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    <title>The Commonwealth Prize controversy shows the literary world isn’t prepared for AI | The Verge</title>
    <dc:date>2026-05-23T05:10:27+00:00</dc:date>
    <link>https://www.theverge.com/tech/936073/ai-writing-granta-commonwealth-prize</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Three recent scandals say more about the publishing industry than they do about the quality of LLM-generated writing."]]></description>
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    <title>The Equator Podcast | &quot;The American university is simply a corporate institution&quot;</title>
    <dc:date>2026-05-11T00:17:35+00:00</dc:date>
    <link>https://share.transistor.fm/s/cd365742</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The American university today, the writer Siddhartha Deb tells Equator's Pankaj Mishra, is "a money-making, MBA- and lawyer-run hedge fund and real estate operation with a minor sideline in education." It's hard, he says, to tell the difference between "Columbia University and the New School on the one hand and X and Elon Musk on the other."

Siddhartha, an Indian writer and novelist, came to academia in the US in the belief that it was a citadel of free thought and open minds. But as he wrote in his Equator essay From Calcutta to Columbia, disenchantment set in quickly. He saw how students were loaded with debt, how his university was voraciously expanding across its pocket of Manhattan, and how the jargon of theory "allowed people to cultivate a moral distance from capital and empire".

Journalism has suffered in parallel as well, both in the US and India. Siddhartha, a former journalist, tells Pankaj that newspapers as much as universities have cravenly surrendered to the Trump administration and but also to previous presidents. "I grew up with this idea of writing being a noble vocation," says Pankaj. "One of the great disillusioning experiences really of the last two or three decades has been that very few people seem to think of it that way. Most people think of it  as a pathway to the most hideously conventional forms of success."

Read Siddhartha's essay for Equator, From Calcutta to Columbia: A memoir of disenchantment https://www.equator.org/articles/from-calcutta-to-columbia "

[also here:
https://podcasts.apple.com/us/podcast/the-american-university-is-simply-a-corporate-institution/id1886383434?i=1000766628988
https://open.spotify.com/show/3pS2rfsMQ3PoEfqWvSaBPG ]]]></description>
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<item rdf:about="https://psyche.co/ideas/well-soon-find-out-what-is-truly-special-about-human-writing">
    <title>We’ll soon find out what is truly special about human writing | Psyche Ideas</title>
    <dc:date>2026-04-21T06:25:34+00:00</dc:date>
    <link>https://psyche.co/ideas/well-soon-find-out-what-is-truly-special-about-human-writing</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["AI can take over many writing tasks. But there is something irreplaceable about a text with an author standing behind it"

...

"In the mid-15th century, when Johannes Gutenberg began experimenting with movable type, the scribes who had spent their lives copying manuscripts by hand could not have known they were witnessing the end of their profession. The texts maintained a deceptive continuity, circulating the same liturgies and legal canons that had always been reproduced, possibly camouflaging the massive shift that was occurring in the mechanics of cultural production. Whether the scribes saw beyond the unchanged content to the upheaval in its origin, who can say; but we, looking back, can see what they couldn’t: that the revolution was invisible in the output – it lived entirely in the means.

Nearly six centuries later, we find ourselves at another such juncture. Large language models (LLMs) can produce prose that is, by most functional measures, indistinguishable from competent human writing. The question that might eventually have come to haunt the scribes of the 15th century – what happens to us when machines can do what we do? – has resurfaced with some vengeance. What happens to writing when the production of prose no longer guarantees the presence of a mind behind what is written?

The answer, if there is one, will possibly be found in what writing has always asked of the person who does it: a willingness to stand behind words, to mean them, and to accept the consequences of having claimed to have written them.

Writing has always been understood as a trace of human thought; when we read, we assume that behind the words lies a consciousness that selected them, a mind that deliberated over their arrangement, a person who stands accountable for their claims. This assumption is so deeply embedded in literate culture that we rarely articulate it – it is simply what writing is. Generative AI disrupts this assumption, producing text that has no author in any meaningful sense, no one who meant it, no one who can be held responsible for it, and no one who was changed by the act of composing it. The words exist, but the covenant that once connected writer to reader has been severed.

The professional consequences of this severance are already visible. Journalism, criticism and the broader ecosystem of writing-for-pay have already been contracting for two decades, squeezed by the ruthless logic of attention economics. Generative AI arrives at this moment as an accelerant, further breaking down the transaction that once sustained writing as labour – time exchanged for text exchanged for money.

Writing has weathered previous technological upheavals but, while the history is instructive, it is not reassuring in the way some of us might hope because the threat this time is of a different kind.

The printing press didn’t destroy writing, but democratised its distribution, making books cheap and abundant, creating new publics and new genres. The intimate relationship between scribe and text, the sense that each manuscript was a unique artefact bearing the marks of its maker, gave way to something less personal.

Up until the late 19th century, handwriting was the dominant form of creative literary expression. This changed in the 1870s, when the first commercial typewriters came to market. Where handwriting had long been understood as an extension of the body, a kind of graphological fingerprint, the typed page was uniform, mechanical, depersonalised. Writers like Henry James and Mark Twain, who were among the first to compose on typewriters, reported that the machine changed not just how their prose looked but how it felt to produce it. The clatter of keys imposed a different rhythm and a different relationship to revision. Something was lost; something else was gained.

The word processor, and later the networked computer, accelerated this logic. The ease of editing made prose more fluid, more provisional, and the internet dissolved the gatekeeping structures that had once controlled publication. Anyone could write and publish, resulting in an explosion of text. Blogs, comments, social media posts, emails – by the early 2000s, written language was being produced on a scale unprecedented in human history. Writing became ubiquitous, ordinary and, in many of its manifestations, sadly disposable.

Each of these transitions was accompanied by predictions of catastrophe and claims of liberation, and each changed writing without eliminating it. The lesson that triumphalists like to draw is one of resilience, that writing adapts and survives, and finds new purposes as old ones become obsolete.

But generative AI represents a rupture of a different order, because, where previous technologies changed how writing was produced or distributed, LLMs change what writing is, or, more precisely, what it can be assumed to be. When a reader encounters a text, they can no longer take for granted that a human being composed it – as long as LLMs exist, there will always be doubt as to whether a piece was entirely written by a human.

The implications ramify in unexpected directions. Academic writing, which depends on the assumption that authors have actually done the thinking their papers represent, faces a crisis of verification. Legal documents, contracts and medical records, genres where accountability is essential, become newly uncertain. Even personal correspondence, the most intimate form of writing, is shadowed by doubt. Did my friend write this message, or did they prompt a machine to write it for them?

This contamination of doubt has spread quickly, most notably online, as the internet, once imagined as a vast library of human knowledge, is filling with synthetic text. Search results, product reviews, news aggregators and social media feeds are increasingly populated by machine-generated content designed to capture attention or manipulate behaviour. It’s harder than ever to identify trustworthy content.

But the question of writing’s future cannot be answered by cataloguing losses. If writing is to survive as something more than a nostalgic practice, it must find a new basis for its value. When it can now be almost entirely simulated by machines, what remains?

The answer is probably not in the properties of text but in the nature of the relationship that text enables. Human writing is only partly concerned with the production of words; more essential to its essence is the assumption of responsibility for those words. When a person writes, they are committing themselves, something a language model cannot do. They are saying, in effect: ‘I stand behind this; I am willing to be held accountable for the attempt.’

This dimension of writing, what we might consider its testimonial function, has always been present, but it has been obscured by more practical concerns. We valued writing for its usefulness, like how it conveyed information, made arguments, entertained, and persuaded. These functions can now be performed by machines with considerable competence, but what machines cannot do is bear witness or stake a claim grounded in lived experience and personal judgment. Large language models cannot enter into the implicit contract that says: here is a mind engaging with a problem, here is a person who cares about getting it right.

In an environment saturated with synthetic text, this testimonial function becomes newly precious. Readers may stop asking whether a piece is well written and begin asking who wrote it, under what conditions, and why they should be trusted. Evidence of human deliberation will not take a single form, but may reside in the traces of process that machines tend to smooth away: in the presence of hesitation, idiosyncrasy, revision and judgment made under constraint. Imperfection itself might acquire a different valence. Even forms long thought obsolete, such as handwritten notes or materially specific modes of composition, may regain appeal as visible reminders that a particular person was present at the act of writing. Essentially, the criteria for valuable writing might shift to provenance, from fluency to accountability, and writing that matters will be writing that can still function as evidence of human deliberation – work that cannot be faked because it carries the marks of genuine thought.

The transition will be messy, and many forms of writing will not survive it. But writing that depends on trust and the willingness to be present to a reader – work grounded in first-hand experience or attributed to an author with a hard-earned reputation – well, this may find itself valued in ways it has not been for decades.

The future of writing may look less like the frictionless content economy of the recent past and more like the older, slower forms of correspondence and publication that preceded it. Letters, essays, criticism, investigative journalism, genres where the identity of the writer matters, where readers seek out particular voices and measure what is written against what has been written before. To hold a writer to account, in this sense, is not simply to agree or disagree, but to respond, to challenge, to cite, to remember and, when necessary, to withdraw trust. Such forms cannot be automated without losing what makes them valuable, because they are, by their nature, resistant to scale. We might think of this moment, nearly six decades since the theorist and critic Roland Barthes proclaimed the death of the author, as a moment of revival, as the rebirth of the author.

Whether such writing can sustain itself economically is another question. Writers have always struggled to make a living, and the coming years will intensify that struggle. But the deeper question is not whether writers will be paid – though that is, of course, vitally important – but whether writing will continue to mean something, and whether the act of composing prose will still carry the weight of human intention.

Real, human writing may become rarer and more deliberate – more visibly marked by the presence of the person behind it. It might slow down, retreat from the platforms that have commodified it, and find refuge in spaces where trust can still be built between writer and reader. It may take place in settings and forms that reward patience rather than immediacy, where words are written with an awareness of who will read them and remembered for having been read. It might become more like it was before the age of mass media – a practice defined by the quality of attention it embodies, rather than volume or reach, gathering value through continuity and recognition rather than constant circulation or amplification.

The scribes of Gutenberg’s time could not have imagined the world that movable type would create, and we are no better positioned to foresee what lies ahead. But if writing survives this rupture, it will be because it offers something that no machine can replicate: the irreducible fact of a human being, thinking in public, willing to be known by their words."]]></description>
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<item rdf:about="https://naoise.substack.com/p/ai-and-being-a-writer">
    <title>AI and 'being a writer' - by Naoise Dolan - Naois content</title>
    <dc:date>2026-04-14T04:52:30+00:00</dc:date>
    <link>https://naoise.substack.com/p/ai-and-being-a-writer</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["I have precisely one idea to contribute to the current discursive maelstrom on AI quote-unquote authors: this isn’t a brand new isolated thing. Rather it’s the latest expression of a phenomenon as old as the author-figure: people wanting to be a writer rather than wanting to write.

Here’s the context, if you’re lucky enough to have missed it. (My sincere apologies for terminating your good fortune.) A horror novel, Shy Girl by Mia Ballard, has just been pulled after the author was accused of using AI to write it. Many more people have now heard of the book than had on the merits of its content. It only sold 1,800 copies since its release last autumn, and it took a Reddit user pointing out telltale signs of an unholy robot hand in the matter for anyone to become suspicious. Aside from anything else, this tells us the publisher mustn’t have given the book much of a marketing push. If it were going to be what’s referred to as a ‘big book’, the author would have been eviscerated by a slew of advance readers waving their proof copies before the hardbacks even hit the shelves.

Some people will object to my calling this person an author without scare quotes. To be clear, I mean the cultural signifier of ‘author’, not the narrower and more literal meaning of someone who has created a manuscript and published it. The author-figure has never primarily been about actually writing books, so we shouldn’t be surprised when people seek shortcuts to brandishing the label. (Nor, naturally, should we regard their miserable gruel as art.)

*

The author-figure

Foucault had this to say on the author-figure at a 1970 conference in New York: ‘L’auteur est … la figure idéologique par laquelle on conjure la prolifération du sens’ (The author is … the ideological figure by which we ward off the proliferation of meaning). He historicises the individual author as a modern invention. The idea of one person as the creator of a literary work, and the consequent thought that they particularly should own the copyright, is by no means a universal given. Irish oral literary culture was deeply collectivist for centuries. It’s really when things start to be written down, and when money starts being made off them and when property rights start occasioning protection, that societies start invoking the author-figure.

With this mythology of the author comes a range of associations that have little to do with their actual experience of writing the work. Lord Byron’s swarthy brow and labyrinthine romantic entanglements — not to mention the fact that he was literally a lord — fuelled his image as a glamorous train wreck, leaving little room to imagine him punctiliously crossing out one iamb, finding another, deciding the first was better after all. Brendan Behan’s alcoholism gets lionised in a way that is already awful in itself, but it’s also an instance of something other than writing becoming metonymic of authorness. Behan played this up — ‘I’m a drinker with a writing problem’, he supposedly said — because that’s what you do when you’re Irish and in a terrible situation beyond your control: throw humour at it. Neither case is as simple as the life distracting from the work; rather, in the eyes of people doing the romanticising, the wild and sordid exploits of these men were somehow essential to their being a writer. Dark deeds get excused this way: Norman Mailer was, in this popular conception, being a writer when he stabbed his wife.

With James Baldwin and Toni Morrison, you see being a writer overcloud the work in the disconnect between people’s idea of their prose and the actual sentences they wrote. It’s especially bizarre with Morrison: everyone, including Obama, calls her ‘lyrical’. Like … sometimes? Morrison can do anything she wants stylistically; it varies by character and even within character. ‘Lyrical’ seems more concerned with how Black women should supposedly write than with Morrison’s actual words.

All that to say: we use the author-figure to stand for lots of things, and ‘someone who wrote a lot of sentences and then edited them until the result was publishable’ can often be far down the list.

*

Shortcut-seeking

Which brings me to why people want to be a writer without actually wanting to write.

If what they want is the social positioning attached to the author-figure, then it’s entirely rational that they would try to skip the writing bit.

I’m pretty much the opposite kind of person: I like to write, and I dislike being dealt with as a writer. Sometimes after meeting me, people well-meaningly go and buy my books. I appreciate the intention of the gesture, but I always feel a bit embarrassed by it. To me, the novels are a record of my technical restrictions when I wrote them: I can see on every page where I’d hit the limits of my abilities at the time. I only ever intended them as my early apprentice work, so it’s disconcerting to have them be treated as a permanent announcement of what I can do. Obviously it is not that deep for most people; they’re not reading the novels to assess my capacities as a prose stylist; they just want to take an interest in something I once did — but that’s kind of my point. For me, the books are not a fundamental expression of who I am; they’re stories I made up about fake people in order to get better at writing sentences. That’s not to say they were unimportant to me; getting better at writing sentences is a priority of mine, I’ll have you know. But I feel misunderstood in why the books mattered when it’s seen through the being a writer lens. I don’t think the novels contain my soul, if I have one (bold assumption).

I know a lot of writers with a similar relationship to their work: it’s the best they could do at the time, now they’re doing something else, and whatever they’re currently working on is what interests them most. Some of them teach on creative writing programmes, and complain about the inverse archetype: students who want to be perceived as a writer without being all that fascinated by the actual writing bit.

People wanting the vibe of something rather than engaging with its actual substance is as old as time itself. Sometimes the dynamic this produces has been exploitative — think The Mikado, think 19th-century slumming parties, think the British Museum holding Egyptian human remains hostage while prating about how really quite advanced those pyramid-builders were. (Indeed they were, compared to the country that invented concentration camps and still hoards the Egyptians’ teeth.)

But sometimes it’s neutral or only hurts the vibes-seeker themselves. No one else is harmed when people say they want to learn a musical instrument and never do, or when they keep untouched doorstoppers on their bookshelves for years, or even when they fail to imagine others complexly in situations where there’s no power imbalance. The assumption that being a writer is central to my identity is a largely unfounded projection, but it’s not one that hurts me; people can be wrong about me all they want as long as they do it far away from me.

Where the drive to be a writer stands to hurt the literary ecosystem, I think, is that it doesn’t reliably produce keen readers. To their credit, some creative writing programmes do foster this. I was pleased to hear that they do at Holy Cross, Massachusetts, where I went to give a craft talk and the annual Callahan reading. The lecturers I spoke to there said they integrate as much reading as they can into the creative writing syllabus. That’s how to do it, I think. Teaching someone to read like a writer gives them far more tools to keep improving on their own than immediate feedback on their work does. To this day, I protect daily reading above daily writing in my routine; I don’t think writing improves through sheer repetition, so it’s important to me to keep putting new things into my brain.

Reading is, however, less attractive to people who want to be a writer as opposed to being reciprocally part of a literary community. That’s probably why there’s such demand for MFA places without a corresponding rise in book sales.

I would analogise it to people who think they can somehow learn Irish without reading it, listening to it or attempting to communicate through it. When people ask me how to improve their Irish and I suggest doing these things, I often get essentially ‘Nah, I’ll stick with Duolingo’ back. (‘Whatever works for you’, I say, because you’ve got to say something, and it can’t be construable as elitist or it’ll be your fault if they never learn.)

There’s a strange asymmetry to both situations. People seek an individual plaudit from something that is fundamentally collective, in a way that is not just bad or neoliberal or whatever — I’m not particularly interested in moralising here — but that simply doesn’t get them the result they want. Purely selfishly, assuming skill acquisition is the only goal: no-one becomes a good Irish-speaker without consuming a lot of Irish, and no-one becomes a good novelist without consuming a lot of novels. Doing these things doesn’t necessarily make one a better person, but it does mean one has shown sustained attention to matters outside oneself that a purely atomised ‘I want to learn Irish’/‘I want to be a writer’ doesn’t prompt. You need at minimum to follow the thought to: ‘Therefore I will study the output of people who have already achieved this’. This is something I like about writing and about Irish. They both punish relentless self-obsession — again, leaving morality out of it entirely: the Irish will be bad, the novel will be bad — and that’s not a given in our sad modern fishbowl.

*

What does all this mean for AI ‘novels’?

I don’t feel artistically threatened by people who rely on creepy robot output. What I do worry about is that the ongoing loss of readers will make us collectively unable to distinguish the chaff from the good stuff. AI may well contribute to that: famously it’s easier to get through university without reading now.

I can offer no solution more modest or practical than to stop making everything in life about individual achievement, which probably requires the full dismantling of capitalism. Happy Wednesday."]]></description>
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<item rdf:about="https://jamescosullivan.substack.com/p/writing-with-ai">
    <title>Writing with AI is the same as writing by AI</title>
    <dc:date>2026-04-11T06:20:22+00:00</dc:date>
    <link>https://jamescosullivan.substack.com/p/writing-with-ai</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["If you need a large language model to write, you are not a writer"

[via:
https://2ndbreakfast.audreywatters.com/and-i-would-have-gotten-away-with-it-too-if-it-werent-for-those-pesky-kids/ ]

"The training corpora of large language models comprise billions of words of copyrighted text often scraped without the consent or compensation of the authors who produced it. Every output these models produce is derived from that appropriation, and so it follows that when a writer uses a language model in any phase of their compositional process, they are incorporating the products of misappropriated labour into work they will subsequently present as their own. The now-fashionable distinction between ‘writing by AI’, which is understood to be disreputable, and ‘writing with AI’, which is understood to be merely pragmatic, exists to prevent people from following this logic to its conclusion. The distinction asks us to believe that the degree of a writer’s involvement in selecting and revising the model’s output somehow cleanses that output of its origins, as though a curator’s tasteful arrangement of stolen paintings could legitimise the theft.

It is at this juncture that defenders of AI-assisted composition typically invoke the analogy of literary influence, arguing that all writers are shaped by what they have read, that originality is always a matter of recombination, and that the distinction between a human mind metabolising its reading and a statistical model processing its training data is one of degree rather than kind. The argument has a superficial plausibility that makes it rhetorically effective, particularly in contexts where audiences have limited familiarity with the technical architecture of these systems, but it collapses under even modest scrutiny. The process by which a human reader absorbs, over years or decades, the stylistic and intellectual influence of other writers is phenomenologically, cognitively (or so pyschologists tell me), and certainly ethically incommensurable with the process by which a transformer model encodes statistical regularities across a training corpus. The human reader is a conscious agent whose encounter with a text is mediated by memory, embodiment, emotional response, and the entire accumulated weight of their experiential history. The language model is a function that maps input sequences to probability distributions over output tokens. To describe both of these processes as learning from the work of others is, well, just wrong.

What the ‘assistant’ framing accomplishes, and what accounts for its rapid adoption among otherwise thoughtful people, is the preservation of an authorial self-image that the technology ought, by rights, to have rendered untenable. The writer who pastes a draft into a language model’s context window and asks it to ‘improve the flow’ is engaged in a form of collaborative production in which one of the collaborators is a statistical engine built from misappropriated textual labour, but the conventions of contemporary publishing allow this writer to present the finished product as solely their own work, with no disclosure of the model’s contribution and no acknowledgment of the vast body of uncredited writing that made that contribution possible (which, in Europe at least, can be a direct contrevention of AI regulations, but that’s another matter). The ethical failure here is compounding. There is the original appropriation of the training data, which the individual writer did not commit and for which they bear no direct responsibility, but then there is the subsequent concealment of the model’s role in the compositional process, which the writer performs each time they publish AI-assisted work without acknowledgment, and for which they bear complete responsibility.

There is also a simpler and less comfortable point to be made, one that the professional-managerial class of knowledge workers who have most enthusiastically adopted these tools would prefer not to confront: if you find that you cannot produce serviceable prose without the assistance of a large language model, if the act of composing a paragraph from your own cognitive resources strikes you as so onerous that you require a machine to do it for you or to repair what you have done, then you are, to put it frankly, not a writer. And this is fine of course, because the majority of human beings are not writers (at least, not good ones, writers with a capital W), in the same way that the majority of human beings are not concert pianists or structural engineers, and there is no shame in recognising that a particular form of skilled labour falls outside one’s competence. What is shameful, and what deserves to be called by its proper name, is the pretence that the machine’s intervention leaves your authorial status intact, that you can pass off the product of a statistical engine trained on stolen text as your own intellectual labour and expect to be taken seriously as a practitioner of the craft you are, in fact, unable to practise. The word for this is charlatanism. We have, in every other domain of professional life, a perfectly clear understanding that presenting someone else’s work as your own constitutes fraud, and the fact that the ‘someone else’ in this case is a machine assembled from the non-consensual contributions of millions of unacknowledged writers does not soften the offence as much as some like to think. The person who cannot write and who admits as much forfeits nothing of their dignity, while the person who cannot write and who uses a language model to disguise that fact, while claiming the result as the product of their own mind, has forfeited something considerably more important.

The publishing and media industries have absorbed these tools into their workflows in ways that render the question of individual responsibility almost moot. The same institutions that depend upon writers’ labour for their existence have adopted technologies trained on the non-consensual appropriation of that labour, and they have done so without any apparent sense of contradiction. This is perhaps unsurprising, as the history of cultural production under capitalism is, among other things, a history of the progressive externalisation of the costs of creative work, and the large language model represents something like the logical terminus of that process, a machine that converts the unpaid labour of millions of writers into a tool for reducing the need for writers altogether. That individual writers have been persuaded to participate enthusiastically in this project, and to provide sophisticated rationalisations for doing so, is a testament less to the quality of those rationalisations than to the coercive power of an economic environment in which refusing to adopt the prevailing tools carries immediate professional penalties.

I am not romanticising the writing process. It is true that every technology of writing has reshaped the compositional process in ways that were initially experienced as alien and that were subsequently normalised through habitual use. It is also true that certain technologies that now appear wholly benign, such as the spellchecker or the thesaurus, were greeted on their introduction with anxieties that look, in retrospect, disproportionate. These historical parallels are real, and they should introduce a note of epistemic humility into any argument about the present moment. They do not, however, establish what their proponents need them to establish, because the large language model differs from all previous writing technologies in a respect that is categorically significant. A word processor, a spellchecker, and a thesaurus are tools that facilitate the writer’s own selection and arrangement of language, while a language model generates language. The difference between facilitating composition and performing composition is the difference on which the concept of authorship depends, and no amount of historical analogy can dissolve it without simultaneously dissolving the concept of authorship itself, which is, of course, precisely what some of the technology’s more philosophically adventurous defenders are willing to do, though rarely with any awareness of what would be lost.

What would be lost is the possibility of holding anyone accountable for what a text says, means, or does in the world. Authorship is an ethical and legal category as much as it is an aesthetic one. The attribution of a text to a named author carries with it an implicit claim of responsibility, a declaration that a particular human being has exercised judgement and stands behind the result. When the compositional process is distributed across a human writer and a language model trained on appropriated text, the question of who is responsible for the resulting work becomes genuinely difficult to answer in a way that should trouble anyone who takes seriously the social function of written communication. The writer cannot be fully responsible for language they did not fully produce, while the model cannot be responsible for anything, because responsibility is a property of moral agents. The result is a text for which no one is entirely answerable, circulating in a public sphere that still operates, however imperfectly, on the assumption that published writing represents the considered judgement of an identifiable human author.

I am aware that this argument will strike many readers as excessively stringent, as an attempt to hold individual writers to a standard of purity that is incompatible with the practical realities of contemporary knowledge work. And that accusation is not without force, because the economic pressures that drive writers toward these tools are real, and it would be dishonest to pretend that the choice to refuse them carries no cost. But the fact that a practice is economically rational does not render it ethically defensible, and the fact that nearly everyone is doing it does not transform it into something that need not be examined. What is needed, at a minimum, is disclosure. If a text has been shaped, at any stage of its composition, by the output of a language model, that fact should be stated openly, so that readers may assess for themselves what kind of object they are encountering. The resistance to this minimal standard of transparency, which is fierce and widespread among writers who use these tools, tells us everything we need to know about the degree of confidence these writers have in the distinction they claim to be drawing. If the difference between writing with AI and writing by AI were as clear and as significant as its proponents insist, there would be no reason to conceal it. And this is precisely my point: the concealment is the confession."]]></description>
<dc:subject>writing howwewrite ai artificialintelligence llms jameso'sullivan 2026 labor work publishing media language authorship accountability knowledgework</dc:subject>
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<item rdf:about="https://www.dukeupress.edu/content-machines">
    <title>Content Machines: Reading and Writing in the Platform Era, by Sarah Brouillette (2026)</title>
    <dc:date>2026-04-05T06:05:51+00:00</dc:date>
    <link>https://www.dukeupress.edu/content-machines</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["While much has been said about the democratization of publishing through the rise of platforms like Amazon’s Kindle Direct Publishing, little attention has been paid to the broader effect these technologies have had on writers, readers, and the publishing industry. In Content Machines, Sarah Brouillette considers how short-form, platform-based, and social media writing on digital mediums like Wattpad and TikTok has reshaped modern publishing, reading, and writing. Brouillette identifies three mutually reinforcing processes that platform capitalism entangles in the publishing industry: the marked feminization of book work; the rise of a bibliotherapeutic vocabulary that grounds reading and writing as self-care work; and the growth of platform-based processes that cheapen content and intensify the pressure to engage in self-promotion and entrepreneurial strategizing. She breaks down the business models that have been key to this transformation and traces the social conditions that make online self-published fiction, especially young adult, romance, and fantasy stories, into spaces for community while, conversely, signaling how these publishing practices depend upon undervalued and feminized labor from marginalized groups. Content Machines is a much-needed survey of the contours of the modern reading and writing landscape."]]></description>
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<item rdf:about="https://www.bloodinthemachine.com/p/its-open-season-for-refusing-ai">
    <title>It's open season for refusing AI - by Brian Merchant</title>
    <dc:date>2026-04-05T05:44:24+00:00</dc:date>
    <link>https://www.bloodinthemachine.com/p/its-open-season-for-refusing-ai</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[There's been a wave of successful efforts to ban, reject and shut down AI. ]]></description>
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<item rdf:about="https://www.anildash.com/2026/03/27/endgame-open-web/">
    <title>Endgame for the Open Web - Anil Dash</title>
    <dc:date>2026-04-01T04:05:09+00:00</dc:date>
    <link>https://www.anildash.com/2026/03/27/endgame-open-web/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["You must imagine Sam Altman holding a knife to Tim Berners-Lee's throat.

It's not a pleasant image. Sir Tim is, rightly, revered as the genial father of the World Wide Web. But, all the signs are pointing to the fact that we might be in endgame for "open" as we've known it on the Internet over the last few decades.

The open web is something extraordinary: anybody can use whatever tools they have, to create content following publicly documented specifications, published using completely free and open platforms, and then share that work with anyone, anywhere in the world, without asking for permission from anyone. Think about how radical that is.

Now, from content to code, communities to culture, we can see example after example of that open web under attack. Every single aspect of the radical architecture I just described is threatened, by those who have profited most from that exact system.

Today, the good people who act as thoughtful stewards of the web infrastructure are still showing the same generosity of spirit that has created opportunity for billions of people and connected society in ways too vast to count while —not incidentally— also creating trillions of dollars of value and countless jobs around the world. But the increasingly-extremist tycoons of Big Tech have decided that that's not good enough.

Now, the hectobillionaires have begun their final assault on the last, best parts of what's still open, and likely won't rest until they've either brought all of the independent and noncommercial parts of the Internet under their control, or destroyed them. Whether or not they succeed is going to be decided by decisions that we all make as a community in the coming months. Even though there have always been threats to openness on the web, the stakes have never been higher than they are this time.

Right now, too many of the players in the open ecosystem are still carrying on with business as usual, even though those tactics have been failing to stop big tech for years. I don't say this lightly: it looks to me like 2026 is the year that decides whether the open web as we know it will survive at all, and we have to fight like the threat is existential. Because it is.
What does the attack look like?

Calling this threat "existential" is a strong statement, so we should back that up with evidence. The point I want to make here is that this is a lot broader than just one or two isolated examples of trying to win in one market. What we are seeing is the application of the same market-crushing techniques that were used to displace entire industries with the rise of social media and the gig economy, now being deployed across the very open internet infrastructure that made the modern internet possible.

The big tech financiers and venture capitalists who are enabling these attacks are intimately familiar with these platforms, so they know the power and influence that they have — and are deeply experienced at dismantling any systems that have cultural or political power that they can't control. And since they have virtually infinite resources, they're able to carry out these campaigns simultaneously on as many fronts as they need to. The result is an overwhelming wave of threats. It's not a coordinated conspiracy, because it doesn't need to be; they just all have the same end goals in mind.

Some examples:

• Publishers who still share their content openly, either completely free for their audience, as advertising-supported content, or with a limited amount of content available until they ask for some form of payment, are being absolutely hammered by ill-behaved AI bots. These bots are scouring their sites for every available bit of content, scraping all of it up to feed their LLMs, and then making summaries of that content available to users — typically without consent or compensation. The deal was always simple: search engines had permission to crawl sites because they were going to be sending users to those sites. If they're hitting your site half a million times for every one user they send to your site, all they're giving you is higher costs.

• LLM-based AI platforms that have trained their AI models on this content gathered without consent typically have almost no links back to the original source content, and either bury or omit credits to the original site; as a result, publishers in categories like tech media have seen their traffic crater by over 50%, with some publishers seeing drops of over 90%.

• As publishers see the danger from AI bots expand, they retreat to putting more and more content behind either password protection or payment walls or both, leaving the only publicly-accessible content to be AI-generated slop; open resources like research work, scientific analysis, and fair use of content all suffer as a result of people responding to the bad actors, since legitimate uses of open content are no longer possible. We're seeing this already as publishers block archival sites like the Internet Archive, even though we've already seen examples where the Internet Archive was the only accurate record of content that was disappeared by authoritarians in the current administration.

• Open APIs, a building block of how developers build new experiences for users, and for how researchers understand people's behavior online, are rapidly being locked down due to abuse from LLMs, as well as the extremist CEOs not wanting anyone to understand what's happening on their platforms. The clamping down doesn't just affect coders — the people who were best poised to help monitor and translate what's been happening on platforms like Twitter have seen their work under siege, with over 60% of research projects on the platform stalled or abandoned just since Musk shut down their open API access.

• Independent media based on open formats, like podcasts, are also under siege as platforms like Apple's podcasts move to closed infrastructure which means that content creators are now required to work with Apple's approved partners. Meanwhile, others like Spotify and Netflix leverage their dominant positions in the market to coerce creators to abandon open podcasts entirely, in favor of proprietary formats that require listeners to be on those platforms — locking in both creators and their audiences so they are stuck as they begin the enshittification process. The net result will be podcasts moving from being an open format that isn't controlled by either any one company or any manipulative algorithms, to just another closed social platform monetized by surveillance-based advertising.

• Open source software projects, which power the vast majority of the internet's infrastructure, are now beleaguered by constant slop code submissions being made by automated AI code agents. These submissions attempt to look like legitimate open source code contributions, and end up overwhelming the largely-underpaid, mostly-volunteer maintainers of open source projects. Dozens of the most popular open source projects have either greatly limited, or even entirely closed their projects to community-based submissions from new contributors as a result. In addition to slowing down and disrupting the open source ecosystem's collaboration model, there's also collateral damage with the destruction of one of the best paths for new coders to establish their credentials, build relationships, and learn to be part of the coding community.

• The most vital open content platforms, like Wikipedia, are under direct attack from bad-faith campaigns. Elon Musk has created Grokipedia to directly undermine Wikipedia with extremist hate content and conspiracist nonsense, by siphoning off traffic, revenues, and contributors from the site. All of this happens while launching spurious attacks on the credibility of the content on Wikipedia, which have led to such radical rhetoric around the site that gatherings of Wikipedia editors now face interruptions from armed attackers. Meanwhile, Wikipedia's human traffic has dropped significantly as AI platforms trained on its content answer users' questions without ever sending them to the site — a pattern that threatens the volunteer contributions and donations that keep it alive.

• The open standards and specifications that underpin the Internet as we know it have always succeeded solely on the basis of there being a shared set of norms and values that make them work. In this way, they're like laws — only as strong as the society that agrees they ought to be enforced. A simple text file called robots.txt functioned for decades to describe the way that tools like search engines ought to behave when accessing content on websites, but now it is effectively dead as Big AI companies unilaterally decided to ignore more than a generation of precedent, and do whatever they want with the entirety of the web, completely without consent. Similarly, long-running efforts like Creative Commons and other community-driven attempts at creating shared declarations or definitions for content use are increasingly just ignored.

• Open source software licenses, which used to be a bedrock of the software community because they provide a consistent way of encoding a set of principles in the form of a legal contract, are now treated as a minor obstacle which can be trivially overcome using LLMs. This means that it's possible to clone code and turn community-driven projects into commercial products without even having to credit the people who invented the original work, let alone compensating them or asking for consent. Many of these efforts are especially egregious because the reason the tools are able to perform this task is because they were trained on this open source code in the first place.

The human cost

The threat to the open web is far more profound than just some platforms that are under siege. The most egregious harm is the way that the generosity and grace of the people who keep the web open is being abused and exploited. Those people who maintain open source software? They're hardly getting rich — that's thankless, costly work, which they often choose instead of cashing in at some startup. Similarly, volunteering for Wikipedia is hardly profitable. Defining super-technical open standards takes time and patience, sometimes over a period of years, and there's no fortune or fame in it.

Creators who fight hard to stay independent are often choosing to make less money, to go without winning awards or the other trappings of big media, just in order to maintain control and authority over their content, and because they think it's the right way to connect with an audience. Publishers who've survived through year after year of attacks from tech platforms get rewarded by… getting to do it again the next year. Tim Berners-Lee is no billionaire, but none of those guys with the hundreds of billions of dollars would have all of their riches without him. And the thanks he gets from them is that they're trying to kill the beautiful gift that he gave to the world, and replace it with a tedious, extortive slop mall.

So, we're in endgame now. They see their chance to run the playbook again, and do to Wikipedians what Uber did to cab drivers, to get users addicted to closed apps like they are to social media, to force podcasters to chase an algorithm like kids on TikTok. If everyone across the open internet can gather together, and see that we're all in one fight together, and push back with the same ferocity with which we're being attacked, then we do have a shot at stopping them.

At one time, it was considered impossibly unlikely that anybody would ever create open technologies that would ever succeed in being useful for people, let alone that they would become a daily part of enabling billions of people to connect and communicate and make their lives better. So I don't think it's any more unlikely that the same communities can summon that kind of spirit again, and beat back the wealthiest people in the world, to ensure that the next generation gets to have these same amazing resources to rely on for decades to come.
Taking action

Alright, if it’s not hopeless, what are the concrete things we can do? The first thing is to directly support organizations in the fight. Either those that are at risk, or those that are protecting those at risk. You can give directly to support the Internet Archive, or volunteer to help them out. Wikipedia welcomes your donation or your community participation. The Electronic Frontier Foundation is fighting for better policy and to defend your rights on virtually all of these issues, and could use your support or provides a list of ways to volunteer or take action. The Mozilla Foundation can also use your donations and is driving change. (And full disclosure — I’m involved in pretty much all of these organizations in some capacity, ranging from volunteer to advisor to board member. That’s because I’m trying to make sure my deeds match my words!) These are the people whom I've seen, with my own eyes, stay the hand of those who would hold the knife to the necks of the open web's defenders.

Beyond just what these organizations do, though, we can remember how much the open web matters. I know from my time on the board of Stack Overflow that we got to see the rise of an incredibly generous community built around sharing information openly, under open licenses. There are very few platforms in history that helped more people have more economic mobility than the number of people who got good-paying jobs as coders as a result of the information on that site. And then we got to see the toll that extractive LLMs had when they took advantage of that community without any consideration for the impact it would have when they trained models on the generosity of that site's members without reciprocating in kind.

The good of the web only exists because of the openness of the web. They can't just keep on taking and taking without expecting people to finally draw a line and saying "enough". And interestingly, opportunities might exist where the tycoons least expect it. I saw Mike Masnick's recent piece where he argued that one of the things that might enable a resurgence of the open web might be... AI. It would seem counterintuitive to anyone who's read everything I've shared here to imagine that anything good could come of these same technologies that have caused so much harm.

But ultimately what matters is power. It is precisely because technologies like LLMs have powers that the authoritarians have rushed to try to take them over and wield them as effectively as they can. I don't think that platforms owned and operated by those bad actors can be the tools that disrupt their agenda. I do think it might be possible that the creative communities that built the web in the first place could use their same innovative spirit to build what could be, for lack of a better term, called "good AI". It’s going to take better policy, which may be impossible in the short term at the federal level in the U.S., but can certainly happen at more local levels and in the rest of the world. Though I’m skeptical about putting too much of the burden on individual users, we can certainly change culture and educate people so that more people feel empowered and motivated to choose alternatives to the big tech and big AI platforms that got us into this situation. And we can encourage harm reduction approaches for the people and institutions that are already locked into using these tools, because as we’ve seen, even small individual actions can get institutions to change course.

Ultimately I think, if given the choice, people will pick home-cooked, locally-grown, heart-felt digital meals over factory-farmed fast food technology every time."]]></description>
<dc:subject>anildash samaltman timberners-lee web online internet openweb capitalism ai artificialintelligence data communication bullshit technology commons 2026 walledgardens aislop slop wikipedia vc venturecapital bigtech finance power culture publishing llms aibots chatbots internetarchive openapis apis apple podcasts grokipedia elonmusk openstandards creativecommons uber mozilla mozillafoundation stackoverflow mikemasnick</dc:subject>
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<item rdf:about="https://newrepublic.com/article/207659/non-fiction-publishing-threat-important-ever">
    <title>Nonfiction Publishing, Under Threat, Is More Important Than Ever | The New Republic</title>
    <dc:date>2026-03-26T06:43:11+00:00</dc:date>
    <link>https://newrepublic.com/article/207659/non-fiction-publishing-threat-important-ever</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[via:
https://social.ayjay.org/2026/03/25/paul-elie-in-societies-where.html

quoting:

"In societies where freedom is under threat, an informed citizen is countercultural and deep reading is an act of resistance. Just as protest and vigilance are essential, so is the ability to read and think. In a would-be autocracy, the autocrat aims to subsume our society’s particular narratives into his master narrative — in which his name fills the headlines, his voice and image dominate the broadcasts, and his airbrushed visage appears on the facades of government. To read a book, however, is to enter a narrative that stands outside the politics-and-media maelstrom. In a would-be autocracy, even a small bookstore — with hundreds of books, classic, recent, and current — is a space of contrary narratives, where truth is recognized as both essential and complicated."]]]></description>
<dc:subject>paulelie 2026 publishing books reading howweread counterculture autocracy truth society citizenship information narrative government politics media</dc:subject>
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<item rdf:about="https://notesfromasmallpress.substack.com/p/ai-slop-and-the-cultural-elite">
    <title>AI Slop and the Cultural Elite - by Anne Trubek</title>
    <dc:date>2026-03-24T20:45:51+00:00</dc:date>
    <link>https://notesfromasmallpress.substack.com/p/ai-slop-and-the-cultural-elite</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Recently, Hachette recalled a novel because it had some AI content. The novel had been self-published before Hachette picked it up, and was wildly popular, garnering thousands of positive reviews in its original form.

I was reading about this on social media, where I then found a thread of well-known writers making fun of the prose in the book. They were really going at it, dissecting and laughing at the writing. It was, well, snobby.

The writing they were pillorying as bad, and AI generated, was the same prose that thousands of people had read and enjoyed. Those sentences were the same in the self-published version of the book as in the Hachette republication of it. 5,000 reviews on Goodreads alone, the majority positive. Those readers did not think the writing was bad.

What I saw playing out seemed a clear case of the ‘cultural elite’ (well-known literary authors who make the bestseller list—can’t get more culturally elite than that) asserting that what they deemed AI slop (whether or not it was AI is immaterial here) as bad writing, and, by extension, people who enjoyed such writing having bad taste in writing.

Calling something “AI slop” is now a way to signal one’s (good) taste.

And there we have it, our old friend Pierre Bourdieu taught us this well: deeming something AI slop shows your cultural superiority.. It is how people separate, and segregate, themselves into cultural class distinctions.

I’m not taking sides here, or making any points about Hachette, or using AI for writing, the legal ramifications, or any of the many utterly fascinating aspects of what’s going on that I absolutely will be writing about more soon.

However, I am observing that a book that thousands of young women read and loved, part of a genre of books that hordes of young women are reading and loving, while everyone else cries about a reading crisis, is being branded “AI slop” and in “bad taste” by the tastemakers of the publishing industry/literary world.

It’ll be fascinating to see what happens next to the insanely popular and profitable romantasy, romance, horror, and other genes that have been selling hand over fist, in self-published and traditionally published form, keeping publishers and bookstores afloat, if this sort of self-sorting continues. And, as this piece on Cultural AI puts so beautifully [https://www.argmin.net/p/cosma-shalizi-is-aware-of-all-internet ];

[screenshot:

"The formulaic generation of discourse looks like discourse in ways we could never have imagined. But with hindsight, we shouldn't be surprised. Human culture is very formulaic!

There are long-standing formulas for oral tradition, for generating small talk, or for generating scientific papers. As Cosma put it, in the single sentence that summarizes the entire Cultural Al conference:

> Following a tradition means not having to think for oneself.

Not having to think is often a good thing!

Tradition lets us externalize certain processes so we can focus on other tasks. Formalities strengthen cultural connections. Traditions in communication help us understand each other better and come to consensus faster."]

In other words: ‘AI slop’ = wine-dark sea. "]]></description>
<dc:subject>ai annetrubek artificialintelligence aislop books elitism culture culturalelite literature writing howwewrite 2026 publishing generativeai genai oraltradition howwethink reading howweread thinking humans discourse tradition communication consensus</dc:subject>
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<item rdf:about="https://www.smithsonianmag.com/smart-news/typos-have-plagued-us-for-centuries-just-ask-the-publishers-who-printed-the-seventh-commandment-as-thou-shalt-commit-adultery-in-1631-180988353/">
    <title>Typos Have Plagued Us for Centuries. Just Ask the Publishers Who Printed the Seventh Commandment as 'Thou Shalt Commit Adultery' in 1631</title>
    <dc:date>2026-03-20T04:29:34+00:00</dc:date>
    <link>https://www.smithsonianmag.com/smart-news/typos-have-plagued-us-for-centuries-just-ask-the-publishers-who-printed-the-seventh-commandment-as-thou-shalt-commit-adultery-in-1631-180988353/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["A new exhibition at Yale Library explores the history of typos across five centuries. Visitors will see corrections that were listed inside copies of works by James Joyce, Upton Sinclair and Nicolaus Copernicus"]]></description>
<dc:subject>sonjaanderson 2026 typos writing publishing howwewrite jamesjoyce uptonsinclair copernicus errors</dc:subject>
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<item rdf:about="https://jottit.org/">
    <title>Jottit</title>
    <dc:date>2026-03-06T19:33:34+00:00</dc:date>
    <link>https://jottit.org/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The fastest way to publish on the web."

[via:
https://simonbc.com/rebuilding-jottit 

"In 2007, Aaron Swartz and I built a small tool called Jottit. The idea was simple: make it as easy as possible to put a page on the web. You typed something, clicked a button, and got a page on a secret URL. You didn't need to create an account first. If you wanted to keep it, you claimed it with your email and put it on a subdomain.

Aaron had this phrase that stuck with me. He wanted the cognitive load to be so tiny that you just use it without even thinking about whether you should.

That was the web back then. It was small and personal and a little weird. People made pages because they had something to say, not because they were building an audience. The tools were simple because the ambitions were simple: put something out there, see what happens.

I was finishing my CS degree at the time and spent every free hour working on Jottit. I wanted to make it perfect. I would write code or improve the design and send it over to Aaron and he'd critique it down to the smallest detail. Eventually we met up in Somerville, MA in September 2007 and spent two weeks getting it ready for launch.

We launched and it clicked. People got it immediately. And then only a few months later my dad got diagnosed with cancer and died just a few weeks after that. I didn't want to work on Jottit again. I didn't want to do any programming again.

Then Aaron died in 2013.

I would think back on Aaron and those six months, creating Jottit together. I remembered the joy and the excitement of that time. But I never went back to it. It felt too heavy. And eventually the original Jottit went offline.

I spent the next fifteen years working as a developer, raising four kids with my wife, building other people's products.

Then last year something shifted. I kept seeing people express a longing for the old web. Before social media turned every thought into content and every person into a brand. Before the timeline replaced blogs. I felt it too. I started working on an open-source microblogging tool inspired by Jottit, but at some point I thought: why don't I just build Jottit instead?

I emailed Paul Graham about funding it and to my surprise he said yes. I quit my job.

Aaron believed the web should be easy enough that anyone could participate. Not just people who know how to code or who can afford a platform's cut. That idea hasn't aged. If anything it matters more now, when most people's only option for putting words online is to hand them to a corporation.

Jottit is back at jottit.org. Same idea, same name, rebuilt from scratch. You type, you publish, you have a page. No tracking, no followers, no algorithms.

It's a small project, not a startup. I just wanted it to exist again."]]]></description>
<dc:subject>onlinetoolkit simoncarstensen 2026 aaronswartz jotttit web online internet publishing webdev microblogs microblogging paulgraham</dc:subject>
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<item rdf:about="https://nobaddaysinla.substack.com/p/how-the-la-review-of-books-destroyed">
    <title>How the LA Review of Books destroyed itself</title>
    <dc:date>2026-02-23T02:52:50+00:00</dc:date>
    <link>https://nobaddaysinla.substack.com/p/how-the-la-review-of-books-destroyed</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["“All non-profits run on exploitation, but these guys don’t even try to hide it.""]]></description>
<dc:subject>larb lareviewofbooks 2026 nonprofit nonprofits exploitation charitableindustrialcomplex philanthropicindustrialcomplex charity philanthropy labor via:javierarbona writing writers poetry kathyacker jackskelley lilylady medayaocher chloewatlington ireneyoon workplace gaza palestine ellieeberlee michellechihara tomlutz 2025 2011 2024 dysfunction publishing borisdralyuk 2022 genocide ethniccleansing israel zionism roblatham albertlitekwa benbastomski idf iof work workers howwewrite cruelty</dc:subject>
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<item rdf:about="https://www.sofiasamatar.com/books/opacities/">
    <title>Opacities - Sofia Samatar</title>
    <dc:date>2026-02-17T07:20:38+00:00</dc:date>
    <link>https://www.sofiasamatar.com/books/opacities/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Opacities is a book about writing, publishing, and friendship. Rooted in an epistolary relationship between Sofia Samatar and a friend and fellow writer, this collection of meditations traces an attempt to rediscover the intimacy of writing.

In a series of compressed, dynamic prose pieces, Samatar blends letters from her friend with notes on literature, turning to Édouard Glissant to study the necessary opacity of identity, to Theresa Hak Kyung Cha for a model of literary kinship, and to a variety of others, including Clarice Lispector, Maurice Blanchot, and Rainer Maria Rilke, for insights on the experience and practice of writing.

In so doing, Samatar addresses a number of questions about the writing life: Why does publishing feel like the opposite of writing? How can a black woman navigate interviews and writing conferences without being reduced to a symbol? Are writers located in their biographies or in their texts? And above all, how can the next book be written?

Blurring the line between author and character and between correspondence and literary criticism, Opacities delivers a personal, contemplative exploration of writing where it lives, among impassioned conversations and the work of beloved writers."

...

“Sofia Samatar’s Opacities is simply one of the most beautiful books about writing, about being a writer, that I’ve ever read.”
— Ross Gay, author of Inciting Joy

“In the profound company of others and in conversations with ghosts, Opacities is a work of great intimacy and intelligence. It is both mesmerizing and consoling to dwell in the meditative space Sofia Samatar has created. Her submerged narratives haunt (now coming to the surface, now subsiding) allowing room for the reader to enter the text in any number of ways. A most irresistible experience.”
— Carole Maso, author of AVA and Mother & Child

“Was ever a darkness so refulgent as Sofia Samatar’s Opacities? With her distinctively supple line, Samatar summons a troupe of literary night-guides from Kafka to Djebar and leads us to the so-called vanishing point where scarcity inverts to fullness and nothing vanishes except our certainties. Obsidian, inky, rippling, Vantablack, Samatar’s vision of literature restores the dream of the night library, where we can and should read in the dark, and where the Future rises up with the face of the New Moon—her next and original face.”
— Joyelle McSweeney, author of The Necropastoral

“Sofia Samatar’s Opacities lowers us into the deepest part of the sentence, past ruin, past the drowned, past the moon, past the future, past the writer and her ink where the ragged dark begins to sing. Opacities is a posthumous book written by the living. I read this entire book in the pitch-black to keep all its brilliant secrets safe.”
— Sabrina Orah Mark, author of Happily

“My copy of Opacities is filled with underlining. It will not tell you how to extend a metaphor or build a scene, but many writers become exhausted by ‘technique’ at a certain stage of their so-called careers. Many search for a way back to the freedom one feels in making art before one knows it will be seen or even what it is. That naked vulnerability, that mess. That act of love.”
— Liz Harmer, Englewood Review of Books

“Opacities gorgeously stages the struggle between the writer’s consciousness—solitary, desiring only the quest of its craft—and the writer as embodied, indebted to a public and to the machinations of the world of publishing. Samatar summons the testimony of a chorus of writers and thinkers in her argument against the oppression of imposed subjectivity, particularly for marginalized writers, who ‘will not be granted a moment of abstraction.’ Both dazzlingly intellectual and deeply felt, Opacities is a collection to savor and return to again and again.”
— Lauren K. Alleyne, author of Honeyfish

“Sofia Samatar’s books often blend and explode genre in the most delicious ways, and her newest is no exception.”
— Laura Sackton, Book Riot

“A writing book that’s ruthlessly honest about the problematic questions that arise when you become a voice for your community . . . Deeply researched and razor-sharp.”
— Leland Cheuk, The Boston Globe

“A wide-ranging, epistolary collection on writing, identity and friendship. . . . A unique exploration of craft and authenticity, Opacities offers its wisdom through these perennial questions and answers.”
— Julia Hass, Literary Hub

“Opacities is a necessity for every person writing, reading, moving through complex spaces, lying down in fields, on beaches. Samatar turns the always-burning questions of how do we begin to write and how do we go on writing into a riveting yet diffused examination of what we have read and how we’ve sustained ourselves by reading. This is a book for pleasure, for travel in thought, but, perhaps, also the right thing to grab in case of emergency. It’s definitely my new desert-island book.”
— Renee Gladman, author of Calamities and Plans for Sentences

“Samatar’s book is loose, elegant, opaque as the title suggests; it’s also precise and vivid. . . . It made me feel like there are other ways, ways I’ve never thought of or seen, to engage with and think about and make art.”
— Molly Templeton, Reactor

“Opacities fantasizes many models of writing, including the ‘companion text,’ the project that ‘lasts your whole life,’ the one that includes failure and ‘deep aimlessness,’ and the book that writes itself, by virtue of an accumulation of index cards in a shoebox. Opacities dreams of connectivity and communion. It strives to bring into correspondence the talismanic writers of the literary imaginary, and, in a voice reminiscent of the address in Chris Marker’s Sans Soleil, Samatar conjures an anonymous, epistolary intimate. It is a book about process and ambivalence, one that ultimately evinces a deep-seated passion for the creative acts that are reading and writing.”
— Moyra Davey, author of Index Cards

“What is a writing method that ‘is less like writing and more like living?’ Sofia Samatar develops this question as a form of metallurgy in Opacities, a book that sets autobiography in motion until what remains is what we love the most: a notebook. Blurry, snorting and stamping its hoof in the rain, the notebook’s hybridity is both void and animal: ‘Zero. Zero.’ To write this bifurcated or doubled zero, Samatar thinks ‘through the hole.’ This is an ‘incompleteness’ taken to ‘extremes,’ and I’m here for it. Anything I could possibly write in support of this beautiful book falls short of the elation I felt when reading, something that happened in one sitting because I could not set it down.”
— Bhanu Kapil, author of How to Wash a Heart

“Opacities is a writer’s notebook that we get to read pre-posthumously, a conversation with the self and the dead, a gesture toward the fantasy of publication without publicity. A book for Rilke’s ‘narrow ledge,’ full of intimacy and intensity, comforts and agitations, the haunting desires of artists.”
— Elisa Gabbert, author of Normal Distance and Any Person Is the Only Self

“Sofia Samatar’s Opacities observes the world with rare curiosity. Engaging a breadth of thinkers, Samatar considers the spiritual dimension of art-making, and offers meaningful reflections on returning to our most genuine selves. Moving seamlessly between essay and philosophy, investigation and mediation, Opacities is a gift.”
— Jaquira Díaz, author of Ordinary Girls]]></description>
<dc:subject>sofiasamatar writing howwwewrite 2024 opacity theresahakkyungcha claricelispector mauriceblanchot rainermariarilke kinship life living identity édouardglissant assiadjebar self publishing friendship intimacy</dc:subject>
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<item rdf:about="https://www.niemanlab.org/2026/02/terribly-frustrating-after-usps-changes-more-newspapers-arent-reaching-subscribers-on-time/">
    <title>“Terribly frustrating”: After USPS changes, more newspapers aren’t reaching subscribers on time | Nieman Journalism Lab</title>
    <dc:date>2026-02-16T00:27:30+00:00</dc:date>
    <link>https://www.niemanlab.org/2026/02/terribly-frustrating-after-usps-changes-more-newspapers-arent-reaching-subscribers-on-time/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Newspaper delays are just one consequence of cost cuts and changes to a fraying 250-year-old system."]]></description>
<dc:subject>usps sophieculpepper 2026 publishing newspapers delivery journalism rural maine michigan local southdakota postoffice</dc:subject>
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<item rdf:about="https://www.newcartographies.com/p/the-user-generated-content-ruse">
    <title>The &quot;User-Generated Content&quot; Ruse - by Nicholas Carr</title>
    <dc:date>2026-01-29T21:03:45+00:00</dc:date>
    <link>https://www.newcartographies.com/p/the-user-generated-content-ruse</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The feed is the content."

...

"Big social media companies are facing hundreds of personal-injury lawsuits claiming that their platforms have harmed people, particularly kids. Lawyers for the plaintiffs, which include individuals, states, and school districts, are modeling the suits on the successful litigation against cigarette companies at the end of the last century. Should the social media companies lose the suits, the first of which began this week in Los Angeles, they would face not just massive payouts but also the prospect of extensive new regulatory controls on their businesses, just as tobacco companies did.

The internet giants have armies of lawyers, and they’re spending millions to block the suits. They claim, as they always have in the past, that they’re shielded from such litigation by the 1996 Communications Decency Act. As the Wall Street Journal writes, in an editorial sympathetic to the companies, “The first problem with these cases is that Section 230 of the 1996 Communications Decency Act says internet platforms can’t be held liable for user-generated content.”1 But that old argument no longer holds water. The content produced by social media companies today is anything but “user-generated.” To think otherwise is to misunderstand how social media operates —and to misinterpret the scope of Section 230.

In 1996, when Congress passed the Communications Decency Act,2 the big internet companies were internet service providers, or ISPs. Their role was limited to providing customers with access to the net, through, usually, dial-up connections over telephone lines. The ISPs acted as common carriers, their role limited to the transmission of information that was created by others — a role similar to that of traditional telephone companies or even the post office. Just as it would have been unfair to hold a mailman liable for the content of the letters he delivered to people’s mailboxes, so it would have been unfair to hold ISPs liable for the content of the emails and web pages they delivered to people’s computers. Section 230 provides internet carriers with a safe harbor from litigation so long as they restrict themselves to transporting data and do not act as “publisher or speaker” of the content they deliver:

<blockquote>No provider or user of an interactive computer service shall be treated as the publisher or speaker of any information provided by another information content provider.</blockquote>

Back in the early days of social media, it could be argued that Section 230 still applied. When Facebook started up in 2004, for instance, it provided its users with templates for inputting and organizing personal profiles and messages, but its main role was to connect people through an online network so they could share the content they created. The users were the speakers and the publishers of the content. Facebook was the carrier of the content.

That all changed in 2006 when Facebook introduced its News Feed. The users no longer controlled what they saw when they logged on to the network; they now saw a “feed” of information that was controlled by the algorithms Facebook wrote. The company was no longer just a carrier of content. It had taken on an explicitly editorial role. Like the editors at newspapers or the producers at TV networks, it selected and arranged the information that its users saw. The users had become an audience for Facebook’s production.

The story of social media ever since has been a story of the refinement of feeds as a media product aimed at capturing and holding an audience. The platforms have invested billions of dollars in designing those feeds—what they contain, how they look, how they work—to make them as “engaging” as possible. To argue that the companies are still in the business of transmitting “user-generated content” is absurd. Saying that a social-media feed is the product of users is like saying that a hot dog is the product of cows and pigs.

The companies are not common carriers anymore; they’re media businesses. Yes, users still contribute posts and comments—though even those, in today’s era of influencers, creators, and AI, are often subsidized and actively shaped by the companies—but the essential content of social media is now the feeds produced by the platforms, not the individual messages posted by users. Go to Instagram and scroll through your feed. It’s obvious that what you’re experiencing is not discrete bits of user-generated content. It’s an elaborate, finely tuned media production manufactured by Instagram for an audience of one: you. The same goes for YouTube, X, TikTok, Facebook, Snapchat, Substack Notes, and, with a few exceptions, all the rest.

The feed is the content, and the social media company is its publisher. Period.

The question of whether social media companies should be held liable for harming people is a legally complex one, which would best be answered through courts of law. And that’s what should happen. Let the plaintiffs make their case, and let the defendants defend themselves. Section 230’s safe harbor doesn’t apply. Social media companies are, like other media companies, in the content-production business, and they’re responsible for their programming."

[via:

https://www.robinsloan.com/lab/feed-content/

who adds:

"I totally agree.

The capabilities of “mere conduit” digital infrastructure remain practical and useful; versions of this include, e.g., domain registrars and compute providers. Snag a domain on Gandi, spin up a worker on Cloudflare, and nobody will ever know about it unless you take some other action, under your own steam, to circulate what you’d made.

As Nick says, the big platforms are totally different: way beyond infrastructure.

Like I wrote in my most recent newsletter [https://www.robinsloan.com/newsletters/fogbound/ ]:

<blockquote>It’s only with abstraction that the trouble begins; only when connections become impersonal and automatic; when the owners and operators of internet systems reject the responsibility of standing behind the material they transmit and, especially, promote.</blockquote>"]]]></description>
<dc:subject>nicholascarr socialmedia content publishing 2026 responsibility algorithms internet web online section230 law legal facebook instagram youtube twitter tiktok snapchat substack feeds</dc:subject>
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<item rdf:about="https://podcasts.apple.com/us/podcast/sold-a-story/id1649580473">
    <title>Sold a Story - Podcast - Apple Podcasts</title>
    <dc:date>2026-01-22T07:10:36+00:00</dc:date>
    <link>https://podcasts.apple.com/us/podcast/sold-a-story/id1649580473</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Millions of kids can't read well. Scientists have known for decades how children learn to read, but many schools don't know about the research. They buy teacher training and books that are rooted in a disproven idea. In Sold a Story, Emily Hanford investigates four authors and a publishing company that have made millions selling this idea."

[Also here:

https://features.apmreports.org/sold-a-story/

"There's an idea about how children learn to read that's held sway in schools for more than a generation — even though it was proven wrong by cognitive scientists decades ago. Teaching methods based on this idea can make it harder for children to learn how to read. In this podcast, host Emily Hanford investigates the influential authors who promote this idea and the company that sells their work. It's an exposé of how educators came to believe in something that isn't true and are now reckoning with the consequences — children harmed, money wasted, an education system upended."

Episodes:

1: The Problem
https://podcasts.apple.com/us/podcast/1-the-problem/id1649580473?i=1000583258897

"Lee Gaul watches his daughter’s lessons during Zoom school and discovers a dismaying truth: She can't read. Little Zoe isn't the only one. Sixty-five percent of fourth graders in the United States are not proficient readers. Kids need to learn specific skills to become good readers, and in many schools, those skills are not being taught."

2: The Idea
https://podcasts.apple.com/us/podcast/2-the-idea/id1649580473?i=1000583260845

"Sixty years ago, Marie Clay developed a way to teach reading she said would help kids who were falling behind. They’d catch up and never need help again. Today, her program remains popular, and her theory about how people read is at the root of a lot of reading instruction in schools. But Marie Clay was wrong."

3: The Battle
https://podcasts.apple.com/us/podcast/3-the-battle/id1649580473?i=1000584047815

"President George W. Bush made improving reading instruction a priority. He got Congress to provide money to schools that used reading programs supported by scientific research. But backers of Marie Clay’s ideas saw Bush’s Reading First initiative as a threat."

4: The Superstar
https://podcasts.apple.com/us/podcast/4-the-superstar/id1649580473?i=1000584885997

"Teachers sing songs about Lucy Calkins. The longtime professor at Columbia University’s Teachers College is one of the most influential people in American elementary education today. Her admirers call her books bibles. Why didn't she know that scientific research contradicted reading strategies she promoted?"

5: The Company
https://podcasts.apple.com/us/podcast/5-the-company/id1649580473?i=1000585724130

"Teachers call books published by Heinemann their bibles. The company's products are in schools all over the country. Some of the products used to teach reading are rooted in a debunked idea about how children learn to read. But they've made the company and some of its authors millions."

6: The Reckoning
https://podcasts.apple.com/us/podcast/6-the-reckoning/id1649580473?i=1000586531339

"Lucy Calkins says she has learned from the science of reading. She's revised her materials. Fountas and Pinnell have not revised theirs. Their publisher, Heinemann, is still selling some products to teach reading that contain debunked practices. Parents, teachers and lawmakers want answers."

7: Your Words
https://podcasts.apple.com/us/podcast/7-your-words/id1649580473?i=1000612584598

"Voicemails, emails, tweets: We got a lot of messages from people after they heard Sold a Story. In this episode, we bring you some of their voices. A 10-year-old figures out why he has struggled to read. A mom stays up late to binge the podcast. A teacher confirms what he's suspected for years — he's not really teaching kids how to read."

8: The Impact
https://podcasts.apple.com/us/podcast/8-the-impact/id1649580473?i=1000613478838

"Across the country, school districts are dropping textbooks, state legislatures are going so far as to ban teaching methods, and everyone, it seems, is talking about "the science of reading." Things have been changing since Sold a Story was released. In this episode, we tell you about some of the changes and what we think about them."

9: The Aftermath
https://podcasts.apple.com/us/podcast/9-the-aftermath/id1649580473?i=1000651386152

"Schools around the country are changing the way they teach reading. And that is having major consequences for people who sold the flawed idea we investigated in Sold a Story. But Lucy Calkins, Irene Fountas and Gay Su Pinnell are fighting back — and fighting to stay relevant. And so are organizations that promoted their work: the Reading Recovery Council of North America and the publisher Heinemann."

10: The Details
https://podcasts.apple.com/us/podcast/10-the-details/id1649580473?i=1000652106532

"Some of the teachers, students, parents and researchers we met in Sold a Story talk about the impact the podcast has had on their lives and in schools — and share some of their hopes and concerns about the "science of reading" movement."

11: The Outlier
https://podcasts.apple.com/us/podcast/11-the-outlier/id1649580473?i=1000694254052

"There's a school district in eastern Ohio where virtually all the students become good readers by the time they finish third grade. Many of the wealthiest places in the country can't even say that. And Steubenville is a Rust Belt town where the state considers almost all the students "economically disadvantaged." How did they do it?"

12: The Evidence
https://podcasts.apple.com/us/podcast/12-the-evidence/id1649580473?i=1000696465281

"There's a name for the program at the heart of Steubenville's remarkable reading results. It's called Success for All. It's been around for decades, and numerous studies have shown it's effective. But relatively few school districts use it. We trace the history of the program and why it's never really caught on."

13: The List
https://podcasts.apple.com/us/podcast/13-the-list/id1649580473?i=1000698031283

"Steubenville became a model of reading success. Then a new law in Ohio put it all at risk. In this episode, we look at the "science of reading" lists some states are making, why the program Steubenville has been using for 25 years isn't getting on many of these lists, and the surprising power of one curriculum review group."

14: The Cuts
https://podcasts.apple.com/us/podcast/14-the-cuts/id1649580473?i=1000722904221

"Education research is at a turning point in the United States. The Trump administration is slashing government funding for science and dismantling the Department of Education. We look at what the cuts mean for the science of reading — and the effort to get that science into schools."

There are some bonus episodes too.

"Hard to Read: How American Schools Fail Kids with Dyslexia
There are proven ways to help people with dyslexia learn to read, and a federal law that's supposed to ensure schools provide kids with help. But across the country, public schools are denying children proper treatment and often failing to identify them with dyslexia in the first place."

"Hard Words: Why Aren't Our Kids Being Taught to Read?
Scientific research has shown how children learn to read and how they should be taught. But many educators don't know the science and, in some cases, actively resist it. As a result, millions of kids are being set up to fail."

"At a Loss for Words: What's Wrong with How Schools Teach Reading
For decades, schools have taught children the strategies of struggling readers, using a theory about reading that cognitive scientists have repeatedly debunked. And many teachers and parents don't know there's anything wrong with it."

"What the Words Say
A false assumption about what it takes to be a skilled reader has created deep inequalities among U.S. children, putting many on a difficult path in life."

"Brains On: How Do We Learn to Read — and Why is It Hard?
This week we have an episode of a show called Brains On. It’s a science podcast for kids from our colleagues at APM. In this episode, Emily joins the Brains On hosts to talk about how people learn to read. Grab the kids in your life and listen to this special episode made for kids and curious adults.

"Emily Hanford LIVE from Planet Word with Reid Lyon and Margaret Goldberg
Early in her teaching career, Margaret Goldberg was skeptical of the science of reading. Today, she is working with neuroscientist Reid Lyon to bring it into more classrooms. Lyon and Goldberg joined Sold a Story host Emily Hanford for a live conversation about the challenges of translating research into practice. The event was part of the Eyes on Reading series at Planet Word, a museum in Washington, D.C., dedicated to words and language."]]]></description>
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    <title>The Age of Academic Slop is Upon Us - by Seva Gunitsky</title>
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    <dc:creator>robertogreco</dc:creator><description><![CDATA["what happens when AI automates "normal science"?"]]></description>
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<item rdf:about="https://www.mcsweeneys.net/articles/a-q-a-with-tucker-nichols-and-mcsweeneys-art-director-sunra-thompson-about-the-new-book-mostly-everything-the-art-of-tucker-nichols">
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    <title>W. David Marx — Blank Space: A Cultural History of the 21st Century — W. David Marx — On Margins — s02e04</title>
    <dc:date>2025-12-16T06:52:33+00:00</dc:date>
    <link>https://craigmod.com/onmargins/s02e04/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[See also:
https://craigmod.com/roden/109/ 
https://www.penguinrandomhouse.com/books/769187/blank-space-by-w-david-marx/ 

"Pop Culture Got Stale. Counterculture Went Right-Wing.
How the rise and fall of the nihilist hipster gave us the cruel reactionaries of today."
https://www.nytimes.com/2025/11/21/books/review/culture-right-wing-david-marx.html
https://archive.ph/idxdR

"Make Culture Weird Again
Even failures and half steps will be more interesting than the boring stuff."
https://www.theatlantic.com/culture/2025/11/blank-space-book-excerpt-culture/685037/
https://www.theatlantic.com/culture/2025/11/blank-space-book-excerpt-culture/685037/?gift=j9r7avb6p-KY8zdjhsiSZzZAypQ-DyUUwPxyZrMsWaI
https://archive.ph/KJmQM ]]]></description>
<dc:subject>wdavidmarx craigmod 2025 culture japan analog internet web online media film television tv music josephkony 2012 bootsriley davidsolomon jordanpeterson blankspace history publishing distribution tastemakers criticism critics editing djs gatekeeping</dc:subject>
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<item rdf:about="https://jomc.substack.com/p/levers-that-have-grown-rusty">
    <title>levers that have grown rusty - by Joanne McNeil</title>
    <dc:date>2025-11-18T20:20:14+00:00</dc:date>
    <link>https://jomc.substack.com/p/levers-that-have-grown-rusty</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["I’m not sure if it helps anyone—I’m not sure if it even helps me, but for the past couple years, whenever the world has felt especially topsy-turvy, I’d think well, everyone is a loser right now. Because everyone is a loser. The world’s richest man. The president. Everyone…

Everyone in culture industries. Those kind of shadowy figures, “producers” and “execs,” the kind you’d hear about from the 80s or 90s or even the 00s or 10s, who could ruin your career if you crossed them—who has that power today? Perhaps some people have constructed Good Bye, Lenin!-style but evil simulations of 2003 or 1983, and believe they still have that power now, but you can only lie to yourself for so long. Like I said, I don’t know if it helps, but I have found myself thinking about power differently lately as I realize there are no kings, if there ever were—just people who represent ideas with purchase over the minds of others, with hands on various levers to reach these minds. Levers that have grown rusty.

Some of the fake kings have money. Many are burning to the ground their own industries—the sources of what had been their clout and prestige to weed out what they call “wokeness,” even though, ultimately, they couldn’t care less if sitcoms are diverse or not, not even about pronouns. What they fear is what every rich person fears: justice and accountability. They have been so coddled, so isolated from the world, that sarcastic tweets from random people felt to them like the blade edge of a guillotine. Wrath toward the greater public—a public they must court if not serve, has come back to them in the end, as voided cultural capital and waning influence.

The remaining culture industries with budgets will cut checks to the worst possible people. Those who cared have left or were forced to leave, and the ones who remain have stopped pretending. Meanwhile, as AI slop enters institutional spaces, in the absence of curatorial instincts, exhibition is reduced to merchandizing.

There’s actually a fucking Beeple exhibition at LACMA right now. I went to LACMA to walk around, to escape the cynical world represented in the noisy apps on my phone. It was a little depressing to see it there, taking up space, expressing nothing but empty spectacle. When that same room, containing a work of art instead of a gag or bit (or whatever you call a Beeple), could offer solace, an experience of connection and meaning. Something that can change your life or make you think or take you out of this gray world for even a minute or two.

For those of us who care about art and books and, at some cost, both the continued production of new work and survival of what has been made, this is a challenging time. But from my tiny perch here, I encourage anyone reading this to stop playing rigged games. The first step is in realizing what’s fake is fake. Why legitimize institutions set on dismantling their own institutional memory? What is the money worth to you when you count all the strings attached? What can you do with your time and attention and care other than fight for charred crumbs among people who might otherwise be your friends?

As an author, I’d like nothing more than to write another book and throw it out in the world, letting it land where it lands; but finding readers doesn’t work that way. Maybe it does for like Rachel Kushner or Sally Rooney, but for the rest of us, there are various broken ecosystems to navigate. An emerging writer has to think about how they want their book published, an emerging filmmaker has to think about distribution, an artist has to think about gallery representation and how to engage with institutions. Neglecting what choices you do have, is where the despair sets in.

There aren’t many choices or great choices, but these are still choices. I think of it as part of the process now, finding the natural way forward for the work.

What does it take of me, with as little as I have, to stick to my principles, to endure when times are lean and hard?—and not just endure on my own, but to give back. Because everyone has to give back. Culture doesn’t happen alone.

Thanks for reading."]]></description>
<dc:subject>joannemcneil 2025 publishing film writing howwewrite ai artificialintelligence generativeai culture internet web online beeple lacma institutions rachelkushner sallyrooney enshittification attention time power genai</dc:subject>
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<item rdf:about="https://www.youtube.com/watch?v=3LnHruJPPsY">
    <title>Against Brainrot — how to read &amp; write more online - YouTube</title>
    <dc:date>2025-11-17T19:36:45+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=3LnHruJPPsY</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["People are panicking about the literacy crisis, about waning attention spans and why technology is making everything worse. But some people — like writer, software designer, and literary critic Celine Nguyen — have managed to not only retain their engagement with art and culture and literature, but actually deepen it with the help of the internet and social media.

In this conversation, Celine talks through how she went from tech to art school, taught herself to be a literary critic, and learned to love social media, Substack, and AI. 

[00:00:00] Jumping from Silicon Valley to the art world
[00:11:00] The internet and “research as leisure activity”
[00:26:34] Contrarian optimism about AI and art
[00:48:57] How can we measure progress in culture?
[01:04:47] Celine’s personal tech/media habits

Follow Celine's work at personalcanon.com and Jasmine at jasmi.news."

[transcript:
https://jasmi.news/p/celine-nguyen

notes here too:
https://www.personalcanon.com/p/ten-thousand-takes-on-tech-culture ]]]></description>
<dc:subject>celinenguyen jasminesun art literacy literature technooptimism siliconvalley optimism contrarianism ai artificialintelligence progress culture media technology internet web online substack socalmedia literarycriticism humanities philosophy compsci walterbenjamin specialization howweread howwewrite karlmarx dialecticalmaterialism davidharvey reading education learning howwelearn criticaltheory stanford communication access accessibility sensemaking makingsense generalists lingo translation jargon ideology worldview disruption information knowledge abstraction decontextualization algorithms amateurs research amateurism zeyneptufekci extremism context discovery writing geography radicalization venkateshrao consciousness metrics analytics socialmedia discourse conversation attention creativity forums hierarchy llms slop aislop economics ecosystems commercialart culturalproduction publishing excess</dc:subject>
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<item rdf:about="https://olivia.science/ai">
    <title>Critical AI - Olivia Guest</title>
    <dc:date>2025-10-30T17:38:36+00:00</dc:date>
    <link>https://olivia.science/ai</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["On this page are some resources for Critical AI Literacy (CAIL) from my perspective. Also see: the project homepage [https://www.ru.nl/en/research/research-projects/critical-ai-literacy-cail ]and this press release on our work [https://www.ru.nl/en/research/research-news/opposing-the-inevitability-of-ai-at-universities-is-possible-and-necessary ].

As we say here [https://www.civicsoftechnology.org/blog/no-ai-gods-no-ai-masters ], CAIL is:

<blockquote>an umbrella for all the prerequisite knowledge required to have an expert-level critical perspective, such as to tell apart nonsense hype from true theoretical computer scientific claims (see our project website). For example, the idea that human-like systems are a sensible or possible goal is the result of circular reasoning and anthropomorphism. Such kinds of realisations are possible only when one is educated on the principles behind AI that stem from the intersection of computer and cognitive science, but cannot be learned if interference from the technology industry is unimpeded. Unarguably, rejection of this nonsense is also possible through other means, but in our context our AI students and colleagues are often already ensnared by uncritical computationalist ideology. We have the expertise to fix that, but not always the institutional support.</blockquote>

CAIL also has the goal to repatriate university technological infrastructure and protect our students and selves from deskilling — as we explain here [https://www.ru.nl/en/research/research-news/opposing-the-inevitability-of-ai-at-universities-is-possible-and-necessary ]:

<blockquote>Within just a few years, AI has turbocharged the spread of bullshit and falsehoods. It is not able to produce actual, qualitative academic work, despite the claims of some in the AI industry. As researchers, as universities, we should be clearer about pushing back against these false claims by the AI industry. We are told that AI is inevitable, that we must adapt or be left behind. But universities are not tech companies. Our role is to foster critical thinking, not to follow industry trends uncritically.</blockquote>

See more at — and please cite — the preprint here:

<blockquote>Guest, O., Suarez, M., Müller, B., et al. (2025). Against the Uncritical Adoption of 'AI' Technologies in Academia. Zenodo. https://doi.org/10.5281/zenodo.17065099 </blockquote>

Here is a wonderfully done interview by Kent Anderson and Joy Moore [https://www.the-geyser.com/pod-interview-with-olivia-guest-and-iris-van-rooij/ ], where we got to speak at length on these topics: Safeguarding Science from AI: An Interview with Olivia Guest and Iris van Rooij [https://www.youtube.com/watch?v=p9w0FiHo1RU ]. In general, have a look at the various resources here, such as the blog posts [https://olivia.science/ai#blogs ] and preprints and published papers [https://olivia.science/ai#research ] to understand our various perspectives."]]></description>
<dc:subject>ai artificialintelligence ailiteracy criticism oliviaguest science publishing 2025 kentanderson joymoore edtech</dc:subject>
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    <title>Trump, I Do Mind Dying - YouTube</title>
    <dc:date>2025-09-25T23:59:51+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=55sjVjyIZk4</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[Also here:
https://www.youtube.com/watch?v=Ri_UOH202pc
https://www.youtube.com/watch?v=AcVGlqL1uhg ]]]></description>
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<item rdf:about="https://www.youtube.com/watch?v=QvtUMh-V6Ts">
    <title>Ghasan Kanafani, the right of return, and the perils of Palestinian statehood | with Hazem Jamjoum - YouTube</title>
    <dc:date>2025-09-23T17:14:26+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=QvtUMh-V6Ts</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Ghassan Kanafani wasn’t merely a writer. He was a revolutionary journalist. artist and editor whose immense volume of work continues to shape generations of Palestinian thinkers, journalists and activists. 

In this one on one with Hazem Jamjoum, a Palestinian writer and cultural historian, unpacks Kanafani’s legacy and the meaning of his work during a time of Israel’s genocide in Gaza and the recurring calls for Palestinian statehood."]]></description>
<dc:subject>ghasankanafani hazemjamjoum palestine literature righttoreturn unrwa publishing 2025 israel genocide ethniccleansing assassination statehood liberation palestinianauthority journalism activism rightofreturn</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
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<item rdf:about="https://locusmag.com/2025/09/commentary-cory-doctorow-reverse-centaurs/">
    <title>Commentary: Cory Doctorow: Reverse Centaurs – Locus Online</title>
    <dc:date>2025-09-13T19:51:37+00:00</dc:date>
    <link>https://locusmag.com/2025/09/commentary-cory-doctorow-reverse-centaurs/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["In other words: Hearst’s King Features, who pub­lished the “Summer Reading Guide,” replaced 30 interns, 10 newsroom journalists, and an entire fact-checking department with one freelancer. No one has reported on how much Buscaglia got paid to write all those lists, but if it comes out to the total wages of all those people whose job he was doing, I’ll stick my tongue in a light socket.

In Buscaglia’s quotes to Koebler, it’s clear that this isn’t a person who is enjoying his AI experience. Whereas I, another freelance writer, found my sole use of AI in a writing project to be absolutely delightful.

It’s not hard to understand the difference here, of course.

There’s a bit of automation theory jargon that I ab­solutely adore: “centaurs” and “reverse-centaurs.” A centaur is a human being who is assisted by a machine that does some onerous task (like transcribing 40 hours of podcasts). A reverse-centaur is a machine that is assisted by a human being, who is expected to work at the machine’s pace. That would be Buscaglia: who was given an assignment to do the work of 50 or more people, on a short timescale, and a shoestring budget.

I don’t know if Hearst told him to use a chatbot to generate their “Best of Summer Lists,” but it doesn’t matter. When you give a freelancer an assignment to turn around ten summer lists on a short timescale, everyone understands that his job isn’t to write those lists, it’s to supervise a chatbot.

But his job wasn’t even to supervise the chatbot adequately (single-handedly fact-checking 10 lists of 15 items is a long, labor-intensive pro­cess). Rather, it was to take the blame for the factual inaccuracies in those lists. He was, in the phrasing of Dan Davies, “an accountability sink” (or as Madeleine Clare Elish puts it, a “moral crumple zone”).

When I used Whisper to transcribe a folder full of MP3s, that was me being a centaur. When Buscaglia was assigned to oversee a chatbot’s error-strewn, 64-page collection of summer lists, on a short timescale and at short pay, with him and him alone bearing the blame for any errors that slipped through, that was him being a reverse-centaur.

AI hucksters, desperate to keep their stock bubble inflated, will tell you that there is only one way that this technology can be used: to fire a whole ton of workers and make the survivors do their job at frantic Lucy-in-the-chocolate-factory cadence. While it’s true that this is the only way that their companies could possibly be worth the hundreds of billions of dollars that have been pumped into them (so far), there’s no iron law that says that investors in tech bubbles should always turn a profit (indeed, anyone who’s lived through this century knows that the opposite is far more likely).

The fact that the only way that AI investors can recoup their investment is by turning us all into reverse-centaurs is not our problem. We are under no obligation to arrange our affairs to ensure their solvency. In 1980, Margaret Thatcher told us, “There is no alternative.” In 1982, Bill Gibson refuted her thus: “The street finds its own uses for things.”

I know which prophet I’m gonna follow."]]></description>
<dc:subject>corydoctorow scifi sciencefiction ai artificialintelligence 2025 technology writing howwewrite publishing chicagosun-times markzuckerberg socialmedia whisper jasonkoebler marcobuscaglia dandavies hearstpublishing williamgibson margaretthatcher 1980 1982 madeleineclareelish</dc:subject>
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<item rdf:about="https://netigen.com/publish-once-syndicate-nowhere">
    <title>Netigen: Publish Once, Syndicate Nowhere</title>
    <dc:date>2025-09-04T06:25:44+00:00</dc:date>
    <link>https://netigen.com/publish-once-syndicate-nowhere</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>posse publishing 2024 web internet online platforms openweb socialmedia mollywhite webdev mastodon threads bluesky writing howwewrite audience syndication</dc:subject>
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<item rdf:about="https://theamericanscholar.org/scrolling-through/">
    <title>Scrolling Through - The American Scholar</title>
    <dc:date>2025-09-02T17:32:10+00:00</dc:date>
    <link>https://theamericanscholar.org/scrolling-through/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["No American novel of consequence has had a more tortuous or mythologized path to publication than On the Road. Jack Kerouac supposedly composed it in a days-long bout of frenzied typing, feeding a continuous scroll of paper into his typewriter to avoid breaking the flow of inspiration. Yet as Kerouac scholar Isaac Gewirtz has written, this is accurate but not true. The myth of the novel’s composition neglects the larger context of its long gestation and even longer struggle to reach print.

The accurate part is this: On April 2, 1951, Kerouac sat down in his then-wife Joan Haverty’s apartment in Manhattan and began banging out his first draft. He had on hand several rolls of drafting paper of just the right size for his Remington manual. He’d made the discovery, he told her, that they would “save me the trouble of putting in new paper, and it just about guarantees spontaneity.” For 20 days straight, Kerouac typed so furiously that his T-shirts became soaked with sweat. By April 22, he had completed a 125,000-word draft typed in an eye-straining, comma-starved, single-spaced format, with no paragraphs or page breaks. The resulting scroll was 120 feet long. As an object to be read, it was utterly impractical, but Kerouac had unintentionally replicated the format of the books of antiquity before the invention of the codex. In transcribing his peripatetic cross-country adventures, Kerouac brilliantly married the method to the matter: he wrote fast because, as he put it in one of his notebooks, the “road is fast.” Movement and speed were of the essence. On the Road reads like a pilgrimage without a shrine at the end, an Odyssey without an Ithaca. All the subsequent talk, though, about “spontaneous bop prosody” obscures the fact that the book took years to write and then underwent an even longer process of revision.

The true part is this: On August 23, 1948, Kerouac wrote in his notebook that he had “another novel in mind—‘On the Road’—which I keep thinking about: about two guys hitch-hiking to California in search of something they don’t really find, and losing themselves on the road, and coming all the way back hopeful of something else.” At the time, he was finishing the final chapters of The Town and the City, an autobiographical novel about the life of his French-Canadian family. The completed manuscript would be acquired the following year by Robert Giroux, a Maxwell Perkins–grade editor at Harcourt, Brace who worked with T. S. Eliot and many other notables. He and Kerouac enjoyed a close and warm working relationship, spending months editing and revising the plus-size manuscript while Kerouac occupied an empty office at Harcourt for weeks at a time.

A few years older than Kerouac, Giroux had graduated from Columbia in 1936. Kerouac had gone there, too, on a football scholarship, but dropped out in 1942. After stints in the merchant marine and the U.S. Navy Reserve, he’d returned to New York and begun to associate with a colorful circle of aspiring young writers, petty thieves, drug addicts, and unclassifiable reprobates. Together, they would become known as the Beats, chief among them Allen Ginsberg, William S. Burroughs, Lucien Carr, Herbert Huncke, Hal Chase, and John Clellon Holmes. It was Huncke, a heroin-addicted adept of the lower depths, who first introduced the group to the notion of being “beat,” as in defeated by the harsh conditions of life. It was Kerouac who would apply the word in its uppercase form to this nascent literary movement and subsequently expand the concept to encompass the idea of “beatific,” asserting that the Beats were on a religiously inspired vision quest.

Cultural critics have interpreted the Beat movement as a response to the grim postwar atmosphere created by the atomic bomb, the discovery of the death camps, and the advent of the Cold War, and later as a revolt against the ’50s regime of social conformity. In the ’40s, though, the early Beats were simply a bunch of guys, albeit three of them geniuses, with simpatico literary interests who got off on their rash and aimless adventures together. They were familiar scuffling artistic types who would have fit easily into the Parisian world of La Vie Bohème, but some of them were seriously bent in a way that would make any détente with bourgeois existence impossible. Their milieu was an unusual one in which the criminals really wanted to be writers and the writers really wanted to emulate the criminals.

Among them was Neal Cassady, a muscular, wired, fearless, reckless cowboy-like figure out of the American West. He was also a charismatic sociopath, a motor-mouthed car thief, and a con man whose charm was exceeded only by his amorality. Born in 1926, quite literally on the side of the road, Cassady had been carelessly cared for by his alcoholic father, growing up in flophouses and fleabag hotels and doing stints in reformatories in the Denver area. By his late teens, he was reputed to have stolen hundreds of cars, and he could drive them the way Chuck Yeager could fly a fighter jet, all the while unspooling an endless monologue on whatever subjects his perpetually firing neurons lighted on. Free of any formal education after grammar school, he had spent many hours in Denver libraries reading promiscuously and would drop the names of Nietzsche, Schopenhauer, and Proust into his spiel for effect. Of all the unlikely things, he wanted to be a writer.

In 1946, Cassady drove a stolen car to New York City with his teenage bride, the overripe LuAnne Henderson, to meet the members of the Morningside Heights crowd, whom he had heard about from a friend in common. Kerouac first encountered Cassady that December in the newcomer’s cold-water flat in Spanish Harlem. Characteristically, Cassady answered the door in the nude. Thus began a literary bromance to rival those of the fictional Natty Bumppo and Chingachook or Huck Finn and Jim. Over the next five years, Kerouac ricocheted across the continent several times by bus, train, thumb, and car, usually with Cassady at the wheel, since Kerouac, ironically enough, never procured a driver’s license. It was these trips that provided Kerouac with the raw material of On the Road, and it was Cassady, fictionalized as Dean Moriarty in the novel, who gave him the energy and artistic courage to realize his lyrical and ecstatic vision of American life.

In his 2007 book, Beatific Soul: Jack Kerouac on the Road, Gewirtz traced Kerouac’s evolving conception of the novel from the surviving false starts, partial drafts, proto-versions, and notebooks. In the four years between his first embryonic notion for the book to the day he started to type the scroll, Kerouac struggled to find the right authorial voice. Style was a considerable problem. “I find that I want a different structure as well as a different style in this work,” Kerouac wrote in his notebook, “each chapter as a line of verse in the general epic poem.” He would find a good part of the solution in emulating the jazz innovators of bebop, especially the improvisational geniuses Charlie Parker and Dizzy Gillespie. “I wish to evoke that indescribable sad music of the night in America—for reasons that are never deeper than the music,” he continued. “Bop only begins to express that American music. It is the actual inner sound of the country.”

When Kerouac began typing his first full draft, whatever spontaneous bop prosody he practiced was undergirded not simply by years of contemplation and trial runs but by detailed notes. The road to finally writing On the Road had been carefully mapped out. A significant amount of the scroll edition was copied, either verbatim or close to it, from the notebooks and from the earlier partial drafts of the novel. Kerouac had also executed a tremendously detailed “character chronology” spanning 1946 to 1951, as well as chapter outlines. Despite the myth of his novel’s sweat-soaked, 28-day birth, Kerouac’s preparations indicate that he was a highly ordered and self-conscious literary artist. Contra Truman Capote’s vicious quip, this wasn’t typing, it was writing.

Soon after finishing the scroll, Kerouac went to Giroux’s office to show him the book, elated and exhausted by what he had achieved. “He was in a very funny, excited state,” Giroux recalled. Kerouac unfurled the scroll right across the office “like a piece of celebration confetti.” Startled by the yards of typescript on his floor, Giroux said the worst possible thing: “But Jack, how are we ever going to edit this?” He really meant: How could the words on the unwieldy scroll ever make their way to a typesetter and printer? But Kerouac took it the wrong way and fell into a rage. “This book has been dictated by the Holy Ghost!” he yelled. “There will be no editing!” He rolled the scroll back up and stormed out of the office."]]></description>
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<item rdf:about="https://www.nplusonemag.com/issue-45/the-intellectual-situation/the-new-new-reading-environment-1/">
    <title>The New New Reading Environment | Issue 45 | n+1 | The Editors</title>
    <dc:date>2025-08-19T03:27:53+00:00</dc:date>
    <link>https://www.nplusonemag.com/issue-45/the-intellectual-situation/the-new-new-reading-environment-1/</link>
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<item rdf:about="https://www.youtube.com/watch?v=IfjtP2QVsOQ">
    <title>Political Islam’s 120-year story - from anti-colonial struggle to now | John Esposito | UNAPOLOGETIC - YouTube</title>
    <dc:date>2025-08-10T21:26:20+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=IfjtP2QVsOQ</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["In this episode of UNAPOLOGETIC Professor John Esposito — one of the world’s foremost scholars on political Islam — unpacks 120 years of modern Islamic movements. From Afghani and Abdu’s 19th-century reformist vision, through Hassan al-Banna and Maududi’s activism, to Sayyid Qutb’s radical turn, we trace the intellectual and political forces that shaped the Muslim world. We explore the Iranian Revolution, the Afghan war, democratic Islamists, authoritarian crackdowns, and how the West’s perceptions of Islamism were forged. This is a masterclass in the history, ideas, and global impact of political Islam.

UNAPOLOGETIC is hosted by Ashfaaq Carim

Chapters
 0:00 – Intro & episode setup
 2:33 – Esposito’s unlikely journey
 5:41 – Immersion in Muslim scholarship
 10:14 – Plan: 120 years’ history
 12:14 – Afghani & Abdu’s vision
 15:45 – Islam as civilization & faith
 18:09 – Abdu’s modernist reform ideas
 22:02 – Anti-colonial political Islam roots
 23:54 – Al-Banna & Maududi emerge
 26:44 – Movements spread transnationally
 30:58 – Ideas spread without media
 33:15 – Critique of elites & clerics
 38:58 – Sayyid Qutb’s radical turn
 43:39 – America through Qutb’s eyes
 47:14 – Nasser’s crackdown & prisons
 50:33 – Cross-pollination of movements
 52:47 – Iranian revolution reshapes politics
 55:03 – Authoritarianism fuels radicalisation
 57:12 – Gradualists vs violent factions
 1:04:05 – Revolution’s impact on perceptions
 1:09:58 – Shah, hostage crisis, US errors
 1:18:22 – Afghan jihad to al-Qaeda
 1:27:05 – Democratic Islamists in power
 1:35:48 – Post-Cold War Islamism shifts
 1:40:19 – 9/11 & war on terror
 1:49:15 – Arab Spring & Brotherhood
 1:53:32 – Egypt’s coup & repression
 2:02:08 – Islamism, democracy & inclusion
 2:07:39 – Misrepresentation in Western discourse
 2:12:22 – Closing reflections & lessons"]]></description>
<dc:subject>johnesposito ashfaaqcarim 2025 islam history politics politicalislam anticolonialism modernism iran transnationality iranianrevolution revoution society muslims democracy arabspring brotherhood islamicbrotherghood sayyidqutb 9/11 egypt repression us afghanistan movements civilization faith muslimbrotherhood abula'lamaududi muhammad'abduh jamalal-dinal-afghani afghani abdu abduh pakistan 'abduh maulanamaududi india panislamism turkey modernity 1960s 1970s malaysia indonesia transnationalism islamism wwi ww1 authoritarianism radicalization 20thcentury sudan syria jamaat-e-islami jamaat uk jihad britishempire imperialism france corruption elites religion islamicmovements activism worship hassanal-banna maududi al-banna west europe science technology printing writing publishing ottomanempire westernization secularism culture economics materialism coldwar palestine israel russia secularnationalism osamabinladen ayatollahkhomeini necmettinerbakan receptayyiperdoğan erdoğan isis al-qaeda neocolonialism mohamma</dc:subject>
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    <dc:date>2025-07-31T20:17:00+00:00</dc:date>
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    <dc:creator>robertogreco</dc:creator><description><![CDATA["Escape newsletter inbox chaos and algorithmic surveillance by building your own enshittification-proof newspaper from the writers you already read"]]></description>
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    <title>Revealed: Harvard publisher cancels entire journal issue on Palestine shortly before publication | Harvard University | The Guardian</title>
    <dc:date>2025-07-25T01:29:52+00:00</dc:date>
    <link>https://www.theguardian.com/education/2025/jul/22/harvard-educational-review-palestine-issue-cancelled</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["As Harvard’s feud with Trump escalated, so did tensions over an ‘education and Palestine’ issue of a prestigious journal. Scholars blame the ‘Palestine exception’ to academic freedom"]]></description>
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<item rdf:about="https://www.youtube.com/watch?v=Jg_F19hYoaE">
    <title>The Internet Con - YouTube</title>
    <dc:date>2025-07-02T16:07:34+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=Jg_F19hYoaE</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Author and activist Cory Doctorow joins us to discuss The Internet Con, his call to reclaim internet control from Big Tech. From locked-down platforms to the illusion of choice online, Cory lays out how interoperability can break corporate monopolies-and why reshaping the digital landscape starts with empowering users to leave, remix, and reimagine the internet on their own terms.

Grab your copy of The Internet Con: https://www.versobooks.com/products/3035-the-internet-con

This conversation was recorded on 10/31/2023. Watch the full video recording at: https://archive.org/details/the-internet-con

<blockquote>Join us for a virtual book talk with author Cory Doctorow about THE INTERNET CON, the disassembly manual we need to take back our internet.

Resources shared:

Chat https://ia801705.us.archive.org/7/items/the-internet-con/The%20Internet%20Con.txt
The Internet Con https://www.versobooks.com/products/3035-the-internet-con

About The Internet Con
When the tech platforms promised a future of "connection," they were lying. They said their "walled gardens" would keep us safe, but those were prison walls.

The platforms locked us into their systems and made us easy pickings, ripe for extraction. Twitter, Facebook and other Big Tech platforms hard to leave by design. They hold hostage the people we love, the communities that matter to us, the audiences and customers we rely on. The impossibility of staying connected to these people after you delete your account has nothing to do with technological limitations: it's a business strategy in service to commodifying your personal life and relationships.

We can - we must - dismantle the tech platforms. In The Internet Con, Cory Doctorow explains how to seize the means of computation, by forcing Silicon Valley to do the thing it fears most: interoperate. Interoperability will tear down the walls between technologies, allowing users leave platforms, remix their media, and reconfigure their devices without corporate permission.

Interoperability is the only route to the rapid and enduring annihilation of the platforms. The Internet Con is the disassembly manual we need to take back our internet.</blockquote>

Check out all of the Future Knowledge episodes at https://archive.org/details/future-knowledge "]]></description>
<dc:subject>corydoctorow internet web online history platforms myspace facebook meta google 2023 drm internetarchive collectiveaction interoperability enshittification surveillance ads advertising siliconvalley monopolies publishing media intermediation disintermediation commodification relationships socialmedia extraction journalism walledgardens profits uber bigtech policy regulation antitrust ronaldreagan reaganism jimmycarter amazon law legal linakhan tracking napster deregulation music miltonfriedman libertarianism margaretthatcher economics capitalism newdeal crisis crises neoliberalism</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:4f1da74d8585/</dc:identifier>
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<item rdf:about="https://internetphonebook.net/">
    <title>Internet Phone Book</title>
    <dc:date>2025-05-16T14:52:39+00:00</dc:date>
    <link>https://internetphonebook.net/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["An annual publication for exploring the vast poetic web, featuring essays, musings and a directory with the personal websites of hundreds of designers, developers, writers, curators, and educators. Published since 2025."

[See also:
https://www.are.na/editorial/paging-the-poetic-web ]]]></description>
<dc:subject>poeticweb publishing web online art writing 2025 poetry internet slowweb slow elliottcost kristoffertjalve megmiller are.na print books phonebooks htmlreview zines</dc:subject>
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<item rdf:about="https://www.are.na/editorial/paging-the-poetic-web">
    <title>Paging the Poetic Web | Are.na Editorial</title>
    <dc:date>2025-05-15T18:41:51+00:00</dc:date>
    <link>https://www.are.na/editorial/paging-the-poetic-web</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[See also:
https://internetphonebook.net/ ]]]></description>
<dc:subject>poeticweb megmiller elliottcost kristoffertjalve 2025 are.na print slow slowweb web online internet books phonebooks htmlreview chiaamisola publishing zines art writing poetry</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:e4db464e0359/</dc:identifier>
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<item rdf:about="https://48hills.org/2025/05/notes-from-the-road-to-health-hell/">
    <title>Notes from the road to (health) hell - 48 hills</title>
    <dc:date>2025-05-08T02:57:41+00:00</dc:date>
    <link>https://48hills.org/2025/05/notes-from-the-road-to-health-hell/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["In Trumpworld, the unthinkable is now standard operating procedure."]]></description>
<dc:subject>brucemirken health healthcare medicine maga donaldtrump trumpism rfkjr robertkennedyjr covid-19 pandemic coronavirus vaccines antivax misinformation disinformation elonmusk cdc jama hhs johnbesser affordablecareact funding research disease diseaseprevention loganbeyer lgbtq brittanycharlton dei alzheimers publichealth anthonyfauci nih autism gracedanqingyang disabilities disability edwardrmartinjr firstamendment publishing aca obamacare</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:c965c6bb4c73/</dc:identifier>
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<item rdf:about="http://www.paraguaypress.com/publications/1334/">
    <title>The Social Life Of the Book - Paraguay Press</title>
    <dc:date>2025-04-18T05:05:59+00:00</dc:date>
    <link>http://www.paraguaypress.com/publications/1334/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["A collaboration between castillo/corrales, Paris and graphic designer and editor Will Holder, The Social Life Of the Book (2011-2015) was a collection of commissioned texts reflecting on books, and how they engage with the circulation of ideas and the agency of social situations. The series brought together artists, publishers, writers, designers, booksellers, etc. who consider books less as finished objects or forms but for their disruptive potential and their ability to produce new relationships, new publics and new meanings.

S.L.O.B developed as a series of 16-page, saddle-stitched signatures, available on postal subscription and in selected bookstores. In its contents as well as its distribution, the series aimed to focus readers’ attention on not only printed material as such, but also to the ecosystem that knowledge, writing, publishing and distributing form together."]]></description>
<dc:subject>books writing howwewrite reading howweread publishing distribution willholder ideas agency social text design graphics graphicdesign relationships</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:23620fcdff06/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:relationships"/>
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</item>
<item rdf:about="https://www.are.na/editorial/on-contamination">
    <title>On Contamination | Are.na Editorial</title>
    <dc:date>2025-04-17T22:15:16+00:00</dc:date>
    <link>https://www.are.na/editorial/on-contamination</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Anna Lowenhaupt Tsing points out that “Everyone carries a history of contamination;1 purity is not an option.”2  

My interest in contamination emerged while thinking about books and acts of publishing.3 I’ve always felt drawn to books, as both objects and methods, but my studies and my work both center around writing code. While writing my bachelor’s thesis, I started thinking specifically about publishing online — and about how the materialities of a book and the act of “making public” take on different qualities once they enter digital realms.4

I realized that most mainstream5 publishing on the web tends towards opaque, mediated platforms and seamless interaction; infinite yet restricting feeds.6 

Today, online interfaces are too often governed by corporations who commodify individualism and limit agency to a minimum of swipe movements, all while extracting and surveilling user data.  

But interfaces, like margins and thresholds, are zones of encounter.7

They are the sites of creation (writing)8 but also perception (reading) and circulation (gathering).9  

I read, write, and gather on interfaces: I browse “feeds,” open “folders,” close “windows,” and park “files” in my “drive.” My actions are dependent not only on a stable internet connection, but also the platforms and services that are designed to let convenience surpass criticality.

What if a platform's interface was regulated by those who inhabit and use it, rather than by corporate interests? Could we reimagine these interfaces as communal sites that emphasize unlearning and dialogue?10

In an attempt to answer these questions, I found myself coming back to the concept of contamination. As a metaphor for publishing online, it aims for the disruption and complication of digital interfaces, challenging concepts of individuality and authorship.

Contamination is a troubling metaphor with which I am striving for infectious interfaces — inviting the parasite I want in order to open up to the transformations that arise from one another.

Contamination is also a material metaphor that enables me to understand the real world implications that digital technologies and visualities bring forth. It helps me to consider the environments I work and publish in and their distinct materialities. 

When I trace contamination through digital and print interfaces I am crossing margins — the liminal spaces where interaction between two or more involved entities is situated.11 

How can we understand the in-between not as gaping void — an unbridgeable gap — but an invitation for encounter? How can we inhabit the digital margins?12

While seeking intertextual encounters in margins, I didn’t just come across comments and annotations. Footnotes caught my attention, too, because they are at once graphical (textual) interface elements but also part of a (networked) infrastructure.13 

Contamination enables us to reimagine ways of relating, and move towards encounters not assumptions.

Like André Breton's remarked, “One publishes to find comrades.”14"]]></description>
<dc:subject>kimkleinert contamination footnotes form writing howwewrite annatsing annalowenhaupttsing purity publishing digital ebooks relating intertectual text margins marginalia infrastructure networks assumptions encounters voids inbetween betweenness interface liminalty print materiality online internet web authorship individuality unlearning dialogue acknowledgement criticality criticism reading howweread creation perception circulation distribution platforms agency andrébreton citation references inbetweenness between</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:cf9fd1a42f0a/</dc:identifier>
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<item rdf:about="https://rosselliotbarkan.com/p/the-vanishing-genius">
    <title>The Vanishing Genius - Political Currents by Ross Barkan</title>
    <dc:date>2025-04-07T23:18:15+00:00</dc:date>
    <link>https://rosselliotbarkan.com/p/the-vanishing-genius</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["And I think, watching these children from afar, that almost none of them are going to conceive the next Pet Sounds or Song of Solomon or Mulholland Drive. For all the obsessing modern parents do over the fates of their children, they’re happy to toss out an iPad or a smartphone or a Nintendo Switch and let their boys and girls melt, slowly, in the blue light. A person close to me once suggested that wardens should start giving prisoners iPhones because there’s nothing that will more rapidly pacify an unruly and restless population. If iPhones were teleported back in time to the twentieth century, would we have a twentieth century? Much of the mass culture then, high and middle, was birthed, with little exaggeration, in unremarkable New York City public schools. Here’s one era: Paul Simon (Forest Hills HS ‘59, with Art Garfunkel), Carole King (James Madison HS ‘58), Barbra Streisand (Erasmus Hall HS ‘59), Neil Diamond (Lincoln HS ‘58, and attended Erasmus with Streisand), Barry Manilow (Easten District HS ‘61), David Geffen (New Utrecht HS ‘60), and Tony Visconti (New Utrecht HS ‘60). Gerry Goffin went to the more selective Brooklyn Tech and graduated in 1957. Lou Reed grew up in the nearby Long Island suburb of Freeport and graduated Freeport High in 1959. If you’re looking for literary lions, the city public schools have a few, including Arthur Miller (Lincoln HS ‘32), James Baldwin (attended DeWitt Clinton HS), Cynthia Ozick (Hunter College HS ‘46), and Norman Mailer (Boys High ‘39). This is not an argument for sending your precious offspring to neighborhood New York schools—no school anywhere has magic genius fairy dust to make your child into a generational talent—but it is a reminder that these men and women all had parents who behaved very differently than today’s spiritual technocrats. All of these giants, in their youth, had time to dream—and dream grandly. What kind of time do children have now? What about teenagers? Twenty-somethings? Brian Wilson once called music God’s voice and I mull this occasionally, the link between art and divinity and the purpose of a human life. If we want to give honor to something greater than ourselves, we must not squander the potential we do have, the genius we might harbor. To do so would be, if not a sin against creation, then a tragedy. And an avoidable one."

[via:
https://blog.ayjay.org/two-quotations-on-the-effects-of-phones/ ]]]></description>
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<item rdf:about="https://goodereader.com/blog/commentary/amazons-legal-battles-a-comedy-of-lawsuits">
    <title>Amazon’s Legal Battles: A Comedy of Lawsuits - Good e-Reader</title>
    <dc:date>2025-03-13T21:16:30+00:00</dc:date>
    <link>https://goodereader.com/blog/commentary/amazons-legal-battles-a-comedy-of-lawsuits</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["If Amazon were a person, it would be that student who insists they’re always being unfairly targeted—despite a permanent record that says otherwise."

...

"You know that kid who’s always getting sent to the principal’s office? At some point, you have to ask: is it the school… or is it just the kid? Well, if Amazon were a student, it would have a permanent seat in detention. From price-fixing to privacy invasions, this tech giant has faced more lawsuits than a bad reality TV star. Let’s take a walk down the courtroom aisle and see where the smoke has turned into legal fire.

Amazon’s Greatest Hits (of Litigation)

1997: Barnes & Noble Lawsuit – The “Biggest Bookstore” Battle

May 12, 1997: Barnes & Noble sued Amazon, basically calling it out for false advertising. Amazon had claimed to be “the world’s largest bookstore,” and Barnes & Noble wasn’t having it. The case settled out of court, meaning Amazon got to keep bragging rights, just with a little less enthusiasm.

1998: Walmart Lawsuit – The “You Stole My Employees!” Scandal

October 16, 1998: Walmart threw a fit and sued Amazon for allegedly swiping its former executives and using their trade secrets. The case was settled, and Amazon agreed to reshuffle some employees—because nothing screams “totally innocent” like some good ol’ internal reassignments.

2004: Soverain Software Patent Lawsuit – The Shopping Cart Caper

January 12, 2004: Amazon found itself in hot water for allegedly infringing on Soverain Software’s online shopping cart patent. Instead of dragging it out, Amazon settled for $40 million. That’s an expensive cart full of groceries!

2010: Macmillan E-book Pricing Dispute – The “Who Gets to Overcharge Readers?” Fight

January 2010: Amazon yanked Macmillan books from its site during a dramatic standoff over e-book pricing. Eventually, they made up, but not before proving that book pricing drama is way more intense than anyone expected.

2014: Hachette Book Group Dispute – The “Amazon vs. Authors” Smackdown

2014: Amazon and Hachette had a public spat about book prices. Amazon played hardball by delaying shipments and removing discounts, making it clear that even authors weren’t immune to its battlefield-style business tactics.

2020: Antitrust Investigations – The “Are We a Monopoly? Who, Us?” Episode

July 2020: The U.S. House Antitrust Subcommittee put Amazon under the microscope to figure out whether it was crushing the competition like a boot on an ant. The investigation is ongoing, but the general consensus? If it looks like a monopoly and acts like a monopoly…

2021: E-book Price-Fixing Lawsuit – The “Déjà Vu” Case

January 2021: Amazon allegedly conspired with publishers to keep e-book prices artificially high. This is what happens when you don’t learn from your previous fights with publishers. However, it’s worth noting that this round went to Amazon.

2023: Federal Trade Commission (FTC) Antitrust Lawsuit – The “You Again?” Special
September 26, 2023: The FTC and 17 states decided Amazon was getting too big for its britches and filed a lawsuit, accusing it of maintaining an illegal monopoly. The trial is scheduled for October 2026—plenty of time for Amazon to “restructure” a few things.

2025: Quebec Warehouse Closures – The “Labor Dispute of the North” (Mon Dieu!)

January 22, 2025: Amazon announced it was closing seven warehouses in Quebec, leaving 1,700 employees without jobs. The official reason? “Business strategy.” The suspected real reason? Unions.

February 4, 2025: The affected workers’ union, CSN, filed a lawsuit, calling Amazon out for its suspiciously timed closures. Because nothing says “we respect labor rights” like shutting everything down.

February 6, 2025: A Montreal resident took it to another level by suing Amazon for breaching its Prime delivery promise, because when all else fails, Canadians will fight for their right to two-day shipping.

2025: Consumer Location Data Tracking Lawsuit – The “We See You” Saga

January 29, 2025: A class-action lawsuit was filed in California, accusing Amazon of tracking users through third-party apps without consent. Just when you thought Google was the only one watching you…

Where There’s Smoke, There’s Bezos

If Amazon were a person, it would be that student who insists they’re always being unfairly targeted—despite a permanent record that says otherwise. With more legal drama than a courtroom TV show, one thing is clear: as long as Amazon keeps pushing boundaries, the lawsuits will keep rolling in. Whether it’s labor rights, monopolistic tendencies, or privacy concerns, the question isn’t if Amazon will be sued again—it’s when and for what this time? Stay Tuned!"]]></description>
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<item rdf:about="https://www.youtube.com/watch?v=CivlU8hJVwc">
    <title>Why are economists missing this? - YouTube</title>
    <dc:date>2025-01-26T20:33:08+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=CivlU8hJVwc</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Wealth inequality is surging in the UK and around the world. But economists in the media and universities are blind to it, leading to poor and misleading analysis. Why? Part 3 of Gary's Understand the Economy course."

[a comment:

"Hi Gary, 

PhD in Economics + Lecturer at a top UK university (which shall remain nameless).
I cannot begin to express how sad and frustrating it is for me (and most of my peers) to not be able to talk about this. Although a lot of research has been done on both, inequality and environmental costs... both continue to be excluded from ALL main economic data. The fact that we keep using GDP in its current format as out main economic indicator is beyond insane... but fact of the matter is universities in the US and the UK have become corporations, and research has become, for many, a launching pad into the private sector. The academic establishment has ZERO ties with real life workers unions or climate experts for example... zero coordination, and zero sense of social responsibility. 

I feel ashamed for our profession at this point...

EDIT (I did not expect so many people to engage with my comment... thank you): Just to clarify, In hindsight, my choice of words when I said we are not allowed to talk about these things was poor. There is no conspiracy to silence anyone!!! What I meant is that, just like in every area of academia, there are very clear and structured paths to climbing up the employment ladder and it is to say the least skewed in favour of somewhat derivative research with solid methodology that awards as many points as possible. This inevitably penalises anyone who wants to (for example as many of you have suggested in the comments) pursue collaborative research with environmentalists, sociologists, NGOs etc. Top economic journals will never publish your work meaning you will be at a serious disadvantage when competing for jobs/grants. Also, I want to make it very clear I am in no way suggesting that more mainstream economic research is bad or false!!!!"

another comment:

"I’m sort of uniquely positioned to comment on this video. I am a US trained human rights lawyer who focuses on workers’ human rights and the fight for equality, but with an MSc in economics from LSE and, importantly, a BA in anthropology. Furthermore, I have been married to a finance professor for nearly 30 years. So, I can confirm most of what Gary says is indeed true. I would just add the following:

1. I think the atomized approach where everyone is in their own utility-maximizing bubble is not just a mathematical necessity a la Samuelson, but a political choice that completely insulates policymaking based on theoretical economics from a solidarity approach which seems to have seeped into all policymaking, regardless of the issue. 

2. Related to this, the behavior of these utility-maximizing individuals being modeled is that basically all motivations are assumed, and often shoehorned into the mathematical models. I constantly ask why economists don’t speak with actual people to test their assumptions—>blank stares. 

3. economists actually believe that their models, and more importantly, their proofs, actually do prove how individuals behave. Since macro is basically just the aggregate of the micro models, they think their macro models also explain how economies work—it is simply the fault of people that they don’t understand how to maximize their utility.  

5. Related to point 4, economists believe that economics (especially finance) is a “science” not a lowly “social science”. This “economics as physics” approach also conveniently insulates politicians: “we can’t defy the markets which are a force of nature, our hands are tied” rather than what they really are which is a social construct which can be shaped to meet the needs of society as a whole. the growth of behavioral economics is helping to change this, but baby steps and inevitable backlash. 

6. rich people fund economics! The most prestigious Econ departments in the US are all heavily endowed by people who are heavily invested in holding onto atomization, modeling and economics approaches. Furthermore, they want this approach to economics to take over sociology, psychology and other social sciences so that they can be “real” sciences just like economics. 

7. Related to endowments, although many econ profs are not paid well, the tenured finance profs are paid quite well for doing what they love, which is publishing papers. My husband makes 1/4 of a million CH per year, and for about 6 years was paid an additional 200,000 from a group of Swiss banks. Many of his colleagues sit on boards, especially for insurance companies, and get paid on average another 1/4 million per seat they hold. So don’t feel sorry for tenured finance profs, at least in Switzerland or the US, 

Some hope: the broad popularity of Picketty’s work on inequality and the recent awarding of a recent Nobel prize dedicated to the team of empirical economists documenting inequality are encouraging trends. Sadly/predictably, rich donors are likely to double down on their funding of chairs for theoretical/model-based economists and try to undermine behavioral economics.

Keep up the great work!"

and another:

"Freidman said that framing economics as a mathematical science instead of a social science allowed him and his cohort to insulate themselves from the political and lived realities of what his (and his Chicago cohort’s) brand of economic theory created when implemented, often by force. 

This is clearly the reality of modern economics. It has become overrun with technocrats who have no sense of the profound impact economic policy has on the day to day lives of the masses. This has reduced the ability of economics and economists to act pragmatically or socially as these concerns are viewed as layman and inferior to the theoretical and often speculative high mathematics that invigorates proponents of modern economic orthodoxy/establishment."]]]></description>
<dc:subject>garystevenson 2025 economics highereducation highered math mathematics inequality wealth wealthinequality gdp perspective economists education uk policy research sociology environment climatechange globalwarming climate publishing mainstreameconomics politics environmentalism corporations corporatism funding averages distribution wealthdistribution miltonfriedman endowments socialsciences science policymaking governance government behavior equality brainwashing society universityofchicago lse copernicus paradigmshifts elitism statusquo us finance indoctrination incentives motivation wealthy 2024 2008 2009 2020 covid-19 coronavirus pandemic greatrecession globalfinancialcrisis interestrates modeling</dc:subject>
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<item rdf:about="https://www.newcartographies.com/p/truth-doesnt-scale">
    <title>Truth Doesn't Scale - by Nicholas Carr - New Cartographies</title>
    <dc:date>2025-01-23T08:47:53+00:00</dc:date>
    <link>https://www.newcartographies.com/p/truth-doesnt-scale</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Why online fact-checking will never work."

...

"I’ve been fact-checked. It’s an uncomfortable experience but also therapeutic. One has one’s flaws exposed — sloppiness, overreaching, wrong-headedness, impetuousness, ignorance, peevishness — and dealt with. Nothing gets swept under the rug; it all has to be resolved on the page, in public view. One emerges from a rigorous fact checking a chastened, and maybe a better, writer and man. And one avoids the embarrassment of the printed error, the unerasable kind. Fact checkers are an irritant. I salute them.

Sometimes fact checking is, like a Joe Friday interrogation, strictly about the facts. You get a date wrong. You garble a quotation. Usually, though, it’s fuzzier. It’s about interpretation. Are you pushing the facts too far? Are you skewing the evidence? Are you drawing a clear enough line between opinion and fact? In summarizing some event or concept, are you distorting it? There are no clear-cut answers to such questions. It comes down to a negotiation among writer and checker and editor, each of whom, like everyone else on the planet, has imperfect judgment. The negotiation is less about establishing a point of truth than about establishing truth’s boundaries.

Mark Zuckerberg is a silly man. (I sense that with his recent James Caan Action Figure makeover, he has achieved peak silliness, but I don’t want to underestimate him. He could still surprise me.) But his decision to end Meta’s outsourced fact-checking program was the correct one, if only because it ended a pantomime. And the timing of the announcement, on the the eve of the Trump restoration, was fortuitous in its cynicism, as it made clear that the Meta program was always about politics, not epistemology. Meta’s third-party fact checkers weren’t mapping the boundaries of truth. They were mapping the boundaries of orthodoxy.

Thanks for reading New Cartographies. Subscribe for free.

Zuckerberg’s decision to follow the lead of that intrepid and omnipresent truth-seeker, Elon Musk, and set up an X-like system of “Community Notes” is another political act, of equal cynicism. Handing off authority for fact checking to “the community” has practical advantages for Meta, as it did for X. The community doesn’t send invoices. Fact checking, like content creation, is unpaid labor that users, or at least some small subset of them, will contribute for free. And by “democratizing” fact checking, Meta gains a buffer against criticism. Responsibility, and blame, is shifted onto a faceless public.

Power to the people? Not quite. With Community Notes, the algorithm, as always, gets the final say. A volunteer fact checker proposes a note to attach to some dubious or simply contentious post. Other volunteers vote on whether the note should be published. And then the Meta algorithm steps in, weighs the votes according to its assessment of each voter’s viewpoint and objectivity, and makes a go/no go decision. The negotiation takes place within a black box. Democracy is a ghost in the machine. And by the time a decision is rendered — hours or days after the fact — the disputed post has circled the globe a thousand times.

Fact checking works, if imperfectly, in traditional publishing because it’s conducted by a small set of people who share similar values and goals. They may have different views about any number of matters, but they hold a common belief in the standards of journalism, a belief that the accuracy of information is a public good. Even if you’ll never arrive at capital-t Truth, the ideal of Truth gives you a useful set of bearings. It leads you to the best possible decision, in advance of publication.

Take fact checking out of that intimate, human setting, turn it into an industrial program of outsourcing, crowdsourcing, or automation, and it falls apart. It becomes a parody of itself. The desire to “scale” fact checking, to mechanize the arbitration of truth, is just another example of the tragic misunderstanding that lies at the core of Silicon Valley’s entire, grandiose attempt to remake society in its own image: that human relations get better as they get more efficient. A community, we seem fated to learn over and over again, is not a network."]]></description>
<dc:subject>nicholascarr factchecking socialmedia contentmoderation 2025 scale scaling meta facebook twitter internet web online howwewrite writing howweread reading publishing markzuckerberg instagram communitynotes scalability siliconvalley society networks</dc:subject>
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<item rdf:about="https://thepointmag.com/dialogue/violent-antagonisms/?">
    <title>Violent Antagonisms | The Point Magazine</title>
    <dc:date>2025-01-17T05:39:28+00:00</dc:date>
    <link>https://thepointmag.com/dialogue/violent-antagonisms/?</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["JS: You talked earlier about your purpose as a writer. What do you understand as the purpose of criticism?

TH: Criticism is just a genre that I write in. (Not the only one.) Then again, there’s an attitude that the very invocation of a purpose is somehow unrefined. Sometimes I want to insist to myself, or to whatever reader I imagine is paying attention to a particular piece, that it’s possible to have an explicitly left-wing perspective and approach literary objects and aesthetic questions without sacrificing any irony, sensitivity or sophistication on the level or the argument or sentence.

The implicit understanding is that if you’re committed, if you’re too overtly political, then you’ve made some Faustian pact with vulgarity. Am I overstating that? I have no idea. But in reviews, novelists actually get bonus points for not having a political perspective. There’s a long history to this that I can’t summarize well here. But even today certain kinds of critics—sometimes very established—are invested in displaying their exhaustion with politically inflected art. And I think: What are you exhausted with? Where did this twee McCarthyism come from? You’re an American. You’ve barely ever consumed any left-wing cultural production. You grew up middle-class in the most philistine capitalist state there has ever been, but you’re acting like you were raised on a diet of socialist realism and state radio broadcasts. Your closest experience to agitprop is Sesame Street. Your fatigue is so unearned, I can’t stand it. The neo-aestheticist boredom with social critique? That’s vulgar. And self-professed aesthetes should write good sentences, frankly. I guess some of them probably do. I end up thinking exactly what they think of people like me. I get snobbish about their snobbery. I read that sort of thing and go—oh dear. Pleasure? Profound feelings? How reductive. What a boorish, mechanical view of what art does and is for.

But it’s true that publishers put out a lot of chaff that presumes its own “urgency.” So why shouldn’t someone criticize it? I have to remember that the culture has been so flattened and dismantled that I have no idea what’s even hegemonic anymore, so it’s probably not worth the time to complain. Everyone’s just refining their own random niche, or trying to run their hideous little subjectivity for the literary equivalent of local office. Myself included. I guess that’s what Pierre Bourdieu meant by “distinction.”"]]></description>
<dc:subject>tobihaslett jessicaswoboda art artcriticism politics mccarthyism criticism 2022 pierrebordieu publishing sestamestreet agitprop socialcritique society culturalproduction left us capitalism liberalism genre howwewrite writing howweread reading realism snobbery urgency hegemony redscare</dc:subject>
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<item rdf:about="https://onethingnewsletter.substack.com/p/the-new-rules-of-media">
    <title>🟧 The new rules of media - One Thing</title>
    <dc:date>2024-12-13T06:59:40+00:00</dc:date>
    <link>https://onethingnewsletter.substack.com/p/the-new-rules-of-media</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["20 lessons for digital media’s present and future

Kyle Chayka: There’s an old-school magazine editorial format that goes something like “The New Rules for [X]” or “The New Way to [Y],” posing a tongue-in-cheek surety. New York magazine revived it in 2023 for its post-COVID etiquette package “The New Rules” for dating, partying, parenting, etc. Lately, some lines about the tumultuous landscape of digital media have been rattling around in my head, little axioms about How Things Work Now in our micro-era of news influencers, video podcasts, and group newsletters. So I packaged them up in that style. The implicit promise of all such guides: If you follow these rules, you will definitely succeed.

With input and contributions from Delia Cai, David Cho, and Nick Quah.


1. Everything is a personality cult, and maybe just a cult. You have to cultivate your own, no matter how small. To do so you must always be relatable, but also ideally aspirational. Just don’t get too out of the reach of your cultists.

2. New platforms emerge all the time and some of them become very popular. The best way to succeed online is to surf the upward wave of a new platform by committing 100% and catering all of your output to it. It’s a land grab game. Once you win the game, then you can be less obsequious to the platform.

3. No matter if you’re a text-only website, it is now in your best interests to hire camera-ready contributors who will make successful video-podcast clips. The problem is journalists and critics aren’t generally known for their personal aesthetic appeal.

4. Parasocial relationships are the name of the game. When people call for a Joe Rogan of the left, it seems like they don’t realize that one of the reasons he is so powerful is that he is many of his listeners’ best friend. People spend hours and hours a day with him; his show and its extended universe have become an on-demand loneliness killing service. The power (and value) of that relationship is unmatched. Puck is a parasocial publication, that’s why you hear the tentpole writers’ voices in solo podcasts.

5. Consumers tend to find a few trusted sources of facts and opinions and stick to them, then it’s hard to tear the consumers away. The sources could be podcasts or influencers or TikTok accounts or platforms. But when one sinks into decay or disappears completely there’s a chance to grab the formerly loyal consumers.

6. Each time a platform decays or fades in popularity there is a fresh chance to reset the online hierarchy. New voices go from obscurity to prominence and old brands start losing their holds on authority. Look for those moments and take advantage of them. (See the exodus from X to Threads and Bluesky.)

7. Locality and specificity are good things and offer ways to preserve meaning in the increasingly contextless internet. You have to remain tied to your own digital geography or the scope of a specific viewpoint. An audience wants to feel like an in-group, like they’re in on the joke, even if that joke is just that the mayor of New York sucks.

8. The most compelling publications or media brands are the ones that can throw the best parties, because it shows they can mobilize an IRL group of interesting people, who are then consumers and customers and clients. (See Feed Me, The Drift, Byline / The Drunken Canal cinematic universe.) Media brands increasingly work like fashion brands: Consumers have to want to wear them. If no one wants to come to your party, you’re doing it wrong.

9. Be vigilant. Break up with them before they can break up with you, whether it’s platforms, employers, or audiences.

10. Average consumers are less obsessed with newsiness than the media industry tends to think. Evergreen content is good, whatever is interesting is good, even if it’s “old.” Non-newsy newsletters are replacing the racks of undated magazines at the grocery store checkout and they’re probably making more money than you are. (See also the true crime boom: Who cares if it’s not a recent murder?)

11. If you want a publication or a writer / podcaster / video maker to continue existing, find a way to pay for their work as directly as possible. Your fav old magazines and sites are going to continue disintegrating and contributors will spin off solo or in little groups. (See Hearing Things from ex-Pitchfork staff, Best Food Blog from ex-Epicurious and Bon Appetit staff.) The job as a consumer is to find and support them

12. Everything is iterative. A single Instagram or Twitter account becomes a newsletter becomes a small publication with a few contributors becomes a corporation. (See The Free Press.) Thus it makes sense to build your concept in public and test its engagement at every stage. Every powerful brand starts with a single post. As with restaurants, new publications or writerly personas will pop up in established spaces and then go independent when they can survive alone.

13. Everything is multi-platform and multimedia. Not just journalist-personalities, but every magazine issue, every feature package, every article. The article is just the intellectual property made to be leveraged in as many spaces as possible. The presentation has to be optimized in every venue: You need good Instagram pinned posts, whether you’re a person or a brand, not that there’s a difference.

14. Broadcast on every channel, at least if you want to intensify your personality cult: text, livestream, video, audio. Jamelle Bouie broadcasts his ideas (and persona) on every platform at once. His TikTok commenters mostly ask him where he buys his very fashionable jackets. Now we’re watching Ezra Klein talk on the NYT site as well as listening to him. You have to be better than the rando parroting your articles in a selfie video.

15. No one is media literate. The more you explain who you are and what you do, the better. Preface your newsletter with the explanation of wtf you’re writing, anyway, because your subscribers don’t remember. The “enhanced bios” of NYT, Vox, etc, are long because of SEO but they also make explicit the expertise that was once just assumed from professionalized media.

16. Rely on nothing you can’t take with you. For now, Substack email lists and Stripe charges are still portable. If they weren’t, I would move to Ghost, because Substack’s incentive is to get you as locked in as possible. (Patreon still keeps your Stripe info, therefore fuck Patreon.) The same goes for audiences: Direct traffic, through homepages or email inboxes, is the most reliable because no one can take it from you, but it’s the hardest to cultivate.

17. The traditional metrics of success don’t matter. Don’t rely on the old regime to recognize the achievements or potential of the emerging one. There’s no Pulitzer for newsletters or TikTok explainers; BuzzFeed News died winning a single one. The most successful small digital media businesses are YouTube channels that no NYT exec will ever recognize.

18. Advertising will never die. Even if Substack thinks it designed itself as the anti-ad content ecosystem, just take a look at all the newsletters with sponsored posts, classified listings, and partner email sends. Going subscription-only means leaving money on the table, which no media company can afford. Display advertising alone is kind of impossible, too. Semafor makes a major chunk of its revenue from IRL sponsored schmoozing events

19. Nothing matters more than the relationship between a person, brand, or publisher and their audience. Screentime has become a colosseum where everything is in competition with everything else: email from work competes with text from a friend competes with Instagram and Tiktok. Every second for the viewer is just that viral video where the person picks between two pop stars. You’re always deciding what to pay attention to. The relationship between person-who-makes and person-who-consumes is paramount to long-term success, because if you are winning that game then you will be able to survive.

20. Make sure you know why you’re doing something, especially if you’re a publisher or brand and you have limited bandwidth and / or resources. Your print magazine has a blog? Why? What is that accomplishing? Is it even good or does it make you look bad? Define your goals, inspect them thoroughly and be able to have an honest answer about why you want them. Media does too many things because they seem cool internally, when the audience doesn’t really give a shit."
]]></description>
<dc:subject>media rules culture 2024 kylechayka cults platforms joerogan puck tiktok publishing bluesky twitter threads nyc instagram multimedia medialiteracy substack ads advertising screentime</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:7f4b6e56dddd/</dc:identifier>
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</item>
<item rdf:about="https://bureauxethnography.dwrl.utexas.edu/">
    <title>Bureau for Experimental Ethnography – Putting the x back in ethnography.</title>
    <dc:date>2024-11-24T23:55:51+00:00</dc:date>
    <link>https://bureauxethnography.dwrl.utexas.edu/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The Bureau for Experimental Ethnography (BEE) is invested in creative forms and practices within and on the edges of academic work. Its projects encompass critical experimentation in visual media, sound, text, and other haptic and sensory forms. BEE coordinates ongoing activities, lectures, and events.

The latest information and posts can be found here and on our Facebook page. You can also subscribe to our listserv to receive direct email announcements: BEE Listserv.

Directors
Casey Boyle
Craig Campbell
Marina Peterson"]]></description>
<dc:subject>ethnography caseyboyle craigcampbell marinapeterson academia multimedia publishing sound text media senses allthesense multisensory haptics</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:eca84a221542/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:craigcampbell"/>
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</item>
<item rdf:about="https://www.spreaker.com/episode/dr-anne-pasek--56356297">
    <title>Dr. Anne Pasek</title>
    <dc:date>2024-11-24T23:52:52+00:00</dc:date>
    <link>https://www.spreaker.com/episode/dr-anne-pasek--56356297</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Gettin' Air with Anne Pasek. Dr. Pasek runs the Experimental Methods and Media Lab which "provides resources and structure for interdisciplinary collaboration at Trent University". In this episode we dicsuss the EMM Lab's recently released white paper which is a guide on how to run a zine-based conference, which used their experience running just such a conference, DIY Methods 2022, as the basis for the guide. As you can guess, the process leads to "insightful, weird, and frequently delightful" products!"]]></description>
<dc:subject>annepasek diymethods trentuniversity collaboration 2022 zines conferences publishing print emmlab</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:b019b8d75cde/</dc:identifier>
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</item>
<item rdf:about="https://www.youtube.com/watch?v=ArCOe_1GtfQ">
    <title>Print Politics - YouTube</title>
    <dc:date>2024-11-24T23:51:23+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=ArCOe_1GtfQ</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["While multimodal anthropology tends to focus on digital, visual, and sonic registers, print is a site of dynamic and politically urgent work. How can attention to collaborative work in print expand conversations about the transformational potential of multimodal and public anthropologies? What alternative print traditions and practices can anthropologists draw on to rethink the scope, scale, and reach of their research? 

PRINT POLITICS is a recording of an online conversation hosted by the Collective for Multimodal Makers, Publishers, Collaborators, and Teachers (CoMMPCT), a new initiative of the Society for Visual Anthropology, for multimodal anthropologists about the power of print! 

Marc Fischer  (Temporary Services, Public Collectors, Half Letter Press) discusses meal-based artist residency programs and his approach to publishing as a way to spend time with others. Anne Pasek (Trent University) discusses DIY Methods, the “mostly screen-free, zine-full, remote-participation conference on experimental methods for research and research exchange” now in its second year. 
Stephanie Sadre-Orafai (University of Cincinnati) and Craig Campbell (University of Texas, Austin) draw on their own experiences blending anthropological inquiry with artistic print practices to guide the discussion. 

CoMMPCT is committed to creating spaces to discuss less visible elements of making, publishing, collaborating, and teaching visual and multimodal anthropologies and collecting shared wisdom and experiences in an online curated repository. 

Founded in 2023 by Nat Nesvaderani, Stephanie Sadre-Orafai, and Gabriela Zamorano Villarreal, CoMMPCT will coordinate tri-annual, thematic virtual events and publish accompanying curated resources. These events and collections will leverage other Society for Visual Anthropology initiatives, like the Visual Research Conference, Film and Media Festival, Visual Anthropology Review, and AAA Annual Meeting program, amplifying their reach. Planned themes for 2023–24 include Print Politics (November 2023), Soundscape as Feminist Homework (March 2024), and Reimagining Ethnography through Audio-Visual Archives (June 2024).

Links: 
https://www.societyforvisualanthropology.org/commpct
http://www.publiccollectors.org
https://halfletterpress.com
http://lowcarbonmethods.com
https://diymethods.net
https://bureauxethnography.dwrl.utexas.edu/
https://www.criticalvisions.org

Event Co-Sponsors: 
https://multisite.uc.edu/taft
https://www.artsci.uc.edu/departments/anthropology.html "]]></description>
<dc:subject>marcfischer commpct 2023 stephaniesadre-orafai craigcampbell natnesvaderani gabrielazamoranovillareal anthropology print publishing annepasek diymethods</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:ce69b758e81e/</dc:identifier>
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</item>
<item rdf:about="https://diymethods.net/">
    <title>DIY Methods 2024 (also info about 2022 and 2023)</title>
    <dc:date>2024-11-24T23:43:18+00:00</dc:date>
    <link>https://diymethods.net/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["A Mostly Screen-Free, Zine-Full, Remote-Participation Conference on Experimental Methods for Research and Research Exchange

As the past years have proven, the methods for conducting and distributing research that we’ve inherited from our disciplinary traditions can be remarkably brittle in the face of rapidly changing social and mobility norms. The ways we work and the ways we meet are questions newly opened for practical and theoretical inquiry; we both need to solve real problems in our daily lives and account for the constitutive effects of these solutions on the character of the knowledge we produce. Methods are not neutral tools, and nor are they fixed ones. As such, the work of inventing, repairing, and hacking methods is a necessary, if often underexplored, part of the wider research process.

This conference aims to better interrogate and celebrate such experiments with method. Borrowing from the spirit and circuits of exchange in earlier DIY cultures, it takes the form of a zine ring distributed via postal mail. Participants will craft zines describing methodological experiments and/or how-to guides, which the conference organisers will subsequently mail out to all participants. Feedback on conference proceedings will also proceed through the mail, as well as during optional workshops and discussion sessions on Zoom during the zine-making process.

The conference itself is thus an experiment with different temporalities and medialities of research exchange. As a practical benefit, this format guarantees that the experience will be free of Zoom fatigue, timezone difficulties, travel expenses, and visa headaches. More generatively, it may also afford slower thinking, richer aesthetic possibilities, more diverse forms of circulation, and perhaps even some amount of delight. The conference format itself is part of the DIY experiment.


Conference Format
Prospective participants will submit approximately 300-500 word pitches to lowcarbonmethods@gmail.com by April 15th, describing their proposed topic and format. These submissions will be juried, with conference acceptance determined through a combined assessment of potential analytic merit, aesthetics, and the viability of the project plan.

Completed zines will be due on July 29. Participants will have the choice of either printing and mailing copies of their zine to the conference team, or sending in a print master or digital file to the conference team for print production. Printed zines will be packaged and mailed en masse to all conference attendees in September, along with pre-addressed envelopes and a subsidy for postage to help you craft replies to your fellow participants. A digital volume containing all the zines (the conference proceedings, if you will) will also be published online via the Low-Carbon Research Methods Group’s website, allowing for wider circulation and archiving. Let us know if you would like to receive an update once conference proceedings have been published online."]]></description>
<dc:subject>academia activism art climate climatechange emmlab zines sarahtayner annepasek 2023 conferences form exchange covid-19 coronavirus pandemic travel sustainability lowtech zero-carbonconferences publishing mail mailart correspondence sharing usps emissions flight flights carbonfootprint environment decarbonization biennials virtual inclusivity regional local openaccess carbonneutrality carbonemissions globalwarming airplanes airtravel aviation zoom streaming participation participatory access zoomfatigue 2024 2022 diymethods</dc:subject>
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</item>
<item rdf:about="https://emmlab.info/">
    <title>EMM Lab (Experimental Methods and Media Lab)</title>
    <dc:date>2024-11-24T23:40:26+00:00</dc:date>
    <link>https://emmlab.info/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The Experimental Methods and Media Lab provides resources and structure for interdisciplinary collaboration at Trent University. The lab fosters capacities in emerging and experimental methods of inquiry that draw on strengths—and reach audiences—beyond traditional modes of academic writing. It is both a media lab, providing production equipment for film, video, audio, print, and critical code projects, and a methods co-laboratory, in which faculty and students explore creative methods of research and research-dissemination.

To actively participate in Peterborough’s arts community, EMM Lab facilitates access to media production equipment, peer expertise, and creative collaboration. Have a look at our Resources page to find out more about lab facilities and equipment, and get in touch if you would like to use them for your projects."]]></description>
<dc:subject>emmlab media trentuniversity inquiry writing medialab multimedia academia howwewrite publishing diymethods mitmedialab</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:16693fc171b4/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:mitmedialab"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://emmlab.info/Resources_page/EMMLAB_WhitePaper_ZineBasedConferencing_2023.pdf">
    <title>Zine Based Conferenceing: A Guide, an EMM Lab White Paper by Sarah Rayner and Anne Pasek [.pdf]</title>
    <dc:date>2024-11-24T23:27:52+00:00</dc:date>
    <link>https://emmlab.info/Resources_page/EMMLAB_WhitePaper_ZineBasedConferencing_2023.pdf</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[via:
https://www.are.na/block/25555435 ]

"RATIONALE
WHY CONDUCT A CONFERENCE BY MAIL?

At first this may seem to be an anachronism. The history of academic research exchange can be told as one of progressive technological advances.1 Letters to distant colleagues were a useful (and often sole) option in the early history of universities, configured by post and print into a Republic of Letters. However, with the rise of trains, cars, and airplanes, academics have been keen passengers on an ever-wider itinerary of in person meetings and lectures. And, when the COVID-19 pandemic put a (seemingly temporary) halt on this, we quickly upped the technological ante with streaming video talks and workshops.

This confluence of technologies and mobilities have shaped our expectations around what ‘good’ research exchange looks like.We expect academic talks to look a certain way (prim powerpoints) and for networking to happen under certain conditions (in a rush after a panel, in the hallway of a conference hotel, or—indeed—at the hotel bar).

When the pandemic threatened the continuity of this system, we rushed to rebuild it online, mimicking our old norms as closely as possible. This has only been a partial success; while more people than ever can enjoy a wide variety of conferences and talks from their laptops, complaints about poor attention, lost connections, and (of course) Zoom fatigue abound.

What’s more, it’s not clear that our old norms were doing the work we hoped them to do—at least, not for everyone. Conference travel is expensive, time-consuming, and often requires border crossing and visas. This shapes the kinds of academics who are likely to show up at conferences (namely those with favorable funding, passports and familial care arrangements) and thus the kinds of voices that dominate our fields.2 It also limits the way we express and receive ideas: most often, one slide after another,3 followed by a clipped and chaotic Q&A.4 Finally, it’s clear that all this travel5 (and perhaps too, all this video streaming6) is unsustainable for the climate system. If we want to cut our carbon emissions, and increase the equity and conviviality of our gatherings, we’ll need to try something different.

Mail offers a low-tech, low-carbon, high-fidelity, screen-free alternative. It’s also a usefully unusual format to academics today, free of formal expectations for what research exchange and collegial participation should look like in the medium. If you wanted to convey your research-in-progress on the page, but not yet as a formal journal publication, what would be the best way to do so? And how should your audience best share their response with you in turn? These questions matter so much at this moment because they are unanswered.

We (the Experimental Methods & Media Lab + the Low-Carbon Research Methods Group) explored one set of possible answers in running DIY Methods, a zine-based conference. Our first year was 2022, culminating in an exchange between over 90 academics in 7 different countries. Everyone got over 1 kg of zines in the mail detailing different methodological experiments and provocations in a variety of printed formats. Many involved participatory elements, soliciting their reader to fill out prompts, response forms, and to send postcards back to the author. The conference materials were also digitized and uploaded to H-Commons, where anyone could access them.

It was a lot of fun. Conference contributors made beautiful, exciting work, and reported feeling more enthusiastic about participating in the event than in their regular conferences. The zines were insightful, weird, and frequently delightful. No one got Zoom fatigue.

It was also a fair bit of work for the conference organizers. To be fair, so is every conference ever organized. But there are a fair few peculiarities to working with zines and the postal service, and plenty of lessons learned along the way. To remind our future selves, and to support the development of other such experiments, we decided to write a white paper outlining logistical and social considerations in organizing conferences by mail. We aim here to share both our enthusiasm, experiences, and a few cautionary tales. We hope that it inspires and supports many more experiments in accessible and sustainable research exchange.


...

TABLE OF CONTENTS
Rationale 1
Conference Timeline 4
Call-for-Zines 4
Supporting Zine Development 8
Receiving Submission s 10
Printing 11
Mailing 16
Digital Distribution 19
Online Exchanges 21
Budget Breakdown 26
Conclusions 27
Bibliography / More Resources 29"]]></description>
<dc:subject>zines sarahtayner annepasek 2023 academia conferences form exchange covid-19 coronavirus pandemic travel sustainability lowtech zero-carbonconferences publishing mail mailart correspondence sharing usps emissions flight flights carbonfootprint environment decarbonization biennials virtual inclusivity regional local openaccess carbonneutrality carbonemissions climatechange globalwarming airplanes airtravel aviation zoom streaming participation participatory access zoomfatigue emmlab diymethods</dc:subject>
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    <dc:creator>robertogreco</dc:creator><description><![CDATA["Just how free is the media in Israel?

Israeli law requires all journalists in Israel or writing for Israeli publications to submit articles about "security issues" to military censors before publishing. This rule comes from old emergency laws still in use today. The censors can change or block parts of articles, even after they're published.

In 2023, the Israeli military censor barred the publication of 613 articles by media outlets in Israel, the highest number since data collection began in 2011. And parts of 2,703 additional articles were redacted, the highest figure since 2014.

And the government is only trying to increase its influence over the media even more."]]></description>
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<item rdf:about="https://aftermath.site/aftermath-business-lessons-learned-tips">
    <title>All The Things We've Learned After A Year Of Running Our Own Website - Aftermath</title>
    <dc:date>2024-11-12T05:34:16+00:00</dc:date>
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<item rdf:about="https://www.youtube.com/watch?v=_P-qTwYAGI0">
    <title>Radhika Desai, John Bellamy Foster &amp; Gabriel Rockhill on Losurdo's &quot;Western Marxism&quot; - YouTube</title>
    <dc:date>2024-11-10T21:48:58+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=_P-qTwYAGI0</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Please join us online on November 10 at 12 p.m. ET for a book launch with Radhika Desai, John Bellamy Foster, and Gabriel Rockhill, moderated by Jennifer Ponce de León. This will be to celebrate and discuss the first English translation of Domenico Losurdo's groundbreaking work "Western Marxism: How It Was Born, How It Died, How It Can Be Reborn," edited by Gabriel Rockhill with an introduction by Rockhill and Ponce de León. This event is co-sponsored by Monthly Review and the International Manifesto Group.

The book can be ordered via Monthly Review Press: 
https://monthlyreview.org/product/western-marxism/ "]]></description>
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<item rdf:about="https://pluralistic.net/2021/05/09/the-memex-method/">
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<item rdf:about="https://www.citationneeded.news/i-am-my-own-legal-department/">
    <title>I am my own legal department: the promise and peril of “just go independent”</title>
    <dc:date>2024-10-27T19:03:20+00:00</dc:date>
    <link>https://www.citationneeded.news/i-am-my-own-legal-department/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Independent publishing is one important facet of the media ecosystem, and while I love it, I know it is not the path for everyone."

]]></description>
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    <title>Quick take: That book with the URL - by Derek Krissoff</title>
    <dc:date>2024-10-21T15:08:29+00:00</dc:date>
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<item rdf:about="http://www.fvckthemedia.com/issue61/pirate-libraries">
    <title>PIRATE LIBRARIES and the fight for open information - The Media</title>
    <dc:date>2024-10-14T19:44:44+00:00</dc:date>
    <link>http://www.fvckthemedia.com/issue61/pirate-libraries</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["In a digital era that destabilizes traditional notions of intellectual property, cultural producers must rethink information access.

Over the last several years, a number of pirate libraries have done just that. Collaboratively run digital libraries such as Aaaaaarg, Monoskop, Public Library, and UbuWeb have emerged, offering access to humanities texts and audiovisual resources that are technically ‘pirated’ and often hard to find elsewhere.

Though these sites differ somewhat in content, architecture, and ideological bent, all of them disavow intellectual copyright law to varying degrees, offering up pirated books and media with the aim of advancing information access.

“Information wants to be free,” has served as a catchphrase in recent internet activism, calling for information democracy, led by media, library and information advocates.

As online information access is increasingly embedded within the networks of capital, the digital text-sharing underground actualizes the Internet’s potential to build a true information commons.

With such projects, the archive becomes a record of collective power, not corporate or state power; the digital book becomes unlocked, linkable, and shareable.

Still, these sites comprise but a small subset of the networks of peer-to-peer file sharing. Many legal battles waged over the explosion of audiovisual file sharing through p2p services such as Napster, BitTorrent and MediaFire. At its peak, Napster boasted over 80 million users; the p2p music-sharing service was shut down after a high-profile lawsuit by the RIAA in 2001.

The US Department of Justice brought charges against open access activist Aaron Swartz in 2011 for his large-scale unauthorized downloading of files from the JStor Academic database. Swartz, who sadly committed suicide before his trial, was an organizer for Demand Progress, a campaign against the Stop Online Piracy Act, which was defeated in 2012. Swartz’s actions and the fight around SOPA represent a benchmark in the struggle for open-access and anti-copyright practices surrounding the digital book.

Aaaaaarg, Monoskop, UbuWeb and Public Library are representative cases of the pirate library because of their explicit engagement with archival form, their embrace of ideas of the digital commons within current left-leaning thought, and their like-minded focus on critical theory and the arts.

All of these projects lend themselves to be considered as libraries, retooled for open digital networks.

Aaaaaarg.org, started by Los Angeles based artist Sean Dockray, hosts full-text pdfs of over 50,000 books and articles. The library is connected to a an alternative education project called the Public School, which serves as a platform for self-organizing lectures, workshops and projects in cities across the globe. Aaaaaarg’s catalog is viewable by the public, but upload/download privileges are restricted through an invite system, thus circumventing copyright law.

The site is divided into a “Library,” in which users can search for texts by author; “Collections,” or user-generated grouping of texts designed for reading groups or research interests; and “Discussions,” a message board where participants can request texts and volunteer for working groups. Most recently, Aaaaaarg has introduced a “compiler” tool that allows readers to select excerpts from longer texts and assemble them into new PDFs, and a reading tool that allows readers to save reference points and insert comments into texts. Though the library is easily searchable, it doesn’t maintain high-quality metadata. Dockray and other organizers intend to preserve a certain subjective and informal quality, focusing more on discussion and collaboration than correct preservation and classification practice.

Aaaaaarg has been threatened with takedowns a few times, but has survived by creating mirrored sites and reconstituted itself by varying the number of A’s in the URL. Its shifts in location, organization, and capabilities reflect both the decentralized, ad-hoc nature of its maintenance and the organizers’ attempts to elude copyright regulations. Text-sharing sites such as Aaaaaarg have also been referred to as shadow libraries, reflecting their quasi-covert status and their efforts to evade shutdown.

Monoskop.org, a project founded by media artist Dušan Barok, is a wiki for collaborative studies of art, media and the humanities that was born in 2004 out of Barok’s study of media art and related cultural practices. Its significant holdings - about 3,000 full-length texts and many more excerpts, links and citations - include avant-garde and modernist magazines, writings on sound art, scanned illustrations, and media theory texts.

As a wiki, any user can edit any article or upload content, and see their changes reflected immediately. Monoskop is comprised of two sister sites: the Monoskop wiki and Monoskop Log, the accompanying text repository. Monoskop Log is structured as a Wordpress site with links hosted on third-party sites, much like the rare-music download blogs that became popular in the mid-2000s. Though this architecture is relatively unstable, links are fixed on-demand and site mirroring and redundancy balance out some of the instability.

Monoskop makes clear that it is offering content under the fair-use doctrine and that this content is for personal and scholarly use, not commercial use. Barok notes that though there have been a small number of takedowns, people generally appreciate unrestricted access to the types of materials in Monoskop log, whether they are authors or publishers.

Public Library, a somewhat newer pirate library founded by Croatian Internet activist and researcher Marcell Mars and his collaborators, currently offers a collection of about 6,300 texts. The project frames itself through a utopian philosophy of building a truly universal library, radically extending enlightenment-era conceptions of democracy. Through democratizing the tools of librarianship – book scanning, classification systems, cataloging, information – it promises a broader, de-institutionalized public library.

In Public Library: An Essay, Public Library’s organizers frame p2p libraries as “fragile knowledge infrastructures built and maintained by brave librarians practicing civil disobedience which the world of researchers in the humanities rely on.” This civil disobedience is a politically motivated refutation of intellectual property law and the orientation of information networks toward venture capital and advertising. While the pirate libraries fulfill this dissident function as a kind of experimental provocation, their content is audience-specific rather than universal.

UbuWeb, founded in 1996 by conceptual artist/ writer Kenneth Goldsmith, is the largest online archive of avant-garde art resources. Its holdings include sound, video and text-based works dating from the historical avant-garde era to today. While many of the sites in the “pirate library” continuum source their content through community-based or peer-to-peer models, UbuWeb focuses on making available out of print, obscure or difficult to access artistic media, stating that uploading such historical artifacts doesn’t detract from the physical value of the work; rather, it enhances it. The website’s philosophy blends the utopian ideals of avant-garde concrete poetry with the ideals of the digital gift economy, and it has specifically refused to accept corporate or foundation funding or adopt a more market-oriented business model.

Pirate Libraries vs. “The Sharing Economy”

In pirate libraries, information users become archive builders by uploading often-copyrighted content to shared networks.

Within the so-called “sharing economy,” users essentially lease e-book content from information corporations such as Amazon, which markets both the Kindle as platform. This centralization of intellectual property has dire impacts on the openness of the digital book as a collaborative knowledge-sharing device.

In contrast, the pirate library actualizes a gift economy based on qualitative and communal rather than monetized exchange. As Mackenzie Wark writes in A Hacker Manifesto (2004), “The gift is marginal, but nevertheless plays a vital role in cementing reciprocal and communal relations among people who otherwise can only confront each other as buyers and sellers of commodities.”

From theorizing new media art to building solidarity against repressive regimes, such communal information networks can crucially articulate shared bodies of political and aesthetic desire and meaning. According to author Matthew Stadler, literature is by nature communal. “Literature is not owned,” he writes. “It is, by definition, a space of mutually negotiated meanings that never closes or concludes, a space that thrives on — indeed requires — open access and sharing.”

In a roundtable discussion published in New Formations, Aaaaaarg founder Sean Dockray remarks that the site “actively explored and exploited the affordances of asynchronous, networked communication,” functioning upon the logic of the hack. Dockray continues: “But all of this is rather commonplace for what’s called ‘piracy,’ isn’t it?” Pirate librarianship can be thought of as a practice of civil disobedience within the stringent information environment of today.

These projects promise both the realization and destruction of the public library. They promote information democracy while calling the professional institution of the Library into question, allowing amateurs to upload, catalog, lend and maintain collections. In Public Library: An Essay, Public Library’s organizers write: “With the emergence of the internet… librarianship has been given an opportunity… to include thousands of amateur librarians who will, together with the experts, build a distributed peer-to-peer network to care for the catalog of available knowledge.”

Public Library frames amateur librarianship as a free, collaboratively maintained and democratic activity, drawing upon the language of the French Revolution and extending it for the 21st century. While these practices are democratic in form, they are not necessarily democratic in the populist sense; rather, they focus on bringing high theoretical discourses to people outside the academy. Accordingly, they attract a modest but engaged audience of critics, artists, designers, activists, and scholars.

The activities of Aaaaaarg and Public Library may fall closer to ‘peer preservation’ than ‘peer production,’ as the desires to share information widely and to preserve these collections against shutdown often come into conflict. In a recent piece for e-flux coauthored with Lawrence Liang, Dockray accordingly laments “the unfortunate fact that digital shadow libraries have to operate somewhat below the radar: it introduces a precariousness that doesn’t allow imagination to really expand, as it becomes stuck on techniques of evasion, distribution, and redundancy.”

UbuWeb and Monoskop, which digitize rare, out-of-print art texts and media rather than in-print titles, can be said to fulfill the aims of preservation and access. UbuWeb and Monoskop are openly used and discussed as classroom resources and in online arts journalism more frequently than the more aggressively anti-copyright sources; more on-the-record and mainstream visibility likely -- but doesn’t necessarily -- equate to wider usage.

From Alternative Space to Alternative Media

Aaaaaarg locates itself as a ‘scaffolding’ between institutions, a platform that unfolds between institutional gaps and fills them in, rather than directly opposing them. Over ten years after it was founded, it continues to provide a community for “niche” varieties of political critique.

Drawing upon different strains of ‘alternative networking,’ the digital text-sharing underground gives a voice to those quieted by the mechanisms of institutional archives, publishing, and galleries. On the one hand, pirate libraries extend the logic of alternative art spaces/artist-run spaces that challenge the “white cube” and the art market; instead, they showcase ways of making that are often ephemeral, performative, and anti-commercial.

Lawrence Liang refers to projects such as Aaaaaarg as “ludic libraries,” as they encourage a sense of intellectual play that deviates from well-established norms of utility, seriousness, purpose, and property.

Just as alternative, community-oriented art spaces promote “fringe” art forms, the pirate libraries build upon open digital architectures to promote “fringe” scholarship, art, technological and archival practices. Though the comparison between physical architecture and virtual architecture is a metaphor here, the impact upon creative communities runs parallel.

At the same time, the digital text-sharing underground builds upon Robert W. McChesney’s calls in Digital Disconnect for a democratic media system that promotes the expansion of public, student and community journalism. A truly heterogeneous media system, for McChesney, would promote a multiplicity of opinions, supplementing for-profit mass media with a substantial and varied portion of nonprofit and independent media.

In order to create a political system – and a media system – that reflects multiple interests, rather than the supposedly neutral status quo, we must support truly free, not-for-profit alternatives to corporate journalism and “clickbait” media designed to lure traffic for advertisers. We must support creative platforms that encourage blending high-academic language with pop-culture; quantitative analysis with art-making; appropriation with authenticity: the pirate libraries serve just these purposes.

Pirate libraries help bring about what Gary Hall calls the “unbound book” as text-form; as he writes, we can perceive such a digital book “as liquid and living, open to being continually updated and collaboratively written, edited, annotated, critiqued, updated, shared, supplemented, revised, re-ordered, reiterated and reimagined.” These projects allow us to re-imagine both archival practices and the digital book for social networks based on the gift.

Aaaaaarg, Monoksop, UbuWeb, and Public Library build a record of critical and artistic discourse that is held in common, user-responsive and networkable. Amateur librarians sustain these projects through technological ‘hacks’ that innovate upon present archival tools and push digital preservation practices forward.

Pirate libraries critique the ivory tower’s monopoly over the digital book. They posit a space where alternative communities can flourish.

Between the cracks of the new information capital, the digital text-sharing underground fosters the coming-into-being of another kind of information society, one in which the historical record is the democratically-shared basis for new forms of knowledge.

From this we should take away the understanding that piracy is normal and the public domain it builds is abundant. While these practices will continue just beneath the official surface of the information economy, it is high time for us to demand that our legal structures catch up."]]></description>
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    <title>A peasant woodland | A Working Library</title>
    <dc:date>2024-10-10T19:05:10+00:00</dc:date>
    <link>https://aworkinglibrary.com/writing/peasant-woodland</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[See also:
https://aworkinglibrary.com/writing/coming-home
https://blog.ayjay.org/pos-not-posse/ ]]]></description>
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<item rdf:about="https://jeffbilbro.com/books/words-for-conviviality/">
    <title>Words for Conviviality: Media Technologies and Practices of Hope, by Jeffrey Bilbro (2024)</title>
    <dc:date>2024-09-16T19:32:34+00:00</dc:date>
    <link>https://jeffbilbro.com/books/words-for-conviviality/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Endorsements

“Words for Conviviality embodies a unique project: a cultural and technological history of a particular American era that is also a handbook to living more wisely in our digital age. Jeffrey Bilbro has written a wonderful, provocative, and illuminating book.”

~Alan Jacobs, The Jim and Sharon Harrod Endowed Chair of Christian Thought and Distinguished Professor of Humanities in the Honors Program, Baylor University

It is difficult to assess our media technologies–the dangers and delights of social media, technology, news outlets, and smartphones–while avoiding breathless alarmism on the one hand and starry-eyed techno-positivism on the other. It is yet harder to do this while offering a rich, hopeful way forward: one steeped in visions of attentive virtue and communal wholeness. Somehow, Jeffrey Bilbro achieves all this with his usual wit, wisdom, and grace. This is a beautiful and necessary book.

~Grace Olmstead, author of Uprooted: Recovering the Legacy of the Places We’ve Left Behind

Description

Radical innovations in communications technologies are transforming culture and disrupting journalism and publishing. Fierce partisan and geographic divides are fueling political realignment. Theological disputes are undermining the institutional church while spiritual energy is being redirected into new religious movements and cults.⁠ These statements describe our current situation, but they apply equally to 1850s America.

The industrialization of print technologies in the early nineteenth century transformed print culture in ways that parallel the transformation of reading wrought by the digital revolution. Understanding how a previous era was shaped—and in some ways warped—by the assumptions print technology engendered may enable us to recognize more clearly how our own verbal habits and practices are formed and deformed by our enmeshment in digital technologies. Perhaps the convivial reading practices that some antebellum authors imagined can guide us toward healthier ways of reading today.

On the eve of the Civil War, the printing press had become a subject of fierce dispute. Just a few generations earlier, during the excitement of the Revolutionary War and the drafting of the Constitution, printing was almost universally seen as a good, a technology that was the sine qua non of the American experiment. But by the late antebellum period, print’s products seemed a mixed bag: print circulated news and stories throughout the nation, and it inflamed partisan and regional differences; print diffused the Bible, and it reified sectarian divides; print spread scientific discoveries, and it lent legitimacy to quack medicine.

In The Confidence Man Herman Melville stages an exchange that encapsulates contemporary disputes about print technologies. Two con-men argue over which press, the printing press or the wine press, produces the true antidote to polarization and tyranny and ignorance. While Frank claims the printing press is an “iron Paul,” an “Advancer of Knowledge,” and a “Defender of the Faith,” Charlie considers it akin to an erratic Colt revolver and a mob boss like Jack Cade. To promote “conviviality” Charlie recommends the “cheery benediction of the bottle.” Charlie’s alcoholic conviviality is clearly flawed, but can the printing press foster authentic community and a healthy civil society?

Frank’s optimism about print had some warrant. In part, it was fueled by the general American faith in the progressive power of technology. More particularly, the American revolutionaries bequeathed a potent myth to subsequent generations about the power of print to unify the nation and diffuse republican virtue.⁠ The supreme authorities in the early republic were printed texts, and in the relative absence of authoritative institutions, print took on an outsized importance. But steam-powered printing technologies made texts cheaper and more abundant, and the printed word that had once unified the colonies became an atomizing force, one that served to fragment culture, church, and union.

Industrial printing technologies in the first half of the nineteenth century finally realized the promise of Gutenberg’s invention—texts were actually becoming reliable, standardized, and accessible—and yet the consequences of this realization were unexpectedly mixed—misinformation spread, discourse fragmented, and readers suffered from information overload.⁠ Today, we tend to think such problems are the result of the digital revolution, but antebellum Americans experienced them first.⁠ The printing press amplified charlatans, cult-leaders, and sensational stories more than it diffused republican virtue. Improving print technologies didn’t improve the signal-to-noise ratio; it amplified noise.⁠

Yet when powerful new verbal technologies come along, our only options are not either booster optimism or resigned pessimism. We have alternatives to seeing print—and now pixels—as either an iron Paul or a Colt’s revolver. And some of the most helpful guides in charting a path toward genuinely convivial modes of reading are the literary authors who lived through the antebellum industrialization of print. These authors experienced the powers and perils of the steam-powered printing press, and they sought to understand its effects through the most fundamental tool that language provides: metaphor. Evocative metaphors are a potent way to raise cultural awareness regarding the hidden affordances and subtle nudges that are latent within dominant communications technologies.

The argument of my book follows a pilgrimage with three stages. Each stage considers a set of metaphors that antebellum authors deployed to answer three underlying questions: What does industrial print tempt optimistic readers to imagine themselves as? What does it lead its victims to fear they will become? And what alternative metaphors might ground more convivial reading?

The metaphors of hope that I discuss in the third stage suggest that to wield textual technologies well, we need to develop cultural practices and institutions that strengthen our relationships with one another and our commitment to a common good. We need to be tied more deeply to others and to our places in order to respond to the atomizing pressures of print and pixel. Instead of developing new technologies to solve the problems that technologies have caused, these authors propose that we develop better readers—readers who are more attuned to the power of the textual technologies they use and better able to imagine and practice healthy, convivial forms of discourse. These authors obviously did not eschew industrialized print; they did not simply give up on the technologies of their day. Rather, they developed metaphors that might inspire us to beat textual swords—or Colt revolvers—into plowshares.

Table of Contents

Introduction: Trust, Watersheds, and America’s Industrial Print Culture

26 Theses on Textual Technologies

Section One: Utopia, or What does industrial print tempt optimistic readers to imagine themselves as?

1. Transparent Eyeballs (Emerson)
2. Men of Adamant (Hawthorne)
3. Encyclopedists and Map-Plotters (Melville)
4. Celebrities (Whitman)
5. Benevolent Bosses (Twain)

Section Two: Dystopia, or What does industrial print lead its victims to fear they will become?

6. Loose Fish (Melville)
7. Macadamized Minds (Thoreau)
8. Commodities (Dickinson)
9. Slaves (Douglass)

Section Three: Hope, or What alternative metaphors might orient more convivial reading?

10. Walkers (Thoreau)
11. Conversationalists (Fuller)
12. Friends (Hawthorne)
13. Cross-Bearers (Melville)"

[See also:
https://www.frontporchrepublic.com/2024/09/twenty-six-theses-on-textual-technologies/

via:
https://social.ayjay.org/2024/09/16/jeff-bilbros-new.html ]]]></description>
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<item rdf:about="https://www.frontporchrepublic.com/2024/09/twenty-six-theses-on-textual-technologies/">
    <title>Twenty-Six Theses on Textual Technologies - Front Porch Republic</title>
    <dc:date>2024-09-16T19:26:59+00:00</dc:date>
    <link>https://www.frontporchrepublic.com/2024/09/twenty-six-theses-on-textual-technologies/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Presenting a set of theses for disputation is an old form, with Martin Luther’s “Disputation on the Power and Efficacy of Indulgences” being the most famous instance. As Luther’s title reminds us, these theses were printed to set the stage for a verbal disputation (though it appears that Luther’s ninety-five theses were never formally debated in Wittenberg). Similarly, the theses that follow are not summative declarations so much as provocations to thought and discussion. (For another example of this genre, see Alan Jacobs’s “Attending to Technology.”) As Francis Bacon notes, aphorisms, because they represent “only portions and as it were fragments of knowledge, invite others to contribute and add something in their turn; whereas methodical delivery, carrying the show of a total, makes men careless, as if they were already at the end.” So if these raise questions or stir fierce disagreement, my hope is that readers will have a keener appetite for the pilgrimage that follows.

These theses are by no means original to me, but rather than including references here, I will more fully acknowledge my sources in the subsequent pages. To make it easier for interested readers to trace these connections, I will refer back to these theses throughout the book (e.g., see thesis 22). Given the primary role the alphabet plays in all subsequent textual technologies, I thought it fitting to include the same number of theses as there are letters in the modern English alphabet. Finally, in keeping with a digital disputatious technology, these aphorisms are all fewer than 280 characters, the limit on tweets after 2017. While arranging theses for a disputation is an old genre, it is also a contemporary one.

1. Language is primarily a relational (rather than a representational) technology. Words articulate our relationships to God, other humans, our environment, and even ourselves.

2. Because meaning arises from relationships, metaphor and analogy are at the heart of language.

3. In the Christian tradition, Christ’s role as mediator and reconciler between God and Creation flows from his identity as the Word. The Word mediates. This mediating Word is the one who declares himself the Truth.

4. Beauty and truth and goodness name harmonious forms of relationships.

5. Truth is ultimately dramatic or symphonic, not propositional.

6. To know the truth is to be in tune with a complex, polyphonic reality. One might say that a “fact” is “true” if it helps us relate to the world in a more proper, harmonious, beautiful, healthy, or just manner.

7. Harmony is experienced more fully in artistic or poetic forms rather than in rational exposition. Metaphor, poetry, and narrative invite readers to participate in a harmonic order rather than to map it analytically.

8. The highest use of language is to serve friendship, and the kinds of conversations our textual technologies encourage will shape the kinds of friendship that are imaginable.

9. Cultures develop the technologies they desire, and the technologies a culture uses shape its desires. One might call this recursive causation.

10. Convivial technologies and practices cultivate friendships—they foster harmonious relationships among different members (including other humans, creatures, God, and the self).

11. The history of textual technologies in the West—the alphabet, punctuation, spaces between words, moveable type, digital pixels—is a history of atomization.

12. These textual technologies have caused words to migrate from an aural habitat to a visual one.

13. These textual technologies have also led readers to imagine ideas as objects that are extended in space. Like type and pixels, ideas become bits (or bytes) that can be manipulated and rearranged to form new meanings.

14. Print and pixels do have certain differences: Print renders ideas as solid—they feel graspable, reliable, fixed. Pixels render ideas as ephemeral—they appear from a distant cloud or web, and we surf them as they float away.

15. Both, however, contribute to a spatial view of language and reality that leads us to imagine reason as a faculty for the perception and manipulation of objects. However, the highest mode of reason is an imaginative participation in reality.

16. The atomization of language makes discrete bits of information appear increasingly interchangeable and manipulable.

17. Powerful textual technologies can spread ideas widely, but insofar as they render meaning atomized and fungible, they threaten the intelligibility of truth and beauty and goodness.

18. Atomization can free individuals from diseased bodies or communities, but the atomizing effects of print and pixel are like the toxins of chemotherapy—better than cancer, but not, in themselves, healthy.

19. The recombinations that atomization makes imaginable fragment old syntheses and lead to new forms of meaning.

20. The introduction of new textual technologies dissolves old communities and forms new ones (nations, denominations, political parties, factions, fandoms, interest groups).

21. As textual technologies mature, they diversify and fragment conversations they sustained in their youth.

22. The tension between the liberative power of atomization and meaning’s dependence on relationships defines the paradoxes inherent in the disparate effects of textual technologies.

23. There is always an analogy between our dominant way of imagining words and our dominant metaphors for the mind and the self.

24. If words are imagined spatially, the human self becomes a bounded container with manipulable contents, and other selves appear to be objects, commodities, or avatars (“Its” rather than “Thous”).

25. The Enlightenment subject, the buffered self, is a creature of print. The postmodern subject, the anxious, lonely, identity-morphing self, is a creature of pixels.

26. In an atomized world inhabited by commodified subjects, convivial friendship—loving, intimate participation in the life of other creatures, humans, and God—is deeply longed for, yet elusive."

[See also:
https://jeffbilbro.com/books/words-for-conviviality/

via:
https://social.ayjay.org/2024/09/16/jeff-bilbros-new.html ]]]></description>
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</item>
<item rdf:about="https://lithub.com/why-i-paid-tenfold-to-buy-back-the-rights-for-two-of-my-books/">
    <title>Why I Paid Tenfold to Buy Back the Rights for Two of My Books ‹ Literary Hub</title>
    <dc:date>2024-09-10T16:18:46+00:00</dc:date>
    <link>https://lithub.com/why-i-paid-tenfold-to-buy-back-the-rights-for-two-of-my-books/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Securing the rights to my books, revising them, and publishing them the way they want to be published are the most loving acts I could do for my work, my body, and my Mississippi.

I hope no writer alive ever has to pay ten times what they were paid to secure the rights to a piece of art that helped them, and others, accept life. If nothing else, I hope every writer alive never ceases believing in the rugged majesty of revision.

I wanted it all to stop. I needed it all to stop. I revised. I revised. I stopped it."]]></description>
<dc:subject>kieselaymon ownership 2020 revision copyright publishing writing howwewrite books unfinished mississippi change self</dc:subject>
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<item rdf:about="https://daily.jstor.org/printing-anarchy/">
    <title>Printing Anarchy - JSTOR Daily</title>
    <dc:date>2024-08-10T03:49:54+00:00</dc:date>
    <link>https://daily.jstor.org/printing-anarchy/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The stock figure of the “anarchist” is a bomb-thrower or assassin, but political scientist Kathy E. Ferguson argues it should be a printer."]]></description>
<dc:subject>anarchism anarchy printing printers 2024 kathferguson history writing howwewrite publishing publications typesetting linotypes peterkropotkin defiance activism organizing charlottewilson augustspies adolphfischer</dc:subject>
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<item rdf:about="https://march.international/a-reparative-approach-to-publishing/?">
    <title>A Reparative Approach to Publishing – MARCH</title>
    <dc:date>2024-07-06T22:32:11+00:00</dc:date>
    <link>https://march.international/a-reparative-approach-to-publishing/?</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["In a wide array of materials and methods, from thermal printers to talking servers and “algoliterary” poetry, many forms of publications come out of Constant’s projects and networks. What they often have in common is not so much the shape of their content but the conversations that lay the groundwork of how they are negotiated into being. It is, for example, not uncommon for Constant’s publications to be published several times, generally in the form of different printed editions documenting an evolving online publication. Many of the publications could be considered what one might call “executable texts,” such as scripts, instructions, manuals, codes, or gitlabs: forms of publishing that have worldbuilding capacities or are a resource for collective action. The process of getting these publications together is also often showcased, alongside glitches, errors, and surprises."]]></description>
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<item rdf:about="https://thereader.mitpress.mit.edu/the-tyranny-of-the-template-the-graphic-design-of-the-first-edition-of-learning-from-las-vegas/">
    <title>The Tyranny of the Template: The Graphic Design of the First Edition of ‘Learning From Las Vegas’ | The MIT Press Reader</title>
    <dc:date>2024-07-01T01:10:37+00:00</dc:date>
    <link>https://thereader.mitpress.mit.edu/the-tyranny-of-the-template-the-graphic-design-of-the-first-edition-of-learning-from-las-vegas/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Pioneering architect and urban planner Denise Scott Brown looks back at the creative battle behind a book that redefined architectural thinking."

...

"Upon its publication by the MIT Press in 1972, “Learning from Las Vegas” was immediately influential and controversial. The authors made an argument that was revolutionary for its time — that the billboards and casinos of Las Vegas were worthy of architectural attention — and offered a challenge for contemporary architects obsessed with the heroic and monumental. The physical book itself, designed by MIT’s iconic designer Muriel Cooper, was hailed as a masterpiece of modernist design, but the book’s design struck the authors as too grandiose for a text that championed the ugly and ordinary over the heroic and monumental.

Out of respect to the authors, the original, gold-stamped, clothbound edition, published in a modest print run of 2,000, was never reprinted. The book that became known to generations of architecture students is the modified second edition, a paperback redesigned by Denise Scott Brown for publication in 1977.

But around 2016, MIT Press’s esteemed editor Roger Conover approached Denise with a proposition: Would she be willing to write a new preface to a facsimile hardcover edition, “saying whatever you want to say about the book’s original design and production”? On the condition that there would be no editing of her text, and that she would have the last word in the case of any editorial differences, a deal was struck. The resulting 2017 facsimile edition reunited the original design with a spirited new preface by Scott Brown, featured below, in which she looks back on the creation of the book and explains her and Robert Venturi’s reservations about the original design.

–The Editors"

...

"This article is excerpted from the facsimile edition of “Learning From Las Vegas,” published in 2017."
]]></description>
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<item rdf:about="https://www.theverge.com/24181763/game-of-thrones-journalism-media-recaps">
    <title>What Game of Thrones did to the media - The Verge</title>
    <dc:date>2024-06-26T06:30:18+00:00</dc:date>
    <link>https://www.theverge.com/24181763/game-of-thrones-journalism-media-recaps</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["For a crucial decade in print media’s transition to the internet, HBO’s fantasy series Game of Thrones was a boon in traffic… for everyone. But what happened when every publication started chasing the same thing?"]]></description>
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