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  </channel><item rdf:about="https://journals.sagepub.com/doi/10.1177/13505068241262923">
    <title>Unveiling urban landscapes: Alisa Oleva’s performances during the pandemic - Raffaella Tartaglia, 2024</title>
    <dc:date>2026-06-29T03:40:03+00:00</dc:date>
    <link>https://journals.sagepub.com/doi/10.1177/13505068241262923</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["This text explores the evolving landscape of performance art in the face of pandemic restrictions, shedding light on the repercussions of audience deprivation and the subsequent exploration of digital platforms as a means of artistic expression. Focusing on some artistic performances of Alisa Oleva, the text investigates how her exploration of touching and walking as a medium influences the understanding of urban landscapes. By using the city as her studio and manipulating everyday life, Oleva uncovers the hidden stories and meanings embedded within inside and outside spaces, to examine questions related to women’s histories, traces, and surfaces. In particular, we focus on Walking Home (2020), a performance that, in addition to providing an interesting example of walking as an aesthetic practice, raises political and activist questions, such as how the pandemic-induced confinement masks deeper issues, namely the safety of the domestic environment for those who identify themself as women. Through various performances, we delve into the theme of seeing and touching, emphasising the significance of sensory perception as embodied human beings. Moreover, the text highlights how our passages and connections with different environments contribute to shaping the very meaning of the places we encounter in the world. In addition, the text acknowledges the transformative power of personal experiences in crafting the narrative of our collective story."]]></description>
<dc:subject>raffaellatartaglia alisaoleva seonsory walking seeing touching 2020 2024 everday situationist psychogeography art walkshops</dc:subject>
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<item rdf:about="https://www.hachettebookgroup.com/titles/richard-louv/noticing/9781643753034/">
    <title>Noticing by Richard Louv | Hachette Book Group</title>
    <dc:date>2026-06-27T05:38:59+00:00</dc:date>
    <link>https://www.hachettebookgroup.com/titles/richard-louv/noticing/9781643753034/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The internationally bestselling author of Last Child in the Woods seeks a deeper personal connection to nature during this time of ecoanxiety and upheaval by exploring his own backyard.

Long beloved for his insightful, inspiring nature writing, Richard Louv returns with his most personal book yet. Noticing is about discovering who you are by exploring the natural world. Louv shows how, by tapping into the thirty or more human senses we have, readers can develop skills––sensory, scientific, artistic, and spiritual––to see and experience the otherworlds of nature. 

Through personal essays, rich with descriptions of the California wilderness around his home in the most biodiverse county in the nation, Louv draws on wisdom from influences as far-reaching as neuroscience, nature photography, Indigenous traditions, and mindfulness to foster what he calls “bioenchantment.” He offers a new, deeper understanding of what it means to see a tree, know a fox, and to become fully human."

[via: 

“How Humans Are Like Bloodhounds and Bats: A conversation with writer Richard Louv, who coined the term “nature deficit disorder””
https://nautil.us/how-humans-are-like-bloodhounds-and-bats-1282274 ]

"Richard Louv is a journalist and the author of ten books, including Last Child in the Woods: Saving Our Children from Nature-Deficit Disorder, The Nature Principle, and Vitamin N. Translated into twenty languages, his books have helped launch an international movement to connect children, families, and communities to nature. He is cofounder and chair emeritus of the nonprofit Children & Nature Network, which supports a new nature movement. Louv has written for the New York Times, Outside magazine*, Orion Magazine, Parents,* and many other publications. He appears regularly on national radio and TV, and lectures throughout the world. In 2008, he was awarded the Audubon Medal. Prior recipients have included Rachel Carson, E. O. Wilson, President Jimmy Carter, and Sir David Attenborough."

***

“Richard Louv would like you to live a beautiful life. He wants you to see how easy, how free and freeing this can be. This book is a how-to manual for getting back your soul.” —Carl Safina, author of Alfie and Me: What Owls Know, What Humans Believe

“Richard Louv’s Noticing isn’t nature writing as usual, it’s an invitation to meet the more-than-human world through all the senses. Drawing on research, mindfulness practices, Indigenous wisdom, and intimate encounters in the biodiverse California wilderness, Louv shows us that there’s far more to the outdoors than what meets the eye. The result is a beautiful ode to wonder—and a reminder that our capacity for enchantment is a skill we can relearn.” —Linda Åkeson McGurk, author of The Open-Air Life and There’s No Such Thing as Bad Weather

"Richard Louv has created a ‘multi-being’ in the form of a book illustrating, all the senses needed to fully attend to this wonderful, divergent world. No single species can do this, but Noticing, filled with Richard’s observations and the sensory insights of many others, human and nonhuman, is as close as you are ever going to get." —Glenn Albrecht, author of Earth Emotions

“Richard Louv is one of today’s most discerning observers of the natural world and our place in it, and Noticing is his most personal and intimate book yet. It is full of grace and full of wonder. A beautiful guide to being present, reconnecting, caring, healing, and thriving.” —Howard Frumkin, Former Director of CDC National Center for Environmental Health

“Blending rich storytelling with research and ancestral ways of knowing, Louv shows how deep noticing can reawaken our senses and renew our bond with nature. This inspiring book reminds us that when we slow down and observe with care, the world becomes more alive—and so do we.” —Sally Jewell, Former U.S. Secretary of the Interior

“What a gift! And so needed. Rich Louv’s Noticing is simultaneously informative and inspiring, uplifting and grounded. Reading his words, I found myself laughing out loud at times. Moments later, I was on the verge of tears. With humor and heart, scholarship and practicality, Rich provides a path forward for healing human relationships with the rest of nature.” —Cheryl Charles, Ph.D., International Co-Chair of IUCN’s NatureForAll and Co-Founder of Children & Nature Network

“[Louv] moves back and forth from lyrical descriptions of connection to nature to impassioned concern about the future of the planet to a certain mild skepticism toward those who believe they are empowered to speak for nature…His thoughtful, encouraging approach makes it easy for readers to follow in his footsteps. A gentle guide to connecting with the non-human world.” —Kirkus Reviews

“Richard Louv’s book is like a gentle prescription for our times—an invitation not just to go outside, but to truly step into nature with intention and attention. Through reflective storytelling and practical guidance, he encourages readers to engage all their senses, notice more deeply, and cultivate a richer connection with the natural world, themselves, and one another. In doing so, he offers a simple yet profound path to nurturing ourselves and hope for the future.” —Pooja Tandon M.D., MPH, Professor of General Pediatrics, Seattle Children's Hospital

“Nature writer extraordinaire…Louv does not restate the obvious about nature’s wonders; instead, he asserts how significant contact with nature can be as we embrace computer screens, AI, and ever-increasing reality distortion…Not self-help and yet enormously helpful, *Noticing…*encourages readers to reflect on nature beyond what can be seen with the naked eye…Thoughtful, timely, and achingly beautiful, this is a book to savor." —Colleen Mondor, Booklist"]]></description>
<dc:subject>richardlouv nature senses sensing multispecies morethanhuman 2026 spirituality wildlife wilderness neuroscience photography indigeneity indigenous bioenchantment enchantment animism mindfulness human humanism humans science art noticing seeing sensory attention ecology ecoanxiety environment</dc:subject>
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    <title>Can the Unseen Speak? Maria Putri and Ali Napier on plantation ecologies and colonial afterlives – KoozArch</title>
    <dc:date>2026-06-12T21:54:19+00:00</dc:date>
    <link>https://www.koozarch.com/interviews/can-the-unseen-speak-maria-putri-and-ali-napier-on-plantation-ecologies-and-colonial-afterlives</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["What traces do colonial infrastructures leave behind? In this conversation, architectural researcher and filmmaker Maria Putri joins architect, writer and editor Ali Napier to discuss Can the Unseen Speak? — a film that follows the intertwined histories of plantation economies, environmental violence and land conflict in Sumatra, while exploring how architecture, performance and storytelling might render visible their enduring aftermaths."]]></description>
<dc:subject>mariaputri alinapier sumatra architecture performance storytelling colonialism decolonization postcolonialism colonization landscape infrastructure film 2026 filmmaking seeing unseen indigeneity indigenous</dc:subject>
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<item rdf:about="https://www.noemamag.com/how-ais-see-our-world/">
    <title>How AIs See Our World</title>
    <dc:date>2026-05-26T23:36:42+00:00</dc:date>
    <link>https://www.noemamag.com/how-ais-see-our-world/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["AIs are increasingly perceiving our world, but in order to comprehend it, our user interfaces must operate in reverse."]]></description>
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<item rdf:about="https://cosmosmalick.net/2026/04/09/unqualified.html">
    <title>Unqualified | Cosmos Malick</title>
    <dc:date>2026-04-16T05:24:20+00:00</dc:date>
    <link>https://cosmosmalick.net/2026/04/09/unqualified.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["As I noted in an introduction to this site, I’m not a film studies professor. I have no formal academic training in the history or technique of film, unless a single, memorable undergraduate class counts — and it doesn’t. But that was the class that turned me into a cinephile, that enabled me to see the richness and depth of cinematic tradition, and also to see its possibilities as an art form. Above all, I’ve continued to watch films — many, many films, the best of them repeatedly. And I have read extensively about cinematic art and technique — and about the economics of the business (which interests me strangely). 

I have only written about film occasionally, and have only taught films occasionally. But I do write a lot, and I also teach a lot, and so over the years it has added up. My experience as both a writer about and a teacher of cinema is, by this point, not inconsiderable.

But it really wasn’t until Josh Jeter, Malick’s chief of staff, invited me to watch a cut of the work then in progress, later to be called A Hidden Life — an experience that I’ve written about here — that film started moving closer to the center of my interests. Aside from Malick, my focus is especially on films made in the period that is my scholarly home, which is essentially the middle third of the 20th century; so, you might say, from Chaplin’s Modern Times to Kubrick’s 2001. That covers a lot of ground, of course. But I do know that territory very well.

And I want to note here that mid-century films were fundamentally formative for Malick, something which he talked about often in the days when he was still giving interviews. 

Two major traditions are essential for understanding the filmmaker he became. One is the Italian neorealist cinema. Malick adores the early Fellini, especially The White Sheik (1952) and I Vitelloni (1953). He adores Rossellini, especially Voyage to Italy (1954). But then he also loves Elia Kazan and William Wyler and the massive widescreen blockbusters they made in the early years of Cinerama and CinemaScope. (Foster Hirsch’s Hollywood and the Movies of the Fifties is great on the development of these technologies.)

And I believe — I don’t know that Malick has ever said this, but I am convinced — that there’s a good bit of John Sturges in Malick’s directorial DNA. P.T. Anderson has said — it’s a claim that has become notorious among cinephiles — that you could learn more from listening to John Sturges’s commentary on his 1955 film Bad Day at Black Rock than you could learn in twenty years of film school. And that commentary — here and here — is actually very interesting and wide-ranging. Bad Day at Black Rock is one of the very first CinemaScope films, and Sturges is the director who first figured out how you could make that wide aspect ratio work for you as a serious storyteller. It required thinking in new ways about composition, and (Sturges thought) about the freedom of the viewer to direct his or her attention. 

Sturges11 blackrock.

But I digress … a little. We’ll return to some of this material in future posts. 

In any case, those are the two major strands of influence on Malick: Italian neorealist cinema in black & white, with its emotionally intense explorations of (especially) family life; and the intensely colorful widescreen Hollywood films of the 1950s, especially by Kazan and Sturges. And I think if you put together sweeping dramatic landscapes and emotionally intense depictions of family life, well, then you kind of have Days of Heaven, The Tree of Life, and A Hidden Life, don’t you?

And Malick brings these influences together in his own inimitable way. Many years ago, when I was living in Chicagoland, I subscribed to Chicago magazine, my favorite part of which was the restaurant reviews. Each issue featured capsule reviews of dozens and dozens of restaurants, each of which had a tag to suggest the type of restaurant it was: Mexican or Italian or Thai or whatever. And then when you got to Charlie Trotter’s, the tag was: Trotter’s cuisine. What Trotter was doing was so distinctive, so unlike what anyone else was doing, that that was the only thing you could call it. And exactly the same is true of the movies Terrence Malick makes: it’s Malick’s cinema, indescribable by any conventional terms, within any conventional categories. You just have to get to know it.

And I have gotten to know it very well. Most of that is a result of my simply watching the movies over and over again with a notebook in my lap, pausing occasionally to respond (with timestamps). I’ve been willing to do that over and over.

However, it’s also true that when I got to see the cuts of A Hidden Life, I was introduced to The Process. I saw four versions of it, and while I am forbidden (by an NDA) to discuss the details of my experience, I can say this much: observing how the story developed, seeing and hearing (Malick’s films are as much aural as visual) the effects of editing, seeing and hearing the ways in which even seemingly small alterations can have massive reverberations, and then talking about everything with Malick and his editors — all that was extraordinarily illuminating. And I feel that that experience gave me a kind of right-brain, that is to say, genuine but not wholly expressible, insight into the gestalt of Malick’s cinema.

It’s also true that Terry Malick and I have become friends in the years since then; I see him fairly regularly. But when we talk, we say very little about his movies, past or present. There are two reasons for that. One is that I figure he could use a mental break from his work. The other is that Terry is never Terry’s preferred topic of conversation. Like many artists, he doesn’t want to get overly analytical about what he does, because that doesn’t help. But also, he’s just not focused on himself. He’s more interested in the world, in other people. The last time I got together with him, the main thing he wanted to talk about was my recent biography of Paradise Lost, which he had just read and loved. (Maybe I shouldn’t say that, but I am frail. That one of the greatest living artists enjoys my writing makes my head swim a little. Sue me.) We talk about books, about the Monterey oaks we’ve planted in our respective yards, about unusual birds we have recently seen, about new cameras and new lenses that he’s been fooling around with. (As someone who knows him well has said to me: “Terry’s a gearhead.”) On occasion we sing together verses of hymns.

I can’t claim that getting to know Terry has led to the revelation of secrets about his filmmaking that I can then put into my own words and post here on the site. It’s not like that. I do think that getting to know him has given me a feel for the work, but I’m not certain about that. And he has never, at any point, said anything remotely like “What I was trying to do in this scene was X.” And so, while getting to know him makes a difference to how I see his movies and how I’m going to be writing about them, it doesn’t do so in a way that I can specify. And now that I’m done with this blog post, I’m not going to say anything about it again."]]></description>
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    <title>Seeing as a Form of Doing - Mockingbird</title>
    <dc:date>2026-04-15T06:34:21+00:00</dc:date>
    <link>https://mbird.com/the-magazine/seeing-as-a-form-of-doing/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["On Looking With Beauty, Not Only for It"]]></description>
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    <title>Welcoming the Shadow Brother - Front Porch Republic</title>
    <dc:date>2026-03-10T07:24:27+00:00</dc:date>
    <link>https://www.frontporchrepublic.com/2026/03/welcoming-the-shadow-brother/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["One recent morning I realized something I should have noticed years ago, namely that for much of my life the extrovert in me has been selling out the introvert"]]></description>
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<item rdf:about="https://possibilityhours.substack.com/p/seeing-deeply-being-seen">
    <title>Seeing Deeply Being Deeply Seen - by Scott Paterson</title>
    <dc:date>2026-02-16T03:21:03+00:00</dc:date>
    <link>https://possibilityhours.substack.com/p/seeing-deeply-being-seen</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Notes from How to Know a Person : The Art of Seeing Others Deeply and Being Seen Deeply"]]></description>
<dc:subject>scottpaterson 2026 seeing waysofseeing attention davidbrooks anaisnin anaïsnin perception conversation listening interestedness empathy</dc:subject>
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<item rdf:about="https://pablohelguera.substack.com/p/the-lexiconic">
    <title>The Lexiconic - Beautiful Eccentrics</title>
    <dc:date>2025-11-14T05:57:58+00:00</dc:date>
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    <dc:creator>robertogreco</dc:creator><description><![CDATA["(An introduction to an imaginary theory book)

For several years I have entertained the peculiar hobby of designing covers and writing introductions to books that I will never write. Each preface is a small act of wishful thinking—a threshold to a volume that will remain forever unwritten. The task suits me: it allows the pleasure of invention without the tyranny of completion. This text, then, belongs to that lineage of imagined prologues. It introduces not a finished theory but the promise of one, an unwritten book that might be called The Lexiconic, devoted to the porous border between words and images, where art and writing exchange their roles and lose their names.

If this essay functions as an introduction, it is because every introduction points toward an absence—a body of thought that is yet to come or perhaps never will. The Lexiconic remains, for now, an unwritten book, but also a provocation: an invitation to read art as language and to see language as art. What follows, in whatever form it may take, should not seek to resolve that tension but to dwell within it—to inhabit the space between the page and the picture, between what can be said and what insists on being seen.

Contemporary visual artists are often discipline intruders. We drift into territories that once seemed securely belonging to others—anthropology, activism, history, therapy, wellness—claiming them as raw material for our practice. I have sometimes felt ambivalent about these touristic forays, especially when they involve education. As I argued years ago in an essay titled Pretend Play, practices must be actual, not merely symbolic; and actual practice requires knowledge, skill, and the humility of apprenticeship. Yet I have rarely turned that same critical lens on my own incursions. Over the years I have never quite confronted, nor even attempted to define, my relationship to writing as an artistic practice.

It is a relationship as complex as it is essential—one that could easily be accused of the same dilettantism I often criticize in others. I am not a novelist, nor a poet, nor even a proper essayist. So what, then, is my position as a writer who operates through art, or as an artist who writes? This is the question I want to explore here, under the sign of what I call the Lexiconic.

The relationship between text and image has always been contentious. One is almost always made to serve the other: the image as illustration, the text as caption. The two have been kept in a hierarchy that privileges either the eye or the word, but rarely both. Early twentieth-century avant-gardes recognized and exploited this friction. The Surrealists blurred language and vision to destabilize meaning itself, turning captions into riddles and metaphors into traps. The Constructivists deployed words as weapons, instruments for social transformation rather than vehicles of description. Later, Minimalist and Conceptual artists reduced language to its barest material state, treating it as object, as matter, as art in itself. And the practitioners of institutional critique—figures such as Hans Haacke, Martha Rosler, or Barbara Kruger—weaponized text once again, this time to expose the ideological machinery behind the image and its circulation. Throughout, the struggle between word and image remained unresolved, a productive antagonism that continues to shape how we read art and how art reads us.

It is important to note that conceptual artists who incorporated text into their work rarely considered themselves writers or authors. In fact, many actively recoiled at the idea that their work could be construed as poetry or literature. Lawrence Weiner was explicit about this distinction when he said, “I’m not a poet. Poets use language to describe a state of mind. I use language to describe a relationship in the world.” From the 1970s onward, Weiner articulated a position in which words were not expressive vehicles but construction materials—elements to be arranged, displaced, or installed in space. This view proved profoundly influential for later generations of artists who wished to employ language without being subsumed by the interpretive frameworks of literary theory or criticism. For them, text was neither illustration nor metaphor, but an extension of the visual field—another means of composition and inquiry within the visual arts. By severing language from its traditional literary obligations, Weiner and his contemporaries made it possible to approach writing as sculpture, drawing, architecture, or site—thus opening the way for a practice in which the act of writing could be, paradoxically, visual.

A question that has long troubled me is how we determine the legitimacy of cross-disciplinary claims in art. I have often argued that when artists declare their work to be educational, it is fair—indeed necessary—to evaluate it through the parameters of education. If one claims to teach, then one should be accountable to the standards and responsibilities of teaching: rigor, continuity, care, and the production of actual learning. Art that merely illustrates or parodies pedagogy cannot be excused from those criteria if it also insists on calling itself education.

Yet when it comes to artists who use language, I find myself in a more uncertain position. Why am I comfortable invoking pedagogical criteria to assess art-as-education, but reluctant to use literary criticism to assess art-as-writing? Part of the reason, I suspect, lies in the kind of claim the work makes. Conceptual artists who employ words as material seldom claim authorship in the literary sense; they do not promise the reader a text, but rather propose a structure or situation in which language operates visually, spatially, or conceptually. Their accountability is to art, not literature. The same logic that obliges the “educational artist” to answer to pedagogy frees the “lexiconic artist” from answering to literary theory—unless, of course, they themselves claim to be authors.

When Miguel de Unamuno was criticized for his unconventional approach to the novel, he refused to defend himself within the inherited parameters of literary form. Instead, he coined a new word—nivolas—to describe what he was doing. The gesture was less about creating a new genre than about reclaiming the authority to name one’s own practice. I recognize something of that impulse in my own past attempts to define a “playformance,” a term I once used to avoid committing to either play or performance art. I wanted to acknowledge that what I was doing existed somewhere in between, in the untranslatable zone where form resists taxonomy. But such coinages are never entirely successful. They can be useful clarifications, yet they also risk being evasions—a way of sidestepping rather than confronting the interpretive frameworks that will, inevitably, be applied to the work. In the end, the world will read a piece through the vocabularies it already possesses.

Still, there is value in naming the territory, even provisionally. The Lexiconic, as I understand it, is not a genre but a field of operation: a way of locating artistic practices that use language neither as literature nor as pure visual form, but as an autonomous medium of thought and construction. To invoke the Lexiconic is not to escape judgment but to clarify the grounds upon which judgment can take place—to propose a lexicon for those works that dwell between reading and seeing, between naming and making.

I hope this book may serve as a guide for readers who, like myself, have often wandered through the uncertain borderlands between disciplines. I am reminded of an intellectual figure who loomed large in the Mexican cultural milieu of my childhood: Ramón Xirau. A Catalan philosopher exiled to Mexico during the Spanish Civil War, Xirau authored Introducción a la historia de la filosofía, one of the most enduring Spanish-language introductions to philosophy. His peers affectionately described him as “a poet among philosophers and a philosopher among poets.” My brother used to joke that the phrase was a double-edged compliment, implying that Xirau was never fully accepted as neither philosopher nor poet. Yet I have come to see that liminal space as a site of possibility rather than deficiency. Like Unamuno’s nivolas, it invites us to embrace ambiguity and heterodoxy—not as compromises, but as methods. In that spirit, I welcome the vibrant, unsettled practice of the Lexiconic."]]></description>
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[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>
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<item rdf:about="https://www.sfmoma.org/read/al-wong-on-twin-peaks-art-and-meditation/">
    <title>Al Wong on Twin Peaks, Art, and Meditation · SFMOMA</title>
    <dc:date>2025-08-25T05:41:08+00:00</dc:date>
    <link>https://www.sfmoma.org/read/al-wong-on-twin-peaks-art-and-meditation/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Al Wong’s film Twin Peaks (1977) traces a slow drive around the San Francisco landmark at different times of day over the course of a year. SFMOMA visitors can now experience the meditative work on a monumental screen in the Evelyn and Walter Haas, Jr. Atrium. In this interview, Wong reflects on the creation of Twin Peaks, his time at the San Francisco Art Institute, and his longstanding art and Zen practices."

...

"How did the idea for this film come to you? And how come you chose Twin Peaks as the subject?

Al Wong: After 17 years driving a truck, the same route, I started noticing a pattern of light, color, seasons, nature, elements of change. I chose Twin Peaks because it had a road shaped like infinity. I felt like it was the form of life. The peaks were like mountains. It felt majestic.

Did you have a schedule for filming?

AW: There was no schedule really, because it was like painting. I had a pair of binoculars and from my kitchen window, I could see Twin Peaks. I could see the environment and the color, the change in weather or condition. When I needed more blue, I got in my van, I hooked up the Bolex, drove up there and filmed the infinity loop at 15 miles per hour. It was very hard because some cars didn’t want me to go that slow or fast.

Tell us more about the camera you used.

AW: I used a Bolex Rex 5. It was really close to me, that camera. We went through a lot of things. It was so expensive for me at that time, even though it was used. It was hard for me to give it away, but it was good because the digital world now is much easier. Most of my film installations are now digital.

How did you decide when to stop filming?

AW: Making any kind of art, that’s always a question. I needed all the seasons, the darks and lights, the shadow changing, the rain — all the natural elements that evolve on Twin Peaks. The last 400 feet of film is the morning light coming in. I wanted the morning light to overexpose the film, so it would be whitish or transparent. Sure enough, towards the end, the sunlight came, I saw the light, and then I ran out of film.

[images]

Tell us about splitting the view through the van’s window into two images.

AW: I put a black cloth over the van window’s divider. If I shifted the cloth more to the right, the camera would only film what’s on the left. And then I would shift the cloth to the left side to expose the window on the right. So I had two separate takes, but when I put the two films together, it looked like one Volkswagen van window. They’re shot at different times, different seasons, yet at fifteen miles an hour, they look like one road. I was interested in time and color and seasons mixed together, so I shot it that way.

I like to play. Just throw it off, have fun with it, make it a little more edgy. Make it interesting.

How have meditation and Zen Buddhism influenced your work, especially Twin Peaks?

AW: The philosophy of Zen relates to the image of Twin Peaks and the accompanying soundtrack of Baker Beach. For me, the waves were like the sound of the earth breathing. And in the zazen [seated cross-legged] position, you sit like the peaks. Still, yet extremely active. Tilting, stable and unstable, like life.

I used to sit a lot [while meditating] — I mean a lot. Sixteen hours in one day. You start to get very sensitive to your surroundings. That is, if you’re not hurting too much. Your knees, your ankles, your back. You’re thirsty, you’re hungry, you’re thinking about going home. It almost feels like it’s never going to end sometimes. It’s quite grueling.

I started meditating in 1969 and got involved with Zen Center in 1977, and then about two years after that, I started one-day sittings. You should try it. It’s fun. I can’t explain it. There’s nothing like it.

I can’t cross my legs anymore, so now I do standing meditation. I hold a ball, but energy goes through my arms.

What role did the San Francisco Art Institute (SFAI) play in your life and art?

AW: As a student, it opened my mind to every possible way to create. Then as a faculty member, I tried to give back what was given to me. I taught there for almost 30 years and studied for eight years. That’s a long time at that school.

I learned through experience, observing people like Jay DeFeo. One day we were driving toward the Presidio, and she says, “Oh, look at that bush in front of that house.” And I said, “Why? Why would I want to look at this bush?” And she said, “God, it’s just really beautiful the way it is.” And that struck me really hard, that I could see anything and everything in a very real way rather than the way I was taught. It was teaching without teaching.

What courses did you teach?

I was in the filmmaking department, but I was not teaching film. I was teaching that you can be open to using any medium. Well, I gave this example: I had a good friend, [artist] Terry Fox. One day he came to my house and said, “Al, you got to listen to this.” He had a tape recorder, like a Sony Walkman, and he clicked play and it was the most beautiful sound I had ever heard, I swear to god. It sounded like a thousand violins, going all together in all different directions. I said, “My god, where did you get that? Did you go to the symphony or something?” He said, “No. I was up Mount Tam.” He was doing something for SFMOMA at the time, and he was trying to record some sounds there and this Great Dane came and decided to take a big shit right in front of him. And all of a sudden, thousands of flies started devouring the shit and it made this beautiful sound as he placed the recorder closer and closer. And I said, “Oh my god, this is incredible.”

What was the San Francisco art scene like when you made Twin Peaks?

AW: I was hanging around with the conceptual artists and everybody had shows. I didn’t have so many shows. There was a show at MoMA in New York when Picasso had three floors, and I was downstairs in the basement screening Twin Peaks.

There used to be a handful of artists in the Bay Area. In North Beach, the Beatniks. Or the Dilexi Gallery on Clay Street, which was the only place that showed Jay DeFeo’s work. And then Paule [Anglim] came to the scene and opened her first gallery next to [famed lawyer] Melvin Belli’s office on Montgomery Street. Moscone Center was being dug up, and we were jumping into the construction site and making art.

Twin Peaks is now shown as a digital installation on a big screen, not on film and not in a theater. Do you embrace this new format?

AW: I’m all for it. It is making the work over again, giving it a new possibility. The theatrical screening, with all the chairs — that’s one way to show the work, but there are endless ways. I see a correlation going on between the horizontal movement of the Twin Peaks infinity loop and the vertical movement of the public going up and down the stairs in the atrium.

I’m open for anything. Project it at the sky!

Do you still go up to Twin Peaks?

AW: I went a couple years ago. My wife and I like to eat in the car. We go places and bring our lunch and look through the windshield and eat. So we went up there and ate. But the route has changed — you can’t drive in an infinity form anymore.

Do you still make art?

AW: Yes. I wake up at 4 a.m. From 5:30 to 7:30 a.m., I do Tai Chi. From 4 to 5 p.m., Tai Chi. From 9 a.m. to 4 p.m., I work in my studio. My work takes a long time, because I’m trying to find something that I haven’t found before.

Do you primarily work in film?

AW: If I chose one medium for the rest of my life, I’d be cutting myself short. It’s like if we wanted to go to New York from here; we can walk, drive, take a plane, swim across the Panama Canal, and so on. There are many ways to do it, but the experience would be very different. So, what is the idea that wants to come out? I don’t have much control over it. I’m sure you’ve probably heard this from many artists — they don’t know why, but their arms move automatically. They know where they need to go and what they need to do and they choose whatever medium.

<blockquote>“Everything is interconnected. We all know that. But how can I do that in art?”
— Al Wong</blockquote>

Are you seeking something specific in your art?

AW: I’ve been thinking about this for a long time. As a person that’s called an artist, what is this activity and what am I making this for? Why am I here every day, sitting, drawing, and writing? Trying to find, to sound corny, the truth. And I don’t know what that is. And time is really precious now.

Everything is interconnected. We all know that. But how can I do that in art? Zen says to get rid of “monkey’s mind” — thoughts like, “Oh, I got a bill to pay. I got to meet so-and-so. I got a job to do.” What’s really important? Your life. Everything we experience, it’s impermanent. We should appreciate moments and people we’re with, because we’re all going to go. So going back to making the work, I should make it better, try my best.

With film, the work has to relate to the space. We’re here; very live, present, primary. There’s no space to allow us to break the present tense. We’re talking. This is it. If I can make art that considers that, then people can experience that or not — it’s their choice, to pay attention. It’s a subtle thing, and I feel when things are subtle, sometimes they’re really true."]]></description>
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<item rdf:about="https://www.dukeupress.edu/technocreep-and-the-politics-of-things-not-seen">
    <title>Technocreep and the Politics of Things Not Seen, editied by Neda Atanasoski and Nassim Parvin (2025)</title>
    <dc:date>2025-05-16T03:50:30+00:00</dc:date>
    <link>https://www.dukeupress.edu/technocreep-and-the-politics-of-things-not-seen</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["New and emerging technologies, especially ones that infiltrate intimate spaces, relations, homes, and bodies, are often referred to as creepy in media and political discourses. In Technocreep and the Politics of Things Not Seen, Neda Atanasoski and Nassim Parvin introduce a feminist theory of creep that they substantiate through critical engagement with smart homes, smart dust, smart desires, and smart forests toward dreams of feminist futures. Contributing authors further illuminate what is otherwise obscured, assumed, or dismissed in characterizations of technology as creepy or creeping. Considering diverse technologies such as border surveillance and China’s credit system to sexcams and home assistants, the volume’s essays and artworks demonstrate that the potentials and pitfalls of artificial intelligence and digital and robotic technologies cannot be assessed through binaries of seeing/being seen, privacy/surveillance, or harmful/useful. Together, their multifaceted and multimodal approach transcends such binaries, accounting for technological relations that exceed sight to include touch, presence, trust, and diverse modes of collectivity. As such, this volume develops creep as a feminist analytic and creative mode on par with technology’s complex entanglement with intimate, local, and global politics."]]></description>
<dc:subject>nedaatanasoski katherinebennett ivánchaarlópez sushmitachatterjee hayridortdivanlioglu sanazhaghani jacobhagelberg jenniferhamilton antoniahernández marjankhatibi tamarakneese erinmcelroy vernellenoel jessicaolivares nassimparvin bethsemel reneeshelby tanjawiehn 2025 via:javierarbona smarthome smarthomes technology technocreep feminism creep smartforests smart china surveillance borders border credit sexcams privacy homeassistants seeing collectivity</dc:subject>
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<item rdf:about="https://www.are.na/editorial/ecstatic-documents">
    <title>Ecstatic Documents | Are.na Editorial</title>
    <dc:date>2025-01-14T19:16:42+00:00</dc:date>
    <link>https://www.are.na/editorial/ecstatic-documents</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["There is a practically unconscious sentiment, a vague consensus that things — any and all things — should be described and documented appropriately. Fittingly. Empathically. We like to know what we are talking about, and we signal our knowing by letting it inflect our recollections and communications. When we aspire to show, and not only to tell, we assume a knowing role. One could even claim that this knowing protocol is visual communication’s lowest common denominator, its vernacular. It explains why amateur archaeologists, when they dig some indistinct lump from the ground, feel compelled to wield it like a prehistoric weapon or covet it like a votive, as they present it to a companion’s camera. It explains the “mindsmile” elicited by discovering the arrow — that internationally-recognized symbol of the courier — hidden with intent in FedEx’s typographic logo. Ultimately, it explains why (as per the classic Reddit meme) people do simply prefer aesthetic water and find it more watery than generic water.

FedEx might have come to dominate mindsmile mindshare, but it is very much a gateway drug. Its thrill is superficial: pleasing, but one-dimensional. Something more compelling, more addicting, awaits beyond. Beyond the plainly appropriate a latent, unreasonable, ecstatic energy resides.

[image: "An image by Kelly Matthews of a sunset in Darwin Harbour that also looks like an outline of Australia. [Trees frame the sunset-over-water view in roughly the shape of the country.]]

In the southern hemisphere summer of 2016, an innocent tourist photograph of the sun setting over Darwin Harbour became a viral image on Facebook. The photographer, Kelly Matthews from Derby, Western Australia, didn’t realize what an extraordinary image she had produced until friends began commenting on her post. Matthews’s image artfully frames the landscape through a canopy of trees in its foreground, and, especially at thumbnail-scale, that silhouetted frame coincidentally creates the familiar outline of Australia, the entire cartography of the country, as seen from above! A God-like, omniscient view! A most Australian image! Matthews apparently did not have ecstatic designs in that decisive photographic moment, but just as the creator of the FedEx logo had been, she was attuned, attentive, receptive: “I’ve visited every state and territory in Australia now, so it’s like the map is complete, it’s perfect,” she told a journalist from Northern Territory News. Perfect, as if in a vision.

[two images: "Film stills from Vladimir Shevchenko’s Chernobyl: Chronicle of Difficult Weeks, via “The Most Dangerous Film in the World” by Susan Schuppli. [Two stills of grainy, disintegrating film showing an aerial view of Chernobyl and subtitles that read: We thought this film was defective. But we were mistaken. This is how radiation looks.]"]

Moving decisively beyond the innocent, artist and researcher Susan Schuppli coined the term “material witness” to describe media which have been indelibly marked by contact with reality. A material witness is a kind of informed document that, through its being in the presence of a particular phenomenon, becomes encoded with information, often extraneous to the information which it might originally have been intended to retain. Schuppli’s most ecstatic case study concerns Soviet filmmaker Vladimir Shevchenko’s 1986 film, Chernobyl: Chronicle of Difficult Weeks, whose production began just three days after the explosion at the Chernobyl nuclear power plant in April of that year. Shevchenko had official access to the site, and was able to fly over the thirty-square-kilometer exclusion zone by helicopter and document the aftermath of the explosion and the impending meltdown of the nuclear fuel in the destroyed reactor building. As Schuppli tells it:

<blockquote>When Shevchenko’s 35mm footage was later developed, he noticed that a portion of the film was heavily pockmarked and carried extraneous static interference and noise. Thinking initially that the film stock used had been defective, Shevchenko eventually realised that what he had captured on film was the image and sound of radioactivity itself. ... What we are witness to, in this fleeting energetic event, is the radiological conversion of a somewhat pedestrian account of the disaster into the most dangerous film in the world.”</blockquote>

Notice, already, how opportunistic the creators of ecstatic documents are. Moments of ecstatic media tend to happen to those predisposed to them. Indeed irradiation became the defining visual proposition of Shevchenko’s project and he embedded it into the film’s narrative. “This is how radiation looks,” his voiceover announces.

[embed: "camera shutter speed and frame rate match helicopter`s rotor"
https://www.youtube.com/watch?v=yr3ngmRuGUc ]

Ecstatic documents might sometimes be unbidden, but more typically they are pursued, with rigor and intent. There is a YouTube video of a helicopter taking off from a Hong Kong dock without its rotors moving. It is eerie and artificial-looking; the aircraft seems somehow to float into the sky with no visual sign of the mechanical energy required to get it off the ground. The effect is produced by an exact reciprocity between the rotational frequency of the helicopter’s rotor blades and the specified shutter speed and frame rate of the digital camera recording the scene. This reciprocity creates a document that quite simply does not look like an unmediated experience of seeing a helicopter achieve flight, yet is somehow more faithful to it. The video engages ecstatically with rotational frequency and disinterestedly with everything else. It neglects all other aspects of the scene it conveys. The context of this particular helicopter flight is completely absent. In this way it is at once hyper-attuned to its subject and, like Shevchenko’s irradiated film, in another sense incomplete, inadequate. This kind of technical reciprocity would be banal or pedantic, in the negative sense, if it were not for its empathic poetry: the curious and unlikely fact of it emphasizing what is arguably the defining characteristic — r-r-rotational frequency! — of what it documents. Right now this video has had 11 million views. One can confidently assume that these are not 11 million local Hong Kong chopper spotters. No! These are 11 million enthralled by the curiousness of the ecstatic document. 

Ecstatic documentarians use media to make radical gestures of empathy. To identify themselves with what they attend to, and thereby to produce more Australian, more rotational, more radioactive forms of attention. Sociologist Janet Vertesi’s fieldwork with the crew of the Mars rovers accounts for just such an ecstatic attention, a mediated empathy that the rover’s operators develop with the impossibly distant robotic vehicle which they are tasked with directing. The rover transmits raw image data montages back to Earth from its panoramic camera system. Vertesi explains how members of the crew, based at scientific institutions around the world, refrain from post-processing the perspectival distortions in these crude composite images, instead learning to adapt their own perception in empathy with the vehicle. Vertesi describes this practice, which she calls “skilled vision,” like so:

... they rarely use a corrective algorithm to digitally adjust the image to a more rectangular projection, producing a more familiar photographic frame. Instead, they learn first and foremost to acquire the robot’s own native representation of Mars, as well as its own bodily orientation and apparatus.

Skilled vision precisely reflects skateboarder Ellis Frost’s recently posted YouTube video, titled “Can I 360 Flip While Filming a 360 Flip.” Ellis’s spoken intro goes: “Matt’s gonna do a 360 flip, while I do a 360 flip at the same time, while I film Matt doing a 360 flip with my phone, while you [talking to camera] film both of us doing a 360 flip.” It sounds convoluted — “360 flip Inception,” jokes Ellis. 

[embed: "Can i 360 Flip While Filming a 360 Flip"
https://www.youtube.com/watch?v=tHE13dSBPGs ]

Ellis’s camera work is shaky and Matt’s 360 flip is barely in frame. How about just having a professional cameraman film a professional skateboarder doing a 360 flip?, those not accustomed to the ecstatic might legitimately ask. This is objectively worse in every way. But Ellis is qualified to film Matt because he can also 360 flip. His is a consummately skilled vision. We viewers know that Ellis knows what it is to 360 flip. We trust that his knowing imbues the document with something. Something invisible, ineffable, ecstatic. From the third camera we see Ellis, not taking his eyes off his phone. Ellis totally fixated on capturing Matt. Ellis 360-flipping at the exact moment Matt does. Because Ellis has 360 flips on lock. He has another video, “How effortless/lazy can I 360 flip,” in which he does them with his hands in his pockets. Most people, like Matt, are poised and concerted and trying hard. Ellis is not even thinking, not even trying. Ellis is spending his surplus energy on performing empathy with Matt.

Sceptics of the ecstatic document will typically object: That’s fine for helicopters whose rotors spin at six rounds per second, that’s fine for Australia, for Chernobyl, for Mars, that’s fine for people who can 360 flip with their hands in their pockets, but what about X, and Y, and my cat Z? It is a reasonable concern. But, frankly, this is not about being reasonable. Reasonable documents abound. Reasonable media are ubiquitous. The bevy of algorithmic operations which your smartphone camera routinely performs to technically normalize your photographs is reasonable. And the content of the resulting computational images looks reasonably, believably, like your cat. Ecstatic documents, though, are rare birds. It takes a certain attunement to find one, and when you do the thrill only increases your capacity for seeing skilfully and empathically."]]></description>
<dc:subject>2025 jameslangdon photography film video media susanschuppli vladimirshevchenko ellisfrost documents seeing howwesee ecstaticdocuments</dc:subject>
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    <title>The Situationist International (full documentary) - YouTube</title>
    <dc:date>2025-01-14T17:16:31+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=ncH0-q9OXco</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["On the Passage of a Few People Through a Rather Brief Moment in Time: The Situationist International 1956-1972

A video documentary combining exhibition footage of the Situationist International exhibitions with film footage of the 1968 Paris student uprising, and graffiti and slogans based on the ideas of Guy Debord. 

Directed and produced by Branka Bogdanov in 1989."]]></description>
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    <title>David Hammons: Day's End - YouTube</title>
    <dc:date>2024-12-30T21:27:00+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=cjT53b6qXHw</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The Whitney, in collaboration with Hudson River Park, has developed a permanent public art project by David Hammons. Entitled Day's End (2014–21), this monumental installation is located in Hudson River Park along the southern edge of Gansevoort Peninsula, directly across from the Museum.

Proposed to the Whitney by Hammons, Day's End takes inspiration from an artwork of the same name by Gordon Matta-Clark. In 1975, Matta-Clark cut five openings into the Pier 52 shed that formerly occupied the site. Hammons's Day's End is an open structure that precisely follows the outlines, dimensions, and location of the original shed—and, like Matta-Clark's intervention, it will offer an extraordinary place to experience the waterfront.

Taking both Day's Ends, as envisaged by Hammons and Matta-Clark, as jumping-off points, the Whitney has also created the Museum's first podcast, Artists Among Us, narrated by artist Carrie Mae Weems. Listen at https://whitney.org/podcast/days-end . 

Learn more at https://whitney.org/exhibitions/david-hammons-days-end "

[See also:

"Queer Histories of the Piers | David Hammons: Day's End" (2021)
https://www.youtube.com/watch?v=tS990SCeQIE

"The Whitney, in collaboration with Hudson River Park, has developed a permanent public art project by David Hammons. Entitled Day's End (2014–21), this monumental installation is located in Hudson River Park along the southern edge of Gansevoort Peninsula, directly across from the Museum.

Hammons’s Day’s End takes inspiration from an artwork of the same name by Gordon Matta-Clark, who cut five openings into the Pier 52 shed in 1975. Pier 52 was one of several piers inhabited by a vibrant Queer community in Manhattan’s Meatpacking District. Featuring interviews with artist and filmmaker Elegance Bratton; activist and Director of Client Services at the Sylvia Rivera Law Project Stefanie Rivera; photographer and archivist Efrain John Gonzalez; activist and performer Egyptt Labeija; and artist and art historian Jonathan Weinberg, this video recalls a time when sex, art, and creativity converged on the waterfront."

"Gordon Matta-Clark's Day's End | David Hammons: Day's End" (2022)
https://www.youtube.com/watch?v=uecdwXKuUco

"The Whitney, in collaboration with Hudson River Park, has developed a permanent public art project by David Hammons. Entitled Day's End (2014–21), this monumental installation is located in Hudson River Park along the southern edge of Gansevoort Peninsula, directly across from the Museum.

Hammons’s Day’s End takes inspiration from an artwork of the same name by Gordon Matta-Clark, who cut five openings into the dilapidated Pier 52 shed in 1975, transforming it into a "cathedral of light.""

"Preview: Day's End by David Hammons" (2019)
https://www.youtube.com/watch?v=Vv3rVp3g9Ic

"The Whitney, in collaboration with the Hudson River Park Trust, has developed a permanent public art project by David Hammons. Entitled Day's End (2021), this monumental installation is located in Hudson River Park along the southern edge of Gansevoort Peninsula, directly across from the Museum.

Proposed to the Whitney by Hammons, Day's End takes inspiration from an artwork of the same name by Gordon Matta-Clark. In 1975, Matta-Clark cut five openings into the Pier 52 shed that formerly occupied the site. Hammons's Day's End is an open structure that precisely follows the outlines, dimensions, and location of the original shed—and, like Matta-Clark's intervention, it will offer an extraordinary place to experience the waterfront.

Featuring interviews with Darren Walker (President, Ford Foundation), Lorna Simpson (Artist), Alex Fialho (Programs Director, Visual AIDS), Scott Rothkopf (Deputy Director for Programs and Nancy and Steve Crown Family Chief Curator, Whitney Museum of American Art), Adam D. Weinberg (Alice Pratt Brown Director, Whitney Museum of American Art), and Guy Nordenson (Structural Engineer)"

"Adam D. Weinberg and David Hammons discuss Day's End" (2021)
https://www.youtube.com/watch?v=N4si3OLbVEI

"Adam D. Weinberg and artist David Hammons discuss the conception of Hammons's permanent public art project Day's End. This monumental installation is located in Hudson River Park along the southern edge of Gansevoort Peninsula, directly across from the Whitney.

Day's End takes inspiration from an artwork of the same name by Gordon Matta-Clark. In 1975, Matta-Clark cut five openings into the Pier 52 shed that formerly occupied the site. Hammons's Day's End is an open structure that precisely follows the outlines, dimensions, and location of the origina"]]]></description>
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    <dc:date>2024-11-18T00:13:59+00:00</dc:date>
    <link>https://matthewbattles.substack.com/p/the-seed-in-winter</link>
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<item rdf:about="https://www.youtube.com/watch?v=Df_K7pIsfvg">
    <title>Cabel Sasser, Panic - XOXO Festival (2024) - YouTube</title>
    <dc:date>2024-10-21T19:38:50+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=Df_K7pIsfvg</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["“Don’t waste this. Keep everyone guessing. Make me proud.” When Panic co-founder Cabel Sasser spoke at our second festival in 2013, the Mac software company had just started venturing into games by funding the studio behind Firewatch, an indie blockbuster that launched Panic’s games publishing business and, eventually, the Playdate handheld console.

See the artwork in this talk, and more, at Cabel’s new Wes Cook Archive:
https://wescook.art/

Cabel's XOXO 2013 talk: https://xoxofest.com/2013/videos/cabel-sasser/ [and https://www.youtube.com/watch?v=8ZXWdR7RzV8 ]
His excellent blog: https://cabel.com/
Panic: https://panic.com/
Playdate: https://play.date/
Follow Cabel on Mastodon: https://social.panic.com/@cabel"

[UPDATE 12 FEB 2026

See also:
https://cabel.com/wes-cook-and-the-mcdonalds-mural/

and 
https://wescook.art/
https://en.wikipedia.org/wiki/Wes_Cook ]]]></description>
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<item rdf:about="https://www.cambridge.org/core/books/possibility-of-literature/4CA647BA1550EB2D8B3B57F7A0F2710C">
    <title>The Possibility of Literature</title>
    <dc:date>2024-10-21T17:23:30+00:00</dc:date>
    <link>https://www.cambridge.org/core/books/possibility-of-literature/4CA647BA1550EB2D8B3B57F7A0F2710C</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The Possibility of Literature is an essential collection from one of the most powerful and distinctive voices in contemporary literary studies. Bringing together key compositions from the last twenty-five years, as well as several new pieces, the book demonstrates the changing fate of literary thinking over the first decades of the twenty-first century. Peter Boxall traces here the profound shifts in the global conditions that make literature possible as these have occurred in the historical passage from 9/11 to Covid 19. Exploring questions such as 'The Idea of Beauty', the nature of 'Mere Being', or the possibilities of Rereading, the author anatomises the myriad forces that shape the literary imagination. At the same time, he gives vivid critical expression to the imaginative possibilities of literature itself – those unique forms of communal life that literature makes possible in a dramatically changing world, and that lead us towards a new shared future.

Reviews
‘The bracing lucidity of Boxall's prose can guide us, captivated, through books we may not know while bringing seasoned masterworks before us as if we'd never read them before-from the ‘immensity' of the ‘mere' in James to the Proustian corpus as its own model of rereading, from the ontological drama of tautology in late DeLillo to the implant and dismantlement of Dickensian realist scaffolds in post-millennial British novels. Even as its founding conditions are probed anew, literary writing-honoring the ‘hinge' of Boxall's title-opens startling cognitive possibilities charted here in essays of high and liberating intelligence.'

Garrett Stewart - James O. Freedman Professor of Letters, University of Iowa

‘In this groundbreaking study, leading scholar of the novel Peter Boxall considers what makes literature possible-and what literature makes possible-at a time when the very survival of the planet looks increasingly impossible.  The climate emergency, Boxall contends, puts in question the relation between culture and nature, human and inhuman, requiring an overhaul of existing critical and creative modes.  Ranging widely from Cervantes to Maria Edgeworth to Emily Dickinson; from Herman Melville and W. B. Yeats, to Henry James, Marcel Proust and Virginia Woolf; from Philip Roth and Don DeLillo to James Kelman, Kazuo Ishiguro and Zadie Smith, Boxall argues that their writing presses against limits to open up a glimpse of possibility, however fleeting and ungraspable.  ‘This capacity of literary writing to exceed its own terms,' Boxall proposes, ‘is the engine of literary possibility.''

Maud Ellmann - Randy L. and Melvin R. Berlin Distinguished Service Professor Emerita, University of Chicago


Part I - On Writers

Chapter 1 - A Sort of Crutch
Race and Prosthesis in Herman Melville’s Fiction

Chapter 2 - Samuel Beckett
Towards a Political Reading

Chapter 3 - A Leap Out of Our Biology
History, Tautology and Biomatter in DeLillo’s Later Fiction

Chapter 4 - A More Sophisticated Imitation
Ishiguro and the Novel

Chapter 5 - A Cleaving in the Mind
Kelman’s Later Novels

Chapter 6 - Zadie Smith, E. M. Forster and the Idea of Beauty

Part II - On Literary History

Chapter 7 - The Threshold of Vision
The Animal Gaze in Beckett, Sebald and Coetzee

Chapter 8 - The Anatomy of Realism
Cervantes, Coetzee and Artificial Life

Chapter 9 - Back Roads
Edgeworth. Bowen. Yeats. Beckett

Chapter 10 - Blind Seeing
Deathwriting from Dickinson to the Contemporary

Chapter 11 - Mere Being
Imagination at the End of the Mind

Part III - On the Contemporary

Chapter 12 - Imagining the Future in the British Novel

Chapter 13 - Shallow Intensity
Neoliberalism and the Novel

Chapter 14 - To Carry Now Away
Happy Days in the Anthropocene

Chapter 15 - On Rereading Proust"]]></description>
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<item rdf:about="https://podcasts.apple.com/us/podcast/sarah-lewis-on-aesthetic-force-as-a-path-toward-justice/id1460711432?i=1000669889446">
    <title>Sarah Lewis on “Aesthetic Force” as a Path Toward Justice - Time Sensitive - Apple Podcasts</title>
    <dc:date>2024-09-19T22:36:41+00:00</dc:date>
    <link>https://podcasts.apple.com/us/podcast/sarah-lewis-on-aesthetic-force-as-a-path-toward-justice/id1460711432?i=1000669889446</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["In her new book, The Unseen Truth: When Race Changed Sight in America (Harvard University Press), the historian and Harvard professor Sarah Lewis unpacks a major part of United States history that until now wasn’t just brushed over, but was intentionally buried: how the ​​Caucasian War and the end of the Civil War were conflated by P.T. Barnum, former President Woodrow Wilson, and others to shape how we see race in America. Long overdue, The Unseen Truth is a watershed book about photography and visuality that calls to mind works by history-shaping authors such as James Baldwin, Toni Morrison, and bell hooks. Lewis is also the founder of the Vision & Justice initiative, which strives to educate the public about the importance of art and culture for equity and justice in the U.S., and is launching a new publishing venture with Aperture this fall.

On the episode, she discusses the tension between pedagogy and propaganda; the deep influence of Frederick Douglass’s 1861 “Pictures and Progress” lecture on her work; how a near-death car crash altered the course of her life and The Unseen Truth; and the special ability of certain photographs to stop time.

Special thanks to our Season 10 presenting sponsor, L’École, School of Jewelry Arts.

Show notes:

Sarah Lewis
https://haa.fas.harvard.edu/people/sarah-lewis

[04:01] The Unseen Truth
https://www.hup.harvard.edu/books/9780674238343

[05:24] Woodrow Wilson
https://www.whitehouse.gov/about-the-white-house/presidents/woodrow-wilson/

[05:24] Frederick Douglass
https://en.wikipedia.org/wiki/Frederick_Douglass

[05:24] P.T. Barnum
https://en.wikipedia.org/wiki/P._T._Barnum

[06:51] Toni Morrison
https://en.wikipedia.org/wiki/Toni_Morrison

[06:51] Angela Davis
https://en.wikipedia.org/wiki/Angela_Davis

[06:51] Mathew Brady
https://en.wikipedia.org/wiki/Mathew_Brady

[51:14] Vision & Justice
https://visionandjustice.org/

[11:35] Caucasus
https://en.wikipedia.org/wiki/Caucasus

[14:02] Imam Shamil
https://en.wikipedia.org/wiki/Imam_Shamil

[17:38] Caucasian War
https://en.wikipedia.org/wiki/Caucasian_War

[19:31] MFA Boston
https://www.mfa.org/

[19:31] The Metropolitan Museum
https://www.metmuseum.org/

[22:30] “Pictures and Progress”
https://blogs.loc.gov/picturethis/2020/02/frederick-douglass-and-the-power-of-pictures/

[28:41] “A Circassian”
https://collections.mfa.org/objects/30883

[28:41] “Slave Ship”
https://collections.mfa.org/objects/31102

[28:41] “The Gulf Stream”
https://www.metmuseum.org/art/collection/search/11122

[35:13] Frances Benjamin Johnston
https://www.moma.org/artists/7851

[39:20] Jarvis Givens
https://www.gse.harvard.edu/directory/faculty/jarvis-givens

[39:20] Fugitive Pedagogy
https://www.hup.harvard.edu/books/9780674278752

[44:05] The Rise: Creativity, the Gift of Failure, and the Search of Mastery
https://www.simonandschuster.com/books/The-Rise/Sarah-Lewis/9781451629248

[49:08] Montserrat
https://en.wikipedia.org/wiki/Montserrat

[49:08] Under the Volcano
https://www.imdb.com/title/tt9598492/

[51:36] Aperture
https://aperture.org/

[52:26] Maurice Berger
https://en.wikipedia.org/wiki/Maurice_Berger

[52:26] Coreen Simpson
https://en.wikipedia.org/wiki/Coreen_Simpson

[52:26] Doug Harris
https://sncclegacyproject.org/doug-harris-remembers-the-march-on-washington/

[52:26] Deborah Willis
https://debwillisphoto.com/home.html

[52:26] Leigh Raiford
https://africam.berkeley.edu/people/leigh-raiford/

[52:57] Hal Foster
https://artandarchaeology.princeton.edu/people/hal-foster

[56:01] Hank Willis Thomas
https://timesensitive.fm/episode/hank-willis-thomas-on-acknowledging-the-multitudes-of-truths-among-us/

[56:01] Theaster Gates
https://www.theastergates.com/about

[56:01] Mark Bradford
https://www.hauserwirth.com/artists/2838-mark-bradford/

[56:01] Amy Sherald
https://www.hauserwirth.com/artists/11577-amy-sherald/

[57:58] Wynton Marsalis
https://timesensitive.fm/episode/wynton-marsalis-on-jazz-as-a-tool-for-understanding-life/

[57:58] Charles Black
https://en.wikipedia.org/wiki/Charles_Black_%28professor%29

[57:58] Louis Armstrong
https://en.wikipedia.org/wiki/Louis_Armstrong

[57:58] Brown v. Board of Education
https://www.archives.gov/milestone-documents/brown-v-board-of-education "]]></description>
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    <title>A New Language for Photography. What photographers are doing… | by M. H. Rubin | Jul, 2024 | Medium</title>
    <dc:date>2024-08-28T23:18:47+00:00</dc:date>
    <link>https://neomodern.medium.com/a-new-language-for-photography-db018321d5c0</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["What photographers are doing unconsciously; and how to critique —"

[archived here:
https://archive.ph/ivfYF ]]]></description>
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<item rdf:about="https://substack.com/@colinczerwinski/note/c-59478522">
    <title>Colin Czerwinski on Substack: &quot;I’ve been doing another re-read (for a third time) of a rather unknown little red book by Aldous Huxley called “The Art of Seeing”. Rather than depicting a dystopian future or exploring psychedelic experiences, ‘The</title>
    <dc:date>2024-06-21T04:32:57+00:00</dc:date>
    <link>https://substack.com/@colinczerwinski/note/c-59478522</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["I’ve been doing another re-read (for a third time) of a rather unknown little red book by Aldous Huxley called “The Art of Seeing”. Rather than depicting a dystopian future or exploring psychedelic experiences, ‘The Art of Seeing’ stems from his personal journey regaining eyesight after near-blindness using controversial alternative techniques. In this book, Huxley shares the "Bates Method" vision therapy exercises that he claims restored his sight, combining eye physiology, relaxation practices, and insights into how our mental state shapes visual perception into an unconventional art of improved sight.

There’s a passage in the book which I tend to reflect on every now and then that I think many of you would appreciate. It is this:

“Whatever the art you may wish to learn- whether it be acrobatics, or violin playing, mental prayer or golf, acting, singing or dancing, or what you will - there is one thing that every good teacher will always say; learn to combine relaxation with activity; learn to do what you have to do without strain; work hard, but never under tension”."]]></description>
<dc:subject>aldoushuxley sight vision seeing senses 2024</dc:subject>
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<item rdf:about="https://2ndbreakfast.audreywatters.com/the-world-reveals-itself-to-those-who-walk/">
    <title>&quot;The World Reveals Itself to Those Who Walk&quot;</title>
    <dc:date>2024-04-15T16:28:32+00:00</dc:date>
    <link>https://2ndbreakfast.audreywatters.com/the-world-reveals-itself-to-those-who-walk/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Walking is how I get to know a place, it’s how I know a place. Yes, I could look at a map. Yes, I could ride the bus (take a cab, drive a car, whatever) with a similar purpose in mind. I could look out the vehicle’s window and see where I’m headed — if you are driving, your eyes had better be on the fucking road though. But there's something about the pace with which I move while walking that allows me to see more, to process more. When I run or ride, I’m moving too quickly (even if I’m not moving all that quickly); my surroundings are a blur – not from speed so much as from cognition.

Walking lets you read the world — and much like the slow, contemplative mental processes involved in reading a book, the pace with which one moves through the world while walking allows for a different, deliberative kind of seeing. You notice more. You think more."

...

"Walking is how I get to know a place, it’s how I know a place. Yes, I could look at a map. Yes, I could ride the bus (take a cab, drive a car, whatever) with a similar purpose in mind. I could look out the vehicle’s window and see where I’m headed — if you are driving, your eyes had better be on the fucking road though. But there's something about the pace with which I move while walking that allows me to see more, to process more. When I run or ride, I’m moving too quickly (even if I’m not moving all that quickly); my surroundings are a blur – not from speed so much as from cognition.

Walking lets you read the world — and much like the slow, contemplative mental processes involved in reading a book, the pace with which one moves through the world while walking allows for a different, deliberative kind of seeing. You notice more. You think more."

...

"Blame the geography, blame the weather, blame the culture — walking was just not something I did much of growing up.

...Except when we were in England, visiting my mom's side of family. The British are walkers. There we'd walk to the shops, walk to the post. We’d walk for the sake of walking, ambling through fields and woods and gardens and parks — through other people's property [https://www.gov.uk/right-of-way-open-access-land ], which even without knowing all the legal intricacies, I recognized I could never do back home.

My granny was part of a social walking club, and well into her eighties would partake in lengthy walking tours, bussing up to Scotland or over to Cornwall just to walk for a whole day. This was mind-boggling to teenage me, but sounds quite idyllic to old me now. At the time, I was convinced that the allure of these tours must've been that she and her friends would end up at a pub. Now I recognize that it wasn’t (just) the half pint of cider and Ploughman's lunch; it was the walking itself she loved.

Walking kept her fit, physically and mentally, to be sure — that's the easy and obvious rationale, isn't it. That's what often gets invoked in making the case for walking more: it's good for your health, a corrective to our increasingly sedentary lives.

(Of course, someone's bound to chime in that walking is insufficient exercise — that is, you're likely not walking fast enough for it to be strenuous enough to count towards the 150 minutes of moderate intensity aerobic exercise we're supposed to get each week. Ugh. Whatever.)

The world reveals itself to those who walk. Moving slowly means moving thoughtfully, purposefully. Aware -- aware of the world around you, aware of the thoughts on your head.


***

I first noticed it almost a decade ago, in Australia of all places — perhaps the only industrialized nation whose inhabitants walk less than those in the States: all along the sidewalks of Sydney, folks had their eyes glued to their phones as they walked. Now, I see this everywhere. I’m not talking about that quick glance we all take to check Google maps — am I heading in the right direction? I often can't tell when I emerge from the subway — or to flip to the next song on the playlist, or to see who just texted. I’m talking about a complete commitment to what's on the screen. Transfixed, utterly transfixed. Eyes down, but moving forward.

We used to joke that watching television turned people into zombies – staring, drooling, mindless. But those zombies sat still – eyes on the TV set, stuck to their seats on the sofa. Now, these zombies are up and moving; they’re ambling down the street — across the street even — with their eyes barely leaving their phones to look up, look around.

And it is television they’re watching. Or rather, it’s a string of 10-second videos on TikTok. It’s short snippets on Instagram or longer (“longer” is, like, 4 minutes) videos on YouTube. It's still TV that still has people so enraptured. I know, because each time someone on their phone nearly walks into me, I try to look at their screen to see what’s so captivating. Sure, sometimes it’s a text message – and maybe it’s a super-important one, like, you know, what happened last night on television.

Even if they’re not watching their phones, they’re listening — headphones in, they’re trying desperately, it seems, to wall themselves off, hoping the world will not be revealed as they walk."

...

"I’m a little more forgiving if someone is looking at a map on their phone. I honestly can’t remember how I ever found my way anywhere without my phone. I mean, we had a paper map in the car – a big bound book with highway maps for all fifty states, on the off-chance, I guess, that we needed to navigate our way through Ohio.

But when I was a teenager at school in Oxford and my friend Sara and I would sneak away into London for the weekend, I don't honestly remember: how did we ever find our way anywhere? Did we ask for directions? Did we just roam? Did we wander for hours – this seems pretty likely – and hope that eventually we’d find our way? Did we even have a destination? Did we first go somewhere with someone who knew the way, then having committed the navigation to memory, go back with friends? My cousin Marcus first took me to Kensington Market, I do remember that. And then I guided Sara back there a few weeks later. We got our noses pierced. Would I have really remembered, from just one trip, how to get there? Would I have been able to recall the right route? Or maybe it didn't matter – maybe, just maybe, before we had phones and Google Maps we were much less concerned with getting somewhere efficiently. (Also, we were 16.)

The world reveals itself to those who walk, and as little teenage rockers, adventurous and naive and brave and dumb, we were ready for the revelations.

But I didn’t have a phone or a camera so I have nothing but my memories – uncertainties all around. There's no documentation of what we did – thank god – and what the world revealed.

***

Our attention is always divided. Digital technologies — our phones, specifically — didn’t cause humans to suddenly become distracted. Minds wander by design — an evolutionarily beneficial attribute to keep us safe, no doubt, but also to keep us engaged with one another. Our brains are, as Annie Murphy Paul writes in her book The Extended Mind, "attuned to the presence of novelty, to whatever appears new and different." Novelty, the sound of speech, and social interactions are all powerful stimuli to which we are attracted, she argues — unconsciously, naturally, and often uncontrollably.

And yet, "all this visual monitoring and processing uses up considerable mental resources," she notes, "leaving much less brainpower for our work." This explains, in part, why "multitasking" is considered a myth [https://www.npr.org/2013/05/10/182861382/the-myth-of-multitasking ] — our attention may switch back and forth between things, but it's never smooth or seamless. Actually, it's fucking exhausting. The forces of capitalism — including the ideologies built into our gadgets — try to convince us that we can, that we must juggle multiple activities. After all, to do so enhances our productivity – ideally, at least. Or it numbs us, wears us out.

We can, of course, walk and think. Philosophers have long insisted that these activities are inextricably connected — indeed that their pursuit, simultaneously, is the most generative. "Only thoughts which come from walking have any value," Friedich Nietzsche argued. Jean-Jacques Rousseau agreed, "I am unable to reflect when I am not walking; the moment I stop, I think no more, and as soon as I am again in motion, my head resumes its working." "Methinks that the moment my legs begin to move, my thoughts begin to flow," Henry David Thoreau wrote.

The world reveals itself to those who walk. Or, it probably tries to. You gotta look up from your phone though."]]></description>
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<item rdf:about="https://fo.am/blog/2024/03/30/a-wabi-sabi-guide/">
    <title>A Wabi-sabi Guide | FoAM</title>
    <dc:date>2024-04-02T06:03:38+00:00</dc:date>
    <link>https://fo.am/blog/2024/03/30/a-wabi-sabi-guide/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Introduction to FoAM's edited reader and guide to the wabi-sabi route, which dwells with the transient, incomplete, and unnoticed.

This route allows you to wander and observe. Watching, abiding, it’s a chance to defer the temptation to intervene, and let things unfold. An invitation to seek out places of enchantment and seclusion, it can support reflection on transitions, liminality, and the often neglected art of bringing things to an end."]]></description>
<dc:subject>2024 majakuzmanović nikgaffney justinpickard theunkarelse enchantment seclusion liminality observation transience unfinished unnoticied noticing notknowing fallowing tangpingism seasons transitions timelessness time presence being seeing meditation meditating landing lingering leaving bodies walking dwelling morethanhuman multispecies magic occult ritual mysticism animism present care caring portals conviviality isolation repair maintenance death gardening wabi-sabi liminal</dc:subject>
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<item rdf:about="https://theconvivialsociety.substack.com/p/vision-con">
    <title>Vision Con - by L. M. Sacasas - The Convivial Society</title>
    <dc:date>2024-02-10T20:31:16+00:00</dc:date>
    <link>https://theconvivialsociety.substack.com/p/vision-con</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["When sociologist James Hunter popularized the term “culture wars” in a 1991 book by the same title, he noted that the culture wars were longstanding, but that the traditional battle lines were being redrawn with older coalitions breaking up and giving way to new ones. In 2000, Berry was predicting a similar realignment. As I survey the terrain today—in a decidedly un-scientific fashion, of course—I think we can see a new front opening up in the culture war precisely along the lines Berry foresaw and scrambling existing alignments and coalitions.1 And how somebody feels about a dad holding an infant while wearing Vision Pro might be a good indicator of what side of that emerging conflict they’re likely to find themselves on.

Now, if you were to ask me what exactly living as a creature (as opposed to a machine) entailed, well, I think I’d invite you to join me for a drink and a long, leisurely conversation. If you pressed me for a more immediate answer, I’d suggest that living as a creature involves a humble (but also joyful) embrace of the limitations of our embodied human condition.

So, for example, when Berry writes about the division between those who wish to live as creatures and those who wish to live as machines, he also warns against a willingness to allow machines and the idea of the machine to set the standard for how creatures ought to live. In certain contexts, machines can operate at a pace, scale, precision, and intensity with which creatures cannot compete. When machine-like consistency, efficiency, speed, or production is demanded of creatures, then creatures are made to live as if they were machines.2 This never ends well for creatures, including human creatures. Most people know this, it’s just that some see this as cause to transcend the human and others see it as cause to re-imagine the human-built world.

But while such machine-like behavior is often coerced, it is also often embraced willingly, although, of course, such willingness is, in part, the product of a process of formation to which most of us are subject from birth. We have been schooled by dominant social structures to presume that the limitations inherent in our embodiment are merely obstacles to be overcome rather than the parameters within which meaningful, satisfying, and purposeful lives might unfold. Cultural and economic forces work in tandem to encourage a pathological dissatisfaction with our condition, a dissatisfaction which is in turn harnessed to fuel the engines of commercial and institutional growth. For what lack are we tempted to feel which will not also be remedied by the wares of the market or the services of an institution?

Now, let me put all of this another way. I could just as easily say that living as a creature is not merely about the embrace of limitations, which makes the whole business out to be a rather joyless act of resignation, but rather about the almost inexhaustible depths of experience available to us when we strive for a fullness of presence before the world by embracing the primacy of the body’s entanglement with its immediate surroundings to human experience.

Consider again the father holding his sleeping infant on his chest. Forget for a moment all of the technological artifacts that might enter into that scene: the VR goggles, the smartphone, the television, the book, etc. The point is to imagine, to the degree that we are able, the depths of experience available to him if he were to seek a fullness of presence in that moment.

What does sight disclose, at first glance and after sustained attention? What details reveal themselves—about the texture of the skin, the features of the face, the fuzz of hair about the head? What scent does he pick up? Quite possibly it is unpleasant! But not always. It is likely to be subtle but distinct. What does he hear? The quiet breathing? What does he feel? The weight on his chest? The softness of the skin? On and on it goes. Now consider how such an experience might shape memory, self-reflection, affection, a sense of purpose and moral responsibility, etc. What if we, by whatever means, habitually denied ourselves such experiences of depth and fullness?"

...

"But all manner of mundane realities will bear this kind of attention and reward us with an altogether surprising depth of experience, beauty, and meaning. We have only to learn to see and hear and smell and taste and touch as we are able—to feel our way through the world with patience and care. And, who knows, the practice may yield a habit and the habit a characteristic way of inhabiting the world.

We might find, too, a renewed experience of community and friendship. C. S. Lewis, in writing about friendship, noted that lovers are absorbed in each other’s gaze, friends however are bound by a looking, not at each other, but in the same direction, which implies a common world or a common task or common loves. The image suggests that if we have no common world to look toward together, if we are captivated by our own private virtual worlds, friendship falters.

In The Enchantment of Modern Life, political theorist Jane Bennett argued that “the contemporary world retains the power to enchant humans and that humans can cultivate themselves so as to experience more of that effect.” “To be enchanted,” she wrote, “is to be struck and shaken by the extraordinary that lives amid the familiar and everyday.”

“Enchantment is something that we encounter, that hits us,” Bennett added, “but it is also a comportment that can be fostered through deliberate strategies.” Among those strategies, Bennett includes “honing sensory receptivity to the marvelous specificity of things.” I think she is exactly right about this. While I wouldn’t ordinarily use the term “enchantment” to describe such a comportment or way of being in the world, it does suggest a useful line of analysis.

The allure of digital technologies such as Vision Pro can be usefully framed, in part, as the pursuit of an alternative (re-)enchantment: virtual projections overlapping and obscuring our shared world, summoned and manipulated by gesture, sight, and speech as if the user were a wizard in a world responsive their command. It presents as magical.

But what if, as Bennett suggests, the world is already enchanted and the real alchemy that summons the miracle of being is that fusion of time and care that we call attention?

When I learn to live as a machine—by choice or otherwise—I become increasingly incapable of attending to the world. This might be because I am simply moving through life at a pace that prevents me from properly attending to the world. Or because I am striving for efficiency or productivity in realms of experience where those aims are, in fact, counter-productive. Perhaps it’s because I’m unable to resist the temptation to always be elsewhere than where I stand. Maybe it’s because I’ve placed $3500 goggles on my face. “A headset is a pair of spectacles, but a headset is also a blindfold,” as Ian Bogost recently put it. I think Berry would say that these can all be ways of conforming to life as a machine rather than as a creature.

Unable, then, to see the world because I have forgotten the way of being in the world that enables vision in the deepest sense, I can then be convinced of the superiority of virtual worlds.3 Increasingly captivated by virtual worlds, I am less likely to demand anything more or better. The tools that diminish my capacity to experience the world in full simultaneously promise to give me a better-than-real world.

Writing in 2001, Bennett wondered “whether the very characterization of the world as disenchanted ignores and then discourages affective attachment to the world.” Perhaps. The more pressing concern now is whether a growing enthrallment to devices that capture our attention precludes an affective attachment to the world (and, as Bennett feared, our desire to care for it). And to the degree that our virtual worlds are bespoke realities ostensibly constructed for us, whether they also deprive us of an experience of a common world, one we share with others, thus accentuating rather than alleviating an experience of alienation and isolation. Vision Pro, a set of goggles you literally place over your eyes, presents us with a viscerally dramatic symbol of such a deprivation. But, as I hope I’ve made clear, Vision Pro is not unique in this tendency. It is only one of many ways we might thus isolate ourselves from the world.

What then? Let’s put it this way. There are two ways to augment reality: virtually or by your attention—in the mode of the machine or in the mode of a creature.

For my part, I’ve fallen into a tradition of thought for which vision, attention, and contemplation are key categories of the good life. How a device called Vision Pro (and how, more broadly, all technologies that mediate vision and attention) can be understood from the perspective of such a tradition requires more reflection than I can justly give the subject in closing remarks. But I will note that Iris Murdoch is one of the key figures in this tradition, and I will give her the final word.

“It is in the capacity to love, that is to see, that the liberation of the soul from fantasy consists,” Murdoch insisted. “The freedom which is a proper human goal is the freedom from fantasy, that is the realism of compassion.” There are many uses to which our devices can be put, but it is, from this perspective, worth asking whether their pattern of use encourages a liberation of the soul—a liberation consisting in the capacity to direct a “just and loving gaze directed upon an individual reality”—or whether it encourages us to remain content in a realm of fantasy, which Murdoch defined as “the proliferation of blinding self-centered aims and images.”"]]></description>
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<item rdf:about="https://www.youtube.com/watch?v=QhCYH95t768">
    <title>Ivan Illich/David Cayley Book Club #3 of 6 - YouTube</title>
    <dc:date>2023-10-25T17:04:17+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=QhCYH95t768</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[See also:

"Four Illich Conversations, Part 1: Cayley/Hine"
https://www.youtube.com/watch?v=nvbzuQdO19M

"Walking the Razor's Edge: Illich Conversation #2 with David Cayley and Sam Ewell"
https://www.youtube.com/watch?v=IJOwHQXpMbQ

“One No, Many Yeses” – Sam Ewell & Dougald Hine in Illich Conversation #3"
https://www.youtube.com/watch?v=1Avh1AJ9sls

"Ave Maria/Sophia/Gaia: Katherine Bubel and Michelle Berry Lane on Illich and the Sacred Feminine" (Conversation #4)
https://www.youtube.com/watch?v=19q4pWKPlj0 ]]]></description>
<dc:subject>marcusrempel davidcayley ivanillich 2021 jenszimmermann brucehindmarsh deschooling church catholicism schooling repetition indoctrination liberation resistance disestablishment privilege schools education discourse inserviceeducation continuingeducation training georgegrant technology tools ownership control scale society balance zoominginandout local convivial heidegger science politics agesegregation belief religion vernacular midwifery informal informality childbirth healthcare medicine socialization formalism excellence authority professionalization social regulation centralization mistakes rights credentials credentialization accreditation state community communities conflicts conflict knowledge understanding subsistence influence openmindedness openness interestedness puertorico cybernetics surprise dropouts adventure formalsystem systems teaching howweteach obstacles friendship pundits prophesy politicians credentialism pedagogy intellect howwethink thinking multisensory seeing sensing clairvoyance kat</dc:subject>
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<item rdf:about="https://thedigradio.com/podcast/the-dig-presents-alien-jerky-sold-here/">
    <title>The Dig Presents: Alien Jerky Sold Here · The Dig</title>
    <dc:date>2023-09-16T19:11:27+00:00</dc:date>
    <link>https://thedigradio.com/podcast/the-dig-presents-alien-jerky-sold-here/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["If you look, you’ll see. Most people don’t look.

Produced by Stephen Cassidy Jones and Liza Yeager.

Edited by Mitchell Johnson, with editorial oversight from Daniel Denvir.

Featuring Mark Pilkington, Valerie Kuletz, and Trevor Paglen.

Topics: Extraterrestrial"]]></description>
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<item rdf:about="https://theconvivialsociety.substack.com/p/care-not-control">
    <title>Care, Not Control - by L. M. Sacasas</title>
    <dc:date>2023-06-15T21:54:14+00:00</dc:date>
    <link>https://theconvivialsociety.substack.com/p/care-not-control</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["As I thought about what I’ve written over the last few weeks, I realized that much of it could be summed with a simple imperative:

Resist the temptation to confuse control for care.

Implicit in how digital technologies are often marketed is the promise of greater control as if it were equivalent to greater care.

I chose the word control because it captures a wide array of possible practices and technologies. The promise of control might be expressed, for example, through technologies that offer the possibility of improved data-gathering, planning, monitoring, calibration, customization, scheduling, outsourcing, security, or documentation. In each case, we are encouraged to reduce the skill of caring—either in the sense of taking an interest in or looking out for the welfare of another—to one of these various forms of technological mediation. Technologically mediated expressions of control also suggest relationships of distance and detachment rather than presence and involvement, which can in turn imply a certain evasion of the risk and obligations that care can entail.

All of that said, the temptation to confuse control for care might be most pronounced when the form of ostensible control manifests as surveillance, where surveillance is any of the various ways we can measure, watch, monitor, or record at a distance.1 In fact, my line about not confusing control for care had two antecedents from a few years back which both distinguished between surveillance and care. The first was a phrase from Alan Jacobs in a series of reflections on attention from 2015, “Attending to Technology.”"

...

"The second instance comes from a 2017 talk by Audrey Watters, who was then our leading light on matters related to the ed tech industry and has more recently turned her wise and critical eye on food and fitness technologies ..."

...

"perpetuating the myth of an optimized childhood, with its attendant fears, anxieties, and guilt. It’s all built on a lie. The truth is probably something like the inverse. The real trouble doesn’t come from failing to discover the “one best way.” The real trouble comes from believing there is such a thing in the first place. There isn’t. And anyone who has incurred even a modicum of guilt on account of this misbegotten ideology can and absolutely should absolve themselves.

Almost three years ago now, I wrote about nine general principles that informed how I thought about children and technology. The first, “resist technocratic models of what it means to raise a child,” bears directly on the idea that there might be “one best way”:

“While we focus on specific devices in our children’s lives, we sometimes miss the technocratic spirit we are tempted to bring to the task of raising children.

This spirit was captured rather well a few years back by Alison Gopnick, who distinguished between two kinds of parents: carpenters and gardeners. Gopnick has a rather specific set of anxious middle class parents in view, but the distinction she offers is useful nonetheless. In the carpenter model, parents tend to view raising children as an engineering problem in which the trick is to apply the right techniques in order to achieve the optimal results. In this view, ‘parenting’ is something you do. It is work. And the point of the work is to manufacture a child to certain specifications as if the child herself were simply a bit of raw, unformed material.

In the gardening model, parents do not conceive of their children as a lump of clay to be fashioned at will. The focus isn’t on ‘parenting’ as an activity, but on being a parent as a relationship structured by love. While the carpenter by their skill achieves a level of mastery and control over the materials, the gardener recognizes that they cannot ultimately control what the seed will become, that much is given. They can only provide the conditions that will be most conducive to a plant’s flourishing.

Of course, any discussion that starts with ‘There are two kinds of x’ will undoubtedly have its limitations, but I think it’s useful to remember that we do not make our children, we receive them as gifts. Naturally, this does not alleviate us of our responsibilities toward them. Far from it. But it does change how we experience those responsibilities, and it does relieve us of a particular set of anxieties that inevitably accompany any project aimed at the mastery of recalcitrant reality. Parents have enough to worry about without also accepting the anxieties that stem from the assumption that we can perfectly control who our children will become by the proper application of various techniques.”

Or, I would add, the assumption that we can perfectly protect or that we can perfectly assure the best future, etc. However noble the motives, and I certainly feel their pull, aiming at control, predictability, and the elimination of all risk will inevitably work against us. The quest is self-defeating. And when we employ technologies that treat surveillance as a default form of care, we may very well be undermining our ability to realize some of our most cherished goals with regards to those we care about most.

For my part, I try to remember that …

surveillance does not equal care.

surveillance cannot guarantee safety.

surveillance will not alleviate anxiety.

surveillance cannot substitute for presence.

surveillance can undermine trust and responsibility."]]></description>
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<item rdf:about="https://tinhouse.com/podcast/elaine-castillo-how-to-read-now/">
    <title>Elaine Castillo : How to Read Now - Tin House</title>
    <dc:date>2023-01-27T15:52:25+00:00</dc:date>
    <link>https://tinhouse.com/podcast/elaine-castillo-how-to-read-now/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["“White supremacy makes for terrible readers” says today’s guest Elaine Castillo, arguing that we are all overeducated in a set of fundamentally terrible reading techniques, ones that impoverish us as readers and thinkers, ones that diminish the availability of meaning and meaningfulness in our lives. When Castillo says “read,” and suggests that how we read needs a reevaluation, she is indeed talking about books. But not only. “How to read” extends to what we watch—television, movies, the news—to how we read our histories, and ultimately to how we read the world. What if we aren’t really reading in the true sense at all? And what would a real reading practice, one that is not extractive but one that itself endows meaning, what would it do for us as readers, or as writers or art-makers or activists, and most importantly, as thinking and feeling people in the world? Join Elaine Castillo as she challenges us to re-vision reading."

[transcript:
https://tinhouse.com/transcript/between-the-covers-elaine-castillo-interview/ ]

[also here:
https://podcasts.apple.com/us/podcast/elaine-castillo-how-to-read-now/id583648001?i=1000579812795

https://www.stitcher.com/show/between-the-covers/episode/elaine-castillo-how-to-read-now-206823092 ]

]]></description>
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</item>
<item rdf:about="https://www.vox.com/culture/23005220/benjamin-labatut-interview-when-we-cease-to-understand-the-world">
    <title>Benjamín Labatut interview: When We Cease to Understand the World - Vox</title>
    <dc:date>2022-07-14T16:08:20+00:00</dc:date>
    <link>https://www.vox.com/culture/23005220/benjamin-labatut-interview-when-we-cease-to-understand-the-world</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Benjamín Labatut’s When We Cease to Understand the World is one of the weirdest and most beautiful books I’ve read in a while. It deals with the horror of trying to understand the world, and how as the scientific concepts we use to try to describe reality edge closer and closer to reality, they move further away from the mundane world that we see and live in with our small human senses.

We think that we live in a world where space and time function in predictable and rational ways. But physics tells us that the universe is full of black holes that exist at both sides of time, and that on a quantum level, mass exists not as a concrete fact but as a possibility. How, When We Cease to Understand the World seems to ask, do we just live in a world that functions like this?

These are rich, heady questions, and they’re hard to parse out with any degree of nuance. So I met Labatut live on Zoom to talk them through, and then some. In our full (captioned) conversation above, you can learn why Labatut considers himself an “epiphany junkie,” the limitations he sees in science, and why he hates the novel.

A few weeks later, I sat down with Unexplainable host Noam Hassenfeld to further discuss Labutut’s book and the aftershocks of the revelation, asking “What’s real?” Listen to the conversation in the player below or wherever you get podcasts."

[See also:
https://www.vox.com/culture/22972613/when-we-cease-to-understand-the-world-review-benjamin-labatut ]]]></description>
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    <title>A novel by Benjamín Labatut explores the dark side of science — and the color blue - Los Angeles Times</title>
    <dc:date>2022-07-14T15:55:06+00:00</dc:date>
    <link>https://www.latimes.com/entertainment-arts/newsletter/2022-07-09/benjamin-labatut-when-we-cease-to-understand-the-world-novel-essential-arts</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Blue has sent me down a rabbit hole. Specifically, Prussian blue, which appears as a silent, deadly character in Benjamín Labatut’s 2020 novel, “When We Cease to Understand the World.”

This slender volume — it is only 192 pages long — weaves together, in engrossing and disquieting ways, stories of scientific discovery. They are stories rife with obsession in the pursuit of knowledge but also the devastating ways in which that knowledge is ultimately deployed.

Hence, a chapter that takes the reader into the history of Prussian blue, the first modern synthetic pigment, created by Johann Jacob Diesbach in the early 18th century — which critically provided a stable source of blue for European artists at a time when blue pigments were wildly expensive and difficult to source. (These were generally derived from natural materials such as lapis lazuli, which had to be imported from Afghanistan.)

Prussian blue, also known as Berlin blue, after the city in which it was devised, makes its earliest known appearance in an early 18th century painting titled “The Entombment of Christ,” by Adriaen or Pieter van der Werff — in which the Virgin Mary’s luminous blue mantle catches the eye amid a palette of earthier, fleshier tones. (The painting’s attributions vary depending on the source, likely because the Van Der Werffs were brothers, with Pieter working in Adriaen’s studio, where he often made copies of existing works. As a result, different versions of this scene, under Adriaen’s name, appear in different European collections. In his novel, Labatut attributes the work to Pieter.)

Regardless of who painted what, by the 19th century, Prussian blue had developed an artistic fan base as far away as Japan, where artists such as Hokusai used it in landscape prints such as his iconic “Great Wave Off Kanagawa.” (The version seen above is from the permanent collection at the Los Angeles County Museum of Art.)

And that’s just the beginning of the story for Prussian blue. Because when it’s combined with diluted sulfuric acid, it turns into hydrogen cyanide, otherwise known as cyanide, one of the deadliest poisons known to man. (“Cyan” is a reference to its origin as a blue pigment.) It is one of humanity’s more devastating inventions — a commercial version of cyanide, Zyklon B, was deployed by the Nazis in their genocide chambers.

Prussian blue, writes Labatut, is “the blue that shines not only in Van Gogh’s ‘Starry Night’ and in the water of Hokusai’s ‘Great Wave,’ but also on the uniforms of the infantrymen of the Prussian army, as though something in the colour’s chemical structure involved violence: a fault, a shadow, an existential station passed down from those experiments in which the alchemist dismembered living animals to create it, assembling their broken bodies in dreadful chimeras.”

“When We Cease to Understand the World” is inspired by scientific history, but it is not a straight historical account. It is a novel. And if at first it reads like a collection of essays about the history of science, as the book progresses, it expands into more metaphysical and mystical spaces — all of which are ultimately woven together with the appearance of a mysterious character called “the night gardener.”

Critic John Banville, in the Guardian, described the book as a “nonfiction novel.” I think of it more as a dramatization, in novel form, inspired by real events. However you choose to categorize it, the book functions as a series of linked meditations on the nature of discovery and what it means to confront that which we do not — and cannot — know. Over five spare but poetic chapters, Labatut covers color and mass death. He also writes about the singularity and black holes, along with the scientists who aimed to quantify these phenomena.

Labatut, a Chilean writer of Dutch descent, originally published the novel in Spanish in 2020 as “Un Verdor Terrible.” Last fall, New York Review Books released an English-language translation by Adrian Nathan West. It quickly materialized on former President Obama’s list of summer reads. It was also shortlisted for the International Booker Prize and the National Book Award for Translated Literature.

I’ll confess that I knew little about Labatut or the book when I picked it up shortly before going on vacation. It was an impulse buy: I was intrigued by its scientific inspirations and the odd, diagrammatic nature of the cover. But I quickly found myself engrossed by the story it presents — of men who compulsively race to decode the workings of nature only to face chaos, violence and uncertainty.

We look to science for answers, but sometimes all we find is ourselves."]]></description>
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<item rdf:about="https://www.nyrb.com/collections/new-york-review-books/products/when-we-cease-to-understand-the-world?_pos=1&amp;_sid=adc3a07ae&amp;_ss=r&amp;variant=37890166784168">
    <title>When We Cease to Understand the World – New York Review Books</title>
    <dc:date>2022-07-14T15:51:11+00:00</dc:date>
    <link>https://www.nyrb.com/collections/new-york-review-books/products/when-we-cease-to-understand-the-world?_pos=1&amp;_sid=adc3a07ae&amp;_ss=r&amp;variant=37890166784168</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["One of The New York Times Book Review’s 10 Best Books of 2021

Shortlisted for the 2021 International Booker Prize and the 2021 National Book Award for Translated Literature

When We Cease to Understand the World is a book about the complicated links between scientific and mathematical discovery, madness, and destruction.

Fritz Haber, Alexander Grothendieck, Werner Heisenberg, Erwin Schrödinger—these are some of luminaries into whose troubled lives Benjamín Labatut thrusts the reader, showing us how they grappled with the most profound questions of existence. They have strokes of unparalleled genius, alienate friends and lovers, descend into isolation and insanity. Some of their discoveries reshape human life for the better; others pave the way to chaos and unimaginable suffering. The lines are never clear.

At a breakneck pace and with a wealth of disturbing detail, Labatut uses the imaginative resources of fiction to tell the stories of the scientists and mathematicians who expanded our notions of the possible.

On October 21, 2021, Benjamín Labatut discussed When We Cease to Understand the World with author Lawrence Weschler. This virtual event is part of New York Review Books’ ongoing series with Brooklyn’s Community Bookstore.

https://www.youtube.com/watch?v=Ch9YMmpzQKc

(also here) https://www.youtube.com/watch?v=e3VyxWvsJGM "]]></description>
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<item rdf:about="https://www.youtube.com/watch?v=HJXadXhP5ew">
    <title>Monstruos y milagros de la ciencia: Benjamín Labatut habla de Un verdor terrible - YouTube</title>
    <dc:date>2022-07-14T15:42:33+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=HJXadXhP5ew</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["“¡Dios no juega a los dados con el universo!” le gritó Einstein a Niels Bohr, en la Conferencia Solvay, realizada en Bruselas en 1927, uno de los encuentros científicos claves para el nacimiento de la mecánica cuántica.  Bohr, años antes, tomó como discípulo a Heisenberg convenciéndolo de que al hablar de los átomos el lenguaje solo puede ser usado como poesía.  La crónica de estos sucesos da forma a Un verdor terrible (Anagrama, 2020), del escritor Benjamín Labatut, donde confluyen la literatura y la ciencia.

En las páginas de este texto híbrido e inclasificable, donde se cruzan la ficción y la no ficción, se narran las primeras y acaloradas discusiones científicas de la mecánica cuántica o el nacimiento de la teoría de la relatividad, entrelazados con historias alucinantes de algunos de los más importantes científicos de la historia, como las exploraciones matemáticas de Alexander Grothendieck, que le llevaron al delirio místico; o los orígenes del cianuro de hidrógeno que los nazis terminarían usando para suicidarse y asesinar a miembros de sus propias familias al verse derrotados.

En esta conversación Labatut nos compartirá sus inquietudes y experiencias en torno a cómo la ciencia puede convertirse en literatura."]]></description>
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<item rdf:about="https://theconvivialsociety.substack.com/p/understanding-mcluhan-a-conversation">
    <title>Understanding McLuhan: A Conversation with Andrew McLuhan</title>
    <dc:date>2022-01-07T20:46:39+00:00</dc:date>
    <link>https://theconvivialsociety.substack.com/p/understanding-mcluhan-a-conversation</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Welcome to a special installment of the Convivial Society featuring my conversation with Andrew McLuhan. I can’t recall how or when I first encountered the work of Marshall McLuhan, I think it might’ve been through the writing of one of his most notable students, Neil Postman. I do know, however, that McLuhan, and others like Postman and Walter Ong who built on his work, became a cornerstone of my own thinking about media and technology. So it was a great pleasure to speak with his grandson Andrew, who is now stewarding and expanding the work of his grandfather and his father, Eric McLuhan, through the McLuhan Institute, of which he is the founder and director.

I learned a lot about McLuhan through this conversation and I think you’ll find it worth your time. A variety of resources and sites were mentioned throughout the conversation, and I’ve tried to provide links to all of those below. Above all, make sure you check out the McLuhan Institute and consider supporting Andrew’s work through his Patreon page."]]></description>
<dc:subject>lmsacasas 2022 ericmcluhan andrewmcluhan walterong neilpostman howweread howwethink howwewrite media medialiteracy mediastudies screentime children parenting literacy education academia scholarship highered highereducation language deschooling unschooling technology communication religion belief translation humans humanism theory senses allthesenses perception shannonweaver libraries archives catholicism bible dialog discovery conversation rhetoric tools internet web online collaboration footnotes annotation posttheory madiaecology jamesjoyce intertextual intertextuality references enddnotes marginalia normanmailer punk punkrock identity curiosity legacy companionship writing relationsips reading edwincarpenter buckminsterfuller whauden stephaniemcluhan davidstaines poetry form wterrencegordon douglascoupland grayareafoundation synthesis assignments pedagogy marshallmcluhan specialists generalists haroldinni thomasaquinas bodylanguage inevitability techdeterminism techvoluntarism francisbacon responsibility j</dc:subject>
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    <title>Emotional Marginalia - YouTube</title>
    <dc:date>2021-11-06T02:43:22+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=6V92KOX0z1Y</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Alec Soth discusses the way peripheral information can dramatically change the emotional reading of photographs. The books discussed are:

"Interior America" [1978] by Chauncey Hare 
"The San Quentin Project" [2021] by Nigel Poor"]]></description>
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<item rdf:about="https://www.youtube.com/watch?v=TjxC-evzxdk">
    <title>I Have a Visual Disability, And I Want You To Look Me In the Eye | NYT Opinion - YouTube</title>
    <dc:date>2021-07-19T03:21:00+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=TjxC-evzxdk</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Descriptive audio is available for this video. Go to settings - audio track and select 'English descriptive.' 

In the Opinion video above, James Robinson, a filmmaker from Maine, shows what it feels like to live with several disabling eye conditions that have defied an array of treatments and caused him countless humiliations. Using playful graphics and enlisting his family as subjects in a series of optical tests, he invites others to view the world through his eyes.

But his video is also an essay on seeing, in the deeper sense of the word — seeing and being seen, recognition and understanding, sensitivity and compassion, the stuff of meaningful human connection.

In a society that does a lousy job of accommodating the disabled, Mr. Robinson appeals for more acceptance of people who are commonly perceived as different or not normal.

“I don’t have a problem with the way that I see,” he says. “My only problem is with the way that I’m seen.”"]]></description>
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</item>
<item rdf:about="https://openspace.sfmoma.org/2021/03/franks-corpus/">
    <title>Frank’s Corpus : Open Space</title>
    <dc:date>2021-03-22T22:57:56+00:00</dc:date>
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<item rdf:about="https://themillions.com/2017/07/finding-way-new-form-interview-teju-cole.html">
    <title>Finding My Way into a New Form: An Interview with Teju Cole - The Millions</title>
    <dc:date>2021-01-22T17:45:39+00:00</dc:date>
    <link>https://themillions.com/2017/07/finding-way-new-form-interview-teju-cole.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[“TC: I wanted to make a book that was a little bit novelistic but with none of the things you expect from a novel. This book is not made up. These are stories drawn from real life — personal experience, philosophy, essayistic-type of speculations. Novels usually don’t have 150 color photographs. And yet I wanted to give it the energy of a novel or a documentary film, just a very peculiar one. So in one sense it was about the excitement of working in a new genre — a genre I was developing myself — the rhythm of text and image. But if you look at just the images all by themselves, they have a common visual language. They’re in color. I shot everything in film in 25 different countries. They usually have streetscapes or interiors, not a lot of people. When we have people, they’re turned away from us, so there’s a quietness that connects all the images. And if you read all the text in sequence, they have a kind of philosophical temperature that unites them. So this adventure was finding my way into a new form that I hope has a coherence. So if somebody goes through the book, they feel they’ve been through something strange and marvelous. It’s a strange album, a strange movie, a strange novel, but it’s none of those things because it’s actually just texts and images.”

…

“SP: Is your project to remove the blind spots, or to acknowledge that we all have blind spots?

TC: It’s really about acknowledgement. To go back to these very old texts was also a way to acknowledge the antiquity of these questions. There’s something elemental about a person walking down a street, so I talk a lot about walking in the book because walking is connected to photography but photography is connected to seeing. The kind of seeing we do has to do with us being upright creatures whose eyes are flat on our faces. We’re not like dogs close to the earth, with eyes on either side of the snout. So these are very old questions. At some point we were on all fours and then we stood up. Of course the book is haunted by frailty, eventually also by death. I wanted this book to be very contemporary but also to deal with what it means to be a human creature upon the earth. Somehow thinking about theology and Homer gave me access to that.

SP: You’ve taken these photos all over the world. I started jotting down some of these places: Lagos, where you grew up, Nuremberg, Tivoli, Nairobi, Auckland, Tripoli, Milan, Berlin, Zurich, Copenhagen, Seoul, Bombay, Sao Paolo, Brooklyn, Beirut, Bali. The list goes on and on. You must like to travel.

TC: I get to travel a lot. I take a lot of pleasure from it and I get a lot of productive discomfort from it. I only included photos I felt were relevant to the project of the book. I only included places where I made film photographs because I wanted a consistency of effect and appearance. Not because film is better than digital. For example, on this visit to Madison, I’ve only brought my small digital camera.

SP: So I have this image of you. You land in a new place and just start walking with your camera, not necessarily to any particular destination. Is this what you do?

TC: That’s pretty accurate. You know, what’s missing from this book is I don’t have any pictures of Iceland because when I went there, I didn’t take a film camera. I took a digital one. I have no pictures from South Africa. I have no pictures from Australia.”

…

“SP: Do you consider Brooklyn home?

TC: Yes.  That’s where my wife is. My brother lives there. My friends are there. My books are there. My office is there. So that’s home. I also consider Lagos home. My parents live there. It’s where I grew up. If I go to Nigeria, my room is there. The two most spoken languages in Lagos — Yoruba and English — are languages I’m fluent in. So there’s an at-homeness, but a home is also wherever there’s good wi-fi. That connects me to the world in a way that is irreducible and essential to my experience of the world.

SP: Do you consider yourself more Nigerian or more American?

TC: Neither. Split right down the middle. Or rather 100 percent of both. I feel very invested in Nigeria’s future. There’s a book I’ve been working on for a long time about Lagos, so I think a lot about Nigeria. I’m American and America is in crisis at the moment and I feel invested. Open City was definitely an approach to this question but I feel invested in what this country ought to be.  I’m a citizen who is not a patriot.  I’m a citizen in the sense of being invested in what we owe each other. What do we do to protect each other’s rights? What do we do about people who break our mutual agreement? What do sanctions and punishments look like?  Those philosophical questions are very interesting to me. Our borders are interesting to me. If my money’s being used to kill foreigners in the theater of war, that’s my business. So I’m very American and I’m also very Nigerian.

SP: The two cities where you’ve spent the most time are Lagos and New York. Are they totally different experiences for you or do they have certain similarities?

TC: The commonalities are extensive. It is the experience of cosmopolitanism, which is maybe the fourth definition of home for me.  And this is what I find in spaces in Lagos. And it’s what I find in New York — restaurants, clubs, bookshops, shopping malls, traffic, crazy people on the street, high fashion. Cities as a kind of problem-solving technology. If there are 16 million people in the same place, then we have to use resources in a way that makes sense in such a compressed space.

SP: What are the biggest differences between Lagos and New York?

TC:  New York is much richer. Lagos might have 25 buildings of monumental scale and New York has 300. The sheer physical scale of New York never ceases to surprise me. And then there’s that thing of New York being a world capital. Lagos is the capital of Africa.

Don’t let people in Cairo or Johannesburg tell you different. Lagos is the place where the pop culture of Africa is being made.  Lagos is the capital of Africa but New York is the capital of the world.  So there is something about encountering this expansive, complex mutual togetherness in conversation. It’s possible in New York. So New York is almost not an American city. It’s a city that’s a vision of what the world looks like if these borders are not as they are right now.”]]></description>
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    <title>Teju Cole Interview: My Looking Became Sacred - YouTube</title>
    <dc:date>2021-01-20T20:38:33+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=71JZEWGtAm4</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["In this visually captivating video, the award-winning writer and photographer Teju Cole talks about – and reads from – his work of photography and texts, ‘Blind Spot’, which sprung from a period of semi-blindness: “So this is a book about the limitations of vision… when we’re looking at the world, there’s so much that we’re missing.”

In the video, Cole shares how he woke up one morning and was blind in one eye, which after many examinations turned out to be caused by the ‘Big Blind Spot Syndrome’. He eventually recovered, but the experience changed how saw things as a photographer: “It really did become sacred. This intensity of looking at the world, and looking really closely, and photographing things that were not exciting, but things that were sort of washed with presence, with light.” This resulted in the project that was to become the book ‘Blind Spot’ (2017), in which the focus is on “the moment held in one’s attention.”  

“Photography is a different kind of miracle. You can’t go back and fix it. You can’t go back and do it. You have to take it in that moment, and then it emerges as a kind of collaboration with what is given by the world.” Cole, who is also a photography critic, wanted to avoid talking over the photos in the same way that he might write an essay about a set of pictures, but rather do something similar to voiceovers. There would be the image, the words and a third thing that could happen in the meeting between them: “So this book is sort of like 150 of these pairings around the idea of a blind spot. It’s not an explanation of the picture you’re looking at.” Moreover, Cole feels that “the human presence has a way of activating and foreclosing the possibilities”, whereas e.g. a room, a landscape or an object speak to us in a different way and leaves the meaning open for interpretation. 

Teju Cole is a writer and photographer, born in the U.S. in 1975 and raised in Nigeria. Cole is the author of several acclaimed books: His novella ‘Every Day is for the Thief’ (2007) was named book of the year by the New York Times, the Globe and Mail, NPR, and the Telegraph, and was shortlisted for the PEN/Open Book Award. His novel ‘Open City’ (2012) won the PEN/Hemingway Award, the New York City Book Award for Fiction, the Rosenthal Award of the American Academy of Arts and Letters and the Internationaler Literaturpreis. ‘Blind Spot’ (2017), a genre-crossing work of photography and texts, was named one of the best books of the year by Time Magazine. Cole is also the photography critic of the New York Times Magazine and the Gore Vidal Professor of the Practice of Creative Writing at Harvard University. His photography has been exhibited worldwide. For more see: http://www.tejucole.com/ 

Teju Cole was interviewed by Tonny Vorm in connection with the Louisiana Literature festival in Humlebæk, Denmark in August 2018.  In the video, Teju Cole talks about his book ‘Blind Spot’ (2017). 

Edited by: Roxanne Bagheshirin Lærkesen  
Produced by: Christian Lund & Johan Lose   
Cover photo: Cropped version of ‘The Forest of the Cedars of God’ from ‘Blind Spot’ (2017) by Teju Cole   
Copyright: Louisiana Channel, Louisiana Museum of Modern Art, 2019 

Supported by Nordea-fonden"]]></description>
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    <title>2020 R.W.B. Jackson Lecture: Dionne Brand and Rinaldo Walcott - YouTube</title>
    <dc:date>2020-12-19T08:37:54+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=_wuBjTnWtiQ</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[“OISE’s 2020 R.W.B. Jackson Lecture featured OISE alum and literary giant, Dionne Brand, in conversation with her dear friend and renowned Black studies scholar, Professor Rinaldo Walcott.”]]></description>
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<item rdf:about="https://www.jstor.org/stable/10.5406/jaesteduc.52.4.0049?seq=1">
    <title>The Arts and the Liberal Arts at Black Mountain College on JSTOR</title>
    <dc:date>2020-11-11T19:16:21+00:00</dc:date>
    <link>https://www.jstor.org/stable/10.5406/jaesteduc.52.4.0049?seq=1</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[pdf: https://www.are.na/block/9459000 ]

[See also:
https://www.youtube.com/watch?v=Apbl6Iuqkvc ]]]></description>
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<item rdf:about="https://www.collective-edinburgh.art/programme/alexandra-laudo-2">
    <title>Alexandra Laudo How to Observe a Nocturnal Sky | Collective</title>
    <dc:date>2020-09-17T21:27:24+00:00</dc:date>
    <link>https://www.collective-edinburgh.art/programme/alexandra-laudo-2</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[Direct link to video: https://vimeo.com/420254676 ]

"Collective has been working with Alexandra Laudo since 2017 to develop and produce the project How to Observe a Nocturnal Sky. Over this time, Alexandra has regularly visited Edinburgh to visit libraries and archives collating a vast body of research on the history of observation in Edinburgh and connected works of contemporary art. In response to the COVID-19 closure we have created this special re-worked version of the project as a digital experience and are excited to launch it online while we are unable to welcome visitors to Calton Hill.

Collective have re-purposed Edinburgh’s old City Observatory as somewhere that not only looks out at the stars or panorama of the city, but that connects people and creates opportunities for multiple viewpoints to be experienced. To do this we are supporting artistic observation and research, such as Alexandra’s, and are working with the image of an institution where the sight lines and barriers between inside and outside are porous, enabling new connections, ideas and research.

In this new work Alexandra considers astronomical phenomena, the concept of darkness, the sky, the night, and the history of astronomy connected to Calton Hill. Through narrating stories of scientific and artistic creativity and encouraging us to observe, How to Observe a Nocturnal Sky is a reminder of human ingenuity and that while some things are consistent in the night sky there is always change and adaptation. The work follows stories and characters such as Professor Colin McLaurin, and the change from Astronomy as Experimental Philosophy to Practical Astronomy in the University of Edinburgh in 1752, and Ada, the daughter of a mariner from Leith who climbs Calton Hill to set her father's clock so that they can navigate accurately and safely.

How to Observe a Nocturnal Sky will be available to view on our website until Collective can re-open when a new version will be added to our series of Observers’ Walks, to be experienced on-site.

Alexandra Laudo is an independent curator and founder of the platform Heroinas de la Cultura. Alexandra participated in the research CuratorLab, Stockholm, 2016. Her latest projects include: an adapted version of How to Observe and Nocturnal Sky, Centre d'Art Fabra & Coats, Barcelona, 2019; La possibilitat d'una illa, Espai13, Fundació Joan Miró, Barcelona, 2017; A certain darkness, with artworks from the collections of MACBA and La Caixa Fundació Bancària, CaixaForum, Barcelona, 2017; An intellectual history of the clock, CuratorLab, Stockholm, 2016; One compass, two metronomes, John Cage, many clocks and the midnight sun, Joan Miró Foundation, Barcelona, 2016; La bonne distance /La distancia adequada, Videógraphe, Montréal, 2014; Constel-lacions familiars, EspaiDos, Terrassa, 2012; Viaggio al centro, Museo di Città a Sassari, Sardegna, 2012; and The narrative condition, La Capella, Barcelona, 2012."]]></description>
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    <title>swissmiss | Walking</title>
    <dc:date>2020-04-10T11:34:32+00:00</dc:date>
    <link>https://www.swiss-miss.com/2020/04/walking.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[“Walking is mapping with your feet. It helps you piece a city together, connecting up neighbourhoods that might otherwise have remained discrete entities, different planets bound to each other, sustained yet remote. I like seeing how in fact they blend into one another, I like noticing the boundaries between them. Walking helps me feel at home. There’s a small pleasure in seeing how well I’ve come to know the city through my wanderings on foot, crossing through different neighbourhoods of the city, some I used to know quite well, others I may not have seen in a while, like getting reacquainted with someone I once met at a party.”

[from https://www.brainpickings.org/2019/05/21/flaneuse-lauren-elkin/]]]></description>
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<item rdf:about="https://aperture.org/blog/black-mountain-college-means-seeing/">
    <title>Learning to See: Photography at Black Mountain College</title>
    <dc:date>2020-01-08T20:33:02+00:00</dc:date>
    <link>https://aperture.org/blog/black-mountain-college-means-seeing/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["How a small, liberal-arts college became a birthplace of modern photography."]]></description>
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<item rdf:about="https://www.instagram.com/tv/B03zw-inE8x/">
    <title>Jack Kornfield on Instagram: “Seeing the Goodness in Another Being (2:32) - Jack Kornfield”</title>
    <dc:date>2019-08-27T19:44:14+00:00</dc:date>
    <link>https://www.instagram.com/tv/B03zw-inE8x/</link>
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<item rdf:about="https://vimeo.com/338234578">
    <title>Arthur Jafa: Not All Good, Not All Bad on Vimeo</title>
    <dc:date>2019-07-07T01:40:51+00:00</dc:date>
    <link>https://vimeo.com/338234578</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["We went to Los Angeles and visited the winner of the prestigious Venice Biennale's 2019 Golden Lion, American artist and filmmaker Arthur Jafa. In this extensive interview, he talks about black identity in connection with his critically acclaimed video ‘Love is the Message, The Message is Death’, which became a worldwide sensation.

“I’m trying to have enough distance from the thing, that I can actually see it clearly. But at the same time, be able to flip the switch and be inside of it.” Jafa describes how he has rewired himself to push towards things that disturb him. He grew up in the Mississippi Delta, one of the poorest regions in America, and admires the fearless and relentless pictures from that region by Danish photographer Jacob Holdt in ‘American Pictures’ (1977): “They exist outside of the formal parameters of art photography. I think they exist outside of journalism. They’re something else.”

Since childhood, Jafa has collected images in books, as if he was window-shopping, “compiling things that you don’t have access to.” The act of compiling and putting things together helps him figure out “what it is you’re actually attracted to.” When he “strung together” ‘Love is the Message, The Message is Death’, it was engendered by the explosion of citizen cellphone-documentation – the point in time where people discovered the power of being able to document. Jafa comments that his “preoccupation with blackness is fundamental philosophical” rather than political, and considers ‘whiteness’ a “pathological construction that’s come about as a result of a lot of complicated things.” In continuation of this, Jafa is against “highs and lows,” and some of the power of the work, he finds, is that it doesn’t make those distinctions. Instead of doing hierarchies, it accepts that opposites don’t have to negate each other, and tries to understand the diversity, differentiation and complexity in the world: “It’s not all good, it’s not all bad.”

Arthur Jafa (b. 1960) is an American Mississippi-born visual artist, film director, and cinematographer. His acclaimed video ‘Love Is the Message, The Message Is Death’ (2016), shows a montage of historical and contemporary film footage to trace Black American experiences throughout history. Jafa has exhibited widely including at the Hirshhorn in Los Angeles, Institute of Contemporary Art in Boston, Tate Liverpool in Liverpool and Serpentine Galleries in London. His work as a cinematographer with directors such as Spike Lee and Stanley Kubrick has been notable, and his work on ‘Daughters of the Dust’ (1991) won the ‘Best Cinematography’ Award at Sundance. In 2019, Jafa was awarded the Golden Lion for best artist at the Venice Biennale for his film ‘The White Album’. Jafa has also worked as a director of photography on several music videos, including for Solange Knowles and Jay-Z. Jafa co-founded TNEG with Malik Sayeed, a “motion picture studio whose goal is to create a black cinema as culturally, socially and economically central to the 21st century as was black music to the 20th century.” He lives and works in Los Angeles. 

Arthur Jafa was interviewed by Marc-Christoph Wagner at his studio in Los Angeles in November 2018. In the video, extracts are shown from ‘Love Is the Message, The Message Is Death’ (2016) by Arthur Jafa. The seven-minute video is set to Kanye West’s Ultralight Beam.

Camera: Rasmus Quistgaard 
Produced by: Marc-Christoph Wagner 
Edited by: Roxanne Bagheshirin Lærkesen 
Copyright: Louisiana Channel, Louisiana Museum of Modern Art, 2019

Supported by Nordea fonden"]]></description>
<dc:subject>arthurjafa art film filmmaking identity blackness whiteness photography imagery collection images books compilation compiling access collecting collections documentation documentary complexity video montage marc-christophwagner childhood mississippi bernieeames distance survival experience culture mississippidelta seeing perspective democracy smarthphones mobile phones cameras jacobholdt clarksdale tupelo patriarchy race racism billcosby duality hitler thisandthat ambiguity barackobama keepingitreal donaldtrump diversity hope hierarchy melancholy differentiation audience audiencesofone variety canon adolfhitler</dc:subject>
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</item>
<item rdf:about="https://capturingreality.nfb.ca/filmmakers/patricio-guzman/">
    <title>Patricio Guzmán - Capturing Reality</title>
    <dc:date>2019-06-27T19:18:58+00:00</dc:date>
    <link>https://capturingreality.nfb.ca/filmmakers/patricio-guzman/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[“Our Own Take on Reality

The Great Archive of Humanity

The Battle of Chile: Continuing the Debate

Reality is Chaos

The Battle of Chile: Bringing Order to Chaos

The Music of Everyday Life

The Battle of Chile: Chris Marker to the Rescue”]]></description>
<dc:subject>patricioguzmán chile film filmmaking documentary thebattleofchile reality humanity everyday chrismarker storytelling noticing seeing attention</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:e359278012fb/</dc:identifier>
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<item rdf:about="https://www.press.uchicago.edu/ucp/books/book/chicago/I/bo3750520.html">
    <title>The Inordinate Eye: New World Baroque and Latin American Fiction, Zamora</title>
    <dc:date>2019-06-26T01:51:27+00:00</dc:date>
    <link>https://www.press.uchicago.edu/ucp/books/book/chicago/I/bo3750520.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The Inordinate Eye traces the relations of Latin American painting, sculpture, architecture, and literature—the stories they tell each other and the ways in which their creators saw the world and their place in it. Moving from pre-Columbian codices and sculpture through New World Baroque art and architecture to Neobaroque theory and contemporary Latin American fiction, Lois Parkinson Zamora argues for an integrated understanding of visual and verbal forms. 
 
The New World Baroque combines indigenous, African, and European forms of expression, and, in the early decades of the twentieth century, Latin American writers began to recuperate its visual structures to construct an alternative account of modernity, using its hybrid forms for the purpose of creating a discourse of “counterconquest”—a postcolonial self-definition aimed at disrupting entrenched power structures, perceptual categories, and literary forms.   

Zamora engages this process, discussing a wide range of visual forms—Baroque façades and altarpieces, portraits of saints and martyrs (including the self-portraits of Frida Kahlo), murals from indigenous artisans to Diego Rivera—to elucidate works of fiction by Borges, Carpentier, Lezama Lima, Sarduy, Garro, García Márquez, and Galeano, and also to establish a critical perspective external to their work. Because visual media are “other” to the verbal economy of modern fiction, they serve these writers (and their readers) as oblique means by which to position their fiction culturally, politically, and aesthetically. 
 
The first study of its kind in scope and ambition, The Inordinate Eye departs radically from most studies of literature by demonstrating how transcultural conceptions of the visual image have conditioned present ways of seeing and reading in Latin America."]]></description>
<dc:subject>latinamerica culture literature fiction art architecture loisparkinsonzamora visual verbal baroque fridakhalo diegorivera borges alejocarpentier gabrielgarcíamárquez eduardogaleano 2006 neobaroque severosarduy elenagarro modernity conunterconquest postcolonialism disruption transcultural imagery seeing reading josélezamalima gabo</dc:subject>
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<item rdf:about="https://www.youtube.com/watch?v=VHpVIw-a9HM">
    <title>Teju Cole, &quot;Ethics&quot;, Lecture 3 of 3, 04.22.19 - YouTube</title>
    <dc:date>2019-06-02T22:38:16+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=VHpVIw-a9HM</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The 2019 Berlin Family Lectures with Teju Cole
"Coming to Our Senses"
Lecture three: "Ethics"
April 22, 2019

How do our senses foster our moral understanding and ethical obligations to others? In the third and final lecture of the 2019 Randy L. and Melvin R. Berlin Family Lecture Series, acclaimed author, critic, and photographer Teju Cole thinks through how our senses can help us understand the plight of travelers and migrants. Cole implores us to recognize the mutual and unshirkable responsibilities that bind all human beings. 

This is the second lecture in a three-lecture series presented in the spring of 2019 at the University of Chicago.

Named for Randy L. and Melvin R. Berlin, the Berlin Family Lectures bring leading scholars, writers, and creative artists from around the world to the University of Chicago. Each visitor offers an extended series of lectures with the aim of interacting with the university community and developing a book for publication with the University of Chicago Press. Learn more at http://berlinfamilylectures.uchicago.edu.

If you experience any technical difficulties with this video or would like to make an accessibility-related request, please send a message to humanities@uchicago.edu."
]]></description>
<dc:subject>2019 tejucole ethics senses migrants migration travelers responsibility humanism lauraletinsky photography location situation howwewrite interconnectedness interconnected malta caravaggio art painting writing reading knowing knowledge seeing annecarson smell death grief dying interconnectivity</dc:subject>
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<item rdf:about="https://www.gsd.harvard.edu/2019/05/teju-cole-on-the-unpredictability-and-potential-of-the-city-once-you-give-up-insisting-on-stereotypes-you-can-really-start-to-see/">
    <title>Teju Cole on the unpredictability and potential of the city: “Once you give up insisting on stereotypes, you can really start to see.” - Harvard Graduate School of Design</title>
    <dc:date>2019-06-02T22:32:49+00:00</dc:date>
    <link>https://www.gsd.harvard.edu/2019/05/teju-cole-on-the-unpredictability-and-potential-of-the-city-once-you-give-up-insisting-on-stereotypes-you-can-really-start-to-see/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The work of novelist, essayist, and photographer Teju Cole is a genre-defying exploration of race, governance, migration, justice, culture, music, and privilege. It is defined by a comfort with uncertainty and a commitment to defending the freedom and autonomy of others.

The city is the motif that recurs most frequently in Cole’s work. He is drawn to the unpredictability and potential of the urban environment and its endless narrative material. And he is intrigued by the “continuities” between cities—what makes them similar, regardless of size, median income, or hemisphere—as well what makes each one unique. He describes these peculiarities as “smaller zones of interest that, once you give up insisting on stereotypes, you can really start to see.”

“The guidebooks might say, ‘Check out fabulous Florence.’ Or, ‘Kinshasa’s a mess,’” Cole says. “The reality is that teenagers in Florence hang out at the mall, teenagers in Kinshasa hang out at the mall. People in both places who have money can go to nice restaurants. Florence has a trash problem, so does Kinshasa. It’s the same story. The task of insisting on that continuity feels to me like a writerly ethical responsibility. What makes one city different from another is the subtleties, the smaller things you notice when you relinquish the task of exaggerating.”

Cole spent nearly two decades each in Lagos and New York, and he says that they are examples of cities that serve “intellectually as a source of exploration of thinking for my work.” He explains, “If you draw a map around New York, Zurich, Lagos, and São Paulo, they represent the extremes of what cities are and what they do, and each in its own way precisely represents some interests of mine. New York, Lagos, and São Paulo are all part of what I consider the Black Atlantic, places that have been shaped by the black creative presence to a very large extent.” His 2007 debut novel, Every Day Is for the Thief, takes place in Lagos, while his second novel, Open City, and a number of essays are set in New York.

[photo with caption: "“Kitchen to living room. Bedroom to bathroom. Downstairs to get the mail. House to subway. An evening stroll. You take around 7500 steps each day. If you live to eighty, inshallah, that comes to 200 million steps over the course of your life, a hundred thousand miles. You don't consider yourself a great walker, but you will have circumnavigated the globe on foot four times over. Downstairs to get the mail. Basement for laundry. Living room to bedroom. Up in the middle of the night for a glass of water. Walking through the darkened house, you suddenly pause.” “Zürich,” from Blind Spot, by Teju Cole."]

Cole’s writing has been translated into more than 15 languages and has earned him numerous awards, including the prestigious Hemingway Foundation/PEN Award. His photography has led to guest curating opportunities and solo exhibitions in seven countries on three continents. In addition to his two novels, he has published Known and Strange Things, a collection of essays on art, literature, photography, and politics; Blind Spot, a singular collection of photographs and writing; and Human Archipelago, a meditation on refugees and displaced people with photographer Fazal Sheikh. He has written for the New Yorker, Granta, and other magazines, and served as the photography critic of the New York Times Magazine from 2015 to 2019.

This afternoon, Cole, Harvard’s first Gore Vidal Professor of the Practice of Creative Writing, will deliver the Class Day address for the Graduate School of Design. He plans to use his address to encourage graduates “to think about our life together” and to imagine how a future can be conceived and built. Cole himself is a model for a cross-disciplinary creative practice that is at once intellectually rigorous, politically and socially engaged, and unbound to any singular medium.

[photo with caption: "“A gust of wind sweeps in from across the lake. The curtain shifts, and suddenly everything can be seen. The scales fall from our eyes. The landscape opens. No longer are we alone: they are with us now, have been all along, all our living and all our dead.” Excerpt from “Rivaz,” from Blind Spot, by Teju Cole."]

Cole’s fluidity between forms of expression can be credited, at least in part, to a background that has elements of multiplicity and movement, trial and error, switchbacks and reboots. Born in 1975 in Kalamazoo, Michigan to Nigerian parents, his life began with two passports, cultures, and languages. At four months old, Cole moved with his family to Lagos, Nigeria, where he lived until he returned to Michigan to pursue studies in art and art history at Kalamazoo College. Later he would go on to study African art history at the School of Oriental and African Studies (SOAS) in London and art history at Columbia University in New York.

“It was an important fact mentally to know that I belong to Nigeria and the United States,” he says. With time, that comfort with the in-between of dual identities evolved into a confidence in belonging to both places. “It’s always interested me, this idea of, ‘Oh, we don’t say it that way in America.’ To which my response is, ‘Well, we do now.’ Whatever I am, whatever I do, that’s part of America now. This imagined community that we call a nation is ever-expanding and ever-complexifying, and that’s a good thing. We’ve expanded the possibilities.”

Although he first made a name for himself as a novelist, Cole has always identified equally as a writer and a photographer. “I got into both at the same time, around 2004. With whatever I had studied, with whatever my education was, there was a certain voicing that I knew I wanted to explore more in writing. At SOAS, I started what I would say were the very first glimmerings of Open City. I wrote maybe five pages, but it was Mad Libs, no sentences. It was like a fever dream,” he remembers. “But by 2005, I started to feel like, ‘No, I need to write clear sentences’ and let the clarity convey the energy, just have it be cumulative. Around the same time, I started shooting with a film camera.” In Every Day Is for the Thief, a novella that follows a young Nigerian returning to Lagos after years in the US, Cole weaves black and white photographs throughout the narrative.

[photo with caption: "“I opened my eyes. What lay before me looked like the sound of the alphorn at the beginning of the final movement of Brahm’s First Symphony. This was the sound, this was the sound I saw.” “Brienzersee,” from Blind Spot, by Teju Cole."]

In Blind Spot, images and photographs also have equal footing in a series of single-spread couplets—on one page a full-color image, on the other, prose. Inspired by the six months Cole spent living in Zurich, the book is a call-and-response between a snapshot of a place and a burst of associations. His aim is to come at a subject in such a way that the audience experiences something unexpected that, as he once said, “detonates on some deeper level.”

Cole credits his time writing monthly photography criticism for the New York Times Magazine with growing his photography practice. Reading the photographs of others opened him up to taking his own. Called “On Photography,” his column also gave him an opportunity to engage in a deeper dialogue with the history of photography and to consider himself in relation to artists including Stephen Shore, William Eggleston, Luigi Ghirri, and Guido Guidi. He says that contemporary Italian photographers like Ghirri have had an especially significant and validating influence on his work.

[photo with caption: "“I pray to Tarkovsky, Marker, and Hitchcock. I acknowledge the dumb skull, the verso of the face, the local globe from which all thinking originates. I pray to Ojeikere and Richter, in whose works someone is always turning away. In certain pictures, we can verify a character’s presence, but, without the clues of the confessional face, not what the character thinks. What has turned away contains itself.” Excerpt from “Chicago,” from Blind Spot, by Teju Cole."]

Yet Cole says that the most life-defining experiences behind his work have been purely interior. Becoming a born-again Christian at age 13 injected heaviness and seriousness into his life; coming out the other side as an atheist at age 28 changed his “relationship to the world and ethics.” And, at 33, he found what he calls an “even keel” spiritually, outside of religion. “Open City came out in 2011 and that was really what got the public aspect of my career going. But what was important happened eight years before [at 28]: discovering that I had a sense of how to move forward in my life. The pivotal moments have had to do with my relationship to my own being in the world. Some of the external stuff is nice, but I will never define myself around that. Ever. It could all be gone tomorrow. It doesn’t matter because that’s not the definition.”

Cole left New York to take up his teaching role at Harvard in January 2019. Being back in academia, on the other side of the lectern, is right for him, right now, he says. He clearly enjoys nudging his students toward the difficult interior places to find voice, material, and meaning.

“I’m trying to be free. I was influenced by people who are free, including Toni Morrison and John Berger, great artists…. Learning to prioritize that freedom is what led me to this work. Not in a glib ‘I could do anything’ way but in an ‘I have a responsibility to expand the field, to move the center’ way. So, what I say to students is not, ‘You can do anything,’ but ‘You can do a lot, if you’re serious about picking up the necessary skills for each of the things you want to do.’”"]]></description>
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    <title>Art + Life Rules from a Nun - YouTube</title>
    <dc:date>2019-03-31T21:16:36+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=IRPyql3cezo</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Sister Corita Kent was a master printmaker and teacher, and her rules for artists and teachers are legendary - let’s break them down."

[vi: https://austinkleon.com/2019/03/26/camus-and-corita/ ]]]></description>
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<item rdf:about="https://www.documenta14.de/en/south/904_language_is_migrant">
    <title>Language Is Migrant - South Magazine Issue #8 [documenta 14 #3] - documenta 14</title>
    <dc:date>2019-03-21T00:42:55+00:00</dc:date>
    <link>https://www.documenta14.de/en/south/904_language_is_migrant</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Language is migrant. Words move from language to language, from culture to culture, from mouth to mouth. Our bodies are migrants; cells and bacteria are migrants too. Even galaxies migrate.

What is then this talk against migrants? It can only be talk against ourselves, against life itself.

Twenty years ago, I opened up the word “migrant,” seeing in it a dangerous mix of Latin and Germanic roots. I imagined “migrant” was probably composed of mei, Latin for “to change or move,” and gra, “heart” from the Germanic kerd. Thus, “migrant” became “changed heart,” 

<blockquote>a heart in pain, 
changing the heart of the earth.</blockquote>

The word “immigrant” says, “grant me life.” 

“Grant” means “to allow, to have,” and is related to an ancient Proto-Indo-European root: dhe, the mother of “deed” and “law.” So too, sacerdos, performer of sacred rites.

What is the rite performed by millions of people displaced and seeking safe haven around the world? Letting us see our own indifference, our complicity in the ongoing wars?

Is their pain powerful enough to allow us to change our hearts? To see our part in it?

I “wounder,” said Margarita, my immigrant friend, mixing up wondering and wounding, a perfect embodiment of our true condition!

Vicente Huidobro said, “Open your mouth to receive the host of the wounded word.”

The wound is an eye. Can we look into its eyes? 

<blockquote>my specialty is not feeling, just
looking, so I say:
(the word is a hard look.)
—Rosario Castellanos 

I don’t see with my eyes: words
are my eyes. 
—Octavio Paz</blockquote>

In l980, I was in exile in Bogotá, where I was working on my “Palabrarmas” project, a way of opening words to see what they have to say. My early life as a poet was guided by a line from Novalis: “Poetry is the original religion of mankind.” Living in the violent city of Bogotá, I wanted to see if anybody shared this view, so I set out with a camera and a team of volunteers to interview people in the street. I asked everybody I met, “What is Poetry to you?” and I got great answers from beggars, prostitutes, and policemen alike. But the best was, “Que prosiga,” “That it may go on”—how can I translate the subjunctive, the most beautiful tiempo verbal (time inside the verb) of the Spanish language? “Subjunctive” means “next to” but under the power of the unknown. It is a future potential subjected to unforeseen conditions, and that matches exactly the quantum definition of emergent properties.

If you google the subjunctive you will find it described as a “mood,” as if a verbal tense could feel: “The subjunctive mood is the verb form used to express a wish, a suggestion, a command, or a condition that is contrary to fact.” Or “the ‘present’ subjunctive is the bare form of a verb (that is, a verb with no ending).” 

I loved that! A never-ending image of a naked verb! The man who passed by as a shadow in my film saying “Que prosiga” was on camera only for a second, yet he expressed in two words the utter precision of Indigenous oral culture.

People watching the film today can’t believe it was not scripted, because in thirty-six years we seem to have forgotten the art of complex conversation. In the film people in the street improvise responses on the spot, displaying an awareness of language that seems to be missing today. I wounder, how did it change? And my heart says it must be fear, the ocean of lies we live in, under a continuous stream of doublespeak by the violent powers that rule us. Living under dictatorship, the first thing that disappears is playful speech, the fun and freedom of saying what you really think. Complex public conversation goes extinct, and along with it, the many species we are causing to disappear as we speak. 

The word “species” comes from the Latin speciēs, “a seeing.” Maybe we are losing species and languages, our joy, because we don’t wish to see what we are doing. 

Not seeing the seeing in words, we numb our senses. 

I hear a “low continuous humming sound” of “unmanned aerial vehicles,” the drones we send out into the world carrying our killing thoughts.

Drones are the ultimate expression of our disconnect with words, our ability to speak without feeling the effect or consequences of our words. 

“Words are acts,” said Paz. 

Our words are becoming drones, flying robots. Are we becoming desensitized by not feeling them as acts? I am thinking not just of the victims but also of the perpetrators, the drone operators. Tonje Hessen Schei, director of the film Drone, speaks of how children are being trained to kill by video games: “War is made to look fun, killing is made to look cool. ... I think this ‘militainment’ has a huge cost,” not just for the young soldiers who operate them but for society as a whole. Her trailer opens with these words by a former aide to Colin Powell in the Bush/Cheney administration:

<blockquote>OUR POTENTIAL COLLECTIVE FUTURE. WATCH IT AND WEEP FOR US. OR WATCH IT AND DETERMINE TO CHANGE THAT FUTURE 
—Lawrence Wilkerson, Colonel U.S. Army (retired)</blockquote> 

In Astro Noise, the exhibition by Laura Poitras at the Whitney Museum of American Art, the language of surveillance migrates into poetry and art. We lie in a collective bed watching the night sky crisscrossed by drones. The search for matching patterns, the algorithms used to liquidate humanity with drones, is turned around to reveal the workings of the system. And, we are being surveyed as we survey the show! A new kind of visual poetry connecting our bodies to the real fight for the soul of this Earth emerges, and we come out woundering: Are we going to dehumanize ourselves to the point where Earth itself will dream our end?

The fight is on everywhere, and this may be the only beauty of our times. The Quechua speakers of Peru say, “beauty is the struggle.” 

Maybe darkness will become the source of light. (Life regenerates in the dark.) 

I see the poet/translator as the person who goes into the dark, seeking the “other” in him/herself, what we don’t wish to see, as if this act could reveal what the world keeps hidden. 

Eduardo Kohn, in his book How Forests Think: Toward an Anthropology Beyond the Human notes the creation of a new verb by the Quichua speakers of Ecuador: riparana means “darse cuenta,” “to realize or to be aware.” The verb is a Quichuan transfiguration of the Spanish reparar, “to observe, sense, and repair.” As if awareness itself, the simple act of observing, had the power to heal.

I see the invention of such verbs as true poetry, as a possible path or a way out of the destruction we are causing.

When I am asked about the role of the poet in our times, I only question: Are we a “listening post,” composing an impossible “survival guide,” as Paul Chan has said? Or are we going silent in the face of our own destruction?

Subcomandante Marcos, the Zapatista guerrilla, transcribes the words of El Viejo Antonio, an Indian sage: “The gods went looking for silence to reorient themselves, but found it nowhere.” That nowhere is our place now, that’s why we need to translate language into itself so that IT sees our awareness. 

Language is the translator. Could it translate us to a place within where we cease to tolerate injustice and the destruction of life? 

Life is language. “When we speak, life speaks,” says the Kaushitaki Upanishad.

Awareness creates itself looking at itself.

It is transient and eternal at the same time. 

Todo migra. Let’s migrate to the “wounderment” of our lives, to poetry itself."]]></description>
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<item rdf:about="https://www.instagram.com/p/BramX0jFm-y/">
    <title>Black Mountain College Museum en Instagram: “&quot;Albers was a beautiful teacher and an impossible person. He wasn’t easy to talk to, and I found his criticism so excruciating and so…”</title>
    <dc:date>2018-12-15T19:05:45+00:00</dc:date>
    <link>https://www.instagram.com/p/BramX0jFm-y/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[Robert Rauschenberg on Josef Albers as his teacher at Black Mountain College]

"Albers was a beautiful teacher and an impossible person. He wasn’t easy to talk to, and I found his criticism so excruciating and so devastating that I never asked for it. Years later, though, I'm still learning what he taught me, because what he taught had to do with the entire visual world. He didn’t teach you how to do art. The focus was always on your personal sense of looking. When he taught watercolor, for example, he taught the specific properties of watercolor - not how to make a good watercolor picture. When he taught drawing, he taught the efficient functioning of line. Color was about the flexibilities and the complex relationships that color have with one another.
...
I consider Albers the most important teacher I've ever had, and I'm sure he considered me one of his poorest students. Coming from Paris, entering in the middle of the term, and showing all that wildness and naivety and hunger, I must have seemed not serious to him, and I don’t think he ever realized the it was his discipline that I came for. Besides, my response to what I learned from him was just the opposite of what he intended. When Albers showed me that one color was as good as another that that you were just expressing a personal preference if you thought a certain color would be better, I found that I couldn’t decide to use one color instead of another, because I really wasn’t interested in taste. I was so involved with the materials separately that I didn’t want painting to be simply an act of employing one color to do something to another color, like using red to intensify green, because that would imply some subordination of red. I was very hesitant about arbitrarily designing form and selecting colors that would achieve some predetermined result, because I didn’t have any ideas to support that sort of thing — I didn’t want color to serve me, in other words. That’s why I ended doing the the all-white and all-black paintings — one of the reasons anyway." (via @rauschenbergfoundation)"]]></description>
<dc:subject>bmc blackmountaincollege teaching robertrauschenberg josefalbers howeteach looking seeing color</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:a973c6f31ac4/</dc:identifier>
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</item>
<item rdf:about="https://www.youtube.com/watch?v=PWdPLZvdO_I">
    <title>A Smith Family Vacation - YouTube</title>
    <dc:date>2018-08-19T17:40:03+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=PWdPLZvdO_I</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["If you're scared you can't beauty. Fear kills your ability to see beauty. You have to get beyond fear, back to a comfortable space before you can even start looking around. Fear ruins life.]]></description>
<dc:subject>willsmith fear beauty learning experience 2018 seeing uschooling edg</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:e9619cb49e5d/</dc:identifier>
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</item>
<item rdf:about="https://austinkleon.com/2018/07/12/reading-right-to-left/">
    <title>Reading right to left</title>
    <dc:date>2018-07-12T19:29:24+00:00</dc:date>
    <link>https://austinkleon.com/2018/07/12/reading-right-to-left/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[After I wrote about looking at things upside down [https://austinkleon.com/2018/06/26/turn-it-upside-down/ ], a reader relayed what his daughter was learning in army cadet training: “In the field, troops are told to scan from right to left. As we generally read left to right, doing the opposite aids in detecting anomalies in the landscape and potential threats to safety.”

Here’s photographer Dale Wilson (emphasis mine):

<blockquote>One of the first tricks I learned many years ago had nothing to do with photography, but was drilled into me by an army sergeant. It only took a few smacks up the back of my head to learn how to look from right-to-left when scanning a landscape in an effort to see the hidden “enemy” in our mock battles. This process of reverse reading forced me to slow down and read each tree as if it were a syllable I was seeing for the first time. Even today, about thirty years after I called that sergeant every adjective not found in a descent dictionary, I still find myself scanning a landscape from right-to-left.</blockquote>

More on reading right-to-left here. [https://booktwo.org/notebook/reading-right-to-left/, previously posted here https://robertogreco.tumblr.com/post/132287071238/im-getting-more-radical-in-my-view-of-the ]"

[See also: https://robertogreco.tumblr.com/post/38278729921/this-is-how-i-read
https://robertogreco.tumblr.com/tagged/how-we-read
https://pinboard.in/u:robertogreco/t:howweread ]]]></description>
<dc:subject>howweread seeing austinkleon 2018 jamesbridle dalewilson looking attention process reading scanning photography</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:b536ffa890b2/</dc:identifier>
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</item>
<item rdf:about="https://twitter.com/keguro_/status/1013710305476608000">
    <title>k'eguro on Twitter: &quot;One of my favorite pieces of recent political writing Danai Mupotsa, &quot;An open love letter to my comrade bae&quot; https://t.co/JcDew7Wkzs&quot;</title>
    <dc:date>2018-07-02T21:47:07+00:00</dc:date>
    <link>https://twitter.com/keguro_/status/1013710305476608000</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["One of my favorite pieces of recent political writing

Danai Mupotsa, "An open love letter to my comrade bae"

https://www.thedailyvox.co.za/an-open-love-letter-to-my-comrade-bae-or-at-least-32-reasons-why-i-see-you/

I love the many ways this writing imagines being in struggle together. I love how it embodies those who dream and struggle.

I love the forms of labor it sees: the cooking, the cleaning, the dreaming, the screaming.

I love how it thinks about fear and vulnerability.

I love how it thinks about ordinary practices of care and pleasure. How it thinks about seeing and being seen."]]></description>
<dc:subject>danaimupotsa keguromacharia struggle solidarity cleaning dreaming cooking vulnerability pleasure care caring caretaking seeing beingseen being togetherness 2018</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:951d9a327ba4/</dc:identifier>
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</item>
<item rdf:about="http://gen.lib.rus.ec/book/index.php?md5=acfbe35130dd4444996be267e39b2fd6">
    <title>Library Genesis: Anna Grimshaw - The Ethnographer's Eye: Ways of Seeing in Anthropology</title>
    <dc:date>2018-05-19T18:13:25+00:00</dc:date>
    <link>http://gen.lib.rus.ec/book/index.php?md5=acfbe35130dd4444996be267e39b2fd6</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Grimshaw sets a new agenda for visual anthropology, attempting to transcend the old division between image and text-based ethnography. She argues for the use of vision as a critical tool with which anthropologists can address issues of knowledge and technique. The first part of the book critically examines anthropology's history, focusing on the work of key individuals--Rivers, Malinowski and Radcliffe-Brown--in the context of early modern art and cinema. In the book's second part, Grimshaw considers the anthropological films of Jean Rouch, David and Judith MacDougall and Melissa Llewelyn-Davies."]]></description>
<dc:subject>annagrimshaw ethnography visualanthropology anthropology jeanrouch davidmacdougall judithmacdougall melissallewelyn-davies cinema film filmmaking seeing waysofseeing visualethnography senses sensoryethnography</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:132e9c5bb85c/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:annagrimshaw"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:visualanthropology"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:melissallewelyn-davies"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:cinema"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:film"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:senses"/>
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</item>
<item rdf:about="https://austinkleon.com/2018/02/18/the-5-year-old-docent/">
    <title>The 5-year-old docent</title>
    <dc:date>2018-02-25T23:15:07+00:00</dc:date>
    <link>https://austinkleon.com/2018/02/18/the-5-year-old-docent/</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>austinkleon children museums art seeing noticing 2018 parenting</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:4a9b9e43ede0/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:austinkleon"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:children"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:museums"/>
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</item>
<item rdf:about="http://blog.ayjay.org/choice/">
    <title>choice – Snakes and Ladders</title>
    <dc:date>2018-02-10T21:10:29+00:00</dc:date>
    <link>http://blog.ayjay.org/choice/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["You can’t understand the place and time you’re in by immersion; the opposite’s true. You have to step out and away and back and forward, through books and art and music, and you have to do it regularly. Then you come back to the Here and Now, and say: Ah. That’s how it is.

But maybe 2% of the people you encounter will do this. The other 98% are wholly creatures of this particular intersection in spacetime, and can’t be made to care about anything else.

You can, then, have understanding or attention. Pick."]]></description>
<dc:subject>alanjacobs 2018 zoominginandout immersion place time atemporality books art music culture perspective seeing</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:549d1c486cd1/</dc:identifier>
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<item rdf:about="https://www.youtube.com/watch?v=m1-r7CR6FsI">
    <title>Museums should activate multiple senses, not just the eyeball | Ellen Lupton | TEDxMidAtlantic - YouTube</title>
    <dc:date>2018-01-22T01:18:16+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=m1-r7CR6FsI</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>ellenlupton museums senses multisensory curation 2017 seeing sensing smell touch audio taste classideas accessibility inclusivity inclusion texture food light sound music acoustics architecture ranzheng haptics deafness tactile design vibeat lirongino michellequreshi cooper-hewitt cooperhewitt</dc:subject>
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<item rdf:about="https://www.poetryfoundation.org/poems/90183/translations-57991d887f7f4">
    <title>Translations by Kathryn Nuernberger | Poetry Foundation</title>
    <dc:date>2018-01-01T07:49:21+00:00</dc:date>
    <link>https://www.poetryfoundation.org/poems/90183/translations-57991d887f7f4</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["I want to believe we can’t see anything
we don’t have a word for.
 
When I look out the window and say green, I mean sea green,
I mean moss green, I mean gray, I mean pale and also
electrically flecked with white and I mean green
in its damp way of glowing off a leaf.
 
Scheele’s green, the green of Renaissance painters,
is a sodium carbonate solution heated to ninety degrees
as arsenious oxide is stirred in. Sodium displaces copper,
resulting in a green precipitate that is sometimes used
as insecticide. When I say green I mean
a shiny green bug eating a yellow leaf.
 
Before synthetics, not every painter could afford a swathe
of blue. Shocking pink, aka neon, aka kinky pink,
wasn’t even on the market. I want to believe Andy Warhol
invented it in 1967 and ever since no one’s eyes
have been the same. There were sunsets before,
but without that hot shocking neon Marilyn, a desert sky
was just cataract smears. I want to believe this.
 
The pale green of lichen and half-finished leaves
filling my window is a palette very far from carnation
or bougainvillea, but to look out is to understand it is not,
is to understand what it is not. I stare out the window a lot.
Between the beginning and the end the leaves unfolded.
I looked out one morning and everything was unfamiliar
as if I was looking at the green you could only see
if you’d never known synthetic colors existed.
 
I’ve drawn into myself people say.
We understand, they say.
 
There are people who only have words for red
and black and white, and I wonder if they even see
the trees at the edge of the grass
or the green storms coming out of the west.
There are people who use the same word for green
and red and brown, and I wonder if red
seems so urgently bright pouring from the body
when there is no green for it to fall against.
 
In his treatise on color Wittgenstein asked,
“Can’t we imagine certain people
having a different geometry of colour than we do?”
 
I want to believe the eye doesn’t see green until it has a name,
because I don’t want anything to look the way it did before.
 
Van Gogh painted pink flowers, but the pink faded
and curators labeled the work “White Roses” by mistake.
 
The world in my window is a color the Greeks called chlorol.
When I learned the word I was newly pregnant
and the first pale lichens had just speckled the silver branches.
The pines and the lichens in the chill drizzle were glowing green
and a book in my lap said chlorol was one of the untranslatable
words. The vibrating glow pleased me then, as a finger
dipped in sugar pleased me then. I said the word aloud
for the baby to hear. Chlorol. I imagined the baby
could only see hot pink and crimson inside its tiny universe,
but if you can see what I’m seeing, the word for it
is chlorol. It’s one of the things you’ll like out here.
 
Nineteenth century critics mocked painters who cast shadows
in unexpected colors. After noticing green cypresses do drop red
shadows, Goethe chastised them. “The eye demands
completeness and seeks to eke out the colorific circle in itself.”
He tells of a trick of light that had him pacing a row of poppies
to see the flaming petals again and figure out why.
 
Over and over again Wittgenstein frets the problem of translucence.
Why is there no clear white?
He wants to see the world through white-tinted glasses,
but all he finds is mist.
 
At first I felt as if the baby had fallen away
like a blue shadow on the snow.
 
Then I felt like I killed the baby
in the way you can be thinking about something else
and drop a heavy platter by mistake.
 
Sometimes I feel like I was stupid
to have thought I was pregnant at all.
 
Color is an illusion, a response to the vibrating universe
of electrons. Light strikes a leaf and there’s an explosion
where it lands. When colors change, electromagnetic fields
are colliding. The wind is not the only thing moving the trees.
 
Once when I went into those woods I saw a single hot pink orchid
on the hillside and I had to keep reminding myself not to
tell the baby about the beautiful small things I was seeing.
So, hot pink has been here forever and I don’t even care
about that color or how Andy Warhol showed me an orchid.
I hate pink. It makes my eyes burn."]]></description>
<dc:subject>vi:datatellign poetry names naming colors words green kathrynnuernberger wittgenstein goethe vangogh andywarhol illusion vision sight seeing pink color eyes</dc:subject>
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<item rdf:about="http://www.dontblinkrobertfrank.com/">
    <title>Don't Blink - Robert Frank</title>
    <dc:date>2017-11-22T23:12:09+00:00</dc:date>
    <link>http://www.dontblinkrobertfrank.com/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[So good!]]></description>
<dc:subject>robertfrank film documentary photography towatch memory scavengers curiosity life living loss filmmaking noticing observation art making collecting 2015 us immigrants watching looking seeing mabou novascotia nyc</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
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</item>
<item rdf:about="http://www.objectamerica.org/">
    <title>OBJECT AMERICA</title>
    <dc:date>2017-10-08T19:17:18+00:00</dc:date>
    <link>http://www.objectamerica.org/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The Observational Practices Lab, Parsons, (co-directed by Pascal Glissmann and Selena Kimball) launches a multi-phase project and investigation, OBJECT AMERICA, to explore the idea of “America” through everyday objects. The aim is to use comparative research and observational methods—which may range from the scientific to the absurd—to expose unseen histories and speculate about the future of the country as a concept. The contemporary global media landscape is fast-moving and undercut by “fake news” and “alternative facts” which demands that students and researchers build a repertoire of strategies to assess and respond to sources of information. For the first phase of OBJECT AMERICA launching in the fall of 2017, we invited Ellen Lupton, Senior Curator of Contemporary Design at Cooper Hewitt, Smithsonian Design Museum, to choose an object for this investigation which she believed would represent “America” into the future (she chose the Model 500 Telephone by Henry Dreyfuss designed in 1953). Researchers will investigate this object through different disciplinary lenses — including art, climate science, cultural geography, data visualization, economics, history of mathematics, medicine, media theory, material science, music, poetry, and politics — in order to posit alternative ways of seeing."

[via: https://twitter.com/shannonmattern/status/915366114753990660 ]]]></description>
<dc:subject>objects pascalglissmann selenakimball ellenlupton art climate science culturalgeography datavisualization economics mathematics math medicine mediatheory materialscience music poetry politics seeing waysofseeing geography culture history climatescience dataviz infoviz</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
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</item>
<item rdf:about="http://news.yicca.org/index.php/hot-news-2/item/137-war-games-diego-perrone">
    <title>WAR GAMES - DIEGO PERRONE</title>
    <dc:date>2017-08-02T06:54:39+00:00</dc:date>
    <link>http://news.yicca.org/index.php/hot-news-2/item/137-war-games-diego-perrone</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Conceived, produced and directed by the Villa Croce Amixi – Contemporary Art Museum – Genoa, “Davanti al mare – ATTO I” is an experimental and open format project featuring a multiple nature. Thought as an expanded residency, as a research work on the Genoa environment – metaphorical and physical production space – “Davanti al mare” is presented now to the public as a zone where an artist and selected curator will work together to the construction of projects studied to inhabit the subtle boundary line between city and museum, artwork and storytelling, exploration and presentation. “Davanti al mare – ATTO I” aims to give back power to art as tool for investigation of the place and its landscape; it’s drawn on the desire of using the artwork as powerful revealing machine; it’s envisioned as light and flexible palimpsest – a sea stage – to produce – through art – reality."

[See also:
http://moussemagazine.it/diego-perrone-wargames-villa-croce-museo-darte-contemporanea-genoa-2017/
http://www.aptglobal.org/en/Exhibition/57572/DIEGO-PERRONE-WAR-GAMES ]]]></description>
<dc:subject>diegoperrone art landscape place revelation seeing noticing museums storytelling exploration presentation genoa italy italia</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:d44a9c3e9ab6/</dc:identifier>
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<item rdf:about="http://jarrettfuller.blog/post/162824559912/blind-spot">
    <title>Blind Spot | Blog—Jarrett Fuller</title>
    <dc:date>2017-07-18T20:59:02+00:00</dc:date>
    <link>http://jarrettfuller.blog/post/162824559912/blind-spot</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Blind Spot, the writer and photographer Teju Cole’s new book, feels like a culmination of his intellectual work of the last few years. A master of shifting forms, Cole previously published two novels (Open City and Everyday is for a Thief) and an essay collection (Known and Strange Things), is the photography critic for The New York Times, and is prolific on Instagram where he showcases his photography. Blind Spot, a book that mixes text with his original photography, at once feels like a continuation of his previous work while also something completely new. How does one define Blind Spot? Is it a photo book or a novel? A travelogue or a poem? A memoir or a lyric essay? The answer, I think, is ‘yes’.

The photos — all shot on color film from Cole’s travels across the globe — blend seamlessly from Brooklyn to Berlin, Omaha to Africa. The images are quiet and largely devoid of humans, aside from a final striking portrait, recalling great street photographers like Stephen Shore and Louis Ghirri. The text — which shifts between narrative, memoir, criticism, poetry — sometimes refers to these photos while at other times remain independent. All of Cole’s familiar influences — Sebald, Berger, Calvino — are on display here.

The text reads less as captions as they do a voiceover — he’s said in interviews he sees the book as a documentary in book form — where another set of influences emerge. “I pray to Tarvoksy, Marker, Hitchcock” he writes in the middle of the book. Sure enough, the flipping between Cole’s text and image, one could see the book as homage to Chris Marker’s Sans Soliel. And as the photos start to reference each other, and fragments begin to connect, Marker’s more famous La Jetee comes to mind. There’s a playful reflexivity throughout — his writing reflects on his own writing process for the book, how he selected particular images, and what he hopes the book will be. In one passage he writes:

<blockquote>She asked, though these were not her exact words: Isn’t all the work part of a single piece? She asked, like someone patiently unlocking, with a pin, a pair of handcuffs: Aren’t all the photographs and texts, the fragments and experiments, even the things you say into a microphone, even the things you don’t say, aren’t they all installments toward a unified project? She said, though these are not her exact words: I have always felt that Open City was one way you approached the problem. You’re still circling the problem now, she said, obsessed, she said, and approaching it in other ways. You will probably always be returning to it, she said, making herself comfortable within the folds of my brain.</blockquote>

In a later passage, Cole invokes Calvino’s continuous city and his search of the threads that connect the places he visits. But he’s also looking for the threads that connect the images and the text. Calvino suggests that there is simply one big, continuous city that does not begin or end: ‘Only the name of the airport changes,’ he writes in Invisible Cities. The same can be said of Cole’s work — it’s simply one big, continuous journey — his intellectual interests and preoccupations recur — he finds new ways to display them, new ways to talk about them. Only the name of the book changes.

I read Open City, Cole’s first novel in 2015 during my last week in San Francisco, before moving to Baltimore for graduate school. My belongings were packed up and I’d lay on the floor in the middle of a nearly empty apartment reading. In the book, largely devoid of an obvious plot, we follow the narrator, Julius, as he walks through Manhattan. I started doing the same thing — after a period of reading, I’d put the book down, put classical music on in my headphones, and walk the San Francisco streets. This had been my neighborhood for the last three years but that week, with that music, and Cole’s prose rattling around in my head, I saw the city differently. That, I think, is the thread that ties Cole’s work together. He changes your pace, forces you to slow down. His writing is patient, his photography reserved. He makes you look, really look. This world moves fast. There’s always something new to read, new tweets, new emails, new books, new music. Last month’s news feels like a decade ago.

Blind Spot is a book about looking; about seeing what’s in the frame, about reflecting on what we see. Teju Cole asks us to slow down so we can understand our own blind spots. I saw San Francisco differently that last week, and as I finished Blind Spot this week, I started to see New York differently too. He taught me to see."]]></description>
<dc:subject>tejucole jarrettfuller 2017 writing photography italocalvino johnberger wgsebald chrismarker film walking cities urban ubanism place landscape noticing looking seeing sansoleil lajetée blindspot</dc:subject>
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    <title>Eyes Without a Face — Real Life</title>
    <dc:date>2017-05-30T03:51:43+00:00</dc:date>
    <link>http://reallifemag.com/eyes-without-a-face/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The American painter and sculptor Ellsworth Kelly — remembered mainly for his contributions to minimalism, Color Field, and Hard-edge painting — was also a prodigious birdwatcher. “I’ve always been a colorist, I think,” he said in 2013. “I started when I was very young, being a birdwatcher, fascinated by the bird colors.” In the introduction to his monograph, published by Phaidon shortly before his death in 2015, he writes, “I remember vividly the first time I saw a Redstart, a small black bird with a few very bright red marks … I believe my early interest in nature taught me how to ‘see.’”

Vladimir Nabokov, the world’s most famous lepidopterist, classified, described, and named multiple butterfly species, reproducing their anatomy and characteristics in thousands of drawings and letters. “Few things have I known in the way of emotion or appetite, ambition or achievement, that could surpass in richness and strength the excitement of entomological exploration,” he wrote. Tom Bradley suggests that Nabokov suffered from the same “referential mania” as the afflicted son in his story “Signs and Symbols,” imagining that “everything happening around him is a veiled reference to his personality and existence” (as evidenced by Nabokov’s own “entomological erudition” and the influence of a most major input: “After reading Gogol,” he once wrote, “one’s eyes become Gogolized. One is apt to see bits of his world in the most unexpected places”).

For me, a kind of referential mania of things unnamed began with fabric swatches culled from Alibaba and fine suiting websites, with their wonderfully zoomed images that give you a sense of a particular material’s grain or flow. The sumptuous decadence of velvets and velours that suggest the gloved armatures of state power, and their botanical analogue, mosses and plant lichens. Industrial materials too: the seductive artifice of Gore-Tex and other thermo-regulating meshes, weather-palimpsested blue tarpaulins and piney green garden netting (winningly known as “shade cloth”). What began as an urge to collect colors and textures, to collect moods, quickly expanded into the delicious world of carnivorous plants and bugs — mantises exhibit a particularly pleasing biomimicry — and deep-sea aphotic creatures, which rewardingly incorporate a further dimension of movement. Walls suggest piled textiles, and plastics the murky translucence of jellyfish, and in every bag of steaming city garbage I now smell a corpse flower.

“The most pleasurable thing in the world, for me,” wrote Kelly, “is to see something and then translate how I see it.” I feel the same way, dosed with a healthy fear of cliché or redundancy. Why would you describe a new executive order as violent when you could compare it to the callous brutality of the peacock shrimp obliterating a crab, or call a dress “blue” when it could be cobalt, indigo, cerulean? Or ivory, alabaster, mayonnaise?

We might call this impulse building visual acuity, or simply learning how to see, the seeing that John Berger describes as preceding even words, and then again as completely renewed after he underwent the “minor miracle” of cataract surgery: “Your eyes begin to re-remember first times,” he wrote in the illustrated Cataract, “…details — the exact gray of the sky in a certain direction, the way a knuckle creases when a hand is relaxed, the slope of a green field on the far side of a house, such details reassume a forgotten significance.” We might also consider it as training our own visual recognition algorithms and taking note of visual or affective relationships between images: building up our datasets. For myself, I forget people’s faces with ease but never seem to forget an image I have seen on the internet.

At some level, this training is no different from Facebook’s algorithm learning based on the images we upload. Unlike Google, which relies on humans solving CAPTCHAs to help train its AI, Facebook’s automatic generation of alt tags pays dividends in speed as well as privacy. Still, the accessibility context in which the tags are deployed limits what the machines currently tell us about what they see: Facebook’s researchers are trying to “understand and mitigate the cost of algorithmic failures,” according to the aforementioned white paper, as when, for example, humans were misidentified as gorillas and blind users were led to then comment inappropriately. “To address these issues,” the paper states, “we designed our system to show only object tags with very high confidence.” “People smiling” is less ambiguous and more anodyne than happy people, or people crying.

So there is a gap between what the algorithm sees (analyzes) and says (populates an image’s alt text with). Even though it might only be authorized to tell us that a picture is taken outside, then, it’s fair to assume that computer vision is training itself to distinguish gesture, or the various colors and textures of the slope of a green field. A tag of “sky” today might be “cloudy with a threat of rain” by next year. But machine vision has the potential to do more than merely to confirm what humans see. It is learning to see something different that doesn’t reproduce human biases and uncover emotional timbres that are machinic. On Facebook’s platforms (including Instagram, Messenger, and WhatsApp) alone, over two billion images are shared every day: the monolith’s referential mania looks more like fact than delusion."]]></description>
<dc:subject>2017 rahelaima algorithms facebook ai artificialintelligence tagging machinevision at ellsworthkelly color tombrdley google captchas matthewplummerfernandez julesolitski neuralnetworks eliezeryudkowsky seeing machinelearning</dc:subject>
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<item rdf:about="http://austinkleon.com/2017/02/16/get-out-now/">
    <title>Get out now</title>
    <dc:date>2017-02-19T00:32:55+00:00</dc:date>
    <link>http://austinkleon.com/2017/02/16/get-out-now/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[“GET OUT NOW. Not just outside, but beyond the trap of the programmed electronic age so gently closing around so many people…. Go outside, move deliberately, then relax, slow down, look around. Do not jog. Do not run…. Instead pay attention to everything that abuts the rural road, the city street, the suburban boulevard. Walk. Stroll. Saunter. Ride a bike, and coast along a lot. Explore…. Abandon, even momentarily, the sleek modern technology that consumes so much time and money now…. Go outside and walk a bit, long enough to forget programming, long enough to take in and record new surroundings…. Flex the mind, a little at first, then a lot. Savor something special. Enjoy the best-kept secret around—the ordinary, everyday landscape that rewards any explorer, that touches any explorer with magic…all of it is free for the taking, for the taking in. Take it. take it in, take in more every weekend, every day, and quickly it becomes the theater that intrigues, relaxes, fascinates, seduces, and above all expands any mind focused on it. Outside lies utterly ordinary space open to any casual explorer willing to find the extraordinary. Outside lies unprogrammed awareness that at times becomes directed serendipity. Outside lies magic.”

—John Stilgoe, Outside Lies Magic]]></description>
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    <title>John Berger on Ways of Seeing, being an artist, and Marxism (2011) - Newsnight archives - YouTube</title>
    <dc:date>2017-01-08T21:58:59+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=b5y7QRt2bws</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["John Berger - artist, writer, critic and broadcaster - has died at the age of 90. His best-known work was Ways of Seeing, a criticism of western cultural aesthetics. For Newsnight, Gavin Esler, met him back in 2011."]]></description>
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