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    <title>Content Violation</title>
    <dc:date>2026-06-12T10:01:07+00:00</dc:date>
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    <title>We’ll soon find out what is truly special about human writing | Psyche Ideas</title>
    <dc:date>2026-04-21T06:25:34+00:00</dc:date>
    <link>https://psyche.co/ideas/well-soon-find-out-what-is-truly-special-about-human-writing</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["AI can take over many writing tasks. But there is something irreplaceable about a text with an author standing behind it"

...

"In the mid-15th century, when Johannes Gutenberg began experimenting with movable type, the scribes who had spent their lives copying manuscripts by hand could not have known they were witnessing the end of their profession. The texts maintained a deceptive continuity, circulating the same liturgies and legal canons that had always been reproduced, possibly camouflaging the massive shift that was occurring in the mechanics of cultural production. Whether the scribes saw beyond the unchanged content to the upheaval in its origin, who can say; but we, looking back, can see what they couldn’t: that the revolution was invisible in the output – it lived entirely in the means.

Nearly six centuries later, we find ourselves at another such juncture. Large language models (LLMs) can produce prose that is, by most functional measures, indistinguishable from competent human writing. The question that might eventually have come to haunt the scribes of the 15th century – what happens to us when machines can do what we do? – has resurfaced with some vengeance. What happens to writing when the production of prose no longer guarantees the presence of a mind behind what is written?

The answer, if there is one, will possibly be found in what writing has always asked of the person who does it: a willingness to stand behind words, to mean them, and to accept the consequences of having claimed to have written them.

Writing has always been understood as a trace of human thought; when we read, we assume that behind the words lies a consciousness that selected them, a mind that deliberated over their arrangement, a person who stands accountable for their claims. This assumption is so deeply embedded in literate culture that we rarely articulate it – it is simply what writing is. Generative AI disrupts this assumption, producing text that has no author in any meaningful sense, no one who meant it, no one who can be held responsible for it, and no one who was changed by the act of composing it. The words exist, but the covenant that once connected writer to reader has been severed.

The professional consequences of this severance are already visible. Journalism, criticism and the broader ecosystem of writing-for-pay have already been contracting for two decades, squeezed by the ruthless logic of attention economics. Generative AI arrives at this moment as an accelerant, further breaking down the transaction that once sustained writing as labour – time exchanged for text exchanged for money.

Writing has weathered previous technological upheavals but, while the history is instructive, it is not reassuring in the way some of us might hope because the threat this time is of a different kind.

The printing press didn’t destroy writing, but democratised its distribution, making books cheap and abundant, creating new publics and new genres. The intimate relationship between scribe and text, the sense that each manuscript was a unique artefact bearing the marks of its maker, gave way to something less personal.

Up until the late 19th century, handwriting was the dominant form of creative literary expression. This changed in the 1870s, when the first commercial typewriters came to market. Where handwriting had long been understood as an extension of the body, a kind of graphological fingerprint, the typed page was uniform, mechanical, depersonalised. Writers like Henry James and Mark Twain, who were among the first to compose on typewriters, reported that the machine changed not just how their prose looked but how it felt to produce it. The clatter of keys imposed a different rhythm and a different relationship to revision. Something was lost; something else was gained.

The word processor, and later the networked computer, accelerated this logic. The ease of editing made prose more fluid, more provisional, and the internet dissolved the gatekeeping structures that had once controlled publication. Anyone could write and publish, resulting in an explosion of text. Blogs, comments, social media posts, emails – by the early 2000s, written language was being produced on a scale unprecedented in human history. Writing became ubiquitous, ordinary and, in many of its manifestations, sadly disposable.

Each of these transitions was accompanied by predictions of catastrophe and claims of liberation, and each changed writing without eliminating it. The lesson that triumphalists like to draw is one of resilience, that writing adapts and survives, and finds new purposes as old ones become obsolete.

But generative AI represents a rupture of a different order, because, where previous technologies changed how writing was produced or distributed, LLMs change what writing is, or, more precisely, what it can be assumed to be. When a reader encounters a text, they can no longer take for granted that a human being composed it – as long as LLMs exist, there will always be doubt as to whether a piece was entirely written by a human.

The implications ramify in unexpected directions. Academic writing, which depends on the assumption that authors have actually done the thinking their papers represent, faces a crisis of verification. Legal documents, contracts and medical records, genres where accountability is essential, become newly uncertain. Even personal correspondence, the most intimate form of writing, is shadowed by doubt. Did my friend write this message, or did they prompt a machine to write it for them?

This contamination of doubt has spread quickly, most notably online, as the internet, once imagined as a vast library of human knowledge, is filling with synthetic text. Search results, product reviews, news aggregators and social media feeds are increasingly populated by machine-generated content designed to capture attention or manipulate behaviour. It’s harder than ever to identify trustworthy content.

But the question of writing’s future cannot be answered by cataloguing losses. If writing is to survive as something more than a nostalgic practice, it must find a new basis for its value. When it can now be almost entirely simulated by machines, what remains?

The answer is probably not in the properties of text but in the nature of the relationship that text enables. Human writing is only partly concerned with the production of words; more essential to its essence is the assumption of responsibility for those words. When a person writes, they are committing themselves, something a language model cannot do. They are saying, in effect: ‘I stand behind this; I am willing to be held accountable for the attempt.’

This dimension of writing, what we might consider its testimonial function, has always been present, but it has been obscured by more practical concerns. We valued writing for its usefulness, like how it conveyed information, made arguments, entertained, and persuaded. These functions can now be performed by machines with considerable competence, but what machines cannot do is bear witness or stake a claim grounded in lived experience and personal judgment. Large language models cannot enter into the implicit contract that says: here is a mind engaging with a problem, here is a person who cares about getting it right.

In an environment saturated with synthetic text, this testimonial function becomes newly precious. Readers may stop asking whether a piece is well written and begin asking who wrote it, under what conditions, and why they should be trusted. Evidence of human deliberation will not take a single form, but may reside in the traces of process that machines tend to smooth away: in the presence of hesitation, idiosyncrasy, revision and judgment made under constraint. Imperfection itself might acquire a different valence. Even forms long thought obsolete, such as handwritten notes or materially specific modes of composition, may regain appeal as visible reminders that a particular person was present at the act of writing. Essentially, the criteria for valuable writing might shift to provenance, from fluency to accountability, and writing that matters will be writing that can still function as evidence of human deliberation – work that cannot be faked because it carries the marks of genuine thought.

The transition will be messy, and many forms of writing will not survive it. But writing that depends on trust and the willingness to be present to a reader – work grounded in first-hand experience or attributed to an author with a hard-earned reputation – well, this may find itself valued in ways it has not been for decades.

The future of writing may look less like the frictionless content economy of the recent past and more like the older, slower forms of correspondence and publication that preceded it. Letters, essays, criticism, investigative journalism, genres where the identity of the writer matters, where readers seek out particular voices and measure what is written against what has been written before. To hold a writer to account, in this sense, is not simply to agree or disagree, but to respond, to challenge, to cite, to remember and, when necessary, to withdraw trust. Such forms cannot be automated without losing what makes them valuable, because they are, by their nature, resistant to scale. We might think of this moment, nearly six decades since the theorist and critic Roland Barthes proclaimed the death of the author, as a moment of revival, as the rebirth of the author.

Whether such writing can sustain itself economically is another question. Writers have always struggled to make a living, and the coming years will intensify that struggle. But the deeper question is not whether writers will be paid – though that is, of course, vitally important – but whether writing will continue to mean something, and whether the act of composing prose will still carry the weight of human intention.

Real, human writing may become rarer and more deliberate – more visibly marked by the presence of the person behind it. It might slow down, retreat from the platforms that have commodified it, and find refuge in spaces where trust can still be built between writer and reader. It may take place in settings and forms that reward patience rather than immediacy, where words are written with an awareness of who will read them and remembered for having been read. It might become more like it was before the age of mass media – a practice defined by the quality of attention it embodies, rather than volume or reach, gathering value through continuity and recognition rather than constant circulation or amplification.

The scribes of Gutenberg’s time could not have imagined the world that movable type would create, and we are no better positioned to foresee what lies ahead. But if writing survives this rupture, it will be because it offers something that no machine can replicate: the irreducible fact of a human being, thinking in public, willing to be known by their words."]]></description>
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<item rdf:about="https://howtodothingswithmemes.substack.com/p/the-most-sensible-book-so-far-on">
    <title>the most sensible book so far on AI - by Aidan Walker</title>
    <dc:date>2026-04-11T21:02:06+00:00</dc:date>
    <link>https://howtodothingswithmemes.substack.com/p/the-most-sensible-book-so-far-on</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Language Machines and remainder humanism"

...

"The one thing artificial intelligence definitely proves is the need to study literary theory.

That’s why I’m writing this post reviewing Leif Weatherby’s book Language Machines, which makes the argument that the person to turn to in order to understand Large Language Models is Ferdinand de Saussure, the founder of structuralism who died in 1913. If you’re interested at all in these topics, I’d recommend buying Weatherby’s book here."

...

"Weatherby seems to reference, glancingly, memes as an example of that kind of modern rhetoric. Meme-making is a ritualized action that addresses interface, computation, language, and online publics in one fell swoop. One way rhetoric looks in this era, I think, is the manufacture of prefabricated mental packages which hold thoughts in the weird ooze of post, link, and comment section. Meme formats are one such shape.

Another kind of rhetoric might be thought to exist in theory itself — a set of formulas, of topoi, applied and rearranged into the world of culture. I speak from a niche experience here, but part of the pleasure of reading Language Machines was seeing Weatherby artfully stack, parse, and apply thinkers I’ve been interested in for years — Marx, Kittler, Srnicek, and Derrida especially. Ideas like differance or the commodity theory of value operate both on an explanatory level, but also on a kind of rhetorical one, where they have value as instruments for dislodging other kinds of thoughts, for orienting yourself (even if it’s an orientation by arguing against them) and putting stuff in context.

So I think as we search for a “real humanism” — one that lies in actual people and their tangled experiences of the world, rather than in some ideal, untouchable essence the computer can never replicate — we must be careful and playful in equal measure. Careful, because the stakes are high and the situation demands diligent work that watches closely. Playful, because in a moment when language has become “a service” on tap that constructs itself without the steering of a human hand, all the cliches, omissions, and biases that are coded within language will bloom unchecked like algae in an unmoving pond.

In the era of its autonomous construction, the task of deconstructing language — looking at language and saying “hold up a second,” Uno-reversing the binary, joking, probing, unpeeling — becomes even more important. Which is why I love Language Machines, and why the way forward must include poetry, rhetoric, and memes."]]></description>
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    <title>Who is Walter Mignolo, architect of decoloniality? | Aeon Essays</title>
    <dc:date>2026-03-02T16:36:22+00:00</dc:date>
    <link>https://aeon.co/essays/who-is-walter-mignolo-architect-of-decoloniality</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["A prominent architect of decolonial theory, his diagnosis of European colonial ills is both penetrating and flawed"]]></description>
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    <title>“Paris Latino”: How Latin America Migrated to Europe - Public Books</title>
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<item rdf:about="https://nicksusi.substack.com/p/if-you-want-to-create-a-monocultural">
    <title>if you want to create a monocultural event, start a war</title>
    <dc:date>2025-11-01T20:02:50+00:00</dc:date>
    <link>https://nicksusi.substack.com/p/if-you-want-to-create-a-monocultural</link>
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<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:95a94e349ec7/</dc:identifier>
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</item>
<item rdf:about="https://www.poetryfoundation.org/poetrymagazine/articles/144656/in-search-of-distraction">
    <title>In Search of Distraction | The Poetry Foundation</title>
    <dc:date>2025-09-19T16:53:02+00:00</dc:date>
    <link>https://www.poetryfoundation.org/poetrymagazine/articles/144656/in-search-of-distraction</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The rewards of the tangential, the digressive, and the dreamy."

[See also:
https://www.themarginalian.org/2014/03/04/the-distracted-public-saul-bellow/ 

https://www.poetryfoundation.org/poems/45564/the-world-is-too-much-with-us ]]]></description>
<dc:subject>2017 matthewbevis distraction digressions daydreaming rebeccasolnit johnbeck thomasdavenport add adhd saulbellow thomasdequincey attention dianearbus creativity laurencesterne diderot society culture johnashbery gertrudestein maxnordau thoreau jeancocteau mariannemoore poetry peterstitt hamlet shakespeare janefreilicher jameslorenbach rbkitaj theodordreyer walterbenjamin film art richardhoward donaldwinnicott proust marcelproust paulnorth elizabethbishop kennethkoch thomashardy jamesschuyler looking seeing joriegraham henrimichaux rolandbarthes henrywordsworth denisdiderot</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:cd4515224aff/</dc:identifier>
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<item rdf:about="https://www.youtube.com/watch?v=euahMnkSDiw">
    <title>Overthinking Why Dive Watches Are All the Same - YouTube</title>
    <dc:date>2025-07-30T22:49:28+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=euahMnkSDiw</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["You’ve seen it before — the rotating bezel, the luminous dial, the rugged steel case. Whether it’s a Rolex Submariner, a Seiko SKX, or a $200 homage, the dive watch has become one of the most iconic and instantly recognizable objects in modern design.

But how did we get here? Why does every dive watch — from luxury icons to affordable beaters — follow the same visual formula? And what does that say about us, about design, and about the myths we choose to wear?

In this video, we explore:

The history of the dive watch, from military tool to cultural icon

The aesthetic convergence that shaped its design language

The brands that dared to challenge the mold — and why most didn’t stick

How semiotics, philosophy, and social media help explain the sameness

And what the future might hold for one of horology’s most enduring forms

This isn’t just about watches. It’s about tradition, identity, nostalgia — and the power of design to become myth.

👇 Chapters
00:00 - Intro
00:58 - Origins
03:20 - Formula
05:16 - Rulebreakers
07:37 - Form follows function
09:31 - Design conservatism 
11:29 - Social media
13:26 - Progress
15:12 - The future"]]></description>
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<item rdf:about="https://www.berghahnjournals.com/view/journals/jbsm/5/1/jbsm050106.xml">
    <title>Acid Fascism in: Journal of Bodies, Sexualities, and Masculinities Volume 5 Issue 1 (2024)</title>
    <dc:date>2025-01-13T01:35:15+00:00</dc:date>
    <link>https://www.berghahnjournals.com/view/journals/jbsm/5/1/jbsm050106.xml</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["What comes after the New Man? An urgent dilemma for twenty-first-century anti-fascism is the global resurgence of a radical right masculinist consciousness that is at once nostalgic for strictly codified and hierarchical symbols of manhood while culturally immersed in accelerative, amorphous, and acentric digital networks. I trace this precarious and unsettled ultra-masculinity back to the material context of fascist psychedelic experimentation with consciousness in the sixties counterculture, through the example of the Lyman Family, to contend that Acid Fascism provides a new and important way to think about an emerging desire for an experimental—rather than utopian—reactionary manhood. Alt-right subjectivity requires a theoretical approach toward technological acceleration that is at ease with morphing affective complexions of nostalgic and paranoid masculine sensibility."

[See also:

"Mark Fisher vs. Peter Thiel: Acid Communism Against the Coming Fascism with Jac Lewis"
https://www.youtube.com/watch?v=eT2YlaPqrpg

"In this episode, we are joined by Jack Lewis to explore his reflections on the counter-revolutionary psychedelic politics of the 1960s and early 1970s, and how today's reactionaries pursue similar agendas through what he calls "experimental alienation." The rise of "acid fascism" emerges as a rival to Mark Fisher's concept of "acid communism." How do contemporary trends in online fascist politics converge with the broader reactionary turn shaping today's world?"]]]></description>
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<item rdf:about="https://medium.com/@shannonmattern/intellectual-furnishings-e2076cf5f2de">
    <title>Intellectual Furnishings. The Aesthetics and Epistemology of our… | by Shannon Mattern | Medium</title>
    <dc:date>2024-12-15T07:00:38+00:00</dc:date>
    <link>https://medium.com/@shannonmattern/intellectual-furnishings-e2076cf5f2de</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["In this working paper I’ll outline a new research project that I plan to begin next year, as part of a fellowship at the Internationale Kolleg für Kulturtechnikforschung und Medienphilosophie at the Bauhaus-Universität Weimar. This work is quite rough, but I’m certain that the GIDEST forum will help me shape the project at its foundational level; it’ll help me build the frame before I upholster it. Heh heh.

Most of my research up to this point has focused on “mediated spaces” at the urban and architectural scales – e.g., urban communications infrastructures, cities as communicative spaces, libraries, archives, etc. And while some of that work – including my book on library design (where I addressed the approaches to labor embodied in service-desk and bookshelf design); my article on the Philips Exeter Library (where I focused on the pedagogical values embedded in library furniture and the “Harkness Table”); an article on the collection of, and interior design for, Alvar Aalto’s Woodberry Poetry Room; and an essay on the history of filing apparatae – has examined interior and furniture design within their architectural contexts, this is the first project that maintains its focus at the “furnishing scale.” I’d be remiss if I didn’t acknowledge my intellectual debts to Lynn Spigel and Beatriz Colomina, whose work proved epiphanous for me in grad school, and who have informed my work to this day."

[via:
https://blog.ayjay.org/intellectual-furnishings/ ]]]></description>
<dc:subject>shannonmattern furniture furnishing libraries highered highereducation philipsexeter harknesstable interiors interiordesign design alvaraalto bookshelves tables beatrizcolomina lynnspigel ethnography academia desks shelves shelving chairs reading howweread writing howwewrite offices colleges universities tools media computers computing datacenters servers amiesiegel lecorbusier pierrejeanneret chandigarh rizzoli harryabrams sherryturkle lorrainedaston brunolatour rolandbarthes melvilledewey gidest archives librarystacks books cloud ikea history ezra marclecouer abigailvanslyck johncottondana melvildewey librarians librarianship progressivism storage epistemology mrvdv taxarquitectura seattlepubliclobrary brunorainnaldi ux ui siegfriedgiedion mechanization automation albrechtdürer jonathanedwards wilsonkimnach kennethminkema jacobschuebler vannevarbush memex paulotlet clivewilkinson markuskrajewski konradgessner georgenelson henrywright stotragewall 2014</dc:subject>
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<item rdf:about="https://harpers.org/archive/2024/07/yesterdays-men-alan-jacobs/">
    <title>Yesterday’s Men, by Alan Jacobs</title>
    <dc:date>2024-06-19T02:32:24+00:00</dc:date>
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    <dc:date>2024-03-01T19:10:10+00:00</dc:date>
    <link>https://www.nplusonemag.com/issue-40/essays/babel-4/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Could a machine have an unconscious?"
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    <title>A Post-Modern Defence of Ritual ━ The European Conservative</title>
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    <title>The Yale Review | Elleza Kelley: &quot;Ordinary Allurements&quot;: Christina Sharpe’s reading lessons</title>
    <dc:date>2023-06-13T20:34:36+00:00</dc:date>
    <link>https://yalereview.org/article/elleza-kelley-ordinary-allurements</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Black writing, from W.E.B. Du Bois to John Keene, is full of rebellious paratexts rearing up from the margins and backs of books—epigraphs, footnotes, endnotes, indexes, and appendices that subvert, interject, and critique. These para­texts echo black inhabitations of space: they refuse to be subor­dinated. Epigraphs become musical notation; glossaries invoke spirits; appendices map other worlds. In Édouard Glissant’s 1989 Caribbean Discourse, a single footnote upends the entire forma­tion of the West: “The West is not in the West,” it declares from the subterranean depths of the page. “It is a project, not a place.” Across the smooth surface of the master narratives to which they are keyed, black notes disturb and disarrange.

For writer and professor Christina Sharpe, these eruptive oper­ations tell us what it is to live “life under these brutal regimes.” Her new book, Ordinary Notes, is structured as a series of 248 numbered reflections of varying lengths, collected for the reader like a handful of gems—or, as Gwendolyn Brooks’s Maud Martha describes dan­delions, “jewels for everyday” and “ordinary allurements.” Sharpe gathers many threads across these notes, moving freely among subjects and methods. Archival photographs, contemporary art­works, public memorials, and news clippings intermingle with sto­ries of Sharpe’s childhood and family, creating new arrangements for thinking about black living and dying. Sharpe’s notes are less invested in mounting a singular, unified argument than in offering lessons in attentiveness. They are a vehicle for the preservation and transmission of “beauty’s knowledge.” I am reminded of the image that concludes Brent Hayes Edwards’s essay “Evidence”: Zora Neale Hurston passing into her reader’s care an emptied “brown bag of miscellany” and “the jumble it held.” “You take this, emptied out, strewn and scattered,” Edwards writes. “What do you find in the pieces?” If Sharpe’s previous books, Monstrous Intimacies: Making Post-Slavery Subjects and In the Wake: On Blackness and Being, theo­rized the ongoingness of antiblack violence and its attendant grief, Ordinary Notes wonders what we do with that grief.

Above all, Sharpe asks us to become better readers, moti­vated not by extraction and violence, but by regard and tender­ness. Practices of reading form the book’s infrastructure. Many of Sharpe’s notes document her childhood love of literature, which developed under the care of her mother, Ida Wright Sharpe, to whom Ordinary Notes is dedicated. What begins as a survival tactic—sustaining Sharpe through racial violences, big and small, growing up in Wayne, Pennsylvania and attending a majority-white Catholic school—evolves into a theory of reading that dis­rupts antiblackness, which Sharpe characterized in In the Wake as the “weather,” the “totality of our environments.” “The reading life, the beauty-filled one,” she writes in Ordinary Notes, “was central to the livable internal life my mother tried to carve out for us and to equip us to make for ourselves.” Her mother’s lessons in “the read­ing life” were aesthetic lessons, reaching beyond text: “This atten­tion to a Black aesthetic made me: moved me from the windowsill to the world.” In this way, the book’s notes might function in turn as reading lessons imparted by Sharpe, illuminating the power of narrative to make and unmake worlds.

This reading practice is key to what is perhaps the book’s most significant intervention: its form, which not only generatively extends Sharpe’s claims but also offers (and authorizes) new meth­ods for doing scholarship. Ordinary Notes is a big book full of small gestures. No note is more than a few pages long; many notes are a single sentence, each taking up its own page. This means the book, though imposing in size, is full of white space. Sharpe converts the reader’s own modes of engagement, compelling us to zoom in as if on a poem, loop back as if circling a sculpture, slow down as if studying scripture. In the seemingly excessive margins, we find a place to breathe and rest. Formal errancy has always offered writ­ers a way to conjoin theory and method in the study of black life, which is always more, and other, than academic study. Here, per­haps, as Toni Morrison writes about Faulkner’s Absalom! Absalom!, “the structure is the argument.”

Sharpe invites us to read Ordinary Notes in this longer tradi­tion of black assemblage and assembly. When she writes, “Roy DeCarava’s The Sound I Saw, a book of photographs and text, is filled with everything,” she is telling us something about her own book. We might also consider it kin to recent multigenre compen­dia like Arthur Jafa’s A Series of Utterly Improbable, Yet Extraordinary Renditions, Ariella Aïsha Azoulay’s Potential History: Unlearning Imperialism, Teju Cole’s Blind Spot, and Morrison’s now classic The Black Book, in which word warps and wraps over image. Likewise, Sharpe’s practice of assembly in Ordinary Notes operates by what John Akomfrah calls “affective proximity,” a logic of resonance rather than temporal or thematic sequence.

The book’s loose joints and unfinished edges allow the voices of fellow writers and artists to enter like a chorus. Note 203 takes the form of call and response, reproducing several pages’ worth of replies to a question Sharpe posed on Twitter: “What book or books produced a feeling you wanted or needed to feel?” Citations weave seamlessly throughout the book but are also often treated as a note’s precious center. The book itself is the acknowledgement and the bibliography: K’eguro Macharia, Saidiya Hartman, Jessica Marie Johnson, Zakiyyah Iman Jackson, Keeanga-Yamahtta Taylor, Adrienne Kennedy, Chinua Achebe, and so many more appear by name—scraps of cloth pieced into the quilt of the story. This poly­vocal gesture is reminiscent of Hartman, who writes in the “Note on Method,” which opens her influential book Wayward Lives, Beautiful Experiments, “The italicized phrases and lines are utterances from the chorus. This story is told from inside the circle.” We get the sense that Sharpe is after a similar effect, but instead of the smoothly inlaid italics of Hartman’s prose, Sharpe’s patchworked notes allow for adjacency—a collage of voices, overlapping, exchanging, listening.

The central voice belongs to Sharpe’s mother, from whom she first learned to appreciate beauty as a response to and provisional haven from violence. In one of the book’s most stunning notes, “Note 51: Beauty is a Method,” Sharpe extends Hartman’s proposi­tion in Wayward Lives that beauty “is a way of creating possibility in the space of enclosure, a radical act of subsistence, an embrace of our terribleness, a transfiguration of the given.” Beauty takes Sharpe somewhere that may seem surprising: a scene of quotidian police violence in her hometown. A white woman has called the cops on a black teenager, Chicki Carter, claiming to have seen a rifle in the outline of his rake. But the beauty Sharpe wants to show us is not the police’s invasion of the neighborhood. The beauty is this: “We gathered in our front yards, on the sidewalks, and in the road; we ran after the police cars; and we witnessed and insisted loudly that Chicki had done nothing wrong.” The beauty is care.

In a pivot that is emblematic of Sharpe’s broad sweep and deft movement between scales, this scene of communal resistance leads back to her family home: “Knowing that every day that I left the house, many of the people whom I encountered did not think me precious and showed me so, my mother gave me space to be pre­cious—as in vulnerable, as in cherished.” Her mother is also a vora­cious reader and creator of beautiful things—a purple gingham dress, Christmas ornaments, a carefully arranged garden bursting with flowers and herbs. She instilled in her daughter the value of “Attentiveness whenever possible…even if it is only the perfect arrangement of pins.”"]]></description>
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    <title>Peripetatic Humanities - YouTube</title>
    <dc:date>2018-02-11T05:26:47+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=j_Ro8E5f7kI</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["A lecture about Mark Sample's "Notes Toward a Deformed Humanities," featuring ideas by Lisa Rhody, Matt Kirchenbaum, Steve Ramsay, Barthes, Foucault, Bahktin, Brian Croxall, Dene Grigar, Roger Whitson, Adeline Koh, Natalia Cecire, and Ian Bogost & the Oulipo, a band opening for The Carpenters."]]></description>
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<item rdf:about="http://notational.tumblr.com/post/170489031527/the-text-is-plural-which-is-not-simply-to-say">
    <title>Notational</title>
    <dc:date>2018-02-04T21:12:34+00:00</dc:date>
    <link>http://notational.tumblr.com/post/170489031527/the-text-is-plural-which-is-not-simply-to-say</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The Text is plural. Which is not simply to say that it has several meanings, but that it accomplishes the very plural of meaning: an irreducible (and not merely an acceptable) plural. The Text is not a co-existence of meanings but a passage, an overcrossing; thus it answers not to an interpretation, even a liberal one, but to an explosion, a dissemination. The plural of the Text depends, that is, not on the ambiguity of its contents but on what might be called the stereographic plurality of its weave of signifiers (etymologically, the text is a tissue, a woven fabric). The reader of the Text may be compared to someone at a loose end (someone slackened off from any imaginary); this passably empty subject strolls – it is what happened to the author of these lines, then it was that he had a vivid idea of the Text – on the side of a valley, a oued flowing down below (oued is there to bear witness to a certain feeling of unfamiliarity); what he perceives is multiple, irreducible, coming from a disconnected, heterogeneous variety of substances and perspectives: lights, colours, vegetation, heat, air, slender explosions of noises, scant cries of birds, children’s voices from over on the other side, passages, gestures, clothes of inhabitants near or far away.

All these incidents are half identifiable: they come from codes which are known but their combination is unique, founds the stroll in a difference repeatable only as difference. So the Text: it can be it only in its difference (which does not mean its individuality), its reading is semelfactive (this rendering illusory any inductive-deductive science of texts – no ‘grammar’ of the text) and nevertheless woven entirely with citations, references, echoes, cultural languages (what language is not?), antecedent or contemporary, which cut across it through and through in a vast stereophony. The intertextual in which every text is held, it itself being the text-between of another text, is not to be confused with some origin of the text: to try to find the ‘sources’, the ‘influences’ of a work, is to fall in with the myth of filiation; the citations which go to make up a text are anonymous, untraceable, and yet already read: they are quotations without inverted commas."]]></description>
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    <title>////////// from “Commitment from the Mirror-Writing Box,” Trinh T. Minh-Ha, Woman, Native, Other</title>
    <dc:date>2017-11-23T21:32:45+00:00</dc:date>
    <link>http://some-velvet-morning.tumblr.com/post/166694371846/shinjimoon-nothing-could-be-more-normative</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Nothing could be more normative, more logical, and more authoritarian than, for example, the (politically) revolutionary poetry or prose that speaks of revolution in the form of commands or in the well-behaved, steeped-in-convention-language of “clarity.” (”A wholesome, clear, and direct language” is said to be “the fulcrum to move the mass or to sanctify it.”) Clear expression, often equated with correct expression, has long been the criterion set forth in treatises on rhetoric, whose aim was to order discourse so as to persuade. The language of Taoism and Zen, for example, which is perfectly accessible but rife with paradox does not qualify as “clear” (paradox is “illogical” and “nonsensical” to many Westerners), for its intent lies outside the realm of persuasion. The same holds true for vernacular speech, which is not acquired through institutions — schools, churches, professions, etc. — and therefore not repressed by either grammatical rules, technical terms, or key words. Clarity as a purely rhetorical attribute serves the purpose of a classical feature in language, namely, its instrumentality. To write is to communicate, express, witness, impose, instruct, redeem, or save — at any rate to mean and to send out an unambiguous message. Writing thus reduced to a mere vehicle of thought may be used to orient toward a goal or to sustain an act, but it does not constitute an act in itself. This is how the division between the writer/the intellectual and the activists/the masses becomes possible. To use the language well, says the voice of literacy, cherish its classic form. Do not choose the offbeat at the cost of clarity. Obscurity is an imposition on the reader. True, but beware when you cross railroad tracks for one train may hide another train. Clarity is a means of subjection, a quality both of official, taught language and of correct writing, two old mates of power; together they flow, together they flower, vertically, to impose an order. Let us not forget that writers who advocate the instrumentality of language are often those who cannot or choose not to see the suchness of things — a language as language — and therefore, continue to preach conformity to the norms of well-behaved writing: principles of composition, style, genre, correction, and improvement. To write “clearly,” one must incessantly prune, eliminate, forbid, purge, purify; in other words, practice what may be called an “ablution of language” (Roland Barthes)."

— from “Commitment from the Mirror-Writing Box,” Trinh T. Minh-Ha, Woman, Native, Other 

[See also PDF of full text in a couple of places:
http://www.sjsu.edu/people/julie.hawker/courses/c1/s2/Trinh-T-Minh-ha-1989.pdf
https://lmthomasucsd.files.wordpress.com/2009/06/minh-ha-reading.pdf ]]]></description>
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<item rdf:about="http://www.coldbacon.com/writing/sontag-againstinterpretation.html">
    <title>Against Interpretation</title>
    <dc:date>2016-07-31T03:14:21+00:00</dc:date>
    <link>http://www.coldbacon.com/writing/sontag-againstinterpretation.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[before quoting the entirety, quoting one line:

"What is important now is to recover our senses. We must learn to see more, to hear more, to feel more."]

"“Content is a glimpse of something, an encounter like a flash. It’s very tiny - very tiny, content.”
- Willem De Kooning, in an interview
           
“It is only shallow people who do not judge by appearances. The mystery of the world is the visible, not the invisible.”
- Oscar Wilde, in a letter
 
1

The earliest experience of art must have been that it was incantatory, magical; art was an instrument of ritual. (Cf. the paintings in the caves at Lascaux, Altamira, Niaux, La Pasiega, etc.) The earliest theory of art, that of the Greek philosophers, proposed that art was mimesis, imitation of reality. 

It is at this point that the peculiar question of the value of art arose. For the mimetic theory, by its very terms, challenges art to justify itself.

Plato, who proposed the theory, seems to have done so in order to rule that the value of art is dubious. Since he considered ordinary material things as themselves mimetic objects, imitations of transcendent forms or structures, even the best painting of a bed would be only an “imitation of an imitation.” For Plato, art is neither particularly useful (the painting of a bed is no good to sleep on), nor, in the strict sense, true. And Aristotle’s arguments in defense of art do not really challenge Plato’s view that all art is an elaborate trompe l’oeil, and therefore a lie. But he does dispute Plato’s idea that art is useless. Lie or no, art has a certain value according to Aristotle because it is a form of therapy. Art is useful, after all, Aristotle counters, medicinally useful in that it arouses and purges dangerous emotions. 

In Plato and Aristotle, the mimetic theory of art goes hand in hand with the assumption that art is always figurative. But advocates of the mimetic theory need not close their eyes to decorative and abstract art. The fallacy that art is necessarily a “realism” can be modified or scrapped without ever moving outside the problems delimited by the mimetic theory. 

The fact is, all Western consciousness of and reflection upon art have remained within the confines staked out by the Greek theory of art as mimesis or representation. It is through this theory that art as such - above and beyond given works of art - becomes problematic, in need of defense. And it is the defense of art which gives birth to the odd vision by which something we have learned to call “form” is separated off from something we have learned to call “content,” and to the well-intentioned move which makes content essential and form accessory. 

Even in modern times, when most artists and critics have discarded the theory of art as representation of an outer reality in favor of the theory of art as subjective expression, the main feature of the mimetic theory persists. Whether we conceive of the work of art on the model of a picture (art as a picture of reality) or on the model of a statement (art as the statement of the artist), content still comes first. The content may have changed. It may now be less figurative, less lucidly realistic. But it is still assumed that a work of art is its content. Or, as it’s usually put today, that a work of art by definition says something. (“What X is saying is . . . ,” “What X is trying to say is . . .,” “What X said is . . .” etc., etc.)

2

None of us can ever retrieve that innocence before all theory when art knew no need to justify itself, when one did not ask of a work of art what it said because one knew (or thought one knew) what it did. From now to the end of consciousness, we are stuck with the task of defending art. We can only quarrel with one or another means of defense. Indeed, we have an obligation to overthrow any means of defending and justifying art which becomes particularly obtuse or onerous or insensitive to contemporary needs and practice. 

This is the case, today, with the very idea of content itself. Whatever it may have been in the past, the idea of content is today mainly a hindrance, a nuisance, a subtle or not so subtle philistinism. 

Though the actual developments in many arts may seem to be leading us away from the idea that a work of art is primarily its content, the idea still exerts an extraordinary hegemony. I want to suggest that this is because the idea is now perpetuated in the guise of a certain way of encountering works of art thoroughly ingrained among most people who take any of the arts seriously. What the overemphasis on the idea of content entails is the perennial, never consummated project of interpretation. And, conversely, it is the habit of approaching works of art in order to interpret them that sustains the fancy that there really is such a thing as the content of a work of art.

3

Of course, I don’t mean interpretation in the broadest sense, the sense in which Nietzsche (rightly) says, “There are no facts, only interpretations.” By interpretation, I mean here a conscious act of the mind which illustrates a certain code, certain “rules” of interpretation. 

Directed to art, interpretation means plucking a set of elements (the X, the Y, the Z, and so forth) from the whole work. The task of interpretation is virtually one of translation. The interpreter says, Look, don’t you see that X is really - or, really means - A? That Y is really B? That Z is really C? 

What situation could prompt this curious project for transforming a text? History gives us the materials for an answer. Interpretation first appears in the culture of late classical antiquity, when the power and credibility of myth had been broken by the “realistic” view of the world introduced by scientific enlightenment. Once the question that haunts post-mythic consciousness - that of the seemliness of religious symbols - had been asked, the ancient texts were, in their pristine form, no longer acceptable. Then interpretation was summoned, to reconcile the ancient texts to “modern” demands. Thus, the Stoics, to accord with their view that the gods had to be moral, allegorized away the rude features of Zeus and his boisterous clan in Homer’s epics. What Homer really designated by the adultery of Zeus with Leto, they explained, was the union between power and wisdom. In the same vein, Philo of Alexandria interpreted the literal historical narratives of the Hebrew Bible as spiritual paradigms. The story of the exodus from Egypt, the wandering in the desert for forty years, and the entry into the promised land, said Philo, was really an allegory of the individual soul’s emancipation, tribulations, and final deliverance. Interpretation thus presupposes a discrepancy between the clear meaning of the text and the demands of (later) readers. It seeks to resolve that discrepancy. The situation is that for some reason a text has become unacceptable; yet it cannot be discarded. Interpretation is a radical strategy for conserving an old text, which is thought too precious to repudiate, by revamping it. The interpreter, without actually erasing or rewriting the text, is altering it. But he can’t admit to doing this. He claims to be only making it intelligible, by disclosing its true meaning. However far the interpreters alter the text (another notorious example is the Rabbinic and Christian “spiritual” interpretations of the clearly erotic Song of Songs), they must claim to be reading off a sense that is already there. 

Interpretation in our own time, however, is even more complex. For the contemporary zeal for the project of interpretation is often prompted not by piety toward the troublesome text (which may conceal an aggression), but by an open aggressiveness, an overt contempt for appearances. The old style of interpretation was insistent, but respectful; it erected another meaning on top of the literal one. The modern style of interpretation excavates, and as it excavates, destroys; it digs “behind” the text, to find a sub-text which is the true one. The most celebrated and influential modern doctrines, those of Marx and Freud, actually amount to elaborate systems of hermeneutics, aggressive and impious theories of interpretation. All observable phenomena are bracketed, in Freud’s phrase, as manifest content. This manifest content must be probed and pushed aside to find the true meaning - the latent content - beneath. For Marx, social events like revolutions and wars; for Freud, the events of individual lives (like neurotic symptoms and slips of the tongue) as well as texts (like a dream or a work of art) - all are treated as occasions for interpretation. According to Marx and Freud, these events only seem to be intelligible. Actually, they have no meaning without interpretation. To understand is to interpret. And to interpret is to restate the phenomenon, in effect to find an equivalent for it. 

Thus, interpretation is not (as most people assume) an absolute value, a gesture of mind situated in some timeless realm of capabilities. Interpretation must itself be evaluated, within a historical view of human consciousness. In some cultural contexts, interpretation is a liberating act. It is a means of revising, of transvaluing, of escaping the dead past. In other cultural contexts, it is reactionary, impertinent, cowardly, stifling.

4

Today is such a time, when the project of interpretation is largely reactionary, stifling. Like the fumes of the automobile and of heavy industry which befoul the urban atmosphere, the effusion of interpretations of art today poisons our sensibilities. In a culture whose already classical dilemma is the hypertrophy of the intellect at the expense of energy and sensual capability, interpretation is the revenge of the intellect upon art. 

Even more. It is the revenge of the intellect upon the world. To interpret is to impoverish, to deplete the world - in order to set up a shadow world of “meanings.” It is to turn the world into this world. (“This world”! As if there were any other.)

The world, our world, is depleted, impoverished enough. Away with all duplicates of it, until we again experience more immediately what we have.

5

In most modern instances, interpretation amounts to the philistine refusal to leave the work of art alone. Real art has the capacity to make us nervous. By reducing the work of art to its content and then interpreting that, one tames the work of art. Interpretation makes art manageable, comformable. 

This philistinism of interpretation is more rife in literature than in any other art. For decades now, literary critics have understood it to be their task to translate the elements of the poem or play or novel or story into something else. Sometimes a writer will be so uneasy before the naked power of his art that he will install within the work itself - albeit with a little shyness, a touch of the good taste of irony - the clear and explicit interpretation of it. Thomas Mann is an example of such an overcooperative author. In the case of more stubborn authors, the critic is only too happy to perform the job. 

The work of Kafka, for example, has been subjected to a mass ravishment by no less than three armies of interpreters. Those who read Kafka as a social allegory see case studies of the frustrations and insanity of modern bureaucracy and its ultimate issuance in the totalitarian state. Those who read Kafka as a psychoanalytic allegory see desperate revelations of Kafka’s fear of his father, his castration anxieties, his sense of his own impotence, his thralldom to his dreams. Those who read Kafka as a religious allegory explain that K. in The Castle is trying to gain access to heaven, that Joseph K. in The Trial is being judged by the inexorable and mysterious justice of God. . . . Another oeuvre that has attracted interpreters like leeches is that of Samuel Beckett. Beckett’s delicate dramas of the withdrawn consciousness - pared down to essentials, cut off, often represented as physically immobilized - are read as a statement about modern man’s alienation from meaning or from God, or as an allegory of psychopathology. 

Proust, Joyce, Faulkner, Rilke, Lawrence, Gide . . . one could go on citing author after author; the list is endless of those around whom thick encrustations of interpretation have taken hold. But it should be noted that interpretation is not simply the compliment that mediocrity pays to genius. It is, indeed, the modern way of understanding something, and is applied to works of every quality. Thus, in the notes that Elia Kazan published on his production of A Streetcar Named Desire, it becomes clear that, in order to direct the play, Kazan had to discover that Stanley Kowalski represented the sensual and vengeful barbarism that was engulfing our culture, while Blanche Du Bois was Western civilization, poetry, delicate apparel, dim lighting, refined feelings and all, though a little the worse for wear to be sure. Tennessee Williams’ forceful psychological melodrama now became intelligible: it was about something, about the decline of Western civilization. Apparently, were it to go on being a play about a handsome brute named Stanley Kowalski and a faded mangy belle named Blanche Du Bois, it would not be manageable.

6

It doesn’t matter whether artists intend, or don’t intend, for their works to be interpreted. Perhaps Tennessee Williams thinks Streetcar is about what Kazan thinks it to be about. It may be that Cocteau in The Blood of a Poet and in Orpheus wanted the elaborate readings which have been given these films, in terms of Freudian symbolism and social critique. But the merit of these works certainly lies elsewhere than in their “meanings.” Indeed, it is precisely to the extent that Williams’ plays and Cocteau’s films do suggest these portentous meanings that they are defective, false, contrived, lacking in conviction. 

From interviews, it appears that Resnais and Robbe-Grillet consciously designed Last Year at Marienbad to accommodate a multiplicity of equally plausible interpretations. But the temptation to interpret Marienbad should be resisted. What matters in Marienbad is the pure, untranslatable, sensuous immediacy of some of its images, and its rigorous if narrow solutions to certain problems of cinematic form. 

Again, Ingmar Bergman may have meant the tank rumbling down the empty night street in The Silence as a phallic symbol. But if he did, it was a foolish thought. (“Never trust the teller, trust the tale,” said Lawrence.) Taken as a brute object, as an immediate sensory equivalent for the mysterious abrupt armored happenings going on inside the hotel, that sequence with the tank is the most striking moment in the film. Those who reach for a Freudian interpretation of the tank are only expressing their lack of response to what is there on the screen. 

It is always the case that interpretation of this type indicates a dissatisfaction (conscious or unconscious) with the work, a wish to replace it by something else. 

Interpretation, based on the highly dubious theory that a work of art is composed of items of content, violates art. It makes art into an article for use, for arrangement into a mental scheme of categories.

7

Interpretation does not, of course, always prevail. In fact, a great deal of today’s art may be understood as motivated by a flight from interpretation. To avoid interpretation, art may become parody. Or it may become abstract. Or it may become (“merely”) decorative. Or it may become non-art. 

The flight from interpretation seems particularly a feature of modern painting. Abstract painting is the attempt to have, in the ordinary sense, no content; since there is no content, there can be no interpretation. Pop Art works by the opposite means to the same result; using a content so blatant, so “what it is,” it, too, ends by being uninterpretable. 

A great deal of modern poetry as well, starting from the great experiments of French poetry (including the movement that is misleadingly called Symbolism) to put silence into poems and to reinstate the magic of the word, has escaped from the rough grip of interpretation. The most recent revolution in contemporary taste in poetry - the revolution that has deposed Eliot and elevated Pound - represents a turning away from content in poetry in the old sense, an impatience with what made modern poetry prey to the zeal of interpreters. 

I am speaking mainly of the situation in America, of course. Interpretation runs rampant here in those arts with a feeble and negligible avant-garde: fiction and the drama. Most American novelists and playwrights are really either journalists or gentlemen sociologists and psychologists. They are writing the literary equivalent of program music. And so rudimentary, uninspired, and stagnant has been the sense of what might be done with form in fiction and drama that even when the content isn’t simply information, news, it is still peculiarly visible, handier, more exposed. To the extent that novels and plays (in America), unlike poetry and painting and music, don’t reflect any interesting concern with changes in their form, these arts remain prone to assault by interpretation. 

But programmatic avant-gardism - which has meant, mostly, experiments with form at the expense of content - is not the only defense against the infestation of art by interpretations. At least, I hope not. For this would be to commit art to being perpetually on the run. (It also perpetuates the very distinction between form and content which is, ultimately, an illusion.) Ideally, it is possible to elude the interpreters in another way, by making works of art whose surface is so unified and clean, whose momentum is so rapid, whose address is so direct that the work can be . . . just what it is. Is this possible now? It does happen in films, I believe. This is why cinema is the most alive, the most exciting, the most important of all art forms right now. Perhaps the way one tells how alive a particular art form is, is by the latitude it gives for making mistakes in it, and still being good. For example, a few of the films of Bergman - though crammed with lame messages about the modern spirit, thereby inviting interpretations - still triumph over the pretentious intentions of their director. In Winter Light and The Silence, the beauty and visual sophistication of the images subvert before our eyes the callow pseudo-intellectuality of the story and some of the dialogue. (The most remarkable instance of this sort of discrepancy is the work of D. W. Griffith.) In good films, there is always a directness that entirely frees us from the itch to interpret. Many old Hollywood films, like those of Cukor, Walsh, Hawks, and countless other directors, have this liberating anti-symbolic quality, no less than the best work of the new European directors, like Truffaut’s Shoot the Piano Player and Jules and Jim, Godard’s Breathless and Vivre Sa Vie, Antonioni’s L’Avventura, and Olmi’s The Fiancés. 

The fact that films have not been overrun by interpreters is in part due simply to the newness of cinema as an art. It also owes to the happy accident that films for such a long time were just movies; in other words, that they were understood to be part of mass, as opposed to high, culture, and were left alone by most people with minds. Then, too, there is always something other than content in the cinema to grab hold of, for those who want to analyze. For the cinema, unlike the novel, possesses a vocabulary of forms - the explicit, complex, and discussable technology of camera movements, cutting, and composition of the frame that goes into the making of a film.

8

What kind of criticism, of commentary on the arts, is desirable today? For I am not saying that works of art are ineffable, that they cannot be described or paraphrased. They can be. The question is how. What would criticism look like that would serve the work of art, not usurp its place? 

What is needed, first, is more attention to form in art. If excessive stress on content provokes the arrogance of interpretation, more extended and more thorough descriptions of form would silence. What is needed is a vocabulary - a descriptive, rather than prescriptive, vocabulary - for forms.[1] The best criticism, and it is uncommon, is of this sort that dissolves considerations of content into those of form. On film, drama, and painting respectively, I can think of Erwin Panofsky’s essay, “Style and Medium in the Motion Pictures,” Northrop Frye’s essay “A Conspectus of Dramatic Genres,” Pierre Francastel’s essay “The Destruction of a Plastic Space.” Roland Barthes’ book On Racine and his two essays on Robbe-Grillet are examples of formal analysis applied to the work of a single author. (The best essays in Erich Auerbach’s Mimesis, like “The Scar of Odysseus,” are also of this type.) An example of formal analysis applied simultaneously to genre and author is Walter Benjamin’s essay, “The Story Teller: Reflections on the Works of Nicolai Leskov.” 

Equally valuable would be acts of criticism which would supply a really accurate, sharp, loving description of the appearance of a work of art. This seems even harder to do than formal analysis. Some of Manny Farber’s film criticism, Dorothy Van Ghent’s essay “The Dickens World: A View from Todgers’,” Randall Jarrell’s essay on Walt Whitman are among the rare examples of what I mean. These are essays which reveal the sensuous surface of art without mucking about in it.

9

Transparence is the highest, most liberating value in art - and in criticism - today. Transparence means experiencing the luminousness of the thing in itself, of things being what they are. This is the greatness of, for example, the films of Bresson and Ozu and Renoir’s The Rules of the Game. 

Once upon a time (say, for Dante), it must have been a revolutionary and creative move to design works of art so that they might be experienced on several levels. Now it is not. It reinforces the principle of redundancy that is the principal affliction of modern life. 

Once upon a time (a time when high art was scarce), it must have been a revolutionary and creative move to interpret works of art. Now it is not. What we decidedly do not need now is further to assimilate Art into Thought, or (worse yet) Art into Culture. 

Interpretation takes the sensory experience of the work of art for granted, and proceeds from there. This cannot be taken for granted, now. Think of the sheer multiplication of works of art available to every one of us, superadded to the conflicting tastes and odors and sights of the urban environment that bombard our senses. Ours is a culture based on excess, on overproduction; the result is a steady loss of sharpness in our sensory experience. All the conditions of modern life - its material plenitude, its sheer crowdedness - conjoin to dull our sensory faculties. And it is in the light of the condition of our senses, our capacities (rather than those of another age), that the task of the critic must be assessed. 

What is important now is to recover our senses. We must learn to see more, to hear more, to feel more. 

Our task is not to find the maximum amount of content in a work of art, much less to squeeze more content out of the work than is already there. Our task is to cut back content so that we can see the thing at all. 

The aim of all commentary on art now should be to make works of art - and, by analogy, our own experience - more, rather than less, real to us. The function of criticism should be to show how it is what it is, even that it is what it is, rather than to show what it means.

10

In place of a hermeneutics we need an erotics of art. "]]></description>
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<item rdf:about="http://www.wordsinspace.net/wordpress/2016/06/28/small-moving-intelligent-parts/">
    <title>Small, Moving, Intelligent Parts – Words in Space</title>
    <dc:date>2016-06-29T16:50:10+00:00</dc:date>
    <link>http://www.wordsinspace.net/wordpress/2016/06/28/small-moving-intelligent-parts/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Abstract: The great expositions and World’s Fairs of the 19th and 20th centuries were known for celebrating new technological developments. The world of index cards, fiches, and data management hardly seems germane to the avant-garde, one of the central concerns of this special issue – yet the fairs made clear that information management systems were themselves designed, and were critical components of more obviously revolutionary design practices and political movements. Cards and files became familiar attractions at expos throughout the long-20th century. But those standardized supplies came to embody different ideologies, different fantasies, as the cultural and political contexts surrounding them evolved – from the Unispheric “global village” modeled in 1964; to 1939’s scientifically managed World of Tomorrow; and, finally, to the age of internationalist aspirations that led up to World War I. We examine how the small, moving parts of information have indexed not only data, but also their own historical and cultural milieux."

[See also this thread, 
https://twitter.com/shannonmattern/status/748180579426930688

that points to
https://twitter.com/npseaver/status/735140727806648320
http://savageminds.org/2014/05/21/structuralism-thinking-with-computers/
https://takingnotenow.blogspot.com/2007/12/luhmanns-zettelkasten.html ]]]></description>
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<item rdf:about="http://crapfutures.tumblr.com/post/136818232954/constraint-no-4-education">
    <title>crap futures — constraint no. 4: education</title>
    <dc:date>2016-01-12T06:35:51+00:00</dc:date>
    <link>http://crapfutures.tumblr.com/post/136818232954/constraint-no-4-education</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["We hesitated a bit before tackling this one, because education is such a vast and complex subject. But as far as constraints on possible futures go, education is impossible to ignore. Skill sets and thought paths are determined at an early age, shaping and constraining future possibilities for entire generations of pupils. (It is worth rediscovering Ken Robinson’s 2008 talk on changing paradigms in relation to educational constraints.) There are serious consequences to enforcing the constraint of economic utility on education, drastically narrowing curricula to what are considered core subjects, replacing older - not to say obsolete or useless - technologies with newer ones in the classroom, and so on. Maslow’s evocative maxim, often attributed to Mark Twain for reasons unknown, comes to mind: ‘It is tempting, if the only tool you have is a hammer, to treat everything as if it were a nail.’ Today this might be paraphrased as: ‘Give a child a computer, and everything has to be coded.’ Or 3D printed. Or laser cut. Or CNC machined. Obviously the more of these tools girls and boys are given, the better for them and the country they live in.

Unfortunately, recent educational trends in the UK paint a rather bleak picture where constraints are concerned. An article from the BBC on the rise of 3D printing in schools states: ‘the key inspiration … has been what is loosely termed the “digital maker” movement’. But why digital maker movement and not simply maker movement? The article goes on to tell us that ‘"Fab lab" stands for a “fabrication laboratory”, where digital ideas are turned into products and prototypes.’ Again, why digital ideas and not just ideas? What is it about a fablab that needs to be wholly digital and not a hybrid of materials and practices? (Some spaces and curricula do seek to fuse the old ‘shop’ class with the new computer lab, but other concerns may arise - as in the case a few years ago of controversial DARPA military funding to put a thousand DIY workshops in US high schools.)

A UK Government report, meanwhile, that lays out the agenda on 3D printing in education there, includes the following ‘points to consider’: ‘Who will use it? What will it be used for?’ These are good questions, too seldom asked. As for the questions that were not asked, they might include: ‘What will happen to the old machines?’, ‘What will happen to the old knowledge?’ and ‘What is lost in the headlong rush to full digitalisation?’ 3D printing holds an enormous amount of potential, as boundary pushing movements like 3D Additivism demonstrate. But the 3D printer and the laser cutter shouldn’t be the only tools in the box, and deskilling leads to a narrowing of possibilities for everyone.

Roland Barthes, writing in the 1950s about the sudden shift from traditional wooden toys to plastic ones, observed:

<blockquote>Wood makes essential objects, objects for all time. Yet there hardly remain any of these wooden toys…. Henceforth, toys are chemical in substance and colour; their very material introduces one to a coenaesthesis of use, not pleasure. These toys die in fact very quickly, and once dead, they have no posthumous life for the child.</blockquote>

A word of warning to those who would abandon old areas of knowledge and useful materials too quickly."]]></description>
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<item rdf:about="http://blog.ayjay.org/reverting-to-type/">
    <title>Reverting to Type: A Reader’s Story |</title>
    <dc:date>2015-12-21T00:26:40+00:00</dc:date>
    <link>http://blog.ayjay.org/reverting-to-type/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["It did become my thing. I transferred to what we thought of as the University of Alabama, the one in Tuscaloosa, largely because it had a better English department. I double-majored in English and history, and at some point decided — what considerations went into the decision I no longer remember — that I wanted to go to graduate school to study more literature. So I attended the University of Virginia. I developed a historical sense — my love for Browne’s prose led me to spend most of my time in the seventeenth century, until a relatively late encounter with the poetry of W. H. Auden made a modernist of me — amassed a repertoire of critical gestures, learned to invoke the names and terms of High Theory in the proper ways and at the proper times. I was initiated into the academic guild; I became a professor.

It wasn’t always easy, of course. In my last weeks as an undergraduate one of my professors had taken me aside and whispered to me the sacred names of Barthes and Derrida, and told me I should make fuller acquaintance with them. I dutifully wrote down the names and immediately forgot about them. Since none of this Theory stuff had previously been mentioned to me in my undergraduate career, how important could it be? So when I plunged into my first graduate classes — including a theoretical survey in which we read Marx, Nietzsche, Freud, Jung, Gramsci, Georg Lukács, Horkheimer and Adorno, Husserl, Heidegger, Ricoeur, Jakobson, Althusser, Brooks, Frye, de Beauvoir, Kenneth Burke, and, yes, Barthes and Derrida, among others — I was immediately transformed from a confident critic-in-the-making to a lost lamb, baahing reproachfully, petulantly.

Ten weeks or so into my first semester I decided that I just couldn’t cut it and needed to drop out. But I was a newlywed, and had carried my bride hundreds of miles from her family, set her down in a strange town, and effectively forced her to hunt for compartatively menial jobs, all to support this great academic endeavor of mine. I couldn’t bring myself to tell her how miserable and incompetent and just plain lost I was.

Our apartment in Charlottesville had a small windowless room that I used for a study. One evening after dinner I went in and closed the door and tried to sort through the vast pile of photocopied theoretical essays I had bought at Kinko’s on the first day of class. (We could violate copyright in those days, too.) But it was useless. I could scarcely bear even to look at the stuff. My professor had copied from his own well-used books, and every essay was full of confident underlinings and annotations that seemed by their very presence to judge me and find me wanting. I couldn’t bring myself to read another word.

My eyes wandered to a nearby bookshelf, and were caught for a moment by the glit of a gold cardboard box: it contained the three volumes of the Ballantine mass-market version of The Lord of the Rings. I had never read Tolkien: I was a science-fiction guy, not a fantasy guy. But of course I knew that The Trilogy (as I thought of it) was important, and that someday I ought to get to it. Almost thoughtlessly, I picked up the first volume and began to read.

When bedtime rolled around I set the book down and emerged from the sanctuary. “How’d it go tonight?” Teri asked.

I said, “It went well.”

The next evening I re-entered the study, under the pretense of continuing my academic labors with all due seriousness, and picked up where I had left off in the story. For the next week or so, though during the days I went to classes and did generally what I was supposed to do, I did none of the reading or writing I was assigned. I got further and further behind. I didn’t care; I was somewhere else and glad to be somewhere else. Teri seemed pleased with my scholarly discipline, as each evening I washed the dishes, gave her a kiss, and closed the study door behind me.

When I finished The Lord of the Rings I drew a deep breath. I felt more sound and whole than I had felt in weeks, maybe months. But, to my own surprise, I did not conclude that all that academic crap was a waste of time and I should do something else with my life, something that gave me time to read lots of fantasy novels. Instead, I experienced a strange refreshment, almost an exhilaration. My confusion and frustration seemed like small afflictions, conquerable adversaries. Barthes and Derrida weren’t so fearsome after all. I could do this.

I don’t believe that I was thinking, “Literary theory is as nothing in comparison to the power of Mordor!” Or, “If Frodo can carry that Ring to the Cracks of Doom I can write this paper on Paul Ricoeur!” Rather, I was just benefiting from spending some time away from my anxieties. We had been too intimate and needed separation. So I resumed my studies in a far better frame of mind; as a result, I did better work. I completed my doctorate and began my career as a teacher, but I didn’t forget the debt I owed to that week I spent in Tolkien’s world."

…

"In a sense I am only talking here about expanding my repertoire of analogies, my ability to make illuminating and meaningful comparisons. For many years now Douglas Hofstadter, drawing on the work of the mathematician Stanislaw Ulam, has been convinced that the secret to creating artificial intelligence lies in teaching machines to recognize analogies. (Ulam says somewhere that it’s all about “as”: we see marks on a piece of wood pulp as a portrait of a beloved child, a cairn of stones as a monument to a dead chieftain.) Similar principles underlie the methods of Google Translate, which collects an enormous corpus of sentences and then tries to match your input to something in that corpus, and Apple’s  “digital personal assistant,” Siri. Siri can’t parse what you say to her unless she can connect to the network, which undertakes a comparison of your utterance to other utterances on record. All this might be called brute-force analogizing, but it seems to me that my own understanding develops as I pursue the same method, though with far less force and (I hope) less brutishness.

In one of his most beautiful poems, Richard Wilbur writes, “Odd that a thing is most itself when likened.” And this is true no matter the thing: a book becomes more fully itself when we see both how it resembles and how is differs from other books; one discipline of study takes on its proper hues only when we see its relations to other disciplines that stand close to it or very far away. My repertoire of analogies is my toolbox, or my console of instruments, by which I comprehend and navigate the world. It can’t be too large; every addition helps, at least a bit. And that’s why I’m thankful for my gradual recovery of the books I adored, and thoughts I lovingly entertained, when I was forty years younger."]]></description>
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<item rdf:about="http://www.hybridpedagogy.com/journal/toward-interactive-criticism-house-leaves-haptic-interface/">
    <title>Interactive Criticism: House of Leaves as Haptic Interface</title>
    <dc:date>2014-02-27T08:40:07+00:00</dc:date>
    <link>http://www.hybridpedagogy.com/journal/toward-interactive-criticism-house-leaves-haptic-interface/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["House of Leaves demands what Laura U. Marks, in Touch: Sensuous Theory and Multisensory Media, calls “haptic criticism.” A haptic interface is one that engages our skin before our intellect, our body before our brain. Certain media devices could be described as peculiarly haptic (such as the Xbox Kinect or Apple’s iPad), but all media have the potential to be (or necessarily are) haptic. A book has an odor, a certain weight in our hands, a tactile pleasure at the turn of a page. The film strip has an audible clack as it moves through the projector, and the emulsion dissolves sweetly before our eyes. And, even if these media are rendered mostly intangible, books and films will always have a physical impact on us, causing us to recoil, sigh, bristle, and scream. For Marks, when we write about literary texts, “the task is to make the dry words retain a trace of the wetness of the encounter” (x). Roland Barthes writes similarly in The Pleasure of the Text, “Text means Tissue” (64), a nod to the literal substances from which books are made (pulp, rag, and animal hide), while also alluding to the materiality of language. When we read, we engage the physical object of the book in an intimate way, each of us handling books with our own idiosyncrasies. Some readers will delicately cradle an open book in two hands, whereas others will forcefully bend the cover back and pinch the book violently between the thumb and forefinger of one hand. How we handle a printed text effects how we encounter and interpret its contents.

Quote from Roland BarthesBarthes continues, “What I enjoy in a narrative is not directly its content or even its structure, but rather the abrasions I impose upon the fine surface” (12). His use of the word “abrasions” suggests there is indeed something violent about how we interact with a written text. And the act of reading, for better or worse, is something we “impose” upon a text. Thus, Barthes talks further about how “applied reading” (12) disrupts the “integrity of the text” (11). The word “integrity” is italicized (by Barthes), drawing attention to its polyvalency. Applied reading doesn’t just disrupt the value or moral character of a text; applied reading tears at the text’s cohesive fabric, punctures its skin, rips its pages and paragraphs, dissects its innards. This is not only what reading can do, for Barthes, but what it must do. The goal of reading is “not to devour, to gobble, but to graze, to browse scrupulously, to rediscover” (13). We metaphorically engage the flesh of a word when we focus on the typographical choices that govern how a word looks on the page, but we engage the flesh of a word even more literally when we notice and concern ourselves with how a word feels as it comes out of our mouths. Each word has a shape, a part of our mouths, lungs, throat, or gut that it tickles or mobilizes into action. We don’t just gobble words, but also expel them. This is a biting criticism of another sort; but my work here is about a kind of criticism that bites back. The violence we do to a text is minor when compared to the violence a text can do to us, if we let it."

…

"I’ve spent more time not reading House of Leaves than I’ve spent reading other books. The book haunts me — hits me sidelong when I least expect it. It bubbles to the surface at inopportune moments. And there are holes in the text I haven’t yet fallen into. Holes in the text I probably never will fall into. All the while, the book incessantly urges me and its other readers to examine our looking away — and to examine our compulsion to avoid thinking about or theorizing that looking away. An interactive criticism takes as its subject criticism and so must be unabashed about the many lovely (and not so lovely) shapes of that criticism. Sometimes, the shape of that criticism is a hole or a gap, one we can only hollar into."]]></description>
<dc:subject>jessestommel books reading howweread text haptic touch rolandbarthes texture markdanielewski 2014 lauramarks katherinehayles ebooks space narraive storytelling jeffreyjeromecohen seanmichaelmorris echolocation interactivecriticism hapticcriticism</dc:subject>
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<item rdf:about="http://www.svetlanaboym.com/manifesto.htm">
    <title>Svetlana Boym | Off-Modern Manifesto</title>
    <dc:date>2013-11-25T23:27:25+00:00</dc:date>
    <link>http://www.svetlanaboym.com/manifesto.htm</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["1. A Margin of Error

“It's not my fault. Communication error has occurred,” my computer pleads with me in a voice of lady Victoria. First it excuses itself, then urges me to pay attention, to check my connections, to follow the instructions carefully. I don't. I pull the paper out of the printer prematurely, shattering the image, leaving its out takes, stripes of transience, inkblots and traces of my hands on the professional glossy surface. Once the disoriented computer spat out a warning across the image “Do Not Copy,” an involuntary water mark that emerged from the depth of its disturbed memory. The communication error makes each print unrepeatable and unpredictable. I collect the computer errors. An error has an aura.

To err is human, says a Roman proverb. In the advanced technological lingo the space of humanity itself is relegated to the margin of error. Technology, we are told, is wholly trustworthy, were it not for the human factor. We seem to have gone full circle: to be human means to err. Yet, this margin of error is our margin of freedom. It's a choice beyond the multiple choices programmed for us, an interaction excluded from computerized interactivity. The error is a chance encounter between us and the machines in which we surprise each other. The art of computer erring is neither high tech nor low tech. Rather it’s broken-tech. It cheats both on technological progress and on technological obsolescence. And any amateur artist can afford it. Art's new technology is a broken technology.

Or shall we call it dysfunctional, erratic, nostalgic? Nostalgia is a longing for home that no longer exists or most likely, has never existed. That non-existent home is akin to an ideal communal apartment where art and technology co-habited like friendly neighbours or cousins. Techne, after all, once referred to arts, crafts and techniques. Both art and technology were imagined as the forms of human prosthesis, the missing limbs, imaginary or physical extensions of the human space."

…

2. Short Shadows, Endless Surfaces

…

Broken-tech art is an art of short shadows. It turns our attention to the surfaces, rims and thresholds. From my ten years of travels I have accumulated hundreds of photographs of windows, doors, facades, back yards, fences, arches and sunsets in different cities all stored in plastic bags under my desk. I re-photograph the old snapshots with my digital camera and the sun of the other time and the other place cast new shadows upon their once glossy surfaces with stains of the lemon tea and fingerprints of indifferent friends. I try not to use the preprogrammed special effects of Photoshop; not because I believe in authenticity of craftsmanship, but because I equally distrust the conspiratorial belief in the universal simulation. I wish to learn from my own mistakes, let myself err. I carry the pictures into new physical environments, inhabit them again, occasionally deviating from the rules of light exposure and focus.

At the same time I look for the ready-mades in the outside world, “natural” collages and ambiguous double exposures. My most misleading images are often “straight photographs.” Nobody takes them for what they are, for we are burdened with an afterimage of suspicion.

Until recently we preserved a naive faith in photographic witnessing. We trusted the pictures to capture what Roland Barthes called “the being there” of things. For better or for worse, we no longer do. Now images appear to us as always already altered, a few pixels missing here and there, erased by some conspiratorial invisible hand. Moreover, we no longer analyse these mystifying images but resign to their pampering hypnosis. Broken- tech art reveals the degrees of our self-pixelization, lays bare hypnotic effects of our cynical reason.

…


3. Errands, Transits.

…

4. A Critic, an Amateur

If in the 1980s artists dreamed of becoming their own curators and borrowed from the theorists, now the theorists dream of becoming artists. Disappointed with their own disciplinary specialization, they immigrate into each other's territory. The lateral move again. Neither backwards nor forwards, but sideways. Amateur's out takes are no longer excluded but placed side-by-side with the non-out takes. I don't know what to call them anymore, for there is little agreement these days on what these non-out takes are.

But the amateur's errands continue. An amateur, as Barthes understood it, is the one who constantly unlearns and loves, not possessively, but tenderly, inconstantly, desperately. Grateful for every transient epiphany, an amateur is not greedy."]]></description>
<dc:subject>philosophy technology svetlanaboym via:ablerism off-modern canon nostalgia human humanism amateurs unlearning love loving greed selflessness homesickness broken broken-tech art beausage belatedness newness leisurearts walterbenjamin errors fallibility erring henribergson billgates prosthetics artists imagination domestication play jaques-henrilartigue photography film fiction shadows shortshadows nearness distance balance thresholds rims seams readymade rolandbarthes cynicism modernity internationalstyle evreyday transience ephemeral ephemerality artleisure amateurism</dc:subject>
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<item rdf:about="http://booktwo.org/notebook/everything-wants-to-be-digital/">
    <title>Everything wants to be digital | booktwo.org</title>
    <dc:date>2012-12-12T01:43:42+00:00</dc:date>
    <link>http://booktwo.org/notebook/everything-wants-to-be-digital/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Everything beckons to us to perceive it. My appreciation of a contemporary text is an appreciation of the network: will this text link me to further texts which will, knowingly or unknowingly, connect me to other texts that will expand or heighten my appreciation, not of it or the other text, but holistically, will raise the network value of texts and experiences in general. And the texts want this too: they are longing for the network.

Literature always adapts to the most disseminable state, and that state, now, is far more complex than our literatures have addressed, or our mental models, our metaphors, have prepared us to be. They can’t help it, but it doesn’t mean the apophatic silence is hand-waving: it is a necessary condition of the present.

The network is an emergent property of the internet…

Everything wants to be, and being is a hybrid, digital state now. Everything wants to be digital. It aspires to that higher form, to be capable of being networked…"]]></description>
<dc:subject>augmentedvalue texts howwelearn howweread literature networkeffects networkeffect information freedomofinformation digitalization ebooks robingandy flatland poetry craigdworkin rolandbarthes internet online web networkedreading 2012 reading books digital jamesbridle</dc:subject>
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</item>
<item rdf:about="http://www.theatlantic.com/technology/archive/2010/09/stranger-studies-101-cities-as-interaction-machines/62315/">
    <title>Stranger Studies 101: Cities as Interaction Machines - Kio Stark - Technology - The Atlantic</title>
    <dc:date>2012-03-06T06:46:12+00:00</dc:date>
    <link>http://www.theatlantic.com/technology/archive/2010/09/stranger-studies-101-cities-as-interaction-machines/62315/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["There are three broad themes during the semester.

1. Why stranger interactions in cities are meaningful

2. The spaces and the significance of the spaces in which strangers interact, and

3. How strangers 'read' each other, how they initiate interactions, how they avoid interactions, how they trust each other and how they fool each other, how they watch, listen and follow each other.

Then there is the secret theme. I want students to fall in love with talking to strangers, to do it more, and to make technology that creates more plentiful and meaningful interactions among strangers."]]></description>
<dc:subject>discovery serendipity interaction darreno'donnell thechildinthecity publicspace janejacobs josephmassey ireneebeattie ervinggoffman richardsennett kurtiveson cosmopolitanism cities nyc gothamhandbook sophiecalle paulauster relationalart situationist georgsimmel rolandbarthes strangers 2010 kiostark collaboration psychology social architecture technology culture urban urbanism</dc:subject>
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<item rdf:about="http://www.npr.org/2012/02/19/146941343/plotto-an-algebra-book-for-fiction-writing">
    <title>Plotto</title>
    <dc:date>2012-02-20T08:54:25+00:00</dc:date>
    <link>http://www.npr.org/2012/02/19/146941343/plotto-an-algebra-book-for-fiction-writing</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[“I just got my Weegee + Barthes + Chris Alexander + IF + symbolic logic + narratology fancies tickled at once.” —Max Fenton at 2/19/12 7:39 PM

(Source: http://twitter.com/maxfenton/status/171393503849488384 )]]></description>
<dc:subject>thinking books rolandbarthes christopheralexander maxfenton weegee interactivefiction if via:litherland paulcollins cyoa</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:eef763d22177/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:books"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:rolandbarthes"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:christopheralexander"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:maxfenton"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:weegee"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:interactivefiction"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:if"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:via:litherland"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:paulcollins"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:cyoa"/>
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</item>
<item rdf:about="http://domusweb.it/en/design/portable-cathedrals/">
    <title>Portable cathedrals - Design - Domus</title>
    <dc:date>2012-01-09T06:19:27+00:00</dc:date>
    <link>http://domusweb.it/en/design/portable-cathedrals/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["So the N9 is not so much a product as a pointer. It will soon be impossible, or perhaps pointless anyway, to buy. Meego is a dead man walking and the hardware will live on in a new cloned and cared-for body, as the Lumia…

The Citröen DS was ultimately destined to befall the fate of mummification as a 'design icon' rather than a major commercial success. Numerous beautifully-maintained examples are still just about running, maintained by obsessives who spend their Sunday mornings patching up fuel sumps, buffing white leather interiors and browsing eBay for increasingly rare spare parts.

Perhaps as with the DS 19, the N9 will also end up maintained by an army of enthusiasts, a lost classic filed away in some museum of digital artefacts, an open-source movement supporting and extending Meego as a kind of avant-garde alt.OS, augmented by 3D-printed replacement physical parts or modded components, as with Leicas and Polaroids."]]></description>
<dc:subject>software industrialdesign objects objectsofdesire cars phones mobile rolandbarthes 2011 danhill meego citröends portablecathedrals n9 design nokia</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:a5427e5973ed/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:software"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:industrialdesign"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:objects"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:objectsofdesire"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:cars"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:phones"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:mobile"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:rolandbarthes"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:2011"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:danhill"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:meego"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:citröends"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:portablecathedrals"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:n9"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:design"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:nokia"/>
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</item>
<item rdf:about="http://www.culturemachine.net/index.php/cm/article/view/373/390">
    <title>Wilken</title>
    <dc:date>2012-01-03T04:25:21+00:00</dc:date>
    <link>http://www.culturemachine.net/index.php/cm/article/view/373/390</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["In this way, I want to extrapolate from the specific case of Roland  Barthes to develop a larger, concluding argument: that Barthes’ specific usage is illustrative of wider intellectual usage of card indexes as pre-digital creative media; in other words, not just as an archival device, but, crucially, as a key historical technology of invention. I intend this last term in the precise sense in which Derrida (1989) understands it, that is, as an oscillation between the performative and the constative, with the former working to disrupt itself (the performative) and the latter (the constative)  – or what might be termed the unsettling operation of invention."]]></description>
<dc:subject>creativethinking thinking jacquesderrida rowanwilken rolandbarthes indexcards creativity via:allentan toread</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:7226d3976a7c/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:creativethinking"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:thinking"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:jacquesderrida"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:rowanwilken"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:rolandbarthes"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:indexcards"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:via:allentan"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:toread"/>
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</item>
<item rdf:about="http://tobia.tumblr.com/post/7912736802/but-i-never-looked-like-that-how-do-you-know">
    <title>OBIA, THE THIRD [Roland Barthes quote]</title>
    <dc:date>2011-07-22T04:29:36+00:00</dc:date>
    <link>http://tobia.tumblr.com/post/7912736802/but-i-never-looked-like-that-how-do-you-know</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["‘But I never looked like that!’ - How do you know? What is the ‘you’ you might or might not look like? Where do you find it - by which morphological or expressive calibration? Where is your authentic body? You are the only one who can never see yourself except as an image; you never see your eyes unless they are dulled by the gaze they rest upon the mirror or the lens (I am interested in seeing my eyes only when they look at you): even and especially for your own body, you are condemned to the repertoire of its images."<br />
<br />
—Roland Barthes ]]></description>
<dc:subject>rolandbarthes perception self identity</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:5f7612a57604/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:rolandbarthes"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:perception"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:self"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:identity"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://www.nearfuturelaboratory.com/2010/06/29/partial-truths-to-do-something-interdisciplinary/">
    <title>Near Future Laboratory » Partial Truths: To Do Something Interdisciplinary</title>
    <dc:date>2010-06-30T18:16:56+00:00</dc:date>
    <link>http://www.nearfuturelaboratory.com/2010/06/29/partial-truths-to-do-something-interdisciplinary/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[“Interdisciplinary work, so much discussed these days, is not about confronting already constituted disciplines (none of which, in fact, is willing to let itself go). To do something interdisciplinary it’s not enough to choose a “subject” (a theme) and gather around it two or three sciences. Interdisciplinarity consists in creating a new object that belongs to no one.” –Roland Barthes, “Jeunes Chercheurs”
]]></description>
<dc:subject>rolandbarthes interdisciplinary crossdisciplinary multidisciplinary invention creativity julianbleecker</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:ffcd0ed08436/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:rolandbarthes"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:interdisciplinary"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:crossdisciplinary"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:multidisciplinary"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:invention"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:creativity"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:julianbleecker"/>
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