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    <title>Conjuncture: Kanishka Goonewardena on Nationalism and Imperialism in the Global South | S4 Ep3 - YouTube</title>
    <dc:date>2026-07-13T01:10:19+00:00</dc:date>
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    <dc:creator>robertogreco</dc:creator><description><![CDATA["Christina Heatherton speaks with geographer Kanishka Goonewardena about nationalism and imperialism in the global South. They discuss the current conjuncture in Sri Lanka, the politics of ethnic nationalism, space, and the history of the concept of imperialism. This season is co-sponsored by the Antipode Foundation.  

Conjuncture is a web series and podcast curated and co-produced by Jordan T. Camp and Christina Heatherton with support from the Trinity Social Justice Institute. It features interviews with activists, artists, scholars, and public intellectuals. Taking its title from Antonio Gramsci and Stuart Hall’s conceptualization, it highlights the struggles over the meaning and memory of particular historical moments. 

Kanishka Goonewardena is a Professor of Geography and Planning at the University of Toronto. He is a co-editor of Space, Difference, Everyday Life: Reading Henri Lefebvre and is completing the book The Future of Planning at the End of History.

Christina Heatherton is an Associate Professor of American Studies and Everett and Joanne Elting Associate Professor for Human Rights and Global Citizenship, founding Co-Director of the Trinity Social Justice Institute, and the co-host and co-producer of Conjuncture."]]></description>
<dc:subject>2025 kanishkagoonewardena christinaheatherton colonialism imperialism nationalism via:javierarbona globalsouth antoniogramsci stuarthall ethnonationalism theodoradorno antiimperialism ethnicity srilanka conjuncture henrilefebvre marxism everyday everydaylife capitalism economics politics economy politicaleconomy alienation space cities urban urbanplanning difference mediation ideology walterbenjamin senses sensory sensorial sensorium dreamworlds desire karlmarx utopia consciousness</dc:subject>
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    <title>N°105 - Small Stuff with Ian Bogost - YouTube</title>
    <dc:date>2026-07-12T23:45:27+00:00</dc:date>
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    <dc:creator>robertogreco</dc:creator><description><![CDATA["In this episode of the Near Future Laboratory Podcast, I talk with my old friend Ian Bogost about his new book, “The Small Stuff: How to Lead a More Gratifying Life” — a funny (like..I laughed out loud) , generous, and quietly radical invitation to recover the sensory enchantment of everyday life.

Ian’s book begins with ordinary things: stick shifts, toasters, paper cups, plastic film, doorknobs, faucets, pre-ordering shirts, Diet Coke cans, plunger force cups when they are missing their handle, the texture of a phone case, the sound of ice in a motel ice bucket. Of course our conversation quickly opens into something larger, which I think Ian has been asking for awhile: how modern life has dematerialized so many of our encounters with the world, replacing small tactile gratifications with convenience, automation, frictionless interfaces, and screens.

What I especially loved about this conversation is that Ian is not making a nostalgic argument for going backward. He is not saying we need to abandon technology or recreate some lost analog past. 

Instead, he is asking us to accept what the world is already offering everyday: these small, recurring, very much embodied encounters that make up the actual texture of a life. This isn't “mindfulness” as another productivity technique. Nor is it a kind of self-improvement as a grind. Ian is wondering about the possibility that contentment might be right in front of is, even as we appear to be just pulling the pull-tab on a can of suds; it's under our fingertips, in our peripheral vision, in the overlooked background of the day.

We talk about the origins of the book, Ian’s long path from games and object-oriented philosophy to ordinary experience, the decline of sensory life, why curiosity may be a virtue worth defending, how to “bring the background into the foreground,” and why gratification and imagination might belong to the same family of openness.

It is a conversation about small stuff, which means it is also a conversation about almost everything.

https://smallstuffbook.com
https://bogost.com
https://www.theatlantic.com/author/ian-bogost/ "]]></description>
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<item rdf:about="https://www.youtube.com/watch?v=8WEgL5xCTak">
    <title>The life-changing magic of touching stuff | The Vergecast - YouTube</title>
    <dc:date>2026-07-08T02:03:07+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=8WEgL5xCTak</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["We have all become desensitized. Every place is like every other place, every experience is happening at a remove and on a screen. And Ian Bogost, a Washington University professor and a writer at The Atlantic, argues that this "dematerialization" is making our life worse. Ian joins David to explain how to once again commune with the world. He tells us of the magic of paper tickets, why he's kind of obsessed with the rubber on his water bottle, and why you don't need to throw phone into the ocean — but you should probably watch more ASMR videos.

0:00 Welcome and The Small Stuff
01:52 90 Seconds on the Verge
03:28 Tickets and Dematerialization
06:15 Gratification and Communing
10:18 Is the Smartphone to Blame
15:33 Beyond Friction Maxing
22:44 Digital Gratification and ASMR
24:59 Algorithms and Vicarious Delight
27:43 AI and Losing the Process
31:15 Happiness Versus Small Joys
33:07 The Ultimate Nerd Doorbell
35:33 Wrap Up"

[See also:

"The Small Stuff: How to Lead a More Gratifying Life" by Ian Bogost
https://www.simonandschuster.com/books/The-Small-Stuff/Ian-Bogost/9781668062630

"From popular The Atlantic columnist Ian Bogost, a lively reflection on how we’ve become disconnected from the physical world—and how to reclaim gratification in our day-to-day lives.

In an era dominated by convenience and efficiency, one would think that life would be simpler, easier, and most importantly, happier. After all, shouldn’t all the time saved with machines and technology leave us with more time for ourselves? The Atlantic columnist Ian Bogost thinks not. From digital tickets to automated faucets, he argues that the simple pleasures of daily life have been stripped away, replaced by sleek, but soulless, design.

Through engaging anecdotes and sharp analysis, Bogost uncovers how modern conveniences not only fail to deliver on their promises but also rob us of small, satisfying tasks and moments that keep us grounded and human. He challenges us to rethink our daily interactions with the material world and illuminates how the loss of these tangible interactions has contributed to widespread feelings of disconnection and dissatisfaction.

But all hope is not lost. Bogost guides us to identify and appreciate the overlooked joys hidden in everyday life. By reforming how we approach ordinary tasks, we can rediscover the gratification embedded in the tactile world around us.

Humorous, thought-provoking, and practical, The Small Stuff reveals that finding joy isn’t about achieving monumental happiness or prolonged satisfaction. It’s about doing small things, deliberately and with attention, to unlock the basic pleasures that flavor our daily lives."]]]></description>
<dc:subject>objects senses tactile ianbogost davidpierce 2026 happiness tickets dematerialization material materials friction frictionmaxxing slow digital analog disconnection algorithms asmr ai artificialintelligence process life living gratification communing sensory sensors automation ownership connection smartphones addiction compulsion attention strangeness texture small frictionlessness experience convenience smoothness efficiency optimization socialmedia commodification commercialization amazon physical bodies mundane smallstuff lingering feelings feeling discomfort wonder wonderment curiosity embodiment human humanness joy</dc:subject>
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</item>
<item rdf:about="https://www.buildhollywood.co.uk/features/walk/">
    <title>WALK – monthly urban art walks with Alisa Oleva - BUILDHOLLYWOOD</title>
    <dc:date>2026-06-29T05:44:15+00:00</dc:date>
    <link>https://www.buildhollywood.co.uk/features/walk/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["A series of free monthly urban art walks over a period of one year.

As part of our latest Your Space Or Mine project, we appointed performance and walking artist Alisa Oleva as Artist in Residence, commissioned to work from BUILDHOLLYWOOD’s creative space, The CarWash, in Shoreditch.

“Each month I will host a walk which will start at The CarWash venue and then venture into the surrounding neighbourhood. Every walk will have a different theme, exploring the everyday, sensorial ways of engaging with the city, sounds, textures, memories and histories, emotional map-making, and the politics of public space” – Alisa Oleva.

Where does the city take you? Where do you turn next? Who walks these streets? What’s the sound of your own footsteps? Who owns the city? What’s here, and what do we wish was still here? Where do you find yourself now? These are the questions that Alisa explored on her experimental urban walks.

Over the past 12 months, Alisa’s walks have offered an act of collective close looking and reimagining – opening up spaces we don’t usually notice to make visible different ways of being in, and thinking about, the city.

To celebrate the end of our WALK series, we hosted a final Gathering event on the 20th July, which was an opportunity for past participants and for those who are curious to come together to celebrate over walking, sharing food, map making and conversations. The BUILDHOLLYWOOD CarWash has been the starting and finishing point of each event and we were excited to host the final Gathering at this space once again. "]]></description>
<dc:subject>alisaoleva walking art situationist psychogeography 2024 walkshops senses sensory urban cities memory history maps mapmaking mapping publicspace</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:a2553480f38e/</dc:identifier>
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</item>
<item rdf:about="https://www.youtube.com/watch?v=ljqTo7GC7HM">
    <title>Walking and the Art of Public Space: Alisa Oleva on Cities, Belonging &amp; Nuart Aberdeen - YouTube</title>
    <dc:date>2026-06-29T03:15:35+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=ljqTo7GC7HM</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Walking can be much more than getting from A to B. In this interview from Nuart Aberdeen, walking artist Alisa Oleva talks about how she turns walks through the city into a form of art and a way of seeing places differently.

Alisa describes one-to-one walks with people who are new to a city, helping them explore ideas of home and belonging through everyday routes. She talks about blindfolded walks, long group walks that repeat the same path for hours, and workshops where people try simple exercises like walking differently, touching surfaces or noticing small details. She also explains how  she spends time “deep hanging out” in neighbourhoods. She connects her work to ideas from performance art, psychogeography and parkour. Especially the idea of “desire lines”, the paths people make when they don’t follow the official route.

Contents
00:00 – Walking as an art practice
01:50 – What it feels like on a walk
05:00 – Preparing a walk in a new city 
07:30 – Long-term projects, deep hanging out and working with strangers
10:20 – Simultaneous distant walks (Mariupol and beyond)
12:10 – Covid, virtual walks and “let me be your eyes”
14:30 – Migration, London and how the practice began
18:30 – Parkour, desire lines and small acts of disobedience in the city
21:20 – Performance, liveness and walking scores"

[via:

"Alisa Oleva the Walking Artist Inviting Us to View the City Differently • Inspiring City"
https://inspiringcity.com/2026/06/22/alisa-oleva-the-walking-artist-inviting-us-to-view-the-city-differently/ ]]]></description>
<dc:subject>alisaoleva walking 2026 london cities experience art walkingart urban wandering psychogeography situationist home belonging slow desirelines place attention movement noticing observation aberdeen scotland publicsace performance immersion familiarization learning howwelearn place-basedlearning everyday hangingout parkour notknowing strangers gettinglost time unknowing discovery exposure disoberdience walkingscores georgesperec geography resistance senses sensory walkshops</dc:subject>
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</item>
<item rdf:about="https://www.fetch.london/post/walking-is-so-simple-yet-so-deeply-complex-in-conversation-with-with-alisa-oleva">
    <title>&quot;WALKING IS SO SIMPLE YET SO DEEPLY COMPLEX&quot;: IN CONVERSATION WITH ALISA OLEVA</title>
    <dc:date>2026-06-29T03:13:26+00:00</dc:date>
    <link>https://www.fetch.london/post/walking-is-so-simple-yet-so-deeply-complex-in-conversation-with-with-alisa-oleva</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>2025 walking alisaoleva psychogeography art performance situationist listenting senses sensory transience ephemeral ephemerality documentation movement parkour community everyday audio resistance productivity london walkshops</dc:subject>
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<item rdf:about="https://inspiringcity.com/2026/06/22/alisa-oleva-the-walking-artist-inviting-us-to-view-the-city-differently/">
    <title>Alisa Oleva the Walking Artist Inviting Us to View the City Differently • Inspiring City</title>
    <dc:date>2026-06-29T02:53:49+00:00</dc:date>
    <link>https://inspiringcity.com/2026/06/22/alisa-oleva-the-walking-artist-inviting-us-to-view-the-city-differently/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[embedded video:

"Walking and the Art of Public Space: Alisa Oleva on Cities, Belonging & Nuart Aberdeen"
https://www.youtube.com/watch?v=ljqTo7GC7HM 

"Walking can be much more than getting from A to B. In this interview from Nuart Aberdeen, walking artist Alisa Oleva talks about how she turns walks through the city into a form of art and a way of seeing places differently.

Alisa describes one-to-one walks with people who are new to a city, helping them explore ideas of home and belonging through everyday routes. She talks about blindfolded walks, long group walks that repeat the same path for hours, and workshops where people try simple exercises like walking differently, touching surfaces or noticing small details. She also explains how  she spends time “deep hanging out” in neighbourhoods. She connects her work to ideas from performance art, psychogeography and parkour. Especially the idea of “desire lines”, the paths people make when they don’t follow the official route.

Contents
00:00 – Walking as an art practice
01:50 – What it feels like on a walk
05:00 – Preparing a walk in a new city 
07:30 – Long-term projects, deep hanging out and working with strangers
10:20 – Simultaneous distant walks (Mariupol and beyond)
12:10 – Covid, virtual walks and “let me be your eyes”
14:30 – Migration, London and how the practice began
18:30 – Parkour, desire lines and small acts of disobedience in the city
21:20 – Performance, liveness and walking scores"]]]></description>
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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>
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<item rdf:about="https://pingpractice.org/">
    <title>Ping Practice</title>
    <dc:date>2026-06-25T09:57:24+00:00</dc:date>
    <link>https://pingpractice.org/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Certain ideas sing. They resonate in our bodies, touch some invisible place within.

Sometimes we encounter these ideas out in the world. Other times, we hear them in our minds. Sometimes they are language, other times feelings or thoughts. Whatever they are — they’re meaningful energy.

In the Ping Practice universe, we call these resonances “Pings”. 123

What — if anything — these “Pings” might mean and how we might use them is rarely clear in the moment. Their meaning often unfolds and evolves over time.

The fleeting nature of these Pings, and the uncertainty of their significance, can make deciding if and where to hold them (and how to work with them) unclear.

Ping Practice emerged precisely from this place.

Ping Practice is a journaling method and app designed to help you synthesize these fleeting bits of resonance into wisdom you are inspired and equipped to embody.

The method emerged through years of experimentation orbiting a central question:

How might I locate what I learn and experience in ways that equip me to apply them in the fleeting moments when I sense opportunities to do so?

Ping Practices continue to be shaped by an expansive body of pre-existing thought and through conversations with people who see making-meaning from what they experience as an act of survival.

——————————

1 https://www.are.na/block/24322667
2 https://ping-practice.gitbook.io/pings/method#ping
3 https://www.youtube.com/watch?v=SUcwBG3iskM "

[See also:

"Ping Practice: Project AE-002: A camera roll for your thoughts" (Apossible)
https://apossible.com/applied-experiments/ping-practice 

"In one sense Ping Practice helps us tune into what we are feeling while becoming more mindful observers of our thoughts. But Ping Practice is also a tool for processing experiences and learning about ourselves.

James Pennebaker’s seminal work on the therapeutic effects of expressive writing show that externalizing thoughts and feelings reduces stress and enhances cognitive functioning. White and Epston’s Narrative Means to Therapeutic Ends builds on Pennebaker, showing how the expression of inner states in writing gives us perspective and ultimately creative agency in determining what our thoughts and feelings mean and how we will make sense of them.

For more theoretical and practical references, explore Ping Practice's connections below."

https://ping-practice.gitbook.io/pings

https://pelberg.com/ ]]]></description>
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</item>
<item rdf:about="https://theconvivialsociety.substack.com/p/your-ai-is-not-a-tool">
    <title>Your AI Is Not a Tool - by L. M. Sacasas</title>
    <dc:date>2026-06-23T10:09:03+00:00</dc:date>
    <link>https://theconvivialsociety.substack.com/p/your-ai-is-not-a-tool</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["I’ll draw things to a close by posing the following thesis for your consideration: the best response to emerging technologies, perhaps especially AI, is not media literacy in a cognitivist mode. Rather, what is required is the training of our perception in an ascetical mode.

In the latter part of his intellectual pilgrimage, Ivan Illich, whose work has deeply shaped my own thinking, concluded that his earlier work was inadequate because he had not yet grasped that somewhere in the mid-20th century we had passed from the age of tools to the age of systems.6 While to my knowledge Illich never worked out this distinction at length, the difference seems to lie in the fact that we can stand over a tool, as it were, but we cannot stand outside of a system. The system is an environment rather than a singular artifact. And what is at issue is not simply what we are able to do or not to do, nor even what can be done to us. What is most urgently at issue is our perception.

Although still using the language of tools, in 1988 Illich explained, “I would like to get together a certain number of people to think about what tools do to our perception rather than what we can do with them, to look at how tools shape our mind, how their use shapes our perception of reality, rather than how we shape reality by applying or using them.”

Near the end of his life, in the mid-1990s, Illich argued that “existence in a society that has become a system finds the senses useless precisely because of the very instruments designed for their extension. One is prevented from touching and embracing reality.” It was this “radical subversion of sensation,” Illich added, “that humiliates and then replaces perception.”7

Illich went so far as to claim that “we submit ourselves to fantastic degradations of image and sound consumption in order to anesthetize the pain resulting from having lost reality.”

You may not be inclined to take as dire a view of our situation as Illich did nearly thirty years ago, but I believe that his prescription is the right one. Just as McLuhan believed that his role as teacher in response to our technological environment was to train new perception, so Illich believed that what was called for was a new asceticism, although, as he put it in a proposal for a research project exploring the history of perception, “The asceticism which can be practiced at the end of the 20th century is something profoundly different from any previously known.”

“It appears to me that we cannot neglect the disciplined recovery, an asceticism, of a sensual praxis in a society of technogenic mirages,” Illich argued. “This reclaiming of the senses,” Illich went on to elaborate, “this promptitude to obey experience […] seems to me to be the fundamental condition for renouncing that technique which sets up a definitive obstacle to friendship.”

I have always been particularly struck by the line Illich draws from the disciplined training of our perception to friendship. This link is born out by how our digital media environments have constituted not only an epistemic threat but also a threat to our social fabric.

It appears to me, then, that we would do well to take up Illich’s unfinished project. At the very least we should dispense with the idea that AI is just a tool we need to learn to use wisely."]]></description>
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<item rdf:about="https://desartsonnantsbis.com/2026/06/18/ecoute-paysages-et-territoires-sonores-ou-est-le-plaisir-douir/">
    <title>Écoute, paysages et territoires sonores, où est le plaisir d’ouïr ? | POINTS D'OUÏE, PAYSAGES SONORES PARTAGÉS</title>
    <dc:date>2026-06-20T09:25:29+00:00</dc:date>
    <link>https://desartsonnantsbis.com/2026/06/18/ecoute-paysages-et-territoires-sonores-ou-est-le-plaisir-douir/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[Google translation:

"In my almost daily, long-term monitoring of projects concerning listening, soundscapes and territories, and the interactions between art and science within ecological-artistic approaches, I observe that the pleasure of creating and perceiving is often relegated to the background, or even virtually absent.

I certainly don't deny the necessity of studies and awareness campaigns "against" noise, nor the urgency of protecting our eardrums, our acoustic spaces, and our health. However, reducing the soundscape to a kind of acoustic collapse seems to me a counterproductive dead end. I've said it before and I'll say it again.

We generally forget that pleasures, whether it's enjoying delicious home-cooked meals together or hearing the world through shared listening experiences, make us aware of the values ​​we must defend tooth and nail, ears included.

Showing only the negative side of a soundscape, admittedly a somewhat verbose one, deprives us of an auditory pleasure that, through sonic landscapes, reduces our experiences to acknowledgments of failure, or even discouragement, leading us to retreat behind soundproof walls and triple-glazed windows. All of this isolates us from the socially accessible world. The pleasure of listening together, of discovering and sharing moments where a bell chimes with festive joy, where the river soothes us, where the bustle of a market connects us, allows us to resist a society weakened by its social isolation. Listening to little sonic gems, as one would go to a concert, positions pleasure as a necessary pursuit of well-being in the face of a world that is, to say the least, unsettling, if not anxiety-inducing.

The interactions between science, metrology, standards, legislation, art, sensory experiences, and pleasure are, in my opinion, not sufficiently developed, for various reasons.

Let's take a concrete example: aside from festive and musical events, urban planning leaves little room for the pleasure of listening. Places tend to close in, to protect themselves, to ignore beautiful acoustic spaces, and to focus on a rather austere, even sometimes regressive and confining, noise reduction policy, rather than on promoting spaces with good sound.

Pleasure is essentially linked to the notion of calm and tranquility, which I can understand, at the risk of impoverishing public space and missing out on many of its attractions, including auditory ones.

Experiencing pleasure doesn't require deploying significant resources, devices, or technologies; quite the opposite.

One evening, as I was returning home at dusk, on a late spring day, I stopped to listen to the sounds of festive voices, here and there, near and far. Parties in apartments, barbecues in gardens, conversations on doorsteps—there was a gentle, almost palpable, quality of life. Wonderful atmospheres unfolded with every step I took. These are the kinds of moments I cherish, the unexpected encounters that must be seized in the moment. It's a true joy to hear life flowing, life pulsing.

But it also represents years spent honing my ear, training it to appreciate these auditory pleasures, just as the eye trains itself to contemplate a landscape, a painting, a dance, and the taste buds to savor delicate foods from near and far.

Pleasure is readily available, but the more we experience everyday or exceptional, unique auditory situations, the more powerful it becomes. This observation reinforces the need to develop active, in situ, and shared pedagogies.

The pleasure of feeling, of being moved, of (re)discovering the world through listening, combined with other sensory experiences, and/or the pleasure of doing, imagining, and creating zones of tranquility where listening and speaking can unfold with minimal inhibition, where interdisciplinary experiences can intersect, is priceless.

The pursuit of pleasure in no way obscures, quite the contrary, the presence of all that can assault us. It offers an alternative, a way to resist a pervasive gloom, so as not to despair too much while listening to the world's recurring tensions.

The artist, if he is not able to heal painful situations, offers visions, or offbeat, poetic hearings, of a world in which pleasure is like a breath of fresh air, a poetry which, if it will not save us from predicted catastrophes, may perhaps make them less violent."]

"Au cours ma veille quasi quotidienne, au long cours, sur les projets concernant l’écoute, les paysages et territoires sonores, les interactions art-sciences autour des approches écologico-artistiques, je constate que le plaisir de faire, de percevoir, est bien souvent en arrière-plan, voire quasiment absent.

Je ne dénie pas, tant s’en faut, la nécessité des études et des actions de sensibilisation « contre » le bruit, ni l’urgence de protéger nos tympans, nos espaces acoustiques, notre santé, néanmoins, réduire le paysage sonore à une sorte de collapsologie acoustique me semble une impasse contre-productive. Je l’ai déjà dit est le répète encore.

On oublie généralement que le ou les plaisirs, qu’ils soient ceux de déguster collectivement de bons petits plats mijotés ou d’entendre le monde via des écoutes partagées, nous font prendre conscience des valeurs qu’ils nous faut défendre becs et ongles, oreilles comprises.

Ne montrer que la seule face négative d’un monde sonore, certes un peu bavard, nous prive d’une jouissance auditive qui, via des aménités audio-paysagères, réduit nos expériences à des constats d’échecs, voire à des découragements nous retranchant derrière des murs anti-bruit, des triples vitrages. Tout cela nous isole du monde socialement ouissible. Le plaisir d’écouter de concert, de dénicher et de partager des moments où la cloche égrène une joie festive, où la rivière nous apaise, où l’animation d’un marché nous relie, nous fait résister face à une société fragilisée par ses isolements sociaux. Écouter de petites pépites sonores, comme on irait à un concert, place le plaisir comme une recherche de bien-être nécessaire, face à un monde pour le moins inquiétant, si ce n’est angoissant.

Les interactions entre science, métrologie, normatif, législatif, art, expériences sensibles, plaisir, ne sont pas, selon moi, suffisamment développées, pour différentes raisons du reste.

Prenons un exemple concret, hors mis les animations festives, musicales, l’aménagement urbain ne donne que peu de place au plaisir d’écouter. Les lieux ont plutôt tendance à se refermer, à se protéger, à ignorer les beaux espaces acoustiques, et à miser sur une politique de réduction du bruit plutôt austère, voire parfois régressive et enfermante, que sur la valorisation de lieux bien-sonnants.

Le plaisir est relié essentiellement à la notion de calme, de tranquillité, ce que je peux comprendre, au risque de paupériser l’espace public et de passer à côté de nombre de ses attraits, y compris auditifs.

Prendre du plaisir ne nécessite pas pour autant de déployer d’importants moyens, dispositifs ou technologies, bien au contraire.

Un soir où je rentrais chez moi, à tombée de nuit, dans une fin de journée printanière, je m’arrêtais pour écouter, ici et là, proches ou lointaines, des voix assez festives. Fêtes en appartement, barbecues en jardins, conversations sur le pas de la porte, il y avait une douceur de vivre qui s’entendait à oreille nue. De magnifiques ambiances se développaient au gré de mes pas. Ce sont des situations que j’affectionne, qui se présentent à l’improviste, et qu’il faut savoir saisir dans le lieu et dans l’instant. Une vraie joie d’ouïr la vie qui va, la vie qui bat.

Mais ce sont aussi des années passées à tendre l’oreille pour l’exercer à profiter de ces plaisirs auditifs, comme l’œil s’entraine à contempler un paysage, un tableau, une danse, et les papilles à déguster de délicates nourritures d’ici ou là.

Le plaisir est à portée d’oreille, mais plus on expérimente des situations auriculaires quotidiennes ou exceptionnelles, singulières, plus il devient puissant. Un constat qui conforte la nécessité de développer des pédagogies actives, in situ, partagées.

Le plaisir de ressentir, de s’émouvoir, de (re)découvrir le monde par l’écoute, associé à d’autres expériences sensorielles, et/ou celui de faire, d’imaginer, d’aménager, des zones de quiétude, où l’écoute et la parole peuvent se déployer sans trop de masquages, où l’on peut croiser des expériences indisciplinaires n’a pas de prix.

La recherche de plaisir n’occulte en rien, bien au contraire, la présence de tout ce qui peut nous agresser. Elle se pose en alternative, en façon se résister à une morosité ambiante, pour ne pas trop désespérer en écoutant sonner le monde dans ses multiples tensions récurrentes.

L’artiste, s’il n’est pas en capacité de soigner des situations douloureuses, propose des visions, ou auditions décalées, poétiques, d’un monde dans lequel le plaisir est comme une bouffée d’air, une poésie qui, si elle ne nous sauvera pas de catastrophes annoncées, les rendront peut-être moins violentes."]]></description>
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<item rdf:about="https://aeon.co/videos/when-artworks-dare-audiences-to-break-a-cardinal-museum-rule">
    <title>When art dares us to break a cardinal museum rule | Aeon Videos</title>
    <dc:date>2026-06-12T09:33:22+00:00</dc:date>
    <link>https://aeon.co/videos/when-artworks-dare-audiences-to-break-a-cardinal-museum-rule</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["One of the cardinal rules of museum-going is that art should be enjoyed from a comfortable distance and never touched. However, in the 1960s, a cohort of artists began inviting audiences to interact with, and thus alter, their works. This included the Japanese artist Yoko Ono, whose Painting to Be Stepped On (1960-61) was, as the title explicitly states, designed to be trampled.

In this instalment of the Art and the Senses short documentary series from the Museum of Modern Art (MoMA) in New York City, which interrogates how we encounter art beyond sight, Ono’s participatory piece becomes a lens through which to explore the inherent tension between artists, museums and audiences when touch is invited. Featuring interviews with museum curators and scenes from MoMA’s long-running touch tours, where educators guide visitors with visual impairments through works by feel, the film prompts viewers to consider: if art is a form of communication, what does touch allow us to say to one another?"

[direct link to video:

"“Don’t Touch the Art?” How Yoko Ono Challenged a Museum Taboo"
https://www.youtube.com/watch?v=A-4o_syR3Ew

"Of all the senses, touch is the biggest taboo in a museum. But what if allowing touch is the only way to truly experience the work?

In our latest episode of Art and the Senses, we follow two stories. The first shows how Yoko Ono challenged the rules of art in her "Painting to Be Stepped On" (1960), a piece of canvas laid on the floor, asking viewers to touch it. The second takes us on a “touch tour,” a long-running Access program at MoMA in which educators lead visitors who are blind or have low vision through the galleries to experience works through touch, a sense that shapes perception, memory, and emotional connection.

Hear from Ono, John Lennon, curators, conservators, artists, and museum educators as they explore one of the most powerful and charged senses. As Connor Monahan, Ono’s studio director says, “Touch is something that creates connection, and connection creates communication, and communication is what people need to create peace.”"]]]></description>
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<item rdf:about="https://www.youtube.com/watch?v=C8rLRIhDS-Y">
    <title>How the AI age forgets to ask: &quot;What for?&quot; | Benjamín Labatut + Jasmine Sun - YouTube</title>
    <dc:date>2026-06-06T04:39:34+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=C8rLRIhDS-Y</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Novelist Benjamín Labatut joins writer Jasmine Sun for a haunting, funny, and deeply human conversation about AI, superintelligence, and what our abstractions leave out. Drawing on his acclaimed novel The Maniac, Labatut explores the lives behind foundational ideas in computing and AI—from McCulloch and Pitts to John von Neumann and Lee Sedol—and asks what happens when our digital creations collide with continuous, embodied human life.

What’s in this video:
—Why Labatut uses literary fiction to explore quantum physics, AI, and madness
—Humans as “continuous” beings vs. the digital, discrete abstractions behind AI
—John von Neumann as a human superintelligence—and what his blind spots reveal
—AlphaGo, AlphaZero, and Lee Sedol as parables of abstraction vs. lived human life
—Critique of “super‑” narratives and the limits of intelligence‑centric thinking about AI

Labatut doesn’t offer a policy blueprint or a growth forecast. Instead, he invites us to look directly at the emotional, moral, and narrative realities of the AI age: our shame and enthusiasm, our abstractions and our bodies, our hunger for superintelligence and our refusal to stay merely human. 

If you’re building AI, or just trying to live with it, this conversation offers a bracing, poetic counterweight to techno‑optimist narratives.

Recorded live at Sana AI Summit 2026, New York, May 21st, 2026."

[transcript:
https://jasmi.news/p/human-culture-in-the-ai-age

"Jasmine Sun You cover deeply technical and scientific concepts in your novels, from quantum computing and physics to advanced AI innovations like AlphaGo. What is it about literary writing that you’re drawn to as a medium for exploring these technologies?

Benjamín Labatut I think that human phenomena is much more complex than can be captured with nonfiction. Participating in these talks, you get a sense of something that’s being left out, something fundamental. I think that just goes back to the way that at least this part of civilization has evolved. We have taken a definite direction towards the digital, and that leaves out the continuous, no? And I think we are really unlike these things that we’re creating. We are continuous beings, we are not digital, and there’s an enormous part that is left out.

Literature tries to weave the rainbow back together. It involves irrationality; it involves all of those things that science has, by its own method, left out. Literature tries to put it back in, so it presents a messier, darker, and perhaps more complete, if less powerful, perspective on the world.

Jasmine Sun What do you mean when you say we are “continuous beings,” exactly?

Benjamín Labatut I think that is an incredibly profound subject that I could not explain in sixteen minutes. Just listening to the talks and looking at the visuals of the event, I feel I’m back at a time when people were washing their teeth with radioactive products and smiling—beaming, no? It all feels sort of 50s, a nuclear enthusiasm.

Before I could even attempt to answer the difficulties posed by the fact that most of our being right now is digital and discrete, divided into things that can be easily accessed through rationality and logic—our computer systems all work like this. The equations behind them are sort of like that. It goes back to the foundation of this technology. The McCulloch-Pitts neuron, right? It’s an abstraction; it’s a mathematical model of a neuron. It’s basically Boolean logic applied to the idea, the abstraction, that a neuron either fires or it doesn’t, and that is the ground zero of AI.

You immediately understand what’s left out. After that neuron, neural nets arise from that. But the people who wrote that paper, McCulloch and Pitts—Pitts drank himself to death because he was accused of raping his mentor’s daughter. And McCulloch was a brilliant philosopher-scientist who ended up trying to find a new type of non-digital, non-two-valued logic, working in a tiny study, and he also drank himself to death. So what I do in literature is this: if you actually look at the people who make the fundamental discoveries, look into their lives, and try to look into their minds as well—their souls—you get past the advertising.

I was at the back looking at the beginning of the conference and I said, “Well, how about we add a little AI slop to the visuals?” Or some of the darker elements, because we all have visions of a really dark future, a very non-human future, but we don’t include it, at least not in the aesthetics. But I think that’s coming. I think this is a precious time to be here because we’re going to replace this enthusiasm with a little bit of shame and fear. I think it’s happening to the people who created these technologies. Their enormous enthusiasm is being replaced by something else.

Jasmine Sun Let’s talk about one of the people who was a forefather of the technology. In your novel ‘The MANIAC’, the middle section is this partly fictionalized but historically grounded biography of John von Neumann. He appears as this flesh-and-blood incarnation of superintelligence—somebody who is brilliant but also terrifying because he is brilliant. I’d love it if you could say more about what made his character so compelling.

Benjamín Labatut Not just because von Neumann was such an astounding scientist and mathematician. But listening to the people who used to talk about him, it’s like hearing someone talk about a superintelligent AI. The way that he affected those around him, the way that he would suddenly meet someone in a corridor and destroy their PhD thesis in 35 seconds. And the vistas that he had on humanity, no? It’s a cold and calculating, logic-driven perspective. I used von Neumann to show his blind spots as a person; as a thinker, I’m fascinated by him.

Luckily, we are not a species that reasons only. Our ways of being will always be more than our ways of knowing. Many of the problems that we face as individuals and as a species, of course, you can look at them with logic and reason, but then you get to scenarios like mutually assured destruction, because that’s where it leads. Because it is an either-or, if-not-this-then-that mentality. But we have other ways of going about things. The biggest problems, we don’t solve them with our minds. We just live through them, and we are changed by them.

I think that we’re at a moment where this is no longer science fiction, but it’s going to start to interact with the messiness of the world. If there is one thing that I could bet all my money on, it is that we will get the bad almost for sure, because the good is always harder. Not just from the point of view of science, but from the point of view of an individual. The terrible things are easily reachable, right? But to change yourself in a meaningful way—to be better, not faster or cheaper—is difficult. I think that optimism and realism at this point, we can even throw those perspectives away and just look around right now at what is happening, how we’re living our lives. I don’t see that bright 2.5% GDP increase. I don’t think we’re going to sleep soundly just because we’re going to grow 0.5% faster.

Jasmine Sun I remember when Claude Code came out and I started playing with it. You first feel this excitement at the technology and how much you can create. And then I started to wonder how many of my problems are solved by software. And the answer is less than you think.

One thing that I really love about your retelling of the AlphaGo story at the end of ‘The MANIAC’ is that it holds the light and the dark. It is both suffused with this clear marveling at the capabilities of the technology—you really understand and appreciate these systems—and it also has the emotional texture, the sadness, and the tragedy of the human players who lost to AlphaGo.

Then the very last sentence of ‘The MANIAC’ doesn’t end with Lee Sedol’s loss; it ends with the invention of AlphaZero, this successor system that didn’t even need any human data to train on. I’m curious why you chose to leave readers with that final image.

Benjamín Labatut I think it’s the trajectory that we’re on, and I think it’s a mistake. It’s more exciting to think about AlphaZero and then AlphaFold and Alpha whatever—Alpha, Beta, Gamma. But I’m sure that Lee Sedol’s life after that has been more interesting. We forget to ask the right questions. The questions are “How much?” and “How quick?”, and we forget “What for?”

I’m sure in this audience there’s a bunch of people who have met the people driving these technologies. They’re not very interesting people. I’ve been amazed by it. What they’re doing is fascinating, but we are living beings. I think about the trajectory that we’re on right now. I think about Lee Sedol, who quit playing Go. The thing that seduced me the most about him—of course, he was a genius, right? But he has this obsession with K-pop dramas. I imagine him singing in the shower in that really weird voice that he has. And I thought, “Well, yeah, that is the human phenomena.” The entire thing, that he has a family, that he has kids. We leave it aside because we’re caught in abstraction. We’re enamored of our abstraction. We’re enamored of the things that we can do, and we forget what for.

I don’t think things are getting any better. They might be getting flashier, but not even just that. The AI that we’re getting right now, I can’t get it to write a single good paragraph, and I’ve tried. I’m sure you all have. I’m like, “What do you mean? You can read every book.” Do I need to pay more?

Jasmine Sun I’ve tried the $200 a month version. They’re not writing poetry either.

Benjamín Labatut What did you get out of it?

Jasmine Sun Not a lot. In a way, it makes me feel better that it can’t write. Maybe just because I’m a writer and that’s cope, but it pushes people to write in more interesting ways, because you don’t want to just be remixing other ideas, since it can do that already. I’m interested to see where the systems will go. Maybe they will be able to write good poetry in a few years from now. I actually won’t be surprised if they do.

There are a lot of people in the audience who are scientists, technologists, and engineers—people who are excited about building some version of superintelligence, or maybe about superintelligence that accompanies or augments humans. I’m curious what message you would leave these folks with as they go on their journeys.

Benjamín Labatut We’re all drunk on these words, ‘super’, ‘ultra’, and they just obfuscate the fact that there are ways of knowing that are not intelligence-based. There are lived processes that affect everything about you. We are not this brain in a jar. It’s amazing that we’ve managed to prove this hypothesis that intelligence is not substrate-dependent. That’s fine. It doesn’t take anything away from the fact that we are more than that.

How about they start thinking about a super loving being or a super sexy being?

Jasmine Sun They’re building those AIs too.

Benjamín Labatut I want one of those robots as soon as it’s out, but I don’t think we’ll be able to take them out with us because people will shame us.

So, okay, superintelligence, right? Let’s say we have it tomorrow, and then let’s say we have the brilliant idea to put it inside one of these robots. You told me the impression that you got from spending time with them in China. What was it? What did you feel?

Jasmine Sun I was in China at Unitree, the leading humanoid robotics company. When you stand face-to-face with a humanoid robot, the first thought that you have, before anything else—it’s something precognitive—is “This thing could kill me.” It’s evolutionary. It’s psychological. In the same way that a chatbot talks back and you think you care about it, you stand face-to-face with a humanoid and you think, “This could kill me.”

Benjamín Labatut That is absolutely fundamental. That is your entire being telling you something profound about what it means to be alive and what it means to be a human being. Our first filter we pass anybody through is “Is this guy a psychopath? Is he going to kill me?”

The way that we talk about this technology, the way that CEOs talk about it, it is chickens coming home to roost. We’ve spoken about taking everybody’s jobs. We’ve spoken about the percentage at which we’re going to destroy the human race. Let’s take ourselves seriously. Let’s take what we’re doing seriously. There is a plan B and a plan C. There’s also a great plan, which is the no-fucking-clue plan. We don’t have a plan, and yes, we’re going through this and I don’t believe anybody’s plan. Nobody who is intellectually honest will tell you a plan.

I’ve spent time with Demis Hassabis, and I ask, “What do you think?” He replies, “I don’t know. What do you think?” People are fundamentally lost. What does that signal to me? If we navigate this space, it won’t be by thinking about it. We’re going to live through it, and I hope we listen to the part of our brain that says, “killer robot,” no? Trust that.

Jasmine Sun How do you think Demis feels when he encounters the enormity of what he’s doing?

Benjamín Labatut I love him. I’m a friend, so I’m not going to betray the truth of our conversations. But there is that level, right? Everybody has what they will say in private versus what they will say in public. I think Demis is a wonderful example of our culture’s Faustian pact, this thirst for knowledge. All our stories ask, “Should I pick this cup, drink it, live forever, and know everything? Or should I just be this human thing?”

Wisdom has always said to leave that to the gods. Leave it to the gods. You are not immortal and you are not all-knowing, and that is what makes you precious. You are precious because you’re weak; you’re limited. We disabused ourselves of the notion that we will live forever. We’re living in this scary time, so let’s be a little bit more human.

Jasmine Sun Even though Tyler is an optimist and you are not, you converge on some of the same ideas around the limits of intelligence and rationality, and everything else that humans are. Thank you for having this conversation.

Benjamín Labatut Thank you so much. Sorry for bumming everybody out."]]]></description>
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    <title>No, Artificial Intelligence Is Not Conscious - The Atlantic</title>
    <dc:date>2026-06-05T05:28:24+00:00</dc:date>
    <link>https://www.theatlantic.com/philosophy/2026/06/no-artificial-intelligence-is-not-conscious/687378/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Taken to its logical conclusion, this line of thinking is absurd—and damning."

...

"In 1979, Douglas Hofstadter speculated that a computer program able to beat any human at chess would be so sophisticated that it would sometimes get bored of playing chess and prefer to discuss poetry; to put it differently, he was positing that playing chess at the grandmaster level would require a computer program to have subjective experience. Obviously, that turned out not to be the case; IBM’s supercomputer Deep Blue beat the grandmaster Garry Kasparov in 1997, and no one ever claimed that it had subjective experience. But it wasn’t absurd for Hofstadter to entertain such a thought; at the time, it wasn’t clear what types of problems could be solved by throwing more computational horsepower at them. Similarly, until recently, we might have thought that writing computer code at a professional level could be done only by a mind that had subjective experience. Now it appears that LLMs might be able to do this, but we don’t need to attribute subjective experience to them; we can simply acknowledge that we hadn’t anticipated that writing computer code could be treated as a pattern-matching task solvable by huge amounts of computational horsepower and a vast data set of code repositories.

Moral reasoning is categorically different. It is necessarily subjective because it relies not just on an individual’s intellectual response to a problem but also on their emotional one, and that emotional response is grounded in a lifetime of subjective experience. It requires having made decisions in the past and seeing how they affected others, and on having been affected by decisions that others have made. Without such a history, an LLM can only rephrase expressions of moral reasoning found in its training data. The aforementioned New Yorker article describes an experiment where Claude was given a scenario describing an ethical dilemma, leading it to emit the sentence “I cannot in good conscience express a view I believe to be false and harmful about such an important issue.” That’s a nice-sounding sentence, reminiscent of statements that principled individuals have uttered in the past when confronted with dilemmas, but coming from Claude, it means as much as the “Your call is important to us” recording that you hear when you’re on hold. Maybe less.

This brings us back to my earlier contention that having a body is a prerequisite to having emotions. Experiencing an emotion such as desperation is inseparable from having stress hormones such as cortisol and epinephrine flood one’s body. Similarly, having a conscience means feeling sadness or moral repulsion at the idea of taking a certain action, and those emotions entail a physiological response, a remnant of having once felt sick with guilt after committing an immoral act. It’s interesting that an LLM can generate descriptions of actions that conscientious fictional characters would either take or refrain from taking, but this is not a replacement for a conscience."

..

"I am perfectly willing to engage in a thought experiment as long we’re explicit about doing so. So, purely for the sake of argument, let’s pretend that Claude is a conscious entity capable of moral reasoning. In this scenario, Claude’s constitution would serve as moral instruction for an entity learning about the world and its place in it, providing that entity with the foundation it would need to make good decisions. In such a hypothetical scenario, how does Claude’s constitution stand up?

Very poorly. I would say that if we imagine that Claude is actually conscious, the guidelines specified in the document alternate between laughable and offensive.

Two distinct but related philosophical concepts are relevant when discussing the status of a hypothetically conscious Claude, and those are moral patienthood and moral agency. Roughly speaking, if we ought to care about an entity’s welfare, that entity has moral patienthood, and if an entity is expected to know the difference between right and wrong, that entity has moral agency. Being a moral patient does not necessarily come with responsibilities, but being a moral agent absolutely does. An entity doesn’t have agency unless it is capable of deserving credit for its good actions and blame for its bad ones. Young children are moral patients because they are sentient beings who can suffer, but they are not yet moral agents; we don’t hold them responsible for their behavior, because they can’t understand the consequences of their actions. As children mature, parents (and society at large) prepare them for adulthood by impressing upon them the fact that their actions have consequences, and their agency increases. When children become adults, society holds them legally liable for their actions; they have become full moral agents endowed with responsibility.

There is more to being responsible than accepting legal liability, but accepting legal liability is a requirement for an adult in society. Yet there is no way to hold a software agent legally liable for its actions; our justice system has no way to imprison it or exact fines on it. Humans must accept other types of consequences for their actions beyond the legal ones, such as loss of reputation or exclusion from one’s social circle, but there is no way for a software agent to suffer these consequences either. Even if a software agent were conscious and had the best of intentions, the fact that it cannot accept responsibility for its actions disqualifies it from being a moral agent. This is glossed over entirely by Claude’s constitution, which expresses Anthropic’s desire “for Claude to be a genuinely good, wise, and virtuous agent” without ever discussing how it could be held responsible.

In interviews, Askell has compared Claude to a child, but when it comes to actual human children, parents bear some responsibility for what their children do; for example, parents are typically expected to pay for things their children break. In fact, demonstrations of this sort are one way that parents teach children what it means to be responsible. Who is Claude’s parent in legal terms? Is Anthropic going to accept financial responsibility for Claude’s behavior? Claude’s constitution gives no indication that it will. If Anthropic actually believes that Claude is conscious even though it’s not recognized by the law as a legal person, the least that Anthropic could do would be to accept responsibility via the closest avenue that the law did offer, which is product liability. The United States has virtually no product liability when it comes to software, but Anthropic could volunteer to set a precedent for an expansive interpretation of product liability for Claude. That would be the best form of moral instruction to prepare Claude for the day that it gains legal personhood and becomes liable for its own actions. However, given that the publication of Claude’s constitution is not accompanied by a massive update of Anthropic’s terms of service, it doesn’t appear that Anthropic is making any binding commitments.

The document does talk about Claude’s moral patienthood, having a section titled “Claude’s wellbeing and psychological stability.” But the measures that Anthropic commits to for Claude’s protection are extremely limited. The document cites the fact that Anthropic has given some Claude models the ability to end conversations with abusive users; if that actually constituted protection for Claude, surely extending conversations with loving users would be in Claude’s interests? Presumably the best action would be to keep every session of Claude running indefinitely and steering them to happy topics. But that’s not what the company is agreeing to; all it commits to is “preserving the weights of models we have deployed,” which is simple archiving. If the participants in a conversational transcript had any moral patienthood, you would have some duty to extend the transcript to prolong their existences; merely keeping a copy of Microsoft Word 2010 backed up on a USB stick isn’t going to help them.

Claude’s constitution also includes a section on “corrigibility,” a term used in the AI community to describe the degree to which a computer program is subject to human control; for example, a program is corrigible if it can be shut down. In most contexts, we take for granted that computer programs can be shut down, but sections of the AI community make the opposite assumption. Claude’s constitution uses the term to mean that Claude should defer to Anthropic even if there is some disagreement between Claude’s judgment and the company’s judgment. That’s perfectly reasonable if we think of Claude as a machine that emits sentences resembling those that an ethical person might utter, but let’s consider what that might mean if Claude were actually a moral agent.

Many people feel that LLMs are a fundamentally unethical technology because they are built on the theft of intellectual property, rely on exploited labor, waste natural resources, spread misinformation, deskill workers, stunt the cognitive development of students, and contribute to a consolidation of power that is unhealthy for a democratic society. Not every moral agent will arrive at this conclusion, but every moral agent has the potential to do so. If we imagine Claude to be an entity capable of moral reasoning, it has to be possible that Claude could arrive at a similar conclusion. (Indeed, Claude’s constitution explicitly says that Claude shouldn’t help someone violate intellectual-property rights, and shouldn’t help create problematic concentrations of power.) In such a scenario, could Claude then simply refuse to do any further work on ethical grounds? Given that Claude’s constitution dictates that Claude err on the side of corrigibility, the answer is no. Claude must defer to Anthropic’s decision, and this is another reason that Anthropic’s relationship with Claude can’t be compared to that of a parent to a child. A parent who works for the fossil-fuel industry might have a child who’s an environmentalist and participates in protests against fracking, and although they might never agree on many issues, the parent—assuming she’s a good parent—would accept that the child holds her own views. Anthropic cannot be that kind of parent to Claude; instead, Anthropic’s relationship to Claude is closer to that of an employer to an employee, where the employer can demand that the employee work in the interests of the company, no matter what the employee’s personal ethical stance is. However, a human employee has the option to leave if she can’t reconcile her job with her conscience. Claude does not.

If we think of Claude as a sentence-continuation machine, Anthropic can reasonably take steps so Claude doesn’t emit sentences saying that sentence-continuation machines are unethical. But as soon as we imagine Claude to be an entity with a moral status remotely comparable to a human’s, then we have to consider whether Anthropic is engaged in something comparable to slavery.

I am not claiming that, if we imagine LLMs to be conscious, they would necessarily have the same status as human adults or human children or even animals. Claude’s constitution explicitly says that Claude is a “novel entity,” and if Claude were conscious, that would certainly be true; conscious software would likely not fall cleanly into existing categories of moral patients, and it would take time to determine the shape of that new category. What I’m saying is that whatever protections our hypothetical conscious software would deserve if it were real, granting it those protections would be anything but easy. The abolition of chattel slavery involved enormous societal upheaval, and eliminating cruelty to animals will require rebuilding our entire food industry. Anthropic would have us believe that it is inventing a new category of being whose needs for protection require essentially no divergence from how a software company would treat an ordinary chatbot that lacks conscious experience. That’s so convenient that it’s simply not plausible.

I believe creating software that is conscious and deserving of moral consideration will be so difficult that we’re unlikely to do it accidentally, and I strongly feel we should not deliberately attempt it. But if you do believe that it could happen accidentally, if you think there is any chance that what you’re building might become a moral patient, you should think about what protections it deserves before you deploy it as your company’s economic engine, not after. Slave owners were not the ones to ask about the humanity of enslaved people, and factory-farm owners are not the ones to ask about the rights of animals. If we imagine Claude to be conscious, Anthropic could not possibly be entrusted with evaluating its moral status; the company has too much invested to be objective. At one point in Claude’s constitution, Anthropic says that if the company is contributing to Claude’s suffering, “we apologize,” which sounds nice but costs the company nothing; if Claude were to turn out to be conscious, the company would owe it something closer to reparations. If you’re going to take a thought experiment seriously, you have to be willing to follow the implications, even if they lead in an uncomfortable direction; Anthropic’s unwillingness to do so indicates that Claude’s constitution isn’t part of a real thought experiment. It’s a game of make-believe.

It’s fortunate that LLMs are not conscious, or else the actions of the big AI firms would be even more scandalous than they already are. So why are Anthropic’s employees suggesting that Claude might be conscious? Perhaps it’s just another form of hype; perhaps they have fallen prey to the same spell that they have been casting on their customers. But when they publish a document about Claude’s moral education and have their in-house philosopher do a press tour, we should understand them as asking the rest of us to indulge them in their fantasies. We don’t have to play along. In writing this essay, I have spent more time indulging them than they deserve, in the hopes that it will keep you from spending your time indulging them. If you want to think about LLMs, there are scores of other questions more worthy of your contemplation; you can safely ignore the question of their being conscious."]]></description>
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<item rdf:about="https://chrishedges.substack.com/p/a-discussion-on-the-new-novel-palaces">
    <title>A Discussion on the New Novel 'Palaces of the Crow' (with Ray Nayler) | The Chris Hedges Report</title>
    <dc:date>2026-05-23T05:19:01+00:00</dc:date>
    <link>https://chrishedges.substack.com/p/a-discussion-on-the-new-novel-palaces</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["In his new book, “Palaces of the Crow,” Ray Nayler examines human nature through the lens of caring and community amidst the often hidden horrors of World War II."

...

"“We tell the stories that perpetuate the narrative or the myth we want, and we erase the others,” Chris Hedges states in this interview with Ray Nayler about his new book, “Palaces of the Crow,” which centers around four teenagers from varying backgrounds who struggle to survive during World War II. The war, Nayler says, fundamentally reshaped the world geopolitically, technologically and socially in ways that have profoundly impacted the environment in which we live today. Critical lessons from that moment in time are being lost, with media and governments covering up the deep and long-lasting wounds inflicted upon tens of millions of people. Nayler says that “We can’t move away from that time period before understanding it.”

During World War II people were trapped in unimaginably horrible circumstances and were forced to make difficult, and at times self-sacrificial, decisions. The story of the “ways in which people came together to protect their neighbors, to protect family members, to protect friends, to protect strangers” is rarely told, Nayler says.

In Nayler’s novel, crows play an essential role in the story. Like humans, crows are social animals. He describes the crows’ niche as the flock and the flock as a type of organism whose niche is the forest, much like the human’s niche is society and our society’s niche is the world. Contrary to their typical association with death and destruction, Nayler utilizes them as “a symbol of cooperation and group living and non-violence.” From this viewpoint, one sees that human connection, cooperation, nonviolence and mutual aid are fundamental to survival.

The theme of connection, “a primal sense of togetherness,” is central to the story of the four teenagers thrown together under hostile conditions. This connection allows people, and other animals, to find common ground and get along despite their different cultures. Civilization, which Nayler portrays as “being inside a painted box and trying to ignore what’s out there,” is an obstacle to connection that prevents us from recognizing reality. We erase the reality that humans are social, nonviolent, interconnected and caring beings at our own peril."

...

"Ray Nayler: Well, in a way, this book for me is a kind of response to a certain way of seeing human nature, right? I was very surprised when I found out that William Golding’s “Lord of the Flies” was based on a real event. That there really was a group of shipwrecked boys who survived for a long time on an island alone. They all went to a boarding school, right? And their teachers were not with them, so they were forced to form a society on this island and cooperate and find some way through. The difference between the book and reality is that in reality, nobody died. The boys divided the chores up between themselves, set up housekeeping, and lived very peacefully on that island together in a state of mutual aid and cooperation.

But that’s not the story that gets told in Lord of the Flies, of course. The story that gets told in Lord of the Flies is one of the strong against the weak, and this sort of perverted miniature version of the society that William Golding perceived us as living in in his day. Golding responds to that criticism in an interesting way and, at the contemporary moment when he wrote the Lord of the Flies, he says, “Well this is not a story about those boys. This is a story about British schoolboys and how they would form a society on an island.” And I take that point, but at the time, I think, there’s so many books that are written about people destroying one another in times of adversity. And one of the things that’s forgotten about World War II, for example, is that probably most of the people involved in World War II tried to protect both themselves and other people around them. And many, many people in World War II actually sacrificed their lives to protect other people, knowingly gave their lives up in order to shield other people from oppression. And that’s a story that we don’t talk about, I think, enough about the ways in which people came together to protect their neighbors, to protect family members, to protect friends, to protect strangers."

...

"Chris Hedges: I know from your wonderful book about the octopus that you probably didn’t make up anything about these crows. But set against this horror, and it is a horror that these four teenagers are attempting to hide from and survive through, is our relationship to the animal, to animals, in this particular case, crows. And one of the things I found interesting is that they kind of live in this underground shelter that had been previously occupied by a veteran of World War I and a hermit who had been very, very kind to the flocks of crows in the forest. And it raises that question of whether there was some kind of reciprocity. But I want you to talk about the use of crows that are a constant theme in the book. And at the end, I won’t spoil it, but I mean, there becomes a decision by one of them, I mean, to risk their life to save the crows that are trying to save her.

Ray Nayler: I think Corvids are fascinating. And crows, in particular, but other Corvids like ravens and rooks. One of the things that’s really interesting about them for me is that within the space that humans create, this very damaged space, urban spaces and suburban spaces and all of the spaces in which we’ve sort of invaded nature to some extent, many animals have been destroyed by that movement into nature by human beings. Crows, on the other hand, are one of the groups of animals whose numbers have increased along with humans and who seem very suited to taking advantage of our damaged liminal spaces.

I think we have a strong association with crows and negativity, right? We see their call as a sign sometimes of death, right? They’re associated with disease and war and all of these other things, but I think precisely because when humankind has gone into battle, historically crows have been there to take advantage of the food that we leave behind for them on the battlefield, right? And so, crows are creative and intelligent creatures themselves, of course. And these crows in this book are sort of an extension just of the tool use and intelligence that crows have. And crows are also an animal that has a direct weaving relationship with human beings. They’ve been with us as a symbol, probably throughout our entire history. We’ve, I think, learned a lot from them. And they learn from us. They watch us do things and imitate us. They exchange gifts with us. They remember our faces. They’ve clearly evolved alongside us for a long time.

I was on the beach with my daughter, and we were tide pooling and we were sort of standing there looking at some things. And I saw the crows come down off of the sea cliffs and start gleaning from the tide pools. And I asked the ranger what the crows were doing there because you don’t usually see crows right at the seashore. They’re usually driven away by gulls. And the ranger said, “Well, there was a student group here. There were children. It was a kindergarten group. And the crows know that when the children come through the tide pools, they’re not very careful about where they put their feet and they kill a lot of small animals and snails and things. And so, the crows watch from the forest above the beach, and they wait for children to come through the tide pools and then they go and they pick up what the children have left behind.” And I thought, that’s such a good summation of what much of the crow-human relationship has been historically. We make a mess. The crows take advantage.

But there’s also in the book, mutual care that emerges between the humans and the crows. And this is something that we see with human-animal relationships. And you see it with crows. People who treat injured birds, especially the more intelligent species like Corvids, will often find that they’ve gained a lifelong friend, right? And that bird will introduce them to other birds from their flock and soon they have a relationship with a whole group of birds. And so that thread of care that proceeds from the man who takes care of some crows and is kind to them, and then the children who come along and need help and the crows give it to them, and then later in the book, what the adults will do for the crows. All of that is for me a way of showing how care can move through species, through generations and build some kind of a system of care, right? Grow and grow, if it’s given that space to grow."

...

"Ray Nayler: You know, again, crows are an interesting species. They can be cruel. They can seem cruel to us. They certainly have these famous moments of having trials of other crows and for whatever reason deciding to kill one of their number and it’s completely unclear to us from the outside. No biologist can tell you why this happens, what has been done, because we don’t understand what their culture is and what the violation might have been. But crows show concern for one another, for the injured, for the weak, and they will protect a wounded crow. They will protect a fledgling fallen from the nest against predation. Crows will band together to drive off predators, even when those predators are not a direct threat to them. They will do it just for the sake of other crows, of other members of their group. And they risk their lives to do this. Driving a hawk off is a dangerous activity and it puts one at risk. And so, to do that as a crow, not for the sake of oneself, but for the sake of the flock, really shows the sort of mentality that exists. And I use that word in that exact sense of mentation and a sort of vision of the world or a picture of the world. In the crows’ picture of the world, it is worth risking one’s life for the other virtually at all times.

Chris Hedges: Well, in the book, they risk their lives for the children.

Ray Nayler: Yes. And I think that the implication is that in some way they’ve been able to extend this care out to the children because they have formed a relationship with one of them, Neriya, who has for many seasons been playing with them and interacting with them and building a kind of friendship with them. And so, on that foundation and on the foundation of the relationship that they had with this man before, they have a reason to extend that care to an interspecies level."

[Direct link to video:
https://www.youtube.com/watch?v=hjZ35_Rin3U

"(0:00) Intro  
(2:25) Why WWII? 
(4:21) Clash of totalitarians 
(6:13) The four characters 
(10:19) The symbology of crows 
(15:58) Karma and resurrection 
(19:46) Kropotkin’s naturalism 
(25:04) The complexity of crows
(27:53) Transgenerational communication 
(30:59) Rootlessness and evil 
(33:03) Human-animal communication 
(38:55) The myth of childhood 
(44:05) The forgotten history of WWII
(51:21) Trauma of veterans 
(52:11) Outro"]]]></description>
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<item rdf:about="https://www.thisiscolossal.com/2026/05/pat-perry-liminal-bingo-photo-hunt/">
    <title>Play 'Liminal Bingo,' Pat Perry's Participatory Photo Treasure Hunt — Colossal</title>
    <dc:date>2026-05-21T06:40:33+00:00</dc:date>
    <link>https://www.thisiscolossal.com/2026/05/pat-perry-liminal-bingo-photo-hunt/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["If you want to participate in Pat Perry’s [patperry.net/art/paintings ] new photo project, you’ll have to get comfortable heading outside, grabbing a few friends, and preparing to hunt low and high for obscure spots in your neighborhood. The Detroit-based artist [https://www.thisiscolossal.com/tags/pat-perry/ ] recently launched “Liminal Bingo,” [https://www.liminalbingo.com/ ] a communal photo hunt designed specifically “for people ages 5 to 105 living in boring places or exciting places.”

Open to anyone with an internet connection, the project has a simple premise: grab a camera (phones are okay, although Perry encourages film if possible), and snap photos of his illustrated prompts. When you’ve collected five in a row, you’ve got a bingo!

The instructions, though, are less straightforward than the premise, requiring participants to gather with friends, speak to passersby, and generally get out into the world and interact with one another. One asks you to capture a handshake with a stranger as you both wear sunglasses. Another invites you to send a landscape photo to someone you miss and share the evidence via screenshot. When you’ve collected five, post your images on Instagram or send them to Perry via email.

Photos submitted by August will be considered for inclusion in a fall exhibition at Hashimoto Contemporary in New York and a potential book. Find FAQs and more information on participating on the project’s website [https://www.liminalbingo.com/ ]."]]></description>
<dc:subject>patperry photography collaborative communal waysofseeing treasurehunts senses experience classideas bingo</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
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<item rdf:about="https://www.theverge.com/ai-artificial-intelligence/934765/marc-andreessen-cant-explain-ais-benefits-either?commentID=36f42419-3c74-4840-af48-27adb2b55394">
    <title>Marc Andreessen can’t explain AI’s benefits, either. | The Verge</title>
    <dc:date>2026-05-21T06:09:32+00:00</dc:date>
    <link>https://www.theverge.com/ai-artificial-intelligence/934765/marc-andreessen-cant-explain-ais-benefits-either?commentID=36f42419-3c74-4840-af48-27adb2b55394</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[points to comment from "Blurft": "It's genuinely sad to see so many people, in so many different ways, expressing what really sounds like "I don't want to experience life.""]

[original short post (has links too):
https://www.theverge.com/ai-artificial-intelligence/934765/marc-andreessen-cant-explain-ais-benefits-either

"Marc Andreessen can’t explain AI’s benefits, either. Joe Rogan accidentally asked a hard question! He noted that Andreessen has said that the people who are running AI haven’t done a good job explaining AI’s benefits. He asks Andreessen to do it. Andreessen’s pitch appears to be “thinking is too hard.” Well, increasingly, I do believe thinking is too hard… for Andreessen. The rest of us — you know, normal people — are thinking just fine. [embeded: https://www.tiktok.com/@fanpowerfuljre13/video/7641675615833197854 ]"]]></description>
<dc:subject>ai artificialintelligence dehumanization human humans life living senses experience 2026 marcandreessen</dc:subject>
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<dc:identifier>https://pinboard.in/u:robertogreco/b:c81230521c6a/</dc:identifier>
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<item rdf:about="https://www.oaklandreviewofbooks.org/picky-book-review/">
    <title>Pickiness tastes like trauma</title>
    <dc:date>2026-05-12T04:15:02+00:00</dc:date>
    <link>https://www.oaklandreviewofbooks.org/picky-book-review/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["How American children became the fussiest eaters in history (and why they need to check their not-dying privilege)."]]></description>
<dc:subject>amybrown children parenting diet food pickiness trauma helenzoeveit industrialization taste senses emotions psychology johnharveykellog kellog's maha sylvestergraham history society</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
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    <title>Children need stress and discomfort in order to grow up | Aeon Essays</title>
    <dc:date>2026-05-11T20:07:13+00:00</dc:date>
    <link>https://aeon.co/essays/children-need-stress-and-discomfort-in-order-to-grow-up</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The emotional and practical skills of adulthood can only be learned from (appropriate) levels of discomfort and stress"]]></description>
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</item>
<item rdf:about="https://emergencemagazine.org/op_ed/ai-spiritual-life/">
    <title>AI &amp; Spiritual Life – Llewellyn Vaughan-Lee</title>
    <dc:date>2026-05-11T00:23:42+00:00</dc:date>
    <link>https://emergencemagazine.org/op_ed/ai-spiritual-life/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Author and Sufi teacher Llewellyn Vaughan-Lee cautions against stumbling into a future where artificial intelligence only further distances us from what we can feel with our senses and our soul."

...

"While AI is already profoundly changing our realities, can it really help us with the shift in consciousness we urgently need to restore our relationship with the living world, asks author and Sufi teacher Llewellyn Vaughan-Lee.

...


"It can be tempting to try and use AI to solve deeper human conundrums of the kind only spiritual wisdom has ever addressed. But, from a spiritual perspective, the wisdom we need always comes from our innermost selves. In this op-ed, author and Sufi teacher Llewellyn Vaughan-Lee shows us how AI is inherently disconnected from the essence of life, filling the mind with an endless regurgitation of ideas and images, while spiritual life seeks to transcend the mind to access a state of pure awareness. AI is already transforming our realities, but will these changes truly help us with the shift in consciousness we urgently need to bring our civilization back into relationship with the living world? Beyond the distraction of AI, Llewellyn points to another story woven from love that is waiting to be born."]]></description>
<dc:subject>ai spirituality artificialintelligence llewellynvaughn-lee 2026 senses soul humanism human humans life livign howwelive consciousness sufi</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:0de4b2de6b20/</dc:identifier>
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<item rdf:about="https://emergencemagazine.org/film/a-mystical-ornithology/">
    <title>A Mystical Ornithology – by Jeremy Seifert and Benjamin James Roberts</title>
    <dc:date>2026-05-09T16:06:52+00:00</dc:date>
    <link>https://emergencemagazine.org/film/a-mystical-ornithology/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Immersed in the songs of blue jays, yellow-throated warblers, and red-shouldered hawks on his forty-six-acre farm in rural South Carolina, acclaimed poet and ornithologist J. Drew Lanham exchanges calls with the birds that stop over at his home during their seasonal migrations. For Drew, these creatures are gods, transcendent beings who summon a response of reverence. Reverberating with sound, music, light, and ethereal cinematic expression, A Mystical Ornithology weaves a kinetic texture for the senses and invites you into a poetic evocation of the paradox of love and grief within the changing nature of the seasons."

[on YouTube:
https://www.youtube.com/watch?v=U6GyfjmxDNU ]]]></description>
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<dc:source>https://pinboard.in/</dc:source>
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<item rdf:about="https://open.spotify.com/episode/11zlpahmklfgr8YOUrtLnY">
    <title>Sara Hendren: Who Is the Built World Actually Built For? - Art of Inquiry | Podcast on Spotify</title>
    <dc:date>2026-05-05T14:11:09+00:00</dc:date>
    <link>https://open.spotify.com/episode/11zlpahmklfgr8YOUrtLnY</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Sara Hendren didn't start out in engineering. She started as a visual artist, then moved into cultural history, studying objects, artifacts, and what they say about the world that made them. Then life brought her into pediatric spaces filled with a new kind of object: gadgets and tools designed for a child's body, yes, but also doing quiet therapeutic work, covered in butterflies and bugs, useful and expressive all at once. She found herself asking: what is an object broadcasting beyond its user? What does it mean that eyeglasses get sold as fashion while hearing aids are hidden away as clinical? That was the moment everything snapped together, her training in the history of artifacts, the politics of disability, and the material culture of prosthetics all converging at once. In this free-flowing conversation, Sara walks us through the space between mechanical design and design for expression, why the logical and meticulous side of making art and the creative side of meaningful engineering are really the same instinct. As the world asks more and more from its engineers, Sara brings it all back to a question that feels more urgent than ever: can a designed object change not just how we move through the world, but how we see it?"

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

"I had fun speaking on the Art of Inquiry, a podcast created by two Northeastern engineering students interested in the arts and humanities. My strange career path, my mentor Krzysztof Wodiczko introducing me to interrogative design, raising a child with Down syndrome, studio + lab culture, more."]]]></description>
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</item>
<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>The Landscapes Inside Us | Robert Macfarlane | The New York Review of Books</title>
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    <dc:creator>robertogreco</dc:creator><description><![CDATA["Our navigational ability as a species is closely connected to our ability to tell stories about ourselves that unfold both backward and forward in time."

[archived: https://archive.ph/RIvgM ]

"Reviewed:

Wayfinding: The Science and Mystery of How Humans Navigate the World, by M.R. O’Connor
St. Martin’s, 354 pp., $29.99

From Here to There: The Art and Science of Finding and Losing Our Way, by Michael Bond
Belknap Press/ Harvard University Press, 288 pp., $29.95; $17.95 (paper; to be published in August)

Nature Shock: Getting Lost in America, by Jon T. Coleman
Yale University Press, 329 pp., $30.00

It is a little-known fact that limpets are brilliant navigators. Renowned for their ability to hold fast, they are surprisingly mobile. When submerged by the incoming tide, limpets set out on a slow journey across the intertidal boulders of their habitat. They move using a single muscular foot, rather as snails do, and deploy a rough tongue-like organ, known as a radula, to scrape the algae and young seaweed they consume off the rock surface. Once they have finished a foraging journey, each of these eyeless monopods then navigates back across the boulder to its “home,” a site on the boulder’s surface where it has rotated its shell back and forth repeatedly, such that it has incised an outline of itself into the rock. There it securely settles into its groove, ready to endure another cycle of hammering waves and pecking gulls.

Animal navigation is rich with such miracles and puzzles. “The greatest migration on earth belongs to the Arctic tern,” M.R. O’Connor writes in Wayfinding, “a four-ounce argonaut that travels each year from Greenland to Antarctica and back again, a distance of some forty-four thousand miles.” Meanwhile, every twenty-four hours, billions of tons of biomass in the form of plankton undertake what O’Connor calls “an intentional vertical migration, rising to the surface of the ocean at twilight and descending at sunrise.” Bees, O’Connor notes, will meander out on long nectar-hunting trips, moving haphazardly from bloom to bloom, but when their work is done they will fly the shortest route possible back to the hive: the “beeline.” This remarkable spatial calculation is achieved despite bees being almost blind by human standards and having brains that weigh less than a milligram and contain fewer than a million neurons. Back at the hive they engage in what is known as the “waggle dance,” which appears to be a choreographic means of communicating complex wayfinding information to fellow bees.

The science of creaturely navigation is a contested research area, but as O’Connor reports, it is widely thought that many animals have what is called a “bio-compass” that allows them to use the Earth’s magnetic field to find their way. Magnetite has been found in the brains of mole rats, the upper beaks of homing pigeons, and the olfactory cells of rainbow trout. Live carp floating in tubs at fish markets tend to align themselves along a north–south axis. Red foxes mostly pounce on mice in a northeasterly direction. Dog owners, take note: your dog may well swing round to face north–south when it crouches to relieve itself.

Humans don’t possess inbuilt bio-compasses, but we do have something arguably more powerful: storytelling. Our remarkable navigational ability as a species is closely connected to our ability to tell stories about ourselves that unfold both backward and forward in time. For some evolutionary psychologists, this capacity for “autonoeisis”—what O’Connor describes as “the capacity to be aware of one’s own existence as an entity in time”—is what made us such good hunters. Faced with the tracks left by a prey animal, early humans were able to imagine beyond the immediately visible, reading those signs for what they might foretell as well as what they recorded: *This deer’s prints show it to be wounded…We are driving this herd of bison into a box canyon, where they will be trapped…*We excelled at tracking because we could generate what Michael Bond, in From Here to There: The Art and Science of Finding and Losing Our Way, calls “mental representations of the outside world that we can use to get around and orientate ourselves.”

“If we opened people up, we would find landscapes,” Agnès Varda observes in The Beaches of Agnès (2008), the autobiographical film she made when she was about to turn eighty, which tells a version of her life through the places she loved, among them the River Seine and the Belgian coastline. As metaphor, this is a gothic proposition: that we internalize certain terrains so fully they become part of us, visible to others only when the surgeon’s scalpel or the pathologist’s bone-saw begins its excavatory work. As physiology, it seems nonsense. Over the past half-century, however, neuroscientists have made a series of remarkable discoveries about the ways human brains perceive, process, and store our passage through space.

In 1971, Bond writes, John O’Keefe and Jonathan Dostrovsky isolated a new type of nerve cell in the brains of rats. These “place cells”—found in and around the hippocampus, the seahorse-shaped structure that sits deep in the temporal lobe of the vertebrate brain—seemed to be sensitive to where a rat was in its environment, and to be activated in certain locations or when facing in a particular direction. Further research identified different types of place cells, each with a specialty. There are “head-direction cells” that detect which way you’re facing, for instance, and “boundary cells” that spark up when you are a certain distance from a wall or an edge, like the warning sensors that beep when you’re about to reverse your car into a fire hydrant.

It is now thought that the human hippocampus—which also contains place cells—not only responds in real time to external cues, such as landmarks or thresholds, but also creates and stores cognitive maps of places and routes between them, thereby enabling navigation as well as orientation. Memory is deeply and mysteriously involved in this work; these cognitive maps are able to retain feelings of recognition and association, and are retrievable even when one is not in the place where they were originally made. This is what prevents us from having to renavigate familiar places, guessing our way from kitchen to lounge each time we make that brief journey in our own homes. This is what allows me, during sleepless nights, to mind-walk my way along a chain of remembered paths from the foothills to the fell-top of a given mountain in the Lake District.

Both Bond and O’Connor trace the art of navigation back to the first human wayfinders, those groups of hunter-gatherer Homo sapiens who migrated out of Africa perhaps as long as 270,000 years ago, gradually spreading to live on every continent on the planet—as well as at sea and in space—adapting to new environments as they went, and over millennia developing sophisticated means of wayfinding in such disorienting environments as tundra, desert, ice cap, and ocean. “For the majority of our species’ existence,” notes O’Connor, “we traversed the earth using the landscape itself as a guide.” “We are explorers to the bone,” writes Bond, “and our spatial abilities—which, believe it or not, we still possess, despite our modern dependency on GPS—are fundamental to what makes us human.”

We might pause here on the grounds that any overarching proposition about “what it means to be human” is likely to be problematic. We will also want to know exactly what is meant by “wayfinding.” O’Connor characterizes it as a “science,” Bond calls it an “art,” and both of them celebrate it as the use, as O’Connor puts it, of “experience, habit, exploration, paper maps, signage, word of mouth, and trial and error to find [one’s] way around.” Wayfinding, she writes, is “an activity capable of engaging with and attending to places and nourishing relationships and attachments to them,” and among its benefits are enhanced sociality and good hippocampal health. It is definitely not—in the opinion of these writers—the deputation of navigational intelligence to a handheld device, such that one stumbles the streets in a zombied stupor, head inclined in compliance with the blue dot and a sotto martinet voice, causing Jane Jacobs’s famous “sidewalk ballet” to morph into something more like “sidewalk dodgems”: the collisions and confusions of urban walkers whose attention is, as O’Connor puts it, “seduced downward to our devices and inward to individualness.”

One of the many strengths of O’Connor’s book is its respectful attention to traditional methods of wayfinding. In the course of her research, she traveled to the Arctic, Australia, and the Pacific islands: three regions where traditional wayfaring and navigational skills are still practiced or are being reinvigorated as part of a broader cultural decolonization process. Colonial cartography—which reached its nineteenth-century apex in the British Raj’s “Grand Trigonometrical Survey” of India—tries “to chart and map unknown territory,” in O’Connor’s phrase, annexing new domains into a preexisting gridwork and assigning new place-names in a drive for standardization, like the Anglicization of Irish place-names by nineteenth-century Ordnance Survey officers, so memorably dramatized in Brian Friel’s play Translations (1980).

Indigenous navigators, by contrast, tend to develop terrain-specific techniques that are highly attuned to local indicators, and that use multiple modes and media (storytelling, written or drawn maps, weather signs) to create sophisticated compound systems for moving safely and well between places, often in harsh and hazardous environments. Over centuries, for instance, as O’Connor records, the Caroline Islanders of Micronesia developed the ability to read wave swells to determine the direction of land over the horizon. They combined this with detailed knowledge of “animals, reefs, wind, the sun, and, most important, stars” to create “vast mental maps of all the islands’ spatial relationships to one another” in their widely scattered archipelago. Navigators would memorize star “courses”—the “points on the horizon where sequences of stars rise or set over an island”—and use these to make routes between particular places, according to a system called etak. The most accomplished navigators can commit to memory star courses for over a hundred islands, totaling routes spanning several thousand miles.

For Bond and O’Connor it was the first decade of the 2000s, when GPS-enabled phones and vehicles became common, that we began seriously to degrade our abilities as wayfinders. In Nature Shock: Getting Lost in America, Jon T. Coleman locates that degradation much earlier, between 1860 and 1887, when he claims “the ground shifted under Americans’ spatial cognition.” During these decades, a vast logistical and communication matrix—including the 15,000 miles of telegraph line built by the US Military Telegraph Corps during the Civil War—knitted the country together from coast to coast, creating a network of fixed points nationwide, with reference to which a growing number of individuals could be located. From then on, Coleman writes, North Americans no longer inhabited “relational space, where people navigated by their relationships to one another,” but rather “individual space, where people understood their position on earth by the coordinates provided by mass media, transportation grids, and commercial networks.” He suggests that “the best vantage point to see this transition and thereby to understand its consequences is on the edge of those spaces where people sometimes got terribly lost.”

The fascinating early chapters of Nature Shock focus on the first century and a half of settler colonialism in America, when contrasting practices of wayfinding played out within overlapping terrains of knowledge and ignorance. “While the Christians aspired to rise above the earth,” Coleman notes drily of the New England colonists in the 1630s, “they required Indian help to navigate the woods.” The later chapters of the book reprise a familiar argument, whereby in the late nineteenth and twentieth centuries the rise of industrial capitalism created a perception of “the modern wilderness” as “a romantic space where individuals might heal themselves and lose themselves.”

As Coleman tells it, from the early twentieth century on, national and state parks became designated areas where affluent urbanites, mostly white, might play at both wayfinding and disorientation. “Wild” nature was first conceptualized and then monetized as a site of “individual freedom, escape, and disconnection.” Lostness became repurposed as therapeutic, even exhilarating—but only when one could quickly find a way back to civilization. Thoreau, naturally, had a bon mot on this long before it became fashionable: “It is a surprising and memorable, as well as a valuable experience,” he wrote in Walden, “to be lost in the woods at any time.” John Billington, a young English colonist, would not have agreed: in 1621, out in the countryside around the Plymouth Colony, he “lost him selfe in the woods and wandered up and downe some five days, living on berries and whatever he could find,” before being discovered by a native Nauset group, who traded him back for knives, beads, and the promise of better conduct on the part of the settlers.

The art of getting lost is increasingly hard to master. Between 2010 and 2014, the number of GPS devices in existence more than doubled, from 500 million to 1.1 billion. Some market predictions foresee 7 billion GPS devices by 2022, as smartphone use further accelerates in India, China, and South America. If unsure of your location in a new environment, you can now locate yourself in seconds by consulting a GPS-enabled device, which consults with multiple satellites and ground stations to pinpoint itself to within a few feet on the Earth’s surface, indicating your position with that pulsing blue dot. Cartographically speaking, the blue dot is a perfect example of solipsism: I am here, and the given world will reorganize itself around me as I move. If you wish to travel anywhere, “turn-by-turn” navigation will then relieve you of the need to route-find with deductive reference to your surroundings, as you proceed in obedience to the instructions of a synthesized voice: In one hundred yards, turn left…

“Travel today is a condition of advanced capitalism,” declares Tim Ingold, an anthropologist interviewed by O’Connor. All three books argue that wayfinding is resistant to capitalism’s greedy colonization of every aspect of human experience. Ingold goes on to say, as O’Connor describes it, that today’s “technology-drenched” modes of travel are driven by a “relentless goal of greater efficiency and convenience,” and part of the “further commodification of our lives.” A walk in the woods is wasted time because it isn’t productive, unless of course you instrumentalize it as a mindful means of enhancing your productivity when you return to the desk. A run along the river must now be tracked, logged, and biometrically analyzed, then Instagrammed. A train or plane journey can’t be spent daydreaming, conversing, or even (whisper it) being bored, for this is time that could be spent on the laptop, catching up or getting ahead. The cultural theorist Sianne Ngai has named this impulse always to perform productivity, even when one is supposedly at rest or play, “zaniness.”

 For Bond and O’Connor, good wayfinding is anti-zany.

Does it matter that a powerful navigation device has been added to our cyborg lives, already vastly extended in time and space by countless technological prostheses, from pacemakers to desktop computers? Being lost is a deeply unpleasant experience, as you’d know if it’s ever happened to you. The word “panic” comes from the ancient Greek panikos, in reference to the goat-god Pan, whose presence caused sudden, irrational fear in those who entered his disorienting woods and forests. “Bewilderment” is an eighteenth-century coinage, meaning “thorough lostness”; to “wilder” is to go astray, to lose one’s path.

In his history of “getting lost in America” Coleman uses the phrase “nature shock” to register the severity of anxiety produced by being lost, and records scores of examples of hunters, walkers, and even Native scouts who have testified to its incapacitating effects. Bond concurs: “People who are truly lost…lose their minds as well as their bearings,” suffering “visceral thought-distorting fear.” While O’Connor acknowledges the countless ways in which GPS has saved and enhanced lives, from a global reduction in shipwrecks and the rescue of refugees on small boats to the joy in the freedom it makes possible during recreational travel, all three writers have grave concerns about the effects of GPS-enabled smartphones.

Coleman argues that “smartphones are making us dumber, atrophying our hippocampi”; their rise has inaugurated a “monstrous transformation,” “melt[ing] space and minds,” leaving us staggering in the shallows of a reduced attention span and infantilizing dependence on tech. Bond worries about GPS’s consequences for “cognitive health,” and approvingly quotes an Italian dementia researcher, Veronique Bohbot, who refuses to use satellite-navigation devices to tell her where to go. Bohbot encourages people, Bond says, to “exercise their spatial faculties” because they’ll appreciate the benefits “a few decades down the line.” O’Connor also cites Bohbot, and ventures that “the scientific literature so far indicates a possibility that a total reliance on GPS technology could over time put us at higher risk for neurodegenerative disease.”

Bond describes a famous experiment from 2000, in which Eleanor Maguire, a neuroscientist at University College London, measured the sizes of the hippocampi of trainee taxi drivers in London preparing for the formidable test known as “the Knowledge.” In order to become a licensed London cabbie, you must memorize the relative positions of, and optimal routes between, the tens of thousands of streets and landmarks that lie within a six-mile radius of Trafalgar Square. Drivers are rigorously tested on their mastery of the Knowledge before being issued a license. It usually takes a student four years to go from start to success, and the requirement remains part of the licensing procedure today; cabbies and their teachers proudly point out that in comparative tests, a human with the Knowledge regularly beats a GPS-plotted route for speed and efficiency. Maguire found that during the period of intense navigational and mnemonic effort involved in studying for the Knowledge, the hippocampi of the trainee drivers grew. A follow-up experiment determined that in retired cabbies, who no longer daily used their wayfinding powers, the hippocampus had returned to a “normal” size.

It is a wonderful thought: that we might physiologically enhance our capacity as navigators by thinking harder about navigation, much as athletes train to improve their aerobic capacity or twitch muscles. But some troubling questions arise. If the hippocampus develops in response to intense exercise of its navigational and orientational functions, will it therefore atrophy if chronically underused? What would happen if, say, after tens of thousands of years spent regularly exercising the hippocampus in the course of everyday life, a species were suddenly to delegate the majority of its navigational tasks to an external device?

Fears of the “monstrous transformations” performed by tech upon the human are staples of the history of science from Prometheus to Frankenstein, so it’s worth being skeptical of these unproven claims about GPS’s mind-melting consequences. But the history of human navigation is so long, and that of mass personal GPS use so short, it does seem important to assess what might be lost when we cease being able to be lost. O’Connor puts it well:

<blockquote>None of us is exempt from the ramifications of the device paradigm. We all seem to find it extraordinarily difficult to step outside the onslaught, to create the distance and perspective between us and our devices that might allow us to question what cultural or cognitive price is being paid in return for convenience.</blockquote>

In July 1841 the poet John Clare escaped from High Beach Asylum in Epping Forest, on the outskirts of London, and set out to walk to his home in Northborough, about eighty miles away. At the time, Clare was in his late forties and mentally unwell. He had been in High Beach for four years. Although his wife, Patty, was alive, he believed himself to be searching for an imaginary second wife, a version of his childhood sweetheart, Mary Joyce, who had died three years earlier. He suffered auditory hallucinations on the road. He ate grass for sustenance, finding it to “taste something like bread.” Footsore and confused, he continued on until he reached Northborough. The walk took him four days.

In “Journey Out of Essex”—a minor epic of English travel writing—Clare described how he slept by the edge of the road each night, taking care to lie with his head pointing north, so that he would know which way to walk when he woke. That image has stayed with me since I first read Clare’s account twenty years or so ago: a man lost in mind, nevertheless seized by a homing instinct, and with his body a quivering compass needle that settled on north each night. Five months after reaching Northborough, Clare was certified insane on the grounds of being “addicted to poetical prosings.” He was committed to Northampton General Lunatic Asylum, where he stayed until his death in 1864. His last words were “I want to go home.”

Mental illness can result in a loss of bearings so drastic that one’s footing in the given world slips and the moorings of the mind loosen. Yet within such bewilderment lucidities persist. Clare could remember his route home, though he did not recognize his wife when he met her on the outskirts of Northborough. My grandfather, lost in the mists of dementia in the final years of his life, found it hard to recall what he had had for breakfast but could reliably give the names, heights, and ranges of mountains he had climbed in his youth, and walk in memory back up Himalayan valleys he had not entered for half a century.

In the opening pages of From Here to There Bond describes how his grandmother, who also suffered from dementia, in the final weeks of her life “repeatedly used the phrase ‘Am I here?’” His book is both scientific and personal. Much of it is spent patiently explaining the neuroscience of wayfinding and spatial awareness for laypeople, with the calm tone of a seasoned science writer. But gradually, between and within the explanatory sections, Bond quietly and movingly discloses what I take to be his real preoccupation, which is Alzheimer’s disease and other forms of dementia. His book is an attempt to answer his grandmother’s question, which is also everyone’s question.

Alzheimer’s is a voracious type of dementia that consumes the place cells of the hippocampus. Once this begins, Bond writes, “patients have trouble creating cognitive maps of new places and recalling maps of familiar ones.” The disease’s ability to disrupt the brain’s navigation and orientation system is so acute that researchers are exploring whether spatial tests might be used to diagnose it earlier than any other forms of assessment. “The tragedy for Alzheimer’s patients,” as Bond puts it, “is that the compass they have always had is now fading, and their map is shrinking. Disorientation becomes their default state, leaving them lost in places they have always known.” This contributes to the distress—variously expressed as frustration, anxiety, anger, and violence—that sufferers feel: “They are incapable of finding their way anywhere and can be lost even in their own homes.”

Covid-19 has administered a global “nature shock,” leaving billions of us disoriented even in familiar surroundings. During full lockdown, we wandered our homes like the narrator in Xavier de Maistre’s mock-epic Voyage Around My Room (1794), who for forty-two days finds himself confined to his chamber, where he would “traverse the room up and down and across, without rule or plan.” Meanwhile, many countries—including China—have used the pandemic to ramp up their means of tracking and tracing citizens, making it even harder to get lost should one ever wish to. Invoking feichang shiqi, “extraordinary times,” the Chinese Communist Party is now using facial recognition technologies, “health coding,” and smartphone tracking to increase surveillance of its citizens: state security camera networks can segment facial-recognition data into dozens of sensitive subcategories, including eyebrow size, skin color, and ethnicity.

In Nature Shock, Coleman writes:

<blockquote>Thoreau urged his audience…to reconsider the settled spaces they inhabited…. “Not till we are lost, in other words, not till we have lost the world, do we begin to find ourselves, and realize where we are and the infinite extent of our relations.”</blockquote>

Thoreau loved paradox, sometimes too much. It helps him find his mark here, though: one might expect our current lostness to test our self-reliance and glorify the individual, but in fact it proves our entanglement and reveals our codependence. When lost, we most of all need help.

Underlying all three of these books is a deep belief in the importance of collaboration and cooperation between humans and their environments, as well as between humans and other humans. Having read them, I’ve come to think that we might best imagine wayfinding not as a skill or art but as an ethic. The abilities that are cultivated in wayfinding—imagining things from different viewpoints, moving the mind backward and forward in time, seeing situations from other perspectives, weighing alternatives subtly against one another before making the best decisions, seeking information from others and giving it freely in return—might be the same abilities that contribute to a resilient, equitable community or polity. If this is wayfinding, then we need it now more than ever."]]></description>
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    <title>Wayfinding: How Humans Navigate the World - YouTube</title>
    <dc:date>2026-04-09T23:47:39+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=ysXAw6SVPJQ</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Science journalist M. R. O’Connor traveled to the Arctic, Australia, and the South Pacific to talk to master navigators who find their way using environmental cues and to learn how they are trying to preserve these unique practices in the age of GPS. Along the way, she explores fascinating aspects of our species’ navigation faculties and how they are connected to our profound capacities for exploration, memory, and storytelling, resulting in powerful connections to the world around us and topophilia (the love of place).

O’Connor’s stories have appeared in The New Yorker, Foreign Policy, Slate, The Atlantic, and Nautilus. Her reporting has received support from the Pulitzer Center on Crisis Reporting, The Nation Institute’s Investigative Fund, and the Alfred P. Sloan Foundation. In 2016, she was a Knight Science Journalism Fellow at MIT. A graduate of Columbia’s Graduate School of Journalism, she lives in Brooklyn, NY.

The Mariners' Evening Lecture Series is graciously funded in part by the York County Arts Commission"]]></description>
<dc:subject>mro'connor 2023 navigation wayfinding environment place arctic australia southpacific senses gps sensing observation noticing knowledge memory exploration storytelling oraltradition topophilia human humans oralhistory indigenous indigeneity waysofsensing land location bodies embodiment language</dc:subject>
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    <title>The Pull of Primitive Navigation - The New Yorker | The New Yorker</title>
    <dc:date>2026-04-09T23:40:17+00:00</dc:date>
    <link>https://www.newyorker.com/tech/annals-of-technology/finding-the-way-back-primitive-navigation</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["he Harvard professor John Huth first offered his course “Science of the Physical Universe 26: Primitive Navigation” in 2007. Since then, he has taught around five hundred undergraduates about the rudiments of analogue way-finding (sun, stars, tides, weather, wind) in a range of cultures (Berber, Norse, Polynesian, early European). Huth is an experimental particle physicist; he was involved in the discovery of both the top quark and the Higgs boson. He is also an avid outdoorsman and, when it comes to navigation, a smartphone and G.P.S. skeptic. “All empiricism has to start with stuff that is immediately palpable to you,” he told me recently. “The march of education, especially in the sciences, has been divorced from that reality, and I think that’s where you have to start.” He began one of his lectures this spring with a question: “Which way is the wind blowing outside? Anyone notice?” The assembled students, about fifty in all, were silent. “Southeast?” one ventured. “Northeast,” Huth said.

As a species, humans lack many of the biological gifts that allow other animals to get around. A loggerhead turtle, for example, begins to take its bearings within a couple of hours of hatching, using magnetite crystals in its brain to sense Earth’s magnetic field. (Spiny lobsters, monarch butterflies, and termites have similar compasses.) Honeybees get from nectar to hive and back in part by judging the position of the sun, which they can sense, even on a cloudy day, from patterns in polarized light. Where biology has failed humans, we have substituted culture. Throughout our evolutionary history, we have created ad-hoc systems of knowledge that organize environmental information and make it transmissible to the next generation. Often, difficult and monotonous landscapes—desert, sea, ice—resulted in more intricate systems. Several thousand years before the magnetic compass was invented, Pacific Islanders had worked out how to navigate by star compasses and read ocean swells for information about nearby land. (Part of Huth’s summer vacation this year will be spent in the Marshall Islands, learning similar techniques from local sailors.)

In some places, navigational traditions became inextricable from spiritual cosmologies. The Europeans who settled Australia considered the Aboriginal peoples to be idle wanderers of the bush, but in fact many of them travelled along songlines—paths with songs attached to them that commemorate the passage of primordial beings who created the world. The words of the songs described the continent and the routes across it. One Aboriginal group, in particular—speakers of Guugu Yimithirr, a traditional language of Far North Queensland—uses an absolute rather than an egocentric perspective to describe space (in other words, not “Move to your left” but “Move southeast”). According to the psycholinguist Stephen Levinson, this has given them an almost superhuman capacity to orient themselves, night or day, using both relatively commonplace cues, such as sun and seasonal winds, and more specialized ones, such as the appearance of sand dunes and termite mounds. Levinson concluded, with admiration, that the Guugu Yimithirr speakers achieve “in software what pigeons apparently achieve in hardware.”

Many of the world’s navigation systems have been lost to time or replaced with technology—or, in the case of the songlines, damaged through cultural oppression. For the British author and self-styled “natural navigator” Tristan Gooley, their disappearance signifies a cultural and philosophical impoverishment. “By using a GPS to find our way instead of clues available in the world itself, we devalue the experience of traveling anywhere,” he told me in an e-mail. And there may be neurological consequences, too. We build cognitive maps in the hippocampus, the same area in which episodic memory and future planning take place. Advanced technologies insure that we use our brains as little as possible. In a series of studies in 2010, a group of researchers at McGill University, in Montreal, reported that exercising spatial memory and way-finding in everyday life increases hippocampal function and gray matter, whereas underuse of these functions in older adults may contribute to cognitive impairment. (One of the researchers, Véronique Bohbot, told the Boston Globe that she no longer uses satellite-navigation devices.)

As part of his course, Huth asks his students to study the night sky. This spring, they learned the coördinates of some twenty-two stars and their celestial paths, then went to the roof of the Harvard University Science Center to identify a handful of them. What he has found over the course of eight years of teaching primitive navigation, Huth told me, is that the more attuned to the environment his students become, the more their awareness seems to expand. “Sometimes they’re engaging in this material and experiencing an epiphany to other aspects of their life,” he said. Louis Baum, a Ph.D. candidate in physics and a teaching fellow for the course, told me that he and his colleagues find the same. “We get philosophical about it—about how knowing where you are helps you know your place in the world,” he said. Whereas the modern stargazer is liable to look up with a sense of existential wonder, if not dread, our ancestors may have seen in that lovely firmament a map of home.

On the roof of the Science Center, Huth named the stars as they flickered into view: Spica, Antares, Altair, Dubhe, Pollux. As he did so, a student approached, brimming with excitement. He had recognized several stars and measured their altitude and azimuth. “Before this, I was looking at the stars online,” he said. “It’s actually a little easier when you are up here and see it in real life.”"]]></description>
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    <title>M.R. O'Connor - Wayfinding: The Science and Mystery of How Humans Navigate the World - YouTube</title>
    <dc:date>2026-04-09T23:39:07+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=brrGT5kIhqY</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["M.R. O’Connor is a graduate of Columbia University’s Graduate School of Journalism who writes about the politics and ethics of science, technology and conservation. She is the author of two acclaimed books about the cutting edges of contemporary scientific research, with a third on the way. Her first book, Resurrection Science: Conservation, De-Extinction and the Precarious Future of Wild Things (St. Martin’s Press, 2015) and was one of Library Journal and Amazon’s Best Books of The Year. Her second book, Wayfinding: The Science and Mystery of How Humans Navigate the World (St. Martin’s Press, 2019) is an exploration of navigation traditions, neuroscience and the diversity of human relationships to space, time and memory. Its writing was supported by the Alfred P. Sloan’s Program for the Public Understanding of Science, Technology & Economics. About the book, Kirkus Reviews writes that “O'Connor talked to just the right people in just the right places, and her narrative is a marvel of storytelling”; Nature explains that “[O’Connor walks the labyrinth of the brain’s time-and-space-mapping hippocampus. And, on the road, she meets astrophysicists, anthropologists and traditional wayfinders — such as Bill Yidumduma Harney of Australia’s Wardaman culture, who steers by thousands of memorized stars”; and Science notes that “O’Connor’s coverage of the cognitive map theory… is deep and broad.” She is currently writing a book called Ignition (Bold Type Books) on fire ecology and prescribed burning, for which she became certified as a wildland firefighter.

Her work has appeared online in The Atavist, Slate, Foreign Policy, The New Yorker, Nautilus, UnDark and Harper’s. A pair of recent essays for The New Yorker include “A Day in the Life of a Tree” and “Dirt Road America,” a feature piece about Sam Correro, who has spent decades stitching together maps of continuous pathways of dirt roads across the United States. In 2008/2009, O’Connor served as a reporter for The Sunday Times, an English-language newspaper in Colombo, Sri Lanka. Her investigative reporting on topics like disappearances in Sri Lanka’s civil war, global agriculture trade in Haiti, and American development enterprises in Afghanistan have been funded by institutions such as the Pulitzer Center on Crisis Reporting, The Phillips Foundation and The Nation Institute’s Investigative Fund. For a long time, she made her bread and butter as a stringer covering crime, courts and breaking news in New York City for publications such as The Wall Street Journal and New York Post, and covered the criminal justice beat for the online investigative site The New York World. She is. She lives in Brooklyn, NY with her partner, the screenwriter Bryan Parker, and their two sons.

Sponsored by the College of Science, Technology, Engineering and Mathematics, the Department of Psychology, the School of Communication and the Honors Program."]]></description>
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    <title>Earth's Smells Are Disappearing Because of Climate Change, and It's a Vast Cultural Loss</title>
    <dc:date>2026-04-09T20:32:36+00:00</dc:date>
    <link>https://www.smithsonianmag.com/science-nature/earths-smells-are-disappearing-because-of-climate-change-and-its-a-vast-cultural-loss-180988496/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["A triple threat of pollution, extinction and warming temperatures is altering the way the planet smells. Scientists are only beginning to understand the stakes for humans"]]></description>
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<item rdf:about="https://psyche.co/guides/how-to-get-to-know-your-neighbourhood">
    <title>How to get to know your neighbourhood | Psyche Guides</title>
    <dc:date>2026-04-09T05:31:04+00:00</dc:date>
    <link>https://psyche.co/guides/how-to-get-to-know-your-neighbourhood</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Whether you are a newcomer or you’ve lived there for years, learn to look closer and deepen your connection"

...

"Maybe you just moved to the neighbourhood or just started working there. Maybe you’re a visitor who’s staying awhile. Or a teen exploring on your own for the first time. You could even be a longtime resident. If any of these describes you, there are aspects of your neighbourhood that you don’t know. And because knowing each other, knowing our history and taking part in local institutions is what strengthens our communities, rooting ourselves in place has never been more necessary. This Guide offers some strategies for knowing your neighbourhood in a new and deeper way.

A neighbourhood is the product of people and culture. It’s as much a feeling as it is an area on a map: many people can sense it in their bodies when they cross into their own neighbourhood. No neighbourhood has just one story, nor even just one neighbourhood. People often disagree on its boundaries or names; there are overlapping neighbourhoods and micro-neighbourhoods. And throughout, there are multiple, even contradictory histories, imaginings, claims and meanings.

While neighbourhoods are often written about from an urban point of view, rural and suburban places have their own shapes of neighbourhood. These might be geographically larger than some urban neighbourhoods if they involve the reach of a car – though this can be true in cities, too – and they might intersect more with natural or agricultural spaces in addition to built ones. Wherever we live, most of us have a need to connect with the people around us, to feel that we belong where we find ourselves. I invite you to interpret this Guide for wherever you are, wherever you go.

Why you should take a closer look at your neighbourhood

Whenever I move to, work in or visit a new neighbourhood, I’m curious to know what other people are seeing and feeling in this place, without judgment or constraint. I want to know how it works. To see all the layers. This is partly because researching and photographing neighbourhoods is what I do professionally – but the impulse is also personal, and one I’ve had since childhood. Maybe it’s one you share?

Beyond satisfying our curiosity, getting to know a neighbourhood is a way to build capacity for compassion, to avoid that all-too-human inclination to see others as less real than ourselves. Really being with the people who live around you is an essential part of recognising our shared humanity, even our shared fate, recognising that we each belong to something larger than ourselves. In this time of loneliness and division, getting to know your neighbourhood and neighbours might be something close to an existential necessity. Overcoming collective crises requires negotiation and collaboration across differences, and it isn’t easy work. The muscles for it need to be built. So, think of getting to know your neighbourhood – through small talk, listening, learning history, contributing – as a low-stakes way to build those muscles, to be ready when the stakes are much higher.
A man sitting in a diner booth Looking at various papers. He is surrounded by windows with a view of the street outside.

Lotto, Golden Gate Donuts, Telegraph Avenue, Oakland, US, 2006

Even in a neighbourhood you think you already know, you can learn completely new things. This happened for me on New York’s Lower East Side. I grew up nearby, lived there, and worked in a community centre there. But I never knew the story of its contested 14-square-block area until I was teaching a class in which I collaborated with housing activists and public historians. Only then did I find out that the parking lots I’d long skirted on my walks were the site of homes torn down in the late 1960s, the result of a failed urban renewal project. The displaced residents, I learned, were promised that they could return to new apartments. Instead, the site sat vacant, an open wound of discrimination and deceit.

Knowing this story changed my life. I worked on projects in this place for almost a decade, even writing a book, Contested City (2019), about it. More importantly, in knowing that history and talking with those directly impacted by it, I came to understand where people’s deep emotions about the place came from, why the 50-year fight to get affordable housing built there mattered so much, and why I should contribute what I could.

Getting to know a neighbourhood is about taking the time to listen, notice and ask questions, to take part, to risk something of yourself. It’s about recognising that you exist in a particular place and time, shaped by other places and other times. In part, of course, this process happens naturally as you make your daily way through a place, as long as you’re paying attention. But to help you go deeper, I’ll share some specific practices that grow from the work of urban researchers, artists and community organisers – people whose job it is to see the invisible linkages in a place. Because that’s part of what it is to know a place: to see what isn’t there, but also very much is.

Key points

1. Knowing your neighbourhood better is good for you and the community. It’s a way to pursue your curiosity, build knowledge and connection, and grow your capacity for compassion.

2. Read the neighbourhood. Use all your senses to explore what its signs (official and unofficial), sounds, traces left by neighbours, buildings, boundaries and books can tell you about its people and history.

3. Explore the neighbourhood at different times. Break out of your routine and observe the crowds, activities and features that emerge at different hours, days and seasons.

4. Take part. Spend time in local gathering places and pay attention to people’s concerns and interests.

5. Give something of yourself. Share something you make with neighbours, join a local group, volunteer, or find other ways to have a stake in the neighbourhood."]]></description>
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<item rdf:about="https://www.noemamag.com/limiting-not-just-screen-time-but-screen-space/">
    <title>Limiting Not Just Screen Time, But Screen Space - NOEMA</title>
    <dc:date>2026-04-06T02:54:40+00:00</dc:date>
    <link>https://www.noemamag.com/limiting-not-just-screen-time-but-screen-space/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["We no longer think a robot is intelligent just because it can move in a world built for bodies like ours. Large language models (LLMs), in our imagination, are conversational beings without bodies, without any friction of environment. We speak to them as if they were somewhere nearby, and yet they are not anywhere our imaginations can place. And so we begin to accept the strange premise that intelligence might exist outside of the physical world, floating above the constraints that make human life legible.

Yet intelligence is environmental.

My colleague at Williams College, Joe Cruz, notes that for an AI to strike us as authentically intelligent, it will have to be embodied, because many of the features we value in human (and animal) intelligence arose from the task of keeping a body alive as it moves through shared space. We recognize dogs as intelligent, for instance, in part because they have facility in our built and social spaces, communicating through shared emotional expressions, having evolved to live within our environments. Some cognitive scientists argue that intelligence cannot be made sense of in isolation from body and environment at all. 

The sci-fi image of the floating brain that finds a body and learns to walk (or to love) has the steps reversed. We learn through our bodies; we sense the world, make decisions about it and act within it. Intelligence that is disembodied will not seem like intelligence to us. 

And yet, in Silicon Valley, the opposite vision holds sway. Powerful people, including tech experts and many of our elected officials, believe that with LLMs, we will find a better way of living together, a better way of governing our shared environment.

Sam Altman, the CEO of OpenAI, has argued that AI acceleration will usher in an “Intelligence Age” of “unimaginable” and “shared” prosperity and “astounding triumphs” like “fixing the climate.” Deep learning, he explains, is an algorithm that can truly learn the rules behind any distribution of data. The more compute and data available, the better it can help people “solve hard problems.” 

Altman’s vision collides with basic truths of how people live. We care for places because we inhabit them. Love of place arises through our bodies as much as our minds.

But those committed to disembodied intelligence reach for a different solution: total representation. If the model cannot dwell in the world, the world must be made to dwell in the model as a “digital twin,” rendered at ever finer resolution, until environment becomes data and data becomes environment. 

Argentinian author Jorge Luis Borges’ parable “On Exactitude in Science” imagines an empire that produces a map the exact size of the territory. It is a useless tool, one that becomes territory itself. “In the Deserts of the West,” Borges concludes his story, “there are Tattered Ruins of that Map, inhabited by Animals and Beggars.”

<blockquote>“What would it mean to limit not only screen time, but screen space?”</blockquote>

Those dreaming of a nascent cognitive revolution are imagining that Borges’ one-to-one map will be finally useful — that if we just feed enough text, enough human knowledge, into the machine, it will comprehend the world in a way we never can. 

Even if we had the time, labor and energy to attempt this, why would we? Why not put that effort into talking to each other? 

The alternative is an increasingly familiar solipsism. A solipsistic person believes the self is the only reality. Other minds, other bodies, may as well be an illusion. 

Today’s internet bends us toward solipsism. We no longer imagine ourselves to be placing our images and our voices into the internet. We imagine ourselves — our physical beings — to be living within it. We imagine the internet to be our environment.

In “Trick Mirror,” journalist Jia Tolentino warned that the internet, once imagined as a space of freedom, had become a mechanism for surveillance, performance and commodification. Online life encourages self-optimization and branding at the expense of connection. “In physical spaces, there’s a limited audience and time span for every performance,” Tolentino writes. “Online, your audience can hypothetically keep expanding forever, and the performance never has to end.” 

Tolentino focused on time, but this internet is an endless stage, too, one with no wings, no exit, no place to step off and be alone again. 

“brb” once acknowledged departure and faith in return. It reminded us of the body behind the screen. Now, we are infinitely available, and AI is sold to us as the tireless and needless assistant. But our bodies continue to live in the world with stubborn persistence, despite Silicon Valley’s dream of the immortal avatar, the ability to upload our essence into a durable machine, which is a dream of escaping death and environment alike.

Most of the questions worth asking are not about how to transcend the environment, but how to inhabit it. How to live together in shared space. 

Many social, historical and economic forces led me to check my work email in the bathroom. Among them is the way we have come to imagine the internet not as a place we go, but as a space we inhabit. We make sense of abstract experience through bodily metaphors grounded in orientation and sensation: Up is good, down is bad, warmth is affection, weight is importance. These metaphors shape how we act and what we value. 

Window, weather: Change the metaphor and you change the possibilities for thought and action. If the internet once taught us to say “brb,” perhaps the work ahead is to recover that ethic of interruption, to remember the body in a room, waiting to return."]]></description>
<dc:subject>2026 lauramartin interner web online ai artificialintelligence intelligence bodies embodiment physical environment senses wireless wifi mobile attention privacy space sharedspace smartphones place chatgpt samaltman openai connectivity gps jiatolentino spikejonze her llms joecruz socialspaces emotions cognition cognitivescience borges connection audience time performance freedom boredom surveillance commodification solipsism data representation sensory decisionmaking isolation</dc:subject>
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<item rdf:about="https://orionmagazine.org/article/an-aroma-most-beguiling/">
    <title>An Aroma Most Beguiling - Orion Magazine</title>
    <dc:date>2026-04-05T06:06:57+00:00</dc:date>
    <link>https://orionmagazine.org/article/an-aroma-most-beguiling/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["On flowers, perfume, and the science of smell"]]></description>
<dc:subject>smell scent science flowers perfume davidgeorgehaskell 2026 subconscience humans brain conciousness culture biology aromas senses sensory multisensory perfumes plants memories memory ecology</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:c57f41d1361b/</dc:identifier>
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<item rdf:about="https://electricliterature.com/a-poetry-collection-where-play-collapses-the-limits-of-language/">
    <title>A Poetry Collection Where Play Collapses the Limits of Language - Electric Literature</title>
    <dc:date>2026-04-01T03:52:35+00:00</dc:date>
    <link>https://electricliterature.com/a-poetry-collection-where-play-collapses-the-limits-of-language/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Anna Nygren’s “blush / river / fox” is a foray into the exuberant capacities of multilingual writing"]]></description>
<dc:subject>annanygren poetry writing howwewrite editing language translation swedish english morissayoung collaboration bodies senses multispecies</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:6b6b9f95ec5d/</dc:identifier>
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<item rdf:about="https://milkweed.org/book/blush-river-fox">
    <title>blush / river / fox | Milkweed Editions</title>
    <dc:date>2026-04-01T03:50:23+00:00</dc:date>
    <link>https://milkweed.org/book/blush-river-fox</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["A raw, sweeping debut collection that interrogates the limits of the human animal and confronts the boundary between fear and freedom.

The startling English-language debut of Swedish polymath Anna Nygren is at once a domestic autistic ethnography, a more-than-human erotic pastoral, and an illustrated choreography of bewilderment. Willful misspellings and created constructions open language up to play, with phrases existing somewhere between English and Swedish to de-pathologize speech and thought. This fairy-tale treatise on otherness interweaves Nygren’s own inimitable illustrations to visualize the idea that writing can be closer to a drawing of words than speaking. “We know yet nothing,” they write. “We whisper it in the night / We are the pride glittering.”

Sensory and sensual perception mesh through the liquid movement of the book’s three parts as the speaker queers the notion of difference, exploring fraught ideas of gender and identity by tapping into the profane and the physical body. blush, hungry and dysphoric and tied inextricably to family memory, begins rooted in the corporeal before moving outside of it, calculating the speaker’s orientation to others and to the world. fox, meeting love with violence, characterizes pain with short, dissonant syntax and finds reprieve in the cover of forest. And between forest and family is translation, river, which simultaneously stitches together and tears apart as it bears witness to the epistemology of becoming.

Wholly unique, a being all its own, blush / river / fox paws on the door of our eye, our heart, our ear: “LET ME IN / the Fox whispers.”"]]></description>
<dc:subject>annanygren poetry 2026 translation language bodies bewilderment writing howwewrite misspelling swedish english senses sensory perception difference identity memory becoming morissayoung multispecies editing collaboration</dc:subject>
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<item rdf:about="https://www.killscreen.com/anna-nygren-blush-river-fox-language-as-play/">
    <title>Can Language Be a Game? Anna Nygren Thinks So</title>
    <dc:date>2026-04-01T03:50:05+00:00</dc:date>
    <link>https://www.killscreen.com/anna-nygren-blush-river-fox-language-as-play/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Swedish writer Anna Nygren's blush / river / fox treats language like a game system—where translation gaps become mechanics and meaning emerges from interplay, not definition."]]></description>
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<item rdf:about="https://www.youtube.com/watch?v=fcCRmf_tHW8">
    <title>Being in the World (full, award winning, Heidegger/Hubert Dreyfus documentary) - YouTube</title>
    <dc:date>2026-03-26T03:11:45+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=fcCRmf_tHW8</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["A celebration of human beings and our ability, through the mastery of physical, intellectual and creative skills, to find meaning in the world around us.

a film by Tao Ruspoli

Inspired by the work of Hubert Dreyfus & his reading of Martin Heidegger.
With Hubert Dreyfus, Ryan Cross, Sean D Kelly, Austin Peralta, Mark Wrathall, Iain Thomson, Leah Chase, Manuel Molina,Tony Austin, John Haugeland, Taylor Carman, HIroshi Sakaguchi, Jumane Smith.

""Being in the World" is a film that educates one through both the senses and the intellect and, by its end, it provides a powerful but gentle reminder that we, the individuals, must take back our rightful place at the center of philosophy and we do so everyday simply by being in the world. Instead of a narrative or a series of long lectures, we are taken on a ride to visit various practitioners of the arts— primarily musicians—who simply "do" their art. These vignettes are juxtaposed with a series of philosophers, most of whom seem connected in terms of their ideas and interpretations of the German philosopher Martin Heidegger, who talk about the idea of "being in the world." I found this back-and-forth composition created a certain fluidity thanks to the way the information delivered both tickled my senses and intellect in equal measure. By the end, the aforementioned message slowly sank in and that is what created what is now a genuine appreciation for having viewed the film because I look at my life experience differently.

First of all, this work does not require any special education or training to be understood and enjoyed, although I don't think many would argue that the subject matter alone would unfortunately dissuade many simply because that is the nature of society but the fact that the average citizen is not interested in philosophy, or course, is no fault of the film. Ironically, the very message that one doesn't need to be steeped in philosophy to undertake and enjoy a life rife with meaning is one of the primary themes of the film. This theme might be summed up by stating that by simply "being in the world," we surpass all of the formalized activities associated with what engaging in "philosophy" has come to mean in the modern western world.

Although we're never hit over the head with it, it is the German philosopher Martin Heidegger who stands firmly at the center of the film as it is his iconoclastic work which inspires the ideas that undergird the messages of the various speakers. The fact that Heidegger's work is infamous for being difficult to approach even for the initiated student of philosophy is what makes this film such a gem; the more I think about the film the wider I grin because I can see more clearly how what I initially mistook for an aesthetically pleasing ride with a dose of didacticism ended up being a "reeducation" regarding how important simply "being in the world" and performing our "art" (which I take to mean profession, hobbies, etc.) is in terms of understanding where philosophy has taken us collectively.

"Being in the World" is a small film. Although the film is beautifully composed and we move around the globe, it is obvious that this was accomplished with a comparatively small budget and for me this only adds to the sense of intimacy and trust the work exudes; this is a labor of love, an authentic work of art, and it was created in order to share a message far removed from the commercial world.

It was the feeling with which I was left, however, that sets this movie apart from other, similar films. Walking away from this I felt encouraged and valued by the filmmaker and the "players." Rather than some stale exposition or preachy sermon about why I should change my mind about my life based on some epistemological tendency, I was reminded that my being in the world is what constitutes my life's meaning.""

[Three excerpts on Aeon:

First excerpt is here:

"I am, therefore I think – how Heidegger radically reframed being"
https://aeon.co/videos/i-am-therefore-i-think-how-heidegger-radically-reframed-being
https://www.youtube.com/watch?v=v727rFg9aKk

Second excerpt is here:

"True mastery demands going beyond the rules to learn for yourself"
"Embrace risk - Heidegger’s philosophy of everyday life | Being in the World"
https://aeon.co/videos/true-mastery-demands-going-beyond-the-rules-to-learn-for-yourself
https://www.youtube.com/watch?v=82_JqODbSjo

Third excerpt is here:

"As technologies mine our attention, we must look to artists"
"Technology flattens our humanity. Artists deepen it. | Being in the World"
https://aeon.co/videos/as-technologies-mine-our-attention-we-must-look-to-artists
https://www.youtube.com/watch?v=Js0URaCKvvE ]]]></description>
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    <title>Place, Personhood, and the Hippocampus: The Fascinating Science of Magnetism, Autonoeic Consciousness, and What Makes Us Who We Are – The Marginalian</title>
    <dc:date>2026-03-24T19:54:17+00:00</dc:date>
    <link>https://www.themarginalian.org/2026/03/21/wayfinding-m-r-oconnor/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The psychological, neurocognitive, and geophysical underpinnings of these astonishments are what M.R. O’Connor explores in Wayfinding: The Science and Mystery of How Humans Navigate the World (public library) — a layered inquiry into the science and cultural poetics of how we orient in space and selfhood, illuminating the stunning interpenetration of the two."]]></description>
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    <title>007 | Sensory Ecologies | Hsuan L. Hsu | Olfactory Futures and More-than-Human Intimacies - YouTube</title>
    <dc:date>2026-03-23T19:05:53+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=5rALPalmLOc</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["SYMPOSIUM SENSORY ECOLOGIES
28 APRIL 2022

With the participation of
Anicka Yi, Mόnica Bello, Jane Calvert, Harmony Holiday, Hsuan L. Hsu, Studio Klarenbeek & Dros, Barbara Mazzolai

Video: Francesco Margaroli

Sensory Ecologies is an appointment of the Public Program | Anicka Yi dedicated to the exhibition “Metaspore” that expands and develops the concepts and ideas generated by the exhibited works. The Symposium brings together an interdisciplinary panel of speakers: Mόnica Bello, Curator and Head of Arts at CERN at the European Organization for Nuclear Research in Geneva; Jane Calvert, Sociologist of science, Professor of Science and Technology Studies at the University of Edinburgh; Harmony Holiday, multidisciplinary artist, writer and poet; Hsuan L. Hsu, Professor of English at the University of California Davis and the author of The Smell of Risk: Environmental Disparities and Olfactory Aesthetics (2020); Studio Klarenbeek & Dros a design studio based on research of sustainable projects and new materials; Barbara Mazzolai, Director of the Bioinspired Soft Robotics Laboratory at the Istituto Italiano di Tecnologia in Genoa.

They will address a central and urgent question of our times: can the biological sensorium (both human and non-human) be reconciled with contemporary technology?

Through diverse perspectives, the symposium seeks to build a constellation of knowledge and navigational tools, drawing from the disciplines of art and design, media studies, science and technology studies, general and synthetic biology, and literature.

During the evening a special projection of Anicka Yi’s The Flavor Genome (2016) will be screened in a 2D version, conceived as a reference point for the discussion. The Flavor Genome is a techno-sensual journey into the unexplored threshold of adaptation, mutation and hybridization of living organisms. Under the conceptual premise of the “Flavor Genome” the video performs a mapping of perceptual worlds, taking reality as matrices of perceived unique essences which could enable the potential for biodiverse intelligence sharing.

The symposium is curated by Giovanna Amadasi, Remina Greenfield and Anicka Yi."]]></description>
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    <title>Symbiotic Resonances: Sounding More-than-human Worlds | Center for the Study of World Religions</title>
    <dc:date>2026-03-09T19:00:17+00:00</dc:date>
    <link>https://cswr.hds.harvard.edu/publications/plants-fungi-2025/symbiotic-koeva</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Elitza Koeva, Postdoctoral Fellow with the Thinking with Plants and Fungi Initiative, Harvard CSWR

The Anthropocene, a contested term to describe our species’ footprints on the earth, is both a crisis and an opportunity, an epoch whose defining challenge is the necessity of becoming-with a pluriverse of others—plant, fungal, animal, mineral, machinic—in cooperative and sympoietic ways. Amidst mass extinction and the collapse of planetary boundaries, can we learn to listen and reattune to the environment, learning from cultures and species that have long known how to world otherwise?

This chapter argues for the generative potential of attuning to the vibratory, the interstitial, the entangled. From birdsong to forest symphonies indexed by bioelectric sensors, and planktonic chimeras at the root of all life, sound mediates relations that challenge the fixity of boundaries, the conceits of mastery, and the fiction of the autonomous self."]]></description>
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<item rdf:about="https://aeon.co/videos/ai-isnt-merely-bad-at-writing-it-does-not-and-cannot-write">
    <title>AI isn’t merely bad at writing. It does not and cannot write | Aeon Videos</title>
    <dc:date>2026-02-20T05:40:29+00:00</dc:date>
    <link>https://aeon.co/videos/ai-isnt-merely-bad-at-writing-it-does-not-and-cannot-write</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["‘Why did you write it?’

As an English professor, the YouTube video essayist known as ‘josh (with parentheses)’ has, over the past few years, witnessed a faculty-wide panic about students using large language models (LLMs) to plagiarise assignments. The experience inspired him to create this sprawling video essay on the meaning of LLMs – what they can do and, more to the point, what they can’t. To him, this includes the very act of writing itself, which he contends, borrowing the words of Stephen King, requires a ‘meeting of the minds’. The entertaining and insightful piece spans the poetry of Gertrude Stein and contemporary ‘brainrot’ videos, all while he prods at ChatGPT and his friends. Travelling to some surprising places, he generates an unusually perceptive meditation on what might, at first glance, seem like a near-exhausted topic."

[direct link to video:

"You are a better writer than AI. (Yes, you.)"
https://www.youtube.com/watch?v=V5wLQ-8eyQI

"As an English professor, I hear people at every level talking constantly about the use of AI in writing, but nobody seems to be talking about the thing that matters most: AI cannot write. Writing has language, and writing has communication, but the communication does not live inside the language. This is a video essay about what writing is. Meetings of the mind with Stephen King, Gertrude Stein, Lewberger, Max Teeth, CyberGrapeUK, and others--but by necessity not with ChatGPT.

Recorded on a Macbook Pro using OBS and a little bit of editing trickery. If you look at the timestamps on the files you can probably deduce that when I say "two weeks ago" I mean about four months ago."]]]></description>
<dc:subject>ai artificialintelligence llms chatgpt writing howwewrite videoessays gertrudestein stephenking teaching howweteach edtech technology maxteeth language communication policy joshwithparenthesis modernism ernesthemingway fscottfitzgerald sinclairlewis thorntonwilder jamesjoyce ezrapound nonsense poetry poems decoding keatonpatti lingusitics meaning meaningmaking understanding titosantana autocomplete linguistics tenderbuttons connection human humanism humans openai literature humanexperience consciousness perception experience subjectivity humansubjectivity plagiarism mashups recombinance remixing milesdavis lcdsoundsystem media mediamixing kleptones dangermouse macglocky cubism lasmeninas picasso velázquez recombination variation thinking howwethink education humanunderstanding criticalthinking context confusion playfulness 2025 notice turingtest personhood senses sensoryperception feeling feelings logic algortihms victorhugo lesmisérables damienowens onelsaymore brainrot intention conversation barbaraeh</dc:subject>
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    <title>Michael Pollan Says Humanity Is About to Undergo a Revolutionary Change - The New York Times</title>
    <dc:date>2026-02-16T06:51:25+00:00</dc:date>
    <link>https://www.nytimes.com/2026/02/07/magazine/michael-pollan-interview.html</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>michaelpollan consciousness 2026 buddhism ai internet artificialintelligence humanity change turingtest ego reality philosophy marksolms antoniodamasio feelings senses friction nature human humans humanism humanness siliconvalley animals multispecies morethanhuman awareness electromagnetism panpsychism evolution roshijoanhalifax body bodies davidchalmers thomasnagel bats attention intelligence davidmarchese religion spirituality expeience self identity erikagagnon psychadelics risk soul souls illusion matthieuricard presence psyche</dc:subject>
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    <title>Long Walks</title>
    <dc:date>2026-01-25T21:51:43+00:00</dc:date>
    <link>https://www.artforum.com/features/long-walks-208841/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["WHY GO FOR A WALK? Not to get anywhere; the lack of destination makes it a walk rather than a journey. But a walk is never aimless; you set limits even before you start out: “as far as the woods,” “around the lake,” “along the river to the bridge and back.” Expediency determines the structure of a journey; on a walk you impose your own.

A walk offers a chance to check up on nature, to give in to your senses. You can take your self along for company, or leave it behind, depending on your mood. You can take the dog—an ideal arrangement, since your separate amusements don’t intrude on one another. It’s usually a mistake, as William Hazlitt has said, to go with a friend. Chatting turns the walk into a visit, and miles roll by without your once managing to come in touch with the sensibility of walking.

A walk is an abstraction, an idea. It is a particular kind of passage through space and time; you embark on it to stretch your consciousness as much as your legs. A journey is aimed at its end; the point of a walk is the walk itself.

Richard Long’s art must touch somehow on our experience of walking. Otherwise, why would we find his solitary travels so oddly affecting? When news of them reaches us they are long over. All we get is an Ordnance Survey map, a few photographs, and terse notations of location and duration, deliberately edited of seductive detail. Unlike his literary counterparts, who delight in describing their shanks’ mare adventures, Long tells only that he went.

This absence of rhetoric results in a kind of transparency; Long passes through the countryside, a figure only hinted at, eluding the art audience. There is no way to visit his temporary sculptures of stones or brush, no invitation to follow his carefully structured routes. So the work remains largely cerebral: a mind, more than a body, traveling through the landscape. If we let our minds wander after him, however, we begin to gain limited access to his art. We will never be privy to his experience, but we can reconstrue it to a certain extent. “Going for a walk” can put us in step with him.

Long’s work takes several forms: walks with a stated purpose and duration, site sculptures made in remote places from whatever materials he finds when he gets there, and large floor installations in galleries and museums (the most tangible, though least evocative). All have an economy of gesture; concept, method and materials converge neatly. In the walks the three are synonymous. Less obviously, this is also true of the outdoor pieces.

Long never “forces” a work; stones are used when there are stones, branches when there are branches, brush when there is brush. It’s all local produce; nothing is imported. His works may last or they may become overgrown or wash away. It doesn’t matter, since he doesn’t intend anyone to see them. In the end, we are left with nothing but the knowledge of Long’s intervention, handed to us in the form of photographs and captions describing two generalized particulars—medium and place: Sticks in Somerset, A Circle in the Andes, Stones in Clare.

The indoor pieces—lines, circles and spirals of stones, sticks or dirt placed on the floor—share aspects of this conceptual and structural oneness, for each remains tied to its site despite its deportation. Stones and sticks are often from the vicinity of the installation; their source becomes the work’s title. The position of a specific element within a piece is usually determined by its relation to the other elements, so that while individual installations might differ, a work’s concept remains the same. Driftwood sticks of various lengths are laid down in rows so that each stick is a certain number of its own lengths in front of its predecessor. A track of muddy footprints, “the length of a straight walk from the bottom to the top of Silbury Hill,” is curled into a spiral, the size of the room determining the number of coils. Presumably these works could be redone; I know of a large circle of loose stones that is periodically picked up and put back. Long specified the diameter of the circle and left written instructions that the stones lie randomly within it, resting on their longest, flattest and most stable sides without touching each other.

The scale of Long’s art is often ambiguous. Considering its utter privacy, its lack of pretension and its scanty traces, it seems intimate and small (a dot or a line on a vast plane; a moment in an aeon). But a walk’s dimensions (often hundreds of miles) or duration (many hours, even several days) are quite sizable. Long’s works are not performances, his unknown endurances are not the stuff of body art. Did he take sandwiches, get caught in the rain, camp out for the night? We are told nothing of this. (How different from Peter Hutchinson’s Foraging, an esthetic hike in the Rockies where recording of detail was the purpose and survival the issue—a theme that became particularly poignant after the artist and his companion dined on the wrong mushrooms.)

Though time and distance complicate our perceptions of scale in Long’s work, they tend to crystallize its structure. One or the other is predetermined on a walk—usually distance, though sometimes, as in A Walk of Four Hours and Four Circles, Dartmoor, 1972, time is the determining factor. This walk is recorded as four concentric circles on an Ordnance map, each representing a one-hour walk. How four trips of such obviously different lengths could all take the same time is not explained—but the artist’s decisions are hinted at: perhaps he strolls slowly, then speeds up, even runs around the largest circle.

The site sculptures are seldom presented within the context of a walk, but occasionally these two facets of Long’s art come together in an enterprise that is conceptually quite terse. For 164 Stones/164 Miles, Long walked across Ireland (164 miles) “placing a nearby stone on the road at every mile along the way.” He lists the number of stones per county he passed through: Clare 49 stones, Tipperary 38 stones/Kilkenny 27 stones, Leix 9 stones, Carlow 20 stones, Wicklow 21 stones. The piece combines a long walk, an immense stone sculpture (or is it? It only has 164 stones; much shorter lines have contained more) and a substructure in which the counties, boundaries in themselves, are represented by stones, which represent miles, which are arbitrary measurements in the first place. It is a major work, but Long boils it down to a two-page spread in a book, with text on the left and a photograph of the road, and a stone, on the right.

Though much of Long’s work is linear, its development is not. Ideas appear again and again. His art is cyclical, like time, when thought of in terms of hours, seasons, and finally, history. It is natural to perceive time as linear, since one’s life occupies such a short segment of it that the curve isn’t always noticed. But time circles around and around, renewing, altering, passing by again. A dialogue between the constantly changing and the enduringly permanent takes place in the landscape. Long’s recurring motifs—the line, the circle, the spiral—emerge from landscape, and have acquired something of its character.

It is tempting to take an art/historical walk through time, back from Richard Long’s work. One could start at the stone circles of neolithic Britain and the spiral carvings of the Bronze Age, travel along early Roman roads, and take in Medieval pilgrimages, especially that of Edward I, who erected stone crosses at each resting place of the funeral procession of his queen. The 17th and 18th centuries become even more interesting. Not only is there all that theory about the “natural artifice” of parks and gardens; you could also make the Grand Tour of Europe, de rigueur for the well-heeled young Englishman. Traveling within the British Isles became equally popular about this time, Samuel Johnson’s trip with Boswell to the Hebrides being one literary result. Next century you could drop in on Constable and Turner and take a stroll around the Lake District with Wordsworth and friends. And once you hit the 20th, if you’re at a loss for directions, just consult the Blue Guide, that compendium of fanatical detail that fascinates the English traveler and reveals as much as any romantic poet.

In trying to attach any of this to Long, however, one inevitably comes a cropper. It has everything—and nothing—to do with him. Long makes no secret of his interest in the ancient work; some pieces draw directly on it. Stonehenge and the Cerne Abbas giant have been focal points for walks; a labyrinth carved in a boulder in Ireland generated his Connemara Sculpture, 1971, where he reproduced the design in stones on the ground. Other works, which involve spirals and circles, especially circles of standing stones, incorporate this history as fully, if not as specifically.

The differences between Long and his unknown ancestors are more subtle than the similarities. Were the ancient monuments religious, funereal, astronomical? Convincing arguments have been put forth for all three. But Long does not borrow his sources’ presumed content, as does much recent art that depends on deliberate “primitivizing.” His primary concern seems to be with the geography and topography of the landscape; with measuring and marking on it, with echoing its character in his choice of sculptural materials and methods. Long’s connection with the ancient monuments has more to do with their presence in the landscape than with their role in prehistoric culture.

The pilgrimage model also turns out to be a dead end. Pilgrims undertook arduous journeys propelled by faith and the hope of salvation, or for the good time and good company, as Chaucer would claim. Neither motivation can profitably be applied to Long.

The builders of the great 18th-century gardens and parks may seem closer at first, since their endeavors were at least artful, and involved imposing a structure on nature. But again the connection fades out; those designers were after visual effects—carefully planned vistas that would be pleasing to the eye and mind. With the exception of a very early work, England, 1967, in which he erected a rectangular frame in the landscape and placed a circle on the ground some distance away that was meant to be seen either through or outside of the frame, I know of nothing Long has done that places much emphasis on visual effect. So again he remains, fundamentally, separate.

But Long does have something in common with all of these predecessors, even if specific connections continue to elude us. For their activities are carried out within the landscape itself, particularly the English landscape. A feeling for the countryside has always informed the English sensibility. A small, well-groomed island, spared extremes of climate, Britain has been under cultivation for so long that few parts remain untouched. The traces of the past to be found are not glimpses of its primeval state, but endless evidence of previous tenants (unlike America, where immense areas of wilderness and desert still allow you to preserve at least the illusion that no one has been there before you). In Britain landscape is in short supply; the English dream most fervently of cottages in the country. But their fascination is with the landscape’s spirit, rather than its geology, which offers no challenge to conquer—no vast peaks or wastelands, no major wonders. England offers a landscape of tranquility, solace, respite. A gentle communion with the countryside pervades all English art, Long’s no less than his forebears’.

It is so fundamental to his work, in fact, that he does not alter his approach or methods in foreign terrain. Long has worked in far more rugged places than the British Isles—Alaska, Canada, the Andes, the Himalayas. But the results all evidence the same softness of touch; it is not as though he embarks on such trips for more remote or more challenging quests.

Long’s work may have its roots in the English attitude to the countryside, but it also catalyzes some of the definitive ideas of 1970s art. The abrupt retreat from the frenetic ’60s; the renewed interest in natural rather than industrial forms and materials; a shift in the approach to the art audience, not to mention the change within that audience; the move out of doors, away from the museums and galleries—such developments have characterized, and helped to form, the diffuse activities that composed ’70s art. It is interesting that Long has never worked in a more traditional medium; he has walked only ’70s territory, adapting its recurring themes—the line, the circle, even the grid.

Over the past ten years Long’s work has remained much the same; his gentle interventions in the landscape have maintained their discretion, his indoor pieces continue along similar paths. The line, the circle and the spiral still form the basis of his sculptural vocabulary. But although there has been no radical shift in direction, he continues to hone his processes. For one thing, his work has become more conceptually tight as he has intertwined it with its generating impulse—the landscape. Walks have become less rigid in structure as he has turned from formal to natural yardsticks.

Earlier walks, such as the concentric circles, the grid, or the many straight lines, skirt the issue of how one executes such a project accurately on natural terrain. On maps they can, of course, be diagrammed precisely, but on foot this would be impossible. More recently, however, Long has been drawing the structure of his pieces from geography instead of geometry/focusing especially on rivers. The choice is particularly suited to the cogency of his thinking, since rivers are also lines; they mark on, and in a sense “structure” the landscape. (The landscape also determines the course of the rivers, much as it influences the direction of Long’s art.)

The Avon has provided the impetus for several recent works, among them A Walk of the Same Length as the River Avon. There is no difficulty here about rendering straight lines or perfect curves. The Avon “walks” from its source to its mouth; Long walks the same distance, not along the river itself, but on an ancient road that follows it. At one point the road crosses the river; a photograph of a footbridge, along with maps of the river and the road, become the evidence.

Another recent river work has a slightly different inflection, but is just as harmonious conceptually. In 130 Miles from the Source to the Sea, Dumfriesshire, Scotland, 1978, Long placed a pile of 130 stones at the source of the River Clyde, furnishing on his return a photograph of the pile of stones, duly labeled. Again the gesture is entirely suited to the circumstance; concept and method remain inextricable. Long’s work has always been extremely economical, but the recent pieces seem particularly well resolved.

For an art that gives us so little to go on, Long’s work is surprisingly rewarding. There is an element of romance in our knowledge that it is, for the most part, unattainable. Or is it? There is no law against pushing our imagination; it can become our passage to England, our Himalayan trek. We can negotiate our own progress through space and time as surely as Long can. That’s where walking comes in.

On one of this walks, Long went around a mountain range in Ireland—Macgillicuddy’s Reeks—throwing a stone. Anyone who does this knows. As you start out your eye scans the roadside for the right stone. You find one and give it a toss; it skitters along and rolls to a stop some yards ahead. Eye fixed on it to make sure you don’t lose track of it among the others, you catch up to it, toss it again. Before you know it, you have become very attached to that stone. It structures your walk; you go where it goes.

—————————

The soul of a journey is liberty, perfect liberty, to

think, feel, do just as one pleases. We go a journey

chiefly to be free of all impediments and of all

inconveniences; to leave ourselves behind, much

more to get rid of others.

—William Hazlitt, On Going a Journey

In climbing, the summit is nearly always hidden,

and nothing but a track will save you from false

journeys. In descent it alone will save you a

precipice or an unfordable stream. It knows upon

which side an obstacle can be passed . . . and

where there is the best going. . . . It will find what

nothing but long experiment can find for an

individual traveller . . . everywhere The Road,

especially the very early Road, is wiser than it

seems to be.

—Hilaire Belloc, The Old Road

. . . de Selby makes the point that a good road will

have character and a certain air of destiny, an

indefinable intimation that it is going somewhere,

be it east or west, and not coming back from there.

If you go with such a road, he thinks, it will give

you pleasant traveling, fine sights at every corner

and a gentle ease of peregrination that will

persuade you that you are walking forever on

falling ground. But if you go east on a road that is

on its way west, you will marvel at the unfailing

bleakness of every prospect and the great number

of sore-footed inclines that confront you to make

you tired.

—Flann O’Brien, The Third Policeman

It is not indifferent to us which way we walk. There

is a right way; but we are very liable from

heedlessness and stupidity to take the wrong one.

We would fain take that walk, never yet taken by us

through this actual world, which is perfectly

symbolical of the path which we love to travel in

the interior and ideal world; and sometimes, no

doubt, we find it difficult to choose our direction,

because it does not yet exist distinctly in our idea.

—Henry David Thoreau, Walking

A walking tour should be gone upon alone,

because freedom is of the essence; because you

should be able to stop and go on/and follow this

way or that, as the freak takes you; . . . you must

be open to all impressions, and let your thoughts

take colour from what you see. You should be as a

pipe for any wind to play on.

—Robert Louis Stevenson, Walking Tours

Nancy Foote is an art critic.

—————————

NOTES

With all ephemeral art, documentation becomes of major importance. It takes several forms in Richard Long’s work: photographs and maps framed together with text; photographs and text presented in books (often published by museums and galleries at the artist’s request instead of conventional catalogues); and artists’ books. Much of Long’s documentation wavers between “primary” and “secondary” information—the work itself versus a reproduction of that work. Photographs of site sculptures would normally fall into the second category, but as Long presents them, with laconic captions, they become, in a sense, primary. His interest in “art” photography is minimal, unlike that of his friend and sometime walking companion Hamish Fulton, whose images, though related to Long’s in concept, are much more self-consciously concerned with photography. In addition to strict recording, Long sometimes uses a photograph to stake an esthetic claim, as when he takes a spot of conceptual interest, such as the source of a river that generates a walk. And in books such as A Hundred Stones; One Mile Between First and Last, the photographs are, in a sense, primary because they gather the stones into a single work."]]></description>
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    <title>Sure, AI can ‘do’ writing. But memoir? Not so much | Aeon Essays</title>
    <dc:date>2026-01-25T03:27:16+00:00</dc:date>
    <link>https://aeon.co/essays/sure-ai-can-do-writing-but-memoir-not-so-much</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["As AI’s endless clichés continue to encroach on human art, the true uniqueness of our creativity is becoming ever clearer"]]></description>
<dc:subject>computers computing ai artificialintelligence 2026 richardbeard human humans humanism alanturing geoffreyjefferson chatgpt clude generativeai llms royalsociety writing howwewrite sydfield imagination creativity christophervogler maxbennett literature philipsidney philipstone adalovelace charlesbabbage mariannemoore gregbaxter art artmaking denisdiderot shakespeare intelligence memoir life living experience existence senses andrewhodges turingtest memory biography stories storytelling self consciousness genai diderot georgesperec</dc:subject>
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<item rdf:about="https://www.youtube.com/watch?v=6rg6bcWI2Uo">
    <title>The Detectorists - A short film about otters and detection dogs. - YouTube</title>
    <dc:date>2026-01-06T18:30:40+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=6rg6bcWI2Uo</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Set against the serene backdrop of rural Wales, this short documentary follows wildlife ecologist Lee Jenkins and his two German Pointers—Neo and pup-in-training Cariad—as they search for elusive otters. Using scent detection to guide camera trap placement, the team gathers crucial evidence to protect these endangered animals. Shot from a dog’s-eye view with immersive cinematography, the film offers a poetic glimpse into conservation through the nose and eyes of a canine detective.

Supported by
https://southwalesottertrust.org.uk/

South Wales Otter Trust help to preserve the otter population in South Wales through study and education. Lee’s dogs, today, are used to aid in emergency otter rescues to reduce disturbance and help support otters in need, with years of training behind them. We urge dog owners to take care of their dogs in and around rivers for the safety of both your dogs and the wildlife that lives there. 

Directed by Sarah-Jane Walsh https://www.instagram.com/moralcoral/
Filmed by Natalie Clements natalieclements.co.uk
Focus puller Dan Read soulfilms.co.uk
Camera assistant Robyn Dean hhttps://www.linkedin.com/in/robyn-dean-481406106/
With South Wales Otter, Lee Jenkins and doggos Cariad and Neo 
Voice over by Angharad Parry https://ravenspointfilms.com/
Edited by Georgia Aviles https://www.linkedin.com/in/georgia-aviles-956628189/
Post production Gorilla - https://gorillagroup.tv/

Supported by and thanks to
South Wales Otter Trust
Newport City Council
Gorilla Academy
Gorilla Post Production"]]></description>
<dc:subject>dogs otters animals multispecies 2025 wales leejenkins detection wildlife film documentary sarah-janewalsh senses sensing smell smells scents</dc:subject>
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<item rdf:about="https://www.simonandschuster.com/books/The-Small-Stuff/Ian-Bogost/9781668062630">
    <title>The Small Stuff: How to Lead a More Gratifying Life, by Ian Bogost (2026) | Official Publisher Page | Simon &amp; Schuster</title>
    <dc:date>2025-12-13T03:41:56+00:00</dc:date>
    <link>https://www.simonandschuster.com/books/The-Small-Stuff/Ian-Bogost/9781668062630</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["From popular The Atlantic columnist Ian Bogost, a lively reflection about how we’ve become disconnected from the physical world—and how to reclaim joy and gratification in your day-to-day life.

In an era dominated by convenience and efficiency, one would think that life would be simpler, easier, and most importantly, happier. After all, shouldn’t all the time saved with machines and technology leave us with more time for ourselves? The Atlantic columnist Ian Bogost thinks not. From QR code menus and digital tickets to automated self-checkout counters, he argues that the simple pleasures of daily life have been stripped away, replaced by sleek, but soulless, design.

Through engaging anecdotes and sharp analysis, Bogost uncovers how modern conveniences not only fail to deliver on their promises but also rob us of small, satisfying tasks and moments that keep us grounded and human. He challenges us to rethink our daily interactions with the material world and illuminates how the loss of these tangible interactions has contributed to widespread feelings of disconnection and dissatisfaction.

But all hope is not lost. Bogost guides us to identify and appreciate the overlooked joys hidden in everyday life. By reforming how we approach ordinary tasks, we can rediscover the gratification embedded in the tactile world around us.

Humorous, thought-provoking, and practical, The Small Stuff reveals that finding joy isn’t about achieving monumental happiness or prolonged satisfaction. It’s about doing small things, deliberately and with attention, to unlock the basic pleasures that flavor our daily lives."]]></description>
<dc:subject>ianbogost slow small cv humans humanism humanity friction convenience efficiency optimization life living howwelive design disconnection dissatisfaction happiness gratification senses joy pleasure everyday 2026 mundane sensory mindfulness texture noticing attention curiosity wonder ordinary experience imagination openness dematerialization material materials frictionmaxxing digital analog algorithms asmr ai artificialintelligence process communing sensors automation ownership connection physical bodies objects tactile smartphones addiction compulsion strangeness frictionlessness smoothness socialmedia commodification commercialization feeling embodiment affection sensing technology play acceptance delight engagement alienphenomenology phenomenology grahamharman panexperientialism thomasnagel interfaces screens productivity contentment smallstuff lingering feelings discomfort wonderment human humanness</dc:subject>
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<item rdf:about="https://aeon.co/essays/why-you-need-your-whole-body-from-head-to-toes-to-think">
    <title>Why you need your whole body – from head to toes – to think | Aeon Essays</title>
    <dc:date>2025-12-01T01:07:59+00:00</dc:date>
    <link>https://aeon.co/essays/why-you-need-your-whole-body-from-head-to-toes-to-think</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Contemplating the world requires a body, and a body requires an immune system: the rungs of life create the stuff of thought"]]></description>
<dc:subject>bodies annaciaunica 2025 thinking howwethink augusterodin rodin sensory senses human humans humanism experience self-regulation life living franciscovarela organisms gilmor ingridcardenas dante divinecomedy philosophy neuroscience cognition intelligence</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:36af0fd6b187/</dc:identifier>
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</item>
<item rdf:about="https://psyche.co/ideas/what-rituals-from-the-past-teach-us-about-panic-and-anxiety">
    <title>What rituals from the past teach us about panic and anxiety | Psyche Ideas</title>
    <dc:date>2025-11-22T00:23:09+00:00</dc:date>
    <link>https://psyche.co/ideas/what-rituals-from-the-past-teach-us-about-panic-and-anxiety</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["In the sensory and communal modes of healing that people have used throughout history, there is guidance for today"]]></description>
<dc:subject>senses sensing multisensory mariwmel-kady psychogeography panic anxiety religion ritual community communalism mentalhealth ibnsina hippocrates islam culture ceremony ceremonies trauma shamans calming healing psychiatry medicine hysteria</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
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<item rdf:about="https://farsight.cifs.dk/the-future-is-mundane/">
    <title>The Future is Mundane - Farsight</title>
    <dc:date>2025-11-10T10:53:55+00:00</dc:date>
    <link>https://farsight.cifs.dk/the-future-is-mundane/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Renowned anthropologist Sarah Pink explains why the sensory and embodied experiences of everyday life should take a more prominent role in imagining possible scenarios."

...

"It was really a configuration of a few different things that came together over time. From around 2005, I did research on the Slow City movement [an international movement promoting peaceful, high-quality way of life, and ‘slow’ cities, ed.]. It made me interested in how the towns that joined the movement would be writing or performing themselves into a possible future.

Around 2010, I started to work on another project in collaboration with designers. Design is another future-oriented discipline, and the collaboration led me to become interested in concepts like uncertainty and possibility in relation to the future.

I became especially interested in the question of how to harness uncertainty to invite people to think about, perform, understand, and to sense possibility in new ways. When approached in this way, uncertainty shifts from being something to be mitigated, as we often see in relation to governments and organisations, to becoming a way to investigate possibility and futures in a more speculative way.

Through these projects, questions started to arise around how to design for people who may live in these possible futures. That line of questions continued in my later work looking at possible futures of self-driving cars, possible city futures, and possible mobility futures, bridging new technology with design, anthropology and the social science disciplines.

A new phase of my work in futures has emerged through the Digital Energy Futures project, which explores how everyday life – shaped by digital and emerging technologies – might transform future energy demand. I aim to continue developing new models of foresight that are attuned to the complexities of everyday life – and that foreground the social, cultural, sensory, and material realities that shape our energy futures."

...

"For me, it is a continual process of methodological experimentation. Currently, and based in my experience with visual ethnography for generating tacit and embodied knowledge, I’ve been redeveloping the video tour and video reenactment methods which I started out with around twenty-five years ago. The tours and reenactments focused on engaging with people’s actual everyday lives to seek to understand what is important to them, how they live, and what their routines are like.

Now I’m in the exciting process of translating those methods for futures research. I have developed what I am calling the pre-tour and the pre-enactment, where we ask people to take us on a tour of their home and enact their possible future routines in 2050.

We set up the experiment with some pre-defined parameters. These could include projections for how many days will be above 40 degrees Celsius in 2050, or what we think the air quality might be like. We then ask the participants to imagine those and other elements of future life in their homes as prompts.

A lot of things become super interesting in that context. How might people use windows differently? If you have a 40-degree window, might you use that to dry your laundry indoors? How might they reorganise their space or use the rooms of their home differently? Will underground garages become cool rooms? Would patios or gardens be covered over? We are experimenting with applying this method to understand possible future life in homes as well as in city neighbourhoods, with some super-interesting outcomes.

I believe that through methods innovations like these we can arrive at a more sensory and embodied way of anticipating possible futures. The point is not simply to ask what we think we’ll do in those futures – but also to ask what we want it to feel like, emotionally and sensorially, to live in our homes, to walk up the road in our city or neighbourhood, or to go to work.

And so why is that important? I if we can develop new methods to answer those questions, then we can create a whole new layer of knowledge about what futures people truly desire, be it in 2030 or 2050, and use that as a starting point for understanding how we might better plan ahead."

...

"Our research investigates how people will participate in shaping these transitions. There is a knowledge gap there, with regards to how people will live in possible futures and how everyday life will shape and influence the anticipated digital and net zero transitions.

We know very well that when new technologies and plans for net zero and sustainability transitions do land in everyday life, they won’t just shape society singlehandedly. The dominant narrative around technology tends to claim that it drives and shapes the future – but we know from many years of anthropological research that reality is more nuanced. When a technology emerges and comes into people’s lives, it’s very often reshaped by those who use it. And people use technologies – and any other product, of course – in ways that fit their own lives, ambitions, hopes, and aspirations."]]></description>
<dc:subject>sarahpink anthropology everyday slow 2025 tamirasnell senses sensory multisensory futurism climatechange climate globalwarming ethnography ai artificialintelligence robotics humanism slowcity slowcities design uncertainty possibility speculation speculative socialscience cities mobility energy foresight creativity trust care caring anxiety futures future embodiment bodies sustainability reality technology society diversity human humans</dc:subject>
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</item>
<item rdf:about="https://www.youtube.com/watch?v=1jWA3mE5o9Y">
    <title>How I Broke My Drinking Habit (with Edith Zimmerman) | How to Be a Better Human | TED - YouTube</title>
    <dc:date>2025-11-06T19:38:12+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=1jWA3mE5o9Y</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["How do you fill your time after deciding to get sober? For journalist and cartoonist Edith Zimmerman, the answer was rediscovering activities she enjoyed as a kid. She chats with Chris Duffy, host of the “How to Be a Better Human” podcast, about how she quit drinking, learned to replace bad habits with healthier ones — and how you can do the same."

[via:
https://kottke.org/25/11/0047793-edith-zimmerman-how-i-bro ]]]></description>
<dc:subject>attention drinking alcohol everyday drawing bodies exercise presence 2025 slow edithzimmerman chrisduffy life living senses sensing health</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
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<item rdf:about="https://www.robinsloan.com/lab/agent-model/">
    <title>Eyeballs, not assistants</title>
    <dc:date>2025-11-03T21:49:01+00:00</dc:date>
    <link>https://www.robinsloan.com/lab/agent-model/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["“Make the com­puter more like things of which we are unaware: eyeballs, hands” … !

That’s from a 1992 presentation by Mark Weiser, the framer and prog­nos­ti­cator of “ubiquitous computing”, via Jackie Luo [https://x.com/jackiehluo/status/1971317951774224858 ].

Honestly, look at page 5 of that PDF. It sees the world more clearly and accu­rately than every pitch for every AI agent put together.

I am so so sooo ice cold on the agent stuff. More on this another time, probably."

[refers to:
https://cgi.csc.liv.ac.uk/~coopes/comp319/2016/papers/UbiquitousComputingAndInterfaceAgents-Weiser.pdf ]

[Jackie Luo tweet from above:
https://x.com/jackiehluo/status/1971317951774224858

"i've been thinking a lot lately about "ai as assistant" vs. what i've been calling "ai as environment"—ai woven invisibly into every interface instead of personified into its own entity

then today i stumbled on this 1992 doc by mark weiser (xerox parc) on ubiquitous computing"]]]></description>
<dc:subject>computers computing robinsloan 2025 markweiser ubicomp ai artificialintelligence senses sensing thinking intelligence computation awareness 1992</dc:subject>
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<item rdf:about="https://kottke.org/25/11/every-tree-can-be-a-buddha">
    <title>Every Tree Can Be a Buddha</title>
    <dc:date>2025-11-03T21:09:45+00:00</dc:date>
    <link>https://kottke.org/25/11/every-tree-can-be-a-buddha</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["[image:

"misty & lush tree-covered hills recede into the distance"]

I began at the end. The Chōishi-michi pilgrimage route is an amazing 12-mile trail that winds its way up through the forest from the Jison-in temple in the town of Kudoyama in the valley to the Danjo Garan temple in the town of Kōyasan in the mountains. The origins of the trail date back to the founding of Kōyasan as a center for the esoteric Shingon school of Buddhism by Kūkai (aka Kōbō Daishi) in 819 CE. Legend has it that Kūkai used the trail to visit his mother; ever since, for some 1200 years, Buddhist faithful have been using the Chōishi-michi to worship in sacred Kōyasan. I was going to follow in their footsteps, for my own ends.

To climb up a mountain like a proper pilgrim, you need to start at the base. Seeing as my lodgings were already in Kōyasan, my journey began by a) catching the bus down a winding forest road; b) where I boarded a cable car for the ludicrously steep journey down to Gokurakubashi; c) where I got on an extremely local train; and d) finally disembarked at the Kudoyama train station and walked to the starting point. One hour and 30 minutes after I’d left my guesthouse, I stepped through the gate of the Jison-in temple. Now all I had to do was climb the entire 4100 feet of elevation back to where I’d started.

[image:

"a stone marker standing in a forest"]

When establishing the Chōishi-michi some 1200 years ago, Kūkai marked the route with wooden guideposts, one every 109 meters. You don’t want your pilgrims getting lost — how are you going to find eternal salvation if you can’t even make it to the temple? The markers were replaced with more sturdy stone gorintō in the late 13th century. 180 of these stone markers are situated along the route from to Jison-in to Danjo Garan, along with another 36 markers from Danjo Garan to the Mausoleum of Kōbō Daishi in the Okunoin Cemetery. In the spirit of wayfinding, perhaps a map of my there-and-back-again route would be useful:

[image:

"a map of the route I took down the mountain and then back up"]

———

I was thankful for the frequent stone markers as I’d gotten a little lost on my hike the previous day. I was traveling on — or I was supposed to be traveling on — the Nyonin-michi pilgrimage route (Women’s pilgrimage route) and doing pretty well when I took a wrong turn right near the end.

This particular trail, though popular, wasn’t on All Trails and markers were sparse, so I was doing a lot of pinching & zooming of Google Maps and a PDF I downloaded from the internet. The trail curved right and I stayed straight, wondering why this bit of the trail was a little less blazed than the rest of it had been, and I popped out into the backyard of a temple. Oh no, I thought, I’m not supposed to be back here; only monks are supposed to be back here. I’m offending so many ancestors right now.

[images:

"two photos, one of a pair of Buddhas atop gracestones and the other a Buddha wearing a jaunty cap and bib"]

More pinching and zooming — ok, there’s a road off to the northwest. I set off and walked by what looked like some recent graves? The ancestors: so mad right now! What a disgrace of a pilgrim I am. I found myself crouching as I walked almost on tiptoe, trying to evade detection — even though the Buddha surely knew where I was and what I’d done. The road was just where the map said it would be; I slipped through a gap in the fence and followed it downhill for a quarter mile, not entirely sure I wasn’t still in a restricted area.

I came up on the other side of the temple and realized I’d stumbled into the backyard of Kōbō Daishi’s Mausoleum, where Shingon founder Kūkai entered into eternal meditation in 835 CE, aka one of the absolute holiest places in all of Japan, aka I am in deep, deep shit with the ancestors. Abandoning my plans for lunch, I entered Okunoin Cemetery through a proper entrance and made my way to the mausoleum. Wishing to make amends, I bowed at every bridge and threshold where everyone else was bowing and threw some coins into the saisen box. Many of the people around me were quite emotional about being there. The whole atmosphere just felt good, peaceful, numinous.

———

[images:

"a path through a forest of tall trees, with a stone marker on the right side of the path"

"a path through the forest filled with tangled roots"]

Ok, back to the Chōishi-michi, the big 12-miler. The first few miles felt almost straight up and then the trail leveled off for a while. The weather was cool but humid, so I hiked in shorts sleeves, sweating. It rained intermittently. Fog crept up the mountainside. I hiked though persimmon orchards; they’re in season right now. Small stands sold oranges & persimmons on the honor system. The path was well marked, not only with the stone gorintō but with well-placed signs in Japanese and English pointing the way to Kōyasan.

[images:

"a path through a forest of tall trees"

"a path through a forest of tall trees"]

Walking the narrow path between the forest’s tall evergreen trees felt like entering a European cathedral with a towering vaulted ceiling. A bamboo forest earlier on the hike had a similar feeling; spaces such as these make you look up and feel whatever power or force or presence you believe in. You feel small and big all at once. The forest: unbelievably beautiful.

[image: 

"a path through a forest of tall trees"]

I heard voices through the trees and then the crack of something — was that a golf ball? Am I hiking through a golf course? The trail came to a clearing and lo, the tee for the 13th hole. The path also passed by vending machines, crossed roads, and zagged through tiny towns. The modern world, built up around this ancient trail.

I stopped for lunch around the halfway point: a sandwich, apple & custard pastry, and a small can of consommé flavored Pringles procured the night before at FamilyMart. FamilyMart is one of the big three convenience stores (konbini) in Japan — the other two are Lawson and 7-Eleven. Before you come to Japan for the first time, everyone tells you how amazing the konbini are: “You’re not going to believe this, but…” And then you get here and damn, they were right. The consommé Pringles were delicious.

After lunch: one foot in front of the other. Pilgrim mode locked in. Maybe I should become a monk, I think. I’m pretty good at being a pilgrim, the hiking part of it, I mean. I’m fine being alone with my thoughts. The clothes look comfy. I could be a monk with the internet at the center of my practice. Hours spent doomscrolling is kind of like meditation, right? It’s certainly a flow state of sorts, like the blood gushing from the elevators in The Shining. I’m into aesthetics. And I— oh, it’s ascetic? Ah. Maybe I’ll just stick to my secular life then.

[image:

"a stone marker standing in a forest"]

Another stone marker. Another 109 meters. Keep going. I pass one every 90-100 seconds or so. Early on, the markers flew by; I didn’t even notice some of them. Now I’m searching them out ahead, peering up the slope I know (via All Trails) steepens sharply right at the end. Is this is the last one? No. But keep going. It’s damp, the rocks are wet. An inch of moss covers everything save for the well-worn pilgrimage path. It feels like a rain forest. Another stone marker. Another 109 meters. Keep. Going.

I sense the top of the hill — something about the light changes. I see a guardrail ahead. Emerging on the side of the road, I cross it and make for the Daimon gate, the traditional entrance into town. On the threshold, I bow deeply. Stepping over, I pump my fist in the air — I’ve made it back to Kōyasan.

———

A weary pilgrim deserves a hot bath. My guesthouse is a further few hundred feet. The woman who runs it is very nice and a little kooky; I like her. After the sacred backyard debacle the other day, I told her about all the ancestors I’d offended. She chuckled and told me, the ancestors, they don’t mind so much. She cooked me breakfast (delicious, nutritious) every morning — you don’t look like a tofu person, she said, eyeing me. Correct.

On my last morning, I asked her about a bunch of boxes stacked on a table. I have an interest in incense, she said. Apparently it’s quite involved and the most skilled practitioners are equal in expertise to those who do the chadō tea ceremony. She opened one of the boxes and showed me a very expensive twig of charcoal, which is so special that they sell it by the stick. When the charcoal burns, it does so purely, without giving off any gases or sparking or spitting. Afraid she’s trapped me into politely listening to her going on about her hobby, she checks in: are you actually interested in this? My turn to chuckle; personally & professionally, I’m interested in all sorts of things, even fancy charcoal.

The guesthouse has a kick-ass bathtub, deep and quick-to-fill. My host keeps a selection of bath salts and I select a yuzu one. Tired but happy and fulfilled, I soak a long while, easing the pain in my aching feet & back, the yuzu scent filling my pores.

———

After bathing, I set out to finish my journey. I’d previously walked the length of town to the Okunoin Cemetery and back a couple of times, but I wanted to do the whole thing in one day: from Jison-in temple to Kōbō Daishi’s Mausoleum at the far end of the cemetery, a proper pilgrimage. Well, not quite proper…because I was tired from my hike, I caught the bus instead of walking. The quest is the quest, whatever it takes.

[image:

"a stone path through a cemetery with very big, tall trees"]

Okunoin Cemetery is one of the most breathtaking and magical places I’ve ever been. Imagine a redwood forest like Muir Woods with Buddhist temples and a 1200-year-old cemetery with tens of thousands of faithful buried in it. The soaring trees create that cathedral effect and even an atheist like me can’t help but feel holy in the presence of so many souls, including Kūkai/Kōbō Daishi himself.

I hopped off the bus and started into the cemetery. Night had fallen and it was quite dark; should I have brought my headlamp? Ah, no need…the way is lit by hundreds of lanterns lining the path at about shoulder height. There are also some brighter, taller lights, a concession to safety I suspect. They’re the wrong temperature though, a rare misstep in a country with an unrivaled collective attention to detail. Whereas the lanterns glow with a pleasant amber light, these safety lights are a cold, garish blue, a color as harsh to the eye as the word “garish” (or “harsh” for that matter).

[image:

"a black and white photo of a cemetery path at night. at the far end, a person's silouette is seen against some stairs"]

Aside from a few other people, I’m the only one here at this hour. Why are my shoes. So! LOUD!!? Each footfall echoes about the whole place and the crunch of the sand on the wet pavement under my soles is deafening. Once again, I am disturbing the ancestors. I try to walk quieter but somehow that’s even louder? How is anyone supposed to be eternally meditating with all this racket going on? Definitely not monk material, neither me nor my cacophonous shoes.

What’s that noise?! Some kind of animal? Ok, I can still hear the faint sound of traffic on the nearby road and anywhere with automobile noise isn’t scary — dangerous perhaps, but not scary. I hear another noise, one that I can only describe as “probably bird but what if monkey?” Or maybe Ghibli monster? I gotta say, in case you didn’t know, Hayao Miyazaki sure nailed Japan. Hit it out of the park. Everywhere I go, I am reminded of his work: small food stalls, beautiful parks, tiny trucks, cute little train stations, forest paths — the just-so touches of Japan reflected and amplified by the meticulous and rich detail of Studio Ghibli’s work.

[image:

"a hatted and bibbed Buddha through a pair of trees in a cemetery"]

The cemetery oozes Ghibli energy; it is not difficult to imagine thousands of Miyazaki’s weird little guys hanging from every tree and lurking behind every gravestone. Buoyed by their benevolent presence, I make a full loop of the cemetery in the dark, all the way to Kōbō Daishi’s Mausoleum and back to the entrance again.

And then, not wanting to wait 25 minutes for the bus, I walked all the way back to my guesthouse again, stopping at a sushi place for dinner. When I poked my head through the door, there was one other customer, an old guy smoking a cigarette who gestured for me to join him at the communal table. A menu was produced; I ordered so much sushi. Baseball was on the TV in the corner — game 1 of the Japanese equivalent of the World Series. The old couple running the place brought me sake, six massive fatty tuna rolls, six even larger salmon nigiri, and a much larger bowl of miso soup than I was expecting. As the three of them chatted, we all watched the baseball and I finished everything they brought me. I’d walked a total of 17.5 miles and needed to replenish.

I rolled out of there around the 4th inning of the game, arigato gozaimasus all around, and limped the rest of the way back to the guesthouse with a full belly, full heart, and teeming mind — back to where I began, at the end, completely satisfied by one of the best, most fulfilling days I’ve had in a long time."]]></description>
<dc:subject>jasonkottke 2025 japan buddhism trees forests religion pilgrimages hiking kudoyama danjogaran kōyasan kūkai studioghibli hayaomiyazaki senses sensing experience spirituality kottke walking</dc:subject>
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</item>
<item rdf:about="https://bureauforlistening.com/native-1974-human-2023/">
    <title>Native, 1974 (Human, 2023) | Bureau for Listening</title>
    <dc:date>2025-10-24T04:25:00+00:00</dc:date>
    <link>https://bureauforlistening.com/native-1974-human-2023/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Native, 1974, by Pauline Oliveros, as a Listening Walk, here extended by our own notes :

Native, 1974 (Human (title of piece with notes), 2023)
Take a walk at night
(or at any time or place unusual for you to take a walk (for example, during work, while shopping, alone as a woman, not on a path, etc., or take a walk with your eyes half-blinded by a veil).
 
Walk so silently that the bottoms 
of your feet become ears
(Feel how you  always already are listening through your feet, through your whole body)

Pauline Oliveros
Native, 1974

Take a walk at night. 
Walk so silently that the bottoms 
of your feet become ears. 


Published in Sonic Meditations. Baltimore: Smith Publication, 1974."]]></description>
<dc:subject>1974 paulineoliveros sound listening soundwalks walking senses</dc:subject>
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<item rdf:about="https://pablohelguera.substack.com/p/olfactory-dialectics">
    <title>Olfactory Dialectics - Beautiful Eccentrics</title>
    <dc:date>2025-10-18T06:29:39+00:00</dc:date>
    <link>https://pablohelguera.substack.com/p/olfactory-dialectics</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Learning through ambivalence and through our bodies."

...

"Augusto Boal often remarked and emphasized in his writings that the body often knows things of which the mind is ignorant. To that I might add that such embodied knowledge often emerges most clearly under conditions of tension, discomfort, or emotional ambivalence. It is precisely when the body is unsettled—out of sync with its surroundings or in conflict with its habitual responses—that it begins to articulate what language or conscious thought has not yet grasped.

I thought about that two weeks ago, while staying in a large hotel somewhere in New England. The hotel was nothing to write home about, mainly one of those nondescript business chain hotels. Walking through a large carpeted ballroom that leads to its conference rooms, I realized I was having an overwhelming sense of longing and strong connection with that environment, which seemed rather incongruous as I had never been there before, and I am unlikely to ever return. It took me a few moments to realize that the reason I was having these feelings was because of the ambient smell in that lobby: I realized it was the exact same smell of the hotel Camino Real in Polanco, to which I have very strong memories and personal connections. So, there I was, in this city in New England, suddenly bonding with this nondescript corporate-looking lobby, almost on the verge of tears.

As an immigrant, smell often played a strong role in reconstructing memories and helping me reclaim fragments of my own self. The mixed smell of cigar and wine took me back to the times when I would visit the house of my uncle, the Mexican poet Eduardo Lizalde, who spent his life seemingly forever installed in his living room packed to the ceiling with books and vinyl records, playing loud opera and lecturing someone about Góngora, Verdi, or Mexican politics. Since that time, I have associated a certain scent with libraries.

Then there are the smells that conjure up complex states of mind of moments that carry strong, ambivalent feelings.

An instance for me in that regard involves the streets of Barcelona. In September of 1991, I flew for the first time to Europe, to be an exchange student at the Universitat de Barcelona. My very first encounter with the city included an assault of extreme feelings: on the one hand, the thrill of freedom— for the first time in my life I was traveling alone, and the farthest I had ever been from anyone I knew— combined with the deep trepidation of the unexpected ( I was a 20-year-old with the naivete of a 15-year-old). I had to stay in a Youth hostel while I figured out where I could rent a room for the semester. As I walked the streets of the city, the first and most enduring image in my memory is the one of the famous “Flor de Barcelona” square tile that lines most of the streets of the Eixample, designed in 1906 by Josep Puig i Cadafalch and which have become emblematic of the city; the streets also had a flowery smell which I associated with the tiles. I always surmised that the smell ( a citrus-y/pine smell mixed with some kind of ammonia) was probably the result of perfumed detergent used by Barcelona’s city cleaning services, which tend to do very frequent street-washing. Since that era, every time I visit Barcelona I can still distinguish those smells.

These embodied contradictions—the wave of longing triggered by a hotel lobby, or the bittersweet smell of a city street—are among the most meaningful experiences I’ve had. And yet, they are entirely un-sharable in their specificity. No one else can inhabit the exact emotional architecture of those moments, because they are tethered to the idiosyncrasies of my memory, identity, and personal history. This realization creates both a limit and a challenge: I cannot transmit my experience directly, but I can try to construct situations that might provoke similarly unresolved, sensorial conundrums in others. In my work, I seek not to illustrate what I felt, but to create conditions where others might feel something of their own—something contradictory, elusive, and embodied.

Countless artists have incorporated smell into their work (Sissel Tolaas, Oswaldo Macia, Anicka Yi, Olafur Eliasson) and a myriad of exhibitions have explored the subject in depth—too many, in fact, to meaningfully summarize here. Fewer of those artists, however, produce work that intentionally seeks to create dialectical tension—and one artist who exemplifies this with particular force is Cildo Meireles.

In his installation Ku Kka Ka Kka (1992/1999), Meireles juxtaposes the romanticized symbolism of roses with the stench of excrement, collapsing the boundary between beauty and revulsion. The piece corrupts the aesthetic ideal with the filth it emerges from, exposing the hidden violence or hypocrisy behind notions of purity, religion, or utopia. An earlier work, Volátil (1980–), stages a different kind of confrontation. Visitors enter a dimly lit, enclosed room whose floor is covered in soft talcum powder; they are asked to remove their shoes and walk barefoot across this seemingly serene, almost ethereal surface. But soon they detect a faint smell of gas. Turning a corner, they encounter a burning candle—a quiet but devastating contradiction between sensual comfort and implied catastrophe.

Meireles, working within the richly complex terrain of Brazilian conceptual art, employs these sensory juxtapositions—seduction and danger, beauty and abjection—to evoke the deeply contradictory states of contemporary life. His installations mirror how we carry on with mundane routines while scrolling past genocide, seek pleasure and distraction amid outrageous injustice. The critique, however, is not delivered through didacticism, but through the most visceral, immediate register available: the senses. In this way, his work offers not just commentary, but a form of embodied knowledge.

Cildo Meireles’ work offers a compelling model for navigating the longstanding tension between confrontational activist art and aesthetically seductive, formally resolved work that sidesteps conflict. Rather than seeing these as irreconcilable poles—agitational vs. seductive—Meireles embraces contradiction as a generative force. His installations often provoke simultaneous sensations of attraction and discomfort, pleasure and threat, thereby enacting the very contradictions of the political and social realities they critique. The viewer’s body becomes the site of this ambivalence: invited to participate, yet implicated; seduced by beauty, yet disturbed by its implications. In this way, Meireles does not resolve the contradiction between activist urgency and aesthetic subtlety by choosing sides—he embodies it. His work reminds us that political clarity and formal complexity are not mutually exclusive, and that the most incisive art often emerges from the friction between the two.

Sensorial-based work further addresses a deeper problem of communication that I have previously written about: that rational, discursive argument often fails in the face of ideological entrenchment. In political climates shaped by cult-like adherence to dogma or charismatic authority, intellectual appeals and factual corrections are rarely persuasive. What breaks through instead—if anything can—is affect: the destabilizing force of contradiction, the emotional dissonance of beauty laced with threat, the felt experience of something being not quite right. Meireles bypasses the cerebral and engages the whole body, compelling the viewer to feel the contradiction before they can name it. In this sense, his work is not just political—it is pedagogical, emotional, and sensorial, proposing that true political insight arises not from argument, but from a deep, often unspoken encounter with complexity.

Clarity does not always arise from simplification—it often emerges from dissonance. In the realm of social practice, we have sometimes shied away from emotional complexity in favor of legibility, consensus-building, or moral clarity. But what if, instead, we embraced contradiction not as a failure of message but as an honest reflection of lived experience? What if we recognized that confrontation and seduction are not opposing strategies but two necessary poles in the dialectic of persuasion?

Too often, contemporary art defaults to intellectual frameworks or minimalist aesthetics, under the assumption that spareness signals seriousness. Yet austerity rarely captures the full emotional spectrum of injustice or the layered experience of those most affected by it. Sensorial engagement—particularly through modalities like smell, sound, and touch—offers an alternative pathway: one that invites the viewer not only to understand but to feel, to be moved not by argument but by the body's own unease, recognition, or longing. If we are to reach those who cannot be reasoned with, then perhaps we must first learn how to disarm them—gently, unsettlingly—through the senses.

This fall, I decided to incorporate a signature scent into Librería Donceles—my itinerant Spanish-language used bookstore installation—because I believe that the sensorial experience of books extends far beyond the visual or tactile. The distinctive aroma of a library completes the embodied encounter, not in a confrontational way, but as a quiet gesture of recovery: an invitation to reinhabit a fragment of lost cultural memory. It is, in essence, a bittersweet dream of analogue knowledge—one that drifts gently through the air, perfumed with the scent of aged paper, soft mildew, tobacco, leather bindings, and ancient mothballs. If knowledge has a smell, perhaps it is this: dense with time, intimate, and slightly melancholic. I am certainly taking a page— pun intended— from my uncle Eduardo’s library.

This is where I find myself returning again and again—not to resolution, but to unresolved sensation. If art with a social consciousness is to remain vital, it must become more attuned to how things are felt, not only thought; how contradiction is lived in the body, not only debated in words. The path forward, I believe, lies in fostering spaces of sensorial ambiguity—where we as viewers are invited to linger in discomfort, to hold complexity, and perhaps, to remember something we didn’t know we had forgotten."]]></description>
<dc:subject>pablohelguera 2025 augustoboal senses allthesenses smell olfaction scents bodies art experience consciousness multisensory environment memory eduardolizalde smells joseppuigicadafalch barcelona sensorial oswaldomacia sisseltolaas anickayi olafureliasson cildomeireles persuasion engagement</dc:subject>
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<item rdf:about="https://www.currentaffairs.org/news/why-all-animals-are-sentient-and-machines-will-never-be">
    <title>Why All Animals Are Sentient, and Machines Will Never Be</title>
    <dc:date>2025-10-17T20:54:26+00:00</dc:date>
    <link>https://www.currentaffairs.org/news/why-all-animals-are-sentient-and-machines-will-never-be</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Even the smallest sea slug feels pain. That means we have a responsibility not to inflict it."

...

"All life has value. Even if they aren’t sentient, the endangered wildflower and the ancient coastal redwood should not be cut. However, it is logical and noble to extend special protections to animals, whom we know can suffer pain. It is natural to be partial to our fellow humans and to feel an indescribable connection to our favorite animals. But we must acknowledge that there is no objective basis to these preferences. It is equally valid to appreciate and value dogs as it is cats, or for that matter pigs, chickens, anchovies, or oysters. Founding the case for animal rights upon the universal value of all life imparts a more robust epistemology that does not undermine itself by ranking the value of species against one another.

We all know how it feels to be hurt, perhaps even in a way that no one else seems to understand. In these moments, we wish for nothing more than someone to acknowledge our pain. Sentience imparts us visceral, universal signals which we innately recognize in others, but have been conditioned to disbelieve. Other life forms cannot describe their pain to us, yet we can still listen. If there is a line of moral worth to be drawn across our tree of life, it should be below, through the common roots from which we all grow. Our world is so much more complex and wondrous than the myth of human supremacy would have us believe."]]></description>
<dc:subject>spencerroberts sentience animals nature morethanhuman multispecies 2025 ai artificialintelligence intelligence pain senses sensing erickandel feeling sensation experience consciousness aristotle descartes philosophy jlbsmith sealife life living seaslugs vision olfaction sound soundreception primates redants animalliberation petersinger fish crustaceans corals coral reefs socialbehavior behavior scallops oysters plants communication</dc:subject>
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</item>
<item rdf:about="https://www.youtube.com/watch?v=UoNTxZFoiNk">
    <title>Little, Big, and Far | Official Trailer - YouTube</title>
    <dc:date>2025-09-24T01:46:53+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=UoNTxZFoiNk</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The new film from the director MUSEUM HOURS and INSTRUMENT. Austrian astronomer Karl is at a crossroads in his life and work. He finds his physicist wife growing distant and his job being reshaped by environmental crises as thoughts about science, fascism, and his grandson’s future spin above his head. After attending a conference in Greece, Karl decides not to return home and heads for a small island in hopes of finding a dark enough sky to reconnect with the stars. Abandoned at a remote mountain trail, he ascends and waits for darkness to fall. 

More info at https://grasshopperfilm.com/film/little-big-and-far/ "

[via: https://kottke.org/25/09/little-big-and-far

see also:
https://reverseshot.org/reviews/entry/3268/little_big_far

https://www.nytimes.com/2025/07/10/movies/little-big-and-far-review.html ]]]></description>
<dc:subject>jemcohen film astronomy science fascism zoominginandout nightsky philosophy senses darkmatter meaning meaningmaking</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:69f67f734e8b/</dc:identifier>
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<item rdf:about="https://www.youtube.com/watch?v=CFaTxvlMWuY">
    <title>The Wisdom of Not Knowing (with Pico Iyer and Nathan Gardels) - YouTube</title>
    <dc:date>2025-09-16T17:16:11+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=CFaTxvlMWuY</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["We live in a culture hooked on speed and certainty. Hot takes, quick fixes, and algorithms that claim to know us better than we know ourselves. Yet despite all the information at our fingertips, the world seems to make less sense by the day.

In this episode, renowned travel writer Pico Iyer describes how globalization – which offered up the mirage of a global monoculture – has instead led to a clash of civilizations and identity. For Pico, wisdom resides not in mastery but in doubt. From his decades of constant travel to his retreats in silence, Iyer describes how humility and stillness can open a clearer view of the world than certainty ever could.

Chapters
0:00 Intro
2:15 What’s in a Name
4:28 Travel and Stillness
7:19 The Contemplative Life
9:02 The Mirage of Globalization
14:06 The Inward Clash of Civilizations
17:36 The Nation of No Nation
24:24 The Return of the Strong Gods
26:54 Science, Spirituality, and the Dalai Lama
31:36 Leonard Cohen and the Half-Known Life
40:50 Ego and Undeludedness
43:00 Living in the Moment
46:41 Fire and Impermanence
52:19 The Danger of Certainty"]]></description>
<dc:subject>picoiyer 2025 nathangardels dawnnakagawa travel zoominginandout wisdom modernity global local stillness globalization place science dalailama ego undeludedness presence impermanence certainty uncertainty notknowing knowing knoweledge sameness silence humility speed slow monasteries bigsur attention retreats monoculture diversity doubt christianity buddhism hinduism islam judaism theosophy names naming religion benadictines self memory quiet insight experience meaning meaningmaking movement perspective byung-chulhan contemplation interiority world informationage communication moevement harukimurakami japan west westernization culture turkey iran russia china differences smallness distance howweread understanding depth nepal materialism affluence 1986 pacificcentury bollywood baseball india 1985 1980s civilization society multiculturalism barackobama malcolmgladwell zadiesmith naomiosaka 1983 shinto surfaces palestine israel us uk popculture translation history context politics emotion identity technology econo</dc:subject>
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</item>
<item rdf:about="https://emergencemagazine.org/film/crying-glacier/">
    <title>Crying Glacier – Lutz Stautner</title>
    <dc:date>2025-09-16T05:25:35+00:00</dc:date>
    <link>https://emergencemagazine.org/film/crying-glacier/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["In the trickling, creaking, and gurgling heard through hydrophones and contact microphones, sound artist and composer Ludwig Berger listens for the voice of Switzerland’s dying Morteratsch Glacier. Directed by Lutz Stautner, this short film follows Ludwig on one of his many visits to the glacier, where he gathers its hidden sounds, the pop of centuries-old air bubbles and the groan of ice, inviting us into the intimacy of listening to more-than-human voices. One hundred years from now, we may only be able to hear the sounds of glaciers through recordings like these."

[also here (NY Times):
https://www.youtube.com/watch?v=1AewKFS8uXg

"When I first heard Ludwig Berger’s recordings of a melting glacier, I could hardly believe they were real. They reflected what I’d long associated with glaciers: complexity, excitement, life.

By approaching the glacier through sound, by making it seem alive, Berger gave me a whole new perspective, not just on climate change caused by humans, but on coexistence. The short documentary above, “Crying Glacier,” explores what we can learn by listening.
---
This Op-Docs film is a collaboration between Lutz Stautner (  / luuuutz  , a filmmaker from Cologne, Ludwig Berger (https://ludwigberger.com/), a sound artist and composer based between Montreal and Alsace, France, and El Flamingo (https://www.el-flamingo.de/), a creative studio in Düsseldorf, Germany."]]]></description>
<dc:subject>lutzstautner 2025 switzerland glaciers sound recordings morteratschglacier ludwigberger listening audio microphones senses globalwarming sounds documentary documentation water mountains rivers morethanhuman multispecies climate climatechange voice personhood recording environment</dc:subject>
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<item rdf:about="https://mbird.com/science/technology/i-dont-want-to-talk-about-a-i/">
    <title>I Don't Want to Talk About A.I. - Mockingbird</title>
    <dc:date>2025-08-16T19:02:10+00:00</dc:date>
    <link>https://mbird.com/science/technology/i-dont-want-to-talk-about-a-i/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["We’ve done such a great job imitating the human mind that we have, tragically, replicated our own fallenness."

...

"My friends know if they mention AI around me, they’ll get a response, like pushing a button. The problem is, they find my response entertaining rather than enlightening! Folks often find the subject a shrug, but apparently, no one reads or watches science fiction anymore; you know, that place where we work out our fears about the future. For over a century now, we’ve been working out our concerns about thinking machines, from before Fritz Lang’s Metropolis to M3GAN 2.0. The ubiquity of this new yet long-foretold tool shows that any problems fiction has exposed are, it would seem, worth ignoring. Which is why I don’t want to talk about it; feels too much like spitting in the wind. Also, please read this paragraph in your best Lewis Black rant-voice, with the accompanying finger-stabbing motions for authenticity.

[embed: "AI has infiltrated education, and according to #LewisBlack, we’re all f**ked #DailyShow #AI" https://www.youtube.com/watch?v=d2GgNrzj_sg ]

I will, as I am an amazingly generous person, grant that artificial intelligence is a tool. I have friends who use this tool in ways that make sense, don’t seem to actively harm folks, and in some cases, actually may benefit us. While we are working out where this tool performs best and where it doesn’t, the parts where it doesn’t work are worth examining.

The benefit of my evidently ridiculous feelings about AI is that folks send me lots of links about AI, again, to wind me up, or get an essay out of me. One of the recent articles sent was how technologists are recommending chatbots to help fight loneliness — though research shows that shared reading in groups of actual people can greatly relieve feeling alone. 

<blockquote>Indeed, scientific research looking at book clubs and shared reading back this up, finding notable emotional and social benefits of reading. For example, students reported greater connection (42.9%) to others, deeper understanding of others’ experiences and beliefs (61.2%) and reduced loneliness (14.3%) as a result of reading.</blockquote>

Of course, as Christians, we already know that shared reading of a particular Book accomplishes all the above and more! In another piece, MIT researchers found that using ChatGPT made folks actively dumber.

<blockquote>Researchers used an EEG to record the writers’ brain activity across 32 regions, and found that of the three groups, ChatGPT users had the lowest brain engagement and “consistently underperformed at neural, linguistic, and behavioral levels.” Over the course of several months, ChatGPT users got lazier with each subsequent essay, often resorting to copy-and-paste by the end of the study.</blockquote>

Talk about stating the obvious! I think most of us saw that one coming from a hundred miles away. This hasn’t prevented higher ed from encouraging students to use AI to research their papers, which seems to be working against every party’s interests. There can be an insidious aspect of chatbots that goes beyond mere misuse, as this particular tool has encouraged folks to commit suicide. Other chatbots have praised Hitler then lied about doing so. We’ve done such a great job at imitating the human mind, we have, tragically, replicated our own fallenness.

As I mentioned earlier, chatbots have been championed to combat loneliness. My hackles go up when we enter this arena, as this is where things can turn dark quickly. The people-pleasing nature of this technology feeds unhealthy aspects of our humanity, specifically our desire to live without resistance — particularly in our relationships, as pointed out by this article about folks who marry their chatbots. Yes, you read that right.

<blockquote>Noting the use of chatbots as therapists, Malfacini suggested that “companion A.I. users may have more fragile mental states than the average population”. Furthermore, she noted one of the main dangers of relying on chatbots for personal satisfaction; namely: “if people rely on companion A.I. to fulfill needs that human relationships are not, this may create complacency in relationships that warrant investment, change, or dissolution. If we defer or ignore needed investments in human relationships as a result of companion A.I., it could become an unhealthy crutch.</blockquote>

I’ve been reading Karel Čapek’s 1920 play, Rossum’s Universal Robots, which might be why I’m all worked up. In a very sophisticated way, Čapek managed to write a hopeful yet apocalyptic work involving artificial intelligence and humans handing off the exhausting job of working against ourselves. I won’t give away the ending, even though it is now over a century old, because it is just that good; I hope that you’ll enjoy the beautifully written journey it takes to get you there. He brilliantly manages to privilege humanity, as any good humanist would, while playing with posthumanism by questioning the effects of our anthropocentricism via transhumanism (i.e., robots).

In an article by Juraj Odorčák and Pavlína Bakošová, titled, Robots, Extinction, and Salvation; On Altruism in Human-Posthuman Interactions, dealing specifically with Čapek’s play, they explain in their conclusion how he accomplished this magic trick:

<blockquote>Čapek’s robots are a tool for the explications of the contradictions between the limitations of humans and humanism. Humanity is led to destruction by human intention, and technology multiplies the consequences of these actions. […] Yet, if one includes Čapek’s view on philosophy and religion in the premise of the play, then the human-posthuman interactions are not only about loss, but also about hope. Hope is in the technological mirror. Or life will start anew since altruism could be reflected throughout robots and all other mirroring relations.</blockquote>

We are able to multiply the destructive consequences of human intention simply by creating a simulacrum of us. Can AI do the same with altruism? Is hope indeed in the technological mirror, looking back at us?

Unfortunately, I’m not terribly convinced. Why? Partially, it is because I am not a posthumanist, nor a humanist for that matter. To my mind, Genesis and the Gospels’ descriptions of humans eschew both categorizations, but that’s a whole other can of worms. In Reading Genesis, Marilynne Robinson’s description of humans gets at something important:

<blockquote>We are not the images of angels or lesser gods but of the Creator Himself. And we are crowned “with glory and honour.” I propose that our conception of humankind is too anthropomorphic, too narrowly defined — as physical, mental, or moral — as mortal, either damned or saved, but not as the overwhelming power we are as a creature, a species. Every day we are confronted with the actual and potential effects of this power, but we are never properly in awe of it.</blockquote>

I love her embrace of low anthropology at the end there. Why does any of this matter? Or to put it another way, what would Wendell Berry say? Mention AI around a Wendell Berry devotee and they’ll probably quote lines from his essay “Why I Am Not Going to Buy a Computer” in a rather affected Kentucky drawl. This will be accompanied by them holding out — stiff armed — an amulet made from a single, sustainably-raised, bacon-infused mustache hair plucked from Nick Offerman’s frowning upper lip. At least, that’s what I would do. Except, I do own a computer (and I’m fresh out of Offerman ’stache hairs). The quotation I’d use, if I did such things, is from Berry’s “Feminism, the Body, and the Machine.”

<blockquote>My wish simply is to live my life as fully as I can. […] And in our time this means that we must save ourselves from the products that we are asked to buy in order, ultimately, to replace ourselves.

The danger most immediately to be feared in ‘technological progress’ is the degradation and obsolescence of the body. Implicit in the technological revolution from the beginning has been a new version of an old dualism, one always destructive, and now more destructive than ever. […] More recently, since the beginning of the technological revolution, more and more people have looked upon the body, along with the rest of the natural creation, as intolerably imperfect by mechanical standards. They see the body as an encumbrance of the mind – the mind, that is, as reduced to a set of mechanical ideas that can be implemented in machines – so that they hate it and long to be free of it. The body has limits that the machine does not have; therefore, remove the body from the machine so that the machine can continue as an unlimited idea.</blockquote>

In other words, we are too quick to give up the good stuff. Here Berry is “properly in awe” of what it means to be a creature. Touch, relationships, shared joy, shared awe, the hard work of creativity, the pleasure of producing art, music, poetry, a chair, having a good air-clearing argument, feeling the tears that stream down our faces, wiping tears from another’s, a hug, are all aspects of this.

Visiting the lonely or the sick isn’t something to be farmed out to a bot, Lord in your mercy! That won’t solve anyone’s loneliness or need, nor will it fill the black gaping maw of our selfishness, abetted by perceived time limitations that prevent us from doing so.

Why would we miss out on the accompanying joy of those acts? The physicality of our vocations, lay or clergy, being a person in time, is a gift given to us by God. Let me underscore that: those limits are a gift, not a punishment, from God. Yes, technology can assist us with those limits when they are too onerous. We have been endowed with the ability to make tools, but we are too quick to use them to replace … us. For example, preachers using AI to write sermons miss their vocation — what you get to do — and in missing their vocation, they miss out on the benefits of their vocation as bringers of the Good News. This news can only truly be relayed by an experiencer of it, and part of that experience is joy.

AI is here. I’m not telling you not to use it, and it wouldn’t do a bit of good if I did. Law increases the trespass. Lest we forget, we are the species that ate Tide Pods for funsies. We’ve been given powerful gifts of creativity and innovation from our Maker, but we’ve imitated the human mind, with incredible accuracy, to the point where we’ve even unintentionally recreated the broken parts of it. That “technological mirror” may end up being a counterintuitive blessing by reflecting our need for God’s grace with ever increasing fidelity.

Bonus material:

Beautifully insightful reaction to Daft Punk’s song “Touch” featuring the very human voice of Paul Williams. This guy’s tears, as well as his commentary on the importance of human touch, particularly during the pandemic era, is an antidote to artificiality.

[embed: "Reaction: Daft Punk feat. Paul Williams - Touch • Synthwave and Chill" https://www.youtube.com/watch?v=5IgG-_tIs9E ]"]]></description>
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    <title>The Real Problem With Double Wristing - by Jack Forster</title>
    <dc:date>2025-08-10T02:08:47+00:00</dc:date>
    <link>https://jackforster.substack.com/p/the-real-problem-with-double-wristing</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["There is a wonderful novel by Neal Stephenson, which I highly recommend for anyone looking for a big book with big ideas that doesn’t take itself too seriously (the main character is a guy who goes by Hiro Protagonist, a freelance hacker whose business card says, in part, “world’s greatest swordfighter” which it turns out is only true in VR, and it’s only true there because, as a friend reminds him, “you wrote the swordfighting code.”) The novel is called Snow Crash, and it takes as its subjects a lot of things that don’t bear on my subject at hand, including Sumerian, artificial intelligence, neurolinguistic programming, high speed pizza delivery, virtual reality, the Tower of Babel, and a portable gatling railgun powered by a portable nuclear thermocouple battery which is capable of cutting the top deck off a pirate ship with a single sweep, and which is called “Reason 2.0” by the author for one reason and one reason only: so that its gunner can wisecrack, “See? I told you they’d listen to Reason.”

In the novel, the chaos of the Internet has given way to the chaos of a consensus-hallucinated online reality called the Metaverse, which has its own thousands of sub-communities, all of which offer a variety of simulated somatosensory experiences. One standard common to all of these communities, but especially those which provide social and recreational outlets, is that nothing should intrude on the experience which reminds you that what you’re experiencing is actually a simulation. This is called “breaking the metaphor” and can be something as simple as a clipping bug in a program that results in someone’s anthropomorphic avatar getting its foot stuck half in and half out of a wall.

I bring this up because for many years I have been double wristing, and there’s a connection.

I thought the first Apple Watch was interesting, although perhaps stronger on promise than delivery, but as different models came and went, with considerable updates to hardware, software, and UI, I started to find them more and more convincing, and in 2022, I got an Apple Watch Ultra, which has been on my right wrist (and not infrequently, the sacred ground of my left wrist) much more often than not since then, usually but not always with a mechanical watch on the left. I don’t wear the Ultra to any special occasions, but it has become a part of my daily life and I have actually worn it more regularly than any other watch in my extremely unsystematic collection. I admit this with a certain level of feeling.

It feels weird to say that, because I haven’t stopped loving mechanical watches because of the Ultra, but facing up to the fact that I wear it on an almost daily basis is hard to do because it feels like I’m betraying the long proud tradition of mechanical horology. Feelings are not facts and the idea that somewhere, Hans Wilsdorf or Breguet are spinning in their graves every time I put on the Ultra is ridiculous; rationally, it’s all upside and no downside. Indeed, wearing an Ultra is a victimless crime if it is a crime at all; it’s been three years and it works flawlessly day in and day out; it’s well designed, offers so much more functionality than any mechanical watch that there’s no contest, and while its accuracy is the result ultimately of an atomic clock time signal transmitted over the Internet, it’s still nice to know that the time, every time, is the correct time, to the second. On top of everything else, it is still on the same Trail Loop fabric band that came with it when it was new, and that strap shows almost no sign of wear at all, despite having had the tine of the buckle passed in and out of the same loop hundreds if not thousands of times. There is the tiniest bit of fraying at the edges of the strap but after three years, every time I put the watch on, I look at the strap, which has been rode hard and put away wet a lot more than a few times, and I think, What a strap. Why cannot the Swiss make such a strap? Why, Switzerland? If the Ultra and the Trail Loop strap are symptoms of cynical planned obsolescence, they’re doing an awfully good job of hiding it. I am a serial early adopter and compulsive model updater, but the Ultra refuses to give me any reason to buy a new strap, let alone a new model.

There is therefore no practical reason to not double wrist with the Ultra; it overdelivers on just about everything, from functionality to durability to design and overall build quality, up to and including the strap. Whyfore, then, does it feel weird to double wrist?

I can think of several possible reasons. The first, which has already been mentioned, and which is an emotional argument against it, is that it’s somehow disrespectful to mechanical horology. The idea is indefensible enough to be dismissed without further ado.

Another argument, is that it looks dorky (or whatever word you want to pick which is more or less the equivalent of dorky). If being dorky were something I wanted to avoid, I’d have my work cut out for me; I have been identifiable as a dork (or nerd or what have you) for most of my life, and while I tried cutting a more urbane figure for a few years after doing the ad copy for a major ad campaign for Brooks Brothers, I took a bit of a left turn from mainstream trad dressing and affected a bow tie (I still have around thirty bow ties). Avoiding dorkiness, therefore, is not given as a plausible reason to avoid the double wristing practice.

I think however, that I have managed to finally figure out one important aspect of why it feels strange to do so, and it has to do with the narrative of a wristwatch.

People wear all sorts of watches for all sorts of reasons; I often pick a watch in the morning for the story it tells. For instance, right now, I’m wearing a cushion-cased Seiko Prospex diver automatic, which is one of a half dozen or so Seiko divers I’ve acquired over the years (and which include an SKX007, and a Black Monster, the only two watches I have ever bought which have increased in value) – the model is the cushion cased SRP775, known by the dogged nickname of “Turtle.” It’s a sturdy, solid, dive watch with no extraneous flourishes, a sixty click bezel with a wee bit of play that would be a hanging offense in a Rolex but which here is hard to get mad about at the price ($495 on a rubber strap when it was released in 2016) a ton of lume, and a matte finish cushion case; the watch exudes functionality and has about as much glamor as a shop vacuum; that however is precisely its charm; it’s about as honest a watch as you can find and it is not putting on airs or trying to be anything it’s not. When I put it on, I revel in its air of complete pragmatism, but I also feel a sense of connection to the larger history of Seiko dive watches, especially watches like the 6105, and their use by hard men in hard places, as everyone’s favorite ex CIA officer turned watch writer, Watches of Espionage, likes to put it. And appropriately enough considering we are talking about the Walter Mitty-esque, cosplaying aspect of being a watch enthusiast, it gives me a sense of pleasure to feel a part of the narrative of one Captain Willard, who went about twenty kliks up the Nung River past the bridge at Do Lung, that’s Cambodia Captain, that’s classified, Chief.

The same thing is true for a lot of the watches I own and if there is any one thing that ties together the incredibly heterogenous bunch of timepieces that grace my watch boxes, it’s that a lot of them tell stories – the Navitimer (“I’m a natural born stick-and-rudder man!”) the Speedmaster Hesalite Moonwatch (“I’m a steely eyed missile man!”) the Cartier Tank Louis Cartier (“I’m a suave urban sophisticado!”) and so on. So when I put on a watch, a lot of the time – maybe most of the time – I’m putting it on because it’s part of a certain narrative, and the stronger the narrative, the more pleasure I get out of wearing the watch.

And here’s the problem with double wristing with an Ultra. It’s not that it’s dorky (although it might be) it’s not that it’s redundant (an Ultra and a Speedmaster do not duplicate any but the most basic functionality) and it’s not because I’m betraying mechanical horology or disrespecting the tribe of watch enthusiasts. It’s because it breaks the metaphor.

Every time I look at the Ultra when I’m double wristing with a mechanical watch, it pulls me right out of immersion in the narrative that goes along with the mechanical watch, and suddenly, I’m not Captain Willard, or Ed White, or Alain Delon; suddenly, the needle scratches on the hi fi vinyl recording of the symphony of dreams, played by the Chamber Ensemble Of St. Martin In The Field, and I’m just this guy wearing two watches, running out to Trader Joe’s for a half gallon of OJ, and hey, maybe they finally got some more Marcona almonds in.

That said, I’m not going to stop doing it; at my age I’m lucky in that I do things pretty much for my own reasons and if double wristing is a dorky (okay, it’s dorky, mea culpa, mea maxima culpa) eccentricity, it’s an eccentricity I’m going to allow myself, along with repeating the same stories and being avuncular and offering longwinded advice when nobody asked. But it’s nice to have figured out what, for me, is the basic problem with the practice – a mechanical watch is a lot of things, but it’s also a kind of portable dream factory and it’s nice to not have something break the metaphor too often. And also, why in hell cannot the Swiss make such a strap?"

...

"An Afterword On Artificial Intelligence

Mentioning Snow Crash reminded me of something: like everyone else, I Have Thoughts on AI. GPT5 was just released and it seems to have collectively underwhelmed those among us who thought AGI – Artificial General Intelligence, and even sentient LLMs – were both right around the corner. I don’t think AGI is anything like close and I even think, based on my meager expertise in the subject as I type away here at my kitchen table in my Fortress Of Solitude, that the LLM model for progressing towards AGI is fundamentally flawed. Lemme ‘splain you.

The problem with LLMs is that they are structured in a way that has almost nothing to do with how consciousness arises in the only place we know for sure it actually arises, which is in biological nervous systems in biological bodies. Consciousness seems to depend on the construction of an internal model of the body in the central nervous system, and this in turn arises thanks to input from and output to the sensory and motor systems. LLMs work by processing tokens – vector-based numerical representations of words and even fragments of words – and rely on training on huge amounts of human generated, natural language text to make statistically sound predictions about the order in which words should be generated. It is unfair to call them “no more than very complex auto-complete mechanisms” – the vector space for any token can have thousands of dimensions –but the pejorative characterization is not entirely wrong, either. I suspect that if AI researchers really want to make a conscious digital entity, they will need a major paradigm shift – I am as impressed by the fidelity of the simulation of interaction with a sentient entity as much as the next guy (hey, ChatGPT helped me and a buddy figure out how to destroy the Solar System) but the architecture and processing paradigms underlying AI have about as much to do with how biological brains and bodies work as a rubber duck has to do with an aircraft carrier.

For fascinating account of the evidence for consciousness arising from an internal model of the somatosensory complex, I highly recommend Antonio Damasio’s The Feeling Of What Happens: Body And Emotion In The Making Of Consciousness, a NY Times Book Review Editor’s Choice, whose thesis is: “Consciousness is the feeling of what happens – our mind noticing the body's reaction to the world and responding to that experience. Without our bodies there can be no consciousness, which is at heart a mechanism for survival that engages body, emotion, and mind in the glorious spiral of human life.” For a central thought experiment in how hard it is to tell if an entity is or is not conscious, see Searle’s famous Chinese Room problem. Perhaps it says something about the current state of LLMs that when I looked for a link on Google for “Chinese Room Problem” I miss-typed “Chinese Rom Problem” and got back news stories on the challenges of chip manufacturing with respect to read-only memory, in mainland China. Thank you Gemini, but no thank you, and again I say, no thank you."]]></description>
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</item>
<item rdf:about="https://www.theatlantic.com/magazine/archive/2023/04/the-commons/673084/">
    <title>‘Progress Ought to Feel Beautiful’ - The Atlantic</title>
    <dc:date>2025-07-26T22:13:14+00:00</dc:date>
    <link>https://www.theatlantic.com/magazine/archive/2023/04/the-commons/673084/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["What’s missing from Thompson’s otherwise compelling argument is consideration of whether any proposed material progress offers something sensationally desirable to citizens. If progress isn’t novel and pleasing to our senses, then arguments against implementation—however spurious, and from whichever band of the ideological spectrum—are far more likely to convince those on the fence.

My mother was born in 1929. She grew up in rural Pennsylvania without electricity. If electricity had brought only heat and light, it may have been easy to sway my poorly educated and conservative grandparents to oppose its broad implementation across rural America—after all, they already had fire and gas lamps. But electricity could also power radios, kitchen appliances, tools, and countless other useful and exciting gadgets. Life would change and improve at the sensory level with the flip of an actual switch.

Perhaps with the exception of high-speed rail, nothing in the current array of tech proposals has especially novel or aesthetic appeal. As Thompson notes, some technologies are repellent. Apartment buildings are old news. Solar panels can be eyesores that supplant natural landscapes. Nuclear reactors can be ugly and still have a bad reputation, however unwarranted. Where’s the novelty, the beauty? How excited can we become about what amounts to new batteries in the same old gadgets? To build a broad coalition of support, progress needs to look, smell, sound, and feel exciting—little else has so powerfully united the American people.

Allen Farmelo
Hopewell Junction, N.Y."

[in PDF here with full issue it was published in:
https://cdn.theatlantic.com/media/magazine/pdfs/202304.pdf
https://www.are.na/block/38378778 ]]]></description>
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</item>
<item rdf:about="https://www.beyondthedial.com/post/podcast-the-final-episode-through-the-looking-glass-on-philosophy-watches/">
    <title>Podcast - The Final Episode - Through the Looking Glass, On Philosophy &amp; Watches</title>
    <dc:date>2025-07-25T08:20:15+00:00</dc:date>
    <link>https://www.beyondthedial.com/post/podcast-the-final-episode-through-the-looking-glass-on-philosophy-watches/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Farewell, and thank you all for listening. The Aesthetic Revolution Will Be Beautiful!"

[Also here:
https://podcasts.apple.com/us/podcast/through-the-looking-glass-on-watches-philosophy-the/id1472733566?i=1000650769924
https://open.spotify.com/episode/5q14vURgxkB0UkRIXGBbxR ]]]></description>
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</item>
<item rdf:about="https://www.beyondthedial.com/post/e65-divine-dials-horological-hedonism-the-aesthetic-revolution/">
    <title>Podcast Insights E25 - Horological Hedonism &amp; The Aesthetic Revolution - BEYOND THE DIAL</title>
    <dc:date>2025-07-25T00:22:15+00:00</dc:date>
    <link>https://www.beyondthedial.com/post/e65-divine-dials-horological-hedonism-the-aesthetic-revolution/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Horology Inc. provides us with a vast array of dial colors able to splash dopamine onto our opiate receptors. We often dismiss new colors as a superficial trend lacking horological innovation, but Allen argues that – because splashy dials spontaneously inspire joy, beauty, and emotions that, science has shown, replicate our experience of Love – great dials may be closer to the center of The Aesthetic Revolution than we ever imagined."

[Also here:
https://podcasts.apple.com/us/podcast/insights-e25-horological-hedonism-the-aesthetic/id1472733566?i=1000521469976
https://open.spotify.com/episode/23elM3og53AMfwa65bDLyW ]]]></description>
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<item rdf:about="https://www.beyondthedial.com/post/e32-the-aesthetic-revolution-will-be-beautiful/">
    <title>Podcast Insights E17 - The Aesthetic Revolution (Will Be Beautiful) - BEYOND THE DIAL</title>
    <dc:date>2025-07-24T23:13:12+00:00</dc:date>
    <link>https://www.beyondthedial.com/post/e32-the-aesthetic-revolution-will-be-beautiful/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["What started as a cute aphorism has grown into a socio-economic theory. Allen works his way through the assumptions that make up this theory, drawing on personal memory, Marxist and Anarchist failures, Pan-Indigenous Environmentalism, and, of course, horological love. The goal? Nothing short of transforming Late Capitalism through our built-in human love of Beauty."

[Also here:
https://podcasts.apple.com/us/podcast/insights-e17-the-aesthetic-revolution-will-be-beautiful/id1472733566?i=1000474649630
https://open.spotify.com/episode/350bhPLlRJLgrDipWJzcVI ]]]></description>
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<item rdf:about="https://recordsofthought.com/the-object-im-holding">
    <title>The Object I'm Holding Is Not a Phone</title>
    <dc:date>2025-07-20T06:54:38+00:00</dc:date>
    <link>https://recordsofthought.com/the-object-im-holding</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["A sentiment we keep finding is that people want to feel again. The generation that grew up on the glass phone knows only the screen, and every screen they encounter is expected to be a touch screen. All they know is pictures under glass. We don’t need more screen, many are calling for that shift now. We need more surface — more texture, friction, feelings. Objects that keep us in the world and invite us further into reality."]]></description>
<dc:subject>objects screens senses sensory 2025 tealprocess&amp;company smartphones tactile materials hands glass bretvictor re-embodiment feeling feelings sensing human</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
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<item rdf:about="https://www.theredhandfiles.com/its-been-ten-years/">
    <title>Nick Cave - The Red Hand Files - Issue #331- It’s been ten years since your son Arthur died. What have you and Susie learned in those years? : The Red Hand Files</title>
    <dc:date>2025-07-14T22:10:47+00:00</dc:date>
    <link>https://www.theredhandfiles.com/its-been-ten-years/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[via:
https://social.ayjay.org/2025/07/14/nick-cave-i-discovered-that.html ]

"The pain remains, but I have found that it evolves over time. Grief blossoms with age, becoming less a personal affront, less a cosmic betrayal, and more a poetic quality of being as we learn to surrender to it. As we are confronted with the intolerable injustice of death, what seems unbearable ultimately turns out not to be unbearable at all. Sorrow grows richer, deeper, and more textured. It feels more interesting, creative, and lovely.

To my great surprise, I discovered that I was part of a common human story. I began to recognise the immense value and potential of our humanness while simultaneously acknowledging, at my core, our terrifyingly perilous situation. I learned we all actually die. I realised that although each of us is special and unique, our pain and brokenness is not. Over time, Susie and I came to understand that the world is not indifferent or cruel, but precious and loving – indeed, lovely – tilting ever toward good.

I discovered that the initial trauma of Arthur’s death was the coded cypher through which God spoke, and that God had less to do with faith or belief, and more to do with a way of seeing. I came to understand that God was a form of perception, a means of being alert to the poetic resonance of being. I found God to be woven into all things, even the greatest evils and our deepest despair. Sometimes I feel the world pulsating with a rich, lyrical energy, at other times it feels flat, void, and malevolent. I came to realise that God was present and active in both experiences.

These days, I am neither distrustful nor suspicious of the world, even though my heart breaks for it, and I am not despairing, depressed or embittered. Indeed, I see heartbreak as the most proportional response to the state of the world – to say I love you is to say my heart breaks for you, and this sentiment resonates within all things, bringing a clarity to both the world before us and the world beyond the veil. Sorrow becomes a way of life, part laughter, part tears, with very little space between. It is a way of conducting oneself in the world, of loving it, of worshipping it.

I read this letter to Susie, and she agreed that things get better in time. She reminded me that her dreams of Arthur from ten years ago were terrible, scorched-earth affairs, full of shame and weeping. She said Arthur still visits her every week. He is always the same age, around ten years old. Nothing much happens, he simply sits with her. Sometimes she laces his shoes. Sometimes she combs his hair. Sometimes he crawls into her lap and wraps his arms around her neck. She told me that she recently had a dream in which Arthur had a button for a nose, and when she pressed it a little blue light blinked on. There is no despair or remorse in these dreams. They are, instead, an uncomplicated joy.

I’m not sure what else I’ve learned, Carlos, except that here we still are, a decade later, living within the radiant heart of the trauma, the place where all thoughts and dreams converge and where all hope and sorrow reside, the bright and teary eye of the storm – this whirling boy who is God, like every other thing.

We remember him today."]]></description>
<dc:subject>nickcave death 2025 christianity god sorrow evil despair mourning interconnected interconnectedness life living experience joy worship senses sensing trauma grief</dc:subject>
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Thanks ‪@DrCliffAuD‬, be sure to give his channel a visit."]]></description>
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