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    <title>How America Learned to Love Barnes &amp; Noble Again - The Atlantic</title>
    <dc:date>2026-03-22T01:54:45+00:00</dc:date>
    <link>https://www.theatlantic.com/ideas/2026/03/barnes-noble-popularity/686369/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[“Distinctions between chain and local have been superseded by the split between online and in-person shopping. Book-buying Americans, whose support for indie shops was one of the hallmarks of a progressive anti-chain movement that flourished in the 2000s, seem to be less discerning than they used to be. They’ll browse where they can. Consumer politics may have mattered less than good business decisions, however. Barnes & Noble found its form in part by learning from its eternal rival, the local bookstore. The corporate stores, with their forest-green signs and scratchboard illustrations of famous authors, used to be cookie-cutter copies of one another. Now they come in all sizes, and the books inside vary from place to place according to the tastes of each store manager. What’s more, they sit in a commercial landscape that, though thoroughly suffused with national brands, has been losing exactly the type of middle-class, something-for-everyone store that Barnes & Noble tries to be.”

[archived:
https://archive.is/Dt1JI 

via:
https://www.frontporchrepublic.com/2026/03/meatpackers-barnes-noble-and-wittgenstein/

"Henry Grabar reflects on why the chain bookstore is making a comeback"]]]></description>
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    <title>You're Being Lied To About Private Equity | Truth Complex - YouTube</title>
    <dc:date>2026-01-10T06:41:34+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=6pzLhWCxH_g</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["In the last 18 months, at least eight US hospitals have closed their doors after being bought and sold by private equity firms. For years, the private equity industry has stirred controversy when its investments in healthcare, retail, and restaurants have gone south.

When criticized, the industry usually defends itself by pointing to workers' retirement pensions, saying they grow faster because they're invested in PE.

But does PE really get the best returns of any investment?

Business Insider Producer Elizabeth McCauley sifts through the noise of industry reports and marketing and talks to experts to find out the truth behind this secretive industry.

If you want to check out the sources that informed this video, we made a reading list for you: https://docs.google.com/document/d/1F1CmtgxXE79A6sLjMKbpnR06aGPj0JFT1u17aVGpKZA/

CHAPTERS:
00:00 - Introduction
01:40 - Winners & Losers
04:36 - Tricks of the Trade
07:45 - PE & Healthcare
13:42 - The Pitch
15:53 - The Returns
24:07 - Inflection Point
28:58 - Pressure's On"]]></description>
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    <title>how one company broke sewing for EVERYONE - YouTube</title>
    <dc:date>2026-01-05T06:26:30+00:00</dc:date>
    <link>https://www.youtube.com/watch?app=desktop&amp;v=4VJxJesgF8Y</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["0:00 Meet Joann
03:12 Chapter 1: How Sewing Evolved
16:27 Chapter 2: How Joann Rose
28:51 Chapter 3: Material Literacy
35:28 Chapter 4: Playing Dress-Up 
43:08 Chapter 5: The Real Villain
57:04 Chapter 6: How Joann Fell
1:22:29 Chapter 7: What’s Left Behind
1:45:56 Chapter 8: The Next Chapter"]]></description>
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<item rdf:about="https://www.chroniclebooks.com/products/shopkeeping">
    <title>Shopkeeping: Stories, Advice, and Observations, by Peter Miller (2024) – Chronicle Books</title>
    <dc:date>2025-11-28T23:53:01+00:00</dc:date>
    <link>https://www.chroniclebooks.com/products/shopkeeping</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["A love letter to the small shop, and shop owners everywhere, by beloved bookseller Peter Miller.

“There is a tradition of shopkeeping, a tradition of codes, etiquette, and customs. For the most part, it is an oral history, passed along, person to person. You learn to be a retailer—not by going to college, but by going to work. You learn from people who have learned how to run a shop.” [from the Introduction]

For more than four decades, Peter Miller has run a design bookshop that shares his name in Seattle. He has also written three of his own books, manuals about cooking and about food and about eating together. In this love letter to his day job, Miller writes for the first time about his other love: shopkeeping.

Miller crafts stories from the bookshop floor with wry humor and skillful storytelling. Readers are taken on a shopkeeping journey and will come to understand along the way that small shops characterize our towns and cities, making them unique, special, and worth visiting and living near. This essay collection is for shop lovers everywhere and captures the art and heart of running a local shop treasured by the community that surrounds it. By the end, you can’t help wanting to own a shop.

Format: Hardcover
Publication Date: 05/07/2024
ISBN: 9781797228761"

[Also here:
https://petermiller.com/products/shopkeeping-stories-advice-and-observations

via:
https://craigmod.com/roden/109/

"Occupying an entirely different universe: Peter Miller’s Shopkeeping:

<blockquote>A shop is a stage—there is a degree to which it must be ready. If it is not ready, if there is a stray box on the floor, a customer will flinch and fear they are not to come in. If a light bulb is out, they will fear something is wrong. A clear-countered kitchen, a couch with fresh pillows, a well-made bed—that is a shop, ready to open.</blockquote>

And so Peter unloads a lifetime of running a shop. I don’t think I’ve nodded so hard at a text in a while.

On Amazon:

<blockquote>Amazon was a setback to hands-on retail. It brought a kind of dishonor to the environment of a shop. Suddenly, time after time, people were asking for some help, then copying down the titles or products you had suggested, and then leaving without purchasing a single thing. They had not come to purchase; they had come to survey what they would later buy online. The quiet sorrow was the tacky, stained edge that it put between the shopkeeper and the customer. It was impossible to not feel something. And it became clear that you needed to have caution as you dealt with your customers. “How may I help?” turned into a sadly complicated exercise.</blockquote>

I think we’ve flipped back a bit. People might still do this — go to a retail shop to inspect and then open Amazon to buy — but those people are probably not the same ones entering a local indie bookstore.

And apropos all the above, Miller says: A true shop has a life, a breath, a status, set not by algorithms but by minds and hearts. And you know it. It’s true. It’s why we love local bookshops. Why we love kissaten. In fact, let me pause for a second on that point: Perhaps the biggest single factor in why kissa are “so cool” or “feel good” or feel “otherworldly” stems from the owner(s) deciding, forty or fifty years ago: This is the place I’m going to invest in (hence the nice, well-made furniture) and be present at and part of until I die. This is simply not a contemporary impulse, to run a coffee shop for forty years. (To a degree, economic factors in the 60s and 70s and 80s made it so you’d do it forever or not at all; also there is a survivorship bias in the kissa left today — these are the owners who truly stuck it out.) Flowing from that commitment: all the small details of life and love, of attention and care.

One of the great interior designers of kissa in the 70s was Matsukei Shinpei (松樹新平), whose work still lives on in a scant few Tokyo kissa: Enseigne d’angle (which I’ve been going to for 20 years) and Voleur de Fleurs and Les Jeux Grenier. There’s also Bunna in Roppongi with an endearingly surly owner. All these places embody Miller’s ethos.

Shopkeeping is a punch of a read, full of wisdom for anyone who cares about what they do. Even if they don’t run a shop."]]]></description>
<dc:subject>shops retail shopkeeping 2025 petermiller amazon</dc:subject>
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    <title>Inside Uniqlo’s Quest for Global Dominance | The New Yorker</title>
    <dc:date>2025-09-26T07:56:17+00:00</dc:date>
    <link>https://www.newyorker.com/magazine/2025/09/22/inside-uniqlos-quest-for-global-dominance</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The brand conceives of itself as a distribution system for utopian values as much as a clothing company. Can it become the world’s biggest clothing manufacturer?"]]></description>
<dc:subject>uniqlo 2025 laurencollins clothing apparel retail fashion</dc:subject>
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<item rdf:about="https://woodencity.substack.com/p/perfect-lives">
    <title>Perfect Lives - by Isaac Rangaswami - Wooden City</title>
    <dc:date>2025-09-26T07:52:05+00:00</dc:date>
    <link>https://woodencity.substack.com/p/perfect-lives</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["A conversation with Bruno Halper and Daniel Lichtenstein, proprietors of a book, record and ephemera shop in SE14"

...

"One Sunday in February, I went for a wander around Deptford, before drinking a couple of pints at the Little Crown on New Cross Road. Then I walked home to Brockley, via a newly opened shop that I’d been meaning to visit.

This business occupies a pair of slender whitewashed units between two houses. The unit on the left has bars over its windows and looks less like a garage than the one on the right. It also has a deep red door, and a sign with scratchy black lettering that reads “Perfect Lives”.

Inside are more objects than either space should reasonably contain. You can browse boxes of jazz, dance, classical and folk revival records, as well as a hoard of rare and delicate printed material. Many of these books, posters and publications have yellowed with age, and their contents are too varied to group together under neat umbrella terms. I’ve since learned that this is because Perfect Lives is a collection of people’s collections.

On this first visit, I asked the guy behind the counter what was cheap. As he pitched me several things, it soon became clear that he knew the provenance of every single item in the shop. I left with a summer 1983 issue of the official journal of The International Mackintosh Society, for £5. At the time of writing, Perfect Lives’ recent acquisitions included an uncrumpled, 50-year-old public notice about a philandering Cuban percussionist and an oversized programme for Fernando Arrabal’s The Labyrinth, from its 1968 London premiere.

Over the past 18 months, I’ve asked lots of shopkeepers about their businesses. The guy I spoke to at Perfect Lives was the most forthcoming proprietor I’d spoken to, so I made a mental note to come back. Later, I found out that it was a two-man band and decided to ask the owners if they were up for being interviewed.

I sat down with Bruno Halper and Daniel Lichtenstein in August. They wore identical trousers and drank from the same water bottle as we spoke, more like brothers than business partners. They told me about where they source their products and how they make a living selling them. We also spoke about things like permanence, the state of London, the places they like to go and the lives they lead as proprietors of such an unusual shop.

I had the best time speaking to Bruno and Daniel. Businesses like theirs give me hope that London’s supply of old-fashioned shopkeepers is still being replenished."]]></description>
<dc:subject>bookstores booksellers shops lcproject openstudioproject cafes 2025 brunohalper daniellichtenstein archives records inconveniencestore isaacrangaswami coffeeshops coffeehouses secondhand retail shopkeepers business curation collections collecting vintage</dc:subject>
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<item rdf:about="https://www.sfchronicle.com/bayarea/article/grocery-stores-online-shopping-20775964.php">
    <title>Bay Area grocery habits are changing supermarket store designs</title>
    <dc:date>2025-07-27T21:24:23+00:00</dc:date>
    <link>https://www.sfchronicle.com/bayarea/article/grocery-stores-online-shopping-20775964.php</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>groceries grocerystores sanfrancisco rachelswan 2025 elcerrito bigboxstores safeway wholefoods amazon albertsons ecommerce shopping instacart nicholasbloom daverochlin covid-19 coronavirus pandemic stephaniejohnson scottbaker janaobradovic 2020 santiagogallino delivery deliveries traderjoes costoco retail</dc:subject>
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<item rdf:about="https://www.youtube.com/watch?v=kRUnsBcHk3E">
    <title>Private Equity Is Destroying America - YouTube</title>
    <dc:date>2025-06-26T22:07:46+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=kRUnsBcHk3E</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Private equity has quietly been gutting major sectors of the American economy from healthcare, to housing, retail, to our news media, and more. The industry is a multi trillion-dollar powerhouse that is upending all of our lives. 

Journalist Megan Greenwell has been covering the rise of Private Equity, and her new book reveals how these corporate takeovers have disrupted industries, eroded job security, and undermined essential services across our country. 

She joined me to dig into the rise of private equity, how and why it has  infiltrated every aspect of American life, and what average people can do about it."]]></description>
<dc:subject>megangreenwell privateequity 2025 taylorlorenz economics healthcare housing retail news media work labor vulturecapitalism capitalism latecapitalism finance policy destruction financialization taxes taxation liquidation taxpolicy business newspapers journalism ghostnewspapers contentfarms hospitals medicaid medicare rural medicine toysrus joannfabrics apartments mobilehomes childcare daycare dentists veterinarians socialsafetynet dentisty desperation profits latestagecapitalism</dc:subject>
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    <title>These Ugly Big Box Stores are Literally Bankrupting Cities - YouTube</title>
    <dc:date>2025-04-06T22:39:30+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=r7-e_yhEzIw</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>bigbox bigboxstores economics us 2025 taxes salestax towns cities prop13 proposition13 walmart target kohls costco unions labor work history germany europe food subsidies deregulation commerce extractivism luxembourg corporations corporatism policy politics lobnying infrastructure walkability qualityoflife asheville california taxrevenue properytaxes notjustbikes libraries civics communities government governance shoppping retail walmarteffect nicoleconlan jasonslaughter</dc:subject>
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<item rdf:about="https://www.youtube.com/watch?v=p8PH3CLoCsg">
    <title>The Origins and Impacts of YIMBYism with Jemma DeCristo &amp; Toshio Meronek of Sad Francisco - YouTube</title>
    <dc:date>2024-10-15T23:09:13+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=p8PH3CLoCsg</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["In this episode we're collaborating with Toshio Meronek and Jemma DeCristo to discuss the YIMBY "movement" and the impacts that it has had on already marginalized people in San Francisco. We'll talk about where this "movement" comes from, what its aims are, and the impacts it has on both poor and low income residents of major cities, and on radical organizing spaces. We'll also talk about how Kamala Harris' housing plans might be thought of in relation to YIMBYism. 

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

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

Fundraisers:

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

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

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

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

Jemma DeCristo previously joined us for a discussion with Eric A. Stanley on "What Really Makes a San Francisco Liberal Dangerous": https://www.youtube.com/watch?v=PlhdMF9yvNQ "]]></description>
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</item>
<item rdf:about="https://www.retailbrew.com/stories/2024/09/23/two-in-three-shoppers-won-t-buy-products-in-locked-display-cases">
    <title>Two in three shoppers won’t buy products in locked display cases</title>
    <dc:date>2024-09-27T23:48:42+00:00</dc:date>
    <link>https://www.retailbrew.com/stories/2024/09/23/two-in-three-shoppers-won-t-buy-products-in-locked-display-cases</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Most end up trying to find the product in another store, according to a Consumer World survey."]]></description>
<dc:subject>retail business security 2024 behavior psychology usability andrewadamnewman consumers</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:6166c4bcc504/</dc:identifier>
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<item rdf:about="https://sitenewyork.com/portfolio-1/project-one-7tnzy-llznb-83lxp-6xw4p-726sh-k86c6-7l6se">
    <title>BEST Products Company Buildings — SITE</title>
    <dc:date>2024-07-01T15:19:30+00:00</dc:date>
    <link>https://sitenewyork.com/portfolio-1/project-one-7tnzy-llznb-83lxp-6xw4p-726sh-k86c6-7l6se</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>bestproducts best architecture site history postmodernism jameswines pomo design retail 1970s 1980s</dc:subject>
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<item rdf:about="https://www.archdaily.com/778003/the-intersection-of-art-and-architecture-the-best-products-showrooms-by-site-sculpture-in-the-environment">
    <title>When Art, Architecture and Commerce Collided: The BEST Products Showrooms by SITE | ArchDaily</title>
    <dc:date>2024-07-01T15:05:56+00:00</dc:date>
    <link>https://www.archdaily.com/778003/the-intersection-of-art-and-architecture-the-best-products-showrooms-by-site-sculpture-in-the-environment</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["According to one survey, images of the BEST Products Showroom in Houston, Texas, designed by SITE (Sculpture in the Environment), appeared in more books on 20th-century architecture than any other building. The intentionally crumbling brick at that Houston store, known as “Indeterminate Façade,” and the eight other showrooms SITE designed, were simultaneously iconic and controversial, and most importantly for BEST, they brought in customers. Although SITE-founder James Wines never considered himself a Postmodernist architect, his designs for BEST, completed between 1972 and 1984, steeped in whimsical social commentary, came to symbolize the essence of Postmodernism. Today, all but one of the BEST showrooms have been demolished or altered beyond recognition, but they set a lasting precedent, and continue to influence the use of architecture in corporate branding today.

James Wines began his career as a sculptor and visual artist. He was part of the environmental art movement of the late 1960s and early 1970s, along with artists such as Robert Smithson and Gordon Matta-Clark, which focused on taking the art scene beyond sterile gallery spaces, and, as Wines described, putting art where you would least expect it.

BEST Products was a chain of catalogue showroom retail stores in the United States from the late 1950s until the company went out of business in 1997. The company’s founders, Sydney and Frances Lewis, were avid art collectors, and in the early 1970s they began working with Wines’ environmental art and architecture studio on a series of buildings for the retail chain. The Lewises were interested in bringing their love of art to their retail business and, working with Wines and SITE, rather than placing a piece of art out in front of the stores, they wanted their stores to actually become the art.

Wines saw the buildings as an exploration of the boundary between art and architecture, and working from the starting point of the ubiquitous and familiar big-box store archetype provided even greater freedom to blur the line. SITE’s work for BEST was often met with staunchly negative criticism–especially following the completion of Indeterminate Façade in Houston–by the mainstream architectural press who saw no place for humor in architecture, but the Lewises continued to support the work in spite of the critical response. On the other hand, Wines’ friends and contemporaries–especially in the art world–envied his freedom to create works that, in their exploration of decay, neglect, and artificiality, so obviously critiqued the throwaway nature of American consumer culture, the source of his clients’ business success.

Despite the criticisms, and the tongue-in-cheek nature of the designs, SITE’s architecture helped fuel BEST’s commercial success at the time. That success has no doubt inspired other companies to pursue distinctive architecture as part of a branding strategy, but in a recent conversation with ArchDaily Wines was quick to point out that most companies want an infinitely replicable architectural identity that manifests as little more than decoration, whereas each of the BEST stores, though consistent in theme, were each unique explorations of that theme in response to their individual contexts.

Peeling Building – Richmond, Virginia – 1972

The first of SITE’s buildings for BEST serves as a prelude to the social critiques and architectural acrobatics that would follow. The brick façade wall appears to be peeling away from the corner of the orthogonal box of the building envelope on one end, and from the entire side of the building on the other. The design is literally shedding the artifice to reveal the reality of the basic box underneath. At the same time, the peeling corner, precariously extending over the walkway, challenges traditional notions of the structural capabilities of brick.

Indeterminate Façade – Houston, Texas – 1974

The Indeterminate Façade project continued to play on traditional notions of brick structures by presenting an intentionally distressed façade that implies neglect and decay. The seemingly crumbling parapet culminates in a deep gouge on the front façade, complimented by a corresponding rubble-pile of bricks rising above the entrance portico. In its pre-ruined state, the building seems to foreshadow its own eventual demise.

Tilt Building – Towson, Maryland – 1976

The most structurally daring of the completed BEST projects, SITE worked extensively with structural engineers to create a counterbalance system that could enable the Tilt façade’s asymmetrical cantilever, while maintaining the visual illusion of the floating brick wall. Although Wines resists the Postmodern classification, historians Marvin Trachtenberg and Isabelle Hyman describe the Tilt Building as exemplifying and subverting the traditional Venturi-Scott Brown paradigm by simultaneously illustrating the concepts of both the “decorated shed” and the “duck,” as an ostensibly decorated box, while “connoting its meaning through it ‘sculptural’ shape more than its nominal ornamentation.”[1]

Notch Building – Sacramento, California – 1977

The Notch Building challenges traditional notions of entrance and doorway, creating a fortress-like uninterrupted brick box, without any openings when the store is closed. But when the store is open, almost like the drawbridge of a medieval castle, a small segment of the façade slides away to reveal an entrance in the resulting “notch.” Once again, SITE is suggesting decay in the seemingly random opening in the brick façade.

BEST Anti-Sign – Richmond, Virginia – 1978

Breaking from the previous BEST projects that had all explored various iterations of brick facades, for the Anti-Sign, SITE turned the entire building into giant sign, repeating the name “BEST” across the façade in giant letters that stretched the full height of the walls. Starting with a typical spacing at one end of the façade, the letters begin to overlap as the word repeats, eventually terminating in an illegible jumble, hinting at the high-speed experience of viewing the suburban built environment from a moving car.

Cutler Ridge Building – Miami, Florida – 1979

For the Cutler Ridge Building, SITE returned to masonry to explore a deconstructed version of the façade that extends out into the parking lot. In fact, the entire façade is completely separated from the actual building envelope. The bulk of the façade stands several feet in front of a glass curtain wall enclosure. The portico, seemingly ripped out of the main façade and leaving a trademark jagged brick outline, stands in the median of the driveway. Finally, two lone doorways mark the ends of the rows of parking stalls, as if bringing the store entrance as close as possible to shoppers’ cars.

Forest Building – Richmond, Virginia – 1979

An existing forest on this site in Richmond, Virginia almost prevented the building from being built at all, until SITE proposed a design that would integrate the existing forest into the architecture of the showroom. Specialists spent months on the building site, re-training the roots of the trees to grow away from structural footings and foundations, and preserving the natural undergrowth, allowing nature and architecture to coexist. The result, as Wines describes in his book Green Architecture, is a “massive incision, splitting the building apart and allowing giant oak trees and ground cover to march through the open chasm.”[2] Only later did Wines realize that the added shading from the preserved trees significantly reduced the buildings need for air conditioning in summer months.

As of 2015, the Forest Building is the only BEST Showroom to remain in its original condition, preserved by the West End Presbyterian Church which bought the building soon after BEST closed down in the late 1990s.

Rainforest Building – Hialeah, Florida – 1979

Similar to the Forest Building, the Rainforest Building was inspired by existing forest on the building site. In this case, existing plants were preserved off site during construction, and then replaced as a part of a greenhouse façade, behind a glass water wall, which used recirculated water to help reduce the cooling load of the building.[3] The innovations in the Rainforest and Forest buildings would go on to inspire a career-spanning interest in sustainable architecture and passive design strategies at SITE.

Inside/Outside Building – Milwaukee, Wisconsin – 1984

SITE’s final building for BEST presented the most striking architectural commentary of all. Designed as a life-size cutaway diagram, SITE removed large chunks of the masonry façade, revealing mechanical systems above the suspended ceilings, as well as replica retail displays that exactly matched the displays on the inside of the glass curtain wall. The stark display of monochrome imitation bicycles, toys seemingly cut in half by the clear glass wall, and the air ducts and dropped ceiling all seem to critique the artificiality of the products inside the store.

References:

Trachtenberg, Marvin and Isabelle Hyman. Architecture: From Prehistory to Postmodernity. Upper Saddle River, New Jersey: Prentice Hall, Inc. and Harry N. Abrams, Inc., 2002. 549.
Wines, James. Green Architecture. Köln: Taschen, 2000. 110.
Wines, 110."]]></description>
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    <title>Counterfeit goes cool: high-end brands urged to embrace rise of #dupe | Social media | The Guardian</title>
    <dc:date>2024-05-22T04:14:43+00:00</dc:date>
    <link>https://www.theguardian.com/media/article/2024/may/20/counterfeit-cool-high-end-brands-urged-embrace-dupe</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Gen Z are flaunting their knockoffs and imitations – so experts say companies should play along"

...

"High-end brands should “lean in” and embrace the #dupe subculture that feeds off recommending duplicates or cheaper alternatives to luxury products, social media experts have advised.

Dupes, knockoffs and brand imitators are not new: the first wave of beauty YouTubers were highlighting cheaper products as far back as 2010. But in the past, buying imitation goods was mostly done with the aim of passing the item off as the real thing.

The difference now is that buying #dupe is no longer the same as duping or being duped. With the rapid rise of shareable short-form video platforms, counterfeit has gone cool, with generation Z openly finding and flaunting their dupes.

“The rise of dupe culture speaks to a generational shift in consumption of goods and media,” said Jennifer Baker, the growth marketing leader at Grin, a creator management platform.

“Previous generations may have shopped for knockoffs on the sly, but gen Z has not only normalised buying knockoffs or generic products but has grown the #dupe movement into one of the most searched terms on social media.”

The change is so profound that research shows that even when gen Z or millennials can afford to buy a genuine designer item, many still opt for a dupe instead: nearly one-third of US adults said they intentionally bought a dupe of a premium or luxury product, with at least 11% of UK consumers buying one dupe product at least once every few months.

Half say they buy dupes for the savings, while 17% say even if they could afford the genuine article, dupes are a great alternative.

Insiders say dupe culture looks likely to become a permanent part of young shoppers’ habits, with “dupe discourse” permeating every online medium, from YouTube and Instagram to digital magazine listicles and blogs.

Most consistently tagged are items appealing to younger women – the internet’s heaviest users – including clothing brands Lululemon leggings, Skims shapewear, Bottega Veneta, Ugg, Charlotte Tilbury foundation, Adidas Sambas, Dior, Olaplex and Dyson.

So popular is the trend that TikTok videos with the #dupe hashtag have racked up nearly 6bn views to date. Playful variations of the phrase, such as #doop or #doupe, account for hundreds of millions more: type “I found the perfect dupe” into TikTok and watch the hundreds of thousands of videos pop up.

What constitutes a dupe varies from genuine counterfeits to advice on how to find cheaper versions of high-end products. In some cases, dupes are openly produced by retailers looking to undercut rivals – discount supermarket chains Aldi and Lidl are well known for their imitations of private-label products.

Stevie Johnson, the managing director of influencer marketing agency Disrupt, warned of a problem when bigger brands start duping smaller, independent ones. “But as long as the legal implications are adhered to, I don’t see too many dupe downsides,” he said.

Dupes are sometimes created by third-party manufacturers and sold on online platforms such as Amazon. These products can be openly marketed as dupes – but in other cases, influencers find them and highlight them on their platforms as being the “perfect dupe”.

Influencers fall into different camps too: from those who work for brands and creators in a paid capacity – who must use the hashtag #ad in a prominent position – and those for whom recommending dupes is an unpaid part of their online identity.

For gen Z, say experts, dupe discourse is less about curating authentic designer goods and more about consuming authentic social content to achieve the same look for less.

But since dupe products are often created by unknown brands, creator recommendations are more important than ever to determine the difference between an affordable substitute and a cheap gimmick.

This is why, said a consumer communications lead at TikTok, a good dupe recommendation can make a TikToker an overnight sensation.

“If a creator or influencer finds a cheaper product that everyone else wants to buy, they can become stratospheric overnight,” they said.

But wherever the dupe comes from, experts say companies should see it as an opportunity to strengthen their brand and freshen up their cultural relevance.

“Brands don’t need to worry about their reputation being damaged because it’s all so much in the open,” said Sophie Hardie, the client director at influencer marketing firm the Goat Agency.

“Instead of fighting dupes, high-end brands should use the dupe to light-heartedly engage with popular culture. They should engage with it directly – and authentically – to bring new people in and show a confidence in the power of their brand,” she added.

Johnson agreed, advising bigger brands to become more playful. “Brands are going to have to start playing with this a little bit more,” he said. “If they do, they can attract new customers that might not have initially come to them without the attention raised by the dupe.”

Ellyn Briggs, a brands analyst for the US tech research group Morning Consult, carried out research that found getting duped even had its benefits for the “dupee”, with approximately two-thirds of US adults saying they associate positive words such as “fashionable”, “trendy” and “elite” with often-duped brands.

“This means that the widely known presence of a dupe is effectively a consumer stamp of approval that companies should feel empowered to lean into – especially considering a wide majority of US adults view duping as a minor problem, if one at all,” said Briggs.

Last year, the sports clothing company Lululemon did just this. The luxury, $50bn company struck a marketing blinder by offering fans in Los Angeles who had bought a Lululemon dupe of its popular $98 Align tights the chance to exchange it in-store for the real thing.

Its “dupe swap” came after a post by the TikTok user Ariana Vitale about Lululemon dupes that got more than 955,000 views – leading to the generic hashtag #lululemondupes getting more than 150m hits.

“It felt like a very fun way to step into a cultural conversation,” said the Lululemon chief brand officer, Nikki Neuburger. “Part of why we had total confidence doing that is because we really do know our products are the best; and if you try them, we felt folks would have that sensory ‘Aha’ moment.”

The gamble worked: according to Lululemon, 50% of the more than 1,000 people who came to the swap were new customers – and half were under 30. The response far exceeded Neuburger’s expectations: her team is now considering expanding the swap idea to more events in other markets.

Olaplex is another luxury brand that has leaned fully into dupe discourse, generating millions of views and online conversations in just a few weeks.

Olaplex rolled out its newest haircare product last September – and, at the same time, sponsored TikTok influencers to hail a Olaplex dupe under the name Oladupé.

When the influencers’ link was clicked, however, people were taken to the official Olaplex page and told there was no dupe because nothing can be as good as the real deal."

[via:
https://www.watchcrunch.com/Porthole/posts/yet-another-homage-post-420519 ]]]></description>
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    <title>Super Cute Please Like | Issue 47 | n+1 | Nicole Lipman</title>
    <dc:date>2024-04-10T20:41:55+00:00</dc:date>
    <link>https://www.nplusonemag.com/issue-47/reviews/super-cute-please-like/</link>
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<item rdf:about="https://www.youtube.com/watch?v=LU2QBuLSuHM">
    <title>My $400 AI shopping haul: how AI is changing the way we shop - YouTube</title>
    <dc:date>2024-03-25T20:53:25+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=LU2QBuLSuHM</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Generative artificial intelligence is all over the online shopping space — but has that actually made the experience better? The Verge reporter Mia Sato did a try-on and review of clothes by the AI fashion brand Finesse. And afterwards, she tested AI-powered e-commerce tools that generate images and product descriptions. Presented by Intel #AI #Technology

Read more: https://www.theverge.com/24087909/ai-shopping-tools-fashion-tech-finesse-pebblely-ecommerce 

00:00 Intro
00:35 AI shopping tools
02:19 Finesse and AI fashion
04:48 Generative AI in other retail spaces
05:54 Our Finesse order arrives
06:07 Finesse try-on section
09:06 Using Pebblely AI shopping tool to resell our Finesse haul
10:26 Auto Generating our product description on eBay
11:21 Did AI Improve our shopping experience?"]]></description>
<dc:subject>ai generativeai artificialintelligence 2024 miasato shopping ebay etsy finesse retail socialmedia bigdata renderings instagram manufacturetopurchase fashion clothing apparel doordash knitting crafting amazon fastfashion shien teemu aliexpress pebblely textgeneration genai</dc:subject>
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<item rdf:about="https://www.ft.com/video/bb65dbf9-cfa7-4723-a412-a88af9285383">
    <title>The rise of Pinduoduo and Temu: profits and secrets | FT Film</title>
    <dc:date>2024-03-08T08:13:54+00:00</dc:date>
    <link>https://www.ft.com/video/bb65dbf9-cfa7-4723-a412-a88af9285383</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Chinese e-commerce app Pinduoduo is one of the biggest and most profitable retailers in the world. It is spending a huge amount of money on international expansion through a new app called Temu, which analysts say could disrupt everyone from Amazon to high street retailers. However, the company behind Temu and Pinduoduo is extremely secretive and there are questions about its business model, how it operates and how it communicates with investors"

[Transcript:

"You can enable subtitles (captions) in the video player

When you start looking at Pinduoduo you very quickly realise this is not a normal company.

So there's a lot of mystery around the company with a great deal of secretiveness around how it runs.

PDD went from zero market share to, we think now, slightly over 20 per cent of the market.

Its numbers suggest a reimagining of what people once thought was possible in the world of complex, retail logistics.

It's incredibly cheap, and it's also fun.

But at the same time there are lots of questions about it, the way it was founded, the way it's structured, the way it interacts with investors. And those questions, some investors might see as red flags.

Pinduoduo is essentially an online marketplace, and it's really pioneered being an online dollar store, having all different types of goods, no brands, all cheap prices.

It's grown by just bringing these cheap prices to consumers that can't afford branded and other goods. Back in 2020, during the height of the mini internet bubble, they had a market cap of nearly $200bn, which they are at again today.

Pinduoduo has come into focus now with the launch of its overseas app, Temu.

They expanded into this overseas venture, call it September 22. And now they've expanded into almost 50 countries globally, essentially leveraging domestic light manufacturing to sell all sorts of things to the rest of the world.

I mean, the reason why FT readers are so intrigued by Temu is because just suddenly, they've seen their children, their friends, changing their shopping habits almost overnight.

So Temu is special. This is probably the most important thing to happen to global e-commerce in quite a long time.

So I came across Temu through social media. I have ordered children's toys, pre-school toys, Montessori toys, and stuffed teddy bears. I have ordered novelty socks. I have ordered Taylor Swift jewellery.

There's no denying that Pinduoduo and Temu are selling huge amounts of merchandise to huge numbers of people around the world. The problem is, I can't see how, given the lack of information about the company, anyone on the outside can really claim to properly understand it.

They don't court Wall Street equity analysts like the other Chinese e-commerce giants do.

There are 56 Wall Street analysts who cover PDD Holdings as a stock, and 53 of them recommend that their clients buy it. They think it's great. The weird thing is, they don't really have very much information to go on.

PDD is known to be minimally communicative as far as the business is concerned. They've yet to break out any kind of financial detail on, for example, Temu versus the domestic business. And generally, it is a very secretive business by nature, by culture. They tend not to give too much away on earnings calls and such.

Nobody can tell you how big PDD's marketplace is. Two years ago it was worth almost $400bn in what we call GMV, gross merchandise value. And using some reasonable assumptions you can get a pretty, let's say, ridiculous range of estimates.

Is PDD as big as Amazon, or is it as big as Amazon plus Walmart? And if you want to get really carried away, you can kind of take some of the numbers which they publish and haven't explained, run that forward, and hey, maybe PDD is actually as large as the Italian economy. And that's kind of bonkers, right?

When we do our work on PDD and Temu the job is essentially an exercise of triangulation between different data points. We talk to merchants. We talk to a lot of the logistical providers that help both PDD and Temu in the international market.

We speak to different industry contacts that are in the e-commerce trade, both domestically and cross-border. And we do get some management access on top of that, where they can talk in qualitative terms and give you some idea of what they're trying to achieve high level. So it's not completely opaque, but yes, it's less hands on when it comes to investors than, for example, some of my other companies that guide quarterly revenues and earnings and so on.

So Pinduoduo is listed on NASDAQ, but unusually, as all these other Chinese companies have done, these homecoming listings to list in Hong Kong and kind of lessen some of their US risk, Pinduoduo has always held off.

Having a listing in China gives you access to Chinese investors, who you would think know your business better than anyone else. I think the question for PDD is, why don't they want a second listing? Glossing over details of your business when you're a start-up is to be expected. When you're a $200bn public-listed company, investors kind of expect clarity on basic matters like, hey, where's your headquarters?

I'm Jude Webeber and I'm the Ireland Correspondent for the Financial Times. The first floor of this building behind me in the centre of Dublin is what PDD Holdings has been telling US regulators since March 2023 is their principal executive office.

There's a plaque on the wall outside the office, but in fact, the company that's registered in Ireland is not Temu or PDD Holdings, but another company completely, WhaleCo Technology Limited. I wanted to go and visit them, and I tried to get up to the first floor. But they have no reception there, and I was asked to send an email.

They're the only major Chinese internet company to move their headquarters abroad, at least on paper.

There are definitely reasons why PDD might want to be in Ireland. Ireland has a low corporate tax rate, and that's helped attract other global tech companies like Apple and Meta and Google. And that also means there's a pool of tech talent available here in Ireland. Ireland's also an English-speaking country, and it's based in the EU. And the EU is a crucial market if it wants to expand globally.

China also has a cordial relationship with Ireland. New Chinese Premier Li Qiang visited Dublin in January 2024, and big Chinese companies like TikTok and Huawei and WuXi Biologics all have operations or offices in Ireland.

But really, we know deep down, this is a Chinese company. It's headquartered in Shanghai. That's where all the staff and management are. So what exactly is it we're dealing with here?

Well, that's complicated. Temu says it was founded in September 2022 in Boston. WhaleCo was incorporated in Ireland in July 2022, but WhaleCo isn't mentioned in any of PDD's official filings to the US regulator. Meanwhile, Temu tells European customers to get in touch with the Dublin office that we went to, and data protection queries should be sent to the same office, but addressed to WhaleCo.

You do usually have to have some sort of assets or important staff where you're claiming your headquarters are, and it sort of points to this bigger question about PDD. What is it that American stockholders are actually buying? Because you have this complicated system where what they own is a stake in a Cayman Islands company. That company has some contracts with operating businesses in China.

In China, all their operating companies are owned by various people. That could be a problem if there's any dispute between shareholders and the people who own all these companies that produce the majority of their revenues.

The origin story of Pinduoduo is also confusing, but what it does show is that the founder, Colin Huang, has this history of muddying the waters around who exactly owns what to do with his companies.

Back a decade ago, Colin Huang, who was this ex-Google engineer, was running a series of companies in this one building in Shanghai. And they just basically sold cheap stuff to Americans. Although Colin Huang was behind them, he didn't own any of the companies on paper. In China, this is known as using white gloves, or baishoutao.

I followed the address on business documents to the home of one of these shareholders, and he was a 65-year-old man. And he answered his door with his shirt off and the TV blaring. And then there was the company that became Pinduoduo, that was similarly held by this woman who was in her late 60s who owned 90 per cent of the company. But when Pinduoduo later listed on NASDAQ they told investors that Colin had controlled the company since its establishment.

I think if you encounter a company that is pushing boundaries in one area, it might make you ask, well, what else are they doing that we can't see?

They haven't had a chief financial officer since going public, and they've instead cycled through vice presidents of finance.

Last year, Pinduoduo's app was suspended from the Google Play Store, which said it contained malware. Now, the company said, nothing going on, not malicious. But it does raise questions about what sort of culture is going on that that could happen.

From talking to employees, even, they don't really know their colleagues' real names. They use nicknames.

Wechat groups between staff members are actively discouraged.

Looking at that in a positive light, you might say they're doing that because they face Alibaba and JD, and they don't want to reveal how they operate to their major competitors.

Maybe that's true, but it's kind of weird isn't it? And I really think that doesn't feel like a very satisfactory explanation. And it certainly goes against what we might have learned from a lot of business schools about how innovation happens inside companies.

Pinduoduo is essentially an online marketplace where anyone can go sell goods to Chinese shoppers, and they've differentiated themselves by taking a lower cut of each sale, and also not building out any of the logistics infrastructure that JD and Alibaba have. So they're really an asset-light e-commerce marketplace, all online.

PDD domestically basically outsources the fulfilment to the industry of express delivery guys.

It's all very well using third parties day to day when everything's fine. But what about Singles Day, when huge numbers of people across China are sending packages? How has PDD managed the user experience? If you look at staffing levels, PDD told us it had about 13,000 staff.

That is so much smaller than Alibaba, which has hundreds of thousands. Amazon, by the way, has 1.5mn people working for it. If PDD has been able to grow to this enormous size without having its own logistics, without having control, then I think a lot of business schools are going to have to be rewriting some textbooks.

So back in 2020, in the years before then, they were sometimes spending more on sales and marketing than their total revenue. So they really went all in on advertising subsidies to learn users, and they've proven at least within China, that they can keep those users once that advertising spend starts to decline as a proportion of their business. The question is really, will that same model work with Temu, and will it work with American shoppers and European shoppers.

PDD domestically, it's very, very cash generative. This year, 2023, we think the domestic business is probably on track to generate something like $25bn of free cash flow. And that, on some level, is funding the growth of Temu, at least in the first instance.

Temu is spending significant amounts on growing the business. Our estimate is that they will lose over $4bn in 2023 full year in order to get the business off the ground. We expect them to lose money in 2024, and then most likely get to profitability sometime in 2025, 2026.

They don't tell investors much about the company, if at all. They don't mention Temu in their financial reports except for a couple of quick mentions. They don't show how Temu is growing or what they're spending to grow Temu.

The chief exec was asked about it on the call, and he simply said: "It's at an early stage."

We think in the year of 2023, full year, Temu is most likely going to get to somewhere in the range of $17bn of gross merchandise value, roughly a third of Shein, which has been around for a lot longer and is the other main cross-border e-commerce platform.

Shein is a Chinese-founded fast fashion company that shipped cheap clothes directly from Chinese factories to shoppers in the west.

It does feel like the combination of Temu and then others like Shein and TikTok Shop are fronting this charge to expand globally, and to sell essentially all across the world. And it will, in my view, have an impact on some of the global incumbents.

It's early days in Temu's story, but the reason why this company is potentially very important is because they could potentially be replicating Shein's growth story in fast fashion in the online marketplace. If it is able to kind of replicate the speed of Shein's growth through its combination of fun and cheap and easy shopping, then it could potentially be as disruptive a force for the online marketplace for players like Amazon as Shein has been in fast fashion.

So investors are extremely excited about the potential of Temu. What seems worth noting, though, is there have been other companies asked to comment on what's the impact been on their business. And pretty much the response has been, yes, we're aware of it. Surely, it's going to have some consequence, but we haven't seen any impact to our business yet.

And that raises questions about, well, how effective is Temu's big expansion? Certainly, the chief executive of Etsy raised questions about the effectiveness of all this money that Temu has been pouring into advertising. Certainly, they couldn't see the basis for a good return on investment there.

So would you like to see what's inside my parcel? You would love to see what's inside my parcel. I have found that their marketing campaign has been very, very dedicated, so I think that may have kind of given me rose-coloured glasses, so that you can't see beyond the fact that you're getting a great deal. The only difference between this that I bought in Temu for 11 euros and the product that was being advertised by the company here is that they had maybe one or two extra middle layers.

There have been a slew of companies that have tried this cross-border e-commerce model, shipping packages directly to US and European consumers. And no one has yet been able to do it and make a lot of money from doing it, although Shein is beginning to show that the model could have potential.

I'm Ryan McMorrow. I'm usually in Beijing, but happen to be in San Francisco at the moment. I ordered this package on Temu. Originally, we were going to go to the factory and film how it was made. But unfortunately, the local government got in our way. It is a very basic bag, costs about $8, so you can't expect too much. But it looks about like what I ordered, although it's a bit smaller.

The low prices are essentially a function of two things. One is the fact that compared to peers like Amazon, Temu is currently charging a much lower take rate than what we hear merchants are having to pay on, say, Amazon. And the second thing which PDD has done prolifically in the domestic market is something that they call C2M, Customer To Manufacturer, where the platform actually aggregates consumer feedback and data from the from the platform, from sales, from other sources, and actually tells the producer to iterate the product in different ways.

One of the ways that they do this is often the platform will tell the merchant to design something to a slightly cheaper spec so that it's a little bit lower quality, but significantly lower in terms of production cost.

The products that we as western consumers are buying on platforms, for example, like Amazon, the high cost of them has a lot to do with the fact that they need to create a brand. They spend a lot on marketing. They do consumer surveys to try and figure out what we want. All of this costs money and is baked into the price of the product.

Temu has stripped that away. They've basically said, OK, we're going to go straight to the manufacturer, use algorithms to predict what shoppers want online, cut out all of this brand creation, fee, cost structure, and ship these goods directly from the factories to shoppers in the west.

At $8, this bag is cheap, but when I looked on Amazon, comparable bags were selling for about $15. The thing is, sending this bag across China costs less than $1, but the cost of getting it to San Francisco from LA is probably about half the cost of the total bag, which raises questions about how they keep costs down in China to make this business model work.

Now that the volumes are much higher, we hear that there are discussions going on between merchants and Temu about supplying Temu, not just from the manufacturing base in Guangzhou and surroundings, but also to supply the platform from inventory that's already in the US, where the merchant has already taken on the inventory risk of the long-haul leg. And that's served one purpose, which is to allow Temu to sell more expensive items, to sell heavier items, which if you're sending things via brown-paper envelope, via air, is more difficult.

China hawks in the US are certainly not happy that US consumers are becoming more and more reliant on these platforms, but the question is whether or not they can actually do anything about it.

There's obviously the potential for geopolitics to influence the business. One of the more visible things is the de minimis provision in the US, which allows parcels to go into the US without paying tax if it's under $800 of value.

Temu takes advantage of this according to a US Congressional committee. This committee is also looking into where Temu sources its goods in China, so there's some impetus to look at if Temu is getting any of its goods from Xinjiang and whether that is getting into the US illegally.

We're in an age where it's become very obvious that there is an environmental cost to fast fashion and to overconsumption. But over the past two years we've seen these companies whose whole business model is premised on us buying more, throwing it away, and updating our wardrobes, filling our cupboards with things that we didn't even know that we needed or wanted.

And the key question here is whether or not through their business model they're actually creating this new demand, whether or not they're encouraging and impelling the shopper to constantly add to their basket and to be buying stuff that quite frankly, they probably don't need.

Close friends of mine, one of them recently put in her own order only last week, and she said, oh my gosh, we have created a monster. My basket is already full again and I can't wait to check out.

As a shopper, if you're just going on the Temu website, you would have no idea that this is a Chinese company.

On Temu's website, they've sporadically been updating their founding story. At one point, they listed on their website their connection to Pinduoduo, but at the moment, they've removed any mention of China and say they were founded in Boston in 2022.

I think it's fine for a company to be secretive. Apple, famously, prides itself on secrecy. What's weird about PDD is it isn't telling you some fairly basic stuff about its business, which isn't the special sauce, not its innovation, but really, just trying to understand the financial numbers it's publishing. These are some pretty standard questions that you would expect to be answered by a public listed company.

The story of Temu is really a story of how dominant Chinese manufacturing continues to be. We've seen geopolitical tensions between the US and China, but in spite of all of those trends, you've seen these companies shipping Chinese manufacturing almost directly to consumers in the west. That is a testament to the continued strength of Chinese manufacturing base.

Since I started following Pinduoduo, the question for me has been, why do they operate the way they do with this extreme secretiveness? At least within China, Pinduoduo has really proven that their business model does work, according to their financial statements. The question is whether they're going to be able to recreate this with Temu abroad."]]]></description>
<dc:subject>pinduoduo temu ecommerce logisitics amazon retail 2024 business via:javierarbona generic china consumption consumerism investment walmart merchandise logistics marketing advertising shein fastfashion disposability waste environment sustainability</dc:subject>
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    <title>The Daily Heller: I Lost My Heart at Olivetti on Fifth Avenue – PRINT Magazine</title>
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    <title>The world would be more beautiful if we were still using an Olivetti typewriter (Part 1) - Palainco</title>
    <dc:date>2023-06-26T20:02:52+00:00</dc:date>
    <link>https://palainco.com/discover/item/olivetti-typewriter-flagship-store-italy-lamps/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[Part 2
https://palainco.com/discover/item/olivetti-typewriter-flagship-store-abroad-lamps/ ]

[via:
https://www.printmag.com/daily-heller/the-daily-heller-i-lost-my-heart-at-olivetti-on-fifth-avenue/ ]]]></description>
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    <title>Westfield Walks from Mall in San Francisco, after Walking from 2 Malls in Florida &amp; others. Screws CMBS Holders, Said in 2021 it’ll Dump All Malls, but Suddenly Blames San Francisco? | Wolf Street</title>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:investment"/>
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<item rdf:about="https://www.ablogtowatch.com/auction-world-shenanigans-the-horrible-truth-behind-the-new-rolex-deepsea-challenge-saving-the-environment-the-watch-industry-way-and-the-psychology-of-buying-luxury-watches/">
    <title>Auction World Shenanigans, The Horrible Truth Behind The New Rolex Deepsea Challenge, Saving The Environment The Watch Industry Way, And The Psychology Of Buying Luxury Watches | aBlogtoWatch</title>
    <dc:date>2022-11-11T19:11:53+00:00</dc:date>
    <link>https://www.ablogtowatch.com/auction-world-shenanigans-the-horrible-truth-behind-the-new-rolex-deepsea-challenge-saving-the-environment-the-watch-industry-way-and-the-psychology-of-buying-luxury-watches/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["On this week’s edition of aBlogtoWatch Weekly, Ariel, Rick, and David spend another delightful hour covering all the latest from the watch world. They go green with a discussion of sustainability efforts in the watch industry (including a drop-in from Oris CEO Rolf Studer), think deep about why people even bother buying luxury watches, and confront the horrible truth behind Rolex’s new titanium behemoth. Plus: another alarming watch theft, an auction house gets eviscerated on social media, and a vintage Seiko that doesn’t quite hold up. You can listen below or on the podcast player of your choice."]]></description>
<dc:subject>2022 sustainability watches luxury economics capitalism oris rolfstuder greenwaching diamonds gold steel materials retail waste</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:2d3d2f270daf/</dc:identifier>
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<item rdf:about="https://www.youtube.com/watch?v=0yNjUFEuW18">
    <title>The Extraordinary King of Luxury Fashion - YouTube</title>
    <dc:date>2022-06-11T20:59:49+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=0yNjUFEuW18</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["To outsiders, luxury fashion is a curious industry where consumers seem to irrationally shell out hundreds and thousands of dollars for sneakers, handbags, wallets, or T-shirts.  

But take a step inside, and you’ll find the world of high fashion is more like Game of Thrones with  Italian, English, and French houses like Gucci, Louis Vuitton, YSL, and Balenciaga fighting to be the king.  For the houses that get to sit on the throne, they don’t last for long.  

Brands like Versace, Tony Burch, and Coach once dominated in the 2000’s.  Fast to the 2020’s and today’s top players are Gucci, Louis Vutton, YSL.  Now what if I told you that there’s a high fashion brand that’s more lucrative and successful than Gucci, YSL, Moncler, and Louis Vutton? 

A brand who only sells its products to a carefully curated list of only its highest spending customers, takes no preorders, refuses to expand inventory, or scale production.  A brand whose products are so elusive that they appreciate thousands of dollars and are often resold for profit.   A brand that does not allow returns, refunds, or exchanges.  A brand who has remained independent, manufactures by hand, spends the least on marketing, and yet grosses close to what Gucci makes every year.   

That brand is Hermès and they are the current king in high fashion. Hermès operates their business with a playbook and style that no other brand can even come close to emulating."]]></description>
<dc:subject>hermès 2022 luxury markets fashion brands branding rationality irrationality gucci louisvuitton balenciaga versace ronyburch coach moncler exclusivity marketing supply manipulation yvessaintlaurent ysl highfashion sneakers handbags clothing lvmh kering flexing licensing endorsement wholesale resale sponsorship genz millennials consumerism consumption shopping trends sales retail brandambassadors media socialmedia handmade efficiency scale slow craft craftsmanship assemblylines lessismore change elusiveness worthiness loyalty brandloyality france speed technology automation profits business manufacturing geny generationz zoomers generationy</dc:subject>
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<item rdf:about="https://www.instagram.com/p/BwMgbHnF2hZ/">
    <title>@display_model • Fotos y vídeos de Instagram</title>
    <dc:date>2019-04-18T22:51:37+00:00</dc:date>
    <link>https://www.instagram.com/p/BwMgbHnF2hZ/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["selfies found on retail display devices"]]></description>
<dc:subject>instagram instagrams photography retail selfies</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:341c0086f9a6/</dc:identifier>
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<item rdf:about="https://www.eater.com/2019/3/22/18277582/7-eleven-healthy-food-organic-slurpees-lab-store">
    <title>7-Eleven Lab Store Experiments With Health Food and Organic Slurpees - Eater</title>
    <dc:date>2019-03-31T01:18:52+00:00</dc:date>
    <link>https://www.eater.com/2019/3/22/18277582/7-eleven-healthy-food-organic-slurpees-lab-store</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["But 7-Eleven plans to shed its identity as a junk food staple. As America’s obsession with wellness and “clean eating” shows no signs of slowing down, the chain wants to figure out how to change customers’ perceptions that convenience food doesn’t always have to be deep-fried or nutritionally sketchy. In early March, the chain debuted its first “lab store,” a real-time testing ground for new, bougie conveniences, next to a busy Dallas highway, just a stone’s throw away from a tony Italian market and one of the city’s most popular ramen joints. Outside, the store looks largely like any other 7-Eleven, with the familiar signage and gas pumps — until you notice the giant selfie-friendly mural painted by a local artist. Inside, it looks a lot like a Whole Foods or any other sleek modern grocer, with natural wood accents and towers of trail mix ingredients sold in bulk.

Unlike most other 7-Eleven stores, this outpost offers a range of hot and prepared food items that goes far beyond the typical roller-grill hot dogs that have been the chain’s bread and butter for decades. Right next to the roller grill sit warmers full of soups like vegetarian tomato basil and gluten-free chili. Across the aisle awaits what press releases call the “better for you” refrigerator case, filled with grab-and-go lunch items: sandwiches, salads, and plastic bowls filled with a “seasonal blend” of mushy kiwi, grapes, cantaloupe, strawberries, and a single pineapple spear. Thanks to the current dominance of the keto trend, hard boiled eggs; portion-controlled packets of cured meats; cheeses; and cured meats wrapped around cheeses are abundant.

There is also a small restaurant, complete with a sit-down cafe and small patio off to the side of the store, arguably the best place to find food in the place. It’s the first Dallas outpost of Laredo Taco Company, a South Texas mainstay that has been selling serviceable breakfast tacos on freshly made tortillas to working people for years. Laredo Taco was part of the Stripes convenience store chain, which 7-Eleven acquired in 2018. With that came Laredo Taco Company, which has scored praise from Anthony Bourdain.

In the aisles, this 7-Eleven is stocked with enough gluten-free, paleo, vegan, organic, and naturally sweetened options to feed an entire army of wellness-obsessed snackers, with just enough “normal” food to resemble a small grocery store. A $15 jar of Justin’s Chocolate Hazelnut Butter sits on a shelf next to organic stevia ($9), jars of Bonne Maman preserves ($6), organic safflower oil ($12), and single-serve pouches of brown basmati rice are placed alongside staples like Velveeta processed cheese ($4), microwaveable Rice-A-Roni cups, and Wolf brand chili. Elsewhere, gluten-, dairy-, and egg-free cake balls ($14) share shelf real estate with Hostess chocolate cupcakes ($2).

And then, of course, there is the Slurpee, both an American icon and an engineering marvel. The fluffy, frozen beverage is a sweet-tooth staple; the lab store’s innovation is the organic Slurpee, made with “farm to fountain” flavors like coconut, blood orange, and cucumber from Idaho’s Tractor Beverage Company, which boasts that its syrups are USDA certified organic, GMO-free, and “entirely” natural. In the organic Slurpees, buzzy superfoods like celery and turmeric are ingredients in the cucumber flavor; allegedly stomach-soothing licorice root adds an extra veneer of health to the cherry cream flavor; the blood orange flavor also features turmeric, along with black carrot. Unlike most of the original flavors, the organic options are not carbonated, which means they lack the fluffy, smooth texture of a typical cherry Slurpee. Instead, they’re packed with crunchy ice crystals that always seem to find their way to the most sensitive parts of your teeth.

It’s not surprising that even the Slurpee, much maligned for its hefty sugar content and the presence of preservatives like sodium benzoate, is getting the organic treatment. 7-Eleven is a corporation interested in making profits, and the organic food market is currently worth upwards of $45 billion. But there is something deeply unsettling about seeing the Slurpee stripped of its vibrant colors and cloyingly sweet flavors. It’s depressing to think that, someday, the Slurpee won’t represent a decadently sweet treat, but just another way to get in your daily dose of superfoods. It’s like if all the milkshakes in the future were Soylent, and every Red Bull was replaced with 7-Eleven’s locally-sourced “Yerbucha,” a mix of kombucha and yerba mate."

…

"It is this bizarre juxtaposition of the organic and the chemical-laden, the sacred and the profane, that makes 7-Eleven’s “lab store” such a fascinating — and disorienting — concept. In attempting to please literally everyone — gentrifiers, working-class families, young professionals, and kids looking for after-school snacks — it’s possible that they’re going to alienate everyone. No one on a tight budget wants to accidentally pay $2 more for organic tomatoes when they meant to grab the cheap ones, and no one wants to be tempted by the allure of a quick Velveeta and Rotel queso served with fried tortilla chips when they’re trying to eat “virtuously” and choose the gluten-free granola instead. Being guilt-tripped into buying fruit and hard-boiled eggs is particularly dehumanizing when you can only afford nachos.

Between its fancy coffee machines that grind beans to order, a dessert bar serving soft-serve gelato and non-fat frozen yogurt, and counters serving kombucha, nitrogen-infused hibiscus tea, and cold brew made with fair-trade, organic coffee beans, this store is also a panic attack in four walls. While browsing for more than an hour, I actually longed for a regular 7-Eleven, one where the cashiers would definitely look at me like a lunatic for asking where to find the cold brew coffee on tap, a place where it’s perfectly normal to buy three different types of gummy candy. If 7-Eleven truly wanted to improve upon its model in a meaningful way, it would look to its own stores in Japan: The food there — sandwiches stuffed with fluffy egg salad, soba noodles, and onigiri — has earned a cult following because it is cheap, varied, and most importantly, of high quality."]]></description>
<dc:subject>7-eleven retail conveniencestore food 2019 japan</dc:subject>
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<item rdf:about="https://www.theguardian.com/business/2019/mar/05/long-read-aldi-discount-supermarket-changed-britain-shopping">
    <title>The Aldi effect: how one discount supermarket transformed the way Britain shops | Business | The Guardian</title>
    <dc:date>2019-03-12T22:26:55+00:00</dc:date>
    <link>https://www.theguardian.com/business/2019/mar/05/long-read-aldi-discount-supermarket-changed-britain-shopping</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["When Aldi arrived in Britain, Tesco and Sainsbury’s were sure they had nothing to worry about. Three decades later, they know better."

…

"By sucking in shoppers and, as former Aldi UK CEO Paul Foley puts it, “sucking the profitability out of the industry” – profit margins of 2-3% are now the norm – the two German-owned companies have forced the “big four” supermarkets to take drastic measures. Morrisons has closed stores and laid off workers, while Sainsbury’s and Asda, desperate to cut costs and stop losing market share, announced a proposed £13bn merger in May, which the UK competition watchdog now appears likely to block. Tesco, meanwhile, has slashed its product range and bought the discount wholesaler Booker. In September, in a belated acknowledgement that the major threat to its business comes from Aldi and Lidl, Tesco launched its own discount chain, called Jack’s.

These industry shifts often lead the news, because supermarkets are so important to the economy: with more than 300,000 staff, Tesco is the UK’s biggest private-sector employer and the biggest retailer of any sort. But we also follow these stories closely for a more sentimental reason: grocery shopping is an intimate part of our lives. We don’t need to buy books or fancy trainers, but we do need to eat.

Most of us shop weekly, at the same store each time. Traditionally, we chose a shop for convenience – because a particular store was close by and because we knew along which aisles to find a large choice of our favourite products and brands – and loyalty. Research shows that many of us also chose a grocer because of how we perceived ourselves in terms of class and status. In the early 2000s, before Aldi’s rise, Peter Jackson, professor of human geography at the University of Sheffield, noted that British shoppers appeared to want an “environment where they will be surrounded by people like themselves” with whom they feel comfortable.

But the success of Aldi and, to a lesser extent, Lidl, shows that these old conventions no longer hold so true. Aldi, which is still family owned and unburdened by the short-term pressures for profits faced by its stock-market listed rivals, has changed the way we shop."]]></description>
<dc:subject>aldi traderjoes supermarkets retail 2019 choice simplicity class identity</dc:subject>
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<item rdf:about="http://freakonomics.com/podcast/trader-joes/">
    <title>Should America Be Run by … Trader Joe’s? (Ep. 359) - Freakonomics Freakonomics</title>
    <dc:date>2018-12-20T06:03:15+00:00</dc:date>
    <link>http://freakonomics.com/podcast/trader-joes/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["ROBERTO: “I’d like to open a new kind of grocery store. We’re not going to have any branded items. It’s all going to be private label. We’re going to have no television advertising and no social media whatsoever. We’re never going to have anything on sale. We’re not going to accept coupons. We’ll have no loyalty card. We won’t have a circular that appears in the Sunday newspaper. We’ll have no self-checkout. We won’t have wide aisles or big parking lots. Would you invest in my company?”

…

"So we put on our Freakonomics goggles in an attempt to reverse-engineer the secrets of Trader Joe’s. Which, it turns out, are incredibly Freakonomical: things like choice architecture and decision theory. Things like nudging and an embrace of experimentation. In fact, if Freakonomics were a grocery store, it might be a Trader Joe’s, or at least try to be. It’s like a real-life case study of behavioral economics at work. So, here’s the big question: if Trader Joe’s is really so good, should their philosophy be applied elsewhere? Should Trader Joe’s — I can’t believe I’m going to say this, but … should Trader Joe’s be running America?"]]></description>
<dc:subject>traderjoes 2018 freakanomics retail groceries psychology choice paradoxofchoice decisionmaking michaelroberto competition microsoft satyanadella markgardiner sheenaiyengar economics behavior hiring</dc:subject>
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<item rdf:about="https://www.nytimes.com/2018/11/19/fashion/shopping-malls-asia.html">
    <title>Libraries, Gardens, Museums. Oh, and a Clothing Store. - The New York Times</title>
    <dc:date>2018-11-27T05:49:15+00:00</dc:date>
    <link>https://www.nytimes.com/2018/11/19/fashion/shopping-malls-asia.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[Shopping areas in Asia are about the experience, not just the retail sale.]]></description>
<dc:subject>malls libraries shopping retail experience asia 2018 cambodia korea seoul japan china shanghai hongkong kowloon tokyo museums gardens interiors architecture</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
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<item rdf:about="https://lithub.com/buddy-the-library-isnt-a-7-eleven/">
    <title>Buddy, the Library Isn't a 7-Eleven | Literary Hub</title>
    <dc:date>2018-08-26T18:28:04+00:00</dc:date>
    <link>https://lithub.com/buddy-the-library-isnt-a-7-eleven/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Today someone handed me a Costco card. For what purpose? To check out books, of course! This is the fourth time in my illustrious library career that this has happened.

In honor of this brave soul (who owes me 600 Costco-sized boxes of Kraft macaroni and cheese and a legit flight of boxed wines if they try this again), I present to you a collection of interesting items people have asked for at the circulation desk:

– My full coffee mug, my breakfast, my lunch, my dinner, the gum from my mouth

– Birthday party supplies (for a party they were planning to throw in in the library, SURPRISE!)

– Ibuprofen

– Plastic bags to clean up after a dog (where was the dog, we don’t know)

– The newest season of Game of Thrones that had not yet aired on TV

– A ream of copier paper

– Two reams of copier paper

– Printer ink

– Eight feet of “heavy duty” chain

– Birdseed

– Tampons (this one I get—tampons and sanitary pads should be free, and they should be available in every restroom, don’t @ me)

– Tomorrow’s newspaper

– Lottery tickets

– Cigarettes

– A VHS player

– The book with the blue cover, the book with the red cover, the book with the green cover

– The book that’s about horses . . . but not like about, horses, you know?

– Breath mints (cinnamon preferred)

– Tip for pizza delivery (delivered to the library, didn’t even offer me a goddamn slice)

– A microscope

– JOANN Fabric coupons

– A book of clean jokes (for a bachelor party)

– A scooter repair kit

– A fishing license

– Any items from Lost & Found “worth over 100 dollars”

– Eyeglasses

– My eyeglasses

– Sunglasses

– My sunglasses

– Canned corn

– Sunscreen, a beach towel, a swimsuit

– A terrarium

– The hair tie on my wrist

– “I like that necklace you’re wearing can I borrow it”

– Breakfast cereal, “but not that sugary crap”

– A spare tire

– A lawnmower

– Pasta sauce

– Glow sticks “for a rave”

– Keys to the library to come in after hours and “do some stuff”

– Wart remover

– A dictionary, but only one that doesn’t include swears

– A sharpie, to “mark out the swears in the books”

– Chapstick

– Alvin and the Chipmunks puppets

– An exorcism kit (“What do you mean what’s an exorcism kit??”)

– A cello

– 20 to 30 inflatable balloons (red preferred)

– Tax forms

– TAX FORMS

– T A X F O R M S

– “Do you guys have any eclipse glasses”

– “Do you guys have mayo—not Miracle Whip?”

– Markers, but only the ones scented like fruit

– A fake mustache

– A frisbee

– Any plants the library “isn’t currently using”

– Sidewalk chalk (“How can you guys not have sidewalk chalk? This is the worst library!”)

– Electromagnetic detectors for ghost hunting

– Sunflower seeds

The best part about this list is I’ll just get to keep adding to it, forever and ever, amen.

My fellow librarians and library staff: what’s the weirdest thing you’ve ever been asked for at the circulation desk? I’ll feature the best answers in my next column!

Okay, gotta go, someone wants to borrow my car."]]></description>
<dc:subject>libraries humor librarians 2018 retail us capitalism kristenarnett</dc:subject>
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<item rdf:about="https://www.gettyimages.in/photos/morioka-shoten?mediatype=photography&amp;phrase=morioka%20shoten&amp;sort=mostpopular">
    <title>Morioka Shoten Pictures and Photos | Getty Images</title>
    <dc:date>2018-07-25T04:19:21+00:00</dc:date>
    <link>https://www.gettyimages.in/photos/morioka-shoten?mediatype=photography&amp;phrase=morioka%20shoten&amp;sort=mostpopular</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[related bookmark from 2015: https://pinboard.in/u:robertogreco/b:3eeb1d73121f ]

[posted to Tumblr in 2015: https://robertogreco.tumblr.com/post/129125844778/psfk-via-jen-lowe-a-new-bookstore-opened ]

[See also:
https://www.takram.com/projects/a-single-room-with-a-single-book-morioka-shoten/
https://mg.co.za/article/2015-12-28-japanese-bookshop-stocks-only-one-book-at-a-time
https://qz.com/610114/this-tiny-japanese-bookstore-only-stocks-one-title-at-a-time/
https://black-buddha.com/shop/morioka-shoten
https://www.wallpaper.com/lifestyle/essential-reading-the-single-book-morioka-shoten-bookstore-opens-in-ginza-tokyo
https://www.herenow.city/en/tokyo/venue/morioka-shoten/
https://www.wgsn.com/blogs/meet-morioka-shoten-the-book-store-that-stocks-one-book/http://www.spoon-tamago.com/2015/09/06/morioka-shoten-ginza-a-bookstore-that-only-carries-one-title-per-week/
https://inhabitat.com/fascinating-tokyo-bookstore-stocks-just-one-book-a-week/ ]]]></description>
<dc:subject>moriokashoten bookshops bookstores booksellers japan tokyo ginza design interiors retail lcproject openstudioproject books publishing noticings 2015 yoshiyukimorioka curation decisionmaking minimalism audiencesofone</dc:subject>
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<item rdf:about="http://davidbyrne.com/journal/eliminating-the-human">
    <title>David Byrne | Journal | ELIMINATING THE HUMAN</title>
    <dc:date>2017-06-04T01:53:44+00:00</dc:date>
    <link>http://davidbyrne.com/journal/eliminating-the-human</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["My dad was an electrical engineer—I love the engineer's’ way of looking at the world. I myself applied to both art school AND to engineering school (my frustration was that there was little or no cross-pollination. I was told at the time that taking classes in both disciplines would be VERY difficult). I am familiar with and enjoy both the engineer's mindset and the arty mindset (and I’ve heard that now mixing one’s studies is not as hard as it used to be).

The point is not that making a world to accommodate oneself is bad, but that when one has as much power over the rest of the world as the tech sector does, over folks who don’t naturally share its worldview, then there is a risk of a strange imbalance. The tech world is predominantly male—very much so. Testosterone combined with a drive to eliminate as much interaction with real humans as possible—do the math, and there’s the future.

We’ve gotten used to service personnel and staff who have no interest or participation in the businesses where they work. They have no incentive to make the products or the services better. This is a long legacy of the assembly line, standardising, franchising and other practices that increase efficiency and lower costs. It’s a small step then from a worker that doesn’t care to a robot. To consumers, it doesn’t seem like a big loss.

Those who oversee the AI and robots will, not coincidentally, make a lot of money as this trend towards less human interaction continues and accelerates—as many of the products produced above are hugely and addictively convenient. Google, Facebook and other companies are powerful and yes, innovative, but the innovation curiously seems to have had an invisible trajectory. Our imaginations are constrained by who and what we are. We are biased in our drives, which in some ways is good, but maybe some diversity in what influences the world might be reasonable and may be beneficial to all.

To repeat what I wrote above—humans are capricious, erratic, emotional, irrational and biased in what sometimes seem like counterproductive ways. I’d argue that though those might seem like liabilities, many of those attributes actually work in our favor. Many of our emotional responses have evolved over millennia, and they are based on the probability that our responses, often prodded by an emotion, will more likely than not offer the best way to deal with a situation.

Neuroscientist Antonio Damasio wrote about a patient he called Elliot, who had damage to his frontal lobe that made him unemotional. In all other respects he was fine—intelligent, healthy—but emotionally he was Spock. Elliot couldn’t make decisions. He’d waffle endlessly over details. Damasio concluded that though we think decision-making is rational and machinelike, it’s our emotions that enable us to actually decide.

With humans being somewhat unpredictable (well, until an algorithm completely removes that illusion), we get the benefit of surprises, happy accidents and unexpected connections and intuitions. Interaction, cooperation and collaboration with others multiplies those opportunities.

We’re a social species—we benefit from passing discoveries on, and we benefit from our tendency to cooperate to achieve what we cannot alone. In his book, Sapiens, Yuval Harari claims this is what allowed us to be so successful. He also claims that this cooperation was often facilitated by a possibility to believe in “fictions” such as nations, money, religions and legal institutions. Machines don’t believe in fictions, or not yet anyway. That’s not to say they won’t surpass us, but if machines are designed to be mainly self-interested, they may hit a roadblock. If less human interaction enables us to forget how to cooperate, then we lose our advantage.

Our random accidents and odd behaviors are fun—they make life enjoyable. I’m wondering what we’re left with when there are fewer and fewer human interactions. Remove humans from the equation and we are less complete as people or as a society. “We” do not exist as isolated individuals—we as individuals are inhabitants of networks, we are relationships. That is how we prosper and thrive."]]></description>
<dc:subject>davidbyrne 2017 automation ai business culture technology dehumanization humanism humanity gigeconomy labor work robots moocs socialmedia google facebook amazon yuvalharari social productivity economics society vr ebay retail virtualreality yuvalnoahharari artificialintelligence mooc</dc:subject>
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<item rdf:about="http://www.racked.com/2016/12/28/13956118/muji-paradox">
    <title>The Muji Paradox - Racked</title>
    <dc:date>2017-01-02T23:12:18+00:00</dc:date>
    <link>http://www.racked.com/2016/12/28/13956118/muji-paradox</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Muji and I, we have a routine.

Whenever I’m feeling a little edgy or in need of some self-care — which, in 2016, has been unrelentingly often — I wander into the minimalist Japanese retailer’s warm and pleasingly-lit walls to browse the rows of desk supplies and sensible button-down shirts. Often, I’ll purchase something — some pens perhaps, or an elderflower-scented travel candle — but the total rarely exceeds the cost of a lunch.

Usually one to exhibit a reasonable amount of self-control when it comes to buying things I don’t need, I am woefully powerless when it comes to these micro purchases at Muji. Earlier this year, on the first day of a three-week trip to Japan, I squealed with delight when I found that they actually sold Muji products in one of the major convenience store chains (quaintly named “Family Mart”), just in case you needed a 20-pack of non-branded Q-tips along with your machine-dispensed iced coffee. As I wandered through the retailer’s five-floor outlet in Tokyo’s Shibuya neighborhood, I felt a silent kinship with the kind of Japanese shopper who would intently examine the seam on a heather gray camisole before purchasing it. You wouldn’t be caught dead owning a novelty 5K race T-shirt, I thought. Neither would I.

Indeed, it wasn’t until this trip to Japan — a country that has a knack for turning even the most ascetic person into a rabid consumerist, hence the success of Marie Kondo — that I began to see the Muji paradox as clear as a stain on one of its organic linen tunics: that I can feel so strongly about a brand that goes out of its way to be dogmatically un-branded seems a kind of magic trick of capitalism that no other retailer pulls off so ably.

Because here’s the thing: I don’t need the things I buy at Muji, but they do make my life measurably better, if only infinitesimally. Things like the mini travel soaps with the accompanying plastic box, which eliminates an unnecessary liquid from my carry-on-only packing system. The mini lint roller, which folds up into its own case and fits in a handbag so my coat never has errant hair on it. The right angle socks, which I’m convinced are the only no-show socks on the planet that can comfortably be worn with Vans slip-on shoes. The transparent plastic zipper pouch for carry-on liquids, which I smugly pull out when attempting to bypass London Heathrow’s liquid-obsessive security line. In a cold, cruel world full of big problems, these tiny victories add up — which is perhaps why I come back for refills of my favorite items again and again.

The Muji effect extends beyond my own life, too. I would be lying if I said that, upon seeing the bedroom of a romantic interest for the first time, that person’s stock does not immediately rise if their bed is outfitted in muted-toned Muji sheets. Similarly, a person who has a cup full of Muji 0.5 mm pens on their desk not only broadcasts an affinity for fine writing implements, but also an attention to detail that I’m likely to appreciate. A stranger who strides through a throng of holiday shoppers with a single large carrier bag from Muji somehow seems exempt from perpetuating capitalism and all of its ills, even though they are.

Indeed, Muji espouses a kind of pious minimalist ethos that draws in a particular type of discerning shopper (me) who, instead of buying more hangers, gets rid of clothes to fit the amount of hangers they already own. The promise that, with each new visit, I may find an ingenious solution for one of modern life’s subtle but vexing inconveniences excites me. It makes me feel that perhaps I’m not being extravagant, but rather sensible, by paying Muji a visit every now and then.

Ryan Patel is a retail analyst and consultant who helps brands scale internationally. He says the cult of Muji is based on simplicity, consistency, and the idea that the stuff is not screaming at you to buy it, but rather patiently waiting for you to find it.

“The design of the stores has a warm appeal. It creates a feeling that’s non-intrusive, it doesn’t pressure you to spend money,” says Patel. “Plus, you’re shopping for an everyday item, you’re not shopping for a high-ticket item — there are a lot of consumers who are just looking for something that is what it looks like. Muji doesn’t need to have a brand name because the brand name is the store. They’ve parlayed this simplicity into credibility.”

The credibility has proved lucrative, of course. After all, Muji may want to reduce the clutter in my apartment, but that doesn’t mean it doesn’t want its highly functional stuff to be in as many apartments as possible. Though it only has 11 stores in North America (compared to 227 in East Asia and 61 in Europe), its plans for expansion are decidedly not low-key. In its 2016 annual report, it notes that it hopes to expand from 24 to 34 countries and regions worldwide, with a particular focus on China, where it hopes to have 200 stores by the end of this fiscal year.

And yet, Patel is right. Everything in Muji is how I want my life to be all the time: clean, orderly, soothingly-lit, warm, in a neutral color palette, and non-intrusive. Even the salespeople don’t bother you unless you ask them to. Add in the mission creep aspect of the operation — I walk in to buy pens and walk out having just bought essential oils, nail clippers, and a normcore gray sweatshirt — and you see why its self-stated mission of “creating a pleasant life” is an ingenious way to bolster its bottom line.

Alas, we all know a pleasant life can’t be found inside the walls of any retailer, even a Japanese one. And indeed, it was during my trip to Japan that I began to see Muji as emblematic of — rather than exempt from — the kind of consumerist fever that makes Tokyo a really fun yet financially dangerous city to go shopping in. However, even though Muji’s clever capitalistic jig is up, it’s still unlikely I’ll put an end to my self-soothing shopping routine any time soon. After all, Donald Trump is almost president, and I like the socks too much."]]></description>
<dc:subject>muji design rosiespinks qualityoflife via:jarrettfuller minimalism 2016 ryanpatel simplicity consistency credibility retail</dc:subject>
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<item rdf:about="http://www.newyorker.com/business/currency/the-commercial-zen-of-muji">
    <title>The Commercial Zen of Muji - The New Yorker</title>
    <dc:date>2015-12-22T04:37:21+00:00</dc:date>
    <link>http://www.newyorker.com/business/currency/the-commercial-zen-of-muji</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["But how do you scale an entire company whose philosophy is rooted in judiciousness, and how big is big enough? In 2015, Muji posted an eighteen-per-cent increase in revenue over the year, to $2.14 billion, and a fourteen-per-cent increase in profits, to $196 million, and it aims to continue apace next year. In its annual report, there is a bar graph of net sales over time, with a gray arrow that signifies the future pointing up and to the right, beyond the three-hundred-billion-yen mark (about $2.5 billion). The company hopes to establish a “global brand” with “perpetual growth” and “consistent dividend payout” by the year 2020, which sounds a lot like kaizen, the popular Japanese business principle of continuous improvement. Muji is banking on “the idea that simplicity is not merely modest or frugal, but could possibly be more appealing than luxury.”

Above all, though, Muji is trafficking in fantasy, as the science-fiction writer William Gibson wrote in 2001:

<blockquote>Muji … calls up a wonderful Japan that doesn’t really exist. A Japan of the mind, where even toenail-clippers and plastic coat-hangers possess a Zen purity: functional, minimal, reasonably priced. I would very much like to visit the Japan that Muji evokes. I would vacation there and attain a new serenity, smooth and translucent, in perfect counterpoint to natural fabrics and unbleached cardboard. My toiletries would pretend to be nothing more than what they are, and neither would I.</blockquote>

Anyone who has watched even one season of “Mad Men” knows that fantasy is the basis for the best marketing. What could be cooler than a brand whose branding seems incidental, or better yet, completely organic? The answer, for Muji, is a neat paradox, like a Zen koan: massive minimalism through perpetual growth."]]></description>
<dc:subject>muji japan design retail 2015 williamgibson</dc:subject>
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<item rdf:about="https://storify.com/bnwlfsn/maciej-on-the-next-economy-conference">
    <title>Pinboard on the Next Economy Conference (with tweets) · bnwlfsn · Storify</title>
    <dc:date>2015-11-19T03:40:38+00:00</dc:date>
    <link>https://storify.com/bnwlfsn/maciej-on-the-next-economy-conference</link>
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<item rdf:about="http://www.psfk.com/2015/09/tokyo-bookstore-morioka-shoten-ginza-tokyo.html">
    <title>Tokyo Bookstore Only Stocks One Title at a Time</title>
    <dc:date>2015-09-15T03:35:16+00:00</dc:date>
    <link>http://www.psfk.com/2015/09/tokyo-bookstore-morioka-shoten-ginza-tokyo.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Morioka Shoten in Ginza features a new solitary book every week, accompanied by related artworks and items

A new bookstore opened earlier this year in Ginza, Tokyo that takes the unique approach of only stocking one title at a time. A different book is featured every week at Morioka Shoten and it is accompanied by related items such as artworks and photographs.

This concept sets the store apart from others, offering a curated approach that combats decision fatigue and makes browsing a lot quicker by recommending a single title for customers to purchase and read.

The bookstore’s owner, Yoshiyuki Morioka, came up with the idea after organizing a series of popular readings and book signings for single publications at his other, traditional bookstore. He was inspired to open a dedicated space where a single book could take center stage. The second branch of Morioka Shoten was created by design and engineering firm Takram, who led the graphic design and copy writing for the Ginza store’s visual identity.

The book of the week is displayed on a table in the small boutique, along with Morioka’s personal work desk and a vintage chest of drawers that is used as the store’s counter. The minimalistic aesthetic of the space matches perfectly with its concept. There are no other items of furniture, and the concrete walls and ceiling are coated with white paint, while the concrete floor has been left bare.

Pieces of art that relate to the currently spotlighted book are displayed around the store for customers to enjoy, for example, ceramic jewellery and objects by Mayumi Kogoma were on show because they were inspired by Kenji Miyazawa’s novel Porano no hiroba."

[See also: http://www.takram.com/morioka-shoten-ginza-branch/ 

"Morioka Shoten Ginza Branch

takram worked on graphic design and copy writing for visual image of ‘Morioka Shoten Ginza Branch’

On May 5th, ‘Morioka Shoten Ginza Branch’ has opened in Ginza, Tokyo. With the concept of ‘a bookstore with a single book,’ the store is a second branch store for ‘Morioka Shoten.’ takram led the graphic design and copy writing for the new store’s visual identity."]]></description>
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<item rdf:about="http://www.averyreview.com/issues/2/air-nationalism">
    <title>The Avery Review | Air Nationalism: Norman Foster and Fernando Romero’s Mexico City Airport</title>
    <dc:date>2014-12-09T22:49:21+00:00</dc:date>
    <link>http://www.averyreview.com/issues/2/air-nationalism</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["As air travel increasingly compresses our muscles and nerves—cue threats of thrombosis and incidents of passenger rage—airports expand their programs, taking up increasingly larger swaths of land. These programs, inflated by extensive security protocols and ambitious retail spaces, are usually arranged under sculptural canopies, like extra weight tucked under additional layers of clothing. Anthropologist Marc Augé famously described airports as “non-places,” generic spaces of transience that resist the rootedness of memory.1 However, the increase in border security has turned Augé’s description upside down. As the architecture that often constitutes a country’s first point of entry, airports are borders, and as such have become loaded with cultural and patriotic tropes. This nationalist anxiety hides the real politics of the expanded airport program.

A few weeks ago, the Mexican state unveiled the plans for a new airport to serve Mexico City, in the form of a digital video that was equal parts promotional rendering and documentary homage to the leader of the design team, Lord Norman Foster. The competition (which Alejandro Hernández has rightly criticized for its lack of transparency) paired famed international architects with local designers—the rationale, one has to assume, being that the Mexicans alone didn’t have sufficient experience in airport design. Foster’s Mexican complement is the young architect Fernando Romero—communication magnate Carlos Slim’s son-in-law. The need to include both a “local” representative and a big name from the world of architecture stardom has the further effect of directing attention away from the third but equally vital component of the team—the airport consultancy. In the winning team, this firm is Netherlands Airport Consultants (NACO), a Dutch firm with a long history of designing and supervising airports in Saudi Arabia. They describe their role as involved in “every aspect of airport design and development.” The delightful coincidence of their acronym “NACO”—a distinctively pejorative term for “unculturedness” in Mexican Spanish—doesn’t fully explain their almost occult presence in the project. The presence of their technical expertise runs counter to the video’s portrayal of Foster’s extensive experience with the airport typology (“the most highly qualified airport architect in the world”), and it reveals Foster’s participation as something other than that of the “outside expert.” The design team instead triangulates between global stardom, increasingly specialized technical expertise, and a questionably “local” avatar of Mexican identity. These multiple readings—purposefully sought by the Mexican state and enthusiastically illustrated in Foster’s competition submission—mark the building as yet another attempt to overcome the irreconcilable binary of local and global through a kind of architectural ambivalence."

…

"It is easy to criticize Norman Foster, Zaha Hadid, or any number of “starchitects” for their involvement or lack thereof in the processes and regimes with which they collaborate. But it’s more important, and more difficult, to take on these architects’ professed impotence. As program complexity increases, the figure of the consultant has pushed aside many of the roles that architects previously assumed. If we compare these architects’ secondary roles to that of Pani in Tlatelolco, we get a sense of how the discipline has been split between the form-making of the architect-artist and the programmatic management of the consultant. In this light, the program of the building is a conspicuous absence in Foster’s video. While the architectural membrane becomes loaded with a series of nationalist messages, its operational aspects are omitted. Architecture here is reduced to form on the outside and well-lit void on the inside. The architects are thus recast as form- and image-makers in search of the objective correlative of a globalized Mexican state. Or to say it more simply, they’re three-dimensional publicists.

In order for the global network of airports to function, their programs have become increasingly precise and standardized according to elaborate specifications. For the cosmopolitan traveler, increased security protocols seem to go hand in hand with expanded retail opportunities. This is where the real spatial politics of the airport program lie—in the entrails of corridors that sort us by immigration status, in the machines that scan our bodies and our belongings, in the long lines of human beings surrendering their dignity in exchange for the illusory promise of safety. It is telling that the bulk of airport retail is located between the two poles of security, the security check upon departure, and immigration control upon international arrival. Caught in this limbo, we are left free to wander through the world of duty-free shopping, international retail chains, and overpriced food—fear, assuaged by consumption. These spaces are absent from the architectural brief as described by Foster. The emphasis on nationalist tropes, from eagles to serpents, is a desperate populist appeal covering up the construction of a highly politicized space. This video invites us to join the architects in turning a blind eye to these realities."]]></description>
<dc:subject>anamaríaleón airports architecture borders border mexicocity mexicodf mexico design retail capitalism neoliberalism marcaugé normanfoster fernandoromero arrival departure tlatelolco zahahadid df</dc:subject>
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<item rdf:about="http://theridechannel.com/features/2014/11/end-of-skateboard-shops">
    <title>The End of the Skateboard Shop | RIDE Channel</title>
    <dc:date>2014-11-22T07:36:43+00:00</dc:date>
    <link>http://theridechannel.com/features/2014/11/end-of-skateboard-shops</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Your local shop may soon be a thing of the past... if it isn't already."

…

"Here’s the gist of it.

Has anyone on the planet earth ever purchased a pair of golf cleats or Tom Brady-endorsed footwear to look cool? Somehow, though, Michael Jordan hasn’t played in an NBA game in more than a decade, but his signature shoes and clothing line are still relevant and profitable. That’s because the Air Jordan transcended the actual context of basketball and became an icon in fashion. So even when MJ laced up for the Wiz and sucked, people still wanted his shoe.

Conversely (pun intended), skateboarding, has finally become “normal,” and is a massive influencer in footwear. Through its SB program, Nike reframed the sneaker market, formalizing drops through boutiques instead of chains. As a sport, skateboarding doesn’t mean anything to most, but it allows Nike to keep new colorways of Dunks and Janoskis coming out.

This doesn’t translate into TV ratings or sales of core skate products, but it absolutely drives footwear and clothing trends. So even though it’s a niche market, it’s a valuable one. But what’s relevant to the business side of skating isn’t the board sales—it’s the shoe sales. Don’t believe me? Ask Foot Locker how that played out. The reality is that skateboarding has become a vehicle to sell sneakers, not skateboards, and that’s changed the dynamic of the all-American skateshop.

But what the hell is a skateshop, anyway? The specialized skateboard store wasn’t really a thing across the United States until the industry boom of the ‘80s. Before that—depending on which coast you were nearest—it was just a rack in a surf of bicycle shop.

Think of your favorite fast food establishment deciding that a strong demand for French fries warranted an entire brick-and-mortar store dedicated store to selling items related to potato sticks submerged in oil exclusively. That’s how skateshops originated.

But here’s the weird part: Skateshops have never made much money from skateboarding. I’m not shitting you. In 1984, the average deck sold for $49. In 2014, the average deck sells for $49. If you spoke to any economist, even one recently concussed in a car accident, he’d be puzzled as to how an industry could exist without responding to inflation for the past 30 years.

The only reasonable explanation would be this: Skateboarding doesn’t exist to sell skateboards. As a business, it’s a tool to sell a lifestyle, clothing and footwear included.

Store owners long ago recognized and responded to this reality. For proof, walk into your local shop (provided you still have one) and compare the board wall to the shoe wall. All it takes is some quick math to recognize that the profit margin on the former—probably the smaller of the two—is a fraction of a fraction of what those rows of sneakers are generating.

That makes sense. Skateboarders buy skateboards, but everyone buys sneakers. So do you see the problem here? Even in the early ‘90s, when boards were snapping from sloppily landed flip tricks (or, yeah, from being focused), the profit margin on them wasn’t nearly enough to keep stores in business. And, really, how often do you buy other hard goods—like new trucks?

THE REAL NEED FOR SKATESHOPS
So why the hell would anyone open a skateshop in 2014? There’s a plethora of valid reasons, but the one that resonates strongest is that if someone breaks a skateboard, buying one at a shop is the fastest way to get another. The internet hasn’t figured out how to get you one in a few hours... yet. But that’s not the charm of skateshops. Before communities existed in digital code in some virtual space that most of us barely understand, walking into a skateshop was an experience.

In the ‘80s and even well into the ‘90s, there was a disparity between what you saw in a magazine and what was available to you. Sure, you might have seen an ad for a new graphic from Skater X, but that didn’t mean that you could walk into your local and buy the board. Instead, you entered with a sense of wonderment and anxiety because you had no clue what would actually be on the shelves. Skateshops were hubs of skateboarding—the only places you were guaranteed to meet another skateboarder. Does make sense? It gets crazier. Skateshops used to be one of the few places where you could see skateboarding. I swear.

Most of the skate videos that drove the industry never premiered; they simply showed up in shops. No screenings, no fanfare, no ads, and no fucking hashtags. They just materialized, and the first place you usually saw them was on the convex screen of a tube television sitting on the counter of a skateshop. You’d digest the advertisement for whatever brand made the video, discuss it with fellow shoppers—a term I use loosely, since most skaters lacked the funds to buy anything—and linger. For hours.

Outside of seeing them at spots, this is how most skaters met fellow skaters. Does anyone in a Starbucks or Dunkin’ Donuts talk and share ideas and techniques on how to drink coffee? Hell no—the environment in those chains is exactly the opposite of what you see in a mom-and-pop café equipped with free WiFi. Similarly, you don’t go to your average mall skateshop to hang out. You go there to buy. Just try to sit down to watch a video or whatever. If you’re not asked to leave, a store employee will probably try to push weed-graphic socks on you.

If 2014 is any indicator, skateboarding is going to follow the same trajectory as every other business: Keep a low price point, mass-market product through chain stores and eCommerce sites, and offer the core audience elaborate and exclusive pop-ups in media-driven cities. The stores started and run by actual skateboarders without the vested interest of a larger brand will struggle, hoping their athletic shoe accounts drive enough sales to keep them in business but knowing that the shop groms who hang out each day will eventually get sponsored or find a way not to pay for things. 

Basically, running a skateshop is as ill-advised a decision as it’s ever been... unless you flip it and just say you run a sneaker shop that sells skateboards. Online and chain stores haven’t figured out how to replicate the sense of community and belonging common to legitimate shops because that doesn’t serve their agenda. Aside from a need for clothing, there's no connective tissue between people who buy your average jeans and T-shirts.

Every town has a park, everyone can buy anything with a few clicks and swipes from a mini-computer in their pocket, and every kid is good and can get sponsored. For the tiny number of people who care more about the community than the sport, skateshops are clubhouses, VFW halls for each of us, but they’re getting harder to sustain, and in 10 years they’ll be all but extinct."]]></description>
<dc:subject>skateboarding skating retail 2014 business via:tom.hoffman skateboards</dc:subject>
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<item rdf:about="http://aliveandwellsea.com/">
    <title>Alive &amp; Well Seattle</title>
    <dc:date>2014-06-12T09:51:55+00:00</dc:date>
    <link>http://aliveandwellsea.com/</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>seattle retail skating skateboards skateboarding</dc:subject>
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<item rdf:about="http://www.eyemagazine.com/blog/post/an-end-to-the-curatocracy">
    <title>Eye Magazine | Blog | An end to the curatocracy?</title>
    <dc:date>2014-05-28T22:52:23+00:00</dc:date>
    <link>http://www.eyemagazine.com/blog/post/an-end-to-the-curatocracy</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The most unusual thing about the London conference ‘Chaos at the Museum’ was that it was devoted to design, writes Nick Bell.

Most discussion of museum practice is dominated by curators – whether at conferences or in the media. So it was not surprising that the designers attending ‘Chaos at the Museum’ (26-27 April 2014) could barely suppress their excitement all day. I’ve never seen so many smiles since, well, the Martin Creed exhibition at the Hayward. We were like children let out to play at this two-day programme about museums and exhibitions drawn up by designers.

‘Chaos’ was an event that burned brightly with feral visual intellects drawing deeply on a rare opportunity to share experiences, be outspoken and distil their vision for the future of visitor engagement and participation in the public spaces we call museums.

Why is it we behave like we do in museums and why must this behaviour be unlearned? How do we best organise museums to be engaging and why is it not really about narrative? Why is it not even about objects? Might visitors be the ones that finally undermine the authority of the curator? This was the dirt being kicked up at ‘Chaos’."

…

"Evidence presented by Mario Schulze (University of Zurich) would, like Francis’s, indicate that the distinction we make between museums (not like shops) and shops (not like museums) is outdated. Schulze said that the first department stores that appeared in the 1850s took inspiration from the great museums. Through his comparison between the Berlin interiors of the Museum of Things at the Werkbund Archive and the Andreas Murkudis’ concept store of ‘curated’ design objects, Schulze concluded that the museum is by its nature consumerist. Like shops, museums are about the display of desirable objects and hence the commodification of desire. (Commodification would be agonised over in later presentations, too).

Schulze quoted the Australian sociologist Tony Bennett in calling this ‘the exhibitionary complex’ – a way of seeing the museum as part of the world instead of treating it as a monolithic archive with no category in which to place itself. My heart sank when Schulze signed off his paper with ‘what you’ve learned in the museum, you can test out in the shop,’ but it was good to hear potentially false oppositions conflated and have my ingrained twentieth-century prejudices scrutinised.

In her paper, ‘The Exhibition as Experience’, Donna Loveday was the curator who in avoiding one trap promptly fell into another. Loveday’s current and popular ‘Hello, My Name is Paul Smith’ exhibition at London’s Design Museum should be applauded for not further infecting the Design Museum with antiseptic commodification-of-desire type design moves. Loveday introduced a healthy dose of messy, human informality by choosing to present a singular creative mind with the warmth and chaos of all its motley inspirational sources rather than fetishising a few items from the Paul Smith back catalogue.

However delegates wondered (in the canteen at break time) why Loveday had assembled a design team without any critical distance from her subject? And why Paul Smith himself was allowed so much curatorial control? What kind of deal had the Design Museum entered into here? In trying to make sure the exhibition wasn’t a shop, Loveday succeeded in creating a pastiche of another reality – the Paul Smith studio. As Herman Kossmann of Dutch design studio Kossmann.dejong declared in his talk the next day, ‘Don’t copy reality – instead make another one.’"]]></description>
<dc:subject>museums curation narrative chaos design experience 2014 nickbell objects retail donnaloveday tonybennett marioschulze museumofthings andreasmurkdis hermankossmann paulsmith</dc:subject>
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<item rdf:about="http://www.sdcitybeat.com/sandiego/article-12930-gym-standard-has-a-unique-approach-to-showing-and-selling-art.html">
    <title>Gym Standard has a unique approach to showing and selling art</title>
    <dc:date>2014-05-13T17:34:13+00:00</dc:date>
    <link>http://www.sdcitybeat.com/sandiego/article-12930-gym-standard-has-a-unique-approach-to-showing-and-selling-art.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["El Cajon Boulevard entrepreneur Edwin Negado thinks it’s time to reinvent the way work is marketed"

…

"At the moment, Edwin Negado and Sergio Hernandez are the two coolest-looking cats at Coffee & Tea Collective on El Cajon Boulevard. They sit shoulder-to-shoulder on a bench seat, swapping ideas for a short video promoting Hernandez’s April 26 art show at Gym Standard, Negado’s sleek footwear and design shop that opened last summer near the intersection of 30th Street and El Cajon.

Once the video is shot and edited, it’ll pop up on the Gym Standard (@gymstandard) Instagram feed, a stream of images that Negado has grown into a reliable digital resource for cool art, design, literary magazines, events and music in San Diego. He has more than 4,000 followers, and rather than simply pimping the inventory at his shop— which he does squeeze in—he shares the bigger, more interesting story swirling around Gym Standard by snapping photos of his customers or going out of his way to capture things he thinks are cool about San Diego in general.

“For me, the strategy is: I put myself into the mind of the potential client,” Negado says later, sitting behind the counter of his shop, which is filled with furniture and fixtures on wheels so he can roll everything out when it comes time to transform the space into an art gallery. “I don’t just want to see 20 fucking photos of the same shoe. I want to see what goes on in the store every day—who’s coming in or what this guy is eating. I feel like those are the type of things people fall in love with.”

Negado doesn’t use Facebook, and you won’t see an email signup on his website or much in the way of marketing outside of Instagram, but the focused, minimalistic tactic seems to be working. He’s gotten a good amount of press in alternative media, independent product designers contact him through his feed and customers who discover Gym Standard on their own seem to like the underground element. But while Negado, at least to an older generation, may seem like he’s purposely trying to keep things relatively under wraps so he can maintain his cool-kid cred, the 30-year-old says he welcomes mainstream attention.

“I feel like Instagram is as mainstream as it gets,” he says. “It’s so intimate. I mean, I’m looking at Instagram posts in my bed in my pajamas. That’s every media buyer’s dream to get into where people don’t have their walls up. That’s way more effective than if I’m driving and seeing a billboard on the street. I feel like Instagram, it just is the new mainstream.”

Negado was born and raised in San Diego, but he cut his teeth at W + K 12, a cutting-edge, experimental design and advertising school run by Weiden + Kennedy, an advertising agency in Portland, Ore., which accepts just 13 students a year into their competitive program. From there, he landed a job as a product-line manager at Vans, where he was the middleman between the marketing department and the shoe designers. He wrote design briefs detailing whom a particular shoe was intended for, setting specific goals and objectives for the shoe designers. While the gig taught him a lot about marketing and thinking about what customers want, he started feeling disconnected from the people he was hired to understand.

“The Vans thing was really cool because I got to see the landscape of business on a corporate level,” Negado says. “But I didn’t like the corporate lifestyle. I felt like I needed to be back in the wild. I needed to be with real people, not numbers and not behind a screen.”

Negado says every penny he made at his corporate job went into opening Gym Standard, which he built with his uncle and dad, carving the space out of the huge storefront that formerly housed ABC Piano Co. Attracted to the energy of North Park and the new, creative businesses like Coffee & Tea Collective cropping up in the revitalized stretch of El Cajon Boulevard between 30th and Ohio streets, he wanted to take a chance on opening the shop before he got priced out.

“I didn’t see the traffic quite yet, but I felt like I wanted to get in early before that transition happened,” he says.

Shoes, ceramics, magazines, art books, clothing and products geared toward those with an eye for design are Gym Standard’s bread and butter, but showing art was always part of the business plan. Negado has hosted several artists in his space since opening nearly a year ago, including Dolan Stearns, Julian Klincewicz and a recent poster-art group show benefitting the neighboring Media Arts Center San Diego.

While the young entrepreneur doesn’t like to call himself a curator, he’s managed to sell out most of the shows. That’s because moving artwork and making sure his artists get paid is something Negado considers an integral part of his job. He agonizes over the marketing of every show and each individual artist, fussing over every photo or video that ends up online. For Klincewicz’s show, for instance, he borrowed a friend’s drone and enlisted the help of young filmmakers in producing a video for Instagram that includes compelling aerial footage; in just 15 seconds, it conveys the show details while making Klincewicz look like an artist you might like to get to know.

“We always need to be reinventing how we talk about art and how we market art, because, you know, you need more than just a date and a picture of what’s going to be in the show,” Negado explains. “I think there needs to be more storytelling, which is what I learned in advertising: You’ve got to get people to fall in love with the art before they even go to the show. If they’re coming here April 26 and they have no idea what they’re going to see, that means I fucking failed as a promoter of the arts. If you’re showing art, you better be fucking working your ass off because your artists are working their asses off, right?”"]]></description>
<dc:subject>edwinnegado sandiego gymstandard 2014 kinseemorlan art instagram twitter marketing retail northpark</dc:subject>
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<item rdf:about="http://tinyletter.com/danhon/letters/episode-fifty-two-disintermediation-externalisation-housing-odds">
    <title>Episode Fifty Two: Disintermediation &amp; Externalisation; Housing; Odds</title>
    <dc:date>2014-04-09T17:40:47+00:00</dc:date>
    <link>http://tinyletter.com/danhon/letters/episode-fifty-two-disintermediation-externalisation-housing-odds</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Would Amazon test, for example, an Amazon Express option for browsing their site where they *only* show you the highest-rated, most-recommended items against your search? Because even the presence or indication of hundreds or thousands of other options can be stress-inducing. And perhaps pair it with a liberal return policy?

I guess the thing is this. Disintermediation and increased consumer choice rely upon the assumption (if you care, I suppose) that your consumer or audience is a rational economic actor who *has the time and the resources to be a rational actor*. I get pissed off at stereotypical, straw-man privileged engineers who just want a spreadsheet with a table and do all the research and go buy the best thing because seriously: who has the time for that?

And there's a significant, vulnerable section of the population that *doesn't* have time for that, that doesn't have time to be a rational actor. And who are you supposed to trust? Do you trust the financial advisor who is getting kickbacks? Do you trust your health insurance company? Do you even have health insurance to trust? This isn't a mere case of "information overload" in terms of a firehose of stuff coming to you. This is: how do I make a basic decision and ensure I am informed to make a rational, appropriate choice.

The other side of this is the fantastic one for businesses that get to externalise formerly internal costs under the guise of consumer choice. So instead of having knowledgeable salespeople (for example), "the information is available on our website". This is perhaps the difference with a retailer like Apple where I believe their store employees are taught to listen to user needs (there's that phrase again) and help them accomplish them rather than being commission-driven and pushing everyone to buy the most expensive model, for example. And so a place where retail can be improved both offline and online: Amazon doesn't have salespeople that understand their products to help you choose one, they externalise that cost by having you write reviews and lists instead."]]></description>
<dc:subject>danhon paradoxofchoiuce choice 2014 decisionmaking comparison retail amazon wirecutter travelagents housing</dc:subject>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:amazon"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:wirecutter"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:travelagents"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:housing"/>
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</item>
<item rdf:about="http://www.theatlantic.com/magazine/archive/2006/12/in-praise-of-chain-stores/305400/?single_page=true">
    <title>In Praise of Chain Stores - Virginia Postrel - The Atlantic</title>
    <dc:date>2014-03-25T05:54:49+00:00</dc:date>
    <link>http://www.theatlantic.com/magazine/archive/2006/12/in-praise-of-chain-stores/305400/?single_page=true</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Contrary to the rhetoric of bored cosmopolites, most cities don’t exist primarily to please tourists. The children toddling through the Chandler mall hugging their soft Build-A-Bear animals are no less delighted because kids can also build a bear in Memphis or St. Louis. For them, this isn’t tourism; it’s life—the experiences that create the memories from which the meaning of a place arises over time. Among Chandler’s most charming sights are the business-casual dads joining their wives and kids for lunch in the mall food court. The food isn’t the point, let alone whether it’s from Subway or Dairy Queen. The restaurants merely provide the props and setting for the family time. When those kids grow up, they’ll remember the food court as happily as an older generation recalls the diners and motels of Route 66—not because of the businesses’ innate appeal but because of the memories they evoke.

The contempt for chains represents a brand-obsessed view of place, as if store names were all that mattered to a city’s character. For many critics, the name on the store really is all that matters. The planning consultant Robert Gibbs works with cities that want to revive their downtowns, and he also helps developers find space for retailers. To his frustration, he finds that many cities actually turn away national chains, preferring a moribund downtown that seems authentically local. But, he says, the same local activists who oppose chains “want specialty retail that sells exactly what the chains sell—the same price, the same fit, the same qualities, the same sizes, the same brands, even.” You can show people pictures of a Pottery Barn with nothing but the name changed, he says, and they’ll love the store. So downtown stores stay empty, or sell low-value tourist items like candles and kites, while the chains open on the edge of town. In the name of urbanism, officials and activists in cities like Ann Arbor and Fort Collins, Colorado, are driving business to the suburbs. “If people like shopping at the Banana Republic or the Gap, if that’s your market—or Payless Shoes—why not?” says an exasperated Gibbs. “Why not sell the goods and services people want?”"]]></description>
<dc:subject>virginiapostrel us chainstores 2006 urbanism cities heterogeneity retail consumerism diversity activism</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:609017eac166/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:2006"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:urbanism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:cities"/>
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<item rdf:about="http://www.gymstandard.com/">
    <title>Gym Standard | San Diego, California</title>
    <dc:date>2013-09-02T04:12:48+00:00</dc:date>
    <link>http://www.gymstandard.com/</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>sandiego edwinnegado retail northpark elcajonblvd gymstandard</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:9b848b5f84cc/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:northpark"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:elcajonblvd"/>
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<item rdf:about="http://www.coffeeandteacollective.com/">
    <title>Coffee &amp; Tea Collective</title>
    <dc:date>2013-09-02T04:12:11+00:00</dc:date>
    <link>http://www.coffeeandteacollective.com/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[See also: https://instagram.com/candtcollective/
http://www.yelp.com/biz/coffee-and-tea-collective-san-diego
https://twitter.com/candtcollective
https://vimeo.com/45645472 ]]]></description>
<dc:subject>sandiego retail coffee tea gifts northpark elcajonblvd</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:2010ef9a8be5/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:tea"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:elcajonblvd"/>
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<item rdf:about="http://flowingdata.com/2013/06/26/grocery-store-geography/">
    <title>Grocery store geography</title>
    <dc:date>2013-06-27T01:55:16+00:00</dc:date>
    <link>http://flowingdata.com/2013/06/26/grocery-store-geography/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["There's a grocery store just about everywhere you go in the United States, because, well, we gotta eat. They look similar in that they sell produce on one side, meat in the back, and snacks and soda on the side opposite the produce. Magazines and small candies are carefully situated at eye-level by the cash registers. There's usually a deli counter and prepared foods near the bread section. And yet, despite the generic format and layout, these stores can remind us of places and specific periods of our lives."]]></description>
<dc:subject>geography via:vruba 2013 maps mapping retail grocerystores</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:2dbb180567bc/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:via:vruba"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:2013"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:maps"/>
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<item rdf:about="http://www.nytimes.com/packages/html/magazine/2013/innovations-issue/#/?part=popupstore">
    <title>Who Made That? The Magazine's 2013 Innovations Issue</title>
    <dc:date>2013-06-11T16:13:50+00:00</dc:date>
    <link>http://www.nytimes.com/packages/html/magazine/2013/innovations-issue/#/?part=popupstore</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[Pop-up store]]></description>
<dc:subject>pop-ups russmiller retail pop-upstore 2003</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:7dd2a487daa6/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:2003"/>
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<item rdf:about="http://pingmag.jp/2013/04/22/bandb/">
    <title>B&amp;B: Good drinks and good reads in Shimokitazawa | PingMag : Art, Design, Life – from Japan</title>
    <dc:date>2013-04-23T00:37:01+00:00</dc:date>
    <link>http://pingmag.jp/2013/04/22/bandb/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[Wayback: https://web.archive.org/web/20151028003033/http://pingmag.jp/2013/04/22/bandb/ ]

"Times are changing for publishing. E-books are here to stay and publishers are trying out a range of digital strategies to entice new customers. The music industry was one step ahead and the large retailers like Tower Records and HMV have all felt the pain of declining business, replaced by iTunes and Amazon. Bookstores are likewise looking at an uncertain future.

Well, one answer to how bookstores can continue to bring in readers to shop may lie in a new type of bookseller that has opened in Shimokitazawa, the laid-back Tokyo neighborhood just west of Shibuya.

The formula is visible in the name: B&B. British readers might be forgiven for thinking the shop is actually a cheap form of accommodation (bed and breakfast), but the two b’s are even better than that — “Book & Beer”, two things we at PingMag certainly love. Having coffee and tea for sale in bookstores has been the norm in other parts of the world for years now, but B&B has opted for a more alcoholic version. There is a proper bar with beer on tap, meaning customers can browse while sipping a chilled bevy or read a purchase with a beer in hand.

But this isn’t just about drinking (there are countless bars in Shimokitazawa, after all!). The books are also highly curated, selected per theme and genre by the staff to match the concept of the store. In other words, the entire place is like a magazine.

We sat down with B&B owner Shintaro Uchinuma to chat about the Shimokita’s latest hangout."]]></description>
<dc:subject>bookstores books cafes 2013 pingmag tokyo japan openstudioproject booksellers shimokitazawa bookshops retail bookfuturism b&amp;b publishing ebooks</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:262cbb50b6e6/</dc:identifier>
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<item rdf:about="http://money.cnn.com/2012/09/10/news/companies/jc-penney-haircuts/index.html?hpt=hp_t3">
    <title>J.C. Penney offers kids free haircuts - Sep. 10, 2012</title>
    <dc:date>2012-09-11T03:00:19+00:00</dc:date>
    <link>http://money.cnn.com/2012/09/10/news/companies/jc-penney-haircuts/index.html?hpt=hp_t3</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["J.C. Penney announced an unconventional new promotion Monday in a bid to take a cut out of the competition.

In an email to customers, CEO Ron Johnson said that starting in November, kids from kindergarten to sixth grade can get free haircuts every Sunday at J.C. Penney (JCP, Fortune 500) stores.

The announcement follows J.C. Penney's previous offer of free back-to-school haircuts for kids. Johnson said that promotion had been "far bigger than I expected," leading the company to give away over 1.6 million free haircuts in August."]]></description>
<dc:subject>children promotions haircuts retail 2012 ronjohnson jcpenney</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:ecf4bc346696/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:children"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:promotions"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:haircuts"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:2012"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:ronjohnson"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:jcpenney"/>
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</item>
<item rdf:about="http://www.umamimart.com/2012/08/umami-mart-open/">
    <title>UMAMI MART OPEN « Umami Mart</title>
    <dc:date>2012-09-06T19:03:12+00:00</dc:date>
    <link>http://www.umamimart.com/2012/08/umami-mart-open/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["We did it! With the loving support from our friends, family, and community, Yoko and I have opened Umami Mart, a retail shop in Oakland, CA, specializing in kitchen + barware from Japan.

The idea for starting a brick-and-mortar shop really derived from necessity. We had been running our online shop for nearly two years, and the inventory was eating up Yoko’s apartment, ie her life. I’d walk into her place and there were boxes everywhere, packaging products, human-size rolls of bubble wrap — the entire online shop resided in every nook and cranny of her apartment. She was about to lose it (Skylar style). It was time for some breathing room."

"For Umami Mart, he [Anders Arhøj] envisioned a bright space where Shinto meets Scandinavian minimalism. He designed all the furniture, logos, graphics — everything."

"We created this space on a shoe-string budget of $10k, using mostly birch plywood."]]></description>
<dc:subject>joeperez-green devinfarrell manuallabor hamaya popuphood japan kitchen design art food japanese bayarea oakland cafes openstudioproject interiors plywood lcproject glvo srg retailspace retail 2012 umamimart andersarhøj</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:2099214a65dc/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:manuallabor"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:hamaya"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:popuphood"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:design"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:art"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:food"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:japanese"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:bayarea"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:oakland"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:cafes"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:openstudioproject"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:interiors"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:plywood"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:lcproject"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:glvo"/>
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</item>
<item rdf:about="http://www.businessweek.com/articles/2012-08-09/ron-johnson-on-the-progress-of-his-j-dot-c-dot-penney-remake">
    <title>Ron Johnson on the Progress of His J.C. Penney Remake - Businessweek</title>
    <dc:date>2012-09-02T19:17:41+00:00</dc:date>
    <link>http://www.businessweek.com/articles/2012-08-09/ron-johnson-on-the-progress-of-his-j-dot-c-dot-penney-remake</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["If you change the interface, you can dramatically change the entire experience of the product…What we call that is the street, and you’re standing in the middle of it…

“Let’s not look at the paper. Where is the best place to buy a pair of jeans? …Let's … go there right now.” …

Our average store will have almost a third of a mile of streets when it’s done. There’ll be different activities along the street throughout the store. …

We view this as a startup. Like any startup, the question is how big will you be when you get your idea fully played out? At the end of this year, we’ll kind of find out how big our startup is. It will be less than it was the year before because we’re going through this process of retraining our customer. We knew we would go backwards, but once we get to next year, we think we start to propel forward. We’ve just got to get to the other side…

You know, we’re here to put a bear hug around the middle class, treat that customer with respect."

[Print view: http://www.businessweek.com/printer/articles/66326-ron-johnson-on-the-progress-of-his-j-dot-c-dot-penney-remake ]]]></description>
<dc:subject>departmentstores remakes clothing experience retail redesign tcsnmy startups ronjohnson jcpenney 2012</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:bbe112658ba2/</dc:identifier>
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</item>
<item rdf:about="http://johnbell.typepad.com/weblog/2012/08/a-vision-for-talkable-brand-jc-penney.html">
    <title>A Vision for Talkable Brand: J.C. Penney - Digital Influence Mapping Project</title>
    <dc:date>2012-09-02T17:22:24+00:00</dc:date>
    <link>http://johnbell.typepad.com/weblog/2012/08/a-vision-for-talkable-brand-jc-penney.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Ron Johnson, now CEO of J.C. Penney…ran the Apple stores before…his first few months at the historic department store have been challenged by Wall Street who only see short term revenue problems and subsequent stock dips. 

…With so much abundance via the Internet, the store is there to inspire. He has plenty of other innovations up his sleeve from activities in-store (cooking classes?) to iPad-toting staff, to magic dressing rooms that somehow connect online with in-store…

I hope his vision gets realized and it pans out in a timely fashion. It stands to make J.C. Penney and those that chase after its vision into places we talk about and, in his words, “belong.”

[Article referenced within: http://www.businessweek.com/articles/2012-08-09/ron-johnson-on-the-progress-of-his-j-dot-c-dot-penney-remake
 ]

[More J.C. Penney: https://twitter.com/rogre/status/223316958416875520 ]
]]></description>
<dc:subject>jcpenney cafes openstudioproject lcproject social 2012 experience apple retail ronjohnson via:russelldavies</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:ef00e8ae2f18/</dc:identifier>
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</item>
<item rdf:about="http://www.kqed.org/arts/visualarts/article.jsp?essid=101480">
    <title>Edicola, a New Kind of Newsstand, Opens on Market Street: Visual Arts | KQED Public Media for Northern CA</title>
    <dc:date>2012-07-14T06:52:06+00:00</dc:date>
    <link>http://www.kqed.org/arts/visualarts/article.jsp?essid=101480</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Upon learning of the Edicola newsstand in San Francisco, started by the artists Luca Antonucci and Carissa Potter, I was impressed; it is one of those rare projects that is not only inspired and original, but has been successfully realized.

Antonucci and Potter met when they were graduate students at the San Francisco Art Institute in 2008. Potter, feeling a certain affinity for her classmate, approached him with a proposition. "I had this crazy idea to ask him to be in a video with me where I told him that I liked him without knowing anything about him," she said. The video didn't turn out too well, but the two have been friends ever since. Together they launched both Colpa Press and Edicola, a newsstand that sells a curated selection of artists' books, newspapers and prints. That's not the only thing that makes the newsstand unique: the store is run out of a formerly closed San Francisco Chronicle kiosk on Market Street in bustling downtown San Francisco…"]]></description>
<dc:subject>tovisit prints retail art curation newspapers books sfai 2008 carissapotter lucaantonucci newsstands sanfrancisco edicola</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:e5e29c99c7e4/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:prints"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:retail"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:curation"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:newspapers"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:books"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:sfai"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:2008"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:carissapotter"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:lucaantonucci"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:sanfrancisco"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:edicola"/>
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</item>
<item rdf:about="http://www.slate.com/articles/business/small_business/2012/07/amazon_same_day_delivery_how_the_e_commerce_giant_will_destroy_local_retail_.html">
    <title>Amazon same-day delivery: How the e-commerce giant will destroy local retail. - Slate Magazine</title>
    <dc:date>2012-07-13T00:31:52+00:00</dc:date>
    <link>http://www.slate.com/articles/business/small_business/2012/07/amazon_same_day_delivery_how_the_e_commerce_giant_will_destroy_local_retail_.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["But now Amazon has a new game. Now that it has agreed to collect sales taxes, the company can legally set up warehouses right inside some of the largest metropolitan areas in the nation. Why would it want to do that? Because Amazon’s new goal is to get stuff to you immediately—as soon as a few hours after you hit Buy. (Disclosure: Slate participates in Amazon Associates, an "affiliate" advertising plan that rewards websites for sending customers to the online store. This means that if you click on an Amazon link from Slate—including a link in this story—and you end up buying something, Amazon will send Slate a percentage of your final purchase price.) It’s hard to overstate how thoroughly this move will shake up the retail industry. Same-day delivery has long been the holy grail of Internet retailers, something that dozens of startups have tried and failed to accomplish. (Remember Kozmo.com?) But Amazon is investing billions to make next-day delivery standard, and same-day delivery an option for lots of customers. If it can pull that off, the company will permanently alter how we shop. To put it more bluntly: Physical retailers will be hosed.… Physical retailers have long argued that once Amazon plays fairly on taxes, the company wouldn’t look like such a great deal to most consumers. If prices were equal, you’d always go with the “instant gratification” of shopping in the real world. The trouble with that argument is that shopping offline isn’t really “instant”—it takes time to get in the car, go to the store, find what you want, stand in line, and drive back home. Getting something shipped to your house offers gratification that’s even more instant: Order something in the morning and get it later in the day, without doing anything else. Why would you ever shop anywhere else?"]]></description>
<dc:subject>tax 2012 via:Preoccupations amazon sameday delivery ecommerce local retail</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:9f54d20ec231/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:via:Preoccupations"/>
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</item>
<item rdf:about="http://blog.speculist.com/scenarios/the-coffee-shop-take-over.html">
    <title>The Speculist » Blog Archive » In the Future Everything Will Be A Coffee Shop</title>
    <dc:date>2012-02-20T00:28:43+00:00</dc:date>
    <link>http://blog.speculist.com/scenarios/the-coffee-shop-take-over.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Eventually you could have local campuses becoming places where MITx students seek tutoring, network, & socialize—reclaiming some of the college experience they’d otherwise have lost.

Phil thought this sounded like college as a giant coffee shop. I agree. Every education would be ad hoc. It would be student-directed toward the job market she’s aiming for.

This trend toward…coffeeshopification…is changing more than just colleges:

Book Stores Will Shrink to Coffee Shops…

The Coffee Shop Will Displace Most Retail Shops…

Offices Become Coffee Shops…Again…

What Doesn’t Become a Coffee Shop?…

…houses of worship…

What will remain other than coffee shops? Upscale retail will remain…[for] experience…Restaurants remain. Grocery stores remain.

Brick and mortar retail stores will be converted to public spaces. Multi-use space will be in increasing demand as connectivity tools allow easy coordination of impromptu events…"
]]></description>
<dc:subject>restaurants multipurpose multi-usespace impromptuevents events coffeeshopification thirdspaces thirdplaces howwelearn howwework work enlightenment stevenjohnson amazonprime amazon shopping espressobookmachine coffeehouses coffeeshops coffee on-demandprinting highereducation higheredbubble highered information reading ebooks stephengordon future retail deschooling unschooling sociallearning self-directedlearning mitx mit learning srg glvo 2011 colleges education opencoffeeclubdresden 3dprinting ondemand ondemandprinting bookfuturism books cafes openstudioproject universities</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:b057e1e02917/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:impromptuevents"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:events"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:stevenjohnson"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:espressobookmachine"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:on-demandprinting"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:highereducation"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:higheredbubble"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:information"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:reading"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:mit"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:2011"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:education"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:opencoffeeclubdresden"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:3dprinting"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:ondemand"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:books"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:openstudioproject"/>
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</item>
<item rdf:about="http://goodsie.com/">
    <title>Goodsie : Goodsie</title>
    <dc:date>2011-11-27T07:06:15+00:00</dc:date>
    <link>http://goodsie.com/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Online retail should be easy.
Make a branded storefront without any of the traditional hassles of setting up shop online."

[From the makers of Flavors.me ]]]></description>
<dc:subject>ecommerce retail online web commerce tools glvo onlinetoolkit business design</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:68213f428195/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:ecommerce"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:retail"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:online"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:web"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:commerce"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:tools"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:glvo"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:onlinetoolkit"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:business"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:design"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://quarterly.co/">
    <title>Quarterly Co.™</title>
    <dc:date>2011-09-18T05:20:53+00:00</dc:date>
    <link>http://quarterly.co/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["…new way to connect w/ the people you follow & find interesting. We spend so much of our lives connecting w/ people online that we forget the value of tangible interactions that happen in the real world. Quarterly wants to bridge that gap by allowing anyone to subscribe to influential contributors and get physical items in the mail from them. It is like a magazine, but instead of receiving words on a page, our subscribers receive actual items that tell a compelling story crafted and narrated by the contributor.

What kind of stuff will I get? A blend of original, exclusive, & consumer items that are timeless, practical, exciting, & fly under the radar. We don’t want to fill up your house w/ clutter, & we’re mindful of the waste that each of us generate every day. But we also recognize that consumption isn’t inherently bad, it’s just a matter of making smarter choices about the things we surround ourselves with.

Each product should reflect on the person who selected it…"]]></description>
<dc:subject>design quarterly retail subscriptions geoffmanaugh mariapopova tinarotheisenberg swissmiss alexismadrigal lizdanzico shopping gifts</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:685276040fa9/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:design"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:quarterly"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:retail"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:subscriptions"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:geoffmanaugh"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:tinarotheisenberg"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:swissmiss"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:alexismadrigal"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:lizdanzico"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:shopping"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:gifts"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://en.wikipedia.org/wiki/Gruen_transfer">
    <title>Gruen transfer - Wikipedia</title>
    <dc:date>2011-08-15T23:30:52+00:00</dc:date>
    <link>http://en.wikipedia.org/wiki/Gruen_transfer</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["In shopping mall design, the Gruen transfer is the moment when a consumer enters a shopping mall and, surrounded by an intentionally confusing layout, loses track of their original intentions. It is named for Austrian architect Victor Gruen (who disavowed such manipulative techniques). Recently, the Gruen transfer has been popularised by Douglas Rushkoff.

The Gruen transfer is the moment when consumers respond to "scripted disorientation" cues in the environment. Spatial awareness of their surroundings plays a key role, as does the surrounding sound, art, and music. The effect of the transfer is marked by a slower walking pace."]]></description>
<dc:subject>design culture architecture psychology retail shopping via:bopuc manipulation disorientation confusion behavior victorgruen gruentransfer malls douglasrushkoff scripteddisorientation</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:7b0c3416e98e/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:design"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:culture"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:architecture"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:retail"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:via:bopuc"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:gruentransfer"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:douglasrushkoff"/>
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</item>
<item rdf:about="http://www.economist.com/node/21524920?fsrc=scn/tw/te/ar/turningsilverintogold">
    <title>Retail in Japan: Turning silver into gold | The Economist</title>
    <dc:date>2011-08-01T04:38:15+00:00</dc:date>
    <link>http://www.economist.com/node/21524920?fsrc=scn/tw/te/ar/turningsilverintogold</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["THE Ueshima coffee shops that dot Tokyo seem like any other chain. But look more closely: the aisles are wider, the chairs sturdier and the tables lower. The food is mostly mushy rather than crunchy: sandwiches, salads, bananas—nothing too hard to chew. Helpful staff carry items to customers’ tables. The name and menu are written in Japanese kanji rather than Western letters, in a large, easy-to-read font. It is no coincidence that Ueshima’s stores are filled with old people.

Ueshima never explicitly describes itself as a coffee shop for the elderly. But it targets them relentlessly—and stealthily. Stealthily, because the last thing septuagenarians want to hear is that their favourite coffee shop is a nursing home in disguise."]]></description>
<dc:subject>aging japan retail users userexperience user-centered coffeehouses elderly age 2011 via:russelldavies cafes coffeeshops</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:94f5830d74d9/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:user-centered"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:coffeehouses"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:elderly"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:cafes"/>
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</item>
<item rdf:about="http://www.bloomberg.com/news/2011-07-28/chile-behind-uruguay-converge-on-brazil-for-world-best-expanding-retailers.html">
    <title>Chile Behind Uruguay Converge on Brazil for World-Best Expanding Retailers - Bloomberg</title>
    <dc:date>2011-08-01T04:33:37+00:00</dc:date>
    <link>http://www.bloomberg.com/news/2011-07-28/chile-behind-uruguay-converge-on-brazil-for-world-best-expanding-retailers.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["With a population of almost 16.9 million, Chile has become one of the region’s promising retail markets, driven by government incentives to stimulate consumption, increased middle-class disposable income and an urban population, according to the A.T. Kearney report. Retailing in Chile, which places consistently among the index’s Top 10, is projected to grow 10 percent in 2011, the authors said…

At the same time, Chilean retail sales have slowed. After averaging 16.4 percent annual growth in the first quarter, they fell to an average 8.6 percent in April and May and sales are projected to rise to 10 percent in June, according to the median forecast of nine economists surveyed by Bloomberg."]]></description>
<dc:subject>chile uruguay markets retail 2011 brasil business finance consumerism consumption brazil</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:de4bb9ebe02d/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:markets"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:2011"/>
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</item>
<item rdf:about="https://plus.google.com/108770025895417156764/posts/HZEV4owg9qz?hl=en">
    <title>Google+: Robin Sloan thread on the Borders bankruptcy</title>
    <dc:date>2011-07-22T04:21:33+00:00</dc:date>
    <link>https://plus.google.com/108770025895417156764/posts/HZEV4owg9qz?hl=en</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[See also: http://www.slate.com/id/2299642/pagenum/all/ ]

"Public service announcement: I think the Borders bankruptcy isn't essentially about the book business. In fact it's much more closely tied to the real estate business. Borders had a ridiculously expensive portfolio of stores: huge spaces on glitzy corners with long-term leases (and an average of ~8 years still left on the lease, per store) that they couldn't walk away from, even as the fundamentals of their business changed beneath them.

But!—that's not like The Inevitable Fate of Bookstores Everywhere. By all accounts, Borders was just really poorly managed. The company could have struck smarter deals for those spaces, or approached its lease portfolio more cautiously, etc., etc., but didn't. It was reckless and profligate.

This bums me out, b/c I feel like Borders' bankruptcy is now part of that Death of Bookstores narrative—when in fact it's much less exciting than that. It's just the story of a company run badly."

[Read the thread too.]]]></description>
<dc:subject>thisandthat borders business bankruptcy mismanagement realestate money finance internet web booksellers books retail 2011</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:5f605f87562b/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:2011"/>
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</item>
<item rdf:about="https://plus.google.com/u/0/108770025895417156764/posts/HZEV4owg9qz">
    <title>Post by Robin Sloan; &quot;the Borders bankruptcy isn't essentially about the book business&quot;</title>
    <dc:date>2011-07-20T06:51:20+00:00</dc:date>
    <link>https://plus.google.com/u/0/108770025895417156764/posts/HZEV4owg9qz</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["I think it might have something to do w/ the franchises you cite, +Tim Carmody. I think the real locus of love & engagement today is not books (e- or otherwise) but rather fandoms. You know this is the case when you don't ever cite a particular volume. Instead it's just: Twilight. Harry Potter. Middle Earth. Game of Thrones. (And there's an interesting cross-media dynamic in that last example: the TV incarnation has essentially usurped the naming rights for the whole fandom. I call the book series "Game of Thrones" now—not "A Song of Ice and Fire.")

Now, as it turns out, books are a great way to kick off sprawling cross-media stories, and manga are even better; words are still a world-builder's best tools. But importantly, the thing people get wrapped up in, the thing they feel this crazy allegiance for, isn't the words, or the paper, or the E-Ink. It's the fictional world."]]></description>
<dc:subject>robinsloan timcarmody bordersbooks books booksellers print publishing retail bankruptcy 2011 genre franchises fiction literature</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:62341f0081f6/</dc:identifier>
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</item>
<item rdf:about="http://www.dangerousminds.net/comments/what_its_really_like_to_work_in_a_music_store/">
    <title>Dangerous Minds | What it’s really like to work in a music store</title>
    <dc:date>2011-07-17T03:54:35+00:00</dc:date>
    <link>http://www.dangerousminds.net/comments/what_its_really_like_to_work_in_a_music_store/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["And there you have it. These videos are mini-masterpieces of comedy. Not only are you laughing at the “musicians” testing out instruments at the store, but when this guy makes his cameo appearance, the look on his face will have you in tears. He doesn’t have to say anything at all and it’s side-splitting. When you make eye-contact, you know what he’s thinking!"]]></description>
<dc:subject>humor work retail music via:anterobot video</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:246d89d857cc/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:via:anterobot"/>
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<item rdf:about="http://www.bigpicture.org/2009/05/at-the-core-of-the-apple-store-images-of-next-generation-learning/">
    <title>At the Core of the Apple Store: Images of Next Generation Learning (full-length and abridged article) | Big Picture</title>
    <dc:date>2010-12-24T22:35:48+00:00</dc:date>
    <link>http://www.bigpicture.org/2009/05/at-the-core-of-the-apple-store-images-of-next-generation-learning/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["What are the essential features of the Apple Store’s learning culture?

* The learning experience is highly personalized and focused on the interests and needs of the individual customer.

* Customers can make mistakes with little risk of failure or embarrassment. Thinking and tinkering with the help of a staff member provide opportunities for deep learning.

* Challenges are real and embedded in the customer’s learning and work.

* Assessment is built right into the learning, focusing specifically on what needs to be accomplished.

A disruptive innovation? We think so. The Apple Store has created a new type of learning environment that allows individuals to learn anything, at any time, at any level, from experts, expert practitioners, and peers."]]></description>
<dc:subject>apple applestore learning schooldesign innovation via:cervus education lcproject technology williamgibson geniusbar retail studioclassroom openstudio thirdplaces problemsolving teaching unschooling deschooling personalization individualized challenge disruption assessment deeplearning 21stcenturylearning learningspaces thirdspaces</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:189204dfda4a/</dc:identifier>
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</item>
<item rdf:about="http://gravelandgold.com/">
    <title>Gravel &amp; Gold</title>
    <dc:date>2010-11-26T17:39:06+00:00</dc:date>
    <link>http://gravelandgold.com/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Gravel & Gold is a shop in the Mission District of San Francisco run by three ladies, Cass, Lisa, and Nile. We sell useful goods from stand-up makers—hand-picked vintage and new things to wear, to adorn, to hear, to read & write, to furnish, and to love up. We like to know where our things come from and to directly support the people who create them."]]></description>
<dc:subject>sanfrancisco shopping gifts boutique diy fashion design clothing retail glvo via:robinsloan art handmade make</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:50668d442df0/</dc:identifier>
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</item>
<item rdf:about="http://www.designboom.com/weblog/cat/8/view/12199/pass-the-baton-tokyo-vintage-shop.html">
    <title>pass the baton tokyo vintage shop</title>
    <dc:date>2010-11-15T08:51:47+00:00</dc:date>
    <link>http://www.designboom.com/weblog/cat/8/view/12199/pass-the-baton-tokyo-vintage-shop.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["pass the baton - this vintage shop promotes a new idea of recycling : pass on things that you truly love. the idea is that if an object is used and not needed anymore, people can pass it along without making new goods

(and potential waste). so that each new owner can create their own new memories. 'pass the baton' is a new personal culture marketplace in japan, a country where the idea of buying used items is not really appreciated. this could change quickly, the bricks-and-mortar flagship store in the center of tokyo offers buyers and sellers a fashionable forum for exchange. as a member of the 'pass the baton' initiative, people can sell as simply as one would at a flea market, but with the added dimension of optioning proceeds to charity. 50% of the proceedings are distributed to the seller. the seller will then contribute a part or all of proceeds to one of several social action groups through the non-profit organization charity platform (NPO)."]]></description>
<dc:subject>reuse used nonproduct charity vintage retail tokyo glvo japan secondhand beausage resa;e readymade lcproject unproduct</dc:subject>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:resa;e"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:lcproject"/>
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</item>
<item rdf:about="http://money.cnn.com/2010/08/20/news/companies/inside_trader_joes_full_version.fortune/">
    <title>Inside the secret world of Trader Joe's - Aug. 23, 2010</title>
    <dc:date>2010-08-25T06:15:55+00:00</dc:date>
    <link>http://money.cnn.com/2010/08/20/news/companies/inside_trader_joes_full_version.fortune/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[ [via: http://givemesomethingtoread.com/post/1003158776/inside-the-secret-world-of-trader-joes ]

"Few customers realize the chain is owned by Germany's ultra-private Albrecht family, the people behind the Aldi Nord supermarket empire…Albrechts have passed their tightlipped ways on to their U.S. business: Trader Joe's and its CEO, Dan Bane, declined repeated requests to speak to Fortune, and the company has never participated in a major story about its business operations.

Some of that may be because Trader Joe's business tactics are often very much at odds with its image as the funky shop around the corner that sources its wares from local farms and food artisans. Sometimes it does, but big, well-known companies also make many of Trader Joe's products. Those Trader Joe's pita chips? Made by Stacy's, a division of PepsiCo's (PEP, Fortune 500) Frito-Lay. On the East Coast much of its yogurt is supplied by Danone's Stonyfield Farm. And finicky foodies probably don't like to think about how Trader Joe's scale enables the chain to sell a pound of organic lemons for $2."]]></description>
<dc:subject>traderjoes business food fortune marketing retail 2010 aldi</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:e90673aff467/</dc:identifier>
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</item>
<item rdf:about="http://sodapopstop.com/">
    <title>Galco's Soda Pop Store</title>
    <dc:date>2010-06-01T03:31:09+00:00</dc:date>
    <link>http://sodapopstop.com/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[I'm bookmarking this mostly to see how many people have already done so. Galco's is on of the gems of Los Angeles, especially for soda lovers (not me). Update: I was number 150.
]]></description>
<dc:subject>losangeles nostalgia drinks gifts food retail</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:e25ad505c7aa/</dc:identifier>
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</item>
<item rdf:about="https://squareup.com/">
    <title>Square</title>
    <dc:date>2010-05-17T05:11:33+00:00</dc:date>
    <link>https://squareup.com/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["In February 2009, Jim McKelvey wasn’t able to sell a piece of his glass art because he couldn’t accept a credit card as payment. Even though a majority of payments has moved to plastic cards, accepting payments from cards is still difficult, requiring long applications, expensive hardware, and an overly complex experience. Square was born a few days later right next to the old San Francisco US Mint.

Today the Square team is focused on bringing immediacy, transparency, and approachability to the world of payments: an inherently social interaction each of us participates in daily. We’re starting with a limited beta and rolling out to everyone in early 2010."]]></description>
<dc:subject>android iphone ipad payment processing creditcards credit ecommerce commerce glvo applications business mobile money design services retail twitter technology tools ios</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:faf7b791647e/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:ecommerce"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:commerce"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:glvo"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:applications"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:business"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:mobile"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:design"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:retail"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:twitter"/>
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</item>
<item rdf:about="http://techcrunch.com/2010/04/03/square-ipad/">
    <title>Square Turns Your iPad Into A Cash Register</title>
    <dc:date>2010-04-03T20:44:45+00:00</dc:date>
    <link>http://techcrunch.com/2010/04/03/square-ipad/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["As a general-purpose tablet, the iPad can be many things to many people: an ebook reader, a wireless TV, a touchscreen videogame console. But to store owners and business people it can also be a cash register, with the right app, of course. Jack Dorsey’s Square, which was initially developed for the iPhone, now has an iPad app as well"
]]></description>
<dc:subject>ipad applications ecommerce payment money retail</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:b2e6a1d94be7/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:payment"/>
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</item>
<item rdf:about="http://www.google.com/mobile/shopper/">
    <title>Google Shopper for Android</title>
    <dc:date>2010-02-20T06:16:13+00:00</dc:date>
    <link>http://www.google.com/mobile/shopper/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Shopping smarter with Google Shopper on your Android Phone."
]]></description>
<dc:subject>android mobile applications retail shopping</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:a32d59e89573/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:android"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:mobile"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:applications"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:retail"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:shopping"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://articles.latimes.com/2009/oct/17/business/fi-pop-up17">
    <title>Pop-up stores are becoming an overnight sensation - Los Angeles Times</title>
    <dc:date>2010-01-23T20:10:22+00:00</dc:date>
    <link>http://articles.latimes.com/2009/oct/17/business/fi-pop-up17</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Major chains are legitimizing the phenomenon. It lets merchants move quickly, opening up shops to test a new product or market and closing them without much fuss."
]]></description>
<dc:subject>tcsnmy lcproject pop-upstores flexibility retail impermanence ephemeral via:rodcorp popup pop-ups ephemerality</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:757bb18f2721/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:lcproject"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:flexibility"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:ephemeral"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:via:rodcorp"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:popup"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:pop-ups"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:ephemerality"/>
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