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    <description>recent bookmarks from robertogreco</description>
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	<rdf:li rdf:resource="https://daily.jstor.org/what-is-serendipity/"/>
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	<rdf:li rdf:resource="https://hedgehogreview.com/web-features/thr/posts/mechanization-and-monoculture"/>
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	<rdf:li rdf:resource="https://www.theatlantic.com/podcasts/how-to-build-a-happy-life/"/>
	<rdf:li rdf:resource="https://www.are.na/blog/here-for-the-wrong-reasons"/>
	<rdf:li rdf:resource="http://www.mnartists.org/article/secret-grace-summer-camp-socially-awkward-storytellers"/>
	<rdf:li rdf:resource="https://cargocollective.com/aprildobbins/The-Little-Brown-Mushroom-Camp-for-Socially-Awkward-Storytellers"/>
	<rdf:li rdf:resource="http://www.littlebrownmushroom.com/popsicle-27-lbm-camp-for-socially-awkward-storytellers/"/>
	<rdf:li rdf:resource="https://www.mprnews.org/story/2013/07/11/photographer-alec-soth-mounts-storytellers-summer-camp-awkwardly"/>
	<rdf:li rdf:resource="https://knightfoundation.org/articles/artists-from-around-the-world-gather-in-st-paul-for-little-brown-mushrooms-summer-camp-for-socially-awkward-storytellers/"/>
	<rdf:li rdf:resource="https://dancohen.org/2019/07/23/engagement-is-the-enemy-of-serendipity/"/>
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	<rdf:li rdf:resource="http://qz.com/572076/apple-and-star-wars-together-explain-why-the-world-around-you-looks-the-way-it-does/"/>
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	<rdf:li rdf:resource="https://soundcloud.com/manpodcast/ep168"/>
	<rdf:li rdf:resource="http://op-talk.blogs.nytimes.com/2014/08/04/how-wikipedia-could-improve-your-internet-surfing/"/>
	<rdf:li rdf:resource="http://urbanomnibus.net/2014/07/precedents-for-experimentation-talking-libraries-with-shannon-mattern-and-nate-hill/"/>
	<rdf:li rdf:resource="http://soulellis.com/2014/03/counterpractice2/"/>
	<rdf:li rdf:resource="http://www.nytimes.com/2014/02/16/jobs/where-the-fish-swims-ideas-fly.html"/>
	<rdf:li rdf:resource="http://counterpractice.tumblr.com/"/>
	<rdf:li rdf:resource="http://nextcity.org/sharedcity/entry/mits-ethan-zuckerman-on-digital-cosmopolitans-in-the-age-of-connection"/>
	<rdf:li rdf:resource="https://vimeo.com/39299814"/>
	<rdf:li rdf:resource="http://blogs.mprnews.org/state-of-the-arts/2013/08/alec-soth-looks-back-at-his-socially-awkward-summer-camp/"/>
	<rdf:li rdf:resource="http://storify.com/rogre/how-i-read-and-share-online"/>
	<rdf:li rdf:resource="http://www.walkerart.org/magazine/2013/alec-soth-julian-bleecker-summer-camp"/>
	<rdf:li rdf:resource="http://serendipomatic.org/"/>
	<rdf:li rdf:resource="https://itunes.apple.com/us/app/futureful/id583361618?ls=1&amp;mt=8"/>
	<rdf:li rdf:resource="http://en.wikipedia.org/wiki/Experimental_travel"/>
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	<rdf:li rdf:resource="http://vruba.tumblr.com/post/40879189256/how-the-hell-do-you-find-all-these-interesting-things"/>
	<rdf:li rdf:resource="http://moz.com/rand/manufacturing-serendipity/"/>
	<rdf:li rdf:resource="http://blog.news.me/post/18439216464/getting-the-news-evan-williams"/>
	<rdf:li rdf:resource="http://www.journalofplay.org/issues/256/259-jester-s-guide-creative-seeking-across-disciplines"/>
	<rdf:li rdf:resource="http://www.greglinch.com/2012/05/when-a-path-of-discovery-becomes-a-loop-and-a-mini-eureka-moment.html"/>
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	<rdf:li rdf:resource="http://maryannreilly.blogspot.com/2011/07/being-in-middle-learning-walks.html"/>
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	<rdf:li rdf:resource="http://www.ted.com/talks/eli_pariser_beware_online_filter_bubbles.html"/>
	<rdf:li rdf:resource="http://frank.chimero.usesthis.com/"/>
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	<rdf:li rdf:resource="http://www.kk.org/thetechnium/archives/2011/03/the_satsisfacti.php"/>
	<rdf:li rdf:resource="http://mrgan.tumblr.com/post/4120476808/quark"/>
	<rdf:li rdf:resource="http://urbanscale.org/2011/03/21/beyond-the-smart-city-part-ii/"/>
	<rdf:li rdf:resource="http://speculative-diction.blogspot.com/2011/03/places-of-learning.html"/>
	<rdf:li rdf:resource="http://joi.ito.com/weblog/2011/03/06/the-new-culture.html"/>
	<rdf:li rdf:resource="http://blog.frankchimero.com/post/3430957759"/>
	<rdf:li rdf:resource="http://www.runofplay.com/2011/02/21/children-at-play/"/>
	<rdf:li rdf:resource="http://nearfuturelaboratory.com/2010/12/23/what-innovation/"/>
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    <title>The LRM - The Loiterers Resistance Movement</title>
    <dc:date>2026-02-27T07:06:38+00:00</dc:date>
    <link>http://thelrm.org/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The LRM (Loiterers Resistance Movement) is a Manchester based not-for-profit collective of artists, activists and urban wanderers  interested in psychogeography, public space and the hidden stories of the city.

We can’t agree on what psychogeography means but we all like plants growing out of the side of buildings, looking at things from new angles, radical history, drinking tea and getting lost; having fun and feeling like a tourist in your home town. Gentrification, advertising and blandness make us sad. We believe there is magick in the mancunian rain.

Our city is wonderful and made for more than shopping. The streets belong to everyone and we want to reclaim them for play and revolutionary fun….

The LRM embark on psychogeographical drifts to decode the palimpsest of the streets, uncover hidden histories and discover the extraordinary in the mundane. We aim to nurture an awareness of everyday space, (re)engaging with, (re)mapping and (re)enchanting the city.

On the first Sunday of every month we go for a wander of some sort and we also organise occasional festivals, exhibitions, shows, spectacles, silliness and other random shenanigans. These range from giant cake maps to games of  CCTV Bingo. Information on forthcoming events is here. We were founded in 2006 by Morag Rose and 2016 we celebrated 10 years of creative mischief with Loitering With Intent: The Art and Politics of Walking at The Peoples History Museum. 

Please walk with us, everyone is welcome. Our events are free and open to all: these are our streets and they are yours too. 

If you have any questions or comments, or have any access needs to discuss (we will do our best to meet them) you can contact us at

Email mlrose@thelrm.or

Comment on the Facebook group the loiterers resistance movement

We hope to see you playing out with us soon xx"]]></description>
<dc:subject>psychogeography manchester situationist walking wandering place resistance loitering art activism lcproject openstudioproject history socialhistory multisensory serendipity</dc:subject>
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    <title>Raymond Saunders - YouTube</title>
    <dc:date>2026-02-26T06:18:30+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=6QQUnMlvzTI</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Known for his abstract mixed-media paintings with socio-political undertones, artist Raymond Saunders guides us through the non-linear landscape of his identity, consciousness, and art-making process. In this restored archival interview from 1994, Saunders challenges you to think deeper about the artistic journey and unlearn what you think you know about beginnings and endings."]]></description>
<dc:subject>art 1994 artists sfmoma raymondsaunders collage assemblage oakland pittsburgh consciousness identity artmaking process painting unlearning howwewrite nonlinear unfinished howwework serendipity dedication focus isolation lustforlife brilliance</dc:subject>
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<item rdf:about="https://daily.jstor.org/what-is-serendipity/">
    <title>What Is Serendipity? - JSTOR Daily</title>
    <dc:date>2025-07-12T00:40:17+00:00</dc:date>
    <link>https://daily.jstor.org/what-is-serendipity/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["We often credit unexpected events to serendipity. But who amongst us knows The Three Princes of Serendip, the tale from which the word derives?"

...

"“I define serendipity as the art of making an unsought finding,” writes Pek Van Andel in The British Journal for the Philosophy of Science. There appear to be endless scenarios to which this unusual word can be applied: getting lost on the highway, which leads to a new friendship made at a pit stop; mixing up ingredients in a recipe and discovering a surprisingly delightful new flavor combination; setting out to invent one thing but ending up with the invention of another; falling in love not with your blind date but with the server at the restaurant instead.

The word that umbrellas all of these concepts can be traced back to the innovation of English politician and writer Horace Walpole. Walpole is known to literature students for composing the Gothic romance novel The Castle of Otranto, but his more widely known claim to fame is the invention of a new word to describe something wonderful that happens when you least expect it. It happened to him when he found something he wasn’t looking for.

On January 28, 1754, Walpole wrote a letter to his good friend Horace Mann. Mann, using his wealth and connections, had secured a portrait of Bianca Cappello, a late Grand Duchess of Tuscany, as a gift for Walpole. Walpole, who loved everything to do with Italian history, cherished the painting. He went on a research spree one day and unexpectedly found a Capello family crest that incorporated the fleur-de-lis of the Medici family into which Bianca had married. The marriage had been scandalous, as Bianca had been the mistress of Francesco I de’ Medici, Grand Duke of Tuscany, before becoming his second wife.

Finding an official crest representing the widely disapproved-of marriage was a surprise. Walpole described the experience in his letter to Mann as “serendipity,” inspired by the Persian tale The Three Princes of Serendip in which the titular princes make grand discoveries by accident and observation. Most notably, they catalogue the defining characteristics of a lost camel without ever seeing the beast (Walpole, who read the story in his youth, misremembered the anecdote and believed the princes tracked a mule), put into play a plan to restore a love- and grief-stricken emperor to good health, and (perhaps less fortunately) returned a kidnapped girl to her position as a slave in the emperor’s court.

The noun “serendipity” has expanded into the adjective “serendipitous,” which is used to describe an unlikely and lucky event, such as the invention of many now commonplace items that were created by accident, including, but not limited to, microwaves, Popsicles, Post-It notes, and the antibiotic penicillin. Van Andal, who divides serendipitous situations into “patterns”—some “seventeen ways in which unsought findings have been made”—characterizes the invention of Post-It Notes in 1968 by Spencer Silver as a “successful error” serendipity, citing R. M. Roberts’s 1989 textbook, Serendipity: Accidental Discoveries in Science.
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“The ‘bad and discarded’ glue,” Van Andel writes, “the ‘temporarily permanent’ adhesive on removable self-stick post-it notes, was unintentionally invented at 3M.”

The word gained popularity after the release of the 2001 romantic comedy film Serendipity, directed by Peter Chelsom. The film follows a couple who meet by chance and feel an instant attraction to one another. Though they’re both already in relationships, they conduct a series of small chance-reliant tests to determine if they’re meant to be together. This premise is, of course, scripted. In real life, serendipity only happens when you’re not waiting for it or trying to force it."]]></description>
<dc:subject>serendipity 2025 serendip emilyzarevich peterchelsom words language english horacemann</dc:subject>
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<item rdf:about="https://nautil.us/is-discovery-inevitable-or-serendipitous-891942/">
    <title>Serendipity and Inevitability in Scientific Progress</title>
    <dc:date>2024-09-28T03:44:44+00:00</dc:date>
    <link>https://nautil.us/is-discovery-inevitable-or-serendipitous-891942/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The role of chance and predictability in scientific breakthroughs."]]></description>
<dc:subject>telmopievani 2024 discovery serendipity inevitability science progress invention adjacentpossible breakthroughs</dc:subject>
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<item rdf:about="https://hedgehogreview.com/web-features/thr/posts/mechanization-and-monoculture">
    <title>Mechanization and Monoculture | THR Web Features | Web Features | The Hedgehog Review</title>
    <dc:date>2024-04-17T16:16:45+00:00</dc:date>
    <link>https://hedgehogreview.com/web-features/thr/posts/mechanization-and-monoculture</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Why eliminating the unpredictable leads to unintended consequences."

...

"Thus my next two theses: Mechanistic illiberalism seeks to create a monoculture; and Any attempt to create a monoculture is necessarily self-defeating.

This may seem to return us to the melancholy reflection of Levi-Strauss: “Social life consists in destroying that which gives it its savour.” But if my analogy between biological and social ecology holds, Oliver Rackham gives us reason to hope.

In Woodlands, Rackham describes his thoughts and feelings during that period in which the mechanistic plantation imperative dominated—the period he refers to as “the Locust Years.” During those years, he writes, “ecologists like myself wrote off about 40% by area of ancient woodland as irretrievably lost to replanting: we accepted the foresters’ claims to have killed off the trees, and shook our heads at the decline of plant life as the planted trees closed in.” But wait: “As time went on, we grew less pessimistic. Many woods were not so easily destroyed; the planted trees declined and native trees returned.” Drought or flood or pest invasion killed off trees that then became food for all kinds of flora and fauna. One result of this was that the various Forestry Commissions gave up on some of their plantations and sold them. These were occasionally purchased by wildlife trusts and other conservation organizations that allowed the woodlands to return to a more natural state. In many cases, the very species with which foresters had once filled plantations, only to see them decline or even die, ended up thriving in the midst of more ecologically complex and varied environments.

Thus my final thesis: Complex, organic ecosystems—whether biological or social—are far harder to kill off than the mechanized makers of monocultures think. And if they could learn to think ecologically, the mechanizers would take comfort in that."]]></description>
<dc:subject>2022 alanjacobs monoculture monocultures diversity pluralism culture mechanization predictability unpredictability serendipity meditation claudelevi-strauss ecology organisms meritocracy power illiberalism ecosystems ibramkendi claudelévi-strauss</dc:subject>
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<item rdf:about="https://podcasts.apple.com/us/podcast/the-better-angels-of-our-nature/id1651876897?i=1000646375925">
    <title>If Books Could Kill: The Better Angels of Our Nature on Apple Podcasts</title>
    <dc:date>2024-02-23T01:26:46+00:00</dc:date>
    <link>https://podcasts.apple.com/us/podcast/the-better-angels-of-our-nature/id1651876897?i=1000646375925</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["This week we're tackling Steven Pinker's 900 page dissection of the reasons why violence, torture and war have declined over the last 10,000 years. Was it an indeterminate mixture of politics, economics, technology and serendipity?  Or did some European guys write some books that said murder was bad?

Special thanks to Philip Dwyer, Eleanor Janega, David M. Perry and Doug Thompson for help researching and fact-checking this episode!"

Sources:

"The Darker Angels of Our Nature: Refuting the Pinker Theory of History & Violence" (Philip Dwyer and Mark Micale, 2021)
https://www.bloomsbury.com/us/darker-angels-of-our-nature-9781350140608/

"Getting Medieval On Steven Pinker: Violence and Medieval England" (Sara M. Butler, 2018)
https://www.jstor.org/stable/48581562

"The Decline of Violence in the West: From Cultural to Post-Cultural History" (Gregory Hanlon, 2013)
https://academic.oup.com/ehr/article-abstract/128/531/367/445752

"Whitewashing History: Pinker’s (Mis)Representation of the Enlightenment and Violence" (Philip Dwyer, 2020)
https://nova.newcastle.edu.au/vital/access/manager/Repository/uon:46778

"Herding and Homicide: An Examination of the Nisbett-Reaves Hypothesis" (Rebekah Chu, Craig Rivera and Colin Loftin, 2000)
https://www.jstor.org/stable/3005938

Peace in Our Time

"John Gray: Steven Pinker is wrong about violence and war
A new orthodoxy, led by Pinker, holds that war and violence in the developed world are declining. The stats are misleading, argues Gray – and the idea of moral progress is wishful thinking and plain wrong" (John Gray, 2015)
https://www.theguardian.com/books/2015/mar/13/john-gray-steven-pinker-wrong-violence-war-declining

"The business class doesn't understand the Enlightenment
A new Renaissance? Not even close. The Enlightenment reverence of Bill Gates and Steven Pinker needs challenging" (Erika Schelby, 2018)
https://www.salon.com/2018/09/16/the-business-class-doesnt-understand-the-enlightenment/

"Delusions Of Peace: Steven Pinker argues that we are becoming less violent. Nonsense, says John Gray" (John Gray, 2011)
https://web.archive.org/web/20120109124246/https:/www.prospectmagazine.co.uk/2011/09/john-gray-steven-pinker-violence-review/

"Pinker And Progress" (Ronald Aronson, 2013)
https://onlinelibrary.wiley.com/doi/abs/10.1111/hith.10666

"Norbert Elias and the History of Violence" (Xavier Rousseaux and Quentin Verreycken, 2021)
[link points to Chapter 8: "The Civilising Process, Decline of Homicide, and Mass Murder Societies: Norbert Elias and the History of Violence"
https://dial.uclouvain.be/pr/boreal/object/boreal%3A225513/datastream/PDF_01/view#page=157

"Modernization, Self-Control And Lethal Violence: The Long-term Dynamics of European Homicide Rates in Theoretical Perspective" (Manuel Eisner, 2001)
http://www.antoniocasella.eu/nume/Eisner_2001.pdf

"Explaining Long Term Trends in Violent Crime" (Helmut Thome, 2001)
https://www.researchgate.net/publication/26652645_Explaining_Long_Term_Trends_in_Violent_Crime

"The Enlightenment’s Dark Side: How the Enlightenment created modern race thinking, and why we should confront it." (Jamelle Bouie, 2018)
https://slate.com/news-and-politics/2018/06/taking-the-enlightenment-seriously-requires-talking-about-race.html "

[also here:
https://open.spotify.com/episode/2hzufSIR3GZSfJVlXTwPVl
https://www.listennotes.com/podcasts/if-books-could-kill/the-better-angels-of-our-CHG9FQ_Xwzx/
https://www.buzzsprout.com/2040953/14551597-the-better-angels-of-our-nature ]]]></description>
<dc:subject>2024 stevenpinker violence humanity war torture moralism politics economics technology serendipity history philosophy billgates progress jamellebouie johngray 2011 self-control modernization peace statistics erikaschelby manueleisner rebekahchu craigrivera colinloftin sarabutler markmicale philipdwyer gregoryhanlon ronaldaronson xavierrousseaux quentinverreycken norbertelias helmutthome davidperry dougthompson eleanorjanega ifbookscouldkill enlightenment johnlocke michaelhobbes petershamshiri</dc:subject>
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<item rdf:about="https://www.theatlantic.com/podcasts/how-to-build-a-happy-life/">
    <title>How to Keep Time - The Atlantic [bookmarking for Season 5, &quot;How to Keep Time&quot; - this podcast covered other topics before that.]</title>
    <dc:date>2024-01-23T05:11:04+00:00</dc:date>
    <link>https://www.theatlantic.com/podcasts/how-to-build-a-happy-life/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[Direct link to Season 5:
https://www.theatlantic.com/podcasts/how-to-build-a-happy-life/?season=5 ]

"A series exploring our complex relationship with the clock"

...

"About How to Keep Time

On this season of How to Keep Time, co-hosts Becca Rashid and Ian Bogost explore our relationship with time and how to reclaim it. Why is it so important to be productive? Why can it feel like there’s never enough time in a day? Why are so many of us conditioned to believe that being more productive makes us better people?

Produced by Becca Rashid. Co-hosted by Becca Rashid and Ian Bogost. Editing by Jocelyn Frank. Fact-check by Ena Alvarado. Engineering by Rob Smerciak. The executive producer of Audio is Claudine Ebeid; the managing editor of Audio is Andrea Valdez."


[Transcripts:

Episode 1
"How to Keep Time: Try Wasting It
How to Waste Time: Wasting time could be the best way to use it.
In a culture obsessed with productivity, what would it mean to commit to letting it go?"
https://www.theatlantic.com/podcasts/archive/2023/12/how-to-waste-time/676187/

"Co-hosts Becca Rashid and Ian Bogost explore our relationship with time and how to reclaim it. Why is it so important to be productive? Why can it feel like there’s never enough time in a day? Why are so many of us conditioned to believe that being more productive makes us better people? [includes interview with Oliver Burkeman]"

Episode 2
"How to Keep Time: Look Busy
If time is a luxury, why don’t we flaunt it?"
https://www.theatlantic.com/podcasts/archive/2023/12/how-to-look-busy/676195/

"Many of us complain about being too busy—and about not having enough time to do the things we really want to do. But has busyness become an excuse for our inability to focus on what matters?

According to Neeru Paharia, a marketing professor at Arizona State University, time is a sort of luxury good—the more of it you have, the more valuable you are. But her research also revealed that, for many Americans, having less time and being busy can be a status symbol for others to notice. And when it comes to the signals we create for ourselves, sociologist Melissa Mazmanian reveals a few myths that may be keeping us from living the lives we want with the meaningful connections we crave."

Episode 3
"How to Leave Work Time at Work: Time to Break Up With Your 9-to-5
Sometimes workplace culture requires you to leave the rest of your life at the door. What if there are better ways to structure time?"
https://www.theatlantic.com/podcasts/archive/2023/12/how-to-leave-work-time-at-work/676196/

"Before laptops allowed us to take the office home and smartphones could light up with notifications at any hour, work time and “life” time had clearer boundaries. Today, work is not done exclusively in the workplace, and that makes it harder to leave work at work.

Co-hosts Becca Rashid and Ian Bogost examine the habits that shrink our available time, and Ignacio Sánchez Prado, a professor of Latin American Studies at Washington University in St. Louis, offers his reflections on American culture and shares suggestions for how to use the time we do have, for life."

Episode 4
"How to Rest. What Is Rest, Anyway?
There’s a difference between leisure and laziness."
https://www.theatlantic.com/podcasts/archive/2024/01/how-to-rest/676197/

"Between making time for work, family, friends, exercise, chores, shopping—the list goes on and on—it can feel like a huge accomplishment to just take a few minutes to read a book or watch TV before bed. All that busyness can lead to poor sleep quality when we finally do get to put our head down.

How does our relationship with rest affect our ability to gain real benefits from it? And how can we use our free time to rest in a culture that often moralizes rest as laziness? Alex Soojung-Kim Pang, the author of several books on rest and director of global programs at 4 Day Week Global, explains what rest is and how anyone can start doing it more effectively."

Episode 5
"Time-Management Tips From the Universe
It could help to examine the cosmos."
https://www.theatlantic.com/podcasts/archive/2024/01/time-management-tips-from-the-universe/676199/ 

"Time can feel like a subjective experience—different at different points in our lives. It’s also a real, measurable thing. The universe may be too big to fully comprehend, but what we do know could help inform the ways we approach our understanding of ourselves, our purpose, and our time.

Theoretical physicist and black-hole expert Janna Levin explains how the science of time can inspire new thinking and fresh perspectives on a much larger scale."

Episode 6
"Can We Keep Time?
Do photos, social posts, and diaries actually help us remember better?
https://www.theatlantic.com/podcasts/archive/2024/01/can-we-keep-time/676198/

It can be tough to face our own mortality. Keeping diaries, posting to social media, and taking photos are all tools that can help to minimize the discomfort that comes with realizing we have limited time on Earth. But how exactly does documenting our lives impact how we live and remember them?

In this episode, diarist and author Sarah Manguso reflects on the benefits and limitations of keeping track of time, and Charan Ranganath, a professor of psychology and researcher at the UC Davis Center for Neuroscience, discusses what research reveals about how memories work and how we can better keep time."]]]></description>
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    <title>Here for the Wrong Reasons — Are.na</title>
    <dc:date>2023-12-29T19:45:12+00:00</dc:date>
    <link>https://www.are.na/blog/here-for-the-wrong-reasons</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["All of this brings me to the title of this piece, “Here for the wrong reasons,” which I have to come clean about. Earlier this year, I was in a mode where I was feeling particularly annoyed at a certain type of person online. The easiest way to describe this type of person is someone whose interests are more strategic than personally intuitive. A person whose interests accumulate with an awareness of how they will reflect back onto them. A person who follows nodal points not from an innate desire, but from the expectation of some kind of reward, social or otherwise.

Or to put it in different terms, a person who is here for fame and not for love.

I started thinking about why this particular type of behavior bothered me. I can’t say that I’m not empathetic to this mode, or that I’m not ever prone to it. There isn‘t a clean way to get around the idea that personal expression is always at least in part performative. Expression is partly fun because it’s performative.

It’s also not like this type of behavior is a new thing. There has always been the type of person who is performative of their own interests or pursues their work because of the kind of attention it will get them. There’s always been the pressure to act upon the desires of one’s own ego. But this mode feels much more pervasive as time goes on. Environments are emotionally contagious, and if the environment you spend a lot of time in is hyper-competitive and performative, you’re going to feel pressure to act competitive and performative as well. The dominant model of social media codifies and enhances that pressure.

People have always lived in their own realities. A person’s intuition helps them decide what to pay attention to, how to perceive the world, and what to value. This was true long before the internet, long before television, long before radio or books. Even when one’s own decisions are largely centered around survival, there still exists an orientation. A fundamental set of rules that determine how reality is organized for a person.

Along the arrow of time, people multiplied and so did information. For the 66% of the world’s population that is online, social media has largely made permanent a world of individual realities. But it also underpinned that world with the perspective that the larger structure holding everything together is competition. In order for your reality to be the most real, it has to win.

I know this isn’t quite the same thing as one’s interests being strategic, but it is a mode we live in where you have to think of content or information as a resource. And doing so means that in some ways you’re producing or consuming in order to cultivate a position, rather than treating content as something out there to be curious about, to be fascinated by, or to love.

The distinction between the two modes I’m trying to define is that one side takes the position that being fascinated with something or someone in the world has a benefit that is self-evident. Being able to feel love towards something or someone is a gift in and of itself. The other side (the side that annoys me) orients fascination or association or effort towards a direction with the primary goal of having some kind of quantifiable reward. But if you’re really focusing on the moment, on something you love, on something in the world that feels like it’s made for you, you can’t be thinking about how it will benefit you, or how it will reflect back on you. These two modes are at odds with each other. True attention requires that you don’t view something in the world through the lens of “what can this thing do for me?”

Algorithms pervert one’s attention. An atmosphere that promotes being performative does as well. Part of what I’m trying to grapple with is how software or platforms or environments can get in the way of one’s own feeling of being connected — not to other people necessarily, but to your own intuitive radar."

...

"When I first started working through these ideas, I was giving an elevator pitch to friends to see what they would say. One friend said, “Isn’t the conclusion just that you should do things for yourself, and not for other people? That’s never a bad message to hear but it’s also kind of a worn out message.”
 
I didn’t have a response to this until recently, after I’d written all of this down. But actually, what I’m trying to get at is the opposite of doing things for yourself. Doing something for yourself sounds the same as doing something because you think it will reflect positively on you. What I love seeing is people pointing their attention out into the world and doing things for the world, in service of ideas and not an expected outcome.

To me, the only way to do that effectively is to understand what connects you to the world, what draws you in, what your radar is. This could take a whole lifetime (and ideally it does). In order to understand what your radar is, you have to pay attention. Paying attention means not only recognizing where your gaze is focused, but understanding why it’s focused there."]]></description>
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    <title>The Secret Grace of Summer Camp for Socially Awkward Storytellers - Mn Artists</title>
    <dc:date>2020-01-23T01:34:11+00:00</dc:date>
    <link>http://www.mnartists.org/article/secret-grace-summer-camp-socially-awkward-storytellers</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[“Thanks to Alec Soth and the team of Little Brown Mushroom, a group of international artists and writers find themselves immersed in finding the stories hiding in plain sight within the marvelous mundanities of the Midwest.

“ALL OF THIS COULD JUST BE A MASSIVE FAILURE, one never knows,” Alec Soth shrugs, his slim frame curled into a Thinker pose as he rests in a swivel chair in the converted garage space that serves as his studio and office. He’s speaking about the Summer Camp for Socially Awkward Storytellers, a recent arts workshop held at Little Brown Mushroom, the Saint Paul publishing house Soth co-founded. His “take it as it comes” attitude is fitting to the project, as Soth and his fellow instructors envisioned the camp as something of a repudiation of the glut of tightly scheduled, for-profit workshops that dominate the photography landscape.

As an internationally celebrated photographer, Soth gets invited to participate in those workshops all the time. “I’ve always avoided them for a variety of reasons,” he says, running a hand over his dark, close-cropped beard. “If it’s somewhere else, I don’t want to just fly off and go do a thing in Cuba or wherever. It always sounds exotic, but then that’s also problematic. They tend to be very expensive for the participants so that it can make money. And that’s fine, but it attracts dentists.”

Affordability and accessibility have always been cornerstones of the Little Brown Mushroom philosophy – their photo essay books generally retail for less than $20, with pricier special editions available for serious collectors. The idea is to produce high-quality artwork that stays in the price range of students, casual arts patrons and other folks who can’t or won’t pony up for the usual high-end art books. Not long ago, it dawned on Soth that the same ethos could be applied to those big-ticket workshops.

“I thought, I keep getting asked to do these workshops, but what if I did a workshop here? Because I’m hungry to be involved in education in some way, but I also want to do it on my own terms,” Soth explains. Once the seed was planted, the framework came together quickly: Little Brown Mushroom would invite artists to apply for a free, five-day workshop based in the cozily industrial confines of the company’s Saint Paul offices. Making the workshop cost-free was hugely important, not just because it kept things affordable for the applicants, but also because it provided Soth and his collaborators with a little more room to move. “It relieves some of the burden of having to fulfill a specific expectation,” Soth says. “It’s free to be more experimental. Also, it allowed us to cherry-pick really interesting applications. We got a ton of applications, really fascinating ones. We could’ve done it 20 times over. The only negative to this whole process so far has been saying no to people with these wonderful applications.”

That freedom also allowed the Summer Camp for Socially Awkward Storytellers to focus on perhaps the stickiest aspect of the Little Brown Mushroom mission: exploring the possibilities of photo-centric narratives. In a side room the staff refers to as “The Cave” stands Soth’s sizable collection of photography books. The library ranges from well-known classics to recent obscurities, but in Soth’s eyes the real jewels are a smattering of books that attempt to wed photos to some sort of overarching narrative. There are children’s books, Mexican fotonovelas, even a few more adult-oriented artistic efforts like Daniel Seymour’s A Loud Song. Soth has long explored the intersection of storytelling and photography in his own work, most recently in his series of LBM Dispatch collaborations with author and Little Brown Mushroom team member Brad Zellar.

“The thing about Little Brown Mushroom is it’s always a combination of text and image,” Soth says. “We use a storybook, like Little Golden Books, as sort of a template for visual storytelling. It’s really storytelling at its most basic form. And then something like these “dispatches,” that’s more modeled after newspaper journalism, but also something like Life photo essays. It’s kind of a dated thing, but Dorthea Lange and Paul Taylor collaborated, Margaret Bourke-White and Erskine Caldwell, these writer-photographer collaborations. It’s kind of a bygone era.”

Despite Soth’s fascination with and enthusiasm for narrative photography, he’s not convinced that it’s a particularly effective format. “Truthfully,” he says, “I don’t think they go together very well, images and text. I think they fight each other. But I feel hungry for it. As an artist, [this workshop] is a way for me to play around and experiment with other artists in terms of, ‘what are the possibilities of this?’”

With that loose mission statement in hand, Soth and the Summer Camp for Socially Awkward Storytellers staff – Zellar, photographers Carrie Thompson and Ethan Jones, designer Hans Seeger, visual artist Jason Polan and filmmaker Galen Fletcher – sorted through the more than 400 applications and picked out 15 attendees from all around the world. The final roster included artists from corners as far-flung as Germany and Venezuela, with just one Minnesotan in the mix. (In the interest of getting as diverse a selection of perspectives as possible, the staff intentionally decided to limit the locals and only consider applicants with whose work they were unfamiliar.)

The campers roll in on Tuesday with little idea of what to expect from the undertaking. Much of their trepidation has to do with working in teams. “Collaboration is kind of a new thing for me,” says Jeff Barnett-Winsby, a photographer from New York. “But it’s definitely something that I’ve been enjoying. I think a lot of photographers [are concerned that], because our work is so representational, it’s also easily replicated or at least emulated. It makes for a really insecure artist. Those artists are notoriously bad at collaborating, because you have to give up control and authorship. I think we did a really great job – but maybe I’m just talking about me.”

When we speak, before camp starts, Soth admits that he himself has only a basic idea of how the week will unfold. “We’re going to pair people off for the first day to do little collaborative projects. Ideally we’ll get as much of a mix of mediums between those people as possible,” Soth explains. “They go out and they have to generate some sort of story. It can be a very simple thing… It’s like a children’s book, the primal form of storytelling. Like, ‘I went to Hawaii. I saw the dolphin.’ Except in a more sophisticated way: ‘I went to Menards. I photographed someone in a wedding dress.’”

He’s not kidding about Menards, either. Exploring the untapped wonders of Saint Paul, especially the nearby Saint Anthony and Midway neighborhoods, is very much a part of the workshop agenda. William Faulkner once said that a key to his success as a novelist was the realization that “my own little postage stamp of soil was worth writing about and that I would never live long enough to exhaust it.” Soth clearly abides by a similar philosophy.

“They’re going out in this vicinity,” he says. “A big belief of mine is that I don’t have to go to Cuba to do a photo workshop, or to see the exotic people. It’s exotic here. It’s interesting. Menards is very interesting. One can do a photo workshop here as well as anywhere else. In some ways it helps to avoid some of the clichés.”

And so it is that a group of international artists and writers find themselves checking in at Al’s Diner in Dinkytown, wandering the woods outside of the city and otherwise immersed in the marvelous mundanities of the Midwest. The unstructured nature of the undertaking foments some peculiar – and, it seems, welcome – digressions. Easter Trouble Press founder Jim Reed, a fan of Soth’s work who traveled from Frankfort, Germany to take part in the camp, finds himself inspired to experiment with William Eggleston’s “democratic camera” concept during the group’s trip to the forest. “I decided I’m going to drink beer and get intoxicated, in the spirit of Eggleston, and go around and sit and stare at objects, try to give objects their full worth the way that Eggleston gave objects their full worth,” Reed says. He eventually evolves that idea into a sort of conceptual Easter egg hunt for the other campers.

There are probably a lot of arts workshops where that sort of thing wouldn’t fly, but as far as Soth is concerned, anything that helps an artist tap into a vein of storytelling is fair game. “Part of the name, the whole ‘Socially Awkward’ thing, is that photographers and writers are generally more reclusive people. Certainly I was. That’s part of my reason for doing it. But I am interested in storytelling as communication. Wouldn’t it be interesting just to experiment with this form of presenting material in a slideshow? And in part it comes from personal experience, because I’ve been forced into this situation. I’m not saying I’m good at it at all. I give the standard slideshow, like an artist’s lecture. But I thought there was potential here for something.”

From the look of things around the Little Brown Mushroom offices on Wednesday evening, after the second full day of workshops, the campers are finding the challenge daunting but are eager to rise to it. A dimly lit back room hums with quiet energy as duos hunch over MacBooks and try to pull loose narratives out of their day’s outing in the forest. Soth and some Little Brown Mushroom staffers mill about up front, chatting about upcoming projects and allowing the artists to go well over their allotted work time.

It’s pushing on past 8 pm when the instructors finally give the “pencils down” call. The campers have prepared a series of slideshows in which they’ve tied their photos together with some manner of narrative thread. It’s a practice run for the camp’s grand finale, a live slideshow event in front of an audience at The Soap Factory, complete with a DJ set by Brad Zellar and snappy patter from comedian Brian Beatty. The campers, who didn’t know coming in that there would be a performance element, seem both sheepish about sharing their day’s output and grateful for the chance to get in a few dry runs before the big event. While they come from a broad range of artistic backgrounds, theater is not the first item on anyone’s résumé. The storytelling is loose, brief and laced with in-jokes that make it clear that the group already has a fair bit of bonding under its collective belt. There are still plenty of bugs to work out, but it appears as though they’re making heady progress toward Soth’s goal of unearthing some new revelations about photographic narrative.

“I think it’ll be fun,” Soth says of the then fast-approaching performance. “Part of the thing about showing it to an audience is, it’s not that you have to entertain, but you have to engage on some level. I think there’s a tendency in the art world to sort of forget about the audience. ‘I’m doing this for myself.’ If you’re faced with an audience, there’s some sort of obligation to engage with them on some level. Make it compelling, so it’s not utterly boring. But maybe even making it boring is OK. If you choose to do that, that’s OK.”

That last sentence could be a thesis statement for the Camp for Socially Awkward Storytellers, and that overriding sense of OK-ness seems like a solid groundwork for many more camps to come.”]]></description>
<dc:subject>2013 irabooker campforsociallyawkwardstorytellers aprildobbins alecsoth littlebrownmushroom storytelling camp conferences creativity lcproject openstudioproject walkerartcenter minnesota books publishing selfpublishing visual pop-ups writing photography bradzellar slideshows stories socialmedia tarawray wenxinzhang serendipity spontaneity unschooling deschooling education curriculum summerinwintercamp ephemeral ephemeralinstitutions ephemerality hansseeger delaneyallen horatiobaltz jeffbarnett-winsby julianbleecker elainebleakney bradfarwell adamforrester colinmatthes buckymiller dianarangel jimreed caitlinwarner classideas photobooks ncmideas carriethompson galenfletcher ethanjones jasonpollan projectideas stpaul self-publishing adventure fun unconferences experientialeducation design conferenceideas camps learning collaboration experientiallearning summercamp</dc:subject>
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<item rdf:about="https://cargocollective.com/aprildobbins/The-Little-Brown-Mushroom-Camp-for-Socially-Awkward-Storytellers">
    <title>The Little Brown Mushroom Camp for Socially Awkward Storytellers - April Dobbins</title>
    <dc:date>2020-01-23T00:55:16+00:00</dc:date>
    <link>https://cargocollective.com/aprildobbins/The-Little-Brown-Mushroom-Camp-for-Socially-Awkward-Storytellers</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[“In July, I attended Little Brown Mushroom’s Camp for Socially Awkward Storytellers, which was helmed by Alec Soth. He and the LBM crew picked fifteen artists out of over 400 applicants.

Was it fun? In hindsight, I guess it was at times.

Was it traumatic? Yes. Still.

Did I learn a lot? Man, that’s an understatement.

Better you tour the press links: [links]“]]></description>
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<item rdf:about="http://www.littlebrownmushroom.com/popsicle-27-lbm-camp-for-socially-awkward-storytellers/">
    <title>Popsicle #27: LBM Camp for Socially Awkward Storytellers « Little Brown Mushroom</title>
    <dc:date>2020-01-23T00:54:53+00:00</dc:date>
    <link>http://www.littlebrownmushroom.com/popsicle-27-lbm-camp-for-socially-awkward-storytellers/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[“The other day my daughter and I had a conversation about the event I was hosting at my studio, The Camp For Socially Awkward Storytellers. While she agreed that I’m something of an expert on social-awkwardness, she disputed the notion that I’m a storyteller. “You take pictures and put them into books,” she said, “but they aren’t really stories.”

Her words bruised a bit, but deep down I knew she was right. I know very little about storytelling. If anything, the camp was an elaborate con to get fifteen exceptional artists from around the world to travel to Minnesota to teach me about storytelling. Man, did it work. In five short days I learned more about the possibilities of visual storytelling than I’d probably learn in a year of grad school. But there was another lesson of equal importance: the value of having real encounters with real people in the real world.

I sometimes feel like I’m drowning in digital culture. More and more of my daily life is lived in a virtual space behind the screen of my computer. On Saturday night, this virtual space was turned inside out. Fifteen flesh and blood artists projected images onto a screen in front of a flesh and blood audience. The result was, in a word, alive.

In the last few weeks I’ve expanded my “social network” to include Instagram. As expected, I quickly became caught up in the Pavlovian ego-boost of the ‘like’ count. After Saturday night, I understand why screen actors return to the stage. The sound of people laughing and clapping means more than a million ‘likes.’

For the fourth time in 27 posts, George Saunders:

<blockquote>I began to understand art as a kind of black box the reader enters. He enters in one state of mind and exits in another… The writer… can put whatever he wants in there. What’s important is that something undeniable and nontrivial happens to the reader between entry and exit… The black box is meant to change us.</blockquote>

A ‘like’ is not a change. Nor is a thousand ‘likes.’ I believe virtual social networks have great creative potential, but it is almost impossible to quantify. Sometimes you just need to climb into the black box with other people.

I’m so grateful to everyone who climbed into that box with me last week. Along with thanking the Soap Factory and their amazing audience, I want to individually thank the camp participants:

Wenxin Zhang, Tara Wray, Caitlin Warner, Jim Reed, Diana Rangel, Bucky Miller, Colin Matthes, Adam Forrester, Brad Farwell, April Dobbins, Elaine Bleakney, Julian Bleecker, Jeff Barnett-Winsby, Horatio Baltz, Delaney Allen.

The visiting artists: Brian Beatty, David Sollie, Vince Leo.

Our interns: Yara Van der Velden, Kayla Huett, Phil Bologna.

And the LBM team: Brad Zellar, Carrie Thompson, Hans Seeger, Jason Polan, Ethan Jones, Galen Fletcher.

I truly feel changed.

Alec”]]></description>
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    <title>Photographer Alec Soth mounts storyteller's summer camp awkwardly | MPR News</title>
    <dc:date>2020-01-23T00:54:23+00:00</dc:date>
    <link>https://www.mprnews.org/story/2013/07/11/photographer-alec-soth-mounts-storytellers-summer-camp-awkwardly</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[“Internationally acclaimed St. Paul photographer Alec Soth constantly pushes the boundaries of his medium. This week, he’s running a summer camp for artists from around the world. No one – particularly Soth – claims to know how it will turn out.

Until now, there’s never been a Summer Camp for Socially Awkward Storytellers.

Sitting in one of the workrooms in his St. Paul studio, Soth tells the 15 participants he has decided speed dating is the best way to get everyone to meet as quickly as possible. Moments later, the room is filled with animated conversations across a very long table. Every two minutes at the clang of a cowbell everyone moves and meets another camper.

They are photographers, illustrators and writers. Soth and his staff selected them from more than 400 applicants for this free summer camp sponsored by Soth’s small press, Little Brown Mushroom. One came from Germany, another from Venezuela. All responded to a simple post on Soth’s website. There were few details.

Soth and Brad Zellar, his long-time collaborator writer, claim they are making up the camp as they go along. They use the speed dating session to decide what to do next.

Given that Soth called the camp Socially Awkward Storytellers because he’s so uncomfortable speaking publicly, that next thing - a slideshow - makes sense.

“This whole thing about social awkwardness and public speaking is that the slide projector is a great way to, like, pull people’s attentions away,” Soth says, switching on his projector. “That’s why I am diving right into it.”

This really is a camp about telling stories – with pictures. In a world where smart phones have made cameras ubiquitous, Soth challenges the group to return to an older form of storytelling – the slideshow.

“Given that we have a limited amount of time,” he says, “why don’t we use that as the model for this workshop and practice telling stories that way.”

And just to raise the ante, everyone will present their slideshow Saturday evening at the Soap Factory gallery in Minneapolis. It’s open to the public – another detail omitted from the original description of the summer camp.

No one seems too put off.

“You know I like Alec’s work, and I’d heard him talk and he didn’t seem like a jerk,” Brad Farwell says during a break.

Like many of the participants, Farwell, who came to the camp from New York, is interested in how photography has changed. He says for many people it’s become a performance, with people taking them without the intention of ever making a print.

“They sort of make a photograph, and then see it on the back of the camera and then a lot of those photographs exist on the back of the camera in the instant of their making, and then disappear.”

As the group ate lunch cooked on the grill in the parking lot, Wenxin Zhang – formerly of China, now of San Francisco – and Colin Matthes of Milwaukee, a visual artist who denies having any photography skills, compared notes.

“I think the schedule is like a spy schedule,” she says. “You are going to bomb this building today. Tomorrow you are going to dig into the ground and find some gold.”

“I like that we didn’t know anything beforehand,” says Matthes. “We had no idea about the schedule besides it starts around 9 or 10 every day.”

Twenty-four hours later the group is standing in a clearing in a Minneapolis park learning about their next mission.

It’s an artistic capture the flag game where they have to find their group leader hiding somewhere in the woods and document whatever he’s looking at. That group leader will be chugging beer too, so he may not be that focused.

Soth looks on, loving it. The previous evening he had sent the campers out to hunt down stories in the city.

“I mean they, within four hours, produced so much quality work, it was staggering,” he says.

There were explorations of Minneapolis, and a documentation of a receptionist’s life. One of the staff interns said they produced more in one evening than an entire year of grad school. Soth says the camp is still an exercise in spontaneity, but he this already thinks it’s been a success.

“This is fantastic,” he adds. “And it’s also a story. Something unexpected happened. I mean I had no clue that a fellow was going to run off in the woods and hide and we’re going to track him down. It’s an adventure, and that’s what it’s all about.”

Soth and Zellar both say, if nothing else, it’s given them a chance to get to know some interesting people.

“Some of these people are mind-blowingly talented,” Zellar says. “I mean some of these applications … they created a little project and a .pdf (document). It’s light years beyond anything I could conceive of, ever.””]]></description>
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<item rdf:about="https://knightfoundation.org/articles/artists-from-around-the-world-gather-in-st-paul-for-little-brown-mushrooms-summer-camp-for-socially-awkward-storytellers/">
    <title>Artists from around the world gather in St. Paul for Little Brown Mushroom’s Summer Camp for Socially Awkward Storytellers – Knight Foundation</title>
    <dc:date>2020-01-23T00:35:14+00:00</dc:date>
    <link>https://knightfoundation.org/articles/artists-from-around-the-world-gather-in-st-paul-for-little-brown-mushrooms-summer-camp-for-socially-awkward-storytellers/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Little Brown Mushroom’s Summer Camp for Socially Awkward Storytellers culminates in a public event Saturday July 13 at the Soap Factory in Minneapolis.

This weekend, 15 “visual storytellers” from all over the world are convening at the headquarters of Little Brown Mushroom (LBM), an interdisciplinary publishing outfit based out of photographer Alec Soth’s St. Paul studio. The LBM team – including Soth and photographers Carrie Thompson, Ethan Jones, Galen Fletcher,  writer Brad Zellar, plus a rotation of interns and collaborative partners – invited artists of all kinds to apply for a spot in their week-long Summer Camp for Socially Awkward Storytellers. LBM selected a final list of 15 artists and writers from the pool of more than 400 who responded to the call; the international assortment of “campers” gathered in Soth’s studio for the free, five-day workshop this week.

The original call for artists describes the endeavor this way:

<blockquote>Visual storytelling tends to be a lonely business. As such, it attracts more than its share of wallflowers. Here at LBM (home to more than a couple introverts), we thought it would be worthwhile to bring creative loners together to see what we can learn from each other. We’re envisioning a gathering that is more summer camp than classroom. After various daytime outings, we’ll sit around the digital projector and tell each other stories. From there we’ll discuss the ways in which visual stories can be translated into book form.</blockquote>

In a recent email, Soth said the group will spend four days this week in various workshops. On the fifth and final evening, Saturday, July 13, the participants will offer brief, Pecha Kucha-style presentations of their work, at a public event emceed by comedian and writer Brian Beatty at the Soap Factory in Minneapolis. A party will follow, with a cash bar, socializing and dancing to tunes spun by DJ Vu-Vu Zella (aka Brad Zellar).

Participating “campers” include: the LBM team, plus Hans Seeger, Delaney Allen, Horatio Baltz, Jeff Barnett-Winsby, Julian Bleecker, Elaine Bleakney, April Dobbins, Brad Farwell, Adam Forrester, Colin Matthes, Bucky Miller, Diana Rangel, Jim Reed, Caitlin Warner, Tara Wray and Wenxin Zhang.

Photo courtesy of Little Brown Mushroom. Pro tip: The “summer camp” t-shirts pictured on the LBM team above will be available to buy at the event on Saturday, July 13. As far as I know, the RV is not for sale.

I’m telling you – this can’t help but be interesting. Little Brown Mushroom has been publishing such surprising, compelling stuff in recent years. Of particular note is the “LBM Dispatch,” occasional road trip photo and text collaborations by Soth and writer Brad Zellar – tabloid-sized newsprint pieces produced in the style of a small-town newspaper. Thus far, LBM has published five installments: “Ohio,” “Upstate,” “Michigan,” “Three Valleys” and, most recently, “Colorado.” (The pair recently wrote a fabulous piece on the project for Vice magazine, if you’re interested in reading more.)

Little Brown Mushroom’s Summer Camp for Socially Awkward Storytellers runs from July 9 through 13. The camp culminates with an event, The Socially Awkward Storytellers’ Slideshow and Dance, on Saturday, July 13 at 7 p.m. at the Soap Factory, 514 Second Street SE, Minneapolis. Admission is free and open to the public. For more information, visit www.littlebrownmushroom.com."]]></description>
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<item rdf:about="https://dancohen.org/2019/07/23/engagement-is-the-enemy-of-serendipity/">
    <title>Engagement Is the Enemy of Serendipity – Dan Cohen</title>
    <dc:date>2019-07-28T20:57:05+00:00</dc:date>
    <link>https://dancohen.org/2019/07/23/engagement-is-the-enemy-of-serendipity/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Whenever I’m grumpy about an update to a technology I use, I try to perform a self-audit examining why I’m unhappy about this change. It’s a helpful exercise since we are all by nature resistant to even minor alterations to the technologies we use every day (which is why website redesign is now a synonym for bare-knuckle boxing), and this feeling only increases with age. Sometimes the grumpiness is justified, since one of your tools has become duller or less useful in a way you can clearly articulate; other times, well, welcome to middle age.

The New York Times recently changed their iPad app to emphasize three main tabs, Top Stories, For You, and Sections. The first is the app version of their chockablock website home page, which contains not only the main headlines and breaking news stories, but also an editor-picked mixture of stories and features from across the paper. For You is a new personalized zone that is algorithmically generated by looking at the stories and sections you have most frequently visited, or that you select to include by clicking on blue buttons that appear near specific columns and topics. The last tab is Sections, that holdover word from the print newspaper, with distinct parts that are folded and nested within each other, such as Metro, Business, Arts, and Sports.

Currently my For You tab looks as if it was designed for a hypochondriacal runner who wishes to live in outer space, but not too far away, since he still needs to acquire new books and follow the Red Sox. I shall not comment about the success of the New York Times algorithm here, other than to say that I almost never visit the For You tab, for reasons I will explain shortly. For now, suffice it to say that For You is not for me.

But the Sections tab I do visit, every day, and this is the real source of my grumpiness. At the same time that the New York Times launched those three premier tabs, they also removed the ability to swipe, simply and quickly, between sections of the newspaper. You used to be able to start your morning news consumption with the headlines and then browse through articles in different sections from left to right. Now you have to tap on Sections, which reveals a menu, from which you select another section, from which you select an article, over and over. It’s like going back to the table of contents every time you finish a chapter of a book, rather than just turning the page to the next chapter.

Sure, it seems relatively minor, and I suspect the change was made because confused people would accidentally swipe between sections, but paired with For You it subtly but firmly discourages the encounter with many of the newspaper’s sections. The assumption in this design is that if you’re a space runner, why would you want to slog through the International news section or the Arts section on the way to orbital bliss in the Science and Health sections?

* * *

When I was growing up in Boston, my first newspaper love was the sports section of the Boston Globe. I would get the paper in the morning and pull out that section and read it from cover to cover, all of the columns and game summaries and box scores. Somewhere along the way, I started briefly checking out adjacent sections, Metro and Business and Arts, and then the front section itself, with the latest news of the day and reports from around the country and world. The technology and design of the paper encouraged this sampling, as the unpacked paper was literally scattered in front of me on the table. Were many of these stories and columns boring to my young self? Undoubtedly. But for some reason—the same reason many of those reading this post will recognize—I slowly ended up paging through the whole thing from cover to cover, still focusing on the Sox, but diving into stories from various sections and broadly getting a sense of numerous fields and pursuits.

This kind of interface and user experience is now threatened because who needs to scan through seemingly irrelevant items when you can have constant go-go engagement, that holy grail of digital media. The Times, likely recognizing their analog past (which is still the present for a dwindling number of print subscribers), tries to replicate some of the old newspaper serendipity with Top Stories, which is more like A Bunch of Interesting Things after the top headlines. But I fear they have contradicted themselves in this new promotion of For You and the commensurate demotion of Sections.

The engagement of For You—which joins the countless For Yous that now dominate our online media landscape—is the enemy of serendipity, which is the chance encounter that leads to a longer, richer interaction with a topic or idea. It’s the way that a metalhead bumps into opera in a record store, or how a young kid becomes interested in history because of the book reviews that follow the box scores. It’s the way that a course taken on a whim in college leads, unexpectedly, to a new lifelong pursuit. Engagement isn’t a form of serendipity through algorithmically personalized feeds; it’s the repeated satisfaction of Present You with your myopically current loves and interests, at the expense of Future You, who will want new curiosities, hobbies, and experiences."]]></description>
<dc:subject>dancohen 2019 education newspapers socialmedia technology trends media engagement serendipity algorithms libraries adjacency interface digital digitalmedia design journalism nytimes web generalists exposure experience interaction personalization filterbubbles learning</dc:subject>
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<item rdf:about="https://blogs.scientificamerican.com/beautiful-minds/the-role-of-luck-in-life-success-is-far-greater-than-we-realized/">
    <title>The Role of Luck in Life Success Is Far Greater Than We Realized - Scientific American Blog Network</title>
    <dc:date>2018-03-05T05:55:18+00:00</dc:date>
    <link>https://blogs.scientificamerican.com/beautiful-minds/the-role-of-luck-in-life-success-is-far-greater-than-we-realized/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["What does it take to succeed? What are the secrets of the most successful people? Judging by the popularity of magazines such as Success, Forbes, Inc., and Entrepreneur, there is no shortage of interest in these questions. There is a deep underlying assumption, however, that we can learn from them because it's their personal characteristics--such as talent, skill, mental toughness, hard work, tenacity, optimism, growth mindset, and emotional intelligence-- that got them where they are today. This assumption doesn't only underlie success magazines, but also how we distribute resources in society, from work opportunities to fame to government grants to public policy decisions. We tend to give out resources to those who have a past history of success, and tend to ignore those who have been unsuccessful, assuming that the most successful are also the most competent.

But is this assumption correct? I have spent my entire career studying the psychological characteristics that predict achievement and creativity. While I have found that a certain number of traits-- including passion, perseverance, imagination, intellectual curiosity, and openness to experience-- do significantly explain differences in success, I am often intrigued by just how much of the variance is often left unexplained.

In recent years, a number of studies and books--including those by risk analyst Nassim Taleb, investment strategist Michael Mauboussin, and economist Richard Frank-- have suggested that luck and opportunity may play a far greater role than we ever realized, across a number of fields, including financial trading, business, sports, art, music, literature, and science. Their argument is not that luck is everything; of course talent matters. Instead, the data suggests that we miss out on a really importance piece of the success picture if we only focus on personal characteristics in attempting to understand the determinants of success.

Consider some recent findings:

• About half of the differences in income across people worldwide is explained by their country of residence and by the income distribution within that country,
• Scientific impact is randomly distributed, with high productivity alone having a limited effect on the likelihood of high-impact work in a scientific career,
The chance of becoming a CEO is influenced by your name or month of birth,
• The number of CEOs born in June and July is much smaller than the number of CEOs born in other months,
• Those with last names earlier in the alphabet are more likely to receive tenure at top departments,
• The display of middle initials increases positive evaluations of people's intellectual capacities and achievements,
• People with easy to pronounce names are judged more positively than those with difficult-to-pronounce names,
• Females with masculine sounding names are more successful in legal careers.

The importance of the hidden dimension of luck raises an intriguing question: Are the most successful people mostly just the luckiest people in our society? If this were even a little bit true, then this would have some significant implications for how we distribute limited resources, and for the potential for the rich and successful to actually benefit society (versus benefiting themselves by getting even more rich and successful).

In an attempt to shed light on this heavy issue, the Italian physicists Alessandro Pluchino and Andrea Raspisarda teamed up with the Italian economist Alessio Biondo to make the first ever attempt to quantify the role of luck and talent in successful careers. In their prior work, they warned against a "naive meritocracy", in which people actually fail to give honors and rewards to the most competent people because of their underestimation of the role of randomness among the determinants of success. To formally capture this phenomenon, they proposed a "toy mathematical model" that simulated the evolution of careers of a collective population over a worklife of 40 years (from age 20-60).

The Italian researchers stuck a large number of hypothetical individuals ("agents") with different degrees of "talent" into a square world and let their lives unfold over the course of their entire worklife. They defined talent as whatever set of personal characteristics allow a person to exploit lucky opportunities (I've argued elsewhere that this is a reasonable definition of talent). Talent can include traits such as intelligence, skill, motivation, determination, creative thinking, emotional intelligence, etc. The key is that more talented people are going to be more likely to get the most 'bang for their buck' out of a given opportunity (see here for support of this assumption).

All agents began the simulation with the same level of success (10 "units"). Every 6 months, individuals were exposed to a certain number of lucky events (in green) and a certain amount of unlucky events (in red). Whenever a person encountered an unlucky event, their success was reduced in half, and whenever a person encountered a lucky event, their success doubled proportional to their talent (to reflect the real-world interaction between talent and opportunity).

What did they find? Well, first they replicated the well known "Pareto Principle", which predicts that a small number of people will end up achieving the success of most of the population (Richard Koch refers to it as the "80/20 principle"). In the final outcome of the 40-year simulation, while talent was normally distributed, success was not. The 20 most successful individuals held 44% of the total amount of success, while almost half of the population remained under 10 units of success (which was the initial starting condition). This is consistent with real-world data, although there is some suggestion that in the real world, wealth success is even more unevenly distributed, with just eight men owning the same wealth as the poorest half of the world.

[graphs]

Although such an unequal distribution may seem unfair, it might be justifiable if it turned out that the most successful people were indeed the most talented/competent. So what did the simulation find? On the one hand, talent wasn't irrelevant to success. In general, those with greater talent had a higher probability of increasing their success by exploiting the possibilities offered by luck. Also, the most successful agents were mostly at least average in talent. So talent mattered.

However, talent was definitely not sufficient because the most talented individuals were rarely the most successful. In general, mediocre-but-lucky people were much more successful than more-talented-but-unlucky individuals. The most successful agents tended to be those who were only slightly above average in talent but with a lot of luck in their lives.

Consider the evolution of success for the most successful person and the least successful person in one of their simulations:

[graphs]

As you can see, the highly successful person in green had a series of very lucky events in their life, whereas the least successful person in red (who was even more talented than the other person) had an unbearable number of unlucky events in their life. As the authors note, "even a great talent becomes useless against the fury of misfortune."

Talent loss is obviously unfortunate, to both the individual and to society. So what can be done so that those most capable of capitalizing on their opportunities are given the opportunities they most need to thrive? Let's turn to that next."

…

"This last finding is intriguing because it is consistent with other research suggesting that in complex social and economic contexts where chance is likely to play a role, strategies that incorporate randomness can perform better than strategies based on the "naively meritocratic" approach."

…

"Conclusion

The results of this elucidating simulation, which dovetail with a growing number of studies based on real-world data, strongly suggest that luck and opportunity play an underappreciated role in determining the final level of individual success. As the researchers point out, since rewards and resources are usually given to those who are already highly rewarded, this often causes a lack of opportunities for those who are most talented (i.e., have the greatest potential to actually benefit from the resources), and it doesn't take into account the important role of luck, which can emerge spontaneously throughout the creative process. The researchers argue that the following factors are all important in giving people more chances of success: a stimulating environment rich in opportunities, a good education, intensive training, and an efficient strategy for the distribution of funds and resources. They argue that at the macro-level of analysis, any policy that can influence these factors will result in greater collective progress and innovation for society (not to mention immense self-actualization of any particular individual)."]]></description>
<dc:subject>luck meritocracy 2018 success research scottbarrykaufman inequality diversity talent serendipity chance society misfortune gender race</dc:subject>
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<item rdf:about="http://www.journals.uchicago.edu/doi/full/10.14318/hau7.3.020">
    <title>How to build a book: Notes from an editorial bricoleuse | HAU: Journal of Ethnographic Theory: Vol 7, No 3</title>
    <dc:date>2017-12-24T19:44:15+00:00</dc:date>
    <link>http://www.journals.uchicago.edu/doi/full/10.14318/hau7.3.020</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["This piece offers an editor’s reflections on the ethos and craft of writing. General suggestions, words of encouragement, and detailed tips emerge through a discussion of unexpected affinities between writing and building. An annotated list of further readings accompanies the text.

Ce texte offre les réflexions d’une éditrice sur l’ethos et l’art de l’écriture. Des suggestions générales, des encouragements, et quelques conseils précis se dégagent d’une discussion sur les affinités inattendues entre l’écriture et la construction. Une liste annotée de lectures complémentaires accompagne ce texte."

…

"The inevitable risk in writing a document like this one is that authors will interpret my advice as an example of editorial fascism that is appeased only when others subsume their ambition to conformity. I would hate for that to be the lesson of this meditation (which is, in itself, something of an oddity).

Times change, architectural styles go through inevitable change and recombination, and books change too. No intelligent person would demand that every room conform perfectly to a single model or that every book do the same. Variation is one cornerstone of beauty. So, please, surprise me. But do so from a position of intimate understanding. Mastery of tradition, in writing as in other crafts, is the first condition for innovation."

[via: https://twitter.com/npseaver/status/944918352773951494

"Some nice, not obvious advice in this piece on writing academic books (aimed at anthro, but more broadly relevant), from @priyasnelson: http://www.journals.uchicago.edu/doi/full/10.14318/hau7.3.020 … (I especially like the “finding the center” metaphor.)

Not that anthropologists are unique snowflakes, but I wish we had more writing advice like this aimed at us particularly: we have some particular strengths and weaknesses that generic academic writing advice doesn’t appreciate."]]]></description>
<dc:subject>writing editing craft 2017 priyanelson variation conformity innovation citation anthropology srg neologisms socialsciences academia revision publishing serendipity details planning</dc:subject>
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<item rdf:about="https://www.nytimes.com/2017/04/28/science/twitter-bots-science.html">
    <title>6 Bots That Deliver Science and Serendipity on Twitter - The New York Times</title>
    <dc:date>2017-04-29T01:34:00+00:00</dc:date>
    <link>https://www.nytimes.com/2017/04/28/science/twitter-bots-science.html</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>twitter bots animals serendipity science 2017 nature plants insects birds planets maps mapping cartography</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:773a92af285e/</dc:identifier>
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<item rdf:about="http://magazine.lmu.edu/articles/jumping-time/">
    <title>LMU Magazine: Jumping Time</title>
    <dc:date>2017-04-01T00:50:56+00:00</dc:date>
    <link>http://magazine.lmu.edu/articles/jumping-time/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["For some time, I’d been shadowing artists like Massenburg, people who were expert at reading possibility in a mere gesture and reacting in the moment. I had been cataloging what sort of creative benefit bloomed out from a chance encounter — a serendipitous discovery, an open path or fresh new sense of self. But now, with so much infrastructure upended, their facility to do so resonated even more. As life became increasingly difficult to parse when the planned-for scenarios evaporated — or simply didn’t arrive — so many were looking for not just comfort but real tools to find their own “what’s next.”

Chance and Serendipity

We want to map a plan — a life — that’s what both our conscience and the culture tells us; a life/plan that nudges us toward “success” and ultimately a precisely articulated and fully realized you. The trouble with this premise is that what we already know too often obstructs what we might come to know — if we’re open to it. That’s the juncture where chance lies — and where serendipity — and often the greatest possibility can step in. 

We think we can outline a foolproof strategy, one that keeps us on track, moving forward, but things break, sever, snap and shatter all of the time. Plans fizzle, promises are broken, things fall apart. Both life and the language we use to describe our derailments and defeats tell us that.

Planning, however, doesn’t stave off the inevitable detours that present themselves: There are moments when patterns are broken for us, and moments when we choose to break them. What happens when we walk into that void, that open question, is the first step toward the unknown and where faith and chance can take us.

As a journalist who writes about people who make elegant, jaw-dropping leaps — creatives who ultimately conceive beyond-category art, music and food, or design vibrant community landscapes or networks — I see many who seem to share a key trait: the ability to pivot, to “see in the dark.” The darkness in this case is uncertainty: blind turns and difficult passages that we all must navigate at some point to find our way to the next phase, chapter, summit. Why, I wondered, are some better at the pivot than others? That facility begins with feeling comfortable in the space of the unknown.

Near the end of Pico Iyer’s slim, astute meditation titled “The Art of Stillness: Adventures in Going Nowhere,” the essayist explores the importance of framing calamity: “It’s not our experiences that form us, but the way we respond to them; a hurricane sweeps through town reducing everything to rubble and one man sees it as liberation, a chance to start anew, while another, perhaps his brother, is traumatized for life.”

Iyer’s words reassured me that what we are handed is not just a measure of our mettle — how we move forward — but that the unexpected also can limit or enhance our life’s possibility. We choose.

I saw, much more clearly, that the stories I’d been assembling weren’t necessarily a catalog of successes. Rather the artists’ arcs I traced suggested that the real journey begins with instances others might categorize as dead-ends, failures, even tragedies: a deportation, a wife’s near-death experience, a diagnosis of a rare blindness. Instead of accepting an impasse, they understood a setback as a threshold, not an end, but a beginning. The ability to shake free from an outdated dream or shed a fixed desire — be it a job, a hunch or place in the world — and cultivate new inspirations is not a facility we often honor or celebrate. We should. Recalibrating — or, as one subject calls it, “bounce” — is critical to survival. Success, then, isn’t about achieving static goals or checking items off a list. It’s about mastery, acquiring insight and achieving breakthroughs.

We live in a moment of “vision boards” and Post-it affirmations — “See it. Be it.” But we forget that just as important as what we wish for ourselves is gleaning the insight that may seem beyond our imagination. That big life we crave, the one larger than we can conceive, is often the consequence of risk, misadventure and recovery. As one subject finally came to understand it: “Don’t look; leap. Trust the dark. Trust what you’ve cultivated inside.”

Jumping Time 

In American roots music — jazz, blues, zydeco, bluegrass — there’s a term called “jumping time,” a moment that inevitably reveals itself on the bandstand. The singer perhaps forgets a verse, or the trumpet player, distracted, stumbles, barges in too soon, and the band must work together to pivot, restore order, move to the next line and not get jangled. It’s about moving forward: salvaging not just the moment, but the possibility for the one that follows. 

I think about Massenburg and his own “salvaging” — the poetry of the pivot — finding not just a use for the stumbled upon and tossed aside, but a new narrative for it: “I remember John Outterbridge saying to me that art can be anything you want it to be. Even your life. So when I think about how I got here — it wasn’t straight-line.” 

That left or right turn, it’s all about jumping time — sliding to the next spot, finding the treasure in the detritus, saving the moment. You can’t plan for it, just prepare. 

Those beautiful dovetails in life that we watch from afar? They come with hard work and foresight: reacting adroitly, even poetically, at that fork in the road of thought, crisis and life shift is often our only control in chaos. That informed pivot — the one that takes us from disaster to possibility, the “new place” — can be the life-changing difference between simply surviving and thriving.]]></description>
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<item rdf:about="http://austinkleon.com/2017/02/16/get-out-now/">
    <title>Get out now</title>
    <dc:date>2017-02-19T00:32:55+00:00</dc:date>
    <link>http://austinkleon.com/2017/02/16/get-out-now/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[“GET OUT NOW. Not just outside, but beyond the trap of the programmed electronic age so gently closing around so many people…. Go outside, move deliberately, then relax, slow down, look around. Do not jog. Do not run…. Instead pay attention to everything that abuts the rural road, the city street, the suburban boulevard. Walk. Stroll. Saunter. Ride a bike, and coast along a lot. Explore…. Abandon, even momentarily, the sleek modern technology that consumes so much time and money now…. Go outside and walk a bit, long enough to forget programming, long enough to take in and record new surroundings…. Flex the mind, a little at first, then a lot. Savor something special. Enjoy the best-kept secret around—the ordinary, everyday landscape that rewards any explorer, that touches any explorer with magic…all of it is free for the taking, for the taking in. Take it. take it in, take in more every weekend, every day, and quickly it becomes the theater that intrigues, relaxes, fascinates, seduces, and above all expands any mind focused on it. Outside lies utterly ordinary space open to any casual explorer willing to find the extraordinary. Outside lies unprogrammed awareness that at times becomes directed serendipity. Outside lies magic.”

—John Stilgoe, Outside Lies Magic]]></description>
<dc:subject>johnstilgoe austinkleon walking noticing looking observing seeing exploration landscape attention serendipity outside outdoors</dc:subject>
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<item rdf:about="http://www.vqronline.org/essays-articles/2014/09/due-north">
    <title>Due North | VQR Online</title>
    <dc:date>2016-07-11T00:26:10+00:00</dc:date>
    <link>http://www.vqronline.org/essays-articles/2014/09/due-north</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["I arrived in New York in October 2005 and immediately began walking all over the city, exploring for hours at a time. As I traversed its landscape, I discovered a topography of social conditions. Some days, I would linger on Thirty-Fourth Street among the glamorous workers of Midtown Manhattan rushing to and from their high-rise buildings—in swift pursuit of their ambitions, I’d assumed. I’d watch them zigzag around and dart past the enthusiastic tourists filing into the Empire State Building, that colossus rising majestically above as a beacon of hope and symbol of American derring-do.

Then I’d stride northward, eager to explore Whitman’s “Numberless crowded streets – high growths of iron, slender, strong, light, splendidly uprising toward clear skies.” A little over two hours later, I would end up in Harlem at the courtyard of a housing project on 125th Street, where residents lounged on benches and welcomed each other with cheerful banter. They also welcomed me, and I sat beside them, took one of the kiddie’s box drinks they offered, and enjoyed their jovial talk in that relaxed, open space in Harlem far removed from the hurried dynamism of Midtown.

But as I’ve circulated through New York’s streets, nothing reveals the city’s opposites in stark juxtaposition like the walk from the Upper East Side to the South Bronx, two neighborhoods separated by a brisk ninety-minute walk, or a quick twelve-minute subway ride. I’d call them neighbors were it not so clear that they occupy such distinctly different worlds. To walk the streets from one to the other, as I often do, is to bear witness to a landscape of asymmetry. The city that comes into view is one of uneven terrain, vistas of opportunity alongside pockets of deep poverty too often lost in the periphery.

In early 2006, almost six months after moving to the city, I was hobbled from roaming around because of a botched surgery on my right knee. A few months later, I switched hospitals to the Hospital for Special Surgery, located on the Upper East Side, where I eventually underwent two more surgeries to get back to walking the streets without chronic pain. As a result of the operations and follow-up physical therapy, the Upper East Side became a regular destination. I spent a lot of time watching people go about their lives, many of whom were middle- and working-class people employed in hospitals, museums, universities, hotels, and elsewhere on the Upper East Side. Plentiful as these workers were, they didn’t define the neighborhood—at least, not in a way that forcefully impresses itself upon the mind when you think of the Upper East Side. No, the population that embosses its mark on the neighborhood is the wealthy—the extraordinarily wealthy, to be precise.

The Upper East Side houses one of the richest zip codes in the US. This wealth touches almost everything in its vicinity. Many of the less-flush people I met going about their days worked at institutions that were among the world’s finest—the Metropolitan Museum of Art, Memorial Sloan Kettering Cancer Center, Hospital for Special Surgery—and that were easy access for their upper-class neighbors. In addition to stellar medical care and world-class museums, I’d walk past some of the city’s best private schools, public libraries abuzz with parents and nannies—many of whom were foreigners—playing with children, and music schools with eager and not-so-eager kids developing their skills. Here was a neighborhood stocked with the resources for worldly success.

Walking through that part of the Upper East Side was not unlike a jaunt in a museum. On Park or Fifth Avenue, for example, one could walk for hours and admire magnificent buildings fronted by well-manicured gardens and quiet, clean sidewalks. Serenity suffused the atmosphere. Nothing seemed out of place, and, to my untrained eye, it all looked unspoiled.

There are stunning apartment buildings that look like cathedrals in high heels. Überchic boutiques—throne rooms of specialization meant to cater to people with the most rarefied, and demanding, of tastes—abound. You can pick up scented shoelaces for your teen daughter from a store filled with accessories for tweens, buy a bra for a few hundred dollars from an Italian lingerie store, and then drop off your puppy for a spa day, all in under a half hour. And, shhh, the stores were very quiet, I’ll-glare-if-you-speak-loudly quiet. I was often hushed, too, since sticker shock often dumbfounds me. Though, I should confess, something perverse in me wanted me to scream upon entering those hush-up stores.

All around are luxe restaurants with patrons to match, and sophisticated bistros with fresh-looking, pleasant-smelling—oh, those lovely scents!—upscale clientele. And for outdoor relaxation and play, Central Park is a quick stroll away—across the road, even. It’s as if the neighborhood was curated to cater to the needs and pleasures of its wealthy residents. Dig through the historical record and you’ll find that, indeed, starting with Fifth Avenue in the late nineteenth century, later joined in the early twentieth century by Park (formerly Fourth) Avenue, elegance and convenience have characterized the Upper East Side’s moneyed class and its tony residences.

Yet, for all its beauty, the neighborhood today feels like a welcome mat with spikes, or, more aptly, like a museum after closing time. You could stand nearby and look in, but that’s as far as you could go: admiration from a distance. My feet met their limit.

So much of the lives of the very wealthy was a mystery to me, not least because I couldn’t hope to stand and chat with them. The city was this enticing language I was learning, but they were a cipher. They lived, as my friend and walking companion Suketu once put it to me, in vertical gated communities—fortresses within layers of insulation. I’d see them shuttle from cabs or chauffeur-driven cars into their elegant buildings fronted by attentive doormen. Or I’d see them interacting with each other as I strolled past a posh establishment. They were sharply dressed ghosts; I would see them for a brief moment, only for them to quickly disappear into vehicles or buildings as mysteriously as they came.

There was a come-hither-stay-away quality to it all. Apartment lobbies looked inviting, but dapper doormen in their white shirts and black ties stood between you and them. Brownstones were beguiling, but you dared not sit on their steps. And I couldn’t shake the feeling that someone my shade, the color of the neighborhood’s nannies and gardeners and janitors but not their neighbors (at least, none that I saw), was more unwelcome on a stranger’s stoop.

Nor would I ever see people hanging out on their own steps. The beauty of the Upper East Side, the visual allure, had a placidity I felt detached from. There was something disquieting about all that silence. Certainly, one of the joys of living in the city is the wonderful solitude it affords, the option to, as E. B. White memorably put it, opt out and announce, “I did not attend.” The city is a place of escape as much as it’s one of pilgrimage, and, to someone outside of their circle passing through, the affluent inhabitants of the Upper East Side resemble a group who entered a compact to “not attend.” The serenity felt fragile, and I feared that if I did anything that was perceived as a threat to it, no matter how simple—approaching that friendly face to have a chat, leaning over to inhale perfumy flowers—that I would be promptly reminded that I could inhabit those streets only so much.

When I leave the Upper East Side on foot, the streets declare it to me almost immediately. I cross Ninety-Sixth Street—on Park Avenue, say, and the picturesque quickly recedes. Islands of gardens are supplanted by train tracks that tear out of the ground and rise alongside and above houses, transporting streams of Metro-North trains and dispersing noise across the neighborhood. Pristine sidewalks are replaced by dusty ones, and time and again micro-dirt tornadoes, with candy wrappers within, whirl around. And luxury mansions are replaced by tenement-type buildings, row houses, and “superblocks” of housing projects.

And the population becomes increasingly darker. A lot more. And friendlier. A lot more. More Spanish is heard (significantly so), more bodegas are seen on corners, and the hum of the Upper East Side gives way to a skipping, sometimes clamoring, beat. (On weekends with good weather, there are block parties aplenty). You almost begin to wonder—at least, I often do—if East Harlem is the town crier announcing, “Yeah, you’ve left the Upper East Side. The South Bronx is three miles, and an hour’s walk, thataway.”"

…

"On the way back home, Suketu drove through the Upper East Side, past glittery boutiques and sexy bistros, enticing department stores and showy high-rise apartment buildings. At that moment, I recognized that, for me, there wasn’t much difference between cutting through the neighborhood on foot and in a car. There was, of course. But leaving from Hunts Point, where time in a car away from residents removes so much of the neighborhood’s pleasure, and arriving in the Upper East Side around fifteen minutes later, only to recognize that I felt at arm’s length from a lot of its residents even when I walked through, reminded me that inequality also deprives the very wealthy. In ensconcing themselves in their circles, the very wealthy had cut themselves off from a range of perspectives and temperaments and stories—stories that are a central part of their city’s vibrancy and appeal. In Hunts Point, I witnessed deprivation due to an absence of resources; in the Upper East Side, I witnessed deprivation of a different, but related sort: the absence of enriching interactions.

I became an obsessive walker as a matter of necessity. Too poor to take taxis when I was growing up in Jamaica, and living in a neighborhood where taxis (and, alas, friends) refused to go at night, I learned to walk wherever and whenever to get home. This meant walking through some very dangerous parts of Jamaica. Observation was more about survival—Will he rob me? Will he stab me? Will they shoot me?—rather than about exploration: What will she tell me about this city? What will I learn about my country? Myself? Eventually, by the time I was able to afford cabs, it had become natural for me to venture all over the island, because some frequencies I could only hear while on foot. My interactions with others would enlarge and fortify my identity. And there was something exhilarating about participating in the oldest of rituals: human dealings through the sharing of stories."

…

"The stories people tell each other and the stories they allow themselves to encounter are part of what gives New York City its energy. And the stories I heard ignited my imagination and reshaped my ideas about the city. One afternoon during my physical therapy session, I had one such chat with a patient who was part of the neighborhood’s elite. She was a college professor—of English literature, if my memory hasn’t deceived me—in her seventies, not much more than five feet tall, and overflowing with warmth and élan – more cute-aunt than authoritative dispenser of knowledge. Her friendliness, conveyed with a mellifluous voice, made me stop my rehabilitation exercises and listen away. She spoke about the world with unbridled enthusiasm and genuine wonder, and her drive to explore it made me want to cut her off and rush in search of her adventures. But what stayed with me weren’t the wonderful stories.

Serendipity reveals a world of people holding views and undergoing experiences unlike ours. But serendipity also exposes our commonalities, showing how much our joys and frustrations and anxieties are similar: We all want happy marriages and healthy children and kind in-laws; we all want what we think is best for our children; and we all feel helpless and crumble in the face of mortality. Inequality manifests itself both as the inequality of resources and, looking in the other direction, the inequality of interaction. But, really, everyone is diminished by the absence of interaction, the lack of shared experience. The very wealthy and very poor—inequality makes equals of them all."]]></description>
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<item rdf:about="http://lithub.com/walking-while-black/">
    <title>Walking While Black | Literary Hub</title>
    <dc:date>2016-07-09T22:40:21+00:00</dc:date>
    <link>http://lithub.com/walking-while-black/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Within days I noticed that many people on the street seemed apprehensive of me: Some gave me a circumspect glance as they approached, and then crossed the street; others, ahead, would glance behind, register my presence, and then speed up; older white women clutched their bags; young white men nervously greeted me, as if exchanging a salutation for their safety: “What’s up, bro?” On one occasion, less than a month after my arrival, I tried to help a man whose wheelchair was stuck in the middle of a crosswalk; he threatened to shoot me in the face, then asked a white pedestrian for help.

I wasn’t prepared for any of this. I had come from a majority-black country in which no one was wary of me because of my skin color. Now I wasn’t sure who was afraid of me. I was especially unprepared for the cops. They regularly stopped and bullied me, asking questions that took my guilt for granted. I’d never received what many of my African-American friends call “The Talk”: No parents had told me how to behave when I was stopped by the police, how to be as polite and cooperative as possible, no matter what they said or did to me. So I had to cobble together my own rules of engagement. Thicken my Jamaican accent. Quickly mention my college. “Accidentally” pull out my college identification card when asked for my driver’s license.

My survival tactics began well before I left my dorm. I got out of the shower with the police in my head, assembling a cop-proof wardrobe. Light-colored oxford shirt. V-neck sweater. Khaki pants. Chukkas. Sweatshirt or T-shirt with my university insignia. When I walked I regularly had my identity challenged, but I also found ways to assert it. (So I’d dress Ivy League style, but would, later on, add my Jamaican pedigree by wearing Clarks Desert Boots, the footwear of choice of Jamaican street culture.) Yet the all-American sartorial choice of white T-shirt and jeans, which many police officers see as the uniform of black troublemakers, was off-limits to me—at least, if I wanted to have the freedom of movement I desired.

In this city of exuberant streets, walking became a complex and often oppressive negotiation. I would see a white woman walking towards me at night and cross the street to reassure her that she was safe. I would forget something at home but not immediately turn around if someone was behind me, because I discovered that a sudden backtrack could cause alarm. (I had a cardinal rule: Keep a wide perimeter from people who might consider me a danger. If not, danger might visit me.) New Orleans suddenly felt more dangerous than Jamaica. The sidewalk was a minefield, and every hesitation and self-censored compensation reduced my dignity. Despite my best efforts, the streets never felt comfortably safe. Even a simple salutation was suspect.

One night, returning to the house that, eight years after my arrival, I thought I’d earned the right to call my home, I waved to a cop driving by. Moments later, I was against his car in handcuffs. When I later asked him—sheepishly, of course; any other way would have asked for bruises—why he had detained me, he said my greeting had aroused his suspicion. “No one waves to the police,” he explained. When I told friends of his response, it was my behavior, not his, that they saw as absurd. “Now why would you do a dumb thing like that?” said one. “You know better than to make nice with police.”"

…

"Walking had returned to me a greater set of possibilities. And why walk, if not to create a new set of possibilities? Following serendipity, I added new routes to the mental maps I had made from constant walking in that city from childhood to young adulthood, traced variations on the old pathways. Serendipity, a mentor once told me, is a secular way of speaking of grace; it’s unearned favor. Seen theologically, then, walking is an act of faith. Walking is, after all, interrupted falling. We see, we listen, we speak, and we trust that each step we take won’t be our last, but will lead us into a richer understanding of the self and the world.

In Jamaica, I felt once again as if the only identity that mattered was my own, not the constricted one that others had constructed for me. I strolled into my better self. I said, along with Kierkegaard, “I have walked myself into my best thoughts.”"

…

"Walking while black restricts the experience of walking, renders inaccessible the classic Romantic experience of walking alone. It forces me to be in constant relationship with others, unable to join the New York flaneurs I had read about and hoped to join. Instead of meandering aimlessly in the footsteps of Whitman, Melville, Kazin, and Vivian Gornick, more often, I felt that I was tiptoeing in Baldwin’s—the Baldwin who wrote, way back in 1960, “Rare, indeed, is the Harlem citizen, from the most circumspect church member to the most shiftless adolescent, who does not have a long tale to tell of police incompetence, injustice, or brutality. I myself have witnessed and endured it more than once.”

Walking as a black man has made me feel simultaneously more removed from the city, in my awareness that I am perceived as suspect, and more closely connected to it, in the full attentiveness demanded by my vigilance. It has made me walk more purposefully in the city, becoming part of its flow, rather than observing, standing apart.

* * * *

But it also means that I’m still trying to arrive in a city that isn’t quite mine. One definition of home is that it’s somewhere we can most be ourselves. And when are we more ourselves but when walking, that natural state in which we repeat one of the first actions we learned? Walking—the simple, monotonous act of placing one foot before the other to prevent falling—turns out not to be so simple if you’re black. Walking alone has been anything but monotonous for me; monotony is a luxury.

A foot leaves, a foot lands, and our longing gives it momentum from rest to rest. We long to look, to think, to talk, to get away. But more than anything else, we long to be free. We want the freedom and pleasure of walking without fear—without others’ fear—wherever we choose. I’ve lived in New York City for almost a decade and have not stopped walking its fascinating streets. And I have not stopped longing to find the solace that I found as a kid on the streets of Kingston. Much as coming to know New York City’s streets has made it closer to home to me, the city also withholds itself from me via those very streets. I walk them, alternately invisible and too prominent. So I walk caught between memory and forgetting, between memory and forgiveness."]]></description>
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<item rdf:about="http://www.newyorker.com/culture/culture-desk/the-limits-of-grit">
    <title>The Limits of “Grit” - The New Yorker</title>
    <dc:date>2016-06-25T04:53:54+00:00</dc:date>
    <link>http://www.newyorker.com/culture/culture-desk/the-limits-of-grit</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["For children, the situation has grown worse as we’ve slackened our efforts to fight poverty. In 1966, when Lyndon Johnson’s War on Poverty initiatives were a major national priority, the poverty rate among American children was eighteen per cent. Now it is twenty-two per cent. If we suffer from a grit deficiency in this country, it shows up in our unwillingness to face what is obviously true—that poverty is the real cause of failing schools.

In this context, grit appears as a new hope. As the federal programs stalled, psychologists, neuroscientists, pediatricians, education reformers, and journalists began looking at the lives of children in a different way. Their central finding: non-cognitive skills play just as great a role as talent and native intelligence (I.Q.) in the academic and social success of children, and maybe even a greater role. In brief, we are obsessed with talent, but we should also be obsessed with effort. Duckworth is both benefitting from this line of thought and expanding it herself. The finding about non-cognitive skills is being treated as a revelation, and maybe it should be; among other things, it opens possible avenues for action. Could cultivating grit and other character traits be the cure, the silver bullet that ends low performance?"

…

"Now, there’s something very odd about this list. There’s nothing in it about honesty or courage; nothing about integrity, kindliness, responsibility for others. The list is innocent of ethics, any notion of moral development, any mention of the behaviors by which character has traditionally been marked. Levin, Randolph, and Duckworth would seem to be preparing children for personal success only—doing well at school, getting into college, getting a job, especially a corporate job where such docility as is suggested by these approved traits (gratitude?) would be much appreciated by managers. Putting it politically, the “character” inculcated in students by Levin, Randolph, and Duckworth is perfectly suited to producing corporate drones in a capitalist economy. Putting it morally and existentially, the list is timid and empty. The creativity and wildness that were once our grace to imagine as part of human existence would be extinguished by strict adherence to these instrumentalist guidelines."

…

"Not just Duckworth’s research but the entire process feels tautological: we will decide what elements of “character” are essential to success, and we will inculcate these attributes in children, measuring and grading the children accordingly, and shutting down, as collateral damage, many other attributes of character and many children as well. Among other things, we will give up the sentimental notion that one of the cardinal functions of education is to bring out the individual nature of every child.

Can so narrow an ideal of character flourish in a society as abundantly and variously gifted as our own? Duckworth’s view of life is devoted exclusively to doing, at the expense of being. She seems indifferent to originality or creativity or even simple thoughtfulness. We must all gear up, for grit is a cause, an imp of force. “At various points, in big ways and small, we get knocked down. If we stay down, grit loses. If we get up, grit prevails.” Through much of “Grit,” she gives the impression that quitting any activity before achieving mastery is a cop-out. (“How many of us vow to knit sweaters for all our friends but only manage half a sleeve before putting down the needles? Ditto for home vegetable gardens, compost bins, and diets.”) But what is the value of these projects? Surely some things are more worth pursuing than others. If grit mania really flowers, one can imagine a mass of grimly determined people exhausting themselves and everyone around them with obsessional devotion to semi-worthless tasks—a race of American squares, anxious, compulsive, and constrained. They can never try hard enough.

Duckworth’s single-mindedness could pose something of a danger to the literal-minded. Young people who stick to their obsessions could wind up out on a limb, without a market for their skills. Spelling ability is nice, if somewhat less useful than, say, the ability to make a mixed drink—a Negroni, a Tom Collins. But what do you do with it? Are the thirteen-year-old champion spellers going to go through life spelling out difficult words to astonished listeners? I realize, of course, that persistence in childhood may pay off years later in some unrelated activity. But I’m an owlish enough parent to insist that the champion spellers might have spent their time reading something good—or interacting with other kids. And what if a child has only moderate talent for her particular passion? Mike Egan, a former member of the United States Marine Band, wrote a letter to the Times Book Review in response to Judith Shulevitz’s review of Duckworth’s book. “Anyone who would tell a child that the only thing standing between him or her and world-class achievement is sufficient work,” Egan wrote, “ought to be jailed for child abuse.”

Duckworth not only ignores the actual market for skills and talents, she barely acknowledges that success has more than a casual relation to family income. After all, few of us can stick to a passion year after year that doesn’t pay off—not without serious support. Speaking for myself, the most important element in my social capital as an upper-middle-class New York guy was, indeed, capital—my parents carried me for a number of years as I fumbled my way to a career as a journalist and critic. Did I have grit? I suppose so, but their support made persistence possible.

After many examples of success, Duckworth announces a theory: “Talent x effort = skill. Skill x effort = achievement.” It’s hardly E=mc2. It’s hardly a theory at all—it’s more like a pop way of formalizing commonplace observation and single-mindedness. Compare Duckworth’s book in this respect with Malcolm Gladwell’s “Outliers.” Gladwell also traced the backgrounds of extraordinarily accomplished people—the computer geniuses Bill Gates and Bill Joy, business tycoons, top lawyers in New York, and so on. And Gladwell discovered that, yes, his world-beaters devoted years to learning and to practice: ten thousand hours, he says, is the rough amount of time it takes for talented people to become masters.

Yet, if perseverance is central to Gladwell’s outliers, it’s hardly the sole reason for their success. Family background, opportunity, culture, landing at the right place at the right time, the over-all state of the economy—all these elements, operating at once, allow some talented people to do much better than other talented people. Gladwell provides the history and context of successful lives. Duckworth—indifferent to class, race, history, society, culture—strips success of its human reality, and her single-minded theory may explain very little. Is there any good football team, for instance, that doesn’t believe in endless practice, endurance, overcoming pain and exhaustion? All professional football teams train hard, so grit can’t be the necessary explanation for the Seahawks’ success. Pete Carroll and his coaches must be bringing other qualities, other strategies, to the field. Observing those special qualities is where actual understanding might begin."]]></description>
<dc:subject>grit 2016 angeladuckworth race class luck perseverance daviddenby education mastery practice kipp character classism elitism obsessions malcolmgladwell serendipity mikeegan judithshulevitz capital privilege success effort talent skill achievement history culture society edreform nep pisa testing standardizedtesting nclb rttt socialscience paultough children schools poverty eq neuroscience jackshonkoff martinseligman learnedoptimism depression pessimism optimism davelevin dominicrandolph honesty courage integrity kindliness kindness samuelabrams</dc:subject>
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<item rdf:about="http://hackeducation.com/2016/03/18/i-love-my-label">
    <title>'I Love My Label': Resisting the Pre-Packaged Sound in Ed-Tech</title>
    <dc:date>2016-03-20T22:33:46+00:00</dc:date>
    <link>http://hackeducation.com/2016/03/18/i-love-my-label</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["I’ve argued elsewhere, drawing on a phrase by cyborg anthropologist Amber Case, that many of the industry-provided educational technologies we use create and reinforce a “templated self,” restricting the ways in which we present ourselves and perform our identities through their very technical architecture. The learning management system is a fine example of this, particularly with its “permissions” that shape who gets to participate and how, who gets to create, review, assess data and content. Algorithmic profiling now will be layered on top of these templated selves in ed-tech – the results, again: the pre-packaged student.

Indie ed-tech, much like the indie music from which it takes its inspiration, seeks to offer an alternative to the algorithms, the labels, the templates, the profiling, the extraction, the exploitation, the control. It’s a big task – an idealistic one, no doubt. But as the book Our Band Could Be Your Life, which chronicles the American indie music scene of the 1980s (and upon which Jim Groom drew for his talk on indie-ed tech last fall), notes, “Black Flag was among the first bands to suggest that if you didn’t like ‘the system,’ you should simply create one of your own.” If we don’t like ‘the system’ of ed-tech, we should create one of our own.

It’s actually not beyond our reach to do so.

We’re already working in pockets doing just that, with various projects to claim and reclaim and wire and rewire the Web so that it’s more just, more open, less exploitative, and counterintuitively perhaps less “personalized.” “The internet is shit today,” Pirate Bay founder Peter Sunde said last year. “It’s broken. It was probably always broken, but it’s worse than ever.” We can certainly say the same for education technology, with its long history of control, measurement, standardization.

We aren’t going to make it better by becoming corporate rockstars. This fundamental brokenness means we can’t really trust those who call for a “Napster moment” for education or those who hail the coming Internet/industrial revolution for schools. Indie means we don’t need millions of dollars, but it does mean we need community. We need a space to be unpredictable, for knowledge to be emergent not algorithmically fed to us. We need intellectual curiosity and serendipity – we need it from scholars and from students. We don’t need intellectual discovery to be trademarked, to a tab that we click on to be fed the latest industry updates, what the powerful, well-funded people think we should know or think we should become."]]></description>
<dc:subject>2016 audreywatters edupunk edtech independent indie internet online technology napster history serendipity messiness curiosity control measurement standardization walledgardens privacy data schools education highered highereducation musicindustry jimgroom ambercase algorithms bigdata prediction machinelearning machinelistening echonest siliconvalley software</dc:subject>
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<item rdf:about="https://overland.org.au/2015/11/we-are-all-umberto-eco-now/">
    <title>We are all Umberto Eco now | Overland literary journal</title>
    <dc:date>2016-02-22T04:11:51+00:00</dc:date>
    <link>https://overland.org.au/2015/11/we-are-all-umberto-eco-now/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["He felt, I think – or at least played at feeling – that he needed to justify being given such freedom in a medium that was perceived as being finite. For him to write on the last page of L’Espresso meant that somebody else could not. To devote that space to expound on idle musings was a self-indulgence that needed to be accounted for.

Now consider how similar this author-position is to online writing, and blogs in particular. I’m sure I’ve read dozens of debut blog posts setting out the author’s intentions to write about disparate topics, and that it might not last very long, but anyway, ‘we shall see’. It’s the same reader contract, which is another way of saying we’re all Umberto Eco now: everyone can start a column of idle musings, and publish it to a potentially wider audience than his – as large as everyone who speaks one’s language and has an internet connection. And sure, there is no money involved, but I can’t imagine money would have been too big a consideration for the author of The Name of the Rose. It was the opportunity to enter into that contract that would have appealed to him.

The other thing about blogs and personal pages or small, non-paying online magazines is that very few people might actually read them, but, on the other hand, you don’t have to feel you’re taking anyone’s space away. Which I think explains why – without my having researched the problem in any systematic way – online first posts are generally less apologetic than Eco’s first matchbook. There are, besides, entire social media platforms devoted to presenting and sharing one’s niche interests.

Eco’s column, as I’ve written in a book on his work published this year, was in many respects an early incarnation of the blog form, trading as it did in lists, word games, pastiche and curiosities. Yet, ironically, it lost its uniqueness and become a much more conventional print magazine column once the World Wide Web took off and actual blogs started to proliferate. In 2012, Eco wrote:

<blockquote>When I get tired once and for all of coming up every two weeks with topics that are somewhat current for this column, I would like to embark on a series of late reviews, in which I talked about books that were published a long time ago as if they were new and it were useful to reread them.</blockquote>

This is, in fact, a most common kind of exercise on the web, and the subject of many popular blogs. We review old books and old films as if new all the time, since not only space but also time has collapsed under the digital paradigm. But maybe Eco’s late misgivings suggest we should interrogate these practices.

This belief that online is ‘free’, that it doesn’t take anyone’s paid writing job away or stifle anyone’s voice – while unspoken and in most respects probably true – needs to be measured against the crisis of magazines and of formally edited selections of content more generally.

While the online edition of Overland is a magazine in a fairly traditional sense, The Huffington Post isn’t, just like Buzzfeed isn’t a newspaper. Looking at my own patterns of reading, I find that I consume individual posts and essays from a wide variety of sources, some of which I’m not even entirely conscious of, as I just happen to end there on somebody’s recommendation. On balance this has enriched my life immeasurably, exposing me to a far greater range of voices than was ever available to me before. These broader connections, in turn, greatly facilitate political articulation and organisation.

Yet the countervailing issues are not merely economic: my reading all of these disparate writings frays the contours of my social and cultural world, fracturing any sense of the topical and the local. Even as I engage on my own musings on obscure topics, reasoning that I am not limiting anyone’s time and space but in fact adding infinitesimally to the available store of knowledge, I must ask myself if this is entirely true, or if the shifts that occur under the surface entail the loss of something else, somewhere else.

I am not suggesting that people should write less, or justify why they write to anyone, let alone to me: but rather calling attention to material realities that are sometimes hidden by the sheen of the digital screen. Not just the mechanics of publishing but also the psychology of writing has changed. We should reflect not just on the economics of the profession, as we do often, but also on the economics of attention. It is, after all, always a valuable question to ask: why do I write?"]]></description>
<dc:subject>attention blogging writing giovannitiso readwriteweb 2015 twitter socialmedia buzzfeed huffingtonpost serendipity web online howweread howwewrite reading publishing umbertoeco</dc:subject>
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<item rdf:about="http://qz.com/572076/apple-and-star-wars-together-explain-why-the-world-around-you-looks-the-way-it-does/">
    <title>Apple and Star Wars together explain why much of the world around you looks the way it does - Quartz</title>
    <dc:date>2015-12-21T02:17:03+00:00</dc:date>
    <link>http://qz.com/572076/apple-and-star-wars-together-explain-why-the-world-around-you-looks-the-way-it-does/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["One of the most effective critiques of the totalizing approach to urban design—the Darth-design of cities, if you will—was architecture critic, activist, and theorist Jane Jacobs. Towards the end of her bestselling 1962 critique of mid-century urban design, The Death and Life of Great American Cities, Jacobs recounts the number and diversity of the neighbors in the building where she worked. She reports:

<blockquote>“The floor of the building in which this book is being written is occupied also by a health club with a gym, a firm of ecclesiastical decorators, an insurgent Democratic party reform club, a Liberal party political club, a music society, an accordionists’ association, a retired importer who sells maté by mail, a man who sells paper and who also takes care of shipping the maté, a dental laboratory, a studio for watercolor lessons, and a maker of costume jewelry. Among the tenants who were here and gone shortly before I came in, were a man who rented out tuxedos, a union local and a Haitian dance troupe. There is no place for the likes of us in new construction. And the last thing we need is new construction.”</blockquote>

And added, in a forceful footnote: “No, the last thing we need is some paternalist weighing whether we are sufficiently noncontroversial to be admitted to subsidized quarters in a Utopian dream city.”

That there is little room for controversy or discord in the Death Star—amongst its legion of same-suited stormtroopers, say—may go without saying. But what of Apple?

It is clear, first of all, that the company’s success—for all the apparent imperiousness of Jobs—relied, and likely relies still, on discussion, disagreement, and diversity. Jobs himself was famously a stickler for regular “no-holds-barred” meetings in which, while his own leadership had to remain unchallenged, no other presumptions or suppositions were sacred. (Pixar’s irrepressible Alvy Ray Smith would be one of the only employees to challenge Jobs’ control of a whiteboard, part of a duel with Jobs in which dry-erase markers, presumably, stood in for sabers.)

Like the products themselves, however, Apple’s core identity relies on keeping disagreement and discord behind a tightly controlled façade. And sometimes even a tightly controlled interior; one of Jobs’ least successful management interventions on his return to Apple was a short-lived attempt to have all his many thousand employees wear the same, black, custom Issey Miyake clothing. To Jobs’ credit, he quickly withdrew the proposal—but it lived on in the many hundred black turtlenecks Miyake crafted for Jobs’ own, resulting use.

No, if there is something disturbing in the design of Apple’s own apparent Death Star, it is not so much in the company’s clearly successful internal operations, nor in its beautifully singular product range. Rather, it lies in the runaway result of this success; the way in which so many of our interactions with the world, and with each other, are now filtered through the efforts of a single, well-designed and Apple-authored interface.

And beyond well-intentioned, we might even say essential. Particularly given the disorder and predictable unpredictability of complex technological systems, we all crave, and need order. The first Star Wars shoot was so plagued with technical difficulties (and the related derision of the unionized British workforce on the Pinewood Studio lot) that more than one cast member observed that George Lucas appeared far more sympathetic to the authority and order of the Empire than the ragtag Rebel Alliance. Apple has thrived above all in the last two decades by offering the particular beauty that lies in order, organization, and simplicity, and in the predictable delight that results when something technical, unexpectedly, just works."

…

"We might start inside. A recent profile of Sir Jony Ive in the New Yorker by Ian Parker, “The Shape of Things to Come,” shifts seamlessly from the discussion of consumer objects to that of architecture. Ive, it is suggested, sees himself as an architect too. He finds it, he says, “a curious thing” that in design “we tend to compartmentalize, based on physical scale.” He is reported to assert that he has (in Parker’s words) “taught Foster’s architects something about the geometry of corners,” introducing a seamless, curved detail between wall and floor that now runs throughout the building’s interior.
Yet this detail, and its future life, points to what is in fact one of the main differences between design at the scale of consumer electronics, and that at the scale of architecture and the city.

Apple’s great success as a consumer-focused company is rooted in the one power a consumer has above all: choice. Apple’s products are ubiquitous, above all, because they are far better than what they compete with, a quality that comes precisely from the tight control that Apple exerts on them and their design. But, at the point we don’t like our device, we can—and will—buy a different and better one—from Apple, or from some as-yet-unimaginable competitor.

Yet it is in the nature of architecture that it offers no such choice—the more so the bigger it gets. We can, if we are lucky, sell a house we don’t like. But we can’t sell or dispose of the terrible building across the road. And architecture involves many more people than those who design it, or even pay for it. Myself, I keep thinking of the cleaning staff of the new Apple headquarters; it is for these people, above all, that the usual, clunky detail of wall-meeting-floor exists, with a skirting board to hide the edge of the floor-wax, and catch and disguise the dirt that escapes the polishers. One hopes a special, super-functional polishing device has been designed for them, that will seamlessly clean and feather the floor-wax as it slowly curves into the wall—but one fears that it has not. One thinks as well of Apple’s desk-bound employees, who, so as to preserve the clean lines of the building’s exterior, will not be able to open windows in their offices—despite the Bay Area’s preposterously perfect climate. (“That would just allow people to screw things up,” Jobs apparently declared.)

But here is where the design of products and buildings is most different. The particular conundrum solved by the best teams of architects and city-builders (including all of us as citizens) is how to balance a whole set of competing demands, physical, environmental, and social, against each other—including the demands of the powerful against the needs, and rights, of the powerless.

As we attempt to design 21st-century cities for an increasing landscape of uncertainty, this is an important lesson to remember. Instead of single, grand projects, the staying-power of a city depends on a million connections between its inhabitants, and the natural and technological systems that sustain them. Cities designed tabula rasa, as Jane Jacobs cogently characterized it a generation ago, lack this robust resilience. Instead, their monumental visions of order turn out to hide brittleness, fragility, and frequent catastrophe. Even the most seemingly ordered long-lived city-grid—Manhattan, Barcelona, even San Francisco—simply allows us to better negotiate what is, in reality, a riot of real-world diversity.

It is in this light, perhaps, that one might also examine Apple’s greatest points of corporate difficulty: the interface between the company’s tightly designed and integrated products, and the public software ecosystems it has developed in service of them, the App Store and the Mac App Store. To this architect, these places read a bit like a modernist cityscape; beautiful, elegant, even nice to visit—but very difficult to live in. Like such cities they are also—at least in the case of the Mac App Store—increasingly abandoned, as is usual, by those who can afford to leave.

And yet it is not really Apple that is entirely to blame. The revolution in architecture today—one where the world of screens and devices and the common infrastructure of our cities merge, overlap and combine—is much larger than even the enormous, careful company.

In an awkwardly received, hauntingly prescient diatribe while presenting the Oscar for Best Director in 1979, Francis Ford Coppola declared, “We’re on the eve of something that’s going to make the Industrial Revolution look like a small out-of-town tryout.” What Coppola saw was our world today: “a communications revolution that’s about movies and art and music and digital electronics and satellites, but above all, human talent.”

Steve Jobs’ Apple set out to help create this world—and has succeeded beyond our wildest dreams of the future. George Lucas hired Pixar’s founders, originally, to use technology to make the production of culture easier for himself and a cadre of directors. But Lucas’s digital editing system was quickly eclipsed by Apple’s own, far cheaper, Final Cut Pro—and then, of course, by the iPhones that put high-quality filmmaking and editing into all of our hands. In this, and much else, Apple has helped author a world much like that of Lucas’s far-off galaxy; where all of us are connected, and can tap into vast reserves of invisible power through the device we hold in our hands.

But as Apple’s reach extends into the city and world, into the public sphere as well as the private screen, we should do well to remember these hard-learned lessons of control and openness, hardness and softness, brittleness and resilience. After all, the only thing one can say for certain about a Death Star is that it unexpectedly explodes right before the ending."]]></description>
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<item rdf:about="http://interconnected.org/home/2015/10/07/small_groups_and_consultancy">
    <title>Small groups and consultancy and coffee mornings ( 7 Oct., 2015, at Interconnected)</title>
    <dc:date>2015-10-09T15:23:30+00:00</dc:date>
    <link>http://interconnected.org/home/2015/10/07/small_groups_and_consultancy</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[
"One permanent pattern in our workshop culture:

<blockquote>Best design consultancy tip I know: Don't criticise without offering something better. Called the Ahtisaari Manoeuvre after an early client</blockquote>

Always have something on the table.

Another: Always use fat pens.

Another: It's important to have the right people in the room -- representing knowledge of technical possibilities, business needs, and market insights. But at the same time, the ideal number of people to have in the room is five or six. Any more than that, you can't continue a single conversation without it turning into a presentation.

Another: The one who understands the client's business best is the client."

…

"There are a couple of things I'm investigating:

1. That a small group is a powerful way of thinking, and of creating action. That repetition matters, and informality.

2. It might be possible to help with strategy without providing original thought or even active facilitation: To consult without consulting. The answers and even ways of working are inherent in the group itself.

My hunch is this: To answer a business's strategic questions, which will intrinsically involve changing that business, a more permanent solution than a visiting consultant might be to convene a small group, and spend time with it, chatting informally."

…


"Once a week we get together -- a half dozen students, often Durrell, whoever is teaching the course with him which was Stuart before and Oscar now, plus a special guest.

It's just for coffee somewhere or other, on Friday mornings, and we chat. It's super casual, sharing ideas and references, talking about the brief and design in general.

I'm curious about informality.

The lunchtimes at BERG, everyone around the table with such a broad range of skills and interests... and after Friday Demos - part of the weekly rhythm - the sparked conversations and the on-topic but off-topic sharing... this is where ideas happen too. Between projects but not outside them.

And I think informality as part of the design process is under-communicated, at least where I've been listening. So much work is done like that. The students are great at speaking about their work, sure. But mainly I'm interesting in how we induct someone into a worldview, quickly; how we explain ideas and then listen carefully for feedback, accepting ideas back -- all conversationally, without (and this is the purpose of the special guest) it turning into a seminar or a crit.

I think the best way to communicate this "lunch table" work informality is to rehearse it, to experience it. Which is what the coffee mornings are about.

I try to make sure everyone speaks, and I ask questions to see if I can encourage the removal of lazy abstraction -- words that get in the way of thinking about what's really going on. I'm a participant-observer.

Tbh I'm not sure what to call this. Visiting convener? It's not an official role.

I think (I hope!) everyone is getting something out of the experience, and everyone is becoming more their own kind of designer because of it, and meanwhile I get to explore and experience a small group. A roughly consistent membership, a roughly regular meeting time, an absence of purpose, or rather a purpose that the group is allowed to negotiate at a place within itself.

~

These RCA coffee mornings grew out of my experiment with hardware-ish coffee mornings, a semi-irregular meetup in London having a vague "making things" skew... Internet of Things, hardware startups, knitting, the future of manufacturing and distribution, a morning off work. That sort of thing. People chat, people bring prototypes. There's no single conversation, and only rarely do we do introductions. This invite to a meet in January also lists my principles:

• Space beats structure
• Informality wins
• Convening not chairing
• Bonfires not fireworks

I've been trying to build a street corner, a place to cultivate serendipity and thoughts. Not an event with speakers, there are already several really good ones."

…

"My setup was that I believed the answer to the issue would come from the group, that they knew more about their business than me.

Which was true. But I also observed that the purpose of the business had recently changed, and while it could be seen by the CEO that the current approach to this design problem wasn't satisfying, there was no way for the group to come together to think about it, and answer it together. Previously they had represented different strands of development within the startup. Now the company was moving to having a new, singular, measurable goal.

So I started seeing the convened discussions as rehearsing a new constellation of the team members and how they used one-another for thinking, and conscious and unconscious decision making. The group meetings would incubate a new way to think together. Do it enough, point out what works, and habits might form.

~

Consulting without consulting."

…

"I'm not entirely sure where to take these experiments. I'm learning a lot from various coffee mornings, so I'll carry on with those.

I had some conversations earlier in the year about whether it would be possible to act as a creative director, only via regular breakfast conversations, and helping the group self-direct. Dunno. Or maybe there's a way to build a new division in a company. Maybe what I'm actually talking about is board meetings -- I've been a trustee to Startup Weekend Europe for a couple of years, and the quarterly meetings are light touch. But they don't have this small group aspect, it might be that they haven't been as effective as they could be.

There might be something with the street corners and serendipity pattern... When I was doing that three month gig with the government earlier this year, it felt like the people in the civil service - as a whole - had all the knowledge and skills to take advantage of Internet of Things technologies, to deliver services faster and better. But often the knowledge and opportunities weren't meeting up. Maybe an in-person, regular space could help with that.

At a minimum, if I'm learning how to help companies and friends with startups in a useful way that doesn't involve delivering more darn Powerpoint for the meat grinder: Job done.

But perhaps what's happening is I'm teaching myself how to do something else entirely, and I haven't figured out what that is yet.

~

Some art. Some software."]]></description>
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<item rdf:about="https://soundcloud.com/manpodcast/ep168">
    <title>Alec Soth, Francis Upritchard by Modern Art Notes Podcast</title>
    <dc:date>2015-05-22T05:02:16+00:00</dc:date>
    <link>https://soundcloud.com/manpodcast/ep168</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[See also (with images): http://manpodcast.com/portfolio/no-168-alec-soth-francis-upritchard/ ]]]></description>
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<item rdf:about="http://op-talk.blogs.nytimes.com/2014/08/04/how-wikipedia-could-improve-your-internet-surfing/">
    <title>How Wikipedia Could Improve Your Internet Surfing - NYTimes.com</title>
    <dc:date>2014-08-05T04:02:03+00:00</dc:date>
    <link>http://op-talk.blogs.nytimes.com/2014/08/04/how-wikipedia-could-improve-your-internet-surfing/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["For years, critics have feared that the Internet will kill interestingness, offering us only what we’re looking for with none of the happy accidents that can spur creative thought. Might a solution to this problem come from the kind of browsing we do on Wikipedia?

In a Fast Company review of Wikipedia’s new iOS app, Chris Gayomali sets the scene:

“One minute you’re on Wikipedia, reading up on the ‘Simpsons’ episode that Michael Jackson secretly guest-starred on; three hours whiz by, and suddenly your whole night is lost and you’re staring at an alphabetized list of French Impressionist painters, to say nothing of the 23 other tabs you haven’t even clicked on.

“Wikipedia’s strange ability to warp time and space to send you down a rabbit hole has been a central part of its long-term success.”

The app, he posits, might enhance that ability even further. “Totally rewritten,” his review’s subheading reads, “the speedier new Wikipedia app makes it easy to get lost — in a good way.” One of the changes is a new sidebar that allows users to jump easily to different sections of a single article. Vibha Bamba, an interaction designer at Wikipedia, tells Mr. Gayomali: “We understand that readers love reading on Wikipedia, but they don’t often get past the first section. They read two sentences, and then they hit a link.” She adds: “We want you to jump around the article to find different entry points. We wanted to support curiosity in a design sort of way.”

Whether the new app actually results in longer Wikipedia rabbit holes remains to be seen. And Wikipedia is hardly the first site to want users to spend more time with its content. Still, Mr. Gayomali’s emphasis on Wikipedia’s ability to promote lostness is interesting, since getting lost — and happening upon things we didn’t think we’d find — is an experience critics fear the Internet has stolen from us.

Damon Darlin made a relatively early version of this argument in The New York Times in 2009 — “the digital age,” he wrote, “is stamping out serendipity.” He argued that the structure of services like Facebook, Twitter and iTunes made it hard for us to come upon something unexpected:

“Everything we need to know comes filtered and vetted. We are discovering what everyone else is learning, and usually from people we have selected because they share our tastes. It won’t deliver that magic moment of discovery that we imagine occurred when Elvis Presley first heard the blues, or when Michael Jackson followed Fred Astaire’s white spats across the dance floor.”

Astra Taylor, in her recent book “The People’s Platform,” critiques what she sees as the “winner-take-all” nature of online media, in which a few sites or stories get the lion’s share of the attention: “When we click on the top search results or watch the FrontPage videos on YouTube or read established blogs, we are jumping on invisible bandwagons.” She explains:

“Most-read lists and top search results create a feedback loop perpetuating the success of the already successful. When an article becomes ‘most e-mailed,’ it garners more attention and thus its reign is extended. The more a viral meme spreads, the more likely you are to catch it. As a consequence, the same silly gags land in all our in-boxes, a small number of Web sites get read by everyone, and a handful of super-celebrities overshadow the millions who languish in obscurity.”"]]></description>
<dc:subject>wikipedia 2014 mobile applications android ios astrataylor internet web serendipity sameness online chrisgayomali</dc:subject>
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<item rdf:about="http://urbanomnibus.net/2014/07/precedents-for-experimentation-talking-libraries-with-shannon-mattern-and-nate-hill/">
    <title>Urban Omnibus » Precedents for Experimentation: Talking Libraries with Shannon Mattern and Nate Hill</title>
    <dc:date>2014-07-30T21:46:23+00:00</dc:date>
    <link>http://urbanomnibus.net/2014/07/precedents-for-experimentation-talking-libraries-with-shannon-mattern-and-nate-hill/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Mattern: That’s interesting. In the branch library design study I’m working on with The Architectural League and the Center for an Urban Future, one of multiple challenges is to “find closets,” which is to say, to make minor modulations in order to offer the kind of access you are able to provide in Chattanooga.

Hill: I know what you mean. But it’s not always about the size of the space. When I talk to other library systems around the country about how they can take on the types of activities that we support here, it’s about making decisions. It’s about observing how library users are actually using the facility and then creating structures to enable those users to engage in the different activities they want to be doing.

When you look at the branches in New York City, some library advocates like to cite the high circulation statistics as a means of measuring success. But then you see the banks of public computers and how long the wait is to get online. I think there are great opportunities for branch library systems to diversify what public computing is, and to make some hard decisions about how to use your space.

Earlier today I was speaking with a council of local mayors about the work we do at the library and its context within downtown redevelopment. And the ideas that you have written about — the notion of the library as a piece of flexible infrastructure — really resonated with these officials. Your mention of the Rem Koolhaas design for the Seattle Public Library reminds me of an issue of Volume magazine about architecture as a content management system. That was a powerful read for me. Our job is to move information objects around a complex system, and a library user’s view of the data depends on where she is and how the information is being sorted."

…

"Hill: I hear a lot about how browsability and serendipity are essential to the library experience. Personally, I love looking through shelves and stacks. But it’s not an efficient way to use the prime real estate where libraries should ideally be located. Browsing has moved online. In New York as well as here in Chattanooga, I see a huge shift in people wanting to pick up their materials wherever is most convenient to them. If the buildings have fewer stacks of books, those spaces can become community platforms, where people can engage with one another and with the distributed nature of knowledge in that community. The content, the collection, can be sent there."

…

"Hill: Looking around the US, most of the excellent libraries in our country are in smaller systems that are able to be more agile. The state of Colorado is filled with good library systems, such as Douglas County or the Rangeview Library District, which rebranded itself “Anythink.”

But we need to figure out how to get this right in our big cities. I think they’re working really hard in Chicago. It’s a massive challenge and very exciting.

I just came back from checking out a fascinating project in Greece, where the Stavros Niarchos Foundation is building a cultural center that will house the national library, an opera house, and a botanical garden. I’ve spent some time checking out branch libraries in Copenhagen; I regularly look to Scandinavia for inspiration.

Aarhus, Denmark, is a good example. One of the smartest things about their project was that they started doing transformation work early on: an iterative process of trying out new services and community engagement techniques in their old building. So by the time that they open this new, incredible space, there won’t be any surprises about the services being provided or how it will be staffed.

In Helsinki, there’s a project called Library 10. In the US, we give a lot of lip service to the idea of co-working in the library. But in Finland, it really works: people come in and use their library cards to check out portable screens and create a work area."

…

"Mattern: I think the social service sector needs to be engaged. Returning to the notion that libraries often pick up slack where other institutions fall short, I think we need to recognize the library as part of an ecosystem of social-cultural knowledge resources. I think the library conversation needs to include university presidents; school superintendents and principals; advocates who deal with affordable housing, recent immigrants, or other disenfranchised populations; real estate developers; and other people with innovative ideas for co-location or partnerships."]]></description>
<dc:subject>2014 shannonmattern architecture libraries design engagement servicedesign natehill chattanooga bookmobiles aarhus makers makerspaces lcproject openstudioproject browsability serendipity</dc:subject>
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<item rdf:about="http://soulellis.com/2014/03/counterpractice2/">
    <title>DE$IGN | Soulellis</title>
    <dc:date>2014-06-16T21:28:59+00:00</dc:date>
    <link>http://soulellis.com/2014/03/counterpractice2/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["I’ve been thinking a lot about value and values.

Design Humility and Counterpractice were first attempts to build a conversation around the value of design and our values as designers. They’re highly personal accounts where I try to articulate my own struggle with the dominant paradigm in design culture today, which I characterize as —

speed
the relentlessness of branding
the spirit of the sell
the focus on product
the focus on perfection

and they include some techniques of resistance that I’ve explored in my recent work, like —

thingness
longevity
slowness (patience)
chance (nature, humility, serendipity)
giving away (generosity echo)

I’ve been calling them techniques, but they’re really more like values, available to any designer or artist. Work produced with these criteria runs cross-grain to the belief that we must produce instantly, broadcast widely and perform perfectly.

Hence, counterpractice. Cross-grain to common assumptions. Questioning.

And as I consider my options (what to do next), I’m seriously contemplating going back to this counterpractice talk as a place to reboot. Could these be seen as principles — as a platform for a new kind of design studio?

I’m not sure. Counterpractice probably need further translation. An idea like ”slowness” certainly won’t resonate for many, outside of an art context. And how does a love for print-on-demand and the web fit in here? Perhaps it’s more about “variable speed” and the “balanced interface” rather than slow vs fast. Slow and fast. Modulated experience. The beauty of a printed book is that it can be scanned quickly or savored forever. These aren’t accidental qualities; they’re built into the design.

[image by John Maeda: "DE$IGN"]

I’m thinking about all of this right now as I re-launch Soulellis Studio as Counterpractice. But if there’s anything that most characterizes my reluctance to get back to client-based work, it’s DE$IGN.

John Maeda, who departed RISD in December, where I am currently teaching, recently delivered a 4-minute TED talk, where he made this statement:

“From Design to DE$IGN.”

He expands that statement with a visual wordmark that is itself designed. What does it mean? I haven’t seen the talk yet so I can only presume, out of context. These articles and Maeda’s blog post at Design and Venture begin to get at it.

Maeda’s three principles for using design in business as stated in the WSJ article are fine. But they don’t need a logo. Designing DE$IGN is a misleading gesture; it’s token branding to sell an idea (in four minutes—the fast read). So what’s the idea behind this visual equation? As a logo, it says so many things:

All caps: DE$IGN is BIG.
It’s not £ or ¥ or 元: DE$IGN is American.
Dollar sign: DE$IGN is money.
∴
DE$IGN is Big American Money.

and in the context of a four-minute TED talk…

DE$IGN is speed (four minutes!)
DE$IGN is the spirit of selling (selling an idea on a stage to a TED audience)
DE$IGN is Helvetica Neue Ultra Light and a soft gradient (Apple)
DE$IGN is a neatly resolved and sellable word-idea. It’s a branded product (and it’s perfect).

In other words, DE$IGN is Silicon Valley. DE$IGN is the perfect embodiment of start-up culture and the ultimate tech dream. Of course it is — this is Maeda’s audience, and it’s his new position. It works within the closed-off reality of $2 billion acquisitions, IPOs, 600-person design teams and Next Big Thing thinking. It’s a crass, aggressive statement that resonates perfectly for its audience.

[Image of stenciled "CAPITALISM IS THE CRI$IS"]

DE$IGN makes me uneasy. The post-OWS dollar sign is loaded with negative associations. It’s a quick trick that borrows from the speed-read language of texting (lol) to turn design into something unsustainable, inward-looking and out-of-touch. But what bothers me most is that it comes from one of our design leaders, someone I follow and respect. Am I missing something?

I can’t help but think of Milton Glaser’s 1977 I<3NY logo here.

[Milton Glaser I<3NY]

Glaser uses a similar trick, but to different effect. By inserting a heart symbol into a plain typographic treatment, he too transformed something ordinary (referencing the typewriter) into a strong visual message. Glaser’s logo says that “heart is at the center of NYC” (and it suggests that love and soul and passion are there too). Or “my love for NYC is authentic” (it comes from the heart). It gives us permission to play with all kinds of associations and visual translations: my heart is in NYC, I am NYC, NYC is the heart of America, the heart of the world, etc. .

Glaser’s mark is old-school, east coast and expansive; it symbolizes ideas and feelings that can be characterized as full and overflowing. And human (the heart). It’s personal (“I”), but all about business: his client was a bankrupt city in crisis, eager to attract tourists against all odds.

Maeda’s mark is new money, west coast and exclusive. It was created for and presented to a small club of privileged innovators who are focused on creating new ways to generate wealth ($) by selling more product.

Clever design tricks aside, here’s my question, which I seem to have been asking for a few years now. Is design humility possible today? Can we build a relevant design practice that produces meaningful, rich work — in a business context — without playing to visions of excess?

I honestly don’t know. I’m grappling with this. I’m not naive and I don’t want to paint myself into a corner. I’d like to think that there’s room to resist DE$IGN. I do this as an artist making books and as an experimental publisher (even Library of the Printed Web is a kind of resistance). But what kind of design practice comes out of this? Certainly one that’s different from the kind of business I built with Soulellis Studio."]]></description>
<dc:subject>paulsoulellis 2014 conterpractice design humility capitalism resistance branding speed slow consumerism sales salesmanship perfection wabi-sabi thingness longevity slowness patience nature chance serendipity generosity potlatch johnmaeda questioning process approach philosophy art print balance thisandthat modulation selling ted tedtalks apple siliconvalley startups culture technology technosolutionsism crisis miltonglaser 1977 love</dc:subject>
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</item>
<item rdf:about="http://www.nytimes.com/2014/02/16/jobs/where-the-fish-swims-ideas-fly.html">
    <title>Where the Fish Swims, Ideas Fly - NYTimes.com</title>
    <dc:date>2014-02-21T20:31:02+00:00</dc:date>
    <link>http://www.nytimes.com/2014/02/16/jobs/where-the-fish-swims-ideas-fly.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Zizek on enjoyment-as-Ideology is key to understanding how mainstream Design understands itself. @pbennett101 http://nyti.ms/1gnalMO " — @bratton https://twitter.com/bratton/status/436767291418484736]]></description>
<dc:subject>time thinking officedesign ideo paulbennett 2014 attention meetings howwework community enjoyment zizek spontaneity serendipity design</dc:subject>
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</item>
<item rdf:about="http://counterpractice.tumblr.com/">
    <title>* Resistance *</title>
    <dc:date>2013-11-14T20:50:30+00:00</dc:date>
    <link>http://counterpractice.tumblr.com/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[Blogged by Paul: http://soulellis.com/2013/11/counter-practice/ ]

[More on the Weymouths project and the "generosity echo":
http://soulellis.com/2013/03/the-generosity-echo/
http://weymouths.tumblr.com/ ]]]></description>
<dc:subject>paulsoulellis design 2013 resistance marketing branding hope love promise promises ideology capitalism society culture socialmedia robhorning selling salesmanship edwardthall reassessment reevaluation lawrenceweschler robertirwin art walterlandor garyfriedman restorationhardware facebook instagram identity canon sharing validation twitter designerism entrepreneurship benpieratt quantification quantifiedself attention positioning posturing coding perfection pause pausing wandering instantaneity certainty predictability instantgratification ambiguity presence performance slow seeing noticing loneliness honesty questioning listening observing observation counterpractice thingness unproduct analog consumption tsukomogami place local engagement time memory persistence everyday slowness libraryoftheprintedweb kennethgoldsmith books print papernet johncage chance clementvalla surprise delight storytelling problemsolving responsibility openness uncertainty contentstrategy structure iceland giving givingaway vulnerabi</dc:subject>
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<item rdf:about="http://nextcity.org/sharedcity/entry/mits-ethan-zuckerman-on-digital-cosmopolitans-in-the-age-of-connection">
    <title>INTERVIEW: MIT’s Ethan Zuckerman on ‘Digital Cosmopolitans in the Age of Connection’ – Next City</title>
    <dc:date>2013-11-04T03:18:47+00:00</dc:date>
    <link>http://nextcity.org/sharedcity/entry/mits-ethan-zuckerman-on-digital-cosmopolitans-in-the-age-of-connection</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Sometimes I think the obsession with cities and data in particular is taking us back to this very modernist, planned set of assumptions, where all the data is going to be the same in all places. There was an IBM group analyzing traffic flow in Côte d’Ivoire that came up with the remarkable finding that if Côte d’Ivoire would just follow IBM’s advice, their transportation system would be 10 percent more efficient. I find myself going, ‘We all know what happened when RAND tried to plan the New York City Fire Department and the Bronx burned down.’ But beyond that, the best we can do for the city of Abidjan is 10 percent, based on surveilling everybody in the city for a year? These solutions are not actually all that impressive. There are probably much more interesting solutions to traffic in Abidjan that are probably based on going to Abidjan, something other than doing data analysis somewhere far away from the city."

…

"I have to be completely honest that I don’t live in a city. I live in a town of 3,000 people out in western Massachusetts. I do commute into a city, and I periodically turn to my city-dweller friends and talk about what to me seems like a certain species of insanity. [Laughs.] Living in a subset of American cities, particularly New York, Boston, San Francisco, Seattle, just to me seems willfully obtuse. You are being ripped off. There are no two ways about it. The amount of money that people pay here in Boston and Cambridge for a reasonable place to live to me just seems insane. For all these very good arguments about the efficiencies and vibrancy of cities, I kind of feel like it’s a conspiracy to make people feel good about how they’re getting ripped off by the real estate market. So I have to talk about cities as someone who has opted out in a big way.

To me, smaller cities make a lot of sense. But this is where I think the city as a construct gets very, very complicated. Does it make sense to talk about New York, London or Berlin as hotbeds of cosmopolitanism? Yeah, I’m sure it does. I’m not sure I feel the same way about Guangzhou in southern China, where I was for a bit of the summer: Massive city, giant manufacturing and mostly Han Chinese. Not a whole lot of obvious cultural manifestation."

…

"The whole book is basically a conversation about potential and reality. The potential of the Internet is that we’re going to get information from all over the world. And the reality is that, a lot of the time, we’re mostly getting information from people we went to high school with. The potential of the city is that we’re going to benefit from the fact that there’s a Uygur population somewhere over in Flushing, Queens, that we have so much to learn from all the different cultures, that I can go eat Senegalese food tonight, and that I’m going to brush shoulders with people from all over the world all the time. The reality is, it’s really easy to stay in your apartment and eat takeout food. You can fool yourself into being a cosmopolitan when you’re pretty isolated in your physical space.

Robert Putnam of Bowling Alone for years has been bemoaning how the Internet is going to separate us and how we’re losing the social fabric of mixing in public. But he’s done recent work that is much, much less discussed, because it’s really uncomfortable. He’s found that when you’re living in a city where you’re a minority, you’re probably going to hunker down. You’re probably not going to mix much with your neighbors. You’re probably going to spend a lot of time watching TV. Confronted with high degrees of cultural diversity, people, for the most part, don’t seem to step up to the challenge and meet their neighbors. In many ways, they hide from them. A lot of cities that have the highest degrees of civic participation are pretty ethnically homogenous.

I would love to be able to say, yes, cities are serendipity engines, and if you just fully embrace the city, and take advantage of all the cultural richness and diversity that’s available there, you’re going to find a way to get as much of that encounter as you get from having the Internet. But there’s no guarantee that you’re going to do it in the city. There’s no guarantee that you’re going to do it online, either, and my encouragement [in the book] is to look for bridge figures, look for translators and look for structured serendipity. And all of that is as applicable in an urban environment as it is in the online environment."]]></description>
<dc:subject>cities 2013 diversity serendipity ethanzuckerman nancyscola digital cosmopolitanism urban urbanism adamgreenfield</dc:subject>
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<item rdf:about="https://vimeo.com/39299814">
    <title>ITP30 Red Tribute Video on Vimeo [Red Burns]</title>
    <dc:date>2013-08-30T18:11:04+00:00</dc:date>
    <link>https://vimeo.com/39299814</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[Adding some additional Red Burns links here:

"Interview with Red Burns on failure and risk"
https://vimeo.com/4061922

"Technology is Not Enough: The Story of NYU’s Interactive Telecommunications Program"
http://rhizome.org/editorial/2011/dec/15/technology-not-enough-story-nyus-interactive-telec/

"Click on the image above to view the presentation that Red would give to welcome incoming classes at ITP."
http://creativeleadership.com/2013/08/24/red-burns/ 

***** Direct link to that presentation (.pdf): http://creativeleadershipblog.files.wordpress.com/2013/08/reds_2010_ver3.pdf ]

[Update 18 November 2013: See also

http://www.wired.com/opinion/2013/09/focus-on-people-not-tech-and-other-impt-lessons-for-interaction-design-and-life/
and http://thegovlab.org/rip-red-burns-2/ ]]]></description>
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<item rdf:about="http://blogs.mprnews.org/state-of-the-arts/2013/08/alec-soth-looks-back-at-his-socially-awkward-summer-camp/">
    <title>Alec Soth looks back at his Socially Awkward Summer Camp | State of the Arts | Minnesota Public Radio News</title>
    <dc:date>2013-08-15T18:14:30+00:00</dc:date>
    <link>http://blogs.mprnews.org/state-of-the-arts/2013/08/alec-soth-looks-back-at-his-socially-awkward-summer-camp/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["I wanted this to be a camp and not a school. Because I wanted it not to turn into a curriculum and creating a budget and all the sort of infrastructure, and then losing the spontaneity of it,” he said.”So I am worried about the idea of repeating it because that’s what you supposed to do in school.

“It wouldn’t feel so alive. But I definitely want to do something.”"]]></description>
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    <dc:date>2013-08-10T02:19:54+00:00</dc:date>
    <link>http://storify.com/rogre/how-i-read-and-share-online</link>
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<item rdf:about="http://www.walkerart.org/magazine/2013/alec-soth-julian-bleecker-summer-camp">
    <title>Campsick: Julian Bleecker Reports from Alec Soth’s Camp for Socially Awkward Storytellers — Magazine — Walker Art Center</title>
    <dc:date>2013-08-03T04:42:40+00:00</dc:date>
    <link>http://www.walkerart.org/magazine/2013/alec-soth-julian-bleecker-summer-camp</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["To give a measure of what a Camp for Socially Awkward Storytellers is, let me describe some of its awkward moments.

1. Unspecified expectations, except whatever happens, it will be shared at a public slideshow on the last day.

2. No packing list. Usually, when I went to summer camp as a young tot, there were checklists of bug spray, 12 changes of underwear, swim trunks, swim goggles, toiletries, sleeping bag, wash cloth, pajamas, sun hat, etc.

3. No agenda, except to show up on July 9 at the offices of Little Brown Mushroom around 9:30 or 10.

4. Suburban excursion in a stout RV. That just sorta happened. Spontaneously.

5. Itchy, scratchy mosquito bites in spite of semi-legal, high-test, under-the-counter mosquito repellent.

6. Late-night slideshows. (Think of it as a modern variant of the campfire story telling hour.)

7. A surprise birthday cake.

8. A dance.

9. Campsick. It’s like homesick, but for camp. Specifically, an aching in the belly, like you’ve finished a great summer at camp and must immediately make plans to stay in touch and meet again. As soon as possible. Like something happened you didn’t want to stop, but you had to because it was too expensive to change flights and stay another day or two.

That was the Little Brown Mushroom Camp for Socially Awkward Storytellers, a project that brought together 15 eager campers from all over the map. Camp, as Soth described it to me, “evokes campfires and canoes, but the definition is actually quite flexible. ‘Camp’ simply means a summertime gathering that lacks the formal and institutionalized aura of school.” For Soth, the hope was “to just create a context in which people can make art happen.”

But that context, as camp’s name suggests, is decidedly awkward. That’s fitting for a group like Little Brown Mushroom. There is not the pretension that one might expect from a studio attached to an artist’s name. It would’ve been clear to anyone who knew of LBM—either through its blog, their books, or Soth’s work—that camp would not be supplicating students learning from the great master. First of all, Soth is self-admittedly awkward in front of people, so he would not be holding forth in the style of the self-indulgent artist. We’d be working among each other, campers and counselors on equal footing. It was activity-time camp, nearly 14 hours every day. We’d be defining the activities. Exuberant, exhausting, difficult, strange, get-your-game-face-on kinds of activities."

…


"I have no idea what’s going on, or what I’m doing, but I’m doing it.

And now, back at our encampment there are four of us quietly sitting, thinking, drawing, talking. Out of nowhere, Jim’s lying on the ground in front of the limb-and-leaf backdrop. He’s perfectly still. Is it overdone performance, or is he my muse for the day? I decide, game-face on, he’ll be my muse. Most people have left to find stories in the neighborhood surrounding the park. Some have driven to other parts of town.

The hard part is finding a story in that. You have to, though. Day Two slideshow is at 7 pm. That’s just a couple hours from now.

This is the day that I realize I need to be inspired by the constraints that exist at camp. There are constraints of time, obviously. Cooking out a slideshow from a day of conversations, excursions, light reading, trundling in RVs, following fellow campers in the woods. All this means I have to hold my ideas lightly, not make things too precious, keeping my nose up for any whiff of a story to find and tell.

Today, I’ve become sensitized to what Soth refers to as “humble epics.” Big, powerful things, perhaps in modest, carefully constructed, simple, compact, $18 or cheaper packages.

That’s a kind of storytelling that feels quite modern in a sense. The overwrought image and text story is not what will come out of camp. There are no Taschen-sized epics to be done here, at least for me. I find that liberating. As I quickly refine and hone and edit my forest slideshow, I consider LBM’s obsession with audaciously democratizing the pricing of their publications at $18. I think about Target, the Twin Cities mega-mega that I can imagine goes to nutso ends to whittle pricing by fractions of pennies to make them the no-brainer store. Soth mentions an LBM book that they couldn’t get cheaper than $24, and you can physically see the disappointment at the price-point in his shoulders. Soth would make a great Target buyer. You know, in case this whole photography thing doesn’t work out.

The inexpensive, accessible, humble, epic, image+text LBM books come with an inherent simplicity in production, packaging, and design that is an aesthetic in its own right. Accessible, humble epics are a thing of note, especially within the world that Soth could circulate. He’s a Minnesotan first, Magnum photographer second. Beautiful, seductive, tangible $18 stories-in-books are not a gimmick. Free camp isn’t a gimmick. I can see the earnestness in his explanation of the non-tuition camp. He wants it open. He doesn’t want to turn away someone who could not afford to attend because of a fee. He doesn’t want LBM to be big business.

And only now do I realize that we’re learning how to tell stories. I’ve never mentioned it and stifled the thought in my own head, but we’ve not had formal discussions about photography. At the end of Day Two, during the slideshow, I resolve the suspicion I’ve had since shortly before I arrived: this is not a photography camp, despite being in a photography studio. That thought relaxes me. No one’s geeking out on gear. There is scant feedback on technical elements of image-making or storytelling. We’re free to find stories. Of course, that’s liberating and debilitating at the same time. We’re not told what to do. We’re only told that “whatever you do, whatever story you want to tell at the public slideshow on Saturday, it mustn’t take more than five minutes to tell.”

Day Three
Bookmaking Day, although we don’t make books. We talk about books and their making and unmaking. Some campers wonder why we’re doing a slideshow rather than a book as a final deliverable. A book is easier to keep and share and show again and again. We have a nice, long discussion in the morning facilitated by Alec and designer and art director Hans Seeger. We talk about the materiality and tangibility of books. Their preciousness. The contrast in books designed too earnestly, and books devoid of design that are merely containers for famous photographs by famous photographers. We talked about the great glissade of books after 1986 when computers performed their radical democratization of visual design and publishing. And I wondered how short-form composition and networked dissemination frameworks like Twitter, Instagram, and Vine would do similar things. I wonder aloud to camp if the modern image+text story as we know it now—the things in Soth’s studio library—are for doddering “old” folks like us? I want to talk about the modern, modern image+text story? Is Adam Goldberg’s Vine feed tomorrow’s Willliam Eggleston, or perhaps Cindy Sherman? The comparison may sound idiotic. I once thought that instantly sharing one’s thoughts in 140 characters was idiotic and self-indulgent. I once thought #selfies were idiotic. Then the Arab Spring happened, facilitated in part by 140 characters and what protesters could share in a single image.

The bookmaking-day discussions turn into a list of books to get and a note to consider getting another bookshelf at home. That’s fine. Having a library of books—the material sort—is validated by LBM’s amazing collection. It’s the morning-quiet-time gathering place we all meander through as our coffee takes hold. There’s a quiet reverence to the library in the mornings as campers peruse the stacks, heads cocked to the side to read titles. I find my first photo book in the B’s [Hello, Skater Girl, 2012] and feel suddenly embarrassed at its earnest naivete. I wish I had been to camp and learned what I am learning at camp before I made that.

LBM is a publisher of stories, so one might think camp would do a book as a final outcome. But that brings along complexity and time and money, and you begin to obsess over the operational details of producing such a thing. The slideshow. It has a tradition. It’s familial. It’s familiar. It’s something that can be condensed into a short amount of time. It has history."

…

"I think about “bookmaking” day’s discussion of Darin Mickey’s Stuff I Gotta Remember Not To Forget and his image story about his father’s odd, Cohen-esque life as a salesman of storage space in underground vaults. In 27 images, Mickey tells a remarkable, humorous, heartfelt story about his father. And I think of Soth’s image of a strikingly pale Indonesian girl he stumbles upon, photographs for The Auckland Project, loses the photograph and then spends the rest of his time struggling to find a story, struggling to find an image that moves him. He finds “missing cat” posters, bird road kill, and pale models. Just hours before he leaves Auckland, he stumbles upon Diandra, the pale Indonesian girl, sitting delicately on a low wall, watching the tiniest bird.

These count as powerful stories in my mind and from what I’ve been learning at camp. I’m thinking about “humble epics,” creative constraints. And how to get done in the next four hours."]]></description>
<dc:subject>julianbleecker campforsociallyawkwardstorytellers alecsoth openstudioproject camp lcproject classideas walkerartcenter minnesota adventure fun conferences unconferences experientialeducation design bookslcproject summerinwintercamp littlebrownmushroom ncmideas conferenceideas 2013 camps learning collaboration projectideas experientiallearning storytelling creativity books publishing selfpublishing visual pop-ups writing photography bradzellar slideshows stories socialmedia tarawray wenxinzhang serendipity spontaneity unschooling deschooling education curriculum ephemeral ephemeralinstitutions ephemerality hansseeger delaneyallen horatiobaltz jeffbarnett-winsby elainebleakney aprildobbins bradfarwell adamforrester colinmatthes buckymiller dianarangel jimreed caitlinwarner photobooks carriethompson galenfletcher ethanjones jasonpollan stpaul self-publishing summercamp</dc:subject>
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<item rdf:about="http://serendipomatic.org/">
    <title>Serendip-o-matic: Let Your Sources Surprise You</title>
    <dc:date>2013-08-02T22:14:25+00:00</dc:date>
    <link>http://serendipomatic.org/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Serendip-o-matic connects your sources to digital materials located in libraries, museums, and archives around the world. By first examining your research interests, and then identifying related content in locations such as the Digital Public Library of America (DPLA), Europeana, and Flickr Commons, our serendipity engine helps you discover photographs, documents, maps and other primary sources.

Whether you begin with text from an article, a Wikipedia page, or a full Zotero collection, Serendip-o-matic's special algorithm extracts key terms and returns a surprising reflection of your interests. Because the tool is designed mostly for inspiration, search results aren't meant to be exhaustive, but rather suggestive, pointing you to materials you might not have discovered. At the very least, the magical input-output process helps you step back and look at your work from a new perspective. Give it a whirl. Your sources may surprise you."]]></description>
<dc:subject>dpla flickrcommons flickr serendipity search bibliography europeana zotero wikipedia onlinetoolkit research</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:eb4096ad8209/</dc:identifier>
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</item>
<item rdf:about="https://itunes.apple.com/us/app/futureful/id583361618?ls=1&amp;mt=8">
    <title>futureful - your random guide to web for iPhone 3GS, iPhone 4, iPhone 4S, iPhone 5, iPod touch (3rd generation), iPod touch (4th generation), iPod touch (5th generation) and iPad on the iTunes App Store</title>
    <dc:date>2013-07-29T23:16:59+00:00</dc:date>
    <link>https://itunes.apple.com/us/app/futureful/id583361618?ls=1&amp;mt=8</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[Website: http://www.futureful.com/ ]

"The best way to get lost in inspiration and imagination. Futureful never takes you to the same place twice.

Just choose and combine interesting topics
• Exciting stuff surfaces automatically
• Explore interesting long-forms, blog posts, news articles, videos and photos
• Combine topics to find more specific stuff

No sign-in. No typing. No following. No feeds. No categories.

• The app learns from you: the more you use it, the better it gets.
• You'll always have interesting things waiting for you

Avoid the obvious. Stay away from self-evident. Choose your journey."]]></description>
<dc:subject>applications ios ipad iphone discovery random internet futureful serendipity onlinetoolkit</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:213a705b5d96/</dc:identifier>
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</item>
<item rdf:about="http://en.wikipedia.org/wiki/Experimental_travel">
    <title>Experimental travel - Wikipedia</title>
    <dc:date>2013-07-19T02:58:45+00:00</dc:date>
    <link>http://en.wikipedia.org/wiki/Experimental_travel</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Experimental tourism is a novel approach to tourism in which visitors do not visit the ordinary tourist attractions (or, at least not with the ordinary approach), but allow whim to guide them. It is an alternative form of tourism in which destinations are chosen not on their standard touristic merit but on the basis of an idea or experiment. It often involves elements of humor, serendipity, and chance.

There are a number of approaches to experimental tourism:

• Aerotourism - in which a tourist visits the local airport and explores it without going anywhere.

• Alphatourism - in which a tourist finds the first street alphabetically on a map, and the last street alphabetically, draws a straight line (or any other figure they desire) between them, and walk the path between the two points.

• Alternating Travel - in which a tourist leaves their front door, turns right, turns left at the next intersection, turns right at the next, and so on, alternating each direction, until they are unable to continue because of an obstruction.

• Cecitourism - in which a tourist is blindfolded and allows a friend to escort them through the city.

• Contretourism - in which a tourist visits a famous tourist site, but turns their back on the site and takes photos of, or just examines, the view from that direction.

• Erotourism - in which a couple travels separately to the same city and then tries to find each other.

• Monopolytourism - in which a tourist takes the local version of a Monopoly board with them and visits places on the board as determined by a roll of the dice.

• Nyctalotourism - in which the tourist only visits tourist attractions between dusk and dawn.

Other ideas do not have particular names:

• "Touring" a home town. Stay at a youth hostel, backpack through town, meet new people, do not go home until the vacation is over.

• Taking a map of the town being visited, selecting a random map grid, and exploring every bit of the grid.

• Visiting a bar, asking the bartender where their favorite bar is and what they drink there. Visit that bar, do the same with the bartender there, and continue.

The concept of experimental travel was developed by writer Joel Henry, the French director of the Laboratory of Experimental Tourism (Latourex).

In 2005, Lonely Planet published The Lonely Planet Guide to Experimental Travel [http://www.amazon.com/Lonely-Planet-Guide-Experimental-Travel/dp/1741044502 ], which formalised and developed many of Henry's ideas."]]></description>
<dc:subject>travel serendipity experimental experimentaltravel tourism psychogeography situationist chance humor</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:90803a44ee64/</dc:identifier>
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<item rdf:about="http://www.littlebrownmushroom.com/blog/the-lbm-camp-for-socially-awkward-storytellers/">
    <title>The LBM Camp for Socially Awkward Storytellers « Little Brown Mushroom</title>
    <dc:date>2013-07-10T06:53:26+00:00</dc:date>
    <link>http://www.littlebrownmushroom.com/blog/the-lbm-camp-for-socially-awkward-storytellers/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[via: http://www.flickr.com/photos/julianbleecker/sets/72157634559501046/ ]

"Established in 2008 by Alec Soth, Little Brown Mushroom (LBM) is committed to exploring the narrative potential of the photo book. Having worked closely with photographers, writers and designers, we’re now eager to exchange ideas with students and emerging artists.

Visual storytelling tends to be a lonely business. As such, it attracts more than its share of wallflowers. Here at LBM (home to more than a couple introverts), we thought it would be worthwhile to bring creative loners together to see what we can learn from each other. We’re envisioning a gathering that is more summer camp than classroom. After various daytime outings, we’ll sit around the digital projector and tell each other stories. From there we’ll discuss the ways in which visual stories can be translated into book form.

When: July 9-13, 2013

Where: After gathering each morning at the Little Brown Mushroom headquarters in St. Paul, we’ll have regular outings around the Twin Cities. Participants should have their own transportation. Housing is not provided.

Who: The gathering will be led by LBM team: Alec Soth, Carrie Thompson, Galen Fletcher, Ethan Jones, Brad Zellar and Jason Polan. We are inviting photographers, writers, illustrators, designers or anyone interested in visual storytelling to apply. While social awkwardness isn’t mandatory, it is encouraged.

Cost: Free

How to apply: 

Create a single PDF (no bigger than 5mb) with the following:

• Your name and contact information
• A concise and informal biography (age, where do you live, what do you do, etc). We’d also love to see a picture of you.
• Examples of your work (this can be photography, writing, illustration, graphic design or anything else you can get into a PDF).
• A link to your website or other work you have online
• Important: we can not accept PDF files larger than 5mb

Email the PDF to camp@littlebrownmushroom.com

Deadline: April 15th. We will notify applicants about our selection by April 30th.

view this info as a printable PDF"

----

"Established in 2008 by Alec Soth, Little Brown Mushroom (LBM) is a small publishing house located in St. Paul, Minnesota. Working closely with photographers, writers and designers, LBM is committed to experimenting with new ways of creating and distributing visual stories."]]></description>
<dc:subject>littlebrownmushroom classideas photobooks ncmideas openstudioproject alecsoth carriethompson galenfletcher ethanjones bradzellar jasonpollan storytelling projectideas minnesota stpaul photography publishing selfpublishing lcproject summerinwintercamp campforsociallyawkwardstorytellers self-publishing camp conferences creativity walkerartcenter books visual pop-ups writing slideshows stories socialmedia tarawray wenxinzhang serendipity spontaneity unschooling deschooling education curriculum ephemeral ephemeralinstitutions ephemerality 2013 hansseeger delaneyallen horatiobaltz jeffbarnett-winsby julianbleecker elainebleakney aprildobbins bradfarwell adamforrester colinmatthes buckymiller dianarangel jimreed caitlinwarner adventure fun unconferences experientialeducation design bookslcproject conferenceideas camps learning collaboration experientiallearning summercamp</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:hansseeger"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:delaneyallen"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:horatiobaltz"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:jeffbarnett-winsby"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:julianbleecker"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:elainebleakney"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:aprildobbins"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:bookslcproject"/>
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</item>
<item rdf:about="http://vruba.tumblr.com/post/40879189256/how-the-hell-do-you-find-all-these-interesting-things">
    <title>Tupperwolf: Anonymous asked: How the hell do you find all these interesting things you post to your reading Twitter? How do you go searching for these veins?</title>
    <dc:date>2013-02-24T21:29:10+00:00</dc:date>
    <link>http://vruba.tumblr.com/post/40879189256/how-the-hell-do-you-find-all-these-interesting-things</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Veinily is a useful way of seeing it. You never find an interesting thing on its own. And things are rarely interesting in themselves: everything makes sense as a product of its causes, after all. What are interesting are things in certain contexts, making connections that you could not have anticipated, doing kinds of things you did not know could be done.

Ignore rebels. Ignore lawgivers. Look for people who are sincerely willing to be either or neither, as the situation demands. Look for ones who (1) love the world as it is and (2) see how to make it better. People who rely on only one of those qualities tend to be more famous, more firework-y, and uninteresting."]]></description>
<dc:subject>learning life truth charlieloyd reading.am veins interestingness curiosity unschooling deschooling education discovery serendipity process rules rulemaking laws rebels fame context connections connectivism 2013</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:8a38b04547d4/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:reading.am"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:veins"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:interestingness"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:curiosity"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:unschooling"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:education"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:discovery"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:serendipity"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:process"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:rules"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:rulemaking"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:rebels"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:fame"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:connectivism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:2013"/>
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</item>
<item rdf:about="http://moz.com/rand/manufacturing-serendipity/">
    <title>Manufacturing Serendipity - Rand's Blog</title>
    <dc:date>2012-09-03T07:07:31+00:00</dc:date>
    <link>http://moz.com/rand/manufacturing-serendipity/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[This manufacturing serendipity business breaks down pretty much like this:

1. Go to places that are not your office (conferences, events, meetups, trains, etc)
2. Participate in things, learn things, and be generally game for new experiences
3. Meet interesting people in the process
4. Build relationships
5. Be generally awesome by helping the people you’ve met and doing good deeds with no expectation of a return
6. Repeat 1-5 hundreds of times

Following this process yields a weird and wonderful return on investment. But, like many investments that actually pay off, that return is poorly understood for three big reasons:

Reason #1: The true value of serendipity usually comes years down the line. …

Reason #2: It’s nearly impossible to measure the impact of serendipity. …

Reason #3: Attribution is almost always misplaced."]]></description>
<dc:subject>learning crosspollination relationships randfishkin 2012 luck networking serendipity</dc:subject>
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</item>
<item rdf:about="http://blog.news.me/post/18439216464/getting-the-news-evan-williams">
    <title>Getting the News — Evan Williams | News.me</title>
    <dc:date>2012-09-01T19:04:07+00:00</dc:date>
    <link>http://blog.news.me/post/18439216464/getting-the-news-evan-williams</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[<blockquote>One thing that I find missing is discovery of non-new content. The web is completely oriented around new-thing-on-top. Our brains are also wired to get a rush from novelty. But most “news” we read really doesn’t matter. And a much smaller percentage of the information I actually care about or would find useful was produced in the last few hours than my reading patterns reflect.</blockquote>]]></description>
<dc:subject>newspapers reading evanwilliams discovery serendipity rediscovery resurfacing howweread howwelearn novelty via:tealtan</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:c34f2f1c331b/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:evanwilliams"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:serendipity"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:rediscovery"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:resurfacing"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:howweread"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:howwelearn"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:novelty"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:via:tealtan"/>
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</item>
<item rdf:about="http://www.journalofplay.org/issues/256/259-jester-s-guide-creative-seeking-across-disciplines">
    <title>A Jester’s Guide to Creative See[k]ing across Disciplines | American Journal of Play</title>
    <dc:date>2012-08-06T19:30:25+00:00</dc:date>
    <link>http://www.journalofplay.org/issues/256/259-jester-s-guide-creative-seeking-across-disciplines</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["For many centuries and in many cultures, jesters recited tales of heroic exploits, but they did more than simply recount past events—they amused, cajoled, and spun tales that transported listeners to the edge of mysterious, unmapped territories. Through the transformative power of play and the imagination, they reworked what was already understood and created from it new realities that transcended the established order. The author maintains that such imaginative play is vital to creativity in any medium and is fundamental for optimal human development. She explores possibilities for cultivating creativity through the playful, paradoxical stance of the jester—a serendipitous and purposeful, strange and familiar, disruptive and productive figure. Her discussion, grounded in a visual-arts practice that leverages uncertainty and randomness, considers the role of play in light of its wider implications for knowledge and creativity."

[PDF: http://www.journalofplay.org/sites/www.journalofplay.org/files/pdf-articles/4-3-article-jesters-guide-to-creative-seeking-across-disciplines.pdf ]]]></description>
<dc:subject>challenge howwelearn howwework productivity strangeness purpose generalists randomness uncertainty visualarts imagination play serendipity dianerosen jester jesters cv interdisciplinary interdisciplinarity creativity disruption</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:29bd2fc56bfd/</dc:identifier>
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</item>
<item rdf:about="http://www.greglinch.com/2012/05/when-a-path-of-discovery-becomes-a-loop-and-a-mini-eureka-moment.html">
    <title>When a path of discovery becomes a loop and a mini “eureka” moment | The Linchpen</title>
    <dc:date>2012-05-12T22:16:16+00:00</dc:date>
    <link>http://www.greglinch.com/2012/05/when-a-path-of-discovery-becomes-a-loop-and-a-mini-eureka-moment.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["I’m fascinated by paths of discovery. Not just the link you share, but the steps you took to get there. How did you end up at this point?

I experienced one such path tonight that turned into a loop and gave me a mini “eureka!” moment, so I wanted to share:

I met a fellow journalist/geek, Keith Collins, at BarCamp News Innovation Philly on April 28. We were chatting about science and that, of course, led to RadioLab. He mentioned a segment he enjoyed about a pendulum. I did a quick search on my phone and sent myself the link to read later. When I returned to the post, it didn’t seem like I found the right item — this was a post on the Krulwich Wonders blog about a Pendulum Dance. Nonetheless, it fascinated me.

I tweeted it with a hat tip to Keith and he replied with the actual segment he had referenced on the Limits of Science. It did not disappoint. I responded to say that I’d enjoyed it and Keith replied with a link to one of the things mentioned in the segment…"]]></description>
<dc:subject>eurekamoments messiness 2012 paths keithcollins greglinch tangents circuitousness learning via:maxfenton discovery serendipity search</dc:subject>
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</item>
<item rdf:about="http://5880.me/20120429/jd-notes/">
    <title>Notes from a six-day workshop with Johanna Drucker at MIT (April 2012) - 5880</title>
    <dc:date>2012-05-01T14:55:31+00:00</dc:date>
    <link>http://5880.me/20120429/jd-notes/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Notes from a six-day workshop with Johanna Drucker at MIT (April 2012)

[ALL APOLOGIES FOR MIS/INFORMATION BELOW. THESE ARE UNEDITED NOTES WRITTEN IN THE MOMENT AT MIT HYPERSTUDIO]"]]></description>
<dc:subject>2012 instagram datamining attribution augmentedreality gps alancole alphabethistoriography historiography pantographia databases credit granularity visualtheory interfacedesign interface gis discovery search navigation narration narrative design hyperstudio brooklynbeta digitalhumanities continuity flow cabinetsofcuriosity structure scale collaborativeproduction authoringtools stevemambert readability reading.am connections serendipity ecologyoftools language complexity reading anthologies pinboard maps mapping conversation visualization temporality folksonomy tagging tags computation analytics collaboration collaborativewriting annotation traffic users walking local content notes johannadrucker maxfenton ar</dc:subject>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:users"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:walking"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:johannadrucker"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:ar"/>
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</item>
<item rdf:about="http://www.theatlantic.com/technology/archive/2010/09/stranger-studies-101-cities-as-interaction-machines/62315/">
    <title>Stranger Studies 101: Cities as Interaction Machines - Kio Stark - Technology - The Atlantic</title>
    <dc:date>2012-03-06T06:46:12+00:00</dc:date>
    <link>http://www.theatlantic.com/technology/archive/2010/09/stranger-studies-101-cities-as-interaction-machines/62315/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["There are three broad themes during the semester.

1. Why stranger interactions in cities are meaningful

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

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

Then there is the secret theme. I want students to fall in love with talking to strangers, to do it more, and to make technology that creates more plentiful and meaningful interactions among strangers."]]></description>
<dc:subject>discovery serendipity interaction darreno'donnell thechildinthecity publicspace janejacobs josephmassey ireneebeattie ervinggoffman richardsennett kurtiveson cosmopolitanism cities nyc gothamhandbook sophiecalle paulauster relationalart situationist georgsimmel rolandbarthes strangers 2010 kiostark collaboration psychology social architecture technology culture urban urbanism</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:26f4a20b1b14/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:darreno'donnell"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:rolandbarthes"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:strangers"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:2010"/>
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</item>
<item rdf:about="http://iam.peteashton.com/flaneurism-shouldnt-be-easy/">
    <title>Flaneurism shouldn’t be easy | I Am Pete Ashton</title>
    <dc:date>2012-02-19T21:20:11+00:00</dc:date>
    <link>http://iam.peteashton.com/flaneurism-shouldnt-be-easy/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["When you think about it, relying on the likes of Google, YouTube, Facebook et al stand up for the niche and the curious is pretty naive. Where their interests coincide they will side with the mainstream, and those interests will coincide more and more. We can’t rely on large Internet companies to look after this stuff – Yahoo’s half-arsed custody of Flickr should have taught us that. If we’re going to have an infrastructure that enables the spirit of the cyberflaneur to thrive we’re going to have to build and maintain it ourselves, above and beyond the financial blinkers of the mainstream.

One of the most surprising things about the Internet is how people think there’s a single monolithic culture. There used to be, back when access was difficult and determined by circumstance. But it’s not like that now. The Internet is for everything and everyone, which means it’s like everything else, prone to mediocrity and abuses of power…"

]]></description>
<dc:subject>monoculture discovery diy serendipity stateoftheweb exploration psychogeography web flaneur cyberflaneurism 2012 evgenymorozov peteashton online flâneurs flaneurs flâneur</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:48ca315506af/</dc:identifier>
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</item>
<item rdf:about="http://www.theatlantic.com/technology/archive/2012/02/joyce-and-the-internet-what-leopold-bloom-didnt-know/252341/">
    <title>Joyce and the Internet: What Leopold Bloom Didn't Know - Alan Jacobs - Technology - The Atlantic</title>
    <dc:date>2012-02-04T19:43:57+00:00</dc:date>
    <link>http://www.theatlantic.com/technology/archive/2012/02/joyce-and-the-internet-what-leopold-bloom-didnt-know/252341/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["James Joyce's narration leads us through the difficulty of finding knowledge in a pre-Internet era, reminding us how lucky we are to have this technology, despite all its flaws."]]></description>
<dc:subject>parallax leopoldbloom dunsink jornbarger web internet serendipity literature informationaccess access information search 2012 ulysses alanjacobs jamesjoyce</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:4fa063537446/</dc:identifier>
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<item rdf:about="http://storify.com/tealtan/bookmarks-tagging-and-taxonomies">
    <title>Bookmarks Tagging and Taxonomies · tealtan · Storify</title>
    <dc:date>2012-01-23T20:13:26+00:00</dc:date>
    <link>http://storify.com/tealtan/bookmarks-tagging-and-taxonomies</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>search recall truth-telling commentary hashtags flickr socialbookmarking discovery serendipity batchedits messiness systems constraints bookmarking bookmarks taxonomy storify twitter comments conversation tumblr pinboard del.icio.us tagging tags folksonomy 2012 carenlitherland allentan</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:601af792b448/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:truth-telling"/>
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<item rdf:about="http://en.wikipedia.org/wiki/Daniel_Gilbert_(psychologist)">
    <title>Daniel Gilbert (psychologist) - Wikipedia</title>
    <dc:date>2012-01-09T03:59:25+00:00</dc:date>
    <link>http://en.wikipedia.org/wiki/Daniel_Gilbert_(psychologist)</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[“At the age of 19, Gilbert was a high school dropout who wanted to be a science fiction writer. In an attempt to improve his writing skills, he took a bus to the local community college to enroll in a creative writing class. When he was told that the creative writing class was full, he signed up for the only class that was still open: Introduction to Psychology.”]]></description>
<dc:subject>happiness serendipity circumstance psychology dropouts danielgilbert</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:48748fea2b57/</dc:identifier>
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<item rdf:about="http://storify.com/tealtan/lifespan-of-content">
    <title>Lifespan of Content · tealtan · Storify</title>
    <dc:date>2011-12-30T19:18:03+00:00</dc:date>
    <link>http://storify.com/tealtan/lifespan-of-content</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[Allen pulled together a great Twitter chat between all the people named in the tags and covering all the topics listed in the tags.]]></description>
<dc:subject>rediscoverability rediscovery discovery reading internet web aspirationalreading oppression anticipation sorting publishing persistence metadata resurfacing webclippings bookmarking archives searching search serendipity instapaper singly mattbrown markllobrera maxfenton nickdisabato 2011 orbitalcontent memory personaldigitalarchives digitalarchiving conversation twitter comments frankchimero davidsleight erinkissane mandybrown joshclark allentan storify</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:29459943bf79/</dc:identifier>
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</item>
<item rdf:about="http://www.theatlantic.com/technology/archive/2011/09/the-startup-man-a-conversation-with-joi-ito/244956/">
    <title>The Startup Man: A Conversation With Joi Ito - Gregory Mone - Technology - The Atlantic</title>
    <dc:date>2011-09-15T01:40:14+00:00</dc:date>
    <link>http://www.theatlantic.com/technology/archive/2011/09/the-startup-man-a-conversation-with-joi-ito/244956/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["…part of what managing the Lab is going to be about: trying to make that space perfect. Because the way it's laid out, the way things are connected, and how people run into each other and stumble on new things, a lot of that is affected by the layout. I don't think everybody gets how important that is…

Multi-disciplinary is a really key missing part of society, whether you're talking about science or the economy or any of these things. We've gotten so good at getting deep and being more and more specialized about a smaller and smaller thing that now we've got so many people who are really, really smart but don't know how to talk, let alone build anything together…

A physicist and a chemist and an architect are only going to work together really well when they're building something. You can have them sit around a table and argue but they'll really only be talking across each other. The minute you try and build something together it becomes rigorous."]]></description>
<dc:subject>mitmedialab joiito 2011 multidisciplinary interdisciplinary lcproject collaboration making doing discovery innovation tcsnmy learning sharing crossdisciplinary crosspollination serendipity generalists creativity creativegeneralists medialab</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:627632036899/</dc:identifier>
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</item>
<item rdf:about="http://mleddy.blogspot.com/2010/10/stefan-hagemann-guest-writer-how-to.html">
    <title>Orange Crate Art: Stefan Hagemann, guest writer: How to answer a professor</title>
    <dc:date>2011-08-15T23:58:12+00:00</dc:date>
    <link>http://mleddy.blogspot.com/2010/10/stefan-hagemann-guest-writer-how-to.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Be interested in a lot of things: Some questions are designed to test your command of a set of facts, and some leave little room for interpretation. Once in awhile, a question might even permit a “yes” or “no” answer. But often you’ll be dealing with open-ended questions, ones about which there is much to say and from many angles. Recognize that most open-ended questions range across academic disciplines and areas of interest, and do your best to develop a good grasp of the world around you. Good question-answerers read widely, talk to their peers and professors, attend on-campus events such as plays and concerts, and (I’m guessing here) subscribe to PBS and NPR. Good question-answerers also listen. If you know a little bit about the world around you and make an effort to experience your immediate environment, you may be surprised by your ability to add outside knowledge to your answers. Broad experience equals (or at least increases the chance for) serendipity."]]></description>
<dc:subject>serendipity interested interestingness interesting stefanhagemann howto teaching learning education experience pbs npr knowledge generalists via:lukeneff 2010 noticing connections observation listenting inquiry honesty power relationships universities colleges highereducation highered interestedness</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:99230f546ba9/</dc:identifier>
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<item rdf:about="http://sarahwerner.net/blog/index.php/2011/08/serendipity-of-the-unexpected/">
    <title>the serendipity of the unexpected, or, a copy is not an edition » Sarah Werner</title>
    <dc:date>2011-08-03T11:22:28+00:00</dc:date>
    <link>http://sarahwerner.net/blog/index.php/2011/08/serendipity-of-the-unexpected/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The best thing about old books, I think, is their longevity and the traces of the history that they carry with them. Inscriptions, marginalia, doodles, vandalism, erasures, cutting out images and leaves–none of those are captured if your focus is solely on the text, and all of them have something to tell us about how a book was used."]]></description>
<dc:subject>unexpectedencounters serendipity marginalia books history digitization 2011 socialtransactions sarahwerner intangibles print printing</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:f5eb9e99a905/</dc:identifier>
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</item>
<item rdf:about="http://maryannreilly.blogspot.com/2011/07/being-in-middle-learning-walks.html">
    <title>Between the By-Road and the Main Road: Being in the Middle: Learning Walks</title>
    <dc:date>2011-07-02T20:18:28+00:00</dc:date>
    <link>http://maryannreilly.blogspot.com/2011/07/being-in-middle-learning-walks.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["So imagine a commitment to learning that involved making regular learning walks with high school students as a normal part of the "school" day.  Now, these learning walks should not be confused with walking tours, which are designed based on planned outcomes.  One walks to point X in order to see object or artifact Y.  The points are predetermined, hierarchical in design.

Instead, learning walks are rhizomatic.  They are inherently about being in the middle of things and coming to learn what could not been predetermined. Learning walks are part of the "curriculum" for instructional seminar (which I described here)."

[My comments cross-posted here: http://robertogreco.tumblr.com/post/7182110515/walking-and-learning ]]]></description>
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</item>
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    <title>YouTube - TEDxEast - Lauren Redniss - Mistakes Have Been Made</title>
    <dc:date>2011-05-30T23:37:01+00:00</dc:date>
    <link>http://www.youtube.com/watch?v=t-qKlOvLpO0</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Lauren shares her process both as a writer and and artist to create her works. Lauren also shares the unexpected benefits of trail and error throughout her journey as an artist."]]></description>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:mariecurie"/>
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</item>
<item rdf:about="http://www.ted.com/talks/eli_pariser_beware_online_filter_bubbles.html">
    <title>Eli Pariser: Beware online &quot;filter bubbles&quot; | Video on TED.com</title>
    <dc:date>2011-05-18T04:34:15+00:00</dc:date>
    <link>http://www.ted.com/talks/eli_pariser_beware_online_filter_bubbles.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["As web companies strive to tailor their services (including news and search results) to our personal tastes, there's a dangerous unintended consequence: We get trapped in a "filter bubble" and don't get exposed to information that could challenge or broaden our worldview. Eli Pariser argues powerfully that this will ultimately prove to be bad for us and bad for democracy."]]></description>
<dc:subject>elipariser echochambers serendipity internet online web media relevance search google facebook exposure 2011 ted via:jessebrand politics crosspollination dialogue walledgardens algorithms censorship personalization advertising yahoonews huffingtonpost nytimes washingtonpost impulse aspirationalselves filterbubble dialog wapo</dc:subject>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:search"/>
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</item>
<item rdf:about="http://frank.chimero.usesthis.com/">
    <title>The Setup: Frank Chimero</title>
    <dc:date>2011-04-19T05:56:06+00:00</dc:date>
    <link>http://frank.chimero.usesthis.com/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["I’d like a more flexible, faster all-in-one inbox for my digital detritus. For some reason, DevonThink, Yojimbo, & Evernote aren’t cutting it for me. Tumblr is close, but not quite it. I’d like something that successfully handles images in tandem w/ text, because that’s how my brain works. I have this dream of having a management interface very similar to a hybrid of LittleSnapper & Yojimbo, & then a “serendipity engine” application for iPad. It’d be a bit like Flipboard where things are served up at random from your collection for browsing. That’s the flaw of all of these things, in my mind: they encourage you to get things in, but aren’t optimized for revisiting it in a way that lacks linearity or classification. If you’re looking to make constellations of content, I think the way your collection is presented back to you matters. I guess what I’m asking for is a digital rendition of the commonplace book, & serious rethinking of what advantages digital could provide…"]]></description>
<dc:subject>frankchimero hardware software thesetup tools howwework commonplacebooks dropbox devonthink yojimbo evernote macbookair photoshop illustrator muji notebooks tumblr serendipity discovery iphone kindle lumixgf1 appletv netflix texteditor gmail instapaper simplenote rdio itunes reeder 2011 usesthis</dc:subject>
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</item>
<item rdf:about="http://www.driftdeck.com/">
    <title>Drift Deck</title>
    <dc:date>2011-04-10T19:03:48+00:00</dc:date>
    <link>http://www.driftdeck.com/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Welcome to Drift Deck, a different sort of city guide. Think of it as a set of playing cards that help you playfully find your own, untouristy way through city streets. It's a set of simple cues, clues, actions, and provocations to see your way about the city, looking at it from a different angle. It will make you an active part of your own romp around.

Drift Deck will help you capture and share your discoveries. You'll be able to share your journey through the maps you make and the photos you take. Share your Drifts with others around the world! Be active, not passive. Enjoy."]]></description>
<dc:subject>situationist driftdeck exploration derive dérive julianbleecker dawnlozzi jonbell davidspencer brucesterling bencerveny kevinslavin katiesalen janemcgonigal ianbogost janepinckard urban urbanism ios iphone applications cities perspective noticing engagement observation interaction serendipity maps mapping photography psychogeography context context-awareness undesign design arttechnology landscape landscapeasinterface play games</dc:subject>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:psychogeography"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:context"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:context-awareness"/>
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</item>
<item rdf:about="http://www.born-to-learn.org/blog/meandering/">
    <title>Born to Learn ~ Meandering</title>
    <dc:date>2011-04-04T04:37:59+00:00</dc:date>
    <link>http://www.born-to-learn.org/blog/meandering/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The brain works like that – I call it “helicoidal thinking”. Contrary to the best expectations of politicians and educational administrators learning is never linear, it is much more like the meandering river, shaped by its helicoidal flow. When you are gently meandering and going where the mood takes you, you frequently find that you solve a problem which, when sitting uncomfortably at your desk, you just couldn’t work out.

That is why young children need playgrounds, and adolescents need mountains to climb.  We adults especially need to meander again to escape the limitations of linear thinking.  To meander is critical – always following a straight line may take you to the wrong place."]]></description>
<dc:subject>meandering cv thinking linear linearthinking helicoidalflow flow johnabbott learning unschooling deschooling lcproject tcsnmy serendipity via:cervus education linearity</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:55208ad26dc8/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:meandering"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:cv"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:thinking"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:linear"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:linearthinking"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:helicoidalflow"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:flow"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:johnabbott"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:learning"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:lcproject"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:tcsnmy"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:serendipity"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:via:cervus"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:education"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:linearity"/>
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</item>
<item rdf:about="http://www.kk.org/thetechnium/archives/2011/03/the_satsisfacti.php">
    <title>The Technium: The Satisfaction Paradox</title>
    <dc:date>2011-04-04T00:02:51+00:00</dc:date>
    <link>http://www.kk.org/thetechnium/archives/2011/03/the_satsisfacti.php</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Let's say that after all is said and done, in the history of the world there are 2,000 theatrical movies, 500 documentaries, 200 TV shows, 100,000 songs, and 10,000 books that I would be crazy about. I don't have enough time to absorb them all, even if I were a full time fan. But what if our tools could deliver to me only those items to choose from? How would I -- or you -- choose from those select choices?"]]></description>
<dc:subject>kevinkelly serendipity choice paradox paradoxofchoice satisfaction satisfactionparadox netflix amazon scarcity abundance google spotify music film curation filters filtering discovery recommendations psychology economics</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:b9f253c34599/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:serendipity"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:choice"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:paradox"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:paradoxofchoice"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:satisfaction"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:satisfactionparadox"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:netflix"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:amazon"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:scarcity"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:abundance"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:google"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:spotify"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:music"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:film"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:curation"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:filters"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:filtering"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:discovery"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:psychology"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:economics"/>
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</item>
<item rdf:about="http://mrgan.tumblr.com/post/4120476808/quark">
    <title>Quark - Neven Mrgan's tumbl</title>
    <dc:date>2011-03-27T01:19:13+00:00</dc:date>
    <link>http://mrgan.tumblr.com/post/4120476808/quark</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["If you’re ever looking for inspiration, take a dive into the Wikipedia hole. I’ll be sitting here imagining a universe built of subatomic ducks."]]></description>
<dc:subject>wikipedia nevenmrgan quarks discovery serendipity reading cv exploration</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:7952d5fc827c/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:nevenmrgan"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:quarks"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:discovery"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:serendipity"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:reading"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:cv"/>
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</item>
<item rdf:about="http://urbanscale.org/2011/03/21/beyond-the-smart-city-part-ii/">
    <title>Beyond the “smart city,” part II: A definition | Urbanscale</title>
    <dc:date>2011-03-22T05:41:09+00:00</dc:date>
    <link>http://urbanscale.org/2011/03/21/beyond-the-smart-city-part-ii/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["What do we call places where the above things apply? In recognition of the increasing ubiquity, everydayness and unremarkability of the technologies involved, we call them cities."]]></description>
<dc:subject>data cocities sustainability adamgreenfield smartcities urbancomputing definitions 2011 networkedobjects services efficiency mobility enhancedmobility transparency information access urban urbanism everyware resources urbanscale serendipity delight citymagic socialequity inclusion citizenagency inclusivity inlcusivity</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:636e47898703/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:cocities"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:sustainability"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:adamgreenfield"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:2011"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:resources"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:urbanscale"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:delight"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:citymagic"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:socialequity"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:inclusion"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:citizenagency"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:inclusivity"/>
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</item>
<item rdf:about="http://speculative-diction.blogspot.com/2011/03/places-of-learning.html">
    <title>Speculative Diction: Places of Learning</title>
    <dc:date>2011-03-21T04:11:21+00:00</dc:date>
    <link>http://speculative-diction.blogspot.com/2011/03/places-of-learning.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["While we can’t necessarily change the buildings we’re in, we can be sensitive to their use, to our adaptation to the context provided. And we can ask ourselves questions. What would the building look like if we began by asking how people learn? How do people meet each other and form learning relationships? If you could design your own workspace, your own learning space, what would it look like and why? This need not involve a major reconstruction project. If the university had taken these things into account before renovating our program space, the same amount could have been spent and things might have looked, and felt, very different."]]></description>
<dc:subject>howwelearn education highereducation highered meloniefullick place flow serendipity exchange conversation schooldesign learningplaces learningspaces architecture thirdteacher context learning informallearning informal engagement reggioemilia tcsnmy</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:3ca74ec34aa2/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:howwelearn"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:highereducation"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:thirdteacher"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:informallearning"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:tcsnmy"/>
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</item>
<item rdf:about="http://joi.ito.com/weblog/2011/03/06/the-new-culture.html">
    <title>The New Culture of Learning: cultivating imagination for a world of constant flux - Joi Ito's Web</title>
    <dc:date>2011-03-14T08:48:41+00:00</dc:date>
    <link>http://joi.ito.com/weblog/2011/03/06/the-new-culture.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["As an "informal learner" who dropped out of college and managed to survive, "The New Culture of Learning: cultivating imagination for a world of constant flux" captures and provides a coherent framework for many of the practices that guide my own life. If their suggestions are able to be weaved into the discourse and practice of formal education, informal learners like myself might be able to survive without dropping out. In addition, even those who are able to manage formal education could have their experiences greatly enhanced.

John Seely Brown has continued to help give me confidence in the chaos + serendipity that is my life and have helped those who seek to understand people like us. This book brings together a lot of his work and the work of others (like my sister ;-) ) in a concise book definitely worth reading."]]></description>
<dc:subject>joiito johnseelybrown education learning unschooling deschooling dropouts flux serendipity informallearning informal chaos cv sensemaking 2011 imagination books toread makingsense</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:01f9cd9b06f1/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:johnseelybrown"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:unschooling"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:deschooling"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:dropouts"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:informal"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:cv"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:sensemaking"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:toread"/>
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</item>
<item rdf:about="http://blog.frankchimero.com/post/3430957759">
    <title>Frank Chimero - Velocity</title>
    <dc:date>2011-02-21T22:05:40+00:00</dc:date>
    <link>http://blog.frankchimero.com/post/3430957759</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["It is tempting to think there are no beginnings, no rebirths. Every new day we have to live with yesterday. That doesn’t mean we can’t change. Change is slower than we think. It sneaks up on us. We can’t shed our skin like snakes, we replace our cells, one-by-one. We cross-fade into becoming new people. One day you wake up & look in the mirror and say “Who is this person?”…

But when we travel, we move more rapidly than the rest of the world. We change faster, revise who we are quicker. I think when we travel our cells replace themselves with more rapidity. We may not be able to shed our skin, but through the sheer velocity of movement, we slough off our old selves.

But that furniture is still in the same spot when we return home. Mostly, it seems that things will be as they were before. And yet, not. Things are different now. I know it. They WILL be different. And better. This time through, I’ll be better. At least that is how it feels…"]]></description>
<dc:subject>frankchimero change perspective travel newzealand airports human slow velocity urgency improvement self-improvement clarity accidents serendipity time</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:3974cc63ef7c/</dc:identifier>
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</item>
<item rdf:about="http://www.runofplay.com/2011/02/21/children-at-play/">
    <title>Children at Play - The Run of Play [Goes on to discuss soccer players, pointing out the 'adults' and 'children' in professional ranks.]</title>
    <dc:date>2011-02-21T18:49:42+00:00</dc:date>
    <link>http://www.runofplay.com/2011/02/21/children-at-play/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Sometimes I find myself walking home from work around the time the local elementary school dismisses its charges for the day. When this happens my daily journey becomes a little more interesting and a little more complicated, because children don’t walk the way adults do. Children will run past you, then stop and squat to look at a slug on the sidewalk, then run past you. Even when no stimulus, sluggish or otherwise, presents itself, they’ll slow down and dawdle for a while before hoofing it again. Also, for any given weather they might be wildly over- or under-dressed. The other day the temperature was in the high forties when I saw ahead of me two girls, ten years old or so… They were walking home from school and so had accoutered themselves, but neither seemed to notice the differences. They dawdled, and ran, and dawdled. I dodged them when necessary, which was often.

Adults aren’t like this. Adults dress appropriately and move steadily towards their goals."]]></description>
<dc:subject>children adults play walking goals situationist serendipity curiosity surprise soccer futbol sports football xavi zlatanibrohimavić dirkkuyt dawdling purpose slow meandering alanjacobs tcsnmy entertainment discovery differences concentration</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:e8b9127c69cd/</dc:identifier>
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<item rdf:about="http://nearfuturelaboratory.com/2010/12/23/what-innovation/">
    <title>Near Future Laboratory » What Innovation</title>
    <dc:date>2010-12-24T07:30:34+00:00</dc:date>
    <link>http://nearfuturelaboratory.com/2010/12/23/what-innovation/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["best part of book is last sentence…

"Go for a walk; cultivate hunches; write everything down, but keep your folders messy; embrace serendipity; make generative mistakes; take on multiple hobbies; frequent coffeehouses & other liquid networks; follow the links; let others build on your ideas; borrow, recycle, reinvent. Build a tangled bank."

Had Johnson followed the walks of those innovators he was curious about, followed them along their mistakes & noted the ways they borrowed, recycled, reinvented he could have done away with the silly biology analogies. It’s all right there in the hands-on work that’s going on — there’s no need for a big, grand, one-size-fits-all theory about how ideas come to be and how they circulate, or don’t circulate and how they inflect and influence and change the way we understand and act and behave in the world. That’s the “innovation” story — or the way that *change-in-the-way-we-understand-the-world* comes about story."

[Now here: http://nearfuturelaboratory.com/2010/12/23/what-innovation/ ]]]></description>
<dc:subject>stevenjohnson julianbleecker innovation crossdisciplinary interdisciplinary serendipity learning wheregoodideascomefrom books criticism biology walking thinking cv analogies analogy adjacentpossible stuartkauffman science robertkrulwich kevinkelly radiolab</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:6e9ea60cb67c/</dc:identifier>
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