/u:robertogreco/b:43565a682f32/</dc:identifier>
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</item>
<item rdf:about="http://www.dissentmagazine.org/article/from-master-plan-to-no-plan-the-slow-death-of-public-higher-education">
    <title>From Master Plan to No Plan: The Slow Death of Public Higher Education | Dissent Magazine</title>
    <dc:date>2012-10-25T18:19:05+00:00</dc:date>
    <link>http://www.dissentmagazine.org/article/from-master-plan-to-no-plan-the-slow-death-of-public-higher-education</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The standard political criticism of the for-profit industry is that it exists only to vacuum up government subsidies; that it is a problematic byproduct of government actions. This diagnosis is perfectly in line with the Reaganite complaint against government interference in the workings of the market. If we look at California, however, we see that this critique has it backward. For-profit education flooded the market only after the state began to abandon its responsibility to create sufficient institutional capacity in the public system. The problem is not government action, but inaction. As the government gave up its Master Plan responsibility to educate California students, the for-profit sector expanded to fill the demand."

"While Proposition 13 dramatically limited the total revenue in the state‘s coffers, the prison boom diminished the percentage of total funds available for higher education."]]></description>
<dc:subject>funding publiceducation neoliberalism capitalism public johnaubreydouglass poland korea brazil richardblum government higheredbubble privatization tuition 2012 mikekonczal aaronbady studentdebt priorities prisons money education california proposition13 uc history ronaldreagan highered forprofit schooltoprisonpipeline brasil universityofcalifornia californiamasterplan masterplan prop13</dc:subject>
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</item>
<item rdf:about="http://www.dusarchitects.com/officeprofile.php?menuid=manifesto">
    <title>DUS Architects Amsterdam - MOMENTARY MANIFESTO FOR PUBLIC ARCHITECTURE</title>
    <dc:date>2012-08-11T21:08:39+00:00</dc:date>
    <link>http://www.dusarchitects.com/officeprofile.php?menuid=manifesto</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["1. DO
Design by doing is architectural beta-testing. Build 1:1 models in the public domain that function as immediate site analysis, architectural test case and social condenser. Put your practice to theory. Do the unthinkable: build a manifest, write a building.

2. MAKE IT BEAUTIFUL
People like pretty things.

3. USE NEW OLD MATERIALS
Celebrate mass consumption. Reveal the beauty of the everyday, by using ordinary objects in a different manner. Look beyond traditional construction materials, and re-introduce old crafts with new fabrics. Create social value from worthless stuff.

4. COOK
Food is social construction material. It unites people. Cook, drink and dine together. A mere cookie can be the answer to a big brief. 

5. CREATE A PUBLIC
Shakespeare said it: "all the world's a stage". Architects have the world's largest audience. Discover for whom you are designing and respond to the res publica with the proper act. Public architecture is the staging of all events of life, and our tools can be those of performance artists.

6. MIND THE DETAILS
All details contribute to the architectural atmosphere. If you want people to meet, tie the drinks together and hand them out in pairs. A piece of rope is architecture too. 

7. ACT UNSOLICITED
Reprogram the brief, the building and the profession. Consider re-use of vacant office buildings rather than designing new ones. Use your own office 24/7 and program the space as club at night. Partake in society, rather than architecture competitions.

8. BE PERSONAL
Establish human relationships. This social construction material is just as important as bricks and mortar. Communicate and educate. Host an excursion and exemplify the unknown. Step onto the street and speak the language of those who will live in your buildings.

9. PUT EVERYONE AROUND ONE TABLE
Different people have different agendas. Place the client, manager, municipality, resident and neighbour around one table and they will communicate. Everyone is amateur and professional. An amateur can be a true expert at "residing", and a professional client may have no knowledge of architecture. Make the architecture at the table the subject of conversation and catalyst for the process. This creates mutual understanding, and speeds up the design process remarkably. 

10. DESIGN THE RULES AND THE GAME
Arrive early. Architectural decisions are made in the urban planning process. Design this process and ensure a great outcome.

11. PLAY THE CITY
Play the city, don't plan it. Cities are shifting. Incorporate existing bottom-up initiatives and let these inform the top-down. Design a script rather than a blueprint; be the director. Reserve space for change and celebrate the informal. 

12. SHOW THE GENIUS OF THE LOCI
Reveal the potential of the place by building a temporary building overnight. Hand it over to the public, accompanied by one simple rule: a free stay in exchange for a personal contribution to the building. The qualities will show on site.

13. CONFUSE
Create architecture that is mutable and open to multiple interpretations. People will discover it and thereby make it their own. Architecture that confronts each person?s imagination creates opportunities for communication between the private and public domain, and between individuals.

14. BE BIASED
Carry a strong signature and be opinionated. Who wants to listen to someone with no ideas?

15. ABSTAIN FROM AUTHORSHIP
Celebrate change. See architecture as an open source; a gift in which others are challenged to participate. In order to bring about social relationships through architecture, one has to give up copyright claims. 

16. BE THE CURATOR
Urban renewal is the future. Within extant city layouts, new architecture is about reprogramming; about social planning, temporary events, sports, education, art, and media. Find the right experts in these fields and curate the environment in which they can act together. 

17. BE AN URBAN ARCHITECT
The public domain is the future. Real architectural quality often does not lie in the building, but in the public domain. Design this domain as if you would a facade.

18. BUILD MENTAL MONUMENTS
There's always a need for places for people to gather. Combine the real with the virtual in pop-up buildings; like an analogue facebook or a physical webforum. Make momentary monuments: one-day events can last a lifetime in the collective memory of the visitor.

19. SMILE
Enjoy what you do and have fun."

[via: http://www.flickr.com/photos/anthonyalbright/7738447800/ ]]]></description>
<dc:subject>manifesto manifestos architecture design urban urbanism dus food glvo lcproject doing making make public cities change urbanrenewal reprogramming repurposing place location cooking iteration betatesting publicdomain</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:fc2ad3c3983d/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:glvo"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:betatesting"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:publicdomain"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://ekstasis.tumblr.com/post/5143966386/a-kind-of-media">
    <title>Ekstasis: A Kind of Media</title>
    <dc:date>2012-07-14T06:13:04+00:00</dc:date>
    <link>http://ekstasis.tumblr.com/post/5143966386/a-kind-of-media</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["An event is something you want to interact with. Events demand a certain level of participation, if only in the form of paying attention. Hooting and hollering or RTing and linking, certain situations take on a character of interactivity, for good or for ill. The gap between a mob and the crowd at a “happening” isn’t so vast. This isn’t bad, not necessarily. Instead, it’s just something we HAVE to be aware of. The “event,” online or elsewhere, is going to be a defining feature of the near future. It’s the next step in marketing and advertising, among other things and we won’t be able to escape it. “Passive” media of transmission are giving way to “active” media, that demand (at least) close attention be paid to them. This isn’t just about TV, or the internet, or sporting events, or whatever.

It’s about mediation and it’s everything.

“A crowd of people gathered together in public is a kind of media.”"]]></description>
<dc:subject>williamball public messaging transmission tv television alexismadrigal photography generativewebevent experience happenings mediation media 2011 events</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:0cbd714b265f/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:messaging"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:transmission"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:tv"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:alexismadrigal"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:photography"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:generativewebevent"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:experience"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:2011"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:events"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://www.youtube.com/watch?v=Uk1hFFRvjLI">
    <title>Paul Dourish on Delineating the Public and Private - YouTube</title>
    <dc:date>2012-02-12T05:43:22+00:00</dc:date>
    <link>http://www.youtube.com/watch?v=Uk1hFFRvjLI</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Paul Dourish of the University of California, Irvine discusses how does the design of physical spaces, virtual experiences, and legal codes form the experience of the public and the private. Jonathan Zittrain of the Berkman Center moderates.

The Hyperpublic symposium brings together computer scientists, ethnographers, architects, historians, artists and legal scholars to discuss how design influences privacy and public space, how it shapes and is shaped by human behavior and experience, and how it can cultivate norms such as tolerance and diversity."]]></description>
<dc:subject>hyperpublic tolerance diversity design cities urbanism urban architecture private public jonathanzittrain pauldourish 2011 berkmancenter</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:714e36512942/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:hyperpublic"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:tolerance"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:diversity"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:design"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:cities"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:urbanism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:urban"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:architecture"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:private"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:jonathanzittrain"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:2011"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:berkmancenter"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://www.antipope.org/charlie/blog-static/2011/07/wicked-1.html">
    <title>Wicked (1) - Charlie's Diary</title>
    <dc:date>2011-08-03T07:34:56+00:00</dc:date>
    <link>http://www.antipope.org/charlie/blog-static/2011/07/wicked-1.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["…our biggest challenges are no longer technological. They are issues of communication, coordination, & cooperation. These are, for the most part, well-studied problems that are not wicked. The methodologies that solve them need to be scaled up from the small-group settings where they currently work well, & injected into the DNA of our society…They then can be used to tackle the wicked problems.

What we need…is a Facebook for collaborative decision-making: an app built to compensate for the most egregious cognitive biases & behaviours that derail us when we get together to think in groups. Decision-support, stakeholder analysis, bias filtering, collaborative scratch-pads &, most importantly, mechanisms to extract commitments to action from those that use these tools. I have zero interest in yet another open-source copy of a commercial application or yet another Tetris game for Android. But a Wikipedia's worth of work on this stuff could transform the world."]]></description>
<dc:subject>technology politics psychology philosophy public problemsolving wicketproblems society facebook google+ decisionmaking collaboration communication coordination cooperation gamechanging karlschroeder charliestross wikipedia transformation worldchanging 2011</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:d99dd200e374/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:facebook"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:decisionmaking"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:coordination"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:gamechanging"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:karlschroeder"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:charliestross"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:wikipedia"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:transformation"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:worldchanging"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:2011"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://thesocietypages.org/socimages/files/2011/07/1.png">
    <title>Public Perception of Science vs. Science in Reality</title>
    <dc:date>2011-07-30T23:37:30+00:00</dc:date>
    <link>http://thesocietypages.org/socimages/files/2011/07/1.png</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>via:artichoke science public messiness scientificmethod learning frustration publicperception filetype:png media:image</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:aa70c84c4e5c/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:public"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:messiness"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:scientificmethod"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:learning"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:media:image"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://plus.google.com/103765655241162838230/posts/AyMSXzAHvep">
    <title>Andy Baio - Google+ &quot;Google+ indirectly got me blogging again.&quot;</title>
    <dc:date>2011-07-25T21:35:51+00:00</dc:date>
    <link>https://plus.google.com/103765655241162838230/posts/AyMSXzAHvep</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[Very strange, Google+ indirectly got me blogging again. I started to write an anecdote about Meat Cheese Bread on Saturday on Google+, but realized that was a bit silly. There wasn't anything private about it, and it was too long to make sense here, so I decided to flesh it out into a post about opinionated software design: http://waxy.org/2011/07/meat_cheese_bread/<br />
<br />
Same thing for this riff on Marco Arment's Monopoly post I just put up, discussing the dirty origins of the board game: http://waxy.org/2011/07/theres_no_wrong_way_to_play_monopoly/<br />
<br />
I forgot how much I miss shorter blogging. At some point, I started putting pressure on myself that my main blog posts needed to be deep, investigative pieces. Lifting that pressure is a huge relief.]]></description>
<dc:subject>andybaio blogging informality writing google+ public shortform shortformblogging unintendedconsequences sideeffects 2011</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:5217cedefd08/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:andybaio"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:informality"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:writing"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:google+"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:public"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:shortform"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:shortformblogging"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:sideeffects"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:2011"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://snarkmarket.com/2011/7189">
    <title>The art of working in public « Snarkmarket [&quot;Work in public. Reveal nothing.&quot;]</title>
    <dc:date>2011-07-21T05:09:27+00:00</dc:date>
    <link>http://snarkmarket.com/2011/7189</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["…two very different dudes…different positions…different objectives…both written in essentially the same style, with common characteristics both superficial—a smart but very informal voice that reads like a long email from your smartest coolest friend ever—& structural:

…both conjure a sense that the piece is almost being written as you read it…slightly chaotic & totally thrilling…both let you inside their heads…But!—they don’t let you all the way inside. There’s plenty withheld…here’s the genius of the style: they don’t tell you much at all…

I tend to zero in on this kind of writing because I aspire to do more of it myself, & to do it better. Working in public like this can be a lot of fun, for writer & reader alike, but more than that: it can be a powerful public good…When you work in public, you create an emissary (media cyborg style) that then walks the earth, teaching others to do your kind of work as well. And that is transcendently cool."

[See the great comments too.]

[See also Clive Thompson's post, which references this one: http://www.collisiondetection.net/mt/archives/2011/08/the_art_of_publ.php ]]]></description>
<dc:subject>writing business public robinsloan publicthinking mattwebb berg berglondon alexismadrigal classideas transparency surprise revelation style newliberalarts chaos publicgood learning teaching mediacyborgs sharing web internet informality balance spontaneity immediacy thinkinginpublic thinkingoutloud 2011 comments questions possibility pondering emptiness workinginpublic publicgoods</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:f13ba4a88e08/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:business"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:public"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:robinsloan"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:publicthinking"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:mattwebb"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:berg"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:berglondon"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:alexismadrigal"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:classideas"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:transparency"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:surprise"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:revelation"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:style"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:newliberalarts"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:chaos"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:publicgood"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:learning"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:teaching"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:mediacyborgs"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:sharing"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:web"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:internet"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:informality"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:balance"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:spontaneity"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:immediacy"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:thinkinginpublic"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:thinkingoutloud"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:2011"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:comments"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:questions"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:possibility"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:pondering"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:emptiness"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:workinginpublic"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:publicgoods"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://zunguzungu.wordpress.com/2011/05/12/hyperbole-and-progressive-bloggers-fail-me-the-end-of-public-higher-education/">
    <title>Hyperbole (and Progressive Bloggers) Fail Me: The End of Public Higher Education « zunguzungu</title>
    <dc:date>2011-05-15T19:33:47+00:00</dc:date>
    <link>http://zunguzungu.wordpress.com/2011/05/12/hyperbole-and-progressive-bloggers-fail-me-the-end-of-public-higher-education/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["I don’t expect Kevin Drum to have the answers, and we can debate what it will look like when this bubble finally bursts. Some people think it will be a good thing; I think it will be a clusterfuck for the middle and lower classes. But we all need to open our eyes to the fundamental transformation of American society that it represents. The generation before Drum’s made it possible to get an excellent education even if you couldn’t afford to pay the $9,000 that Stanford charged in 1981. Kevin Drum’s generation enjoyed the benefits of that system and then they dismantled it. My generation is muddling through by going deep into debt. The next generation will not."]]></description>
<dc:subject>education berkeley highereducation elitism money debt privatization publicschools publicuniversities public csu uc kevindrum california via:javierarbona tuition fees higheredbubble 2011 universityofcalifornia californiastateuniversity calstate</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:8e5232f69c76/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:california"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:via:javierarbona"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:universityofcalifornia"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:californiastateuniversity"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:calstate"/>
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</item>
<item rdf:about="http://educatech.wordpress.com/2011/04/17/unsung-heroes/">
    <title>Unsung heroes « Teaching as a dynamic activity</title>
    <dc:date>2011-04-20T18:25:21+00:00</dc:date>
    <link>http://educatech.wordpress.com/2011/04/17/unsung-heroes/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["To those whose names I’ll never know,

Thank you for keeping your students engaged. Thank you for listening to students’ ideas. Thank you for treating students like human beings. Thank you for helping students learn to think.

Although you’ve never had a viral video, been asked to speak for TED, don’t have thousands of twitter followers, or been quoted by the media, I thank you for the work you do. The work of those whose names we all recognize, pales in comparison to the real work of education you do everyday. While the so called gurus might have great ideas, their ideas are meaningless without your work in the classroom.

All my best,

JWK"]]></description>
<dc:subject>jerridkruse meaning scale human small simplicity local teaching education ontheground daytoday 2011 pedagogy anonymity anonymous workaday cv public publicity selfpromotion</dc:subject>
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</item>
<item rdf:about="http://www.virclass.net/eped/index.php?action=static&amp;id=29">
    <title>E-pedagogy course - Blogging as a tool for reflection and learning</title>
    <dc:date>2010-12-26T01:59:29+00:00</dc:date>
    <link>http://www.virclass.net/eped/index.php?action=static&amp;id=29</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[PDF version of the video: http://www.virclass.net/eped/show.php?id=25]]></description>
<dc:subject>blogging blogs writing teaching networking peerreview peer-assessment modeling tcsnmy technology education students jillwalkerrettberg public learning networkedlearning socialnetworks edtech reflection</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:8003f49e65e0/</dc:identifier>
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<item rdf:about="http://www.theatlantic.com/national/archive/2010/12/crisis-of-the-public-intellectual/68502/">
    <title>Crisis Of The Public Intellectual - Ta-Nehisi Coates - National - The Atlantic</title>
    <dc:date>2010-12-24T10:48:20+00:00</dc:date>
    <link>http://www.theatlantic.com/national/archive/2010/12/crisis-of-the-public-intellectual/68502/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Much of what we're discussing is how academia has, to some extent by its own actions, been cleaved away from public life. I hesitate to speak on television about the Civil War, because there are people who've made this the work of their life--actual experts--who should be speaking. But I also recoil at the notion of a host looking at me and saying, "John Brown--good guy or bad, guy? Go." I imagine those experts feel the same way.

As in all things, I don't write this to offer a definitive answer. My sense is that the reluctance among people like me--and people smarter than me--to engage, is as problematic as the form itself."]]></description>
<dc:subject>academia ta-nehisicoates intellectualism intellectualpursuit elitism snobbery ivorytower public media conversation 2010 television tv</dc:subject>
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</item>
<item rdf:about="http://www.giveaminute.info/">
    <title>Give a Minute!</title>
    <dc:date>2010-11-27T00:21:50+00:00</dc:date>
    <link>http://www.giveaminute.info/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Give a Minute is a new kind of public dialogue. It only takes a minute to think about improving your city, but your ideas can make a world of difference. "Give a Minute" is an opportunity for you to think out loud; address old problems with fresh thinking; and to enter into dialogue with change-making community leaders. Soon, you’ll also be able to link up with others who have similar ideas and work on making your city an even better place. This initiative is happening in multiple cities: Chicago Memphis, New York, San Jose"]]></description>
<dc:subject>civicengagement change crowdsourcing creativity giveaminute classideas civics community collaboration activism behavior environment agency technology government society public mobile localism local csl texting chicago ideas memphis nyc sanjose</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:9dc695fe2b34/</dc:identifier>
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</item>
<item rdf:about="http://opinionator.blogs.nytimes.com/2010/11/25/the-public-square-goes-mobile/">
    <title>The Public Square Goes Mobile - NYTimes.com</title>
    <dc:date>2010-11-27T00:20:08+00:00</dc:date>
    <link>http://opinionator.blogs.nytimes.com/2010/11/25/the-public-square-goes-mobile/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Give a Minute launched with the question, “Hey Chicago, what would encourage you to walk, bike or take CTA more often?” Citizens, who are learning about it from billboards, ads on the L and in the local paper, are texting their ideas and posting them to the Give a Minute Web site. You can look here to find the responses texted so far (1,000 in the first two weeks), which range from “lower CTA fares” to “organized walking groups going roughly the same route with similar interests” to “play classical music on train system” to “I need to bring my daughter with me, so the streets need to be kid-safe.”

“We’re just culling through all the different ideas that run from the specific to the hilarious to the utopian,” says Barton. “But one thing that does seem clear is that they are far more diverse and often smaller scale, and actionable on different scales including individual, neighborhood and government.”"]]></description>
<dc:subject>civicengagement change crowdsourcing creativity giveaminute classideas civics community collaboration activism behavior environment agency technology government society public mobile localism local csl texting chicago sanjose nyc memphis</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:3301f0469889/</dc:identifier>
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</item>
<item rdf:about="http://places.designobserver.com/entry.html?entry=15568">
    <title>Infrastructural Ecologies: Principles for Post-Industrial Public Works : Places: Design Observer</title>
    <dc:date>2010-11-07T17:43:54+00:00</dc:date>
    <link>http://places.designobserver.com/entry.html?entry=15568</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["In prioritizing private over public transportation and short-changing cleaner energy projects, ARRA has undercut the Obama administration's claim to support a green economy. Still more worrisome, unbalanced investments that favor the old over the new position us unfavorably in comparison to other industrialized nations, which are investing heavily in public transit and renewable energy. [4] Worse yet, they perpetuate America’s disproportionately high per-capita carbon dioxide emissions: approximately 20 metric tons to Europe’s 9 and India’s 1.07. [5] Ultimately, of course, ARRA was more stop-gap compromise than comprehensive vision — and no doubt the hard-fought result of tense partisan politics. Still, ARRA 2009 will be remembered as a tragically missed opportunity at a pivotal moment in national history."]]></description>
<dc:subject>hillarybrown architecture infrastructure investment urbanism post-industrial landscape ecology future planning barckobama 2009 arra economics policy publicworks construction design transportation us comparison europe missedopportunities public publictransit emissions sustainability</dc:subject>
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