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    <title>Françoise Vergès: The world is made through struggle - YouTube</title>
    <dc:date>2026-05-31T00:36:05+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=mc4s1qu8IP8</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["In this episode, I sit down with the incredible Françoise Vergès. We had a beautiful conversation about how the politics of Réunion has animated her life's work,  how she was brought up in the struggle alongside the revolutionaries in her family, about her time in Algeria and Paris, decolonial feminisms (of course!), and the centrality of psychic life to our ongoing fight against fascism and oppressive systems. We honestly talked about so so much more, so I am excited for you to hear it! It was such an honor to sit down with a sister-comrade who has shaped so much of my thinking and political orientation to scholarship.

Françoise Vergès is a political theorist, curator and writer. She writes on the racist fabrication of premature death, decolonial feminism, the impossible decolonization of the western museum, climate disaster and antiracist, anticapitalist politics of vital needs. She works with artists and curates, since 2015, public performances with artists and activists. She is currently working on a film about anti colonial struggles in Reunion Island through her parents’ personal archives and her own.

For more information and on and links to Françoise's powerful work, see her website: https://francoiseverges.com/

This is the passage I read from Françoise's landmark A Decolonial Feminism (Pluto, 2019):

"I used a familiar fruit, the banana, to shed light on a number of analogies and elective affinities: the banana's dispersion from New Guinea to the rest of the world, the banana and slavery, the banana and US imperialism (banana republics), the banana and agribusiness (pesticides, insecticides--the chlordecone scandal in the Antilles), the banana and working conditions (the plantation regimes, sexual violence, repression), the banana and the environment (monocultures, pilluted water and land), the banana and sexuality (Josephine Baker), the banana and branding (Banana Republic), the banana and racism (when did the association of bananas and Negrophobia begin?), the banana and science (researching the 'perfect' banana), the banana and consumption (bringing bananas into the home, suggesting recipes), the banana and rituals for ancestors, and the banana and contemporary art. The method is simple: starting from one element to uncover a political, economic, cultural, and social ecosystem in order to avoid segmentation that the Western social-sciece method has imposed." p. 21-22"

[via:

"Palestine, Playing Fields; Perfidy! The False Capitalist Narrative Running (Puns😎) Throughout!" (this is the part that references college football (plays a clip from here: https://www.youtube.com/watch?v=RHDhdavY-u8 ) and is part of full show: https://www.youtube.com/live/2rHMi1MXILs )
https://www.youtube.com/watch?v=PaUkUZ-X-_o

which points to

"🍌The Banana Method as Psychic Militancy!"
https://www.youtube.com/watch?v=kGNrqiLdKfQ

which points to

"Revolution Is Mental Health! ft Lara Sheehi"
https://www.youtube.com/live/PGnGalaE4Go ]
]]></description>
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</item>
<item rdf:about="https://www.plough.com/en/topics/faith/discipleship/the-secret-of-the-third-monk">
    <title>The Secret of the Third Monk by Tish Harrison Warren</title>
    <dc:date>2026-05-11T01:20:17+00:00</dc:date>
    <link>https://www.plough.com/en/topics/faith/discipleship/the-secret-of-the-third-monk</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The desert monks tended to value withdrawal obsessively. One would have to in order to leave civilization and survive as a hermit for decades. Though the Desert Fathers and Mothers universally insist that we must respond materially when someone sick or in need crosses our path, at times their writings seem to elevate solitude and withdrawal as being more spiritually important than participation in the workaday world.

In contrast, our culture tends to be equally obsessive in the opposite direction. We overvalue work, accolades, output, and applause. We live in and among the crowd, nearly constantly. Today, many would feel as if the third monk wasted his life. What’s he good for? What’s he contributing to society? Or to the GDP? Or to the causes of justice? Why does he even matter?

Yet here he is, the exemplar in this weird, ancient story, calling to us from another place, culture, and time, asking us to reexamine our true purpose.

It’s not that, in our day, we never see solitude or stillness as valuable. We likely think of them as necessary acts of “self-care.” Yet we primarily view them as means to the end of more exertion, more rigor, more impact. They are merely fuel for a machine whose chief purpose is output and productivity. But this story implies that solitude and silence are our orienting goals, the rehumanizing rhythms that teach us that we are not, in fact, machines, but creatures – creatures with faults, limits, beauty, and worth, creatures made to dwell deeply with God.

If we see solitude and stillness primarily as a means to more productivity, we will try to get by with just enough to keep us going and no more. But if these practices are essential to our very being, to our purpose and humanity, then we will orient our work and our days, our weeks and our years, around them. These countercultural, seemingly wasteful things will become our first, most important, order of business. The third monk will turn out to be our surprise hero."]]></description>
<dc:subject>tishharrisonwarren 2026 monks solitude civilization society gpd justice work labor production productivity culture time purpose life living beauty worth value humanity limits silence selfcare</dc:subject>
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<item rdf:about="https://chimeraobscura.com/vm/episode-607-christopher-brown">
    <title>Episode 607 – Christopher Brown – The Virtual Memories Show</title>
    <dc:date>2026-04-20T00:17:54+00:00</dc:date>
    <link>https://chimeraobscura.com/vm/episode-607-christopher-brown</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[also here:
https://podcasts.apple.com/es/podcast/episode-607-christopher-brown/id531173075?i=1000671460976
https://open.spotify.com/episode/1zsmFxKcm9LXxvFbNN5Xy9?
https://www.youtube.com/watch?v=SZt9osYrNQ8 ]

"<blockquote>“I wanted to combine the nature writing style I had been riffing on in my FIELD NOTES newsletter, with the potential for lyrical, descriptive translation of the richness of the world into language, and also provide an effective information delivery vehicle, like classic American non-fiction, and then telling a story in a way that a novel or a good memoir tells a story.”</blockquote>

With his phenomenal new book, A NATURAL HISTORY OF EMPTY LOTS: Field Notes from Urban Edgelands, Back Alleys and Other Wild Places (Timber Press), Christopher Brown shifts from novels into a new mode and I am HERE for it. We talk about the eco-cosmos of East Austin, TX, the years of observation that opened him to the hidden pockets of wildness in urban environments, why solitude in nature is a myth, what we have to gain from taking a long walk, Long Time vs. the short presence of Anglos in Texas, how 2020’s lockdown turned off global capitalism and showed how society might truly change, and how this book mutated from when we talked about it at Readercon 2023. We get into Bruce Sterling’s unforgettable critique of his writing, the process of turning a narrative of colonization into one of decolonization, (eco)psychogeography & the Situationists, why he (begrudgingly) brought the personal/memoiristic into the book and how it helped him come to terms with himself, and what a workshop with horror writers taught him about the truth-telling power of non-redemptive storytelling. We also discuss the design flaws of the agricultural revolution, how his readers in different regions respond to his FIELD NOTES newsletter, the nature of mysticism and writing a narrative about transcending the self, hiking a Massachusetts marsh in summer with Jeff VanderMeer, and plenty more. Give it a listen! And go read A NATURAL HISTORY OF EMPTY LOTS!

<blockquote>“Solitude in nature is a myth. What you find in nature is a much deeper connection with all this other life around you, a connection that precedes language and the alienation that’s embodied in language.”</blockquote>

<blockquote>“To me, the most dramatic lesson of COVID wasn’t how much of nature was out there, hiding in plain sight, but the possibility of change, the immediate, sudden change in how we live and work, the idea that global capitalism could be completely turned off for weeks at a time.”</blockquote>

<blockquote>“Preoccupation with planning for the future is tied up with that preoccupation with accumulating surplus to survive the season and all the unhealthy things that produces, even if that’s the killer app of our civilization.”</blockquote>

<blockquote>“The narrower the aperture, the more plausible the ambition.”</blockquote>"]]></description>
<dc:subject>christopherbrown psychogeography situationist 2024 austin solitude naturalhistory nature wildlife morethanhuman multispecies animals plants</dc:subject>
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<item rdf:about="https://www.youtube.com/watch?v=CK5y9N1kuNk">
    <title>Ten years of &quot;Alaska&quot;: Maggie Rogers on going viral and singing for 200,000 protestors - YouTube</title>
    <dc:date>2026-04-18T04:31:04+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=CK5y9N1kuNk</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Ten years ago, Maggie Rogers was a senior at NYU, scrambling to finish a song for a music production class she was close to failing. The guest critic that week happened to be Pharrell Williams. She played him "Alaska," a track she'd written in about fifteen minutes. It is a bit of folk songwriting crossed with the electronic music she'd fallen for studying abroad. Pharrell told her he'd never heard anything that sounded like it. Someone was filming. The clip went viral, and it launched Maggie into pop stardom. 

Maggie Rogers has released three studio albums, earned a Grammy nomination for Best New Artist, and gone back to school to pick up a master's from Harvard Divinity School, where she studied the spirituality of public gatherings. And in the last few months she's been as visible offstage as on — advocating for free speech in DC, performing for 200,000 people at a protest in Minneapolis alongside Joan Baez, and delivering a haunting performance during the final run of The Late Show with Stephen Colbert, which CBS is ending in May.

This week host Charlie Harding got to sit down with Maggie live at Chelsea Studios, in front of a room of current NYU students. It’s the same school, ten years later, now with Charlie in the professor's chair and Maggie as the visiting artist.

VIDEO: Caleb Hinojosa https://www.calebhinojosa.com/

CHAPTERS
00:00 Introduction
01:14 Alaska Origin Story
03:50 Lyrics Then And Now
05:50 Can Viral Happen Again
06:30 Choosing Slow Growth
10:08 Advice For Sudden Fame
11:29 Writing After Pharrell
13:20 Colbert Finale Performance
15:55 Free Speech And Protest Era
17:31 Activism as Art
18:11 Protesting a Broken System
19:25 Fear into Music
22:07 What Makes a Protest Song
24:28 Starting the Foundation
25:23 Rest and Record Making
28:11 Creative Rest Time
30:24 Writing vs Collaboration

SONGS DISCUSSED
Maggie Rogers "Alaska"
Maggie Rogers "Better"
Maggie Rogers "One for My Baby (and One More for the Road)" (cover of Fred Astaire original)
Maggie Rogers "Different Kind of World"
Marvin Gaye "What's Going On"
Bob Dylan "The Times They Are a-Changin'"
USA for Africa "We Are the World""]]></description>
<dc:subject>maggierogers 2026 music songwriting musicmaking pharrell charlieharding switchedonpop fame lyrics virality stephencolbert activism art fear protest rest creativity writing collaboration howwewrite howwework protestsongs hope artmaking courage well-being wellbeing oppression donaldtrump freespeech utopia resistance dancing community solidarity togetherness social meaning meaningmaking systems change adaptability innovation growth life living meditation slow time productivity stockandflow rejuvenation goals work divinityschool gradschool society education conviviality solitude process prince spirituality joanbaez</dc:subject>
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</item>
<item rdf:about="https://om.co/2026/03/13/tanha-our-modern-consumerism/">
    <title>Tanhā &amp; Our Modern Consumerism – On my Om</title>
    <dc:date>2026-03-14T05:24:06+00:00</dc:date>
    <link>https://om.co/2026/03/13/tanha-our-modern-consumerism/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Buddhists call this Tanhā. Loosely translated it means craving. Tanhā is the addiction to wanting itself. Not the object. The wanting. What makes it hard to see is that the seeking loop feels like aliveness. The browsing, the imagining, the anticipating. It produces an energy that feels like engagement with life.

These days we call it FOMO, the fear of missing out. It is the algorithmic, bastard child of Tanhā. Social media didn’t invent this. It surely industrialized it. Every pen post, every rotation photo, every “new pen day” thread is engineered to make your current pen feel insufficient. Not because it is. Because the platform needs you to keep scrolling.

The cost of infinite options is that you never fully inhabit any of them. You hold everything lightly because the exit is always visible. Nothing becomes what it could be if you stayed.

It is ironic. Till recently, I had been using a version of the same camera I started taking photos with over a decade ago. My new camera is a more constrained version of the original. I know it intimately. Like the crook of the hand of a beloved with whom you have walked many walks that go nowhere, but end up somewhere. I know the images before they are captured.

I am also the same person who ruthlessly edited his wardrobe down to one hundred pieces, where the new one comes only when something has to go. It is a restricted palette of colors, choices, and clothing that are determined from knowing myself, what I like, and why I like things a certain way. It is unusual to be so precise in one thing and yet wayward in the other.

The person who writes with one pen for ten years knows things about it. I should know. I used the same pen from 1990 through the turn of the century before buying a new one, to celebrate the new century. So, I should know better. Yet, the whole modern social edifice is built on the new, the novel, and the next."]]></description>
<dc:subject>ommalik consumerism consumption buddhism tanhā fountainpens shopping familiarity craving loneliness solitude desire</dc:subject>
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</item>
<item rdf:about="https://www.thedial.world/articles/literature/lauren-bastide-essay">
    <title>Consider the Snail — The Dial</title>
    <dc:date>2026-01-04T02:29:30+00:00</dc:date>
    <link>https://www.thedial.world/articles/literature/lauren-bastide-essay</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[“In writing about snails, I wanted to write about slowness and strangeness, solitude and death, hibernation and estivation.”]]></description>
<dc:subject>laurenbastide 2025 snails slow slowness solitude death hibernation estivation strangeness laurenelkin</dc:subject>
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<item rdf:about="https://www.beyondthedial.com/post/bernhard-lederers-watchmaking-philosophy-could-liberate-the-swiss-watch-industry/">
    <title>The Swiss Watch Industry Needs Bernhard Lederer's Philosophy</title>
    <dc:date>2026-01-02T12:57:08+00:00</dc:date>
    <link>https://www.beyondthedial.com/post/bernhard-lederers-watchmaking-philosophy-could-liberate-the-swiss-watch-industry/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["For the first time, I found myself wholeheartedly agreeing with a press release [https://lederertimepieces.com/wp-content/uploads/2025/08/DP2-LEDERER-CIC39mm-T2.pdf ] that just landed in my in-box. This was disorienting. Agreement is not a position I’ve found myself taking vis-a-vis press materials before. Most aren’t pushing anything to agree or disagree with in the first place. But as I read the PDF explaining Lederer’s new watch (the CIC 39 [https://lederertimepieces.com/watch/cic-39-racing-green/ ], already sold out), I was nodding my head approvingly the whole way down.

The watch takes on the historically significant and rather fascinating detent escapement [https://revolutionwatch.com/the-detent-escapement-in-wristwatches-dream-a-big-little-dream/ ] invented by Abraham-Louis Breguet, but what struck me about this press release was the philosophical statements woven into almost every paragraph. Together, these statements formed a coherent—yet wonderfully dreamy—philosophy of watchmaking that also (perhaps unwittingly) lodges a long-needed critique of the Swiss watch industry writ large.

[photo of Lederer CIC 39]

I mean, this is a really good press release. It comes from Bernhard Lederer, one of the few great living independent watchmakers to come out of the generation that gave us Philippe Dufour, F. P. Journe, Kari Voutilainen and Laurent Ferrier—a tiny ilk of true masters.

Check out these extracted bits from the CIC 39’s press release, which in condensed form read like a hybrid of Wittenstein’s Tractatus Logico-Philosophicus and Shunryu Suzuki’s Zen Mind, Beginner’s Mind.

“…a watch is never an object, it is a manifestation of thought.”

“[Watchmaking’s] future belongs to those who pursue sincerity rather than spectacle.”

“…a creation has value only if it solves a real mechanical challenge, clarifies a system, stabilizes energy, or deepens understanding. Anything else is only noise.”

“Advancement cannot betray the craft.”

“Independence is not solitude….”

“Aesthetics arise not from decoration…”

“Every aesthetic choice in the [watch] exists to serve the mechanics.”

“…the elegance of a mechanism that has nothing to hide, only truth to reveal.”

“A movement should teach.”

“Its architecture is not merely functional; it is didactic.”

“Each wheel, bridge, and lever is placed with intent so that the movement reads clearly, teaching the eye how energy travels and how precision is earned.”

“…the [watch] expresses precision with a calm, almost meditative authority.”

“[The watch] does not demand attention; it invites a quieter form of fascination.”

[photo of Lederer CIC 39 movement from back of watch]

“…a quieter form of fascination.”

Many years ago, I started a podcast called Beyond the Dial that set out to explore the intersection of aesthetics and mechanics in watchmaking. I didn’t set out to explore mechanics and aesthetics separately, or even in parallel; I intended to explore the intersectionality of mechanics and aesthetics, what I envision as a kind of blurry overlaying of the Venn diagram’s circles into a unified field of aesthetic-mechanical creation from which those attuned to it could sometimes derive a state of prolonged wonder, a horological high.

A few truly great watches seamlessly fuse mechanics and aesthetics: Patek Philippe’s Ref. 1518, F.P. Journe’s Chronomètre à Résonance, the Lange 1, Jaeger-LeCoultre’s Master Hybris Mechanica Calibre 362. These watches, and precious few others, have transcended trends and can reliably engender the horological high, that uniquely prolonged state of wonder, that “quieter form of fascination,” as Lederer aptly puts it.

On the podcast, I struggled to express what this high was, exactly. I used phrases like “the phenomenology of watches,” [https://www.beyondthedial.com/post/insight-the-watch-collector-enthusiast-dichotomy-its-discontents-the-phenomenology-of-watches-as-spiritual-practice/ ] “mechanical wonder,” [https://www.beyondthedial.com/post/podcast-the-final-episode-through-the-looking-glass-on-philosophy-watches/ ] and “tripping on watches” to expound the idea that—since telling the time was no longer the point of looking at a mechanical wristwatch—experiencing a heightened state of mind might be. 

Watches are aesthetic objects, of course. All objects are. But when I allow watches to become mere objects of style, the psychological balm, the horological high, the sweet buzz of time abstracted via a tiny machine…it all just evaporates. When this happens, I find myself chasing down some passing trend [https://www.hodinkee.com/articles/vintage-vacheron-allen-farmelo ], or vying for social position in the horological hierarchy, worried about what so-and-so would think of my so-called wrist-game. And then I’d grow cynical about watches and, in the end, bored with them.

[photo of Lederer CIC 39]

Grokking mechanics to some degree is fundamental to my achieving the horological high, “the quieter form of fascination.” Promoting this state of mind, I will argue, should be the core mission of the Swiss watch industry. This message is implicit in Lederer’s philosophy.

The Sweeping Problem

I believe that social media and the mass popularization of watches it helped foster have made it much harder to filter out the buzz of fast-fashion and tune into the hard-hitting horological high I was pushing via Beyond the Dial. 

With a tiny glimmer of hope, I sense a return to mechanical concerns across the industry as the post-pandemic markets calm down. I sense that serious watch maisons are realizing that something more than a sage-green dial or some clever “collab watch” is required to draw serious collectors back to their latest offerings. The bubble burst around 2023, and now the hype-fest is cooling down. I’m seeing little glimpses of a return to mechanical concerns from Panerai, Breguet, Vacheron Constantin, and even Rolex.

Lederer’s recent release of the CIC 39 (as well as the other five watches in his Masters of Escapement [https://lederertimepieces.com/wp-content/uploads/2025/08/2025_Press-Dossier-LEDERER_Bernhard-Lederer-Biography.pdf ] series) may point the way for the watch industry to regain its hold on generating that elusive sense of mechanical wonder in its customers. This is certainly the highest calling of the enterprise called watchmaking, and it is well worth considering how the Swiss watch industry can humbly return that sense of mechanical wonder to primacy.

The Language of a Master

The philosophy of Lederer, so eloquently woven into this recent press release, is built from the astute language of a master who knows about mechanical wonder, about attaining horological highs, about transcending the surface of visual aesthetics (i.e., going beyond the dial) and basking in the blurry merger I call mechanical-aesthetics.

If Lederer’s philosophy of watchmaking wasn’t sincere, this language would be easy to dismiss as just more high-handed marketing fluff, of which a great deal emanates from the Swiss watch industry. But the Lederer release rings sincere—even humble—when considered within the context of the mechanical problems with which he toils.

[photo of Bernhard Lederer]

“A mechanism must solve a real problem. If it doesn’t, it remains an idea, not watchmaking. For centuries, the detent escapement had potential locked inside it. I wanted to give it a voice,” Lederer is quoted as saying in the press release for the CIC 39.

I’m reminded of John Coltrane, the jazz saxophonist who toiled humbly for well over a decade before finally figuring out how to go beyond the bold accomplishments of Charlie “Yardbird” Parker. Many great artists toil tirelessly in the shadow of a specific forebearer, a (usually deceased) master who haunts them with lingering unanswered questions.

[photo of John Coltrane]

Coltrane once said [https://www.penguinrandomhouse.com/books/592345/3-shades-of-blue-by-james-kaplan/ ], “I’ve had a strange career. I haven’t yet quite found out how I want to play music. Most of what’s happened these past few years has been questions. Someday we’ll find the answers.”

“We go where watchmaking has questions left to answer,” Lederer says in the press release, sounding just like Coltrane.

The Detent Escapement and its Problems

Others of Lederer’s generation have toiled with Breguet’s escapements (both the natural and detent mechanisms), including Laurent Ferrier [https://laurentferrier.ch/blogs/news/in-depth-look-laurent-ferriers-natural-escapement ] and Kari Voutilainen [https://revolutionwatch.com/the-detent-escapement-in-wristwatches-dream-a-big-little-dream/ ]. The problems inherent to these mechanisms loom large, nagging the great masters to solve them.

You can find dozens of videos [https://www.google.com/search?udm=7&q=detent%20escapement&sqi=2 ] depicting the detent escapement’s fascinating motion, which will serve you better than my attempts at explanation. What I can confirm is that for centuries the detent escapement had suffered from limitations that make it unsuitable for use in everyday watches. It’s hard to get going once the movement has stopped, for one, and it is prone to instability at low amplitude, which is required for any meaningful power reserve in the relatively small space of a wristwatch movement. 

Lederer claims to have toiled—and, importantly, failed repeatedly—with the detent escapement for decades, slowly building up his understanding of the mechanism’s limitations and eventually finding workable solutions.

[photo of Lederer CIC 39 movement showing detent escapement]

The result of Lederer’s protracted effort is a gorgeous movement that runs the revised detent escapement off of a center-mounted balance cock. The escapement drives two independent gear trains, a configuration similar to the natural escapement-driven movement in his Central Impulse Chronometer [https://www.phillips.com/article/162598500/in-depth-the-lederer-central-impulse-chronometer ] of 2022, one of the six movements that Lederer is releasing as part of his Masters of Escapement series.

Humility and Slowness Can Reset the Watch Industry

As I read the press release for this watch, I hear a not-entirely subtle critique of the mainstream Swiss watch industry. Lederer’s philosophy of watchmaking is tersely in opposition to what has become the operable norm of Swiss watchmaking today: namely, that style and decoration (from gratuitous dial treatments to gaudy pave cases and trendy reissues) dominate watch design.

“Aesthetics arise not from decoration…”

“…a creation has value only if it solves a real mechanical challenge, clarifies a system, stabilizes energy, or deepens understanding. Anything else is only noise.”

“[Watchmaking’s] future belongs to those who pursue sincerity rather than spectacle.”

In espousing this philosophy, Lederer is, I think, showing the watch industry how it might rearrange its priorities and, with that, keep itself from bleeding out while caught in the hype-trap. The underlying message is that the marketing strategies of large luxury groups have sacrificed too much in service of social media’s voraciousness and the fashion industry’s quarterly renewals. Watchmaking that allows the inherently slow development of genuine mechanical innovation to (literally) undergird aesthetics can never keep that pace.

It is abundantly obvious to me that the reason Swiss watchmaking today can feel so spurious, so devoid of meaning, at times so blatantly dumb, is that too many brands insist on attempting to keep an unreasonable pace dictated by the demands of their marketing departments and not their R&D divisions. This hyper-pace has resulted in a splintering of annual collections into monthly, sometimes weekly, introductions of new dial colors, limited editions wrapped in weak partnership narratives, endless announcements about who wore which watch to what red-carpet event, and the press release I received last year asking me to tell my readers about a new strap color on offer for a watch already released multiple times with increasingly horrendous dial colors. I’m confident that this is the “noise” to which Lederer refers.

[photo of Lederer CIC 39]

With a measure of compassion, I understand that the onset of social media, the broadening of luxury markets, and the demand for quarterly ROI have pressured the great watchmakers of Switzerland (and elsewhere) to hustle beyond their capacity for genuine innovation. We all get it on some level; the impact is felt across industries around the world—including journalism.

But wasn’t watchmaking meant to be that one oasis of enduring sanity in a desert of spurious luxury madness? Or, shouldn’t it be?

Over and over we’ve seen the mandates for growth destroy the integrity of horological endeavors ranging from publications [https://www.wsj.com/style/fashion/hodinkee-luxury-watches-ben-clymer-b4078322 ] to philanthropic programs [https://robbreport.com/style/watch-collector/lists/15-watches-withdrawn-from-onlywatch-auction-1235595062/ ] to entire watch brands [https://robbreport.com/style/watch-collector/lists/bremont-watches-are-suddenly-good-investments-here-are-10-to-get-now-1235799724/ ]. At some point an industry gets stretched too far and can lose something essential, allowing consumer cynicism to creep in. Watchmaking has to at least consider resetting its priorities around something other than striving to keep pace with the mad tempos of social media and the world of fashion into which it seems so desperate to enter.

It’s time to put mechanical wonder back at the center of watchmaking, to respect the actual history of mechanical watchmaking rather than perennially spinning that history up into some seasonal marketing campaign, to more slowly help neophytes come to understand the subtleties of mechanical watchmaking rather than trying to degrade their sense of self in order to convince them to buy this week’s offering. We’ll get fewer bubbles this way, but they won’t burst their wet mess all over the quarterly reports, either.

Without a reinstatement of a core philosophy that prioritizes meaningful horological achievements, we’re going to end up in a world of uninspiring watches traded as the coinage of social capital. The world needs that about as much as it needs another smooth jazz record."]]></description>
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    <title>Man of The Cave on Vimeo</title>
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    <dc:creator>robertogreco</dc:creator><description><![CDATA["On Yemen’s remote Socotra Island, director Ivan Olita meets Abdullah—one of the last true cave dwellers. Filmed along the island’s stark UNESCO-protected coastline, Man of the Cave traces a life caught between past and present."

[See also:

"Man of the cave"
https://psyche.co/videos/a-modern-cave-man-on-the-business-of-living-authentically

"A modern ‘cave man’ on the business of living authentically

Abdullah Al-Salim Ellai was born on Socotra, a remote Yemeni island known for its exceptional wildlife diversity and striking coastlines. As Ellai tells it, when he was young, it was normal for locals to live in caves and subsist on fishing. But today, most have moved to the island’s towns, making Ellai, now in his 60s, the last person on Socotra to call the caves his home.

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    <dc:date>2025-08-20T18:09:51+00:00</dc:date>
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About Pico Iyer

Pico Iyer is an author and essayist, best known for writing about his travels. He has written 17 books include The Open Road, The Art of Stillness and, most recently, Aflame: Learning from Silence, where he offers a glimpse into monastic life and what you can learn from solitude. For the past several decades, he has regularly spoken and traveled with the Dalai Lama and has made more than 100 retreats at a Benedictine monastery in California. He has given 5 TED Talks and written for over 250 periodicals worldwide, including Time, The New York Times, Harper's Magazine and the Financial Times."]]></description>
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    <dc:creator>robertogreco</dc:creator><description><![CDATA["From detoxes to slow food, today’s asceticism is often about fitting in. But we can rediscover its transformative power"]]></description>
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    <title>Mysticism Without Transcendence? Laruelle’s 'Vision-in-One' with Jeremy R. Smith - YouTube</title>
    <dc:date>2025-04-21T04:53:29+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=jDoocDoMtfk</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["In this special crossover episode of LEPHT HAND and Acid Horizon, we explore the radical mysticism of François Laruelle through his essay Vision-in-One or Unlearned Knowing. Laruelle proposes a mysticism stripped of transcendence and doctrine—one grounded in solitude, immanence, and the irreducibility of lived experience. Our guest, translator Jeremy R. Smith, helps unpack Laruelle’s challenge to Neoplatonism, dialectics, and the pedagogical authority of philosophy. Along the way, we consider how this "unlearned knowing" might offer tools for thinking mysticism on the left, beyond both theology and theory.

Vision-in-One or Unlearned Knowing: https://docs.google.com/document/d/1n-i7-kfCt_ykSxrMrUIeNxLwLKcCzcl3LbSJCR_etVQ/ "]]></description>
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<item rdf:about="https://www.the-hinternet.com/p/here-come-the-allodidacts">
    <title>Here Come the Allodidacts - by William Deresiewicz</title>
    <dc:date>2025-03-10T00:55:21+00:00</dc:date>
    <link>https://www.the-hinternet.com/p/here-come-the-allodidacts</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Deep Reading with Ena Alvarado, Franklin Eccher, Brian Hamilton, Benjamin Laufer, Gabriella Okigbo, and Caroline Young"

...

"So there it is. Not long after I returned from this blessed experience, which felt like it added five years to my life, I had a phone call with a recent Deep Springs student who is interested in founding an alternative educational institution of his own. In paraphrasing back to me what I was telling him about the Center, he used the words “adult education” — as a neutral description, but the phrase flashed out at me. Because of course it’s also used by universities to designate a kind of off-brand version of their product, lesser courses for lesser students (less equipped, less bright), whereas what we’re doing is the opposite: something better, for students who are better, something more genuinely intellectual, existential, humanistic than is offered now not just to college but to doctoral students, for individuals who are more serious about all of those things.

The death of the humanities, at least in the academy, is real. On a recent episode of Eminent Americans, Daniel Oppenheimer’s podcast, Julianne Werlin, an assistant professor of English at Duke, reported that enrollments in her department have dropped by three quarters over the last twenty years. Shakespeare now gets 12-15 students. Her survey in the history of tragedy had five this year. The course in the Romantics used to be a lecture that attracted 60-70. Now, “it’s not clear you can run a class in Romantic poetry at a place like Duke.” Colleges and universities are not going away, as some insist, but their humanities departments might.

So it’s no surprise that founding alternative educational institutions is something that a lot of people are doing these days. I've started to construct a mental map of this expanding terrain. In one region is the new flock of microcolleges created on the Deep Springs model, including Outer Coast, in Sitka, Alaska (which Frank helped launch). In another are short-course programs like The Catherine Project, the Brooklyn Institute, the Zephyr Institute, and others. Over here are the reading groups recently started by public figures like Yascha Mounk, Ted Gioia, and Matthew Crawford. Over there are the salons and speakers’ series run by various little magazines and independent bookstores.

All this is pretty great —the nucleus, one hopes, of a new humanistic infrastructure— but there’s a problem, and it’s been nagging at me for a while. At this point, all of these initiatives are parasitic on the academy. Nearly everyone who has taught, is slated to teach, or is on our growing list of those who might teach at the Matthew Strother Center has an advanced degree. The same is surely true of all the other programs I just enumerated. If the academic humanities really do collapse, or even only if the most committed readers continue to abandon them in disgust, how will this nascent ecosystem replenish itself? Can it expand to the point where it becomes self-sustaining, a community of autodidacts —or rather, allodidacts— standing hand-in-hand?

I look at all the ferment happening outside of mainstream institutions elsewhere in the culture (on Substack, for instance), and I think, it might —it just, goddammit, might."]]></description>
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    <title>For Hannah Arendt, totalitarianism is rooted in loneliness | Aeon Essays</title>
    <dc:date>2025-02-10T20:21:08+00:00</dc:date>
    <link>https://aeon.co/essays/for-hannah-arendt-totalitarianism-is-rooted-in-loneliness</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Hannah Arendt enjoyed her solitude, but she believed that loneliness could make people susceptible to totalitarianism"]]></description>
<dc:subject>hannaharendt totalitarianism solitude loneliness authoritarianism psychology culture society samantharosehill 2020 politics government</dc:subject>
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<item rdf:about="https://www.mrporter.com/en-us/journal/lifestyle/life-lessons-people-tokyo-japan-style-food-24538500">
    <title>Lifestyle: 33 Ways To Improve Your Life, Japanese Style | The Journal | MR PORTER</title>
    <dc:date>2025-01-12T00:56:46+00:00</dc:date>
    <link>https://www.mrporter.com/en-us/journal/lifestyle/life-lessons-people-tokyo-japan-style-food-24538500</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Tokyo is a city of extremes. The beating heart of Japan – at least since it took over from Kyoto as the country’s capital in 1868 – it is now the largest metropolis in the world, a forest of glassy skyscrapers, inner-city temples and hidden ramen shops, not to mention some of the best menswear on the planet. A short walk around Shibuya will leave even the most style-conscious man from elsewhere feeling entirely underdressed. Why else do you think MR PORTER stocks so many Japanese brands?

Still, to the uninitiated, Tokyo – and by extension Japan as a whole – can be an inscrutable place. How do so many people live on top of each other? Why is the food so good? And why are people so well-dressed? Here, a few of our favourite Japanese experts (and experts on Japan) divulge a few ideas on what we can learn from life in the Japanese capital, and beyond.

01. Enjoy the silence
Tokyo might be home to nearly 14 million people, but apart from the jingles you’ll hear at the train stations and in the convenience stores, it can be surprisingly quiet. “Very few people speak on the trains,” says Mr Paul McInnes, senior editor of Tokyo Weekender magazine, who has lived in the city since 2000. “It’s a wonderful way to have some quiet space and think about your day.”

02. Be happy in your own company
Tokyo can be a lonely place, but it’s also somewhere that people have learned how to deal with being alone. “People just don’t worry about doing something on their own and it doesn’t feel weird because everyone’s doing it,” says Ms Kaori Oyama, a Tokyo-based producer who used to work for Beams in London – and is more than happy to go solo dining. “You can go to the cinema or go and eat ramen and not have to wait for someone to come with you.”

03. Be a detail-oriented shopper
One secret to that aforementioned knack for being well-dressed? It’s all in the details. “The Japanese mentality is very detail oriented,” says Mr Eiichiro Homma, the founder of Tokyo-based menswear brand nanamica. “When it comes to small things like the inner shirt or shoes and accessories, that’s what we focus on.” From fabric to silhouette, pay attention to it all.

04. Find your inner otaku
If there’s one thing the Japanese have mastered, it’s how to have an overly specific hobby – and we’re not just talking anime and manga. “There are so many galleries and museums dedicated to some unbelievable niches,” says McInnes. “Tobacco & Salt Museum, Meguro Parasitological Museum, ramen museums, cup ramen museums!” It’s testament to Japan’s all-in approach when it comes to doing something you love. So, if you have a passion, no matter how individual, this is your cue to follow it.

05. Appreciate your connection to nature…
“Japan’s connection to nature is a deep and integral part of its cultural heritage,” says Mr Max Mackee, the British-Japanese CEO of Kammui, an outdoors-focused travel platform (founded alongside Japanese streetwear legend Mr Hiroshi Fujiwara). “Japanese indigenous beliefs held that spirits reside in all natural objects that must be respected and revered.”

06. …And be inspired by it
“Nature is a source of inspiration, from the various festivals, or matsuri, to social activities like cherry blossom viewing enjoyed throughout the year,” Mackee says.

07. Be mindful of every moment
“Japanese culture has always valued the state of ‘mindfulness’,” Mackee says. “This shows up in various parts of Japanese culture, from traditional Buddhist meditation practices, to the consideration and respect shown to others.” The transience of cherry blossom season in April is the clearest example of this: “They bloom only for a very short moment, and that moment passes.”

08. Get your rice right
“We never boil and drain our rice,” says Ms Emily Lucas, Producer at MR PORTER, who grew up in Tokyo. The Japanese way to do it? “Always start by soaking it first (to rinse off the starch), then add it to your rice cooker or pot. You can cook it in a regular pot, but for extra points invest in a donabe, or Japanese clay pot. I use the knuckle method to measure the ratio between rice to water. Cook for 15 mins, then leave to rest for 20 – you’re left with perfect fluffy rice. Not wet or soggy rice that you get if you just boil and drain.”

09. Revel in variety
“Japanese food always has a range of different dishes, so you can eat a lot of different types of food in one meal,” Lucas says. “Japanese breakfast alone often offers more vegetables and nutrition than the average Western meal. I particularly enjoy the element of slow living and taking the time to sit down and enjoy a proper meal in the morning.”

10. Invest in a good pair of slippers
“No shoes in the house – this is a given,” Lucas says. “Even barefoot in the house is frowned upon. Slippers, always.”

11. Don’t answer your phone in public
Next time your phone rings in a crowded area, consider hitting mute. “Public phone calls are a big no-no in Japan and on the train and bus you’ll often hear announcements warning against it,” Lucas says. “This is a courtesy to other people – no one wants to hear your phone chat, especially first thing in the morning on the way to work.”

12. Take inspiration – but with respect
The Japanese are perhaps the world’s best cultural appropriators. From curry to omelettes to fashion, Japan takes from other cultures and makes it their own. Just look at how KAPITAL makes better denim in Okayama than the American denim that inspired it. “In Japan, we excel in applied science,” Homma says. “We can’t go from zero to one, but if we can find one, then we can go straight to 200.” Again, referencing that detail-oriented mindset, he says: “If the Japanese make a garment, it’s usually higher quality and detail oriented. It becomes more sensitive.”

13. Get in tune with the seasons
As people in the country love to tell you, Japan has four seasons. So do a lot of other places, you might think, but it’s taken particularly seriously here in everything from food to decorations. “Japanese are very keen on seasonal ingredients, from fruits in summer to the oden, which pervades every konbini [store] during autumn and winter,” McInnes says. “Even the beer-can designs receive an update such as the cherry blossom designs in late March and April.”

14. Steel your sense of discipline
For Mr Kodo Nishimura, a Buddhist monk, LGBTQIA+ activist and the author of This Monk Wears Heels, the key thing that he learnt growing up in Japan was self-discipline. “Especially when I was in training to become a monk, we had to chant for hours and hours every day for three weeks,” he says. “One time, I started coughing non-stop and spat blood, another time, almost fell asleep standing up while chanting. What I learnt from these tough experiences is that, even if something looks impossible, it is possible. My ability is beyond my imagination.”

15. Balance out city life with the outdoors
“In the big city, everything is available 24 hours a day,” Homma says. “It’s very convenient on one side, but it’s a very fixed, ready-made life.” To combat life in the concrete jungle, outdoor pursuits have become increasingly popular in Tokyo – Homma goes sailing at the weekends. “I can feel the vibes of the Earth. If I go sailing on Saturday, I can forget about everything from Monday to Friday and forget about work, it’s how I regenerate my mind.”

16. Take your trash home
One of the main things the rest of the world can learn from Japanese culture? “Cleanliness,” says Ms Kylie Clark, a consultant and specialist in all things Japan. “Japanese sports fans have become known for cleaning up stadiums after matches, and one of the many things that strikes visitors to Japan is how clean it is. It’s not difficult to take responsibility for our own trash and surroundings.”

17. Bathe at night
“I think we take more baths and showers than everyone else,” says Mr Taka Miyake, founder of Tokyo-based skincare brand euer. “And we always bathe at night, so that your sheets stay clean. Some of my friends never ever skip having a bath. Even if they get home super drunk, they’ll still have a bath or shower before getting into bed.”

18. Get yourself an onsen routine
Public bathing is also big in Japan, which is why you’ll find so many onsen, or hot springs, across the country. A good skincare and haircare routine when bathing is a must, and not just for hygiene reasons. “It’s not only cleaning your own body, but cleaning your mental state and your soul as well,” Miyake says.

19. Become a Konmari minimalist
“People don’t generally get to live in spacious apartments, especially in Tokyo, so people think more minimalist here,” Miyake says. He references Ms Marie Kondo (known here as Konmari), the minimal cleanliness expert known for vapourising anything that doesn’t “spark joy”. It’s a clever way to stay clutter-free. “We can’t live in wide spaces, so we know how to live in a small space” Miyake says. “I just stopped buying things that aren’t necessary. I know I’ll throw it away because it’s not going to fit, and I want to keep things tidy.”

20. Become a super-queuer
“On the busy train platforms in Tokyo, we always try to keep a line,” Miyake says. “Even at a bar when you’re waiting to get a drink, we queue up.” And we thought the British loved a queue.

21. Revel in being cheap
Cheap is not a dirty word in Japan – and it’s not a byword for bad quality either. “There’s a word in Japanese called puchipura, which means cheap cosmetics that are still high quality,” Miyake says. “It’s about adjusting your lifestyle to your budget, but still enjoying luxuries when you can.”

22. Quality over quantity, every time
On the other hand, the occasional splurge is important. “People invest in things here and like to save up for something special,” Oyama says. This could be a cashmere coat or leather jacket that they’ll keep for decades, or just a solid pair of gloves. “Income isn’t generally that high in Japan, but at the same time people have more discipline with their money.”

23. Maintain your clothes
And when you have saved up to buy something special, take care of it. “It’s like if we buy a great pair of shoes or even a knife and mend it as we use it, and maintain it,” Oyama says. “People are really good at being respectful for things.”

24. Love the small stuff
This approach is rooted in Japanese culture in general, in nature, but also in things that have been lovingly crafted by hand. “It’s the way we kind of think there’s a soul even in small objects, so we treat them better,” Oyama says.

25. Be reliable
Japan might not be as punctual as its reputation suggests (“My friends are always late to meet me,” Oyama says). But people generally keep their promises. “If you call a plumber, they’ll come in immediately,” she adds. “It’s not always the case, but generally in Japan, people care more about other people’s time.”

26. Always follow the rules
Japan loves rules. Suffocating? Yes, but it makes the machine run smoothly. “People love to follow rules here,” Oyama says. “It can be tiring, but at the same time it means that generally you know what to expect.”

27. Don’t talk to strangers
“People just don’t talk to strangers here, so it means spontaneous things don’t really happen,” Oyama says. “On the one hand, it’s quite sad. But at the same time, we respect each other’s space, which can be a good thing, too.”

28. Get into washoku
Traditional Japanese food, known as washoku, is some of the healthiest in the world. “We study about healthy eating and nutrition at school and we learn cooking from six years old [at school],” Nishimura says. From onigiri (rice balls) to soba (buckwheat noodles), there are plenty of washoku staples that are easy to find globally and make nutritious additions to any diet. “Japanese food helps people to stay healthy and keeps us looking youthful inside and out,” Nishimura says. “My recommendation is to replace soda with iced green tea.”

29. Drink your sake with pizza
Looking for the perfect pairing for your margherita? “Try a junmai-style sake with pizza,” says Clark, who is a certified sake sommelier. “The umami in the tomatoes and cheese are a great match with the umami in sake.” She has some other useful sake-pairing tips, too: “For light fish dishes, mussels, or oysters, try a sparkling sake or a fruity junmai daiginjo. Red wine drinkers should look for the words kimoto and yamahai on the label, as sakes made using these traditional production methods tend to be bold and complex.”

30. Always bring back a gift
Never show up empty-handed after a trip. “I am a big fan of the Japanese custom of buying local food and drink when travelling, otherwise known as omiyage,” Clark says. “I’ve adopted this custom on a more personal scale, seeking out things to bring home to support local producers whenever I travel, like yuzu kosho from Japan, chilli peanut butter from the Netherlands (it’s a big thing there), or a bottle of Wye Valley mead from a trip to Wales.”

31. Try shiatsu
Japan might have done a good job of exporting its culture when it comes to sushi and Studio Ghibli, but Japanese-style massage – also known as shiatsu – is less-widely known. “It’s like acupuncture, but uses finger pressure instead of needles,” Clark says. “Seek out a practitioner in your nearest city and try it.”

32. Grow your own shiso
Shiso is a herb ubiquitous in Japanese cuisine, that has a unique and vibrant flavour. It’s easy to find if you’re in Japan, but can be expensive elsewhere. “So, grow your own,” Clark says. “I have so much of it growing here in London that I make jars of miso-shiso pesto with it.”

33. Always hand in lost property
Everyone’s heard the stories – you lose your wallet in Japan, and it finds its way back to you without a single yen missing, at least most of the time. “You just can’t lose your stuff in Japan,” Miyake says. “People pick it up and hand it to the police station, even your phone and wallet. It’s about having respect for another person’s things.”"]]></description>
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    <title>When the Prince of Heaven Sleeps – Roger Reeves</title>
    <dc:date>2024-12-14T23:12:01+00:00</dc:date>
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    <dc:creator>robertogreco</dc:creator><description><![CDATA["Centering images of Black men resting—Muhammad Ali slumbering, John Coltrane washing dishes, DMX watering orchids, and Mike Tyson caring for his flock of pigeons—poet Roger Reeves reflects on the stillness and silence of their interior worlds as a protest against the control of capitalistic time."

...

"After Coltrane admits to Kofksy that he doesn’t like to go out much, they visit as many stores as possible on one long shopping trip. Back at Coltrane’s house, you can hear children playing, the throes of domestic life all around Coltrane. In a longer cut of the interview that I can’t find anymore, I remember hearing someone washing dishes. From the halting way Coltrane answers Kofsky’s questions, I always assumed it was him doing the washing; or at least I hoped it was, and I’d like to imagine such here. Coltrane having to stop cleaning a plate to better answer a question.

The clinking of the dishes going into the dishrack, glass grazing glass, offers us a complement to Coltrane’s composed melodies on Giant Steps, A Love Supreme, or even Interstellar Space. The sounds of domesticity expand our understanding of his sound, his music, his sense of time, his touch. How might the children laughing in the background, the plates sliding across one another, the water hitting the basin of the sink, offer or propose another sense of a radical sound, a radical imagination, a defiance of time? In hearing the children in the background, I wonder if Coltrane ever played what he heard in his house, played the children running in the yard, played their laughter, the seesaw and sometimes teasing rhythms of their banter. Did he play their cries, their wailings, when they fell?

We know that Coltrane often played language, played his prayers. For instance, in “Psalm,” the fourth movement of A Love Supreme, through his tenor horn Coltrane plays the devotional poem that acts as the liner notes that accompany the album. In “Alabama,” a song that Coltrane wrote in response to the bombing of the 16th Street Baptist Church by the Ku Klux Klan on the morning of September 15, 1963, you can hear Coltrane playing the bombing and its aftermath. It’s as if the breath passing through his horn and the wail that comes out play the fire licking at the walls of the church, erect the burned-out tabernacle via sound. This elegiac wailing is especially palpable and felt in the live version of “Alabama” that Coltrane, Elvin Jones, McCoy Tyner, and Jimmy Garrison recorded at Birdland. In Coltrane’s horn, you hear the mourners processing into the church; you hear the eulogy and the creak of the pews as the mourners shift in their grief. The hung head of Coltrane becomes the hung head of the minister in the pulpit, the hung head of the mourners passing in front of the caskets of the dead girls.

How might listening to the domestic life that rang out in the yard and kitchen below Coltrane’s practice room have shaped his sense of sound, particularly when composing A Love Supreme, an album he wrote in the month after the birth of a child? Might some of the reaching for a supreme love have come not only out of a devotion to a supreme creator but also out of a devotion to his children? Might this be another understanding of Creator and creativity—that of the domestic, that of the kitchen, the garden?"

...

"DMX in the space of the greenhouse and garden defamiliarizes the familiarity of his public persona. The image of him spritzing orchids with a copper mister—the water imperceptible—demonstrates his sudden and excessive vulnerability, his interiority. The lightness of the mist touching the leaves and heads of the flowers draws us toward DMX, draws us toward his touch, his hands, his eyes, and the vulnerability behind them. In the hands of DMX, the copper mister gathers and reifies what we cannot see, what has been ignored—his thoughtfulness, his silence, the nimbleness of his fingers, the delicate maneuvering of his body among the soft flesh of petals and stems. We are drawn to the intricacies, the looked-over, finer details of DMX, rather than the larger swirl of him. It’s like that moment in Toni Morrison’s novel Beloved when we learn that Paul D has stuffed his love, his hurt, his desire, into a little tin box inside of his chest and kept it closed, rusted shut, and away from even himself because of the atrocities of being enslaved, sold, whipped, cudgeled, and nearly drowned. Only after slavery did he allow himself to open this metaphoric tin box, to touch its contents, to feel what he would not let himself feel before. In the greenhouse, we pay attention to what we have not paid attention to before—DMX beyond the black ribbed T-shirt and Timberlands and braggadocio and stereotypical, well-circulated, and commodified forms of masculinity. The copper mister acts as synecdoche of DMX’s sense of care, announcing how he might bring beauty into the world: with a careful spritz, a nourishing touch. This touch, small and spectacular, but not a spectacle. No longer mired and fixed in the realm of the public, DMX, the figure, eludes us for a moment. Or, asks us to remove him from circulating only as an outsized persona of masculinity."

...

"The birds allow Tyson to enter a state of meditation. In residing with these animals, Tyson touches his own animal, is in solitude, silence—a realm not imagined to be inhabited or wanted by Black men. Tyson’s solitude is not the solitude of escapism or erasure, but a solitude of sitting with the self without the noise, traffic, and bluster of the world. A solitude of being one with others and just that—being, being so deeply inside oneself that there is no outside of oneself; there is no tension between you and the world. While there might be difference, there is no tension. I’m not trying to overly romanticize the man or his ritual, but I’d like to think alongside him, to sit in study with him.


In interview after interview, Tyson’s face glows with joy as he tries to articulate the inarticulable—why the birds bring him peace; why he is attracted to this sort of solitude. Tyson’s love for his pigeons is almost prelingual. It is without language not because he lacks the vocabulary or intelligence, but because the satisfaction is so deep down in the marrow of him that it would almost be like trying to bust open a piece of chalk to find its interior only to realize it’s all interior. And all exterior simultaneously. His joy with the birds is—it only is.

Tyson’s pigeon-sitting reminds me of transcendentalist Henry David Thoreau’s sojourn at Walden Pond and Ralph Waldo Emerson’s notion that in order to be one’s best self, one must first be a good animal. Tyson’s garage in Arizona and rooftop in Brooklyn are his Walden, his space for transcendent rumination, a space to shed the arena and listen to the littlest and loudest parts of himself. In the space of the domestic, under the flap and feather of his birds, Tyson becomes his best animal—not an animal of the arena, a spectacle, a gimmick, where his pugilism corroborates the time of market, the time of economy; here he accounts for the length, breadth, and depth of himself. His best animal roams and feels outside the reason and logic of time.

The time of the garage and the pigeons is only measured in the time of the garage and pigeons. This statement might seem tautological, but it is not. In the garage, time no longer becomes the measurement of accumulation, a measurement of efficacy. The time of the pigeons, the time of the garage, has no order or minutes or imposed structure. It is not the three-minute round of the boxing ring or the post-fight interview and media circus. The time of the pigeons, the time of the garage, exists unto itself, does not subject itself to anything other than its own happening, its own making. Tyson steps outside of the time of commerce, outside of the billion-dollar industry of the sports industrial complex, becomes a subversion of it. And makes for us, here and now, for himself, a pause, a break, a rip in time.

When watching Tyson talk of his birds or lovingly clutch them between his hands, you are watching a man deep in the throes of love and devotion. Not a man who’s ravenous or enraged. But a man who’s humbled by his proximity to beauty.

Maybe, in that “modest slave cabin,” the sleeping Muhammad Ali dreamt of this: a man on a roof who fought and broke himself and the world and was now surrounded by pigeons. And in being surrounded by the pigeons that man learned something of love. Or maybe Ali watches a man in a bedroom listening to his children, to them teasing each other, to them wailing, the quietness of his house when they go to bed; then, that same man picks up his horn and plays his house, plays the music of silence, of solitude, of being one with others. Maybe, Ali dreams of a Black man lying in a hammock or on a hillock, buried deep in the grass, his finger tracing the edge of a blade of grass. The man in the hammock or on the hill doing nothing else but tracing the afternoon, its heat, its buzzing mind. Maybe, he dreams of orchids. Maybe, he dreams of water and the water speaking to him of the orchids’ needs and his own. Maybe, the Prince of Heaven dreams of a man sitting on the floor of a kitchen, talking to his child while chicken fries in a cast-iron skillet on the stove. Maybe the Prince of Heaven dreams of walking out into a field and watching the sun turn down in the sky until he’s in nothing but blue. Maybe the Prince of Heaven does not dream at all. Maybe, he sleeps."]]></description>
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</item>
<item rdf:about="https://psyche.co/ideas/solitude-can-be-profoundly-restorative-heres-how-to-savour-it">
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    <dc:date>2024-11-03T22:44:21+00:00</dc:date>
    <link>https://psyche.co/ideas/solitude-can-be-profoundly-restorative-heres-how-to-savour-it</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Time alone offers unique psychological benefits, once you learn to embrace these quiet moments rather than escape them"
]]></description>
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<item rdf:about="https://aeon.co/essays/why-main-character-syndrome-is-philosophically-dangerous">
    <title>Why main character syndrome is philosophically dangerous | Aeon Essays</title>
    <dc:date>2024-10-06T23:29:14+00:00</dc:date>
    <link>https://aeon.co/essays/why-main-character-syndrome-is-philosophically-dangerous</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Why romanticising your own life is philosophically dubious, setting up toxic narratives and an inability to truly love"

[See also:

"Stories to Live By
If politics is your life, then you must tell yourself a political story in order to live."
https://hedgehogreview.com/web-features/thr/posts/stories-to-live-by ]]]></description>
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</item>
<item rdf:about="https://tricycle.org/article/hungry-ghosts-of-the-attention-economy/">
    <title>Hungry Ghosts of the Attention Economy - Tricycle: The Buddhist Review</title>
    <dc:date>2024-08-16T20:03:24+00:00</dc:date>
    <link>https://tricycle.org/article/hungry-ghosts-of-the-attention-economy/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Philosopher Byung-Chul Han’s theory of Buddhism and burnout"

...

"Identity is both a problem of inherited, socially shaped identities and the logic of identification itself, and political and spiritual liberation could be interconnected in the shared challenges they present to these structures."

...

"Still, Han can himself overreach and fall victim to the shallowness of similar endeavors. Some of the claims he makes about the spiritual nature of Japanese food culture and the Chinese language, primarily in Absence, ring hollow, regurgitating centuries-old stereotypes, and are by and large unnecessary to his larger points. These moments raise larger questions about whether it is ultimately critical to his analysis that the orientations of selfhood he identifies are locateable in terms of East and West, or in terms of some other set of differences entirely. I’m not sure if he or others in the comparative philosophical community have an answer to this one yet. 

For all his axiomatic grandeur, it is worth following Han as he asks us to consider how some of the biggest forces structuring our lives trap us in very small spaces, narrowing the apertures through which we can achieve self-knowledge, fulfillment, or even transcendence in ever more minuscule degrees. In this way, he has made the case that we are all hungry ghosts in an endless attention economy. Wanting more, striving harder, we get less. In this sense, his works asks the form that repose is to take if we are ever to get a rest that is neither a mere lunch break from the late capitalist hustle nor death."]]></description>
<dc:subject>nathanielgallant 2024 byung-chulhan buddhism zenbuddhism burnout boredom patience attention mediation contemplation slow stillness margarettalbot stsuzuki philosophy solitude identity selfhood emptiness nothingness religion descartes zenjuearthlynmanuel chenxinghan liberation spirituality friendliness relationships mahayana compassion positivity stimulus exhaustion negativity zen</dc:subject>
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</item>
<item rdf:about="https://www.patriciamou.com/newsletter-archive/utopian-cities-and-disconnection-pt-2-of-the-third-place-series">
    <title>utopia &amp; disconnection (pt.2 of the third place series)</title>
    <dc:date>2024-08-14T20:20:50+00:00</dc:date>
    <link>https://www.patriciamou.com/newsletter-archive/utopian-cities-and-disconnection-pt-2-of-the-third-place-series</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[also here (with edits):
"utopian cities and disconnection (pt.2 of the third place series)
walks in nature, lindy libraries, & beauty in solitude"
https://www.wellnesswisdom.xyz/p/-wellness-wisdom-vol39-utopian-cities ]

[part 1: "what is the third place? (pt.1)"
https://www.patriciamou.com/newsletter-archive/what-is-the-third-place-pt-1
https://www.wellnesswisdom.xyz/p/-wellness-wisdom-vol38-what-is-the

part 3: "future of 3rd spaces (pt.3 of the third place series)"
https://www.patriciamou.com/newsletter-archive/the-future-of-virtual-and-physical-third-spaces-pt-3-of-the-third-place-series
https://www.wellnesswisdom.xyz/p/-wellness-wisdom-vol40-the-future "]]></description>
<dc:subject>2020 patriciamou 2021 thirdspaces bature wellbeing libraries solitude cities urban urbanism sfcommons thirdplaces well-being</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
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</item>
<item rdf:about="https://www.patriciamou.com/newsletter-archive/a-manifesto-the-next-era-of-third-spaces-as-crucibles-for-meaning-making">
    <title>a manifesto: the next era of third spaces as crucibles for meaning-making</title>
    <dc:date>2024-08-14T20:07:29+00:00</dc:date>
    <link>https://www.patriciamou.com/newsletter-archive/a-manifesto-the-next-era-of-third-spaces-as-crucibles-for-meaning-making</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[also here:
https://www.wellnesswisdom.xyz/p/a-manifesto-the-next-era-of-third ]]]></description>
<dc:subject>patriciamou 2020 thirdspaces churches society loneliness meaning meaningmaking communion church secularism interconnected interconnectedness community history coffeehouses vienna paris salons agoras athens stoas bathouses civics identity clubs bookclubs programming sfcommons religion spirituality solitude sensemaking thirdplaces cafes coffeeshops makingsense</dc:subject>
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    <dc:creator>robertogreco</dc:creator><description><![CDATA["In her final unfinished work, Hannah Arendt mounted an incisive critique of the idea that we are in search of our true selves"
]]></description>
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    <link>https://daily.jstor.org/wild-saints-and-holy-fools/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Early Christian writers valorized the desert life of ascetic monks, but the city also had something to offer would-be “fools for Christ”."
]]></description>
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    <link>https://theconvivialsociety.substack.com/p/the-ambling-mind</link>
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<item rdf:about="https://psyche.co/ideas/the-divided-self-does-where-i-live-make-me-who-i-am">
    <title>The divided self: does where I live make me who I am? | Psyche Ideas</title>
    <dc:date>2024-04-06T18:51:48+00:00</dc:date>
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    <dc:creator>robertogreco</dc:creator><description><![CDATA["At home in Delhi, I am a more social, interactive person. A quiet balcony in Frankfurt gave me space to be by myself

Ever since my husband (M) moved to Germany to pursue his master’s late in 2022, we’d been living apart on two continents. The summer following, I got a chance to spend two months with him in his rented apartment in Frankfurt. With its insulated glass doors, automated windows and extremely organised interiors, the apartment was shut off from the outside world. If you rolled down the shutters, you could easily forget if it was day or night. Everything we needed was indoors. If M’s room didn’t come with a balcony attached, it would have also been easy to forget that there was a world outside, too.

This mode of living was so unlike what I was used to in Delhi that my stay with M created a subliminal shift: it forced me to consider life and its cadences, and their direct dependence on the spaces we call home.

Back in Delhi, I was renting a two-bedroom ground-floor flat that came with two (tiny) balconies, a large living room and a dining space attached to the kitchen. The neighbourhood cats were always dipping in and out of the place, reminding me that mine was a porous and accepting way of living. Such a fluid arrangement of space suited me. Cats, people and seasons could come and go but I was the constant, unmoving, governing factor. Head of the household. I’d decide when to leave the balcony doors open, when to invite people over, when to step out. In the backyard, there are unending views of trees and the constant cacophony that comes with living in a bustling and bruised city like Delhi. Next door is a massive secondary high school where hundreds of children screech in the playground every morning. I hear them singing during assembly, and the music of their carnival practice and performances is the background to my days. When my upstairs neighbours prepare their Bengali dishes at weekends, my entire house is pervaded with the mouth-watering aromas of mustard and fish. Their kids drop by sometimes, in the evenings, to take Hindi language lessons from me or just to say hello to the cats. This carousel of tangible human activity makes up the interiors of my day-to-day life. In a sense, it is a tactile existence, requiring more from me than is immediately apparent.

In Delhi, it’s almost impossible to be self-involved, for a boundaryless living arrangement invariably pulls me into other people’s worlds; that of Raju, the door-to-door vegetable vendor; the grocer who home-delivers past business hours; the stray cats who come to visit and sometimes stay. My local chemist, the house help, my upstairs neighbours, the society guard – all constitute my daily living as much as I do, making me a more social, dependent, interactive person. This kind of constant exchange with the outside world alters the very fabric of an individual.

M’s Frankfurt flat has dedicated rooms for different people from different parts of the world. There’s a shared kitchen and hall area and a massive balcony intended for everyone’s use, but it ended up coming in handy only for me. Over last year’s extended summer, the endless stretch of that balcony became my island of comfort. I took work calls as I paced its length, the blue sky stretching above, allowing for a kind of shelter from all that was unknown: a new organisation, new colleagues, new projects to get lost in. The German sun worked like a balm, soothing my anxious nerves as I spoke at length about ongoing projects. Up in the air, in a sterile, muted space, cordoned off from the world below, the balcony became an oddly private space. A space like this in Delhi would be a window through which the outer world – the turgid air, the noisy monkeys, the neighbour’s drying laundry – would seep in. But the Frankfurt balcony gave me space to be by myself, suspended between a self neither fully here nor there.

In Frankfurt, I felt freer than I’d felt in Delhi, but also a lot more self-involved
I spoke some German. Broken bits remembered from university days spliced with new ones from Duolingo. I spoke haltingly, afraid I might cause irritation in others. I would switch to English whenever I could. Why had I not bothered to learn German better before setting foot in Frankfurt? Had I done so, I reflected, it would have hit even harder that I was, in fact, on alien land. This reminded me of the quandary that the novelist Jhumpa Lahiri was faced with when she was in Italy, trying to converse in Italian: ‘I was more interested in the how than the why: how to speak the language better, how to make it my own.’ But living in the air, on the fourth floor, I hardly ever engaged with my neighbours. Instead, I was always moving in and out of the apartment, negotiating the city, with its splendid roads and German grocery stores. Like Lahiri, I was trying on a new persona in a foreign land. Ambling by the Main river, I could be anyone. And in many ways, I was. At such a remove from all I had known before, this was as good as a new life.

I could wake up whenever I wanted. In the 45 days I lived in M’s Frankfurt apartment, the doorbell rang fewer than five times. There was a special, almost eerie kind of quiet that enveloped me, and that I filled in by listening to a mix of Bengali and English music. I would wake up, prepare my breakfast making as little noise as possible so as not to disturb the other people in the apartment. These beats affected my mood. The excessive quiet, the over-reliance on my own self, the individualistic way of looking at things accumulated, became a kind of narrow optic through which I observed life in a more limited way.

In Frankfurt, I felt freer than I’d felt in Delhi, but also a lot more self-involved. It was as if I had to put on borrowed clothes, or something akin to trying on various sizes and colours in a store changing room. I was yet to know what would fit me best. With this new way of living came anonymity, privacy, and the fantasy of exploring options I might not have in Delhi. In M’s Frankfurt flat, I could be my own person, minding my business, cooking meals alone, cleaning up after myself. My days represented an atomised, solitary journey. Such a contrast to my life in Delhi, where there were conversations I needed to have on a regular basis, however much I didn’t want to; people I had to socialise with no matter what my mental space or mood might be. In effect, I’d stumbled on the perfect marriage of isolation and first-world living. There were days when even a one-off conversation with a stranger was hard to come by. It fed the solitude-seeker in me, who’d look askance at the city’s visage during her walks, AirPods in place, listening to a podcast, using the time to ruminate inwardly. That there was no impingement from the outside world meant I could immerse myself fully in my work, or the book I was reading, or the essay I was writing. Some mornings, I’d get coffee from the Wiener Feinbäcker next door, and sit there with a cold ham sandwich, writing my morning pages on my phone’s Notes app.

Living this way made me realise how much I could preserve, engage more with my own thoughts, and nurture a healthy relationship with myself. There were flatmates I might have made friends with, or at least opened up to more, but something held me back. There was a language I could have learned better (and maybe I will in future) but I didn’t want to rush into that either. I wanted things to take their own sweet time. I wanted them to unfold in organic ways. It dawned on me then that I held myself back because I was ready to leave Frankfurt sooner rather than later – and if I was not to stay, why should I even bother? While I yearned to establish an emotional connection – with a person, or the German language or any aspect of German culture – I also took stock of the vanity of such an attempt. I would be leaving in a few weeks, after all. Therein lay the inherent migrant’s dilemma of how much to blend in, when to desist, and how to pluck oneself away because there is the chance of feeling deracinated.

Back in Delhi, I had to readjust to wake early in the morning, with the milkman ringing the doorbell and leaving a bottle of milk at my doorstep. Then came the garbage collector and, soon after, daily vendors poured in, hollering their sounds on the roads, calling out for vegetables or fruits, ringing my doorbell in case I might be looking for something. I was reminded of the kind of living advocated both by the urbanist scholar Jane Jacobs and the filmmaker Agnès Varda. According to Jacobs, neighbourhoods with their communities of residents and bustling pavements make for an ‘intricate sidewalk ballet’. Her vision of the city chimes with my version of Delhi. The most revealing aspect of Jacobs’s work, which resonates deeply with me, is her emphasis on knowing our cities, through our neighbourhoods and the people who populate them, in such a way that we can map them internally. In Dark Age Ahead (2004), Jacobs writes: ‘A community is a complex organism with complicated resources that grow gradually and organically.’

I encountered Varda through her documentary Daguerréotypes (1975), a time capsule of working life in the Rue Daguerre in Paris. Through Varda’s lens, the businesses and their owners are the lifeblood of the neighbourhood – bakers, tailors, butchers, drivers, perfumers, music-store staff – creating an intrinsic mesh of everyday life. The sociological fibre of the film felt deeply familiar to me in closely resembling my way of life in Delhi and in capturing what it’s like to be, even fleetingly, part of a revolving cast of a densely matrixed locale, everyone a participant in the daily dance of life. Varda jumped out at me as a poet for whom place was the muse (for her, it was France). I later discovered that she’d described this film as ‘more or less a casual look at my neighbours’ – ranging within a 90-metre radius, too, because that’s how far the electrical cables of her equipment stretched from her own apartment.

Varda’s films are so deeply rooted in the cultures, milieux and neighbourhoods of their time. She has created, through her vast repertoire, an imagery about how people, places, buildings share memories. Varda’s films exude a subtle sense of poetry, which has helped me mine them for meaning about my own surroundings and to think about different ways of placemaking; of making the invisible visible and, in seeing the unseen, to know and learn from the city while simultaneously living in it.

Admittedly, a good part of my hours in both places was spent in a kind of a limbo; waiting for the days to end, for work to start (or finish): for life to happen. In Delhi, I work during the day, then figure some route through the lonesome nights. Friends visit me, we cook together, drink, dance, go out and talk. In Frankfurt too, I spent the majority of my days working alone, but the nights were golden when M returned. Still, in the absence of an immediate circle to depend on, my approach to life there felt restless. Behind this shift, I sensed the chaff of differing social codes. Germany, and by extension, Western society, is built on individuals seeking to better their lives in their own singular ways, whereas the Indian middle-class life is rooted in a more communal style of living. It makes the experience of life in India more like a palimpsest, something that keeps folding in on itself, revealing within an intricate mesh of interdependent systems and individuals that coalesce to create a whole.

All this is not to say that I preferred one way of living to the other: I’d made my life in Delhi from scratch, too. But I learnt that, wherever we go, we change as individuals; my memories of my time in Frankfurt are very much governed by the interiors of the flat I lived in, whereas my memories of home, where my heart lives, are boundless – even if I can sometimes feel like a tourist there, observing the very life I’ve woven myself into. Still, I wonder if our psychology alters in accordance with the physical living spaces we inhabit – if ‘where’ I live makes me the person I am? Like James Baldwin in Giovanni’s Room (1956), I wonder whether ‘Perhaps home is not a place but simply an irrevocable condition."]]></description>
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<item rdf:about="https://theconvivialsociety.substack.com/p/desire-dopamine-and-the-internet">
    <title>Desire, Dopamine, and the Internet - by L. M. Sacasas</title>
    <dc:date>2024-03-24T02:39:43+00:00</dc:date>
    <link>https://theconvivialsociety.substack.com/p/desire-dopamine-and-the-internet</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[in response to:
https://www.honest-broker.com/p/the-state-of-the-culture-2024 ]

"But what has this to do with so-called “dopamine culture”?

The organizing principle of this essay has been this: the “dopamine culture” frame is too simplistic and tacitly9 encourages an impoverished view of human personhood. To reduce a discussion of this significance to the operations of dopamine already sets us off on the wrong path. We need a fuller account of our relationship with digital media as well as a richer story of human desire in order to see our way through the challenges we face. Interestingly, the dopamine framing is also an artifact of the condition it tries to explain: it is a powerful and catchy meme, although one that is offered in the best spirit. For these reasons, I fear that it may trap us in the very patterns that it seeks to overcome.

What I have attempted to offer in its place is a wider and more substantive array of explanations for the dynamics of digital culture, grounded in a specific understanding of our media environment and of the human condition. Take these for whatever they may be worth. At the very least, I hope they prompt thoughtful conversation and reflection.

Finally, coming back to the question Sophie posed when asked to consider setting aside her smartphone for a period of time: “Why would I do that?” Why might any of us seek to better order our relationship to digital media?

This is the question we need to be asking and attempting to answer, for ourselves and for others. We need a compelling account of silence, solitude, attention, disciplined engagement, well-considered restraint, vulnerability, and risk. But not for their own sake or for the sake of nebulously resisting the lure of digital technologies, and much less out of a misguided reactionary impulse. Rather, we must come to see these as the necessary skills and requisite virtues for the pursuit of our well-being and that of our neighbors."]]></description>
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<item rdf:about="https://www.youtube.com/watch?v=eegzTvPT6xY">
    <title>An Honest Living: A Memoir of Peculiar Itineraries with Steven Salaita - YouTube</title>
    <dc:date>2024-03-14T18:34:25+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=eegzTvPT6xY</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["In this episode we welcome Steven Salaita back to MAKC to discuss his most recent book An Honest Living: A Memoir of Peculiar Itineraries

Book Description:

In the summer of 2014, Steven Salaita was fired from a tenured position in American Indian Studies at the University of Illinois for his unwavering stance on Palestinian human rights and other political controversies. A year later, he landed a job in Lebanon, but that, too, ended badly. With no other recourse, Salaita found himself trading his successful academic career for an hourly salaried job. Told primarily from behind the wheel of a school bus―a vantage point from which Salaita explores social anxiety, suburban architecture, political alienation, racial oppression, working-class solidarity, pro­fessional malfeasance, and the joy of chauffeuring children to and from school―An Honest Living describes the author’s decade of turbulent post-professorial life and his recent return to the lectern.

Steven Salaita was practically born to a life in academia. His father taught physics at an HBCU in southern West Virginia and his earliest memories are of life on campus and the cinder walls of the classroom. It was no surprise that he ended up in the classroom straight after graduate school. Yet three of his university jobs―Virginia Tech, the University of Illinois, and the American University of Beirut [AUB] ―ended in public controversy. Shaken by his sudden notoriety and false claims of antisemitism, Salaita found himself driving a school bus to make ends meet. While some considered this just punishment for his anti-Zionist beliefs, Steven found that driving a bus provided him with not just a means to pay the bills but a path toward freedom of thought.

Now ten years later, with a job at American University at Cairo, Salaita reconciles his past with his future. His restlessness has found a home, yet his return to academe is met with the same condition of fugitivity from whence he was expelled: an occasion for defiance, not conciliation. An Honest Living presents an intimate personal narrative of the author’s decade of professional joys and travails."]]></description>
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    <title>Birds Do Not Sing in Caves - YouTube</title>
    <dc:date>2024-02-08T18:29:33+00:00</dc:date>
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    <dc:creator>robertogreco</dc:creator><description><![CDATA["https://kishorebalasubramanian.wordpress.com/thoreaus-view-on-progress/

Walden, by Henry David Thoreau
The Question Concerning Technology, by Martin Heidegger

Radical Minimalism: "Walden" in the Capitalocene
Author(s): Michelle C. Neely
Source: The Concord Saunterer , 2018, New Series, Vol. 26 (2018), pp. 144-150 Published by: The Thoreau Society, Inc.

Thoreau's "Walden" in the Twenty-first Century
Author(s): SueEllen Campbell, Bradley P. Dean, Bill McKibben, John Hanson Mitchell, Joel Myerson, Mary E. Pitts, Robert Sattelmeyer, Jay Vogelsong, Laura Dassow Walls and Edward O. Wilson
Source: The Concord Saunterer , 2004/2005, New Series, Vol. 12/13 (2004/2005), pp. 6-17 Published by: The Thoreau Society, Inc.

Chapter Title: Solitude & Thinking. Henry David Thoreau Chapter Author(s): Margot Wielgus
Book Title: Anthropologie der Theorie
Book Editor(s): Thomas Jürgasch and Tobias Keiling Published by: Mohr Siebeck GmbH and Co. KG

Five Ways of Looking at Walden Author(s): Walter Harding
Source: The Massachusetts Review , Autumn, 1962, Vol. 4, No. 1 (Autumn, 1962), pp. 149-162
Published by: The Massachusetts Review, Inc.

Understanding Heidegger on Technology
Author(s): Mark Blitz
Source: The New Atlantis , Winter 2014, No. 41 (Winter 2014), pp. 63-80 Published by: Center for the Study of Technology and Society"]]></description>
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    <title>An Exciting Time - The Loaf, with Tim Kreider</title>
    <dc:date>2024-02-02T15:45:14+00:00</dc:date>
    <link>https://timkreider.substack.com/p/an-exciting-time</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["“Excitement” is a word people use a lot when you have a book coming out: You must be so excited! Such an exciting time! We’re all very excited, etc. My friend Nell currently has a book out: Transient and Strange: Notes on the Science of Life. The emotional alloy “excitement” has a lot of different elements, one of which is dread. (I once read an interview with a writer who said that whenever he heard that someone had a new book out, he always thought: You poor bastard.) Nell and I share the same literary agent, The Fabulous Meg Thompson, who recently griped to me that a lot of her authors—particularly the essayists and memoirists—seem less than excited about the prospect of promoting their own books. This attitude is confounding to T.F.M.T., but to me it seems self-explanatory: “They’re writers,” I explained. When I first decided to become a writer, authors were known as people who wrote whole novels entirely in bed isolated in cork-lined rooms or walked into rivers with pocketfuls of stones or were addicted to heroin and shot their wives in the head. It was not assumed they’d be eager to do AMAs on Goodreads or promos on Book-Tok.

I used to think the ideal situation would be to be like Thomas Pynchon or J.D. Salinger—a famous recluse. But you don’t get to be famous by being a recluse anymore. Through an insidious Darwinian winnowing over the last decades, most of the living writers you’ve heard of now tend to be of that freakish breed who take naturally to self-promotion and thrive on social media, like those newly evolved bacteria that eat plastic. (The most successful writer I know—by “know” I mean I once smuggled her pet ferret into her dorm room for her—now runs $700 theme weekends based on her own novels.1) These are highly adaptive qualities in the harsh 21st century media environment, but they rarely correlate to writing talent, and are more often inimical to it; writing is a lonely, obsessive practice, favored by those types who prefer solitude, observation, and long, uninterrupted thoughts to celebrity, performance, and mouthing off on twitter.

The two skills sets may overlap—Harlan Ellison used to write whole short stories sitting in the windows of bookstores—but they’re not naturally compatible. (Dorothy Parker pointed out that none of the members of the Algonquin Roundtable—the equivalent of the twitterati ca. 1920s—were among the literary giants of their day: they were “just a lot of people telling jokes and telling each other how good they were.”) One instructive contrast is between Ken Kesey, who wrote a couple of great novels and then became a motley clown-prophet of LSD, partied with biker gangs, roved around the country in a psychedelic bus and forgot ever to write anything again, and his less celebrated friend Robert Stone, who quietly continued to write some of the best American novels of the last half-century.

The fate of those writers who buy their own acts, and succumb to the addiction of celebrity, lacks even the dignity of Greek tragedy: think of Truman Capote’s trajectory from In Cold Blood to Murder by Death. I saw Hunter S. Thompson—once an important writer to me—speak after he’d become a professional Hunter S. Thompson impersonator: he sat onstage holding boozily forth drinking Chivas Regal and whacking things with a rubber squeak-toy mallet. It was like seeing an animal that once could’ve skwapped your head off with one paw dressed in a tutu and riding a unicycle.

But Nell, unlike most writers, is already practiced at public performance, and putting on a professional persona. You’re probably familiar with her work already, whether you know it or not; her name is listed on “The Women of NPR” T-shirt: Nell Greenfieldboyce, science correspondent. (Most recently she delivered the crushing disillusionment that the best-known images of Neptune are in false color; rather than a deep oceanic azure, it’s really a washed-out pea green, little more photogenic than Uranus.) And she’s done everything expected of her in her book’s publicity campaign: a friend wrote me that at a reading in DC “she knew how to hold the room [and] answered questions, no matter how left-field, with insight and nuance”; in interviews she comes across as articulate, funny, and candid; and she is, as I write this, reading her throat raw recording the audio edition of her book. So if she does have any trepidation about publication, I suspect it’s for other, less obvious reasons.

It is an unavoidably fraught business, relinquishing a book you’ve been working on for years to the judgment of the public, even more so if your material is your own life. If I were to pick up a book by an NPR personality, I would not be expecting what you’ll find in Transient and Strange: it is intimate, literary, and serious. It’s not a collection of science essays like Lewis Thomas’s or Stephen Jay Gould’s, but personal essays intertwined with science, as inextricably as science is intertwined through all our lives, through matters of birth and sex and life and death. Nell writes about trying to assuage her children’s fear of tornadoes while knowing that disasters are in fact coming that she can’t protect them from; about being hit on as a 12-year-old girl by an older guy and the creepy etymology of the term “black hole”; about the history of eugenics as refracted through the medical and ethical ordeal of trying to ensure that her own children won’t inherit a genetic kidney defect. Nell is pretty phlegmatic about exposing herself in her work (when I asked her permission to write about some confidential or delicate detail, she finally decided: “Oh who cares. We’ll all be dead someday”), but I can only imagine she must feel discomfitingly naked in these pages, or at seeing her husband and children mentioned in reviews.

But her book’s imminent release has also had another, unexpected effect. Since advance copies have become available, colleagues, friends and acquaintances who’ve read it keep approaching Nell with a kind of perplexed and tender awe. A friend’s husband, seeing her at a Christmas party, immediately gushed, “Nell—WTF?” and embraced her “like a soul mate” —as if to say: Who is this sensitive sentimental person you’ve secretly been this whole time? I can imagine that, to people who don’t know her well, Nell’s demeanor might seem daunting, even intimidating, so for them this book must come as a revelation. Like a lot of writers, Nell often feels at an involuntary remove from other people, like a researcher observing subjects from behind one-way glass, which can be an advantage as an artist, but is isolating and sad for a human being. So this breaching of that barrier comes like the touch of a finger through an air hole.

I recognize this experience from my own writing career: my sister told me she’d learned more about me from reading my first book than she had from being my sister for forty years. It’s awkward to be caught confiding things to strangers that you never got around to mentioning to your own family—and I’m not sure whether it’s more awkward talking to strangers who now think they know everything about you, or to your family, who realize that they don’t. It feels both exhibitionistic and like a betrayal. Of course it’s easier to tell you some things, reader, the same way it’s easier to tell them to a stranger in a bar, because—no offense—I have nothing to lose with you. And it’s different for a writers to tell the truth to readers than to people in their own lives, because it’s in a professional context, like someone who would not normally go about shooting total strangers doing so because he’s a soldier. It’s the job.

Maybe because I write about my own life, I’ve always had an ambivalent relationship with readers. Of course, like most ambitious artists, I was always covetous of fame, but once I actually attained some modest renown, I affected to be dismissive of the attention that I (as opposed to my work) received. I felt as if, by focusing on me as a person, readers fundamentally misunderstood what I was trying to do. My writing wasn’t supposed to be about me, but about them; it’s like when you’re pointing at something for a dog and it just stares at your finger. They’d already gotten the best aspect of me in my work; it was a fallacy to imagine that there’s more of the same to be found in the real-life person of me. (Which is why I’ve never quite understood people’s plaints about writers or other artists turning out to be imperfect, even terrible people.) So my attitude was partly the reflexive contempt you feel toward anyone gullible enough to admire you (cf. the aphorisms of Nietzsche and Marx), partly a protective recoiling from their somewhat valid/somewhat delusional presumption that they knew me. And some of it was an ascetic impulse to quash my own embarrassing greed for attention, no different from an Instagram influencer’s or Donald Trump’s. I had to not to care at all to keep from caring too much.

Whenever I felt sorry for myself because my books were never featured on the display tables of bookstores, I’d turn to the consolation of posterity: Okay, so maybe my books were not exactly bestsellers, and I never won any literary awards, but someday people will recognize my talent. This seems silly and misguided now, like pretending it doesn’t matter that your life sucks because you know you’re going to Heaven. For one thing, it won’t matter to me; I’ll be dead. Ovid and Seneca don’t care that I’m reading their work. And those future readers are purely imaginary, or at least hypothetical (and if we as a species really screw things up, they may never exist at all). And anyway, why would I imagine that people a century or millennium from now will be any wiser or more discerning than the ones currently awarding stars on Goodreads? There is no ideal audience, no council of elders to adjudicate literary quality; it’s just us. The only people you’ll ever really be able to connect with are the ones who are here now, enjoying their one brief chance to be alive alongside you.

In defending myself against that corrosive attention, I was also denying myself something vital. In the same way that I sometimes wish I’d paid more attention during the Obama years, appreciated what we had while we had it, I now wish I’d been less guarded in my interactions with readers. Because, it turns out, this may have been the part of writing a book that mattered the most. When I saw Ray Bradbury speak—one of my own favorite writers as a young reader—he told us that, when he was a teenager, he’d sent a crazed fan letter to Hal Foster, creator of the comic strip Prince Valiant. By way of thank-you note, Foster sent young Ray a whole page of his original art (a page that would now go at auction for the cost of a new car). “I wrote him to say, ‘I love you,’ and he wrote back and said, ‘I love you too,’” Bradbury concluded. “Write the people whose work you love and tell ‘em you love them!” he commanded. The best consequence of having written my books has been the people it’s brought into my life—writers I’ve long admired who are now correspondents, students who’ve graduated to become colleagues and friends, strangers I came to know and, sometimes, to love. You beam your feeble radio signals out into the abyss and then, one morning, years later, the skies are full of starships.

My partner is a writer, too, but you’ve never read anything by her because she’s not particularly interested in publishing. She writes, she says, in order to think; she’s so constantly harried by running a business that she cherishes the chance to sit and untangle her inchoate thoughts, trace their patterns, and follow them to their ends. It is, I think, a purer, saner motive than mine. But most people who write for publication are not entirely healthy; we’re afflicted with an insatiable craving for the validation of strangers. But my partner’s former husband, a musician, also told her that the creative process really isn’t complete until you’ve shared your work with others. Which, for the kinds of people who prefer to spend hundreds of hours alone in a room toying with their own ideas, can be a nerve-racking ordeal. But there’s a crucial difference between the need to be paid attention to and the desire to connect—it’s the difference between trying to one-up someone else’s story and telling one of your own to commiserate, to empathize; between saying Look at me, everybody and You’re not the only one.

All the self-promotional bullshit that Nell and I and every other writer acquiesces to is just the crass commercial means to an authentic human end; it’s what the recording industry is to music, what taxes are to a civil society. At the end of this month I’m going to see Nell give a reading in New York City, at the swank and mysterious Cosmopolitan Club. I’m very much looking forward to this event—to being not up at the podium but out in the audience, not only as Nell’s friend and colleague but an admirer, a fan. Just another reader, out there in the dark."]]></description>
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<item rdf:about="https://www.youtube.com/watch?v=kM80XaAWC5I">
    <title>A Conversation on Creating Art in Diaspora [Rupy C. Tut and Maya Salameh] - YouTube</title>
    <dc:date>2023-10-25T01:25:43+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=kM80XaAWC5I</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Living in diaspora is an infinitely complex, deeply personal experience that occurs in vastly different ways. This program will allow two accomplished artists who are creating art in diaspora to reflect upon their overlapping motivations and experiences, the way their work stands in cultural limbo, and how creating their art has affected their senses of self and identity."

[See also:

https://www.famsf.org/events/rupy-tut-maya-salameh-talk

"Maya Salameh is a Syrian American poet and the author of How to Make an Algorithm in the Microwave (University of Arkansas Press, 2022) and rooh (Paper Nautilus Press, 2020). She is the recipient of the Etel Adnan Poetry Prize and the Markowitz Award, and her work has appeared in POETRY, The Rumpus, and the LA Times. She can be found at @mayaslmh or mayasalameh.com. 

Rupy C. Tut creates paintings on paper and linen using handmade pigments. Her work is rooted in personal history; Tut is a grandchild of refugees, an immigrant, a mother, and a preservationist of traditional Indian painting techniques in use since 18th century AD. Her work is in the permanent collection of the Crocker Art Museum, Sacramento; the de Young, San Francisco; and the Asian Art Museum, San Francisco."

Rupy C. Tut
https://www.rupyctut.com/

Maya Salameh
https://www.mayasalameh.com/ ]]]></description>
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<item rdf:about="https://www.nytimes.com/2023/09/20/opinion/walk-and-talk-meetings.html">
    <title>Opinion | No, I Don’t Want to Go for a Walk With You - The New York Times</title>
    <dc:date>2023-09-20T22:56:52+00:00</dc:date>
    <link>https://www.nytimes.com/2023/09/20/opinion/walk-and-talk-meetings.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["A new form of social tyranny has broken out. Opposition to it seems churlish and unsporting. Refusal risks offense. Other than actual or feigned injury, or bad weather, there is truly no escape.

I am speaking of the invitation that seems to arrive with ever increasing frequency from acquaintances, new friends and colleagues: Do you want to take a walk with me?

My answer is, in almost every case, no. I would not like to take a walk with you.

Don’t get me wrong. I love walking. I am a New Yorker, so I walk every day, several times a day. With my dogs in the park first thing in the morning. To the supermarket or the subway. And I am hardly a misanthrope. I love a coffee date or meeting for lunch. I’ll happily do drinks, soft or hard, depending on the mood and the hour. Or meet for a chat on a park bench.

But what began as a pandemic necessity has continued in a world where, despite a spike in Covid cases, normal life has come raging back.

This summer, people forked over wads of cash that could buy you a pretty decent used car to be wedged in close, screaming at the top of their lungs, at a Beyoncé concert or watching Coco Gauff pummel her way to her first Grand Slam title in the U.S. Open. These are ideal as shared activities. (For the record, I sadly didn’t score tickets to either of these extravaganzas.) Walking is another story.

I had a classic Generation X childhood that hovered just on the edge between free range and outright neglect. This meant I was expected, from quite a young age, to make myself scarce from home and find my own entertainment. My family moved around a lot; I was a bookish and awkward kid, more comfortable with adults than with people my own age. I spent a lot of time alone. I walked and walked and walked.

This was the 1980s, long before we could carry thousands of digitized songs in our pockets, and podcasts, of course, did not exist. Lacking a Walkman, I had nothing but my own thoughts to keep me company on these rambles, and my young, plastic mind formed indelible grooves and associations. Like most humans, I am a terrible multitasker. Invite me on a walk and I will struggle to keep up my end of the conversation because my brain cannot unlearn that walking time is thinking time, my mind wandering as widely and aimlessly as my feet.

This became a problem for me even before the pandemic. It was the early 2010s: Sitting (once a comfort I associated with the pleasure of reading) was suddenly considered as bad as smoking (once a pleasure I associated with … pleasure). Walking, or “getting your steps in,” would lower cholesterol, forestall diabetes, improve your memory.

This news came in the wake of a big tech boom. The innovation gurus of Silicon Valley were coming up with wild new ideas that transformed our economy, powered by new ways of working — open office plans that supposedly encouraged collaboration, playful workplace amenities like Ping-Pong tables. And of course, walks. Steve Jobs set the blueprint: He loved a walking meeting, and his endless imitators adopted the habit.

I tried mightily to get onboard with this trend, especially in the years I spent as a media executive working in tech companies. But I never got the hang of the walk and talk. Years of training my mind to pay attention while still and wander while wandering proved impossible to dislodge.

Even passive listening kills the vibe. Gripped by the mania for optimization, I used to try to fill my walking time with podcasts and audiobooks. But over time I find that I do less and less of that, in no small part because I often struggle to pay attention to what I’m listening to.

I really do appreciate the arguments in favor of walking and talking. Walking is good for you. Some people find it easier to talk to someone while engaged in another activity. This is apparently especially true for boys and men (my theory is that’s because men have been socialized to feel uncomfortable making one-on-one eye contact with one another).

A walk is a way to meet someone without consuming things (coffee, alcohol and food being the most popular choices) and without creating the obligation to provide hospitality in your home. I have a special exception to my general rule for parents of young children, for whom a walk while pushing a slumbering infant in a stroller is a rare chance to connect with a grown-up. And of course a spontaneous walk with a close friend — someone with whom you have a genuine, intimate relationship — can be a joy.

And yet. Taking a walk with someone you don’t know that well feels, to me at least, a bit like a forced march into intimacy, or an unwanted conscription of a treasured morsel of leisure into our obsession with productivity and self-improvement.

Even the arguments for the creative benefits of walking can fall into this trap. Fans of walks love to point out that Virginia Woolf dreamed up “To the Lighthouse” on a walk around Tavistock Square. Insomniac walks through London powered Dickens’s novels. Bathtubs and apple trees get all the attention, but many more scientists have had their eureka moments while on long, solitary ambles. Friedrich Nietzsche famously wrote that “only those thoughts that come by walking have any value.”

Sure. But the magic lies not in the end result but in the activity itself.

In her book “Wanderlust,” Rebecca Solnit captures solitary ambling perfectly: “Walking, ideally, is a state in which the mind, the body, and the world are aligned, as though they were three characters finally in conversation together, three notes suddenly making a chord. Walking allows us to be in our bodies and in the world without being made busy by them.”

The writer Teju Cole often gets invited to take walks, because his luminous novel, “Open City,” is filled with looping, interminable walks. But he usually demurs.

“Really, what I love more than walking itself is getting lost,” he said in an email. “And getting lost with someone else in tow is difficult. This might be why my favorite walks have been in solitude and in cities with which I am unfamiliar. One evening a few years ago, in the throes of jet lag, I set out from my Paris hotel without a map and without a phone, and I simply walked, for almost four hours. It remains my most memorable experience of that city.”

But even in your hometown, solitude rules. Or so Colson Whitehead, novelist and indefatigable New York walker, said of his peregrinations.

“Walking in New York is very much a solo pursuit for me,” he told me. “But I never feel alone because I have company — I’m walking with, not through, the City.”

Walking is a rare moment in our modern life where you can just let your mind wander. Aimless walking is a lost art in our ever-optimizing society. So let’s meet for coffee. I’m sure I’ll come up with lots of fun things to talk about on the walk over."]]></description>
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<item rdf:about="https://en.wikipedia.org/wiki/Tehching_Hsieh">
    <title>Tehching Hsieh - Wikipedia</title>
    <dc:date>2023-09-03T23:52:29+00:00</dc:date>
    <link>https://en.wikipedia.org/wiki/Tehching_Hsieh</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[""His pieces are not feats of stamina nor consciously motivated by a desire to suffer (although they have been described as ordeals), but rather are explorations of time and of struggle. According to the American cultural critic Steven Shaviro, Hsieh's work can be seen as being about imprisonment, solitude, work, time, homelessness, exposure, marriage / human relations, and the way in which art and life are related.[14] The artist himself states his work is about "wasting time and freethinking"."]]></description>
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<item rdf:about="https://www.youtube.com/watch?v=dyV1FIkosZ4">
    <title>Nick Estes on the New Age to Nazi pipeline - YouTube</title>
    <dc:date>2023-06-07T01:05:05+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=dyV1FIkosZ4</link>
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<item rdf:about="https://freddiedeboer.substack.com/p/you-are-you-we-live-here-this-is">
    <title>You Are You. We Live Here. This is Now. - Freddie deBoer</title>
    <dc:date>2023-03-30T06:16:43+00:00</dc:date>
    <link>https://freddiedeboer.substack.com/p/you-are-you-we-live-here-this-is</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["What would a healthy culture and caring parents do for those kids? They would be pulled aside and told: you are you, and you will always be you; we live here, on this planet, in this culture, as this species; you live in the times you live in, and you will never live anywhere else. There’s no escape, for any of us. The world gets better and it gets worse. Your life gets easier and it gets harder. Progress happens. Happiness is possible. But the world is an irredeemably broken place, tragedy is the endowment of our bodies and our gods and our world, and you will always, always, always be you. You can hide in your room, but you’ll still be you. And you’ll still be you when you head off to college and make brand new friends, and you’ll still be you after you come out to your parents, and you’ll still be you after you get that job or that promotion or that raise, and you’ll still be you after you lose those last 10 pounds, and you’ll still be you after you fall in love, and you’ll still be you after the AI revolution or the socialist revolution or the love revolution or any other revolution. The only sensible path forward is to learn to accept the brokenness of human life, to develop resilience in the face of its petty cruelties, and to learn to live with yourself. Not to love yourself; I mean, if you can love yourself, great, but in general I find the commandment to love yourself paternalistic and annoying. Even with all the therapy and meds and growth I’ll never be someone who loves himself. But I have learned to live with myself. Young people need to be gently guided in that direction, but the anonymity and disconnection of online life directly obstruct that goal.

If you won't confront your relationship to yourself and the world, you can do what the NYT tells you to do and sleep with stuffed animals as an adult. Never leave childhood. Hide out in infancy forever. But I’m telling you: it’s not gonna work.

We’re trapped in a discursive culture where we spend most of our time trying to avoid appearing to say the stupid things stupid people say. And I think many are afraid to talk like this for fear of falling into “snowflake” territory. I’ve never called anyone a snowflake in my life. I’ve never been possessed of the feeling that young people are weak or cowardly or aren’t tough. What I do think is that, as time goes on and technological progress gives us more ways to numb the pain, it’s tempting to abandon resilience and try to simply avoid all of life’s heartache. Even more, I think it’s tempting for parents to try and do that for their children. We’re decades deep into the helicopter parenting era. Children have never been healthier or safer, but then, American children have been remarkably healthy and safe for decades longer, there was never any real “stranger danger,” and improvements to child health are the product of improving medical technology, not ever-more-anxious parents. What I constantly wonder is how much deeper parents can push this, how much more overprotective they can possibly get. The answer is always that they can indeed go deeper. What I would like to ask them, and our culture, gently, is how they can be sure that what they’re doing isn’t counterproductive. Forget snowflakes. Forget participation trophies. Forget conservative mockery. I’m asking, sincerely and from a place of empathy: isn’t there a chance that the only real way to defend your kids from harm is to show them how constant a companion pain is and teach them how to overcome it?"

...

"The people who talk about AI as this all-transforming technology - they’re telling you that our next step as a species is to build an army of Tyler Durdens and to give up on real love, real feeling, real people. And I’m asking you to refuse. I’m asking you to choose the other thing, in whatever way you can. That’s the existential question for humanity in the 21st century. That’s the challenge in front of all of us. Will you shoulder the risk of pursuing real human connection, as hard and intimidating and discouraging as that can be? Or will you hide in your room forever, comforted by fast food and porn and opiates and therapy and TikTok, risking nothing? It’s up to you. I don’t pretend that it’s easy to choose the former. I don’t pretend that I always choose it or will always choose it, or that I’ve chosen it well, or that choosing it hasn’t cost me a great deal, at times. I know it’s not easy. A lot of people reach out to another and have their hand slapped down. And that’s scary. But to keep trying is to declare to the universe that you will have the courage to be human, when everyone and everything tempts you to be otherwise. Remember: you are you. We live here. This is now."]]></description>
<dc:subject>freddiedeboet socialmedia online solitude happiness loneliness risk fear acceptance self identity internet web psychology addiction algorithms life living love loving disconnection resignation relationships relating social humanism humanity technology feeling feelings elotions children childhood tiktok resilience parenting helicopterparents snowplowparents adversity emotions avoidance anxiety seclusion depression belonging conflict helicopterparenting</dc:subject>
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<item rdf:about="https://fo.am/wabisabi-route/">
    <title>Tending to the transient and the overlooked | FoAM</title>
    <dc:date>2023-03-01T20:50:54+00:00</dc:date>
    <link>https://fo.am/wabisabi-route/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Taking a more suggestive, impressionistic approach, the ‘wabi-sabi’ route dwells with things transient, unfinished, or overlooked. It extends an invitation to wander, to defer the temptation to intervene, watching, waiting, and letting things unfold. This route hones in on the crafts of noticing, care, and repair. Revealing our aptitude for receptivity, it suggests embodied, practical exercises and techniques for landing, attunement, immersion, and laying fallow. The route traverses worlds of collective ritual and solitary practice, offering a simple meditation on being with the world-at-large. Finding places of enchantment or remove, the poetic, multisensory experiences scattered along this route prompt reflection on transitions and liminal states, and the neglected art of bringing things to an end."]]></description>
<dc:subject>transient overlooked maintenance care repair immersion attunement landing noticing idleness slow small allthesenses multisensory unfinished wandering hesitation resistance patience unfolding waiting watching observation receptivity solitude ritual being morethanhuman objects multispecies liminality liminal transitions inbetweenness ephemeral ephemerality poetics poetry reflection meditation pause wabi-sabi betweenness inbetween between</dc:subject>
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<item rdf:about="https://theamericanscholar.org/solitude-and-leadership/">
    <title>The American Scholar: Solitude and Leadership - William Deresiewicz</title>
    <dc:date>2022-05-01T14:56:01+00:00</dc:date>
    <link>https://theamericanscholar.org/solitude-and-leadership/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[already bookmarked here:
https://pinboard.in/u:robertogreco/b:04eb6d5c4bb0

surfaced again by
https://screwdowncrown.com/2022/04/30/how-to-think/ ]

"That’s the first half of the lecture: the idea that true leadership means being able to think for yourself and act on your convictions. But how do you learn to do that? How do you learn to think? Let’s start with how you don’t learn to think. A study by a team of researchers at Stanford came out a couple of months ago. The investigators wanted to figure out how today’s college students were able to multitask so much more effectively than adults. How do they manage to do it, the researchers asked? The answer, they discovered—and this is by no means what they expected—is that they don’t. The enhanced cognitive abilities the investigators expected to find, the mental faculties that enable people to multitask effectively, were simply not there. In other words, people do not multitask effectively. And here’s the really surprising finding: the more people multitask, the worse they are, not just at other mental abilities, but at multitasking itself.

One thing that made the study different from others is that the researchers didn’t test people’s cognitive functions while they were multitasking. They separated the subject group into high multitaskers and low multitaskers and used a different set of tests to measure the kinds of cognitive abilities involved in multitasking. They found that in every case the high multitaskers scored worse. They were worse at distinguishing between relevant and irrelevant information and ignoring the latter. In other words, they were more distractible. They were worse at what you might call “mental filing”: keeping information in the right conceptual boxes and being able to retrieve it quickly. In other words, their minds were more disorganized. And they were even worse at the very thing that defines multitasking itself: switching between tasks.

Multitasking, in short, is not only not thinking, it impairs your ability to think. Thinking means concentrating on one thing long enough to develop an idea about it. Not learning other people’s ideas, or memorizing a body of information, however much those may sometimes be useful. Developing your own ideas. In short, thinking for yourself. You simply cannot do that in bursts of 20 seconds at a time, constantly interrupted by Facebook messages or Twitter tweets, or fiddling with your iPod, or watching something on YouTube.

I find for myself that my first thought is never my best thought. My first thought is always someone else’s; it’s always what I’ve already heard about the subject, always the conventional wisdom. It’s only by concentrating, sticking to the question, being patient, letting all the parts of my mind come into play, that I arrive at an original idea. By giving my brain a chance to make associations, draw connections, take me by surprise. And often even that idea doesn’t turn out to be very good. I need time to think about it, too, to make mistakes and recognize them, to make false starts and correct them, to outlast my impulses, to defeat my desire to declare the job done and move on to the next thing.

I used to have students who bragged to me about how fast they wrote their papers. I would tell them that the great German novelist Thomas Mann said that a writer is someone for whom writing is more difficult than it is for other people. The best writers write much more slowly than everyone else, and the better they are, the slower they write. James Joyce wrote Ulysses, the greatest novel of the 20th century, at the rate of about a hundred words a day—half the length of the selection I read you earlier from Heart of Darkness—for seven years. T. S. Eliot, one of the greatest poets our country has ever produced, wrote about 150 pages of poetry over the course of his entire 25-year career. That’s half a page a month. So it is with any other form of thought. You do your best thinking by slowing down and concentrating."]]></description>
<dc:subject>williamderesiewicz via:anne leadership education conformity tcsnmy risk risktaking learning culture life philosophy bureaucracy business careers change military management administration solitude concentration thinking independence multitasking howwethink 2010 slow criticalthinking focus attention thomasmann writing tseliot associations jamesjoice highered highereducation cognition distraction memory understanding studying efficiency</dc:subject>
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</item>
<item rdf:about="https://tinyletter.com/gnamma/letters/gnamma-7-the-teacher-s-imposition">
    <title>Gnamma #7 - The Teacher's Imposition</title>
    <dc:date>2019-02-20T22:24:56+00:00</dc:date>
    <link>https://tinyletter.com/gnamma/letters/gnamma-7-the-teacher-s-imposition</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The world is full of bad teaching. And somehow we all get on with it, of course.

Still, I have found it typical that people perk up when they think of their favorite, electrifying teachers. These are people we think about for the rest of our lives, largely because they inform our interests and ways of looking at the world (ontology, value systems, networked ideas, etc) at early ages. Let's talk about teachers, and I want to be clear: everyone directs teachable moments in life (especially guardians and managers). I'm referring to people in explicitly assigned roles to teach. (This thus puts these thoughts largely outside of the realm of unschooling [https://www.are.na/roberto-greco/unschooling ], I think, but I do not know enough to say—would love to understand more in this realm.)

"Why Education is so Difficult And Contentious" [https://www.sfu.ca/~egan/Difficult-article.html ]: TL;DR because when we say education we mean indoctrination, and everybody—teacher, parent, politician, etc—has different opinions on how people should be. It's touchy to talk about forced indoctrination because it both engenders fascism and is the founding idea behind of public education. There are obviously gradients of imposition on the student. Illich supports the need for the pedagogue to connect student to resources, but not much more—a fairly "hands-off" view of the teacher by today's standards. Still, the connective moments are going to reflect the ideology of the pedagogue. 

Are teachers necessary for learning? No. Learning is between the student and the world. A quippish phrase I heard a couple times working at RenArts [https://www.renarts.org/ ] was "you can lead a horse to water but you can't make it think." But education (structured learning with others) requires teachers, basically by definition. Teachers "lead to water" and apply social pressure to encourage partaking. 

What makes for a good teacher? Well, I maintain the chief goals of structured learning are to build agency and cultivate awareness in the student (and maybe share specific skillsets). So, what kind of teacher builds agency in the student and cultivates awareness to the extent possible? Some modes of teaching quickly follow: I believe the teacher needs to support open-ended, coherent, and honest activities. 

Without open-ended-ness, we lose exploratory and self-actualizing potential. Without coherence, students can get mired in lack of knowing where to start or end (but a little ambiguity isn't bad). Without honesty we lose touch with the world and how to work with our lived realities. By "honesty" here, I mean to be honest about application of material, about history of thought, and about context of the activity itself; as such, the best teaching acknowledges and works with its own context (/media) and the needs of the people in the room. 

I am trying to recall where I heard the phrase that "teaching is making space." The teachers frames the room, the activities, the needs, the expectations, the discussions. In doing so, they embed indoctrination into the teaching. In the effort of honesty in the classroom, these framing decisions needs to be made explicit for the students. The effective teacher must constantly wrestle with their internalized epistemologies and ego in seeking to constantly be aware of and share their own framings of the world. (When I ran a workshop for the Free School of Architecture in Summer 2018 on alternative learning communities, I mostly brought with me a long list of questions to answer [https://www.are.na/block/2440950 ] in seeking to understand how one is framing a learning space.)

This need for constant "pariefracture" (a breaking of the frame, expanding the conceptual realm, or meta-level "zooming out"—my friend D.V.'s term) in teaching gave me quite a bit of anxiety, as a teacher, until reading Parker J. Palmer's book "The Courage to Teach," in which he outlines six paradoxes of teaching. [https://www.are.na/block/1685043 and OCRed below ] I like these paradoxes in themselves, but the larger concept that resonated with me was the ability to treat a paradox not as a dead end (as one does in mathematics, generally) but rather as a challenge that can be pulled out and embraced as the dynamo of an ongoing practice. Teaching never resolves: you just wake up tomorrow and give it another shot. 

I think what I'm circling around, here, is how much of learning from a teacher involves inheriting their ways of looking, concurrent with the teacher's ways of looking being in constant, self-aware flux. We inherit snapshots of our teachers' worldviews, blend them together over our own substrate of grokking the world, and call it education."

[From Parker J Palmer’s “The Courage to Teach”:

“When I design a classroom session, I am aware of six paradoxical tensions that I want to build into the teaching and learning space. These six are neither prescriptive nor exhaustive. They are simply mine, offered to illustrate how the principle of paradox might contribute to pedagogical design: 

1. The space should be bounded and open. 
2. The space should be hospitable and "charged." 
3. The space should invite the voice of the individual and the voice of the group. 
4. The space should honor the "little" stories of the students and the "big" stories of the disciplines and tradition. 
5. The space should support solitude and surround it with the resources of community. 
6. The space should welcome both silence and speech. 

I want to say a few words about what each of these paradoxes means. Then, to rescue the paradoxes and the reader from death by abstraction, I want to explore some practical ways for classroom teachers to bring these idea to life.“]]></description>
<dc:subject>lukaswinklerprins teaching howweteach parkerpalmer education paradox 2019 indoctrination ivanillich exploration boundaries openness hospitality individualism collectivism community silence speech support solitude disciplines tradition personalization unschooling deschooling canon</dc:subject>
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<item rdf:about="https://www.youtube.com/watch?v=aVGP8DeOI1s">
    <title>The Old Man and the Seaweed: The Life of Dr. Ryan Drum Film Movie Trailer - YouTube</title>
    <dc:date>2018-01-07T23:00:13+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=aVGP8DeOI1s</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[See also: https://www.indiegogo.com/projects/the-old-man-and-the-seaweed-life-of-dr-ryan-drum#/

"Glen Nagel on The Life of Dr. Ryan Drum"
https://www.youtube.com/watch?v=BAAqGtMJq2U

https://www.youtube.com/watch?v=5bR8a0c3sXQ

http://www.ryandrum.com/ ]]]></description>
<dc:subject>via:vruba waldronisland film towatch ryandrum life resistance regret failure approval well-being 2014 herbalists nature work labor health wageslavery davidkaufman waldron purity solitude society interconnectedness interdependence simplicity living consumerism backtotheland seclusion satisfaction careers ratrace freedom glennagel capitalism anarchism interconnected interconnectivity wellbeing</dc:subject>
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</item>
<item rdf:about="https://www.nytimes.com/2017/10/27/opinion/sunday/happiness-is-other-people.html">
    <title>Happiness Is Other People - The New York Times</title>
    <dc:date>2017-11-12T19:07:17+00:00</dc:date>
    <link>https://www.nytimes.com/2017/10/27/opinion/sunday/happiness-is-other-people.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["And according to research, if we want to be happy, we should really be aiming to spend less time alone. Despite claiming to crave solitude when asked in the abstract, when sampled in the moment, people across the board consistently report themselves as happier when they are around other people than when they are on their own. Surprisingly this effect is not just true for people who consider themselves extroverts but equally strong for introverts as well."]]></description>
<dc:subject>happiness psychology culture 2017 solitude ruthwhippman anxiety individualism society community self-care</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:f80fe4888722/</dc:identifier>
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<item rdf:about="https://www.nytimes.com/2017/08/03/magazine/letter-of-recommendation-ghosting.html">
    <title>Letter of Recommendation: Ghosting - The New York Times</title>
    <dc:date>2017-08-05T07:01:44+00:00</dc:date>
    <link>https://www.nytimes.com/2017/08/03/magazine/letter-of-recommendation-ghosting.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["In my father’s house, my stepmother cooks dinner. First she sweats the onions, then she sears the meat. On special occasions, she mixes dough with flour ground from enset, a plant that resembles the banana tree.

Enset has roots that are white, and when they’re ground into powder, it’s packed into little baggies. When my father travels to Ethiopia, he returns with these white baggies tucked into the pockets of his suitcase, which is one reason, among many, that it is difficult for him to cross the border and come home.

A few years ago, he began to disappear. First he skipped the onions, then he skipped the meat. Eventually he skipped the special occasions, and when he arrived home, after the baptism or graduation or wedding had long since ended, he had no desire to eat. When I asked him to explain his absences, he said, ‘‘Yes.’’ When I asked him where he kept disappearing off to, he said, ‘‘O.K.’’

If it weren’t for my father’s age (he’s 63), or for his eventual return, I would be tempted to call his unexplained absences by a name popular among young people: ghosting. The millennial neologism for an age-old conundrum, ‘‘ghosting’’ describes the situation in which a person — Tinder match, roommate, friend — exits a relationship swiftly and without discernible cause. Though its iterations are diffuse and occur along varying degrees of intimacy, the word is generally used by those who are left behind: ‘‘He ghosted me,’’ or ‘‘I was ghosted,’’ or ‘‘I was ghosted on.’’

Because I fear my father’s absence, I mimic his behavior and hope he might not be forgotten. I often close the channels of communication that I am expected to sustain, texting people I love only when I feel like it and answering the phone only when the caller is unknown. In November, the morning after the presidential election, a childhood friend sent me a text: ‘‘Sup?’’ I told him I was scared for my family. When he wrote back later that day to let me know that he, too, was scared — about his LSATs — I stopped responding; we haven’t spoken since. At a coffee shop, an Australian asked me what I was reading. I said, ‘‘ ‘Great Expectations,’ a terrible novel.’’ He told me he had gotten his Ph.D. studying apartheid and then wondered aloud which was more depressing: apartheid or the work of Charles Dickens. When he asked if I wanted to get a drink later that week to continue the conversation, I said, ‘‘O.K.’’ but never showed up.

According to the internet, this is very bad behavior. If you care about someone, and even if you don’t, you are meant to explain — in terms both clean and fair — why you are unable to fulfill the terms of their attachment: ‘‘I feel sick,’’ or ‘‘I have depression,’’ or ‘‘You are boring, and I am disappointed.’’ Those of us who neglect to disclose the seed of our indifference, or neglect to disclose the fact of our indifference altogether, are typically assumed to be selfish.

It’s no coincidence that ghosting arose as a collective fascination at a time of peak connectivity. When friends and acquaintances are almost always a swipe and a tap within reach, disappearing without a trace cuts especially deep. But the very function of ghosting is to halt the flow of information, and nearly every explainer written in its name — ‘‘How to Deal With Being Ghosted,’’ ‘‘How to Tell If You’re About to Be Ghosted,’’ ‘‘Why Friends Ghost on Even Their Closest Pals’’ — berates those who ghost for intentionally spinning silence into pain. Ghosters withhold information whose admission would be likely to provide relief in others, manipulating the terms of friendship, kinship and romantic love to appear in favor of a life lived in private.

If healthy relationships — especially in the digital age — are predicated on answerability, it makes sense that a lack of communication would feel like a breach of trust. But articulating negative feelings with tact is a task most often assigned to those whose feelings are assumed to be trivial. When fear for my family — black, migratory and therefore targets of the state — is equated with the mundane anxiety of a standardized test, I find it a relief to absent myself from the calculation. Saying, without anger, ‘‘This is how you hurt me’’ feels routine, like a ditty, and articulating the need for isolation — ‘‘Now I intend to disappear’’ — is always a betrayal of the need itself. Because society demands that people of color both accept offense and facilitate its reconciliation, we are rarely afforded the privacy we need. Ghosting, then, provides a line of flight. Freed from the ties that hurt us, or bore us, or make us feel uneasy, finally we can turn our attention inward.

Some months after my father began to arrive at dinner on time, he drove me through the neighborhood by his office, a route we had driven many times before. I asked him, once again, where he had run off to all those nights. Pulling over to the side of the road, he said, ‘‘There is an excellent meditation studio inside that building.’’ I looked at the building, which looked like nothing. Confused, I asked him what he knew about meditation. ‘‘I know much about meditation,’’ he told me. ‘‘I came here once daily. I meditated, I ate my dinner and, when I was finished, I returned home.’’

The information, it seemed, had become necessary. My father, like the rest of us, was just trying to get better."]]></description>
<dc:subject>antiblackness poc blackness ghosting 2017 meditation self-improvement reltionships digitalage connectedness answerability emotions flight freedom provacy solitude inwardness attention communication isolation kinship disappearance</dc:subject>
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<item rdf:about="https://notes.pinboard.in/u:coreycaitlin/bbd7996d1b7b6c7ad6ca">
    <title>Leap Before You Look</title>
    <dc:date>2016-12-17T05:02:34+00:00</dc:date>
    <link>https://notes.pinboard.in/u:coreycaitlin/bbd7996d1b7b6c7ad6ca</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Leap Before You Look 

W. H. Auden, December 1940: 

The sense of danger must not disappear: 
The way is certainly both short and steep, 
However gradual it looks from here; 
Look if you like, but you will have to leap. 

Tough-minded men get mushy in their sleep 
And break the by-laws any fool can keep; 
It is not the convention but the fear 
That has a tendency to disappear. 

The worried efforts of the busy heap, 
The dirt, the imprecision, and the beer 
Produce a few smart wisecracks every year; 
Laugh if you can, but you will have to leap. 

The clothes that are considered right to wear 
Will not be either sensible or cheap, 
So long as we consent to live like sheep 
And never mention those who disappear. 

Much can be said for social savior-faire, 
But to rejoice when no one else is there 
Is even harder than it is to weep; 
No one is watching, but you have to leap. 

A solitude ten thousand fathoms deep 
Sustains the bed on which we lie, my dear: 
Although I love you, you will have to leap; 
Our dream of safety has to disappear."]]></description>
<dc:subject>whauden poetry leapbeforeyoulook love danger fear solitude conformism courage safety 1940 auden</dc:subject>
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<item rdf:about="http://austinkleon.com/2016/07/21/the-bliss-station/">
    <title>The Bliss Station</title>
    <dc:date>2016-07-22T21:14:00+00:00</dc:date>
    <link>http://austinkleon.com/2016/07/21/the-bliss-station/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["It’s felt impossible lately not to be distracted and despondent. I’m trying to spend as much time at my bliss station as I can.

What’s a bliss station? Here’s Joseph Campbell in The Power of Myth:

<blockquote>You must have a room, or a certain hour or so a day, where you don’t know what was in the newspapers that morning, you don’t know who your friends are, you don’t know what you owe anybody, you don’t know what anybody owes to you. This is a place where you can simply experience and bring forth what you are and what you might be. This is the place of creative incubation. At first you may find that nothing happens there. But if you have a sacred place and use it, something eventually will happen.</blockquote>

My wife pointed out to me that Campbell says you must have a room OR a certain hour — whether Campbell really meant this or not, she suggested that maybe it’s possible that a bliss station can be not just a where, but a when. Not just a sacred space, but also a sacred time.

The deluxe package would be having both a special room and a special hour that you go to it, but we started wondering whether one would make up for not having the other.

For example, say you have a tiny apartment that you share with small children. There’s no room for your bliss station, there’s only time: When the kids are asleep or at school or day care, even a kitchen table can be turned into a bliss station.

Or, say your schedule is totally unpredictable, and a certain time of day can’t be relied upon — that’s when a dedicated space that’s ready for you at any time will come in handy.

What’s clear is that it’s healthiest if we make a daily appointment to disconnect from the world so that we can connect with ourselves.

“Choose the time that’s good for you,” says Francis Ford Coppola. “For me, it’s early morning because I wake up, and I’m fresh, and I sit in my place. I look out the window, and I have coffee, and no one’s gotten up yet or called me or hurt my feelings.”

The easiest way I get my feelings hurt by turning on my phone first thing in the morning. And even on the rare occasion I don’t get my feelings hurt, my time is gone and my brains are scrambled.

“Do not start your day with addictive time vampires such as The New York Times, email, Twitter,” says Edward Tufte. “All scatter eye and mind, produce diverting vague anxiety, clutter short term memory.”

Every morning I try to fight the urge, but every morning my addiction compels me.

“The new heroin addiction is connectivity,” says V. Vale. “The only solution is not one that most people want to face, which is to become lovers of solitude and silence… I love to spend time alone in my room, and in my ideal world the first hour of every day would be in bed, writing down thoughts, harvesting dreams, before anyone phones or you have any internet access.”

Kids, jobs, sleep, and a thousand other things will get in the way, but we have to find our own sacred space, our own sacred time.

“Where is your bliss station?” Campbell asked. “You have to try to find it.”"]]></description>
<dc:subject>2016 austinkleon josephcampbell time space solitude aloneness francisfordcoppola vvale attention socialmedia howweowork connectivity internet web online addiction silence mobile phones focus workspaces distraction</dc:subject>
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<item rdf:about="https://en.wikipedia.org/wiki/Kurt_Hahn#Six_Declines_of_Modern_Youth">
    <title>Kurt Hahn - Wikipedia</title>
    <dc:date>2016-04-06T00:24:28+00:00</dc:date>
    <link>https://en.wikipedia.org/wiki/Kurt_Hahn#Six_Declines_of_Modern_Youth</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Six Declines of Modern Youth

1. Decline of Fitness due to modern methods of locomotion [moving about];
2. Decline of Initiative and Enterprise due to the widespread disease of spectatoritis;
3. Decline of Memory and Imagination due to the confused restlessness of modern life;
4. Decline of Skill and Care due to the weakened tradition of craftsmanship;
5. Decline of Self-discipline due to the ever-present availability of stimulants and tranquilizers;
6. Decline of Compassion due to the unseemly haste with which modern life is conducted or as William Temple called "spiritual death".

Hahn not only pointed out the decline of modern youth, he also came up with four antidotes to fix the problem.

1. Fitness Training (e.g., to compete with one's self in physical fitness; in so doing, train the discipline and determination of the mind through the body)
2. Expeditions (e.g., via sea or land, to engage in long, challenging endurance tasks)
3. Projects (e.g., involving crafts and manual skills)
4. Rescue Service (e.g., surf lifesaving, fire fighting, first aid)

Ten Expeditionary Learning Principles
These 10 principles, which seek to describe a caring, adventurous school culture and approach to learning, were drawn[by whom?] from the ideas of Kurt Hahn and other education leaders[which?] for use in Expeditionary Learning Outward Bound (ELOB) schools.

1. The primacy of self-discovery
Learning happens best with emotion, challenge and the requisite support. People discover their abilities, values, passions, and responsibilities in situations that offer adventure and the unexpected. In Expeditionary Learning schools, students undertake tasks that require perseverance, fitness, craftsmanship, imagination, self-discipline, and significant achievement. A teacher’s primary task is to help students overcome their fears and discover they can do more than they think they can.

2. The having of wonderful ideas
Teaching in Expeditionary Learning schools fosters curiosity about the world by creating learning situations that provide something important to think about, time to experiment, and time to make sense of what is observed.

4. The responsibility for learning
Learning is both a personal process of discovery and a social activity. Everyone learns both individually and as part of a group. Every aspect of an Expeditionary Learning school encourages both children and adults to become increasingly responsible for directing their own personal and collective learning.

4. Empathy and caring
Learning is fostered best in communities where students’ and teachers’ ideas are respected and where there is mutual trust. Learning groups are small in Expeditionary Learning schools, with a caring adult looking after the progress and acting as an advocate for each child. Older students mentor younger ones, and students feel physically and emotionally safe.

5. Success and failure
All students need to be successful if they are to build the confidence and capacity to take risks and meet increasingly difficult challenges. But it is also important for students to learn from their failures, to persevere when things are hard, and to learn to turn disabilities into opportunities.

6. Collaboration and competition
Individual development and group development are integrated so that the value of friendship, trust, and group action is clear. Students are encouraged to compete not against each other but with their own personal best and with rigorous standards of excellence.

7. Diversity and inclusion
Both diversity and inclusion increase the richness of ideas, creative power, problem-solving ability, respect for others. In Expeditionary Learning schools, students investigate value their different histories talents as well as those of other communities cultures. Schools learning groups heterogeneous.

8. The natural world
Direct respectful relationship with the natural world refreshes the human spirit teaches[clarification needed] the important ideas of recurring cycles and cause and effect. Students learn to become stewards of the earth and of future generations.

9. Solitude and reflection
Students and teachers need time alone to explore their own thoughts, make their own connections, and create their own ideas. They also need time to exchange their reflections with others.

10. Service and compassion
We are crew, not passengers. Students and teachers are strengthened by acts of consequential service to others, and one of an Expeditionary Learning school's primary functions is to prepare students with the attitudes and skills to learn from and be of service to others."]]></description>
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<item rdf:about="http://blog.triciawang.com/post/136185369956/wonderful-passage-on-nyc-centralpark-designer">
    <title>- Wonderful passage on NYC #centralpark designer,...</title>
    <dc:date>2015-12-30T03:08:07+00:00</dc:date>
    <link>http://blog.triciawang.com/post/136185369956/wonderful-passage-on-nyc-centralpark-designer</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Wonderful passage on NYC #centralpark designer, Frederick Law Olmsted’s views on nature in #rebeccasolnit’s book, #savagedreams. Olmsted viewed nature as part of society, whereas #henrydavidthoreau saw nature as a refuge from society. This very split epitomizes how the West conceives of what is “natural.” Solnit argues that people like Thoreau and Muir fetishized a form of nature that was pure and that it was waiting there to be discovered by the white man, which allowed them to believe their own narrative that they were the “first”. Olmsted conceives access to nature as a universal right and that it is not a first come first serve situation. I’ve been thinking about what is considered natural after watching #themartian when Matt Damon proudly says that he is the first to “colonize” Mars. What enabled the writers to use that word without any sense of the historical savagery associated with it? NASA is at once a symbol of scientific advancement and also a symbol of a Thoreau-esque view of nature - apart from us, to be discovered, and conquered. Whereas previous colonizers had to deal with human residents in Africa, North America, South America, Caribbeans, space colonizers don’t have to deal any life, making this the most ideal colonial experience. 

#triciainreading thanks @hautepop for your pic that spurred me to pull out solnit’s book again!"

[on Instagram: https://www.instagram.com/p/_4Q_zQt8OT/ ]]]></description>
<dc:subject>triciawand rebeccasolnit thoreau fredericklawolmstead johnmuir landscape naure society purity socialengineering space openspace publicspace cities urban urbanism centralpark nyc manhattan culture experience earthmoving refuge solitude</dc:subject>
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<item rdf:about="http://thenewinquiry.com/essays/hot-allostatic-load/">
    <title>Hot Allostatic Load – The New Inquiry</title>
    <dc:date>2015-12-26T21:53:19+00:00</dc:date>
    <link>http://thenewinquiry.com/essays/hot-allostatic-load/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["HI

I am too sick to write this article. The act of writing about my injuries is like performing an interpretative dance after breaking nearly every bone in my body. When I sit down to edit this doc, my head starts aching like a capsule full of some corrosive fluid has dissolved and is leaking its contents. The mental haze builds until it becomes difficult to see the text, to form a thesis, to connect parts. They drop onto the page in fragments. This is the difficulty of writing about brain damage.

The last time I was in the New Inquiry, several years ago, I was being interviewed. I was visibly sick. I was in an abusive “community” that had destroyed my health with regular, sustained emotional abuse and neglect. Sleep-deprived, unable to take care of myself, my body was tearing itself apart. I was suicidal from the abuse, and I had an infected jaw that needed treatment.

Years later, I’m talking to my therapist. I told her, when you have PTSD, everything you make is about PTSD. After a few minutes I slid down and curled up on the couch like the shed husk of a cicada. I go to therapy specifically because of the harassment and ostracism from within my field.

This is about disposability from a trans feminine perspective, through the lens of an artistic career. It’s about being human trash.

This is in defense of the hyper-marginalized among the marginalized, the Omelas kids, the marked for death, those who came looking for safety and found something worse than anything they’d experienced before.

For years, queer/trans/feminist scenes have been processing an influx of trans fems, often impoverished, disabled, and/or from traumatic backgrounds. These scenes have been abusing them, using them as free labor, and sexually exploiting them. The leaders of these scenes exert undue influence over tastemaking, jobs, finance, access to conferences, access to spaces. If someone resists, they are disappeared, in the mundane, boring, horrible way that many trans people are susceptible to, through a trapdoor that can be activated at any time. Housing, community, reputation—gone. No one mourns them, no one asks questions. Everyone agrees that they must have been crazy and problematic and that is why they were gone.

I was one of these people.

They controlled my housing and access to nearly every resource. I was sexually harassed, had my bathroom use monitored, my crumbling health ignored or used as a tool of control, was constantly yelled at, and was pressured to hurt other trans people and punished severely when I refused.

The cycle of trans kids being used up and then smeared is a systemic, institutionalized practice. It happens in the shelters, in the radical organizations, in the artistic scenes—everywhere they might have a chance of gaining a foothold. It’s like an abusive foster household that constantly kicks kids out then uses their tears and anger at being raped and abused to justify why they had to be kicked out—look at these problem kids. Look at these problematic kids.

Trans fems are especially vulnerable to abuse for the following reasons:

— A lot of us encounter concepts for the first time and have no idea what is “normal” or not.

— We have nowhere else to go. Abuse thrives on scarcity.

— No one cares what happens to us.

This foster cycle relies on amnesia. A lot of people who enter spaces for the first time don’t know those spaces’ history. They may not know that leaders regularly exploit and make sexual advances on new members, or that those members who resisted are no longer around. Spaces self-select for people who will play the game, until the empathic people have been drained out and the only ones who remain are those who have perfectly identified with the agendas and survival of the Space—the pyramid scheme of believers who bring capital and victims to those on top."

…

"
TRASH ART

 When it was really bad, I wrote: “Build the shittiest thing possible. Build out of trash because all i have is trash. Trash materials, trash bodies, trash brain syndrome. Build in the gaps between storms of chronic pain. Build inside the storms. Move a single inch and call it a victory. Mold my sexuality toward immobility. Lie here leaking water from my eyes like a statue covered in melting frost. Zero affect. Build like moss grows. Build like crystals harden. Give up. Make your art the merest displacement of molecules at your slightest quiver. Don’t build in spite of the body and fail on their terms, build with the body. Immaculate is boring and impossible. Health based aesthetic.”

Twine, trashzines made of wadded up torn paper because we don’t have the energy to do binding, street recordings done from our bed where we lie immobilized.

Laziness is not laziness, it is many things: avoiding encountering one’s own body, avoiding triggers, avoiding thinking about the future because it’s proven to be unbearable. Slashing the Gordian Knot isn’t a sign of strength; it’s a sign of exhaustion."

…

"SOCIAL DYNAMICS

COMMUNITY IS DISPOSABILITY

<blockquote>There are no activist communities, only the desire for communities, or the convenient fiction of communities. A community is a material web that binds people together, for better and for worse, in interdependence. If its members move away every couple years because the next place seems cooler, it is not a community. If it is easier to kick someone out than to go through a difficult series of conversations with them, it is not a community. Among the societies that had real communities, exile was the most extreme sanction possible, tantamount to killing them. On many levels, losing the community and all the relationships it involved was the same as dying. Let’s not kid ourselves: we don’t have communities.

—The Broken Teapot, Anonymous"</blockquote>

People crave community so badly that it constitutes a kind of linguistic virus. Everything in this world apparently has a community attached to it, no matter how fragmented or varied the reality is. This feels like both wishful thinking in an extremely lonely world (trans fems often have a community-shaped wound a mile wide) and also the necessary lens to convert everything to profit. Queerness is a marketplace. Alt is a marketplace. Buy my feminist butt plugs.


<blockquote>The dream of an imaginary community that allows total identification with one’s role within it to an extent that rules out interiority or doubt, the fixity and clearness of an external image or cliche as opposed to ephemera of lived experience, a life as it looks from the outside.

—Stephen Murphy</blockquote>

These idealized communities require disposability to maintain the illusion—violence and ostracism against the black/brown/trans/trash bodies that serve as safety valves for the inevitable anxiety and disillusionment of those who wish “total identification”.

Feminism/queerness takes a vague disposability and makes it a specific one. The vague ambient hate that I felt my whole life became intensely focused—the difference between being soaked in noxious, irritating gasoline and having someone throw a match at you. Normal hate means someone and their friends being shitty toward you; radical hate places a moral dimension onto hate, requiring your exclusion from every possible space—a true social death."

…

"There is immense pressure on trans people to engage in this form of complaint if they want access to spaces—but we, with our higher rates of homelessness, joblessness, lifelessness, lovelessness, are the most fragile. We are the glass fems of an already delicate genderscape.

Purification is meaningless because anyone can perform these rituals—an effigy burnt in digital. And their inflexibility provides a place where abuse can thrive—a set of rules which abusers can hold over their victims.

Deleuze wrote, “The problem is no longer getting people to express themselves, but providing little gaps of solitude and silence in which they might eventually find something to say. Repressive forces don’t stop people from expressing themselves, but rather, force them to express themselves. What a relief to have nothing to say, the right to say nothing, because only then is there a chance of framing the rare, or ever rarer, the thing that might be worth saying.”

>>

ENDING

People talk about feminism and queerness the way you’d apologize for an abusive relationship.

This isn’t for the people who are benefiting from these spaces and have no reason to change. This is for the people who were exiled, the people essays aren’t supposed to be written for. This is to say, you didn’t deserve that. That even tens or hundreds or thousands of people can be wrong, and they often are, no matter how much our socially constructed brains take that as a message to lie down and die. That nothing is too bad, too ridiculous, too bizarre to be real when it comes to making marginalized people disappear.

Ideology is a sick fetish.

RESISTING DISPOSABILITY

— Let marginalized people be flawed. Let them fuck up like the Real Humans who get to fuck up all the time.

— Fight criminal-justice thinking. Disposability runs on the innocence/guilt binary, another category that applies dynamically to certain bodies and not others. The mob trials used to run trans people out of communities are inherently abusive, favor predators, and must be rejected as a process unequivocally. There is no kind of justice that resembles hundreds of people ganging up on one person, or tangible lifelong damage being inflicted on someone for failing the rituals of purification that have no connection to real life.

— Pay attention when people disappear. Like drowning, it’s frequently silent. They might be blackmailed, threatened, and/or in shock.

— Even if the victim doesn’t want to fight (which is deeply understandable—often moving on is the only response), private support is huge. This is the time to make sure the wound doesn’t become infected, that the PTSD they acquire is as minimized as possible. This is the difference between a broken leg healing to the point where they can run again, or walking with a limp for the rest of their life. They’ve just been victim-blamed by a huge number of people, and as a social organism, their body is telling them to die. They need social reintegration, messages of support, and space to heal.

— Be extremely critical about what people say about trans people, especially things said in vagueness. The rumor mill that keeps trans people out of spaces isn’t even so much about people believing what is said, it’s about people choosing the safest option—a staining that plays on the average person’s risk aversion.

— Ask yourself if the same thing would be happening if they were white/cis/able-bodied.

— “Radical inclusivity recognizes harm done in the name of God.” —Yvette Flunder

Marginalized spaces can’t form healthy community purely from rejection of the mainstream. There has to be an acknowledgment of how people have been hurt by feminist spaces and their models.

— A common enemy isn’t the same as loving each other.

— Don’t be part of spaces that place an ideal or “community leader” above people.

DREAM

On January 18, 2015, I woke up from a dream. It was early morning, still dark. I felt very sad that the dream wasn’t real. I wrote it down, like I’ve written down all my dreams for the last eight years.

“She was my abuser. She came to my house on the island. I begged her to stop what she had done, to clear my name. She would not. It had been two years of being abused like a child because of her. I turned to walk deeper into the house. I looked back. She had a knife. She stabbed me. It was the happiest dream of my life. Because finally an abuser had done something to me that people would pay attention to. When I woke up my entire spirit was crushed because I had not been stabbed. I felt the weight of all these years of abuse. I wished so badly I had been stabbed.

I pulled the knife out. I wrestled the knife away. I called my friend to come over and help me.

I walked along the beach of the island and saw for the first time how PTSD had numbed and corroded every perception I’d had since that August, this debilitating disease. I finally felt the brightness of the air in my lungs, the color of the sand and the waves. It was so beautiful. I just wanted to experience all the things that had been stolen from me.”"]]></description>
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    <title>bell hooks: Buddhism, the Beats and Loving Blackness - The New York Times</title>
    <dc:date>2015-12-25T18:41:57+00:00</dc:date>
    <link>http://opinionator.blogs.nytimes.com/2015/12/10/bell-hooks-buddhism-the-beats-and-loving-blackness/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["G.Y.: Absolutely. You’ve talked about how theory can function as a place of healing. Can you say more about that?

b.h.: I always start with children. Most children are amazing critical thinkers before we silence them. I think that theory is essentially a way to make sense of the world; as a gifted child growing up in a dysfunctional family where giftedness was not appreciated, what held me above water was the idea of thinking through, “Why are Mom and Dad the way they are?” And those are questions that are at the heart of critical thinking. And that’s why I think critical thinking and theory can be such a source of healing. It moves us forward. And, of course, I don’t know about other thinkers and writers, but I have the good fortune every day of my life to have somebody contacting me, either on the streets or by mail, telling me about how my work has changed their life, how it has enabled them to go forward. And what greater gift to be had as a thinker-theorist, than that?"

…

"G.Y.: Is there a connection between teaching as a space of healing and your understanding of love?

b.h.: Well, I believe whole-heartedly that the only way out of domination is love, and the only way into really being able to connect with others, and to know how to be, is to be participating in every aspect of your life as a sacrament of love, and that includes teaching. I don’t do a lot of teaching these days. I am semi-retired. Because, like any act of love, it takes a lot of your energy."

…

"G.Y.: You’ve conceptualized love as the opposite of estrangement. Can you say something about that?

b.h.: When we engage love as action, you can’t act without connecting. I often think of that phrase, only connect. In terms of white supremacy right now for instance, the police stopped me a few weeks ago here in Berea, because I was doing something wrong. I initially felt fear, and I was thinking about the fact that in all of my 60-some years of my life in this country, I have never felt afraid of policemen before, but I feel afraid now. He was just total sweetness. And yet I thought, what a horrible change in our society that that level of estrangement has taken place that was not there before.

I know that the essential experience of black men and women has always been different, but from the time I was a girl to now, I never thought the police were my enemy. Yet, what black woman witnessing the incredible abuse of Sandra Bland can’t shake in her boots if she’s being stopped by the police? When I was watching that video, I was amazed the police didn’t shoot her on the spot! White supremacist white people are crazy.

I used to talk about patriarchy as a mental illness of disordered desire, but white supremacy is equally a serious and profound mental illness, and it leads people to do completely and utterly insane things. I think one of the things that is going on in our society is the normalization of mental illness, and the normalization of white supremacy, and the evocation and the spreading of this is part of that mental illness. So remember that we are a culture in crisis. Our crisis is as much a spiritual crisis as it is a political crisis, and that’s why Martin Luther King, Jr. was so profoundly prescient in describing how the work of love would be necessary to have a transformative impact.

G.Y.: And of course, that doesn’t mean that you don’t find an important place in your work for rage, as in your book “Killing Rage”?

b.h.: Oh, absolutely. The first time that I got to be with Thich Nhat Hanh, I had just been longing to meet him. I was like, I’m going to meet this incredibly holy man. On the day that I was going to him, every step of the way I felt that I was encountering some kind of racism or sexism. When I got to him, the first thing out of my mouth was, “I am so angry!” And he, of course, Mr. Calm himself, Mr. Peace, said, “Well, you know, hold on to your anger, and use it as compost for your garden.” And I thought, “Yes, yes, I can do that!” I tell that story to people all the time. I was telling him about the struggles I was having with my male partner at the time and he said, “It is O.K. to say I want to kill you, but then you need to step back from that, and remember what brought you to this person in the first place.” And I think that if we think of anger as compost, we think of it as energy that can be recycled in the direction of our good. It is an empowering force. If we don’t think about it that way, it becomes a debilitating and destructive force.

G.Y.: Since you mentioned Sandra Bland, and there are so many other cases that we can mention, how can we use the trauma that black people are experiencing, or reconfigure that trauma into compost? How can black people do that? What does that look like therapeutically, or collectively?

b.h.: We have to be willing to be truthful. And to be truthful, we have to say, the problem that black people face, the trauma of white supremacy in our lives, is not limited to police brutality. That’s just one aspect. I often say that the issue for young black males is the street. If you only have the streets, you encounter violence on all sides: black on black violence, the violence of addiction, and the violence of police brutality. So the question is why at this stage of our history, with so many wealthy black people, and so many gifted black people, how do we provide a place other than the streets for black males? And it is so gendered, because the street, in an imperialist white supremacist capitalist patriarchy, is male, especially when it is dark. There is so much feeling of being lost that it is beyond the trauma of racism. It is the trauma of imperialist white supremacist capitalist patriarchy, because poverty has become infinitely more violent than it ever was when I was a girl. You lived next door to very poor black people, but who had very joyful lives. That’s not the poverty of today.

G.Y.: How is the poverty of today different?

b.h.: Let’s face it, one of the things white people gave us when they gave us integration was full access to the tormenting reality of desire, and the expectation of constant consumption. So part of the difference of poverty today is this sort of world of fantasy — fantasizing that you’ll win the lottery, fantasizing that money will come. I always cling to Lorraine Hansberry’s mama saying in “A in Raisin in the Sun,” “Since when did money become life?” I think that with the poverty of my growing up that I lived with and among, we were always made to feel like money is not what life is all about. That’s the total difference for everyone living right now, because most people in our culture believe money is everything. That is the big tie, the connecting tie to black, white, Hispanic, native people, Asian people — the greed and the materialism that we all invest in and share.

G.Y.: When you make that claim, I can see some readers saying that bell is pathologizing black spaces.

b.h.: As I said, we have normalized mental illness in this society. So it’s not the pathologizing of black spaces; it’s saying that the majority of cultural spaces in our society are infused with pathology. That’s why it’s so hard to get out of it, because it has become the culture that is being fed to us every day. None of us can escape it unless we do so by conscious living and conscious loving, and that’s become harder for everybody. I don’t have a problem stating the fact that trauma creates wounds, and most of our wounds are not healed as African-Americans. We’re not really different in that way from all the others who are wounded. Let’s face it — wounded white people frequently can cover up their wounds, because they have greater access to material power.

I find it fascinating that every day you go to the supermarket, and you look at the people, and you look at us, and you look at all of this media that is parading the sorrows and the mental illnesses of the white rich in our society. And it’s like everybody just skips over that. Nobody would raise the question, “why don’t we pathologize the rich?” We actually believe that they suffer mental illness, and that they deserve healing. The issue for us as black people is that very few people feel that we deserve healing. Which is why we have very few systems that promote healing in our lives. The primary system that ever promoted healing in black people is the church, and we see what is going on in most churches today. They’ve become an extension of that material greed.

G.Y.: As you shared being stopped by police, I thought of your book “Black Looks: Race and Representation,” where you describe whiteness as a site of terror. Has that changed for you?

b.h.: I don’t think that has changed for most black people. That particular essay, “Representations of Whiteness in the Black Imagination,” talks about whiteness, the black imagination, and how many of us live in fear of whiteness. And I emphasize the story about the policeman because for many of us that fear of whiteness has intensified. I think that white people, for the most part, never think about black people wanting to be in black only spaces, because we do not feel safe.

In my last book, “Writing Beyond Race: Living Theory and Practice,” I really wanted to raise and problematize the question: Where do we feel safe as black people? I definitely return to the home as a place of spiritual possibility, home as a holy place.

I bought my current house from a conservative white male capitalist who lives across the street from me, and I’m so happy in my little home. I tell people, when I open the doors of my house it’s like these arms come out, and they’re just embracing me. I think that is part of our radical resistance to the culture of domination. I know that I’m not who he imagined in this little house. He imagined a nice white family with two kids, and I think on some level it was very hard for him to sell his house to a radical black woman, a radical black feminist woman. I think all of us, in terms of houses, have our idea, when we love our home, of who we want to be in it. But I think black folks in general across class have to restore that sense of resistance in the home.

When we look at the history of anti-racist rebels among black people, so much organizing happened in people’s homes. I always think about Mary McLeod Bethune: “Let’s just start the college in your living room.” Self-determination really does begin at home. We’re finding out that one of the reasons for why so much black rebel anti-racist movements failed is because they didn’t take care of the home as a site of resistance. So, you have very wounded people trying to lead movements in a world beyond the home, but they were simply not psychologically fit to lead."

…

"G.Y.: How are your Buddhist practices and your feminist practices mutually reinforcing?

b.h.: Well, I would have to say my Buddhist Christian practice challenges me, as does feminism. Buddhism continues to inspire me because there is such an emphasis on practice. What are you doing? Right livelihood, right action. We are back to that self-interrogation that is so crucial. It’s funny that you would link Buddhism and feminism, because I think one of the things that I’m grappling with at this stage of my life is how much of the core grounding in ethical-spiritual values has been the solid ground on which I stood. That ground is from both Buddhism and Christianity, and then feminism that helped me as a young woman to find and appreciate that ground. The spirituality piece came up for me in my love of Beat poetry. I came to Buddhism through the Beats, through Gary Snyder and Jack Kerouac — they all sort of gave me this other space of groundedness.

I talk about spirituality more now than ever before, because I see my students suffering more than ever before, especially women students who feel like so much is expected of them. They’ve got to be the equals of men, but then they’ve got to be submissive if they are heteronormative, they have to find a partner. It’s just so much demand that has led them to depression, to addiction, or suicide. And it’s amazing how spirituality grounds them.

Feminism does not ground me. It is the discipline that comes from spiritual practice that is the foundation of my life. If we talk about what a disciplined writer I have been and hope to continue to be, that discipline starts with a spiritual practice. It’s just every day, every day, every day."]]></description>
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<item rdf:about="https://en.wikipedia.org/wiki/Kurt_Hahn">
    <title>Kurt Hahn - Wikipedia</title>
    <dc:date>2015-09-25T04:42:17+00:00</dc:date>
    <link>https://en.wikipedia.org/wiki/Kurt_Hahn</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Six Declines of Modern Youth

1. Decline of Fitness due to modern methods of locomotion [moving about];
2. Decline of Initiative and Enterprise due to the widespread disease of spectatoritis;
3. Decline of Memory and Imagination due to the confused restlessness of modern life;
4. Decline of Skill and Care due to the weakened tradition of craftsmanship;
5. Decline of Self-discipline due to the ever-present availability of stimulants and tranquilizers;
6. Decline of Compassion due to the unseemly haste with which modern life is conducted or as William Temple called "spiritual death".

Hahn not only pointed out the decline of modern youth, he also came up with four antidotes to fix the problem.

1. Fitness Training (e.g., to compete with one's self in physical fitness; in so doing, train the discipline and determination of the mind through the body)
2. Expeditions (e.g., via sea or land, to engage in long, challenging endurance tasks)
3. Projects (e.g., involving crafts and manual skills)
4. Rescue Service (e.g., surf lifesaving, fire fighting, first aid)

*****

Ten Expeditionary Learning Principles
These 10 principles, which seek to describe a caring, adventurous school culture and approach to learning, were drawn[by whom?] from the ideas of Kurt Hahn and other education leaders[which?] for use in Expeditionary Learning Outward Bound (ELOB) schools.[citation needed]

1. The primacy of self-discovery
Learning happens best with emotion, challenge and the requisite support. People discover their abilities, values, passions, and responsibilities in situations that offer adventure and the unexpected. In Expeditionary Learning schools, students undertake tasks that require perseverance, fitness, craftsmanship, imagination, self-discipline, and significant achievement. A teacher’s primary task is to help students overcome their fears and discover they can do more than they think they can.

2. The having of wonderful ideas
Teaching in Expeditionary Learning schools fosters curiosity about the world by creating learning situations that provide something important to think about, time to experiment, and time to make sense of what is observed.

3. The responsibility for learning
Learning is both a personal process of discovery and a social activity. Everyone learns both individually and as part of a group. Every aspect of an Expeditionary Learning school encourages both children and adults to become increasingly responsible for directing their own personal and collective learning.

4. Empathy and caring
Learning is fostered best in communities where students’ and teachers’ ideas are respected and where there is mutual trust. Learning groups are small in Expeditionary Learning schools, with a caring adult looking after the progress and acting as an advocate for each child. Older students mentor younger ones, and students feel physically and emotionally safe.

5. Success and failure
All students need to be successful if they are to build the confidence and capacity to take risks and meet increasingly difficult challenges. But it is also important for students to learn from their failures, to persevere when things are hard, and to learn to turn disabilities into opportunities.

6. Collaboration and competition
Individual development and group development are integrated so that the value of friendship, trust, and group action is clear. Students are encouraged to compete not against each other but with their own personal best and with rigorous standards of excellence.

7. Diversity and inclusion
Both diversity and inclusion increase the richness of ideas, creative power, problem-solving ability, respect for others. In Expeditionary Learning schools, students investigate value their different histories talents as well as those of other communities cultures. Schools learning groups heterogeneous.

8. The natural world
Direct respectful relationship with the natural world refreshes the human spirit teaches[clarification needed] the important ideas of recurring cycles and cause and effect. Students learn to become stewards of the earth and of future generations.

9. Solitude and reflection
Students and teachers need time alone to explore their own thoughts, make their own connections, and create their own ideas. They also need time to exchange their reflections with others.

10. Service and compassion
We are crew, not passengers. Students and teachers are strengthened by acts of consequential service to others, and one of an Expeditionary Learning school's primary functions is to prepare students with the attitudes and skills to learn from and be of service to others."]]></description>
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<item rdf:about="http://www.nytimes.com/2015/06/13/opinion/cohen-mow-the-lawn.html">
    <title>Mow the Lawn - NYTimes.com</title>
    <dc:date>2015-06-13T19:09:38+00:00</dc:date>
    <link>http://www.nytimes.com/2015/06/13/opinion/cohen-mow-the-lawn.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["She’s off to college in California, whence I suspect she will never return. As places to stay go, California is up there. Whenever I’m there I wonder why I leave. Unencumbered by too much past, it offers the sunlit tug of the future.

So, dear reader, you find me at a juncture. You put four children through high school, and you find yourself reflecting less on the collapsing Sykes-Picot order and the post-carbon economy than on the happiness whose pursuit America at its founding declared an inalienable right.

The founders were not wrong. It is a self-evident truth that people, whether in creating a new nation or simply beginning a new relationship, seek happiness. That they often go about it in the wrong way does not detract from the sincerity of their quest. Sure as there are acorns beneath the oak tree, people keep rekindling their hopes.

In this commencement season, there is inevitably much reflection on the nature of those hopes and how to fulfill them. These tend toward the mawkish. Life is a succession of tasks rather than a cascade of inspiration, an experience that is more repetitive than revelatory, at least on a day-to-day basis. The thing is to perform the task well and find reward even in the mundane.

I have no idea if Malcolm Gladwell is onto something with the “10,000-hour rule” — the notion that this is the time required for the acquisition of perfected expertise in a particular field — but I am sure grind is underappreciated in our feel-good culture. Don’t sweat the details, but do sweat.

I’ve grown suspicious of the inspirational. It’s overrated. I suspect duty — that half-forgotten word — may be more related to happiness than we think. Want to be happy? Mow the lawn. Collect the dead leaves. Paint the room. Do the dishes. Get a job. Labor until fatigue is in your very bones. Persist day after day. Be stoical. Never whine. Think less about the why of what you do than getting it done. Get the column written. Start pondering the next.

A few years ago, when my son Blaise graduated, I was asked to give the commencement speech at the American School in London. Among other things, I said:

“Everyone has something that makes them tick. The thing is it’s often well hidden. Your psyche builds layers of protection around your most vulnerable traits, which may be very closely linked to your precious essence. Distractions are also external: money, fame, peer pressure, parental expectation. So it may be more difficult than you think to recognize the spark that is your personal sliver of the divine. But do so. Nothing in the end will give you greater satisfaction — not wealth, not passion, not faith, not even love — for if, as Rilke wrote, all companionship is but “the strengthening of two neighboring solitudes,” you have to solve the conundrum of your solitude.

“No success, however glittering, that denies yourself will make you happy in the long run. So listen to the voice from your soul, quiet but insistent, and honor it. Find what you thrill to: if not the perfect sentence, the beautiful cure, the brilliant formula, the lovely chord, the exquisite sauce, the artful reconciliation. Strive not for everything money can buy but for everything money can’t buy.”

It’s not precisely that I would retract any of that today — well, maybe a little — it’s just that I’d put the emphasis elsewhere. I am less interested in the inspirational hero than I am in the myriad doers of everyday good who would shun the description heroic; less interested in the exhortation to “live your dream” than in the obligation to make a living wage.

When you think of Sisyphus — the Greek mythological figure whose devious attempt to defy the gods was punished with his condemnation to pushing a boulder up a hill and repeating the task through all eternity when it rolled down again — think above all that he has a task and it is his own. Rather than a source of despair, that may be the beginning of happiness.

In Camus’ book, “The Plague,” the doctor at the center of the novel, Bernard Rieux, battles pestilence day after day. It is a Sisyphean task. At one point he says, “I have to tell you this: This whole thing is not about heroism. It’s about decency. It may seem a ridiculous idea, but the only way to fight the plague is with decency.”

Asked what decency is, he responds: “In general, I can’t say, but in my case I know that it consists of doing my job.” Later, he adds, “I don’t think I have any taste for heroism and sainthood. What interests me is to be a man.”

In the everyday task at hand, for woman or man, happiness lurks."]]></description>
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<item rdf:about="http://www.npr.org/2015/03/12/392564716/inspired-by-monks-a-writer-embraces-his-life-of-solitude">
    <title>Inspired By Monks, A Writer Embraces His Life Of Solitude : NPR</title>
    <dc:date>2015-03-13T20:01:53+00:00</dc:date>
    <link>http://www.npr.org/2015/03/12/392564716/inspired-by-monks-a-writer-embraces-his-life-of-solitude</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["GROSS: So when you were young and were exposed to all these monks from the abbey, did you have any understanding of why they chose a life of communal solitude?

JOHNSON: You know, that's an interesting question. I, of course - as a child, I just accepted it as a given, the donnee, in a way that... You know, of course what you did on Corpus Christi in the high heat of June is that you all dressed up. And you went over and had these elaborate processions with gold monstrances and men decked out in gorgeous (laughter) clothing and singing in Latin. And, I mean, all of that was just part of the landscape. And I suppose in some sense, of course, it drew me because I inherited from my - both of my parents - a deep love of beauty. And here were these people who had - I think this may be the best way to describe a monastic life - people who had made a conscious choice to dedicate their lives to the pursuit and - the creation and the pursuit of beauty. And what I ask in the course of this essay in Harper's is whether we can take that noble motivation and transfer it into the - into the secular world, whether we can have a kind of, for solitaries, people I call solitaries - I borrowed the word from Merton - can have a kind of dedication to beauty that operates outside of a cloistered wall in the same way that it did for these men within the cloistered wall."

…

"GROSS: In some ways, you are so outside the culture now because as somebody choosing a more solitary life, you are also, I am sure, choosing to not really engage with things like social media or, you know, lots of cable television or, you know, all the new, electronic device, digital kind of stuff that we have access to. And so, you know, in some respects, you're probably really losing touch with what's happening in our culture. And I wonder how you feel about that.

JOHNSON: I feel really, really good about it. (Laughter). I - my students say to me - my students are 21, 22, whatever - come into the classroom and they say, we can't keep up with the software. We can't keep up with what's happening. And I say, you can't keep up with what's happening? I have a terrible sense that this is a chatter that we are creating as a mask for the issues of serious, great consequence that we should be facing head-on and engaging."

…

"JOHNSON: You know, things might change tomorrow. That's tomorrow. But the enterprise of solitude is to sit down and embrace what you have in the here and now. And we've turned that observation into a kind of cliche, as we often turn beautiful, true words in our society into cliches, I think because we're afraid of them. But it really is - we're afraid of their power or we don't want to inhabit their power. But if we really - if we really lived with what we have in the here and now, it would radically change how we live in the world. Thomas Merton again, what we have to be is what we are - what we are right here, right now. And solitude can be a way of fully inhabiting that way of being in the world.

GROSS: So we've been talking about the life of solitude, of having a certain amount of solitude in your life and living alone. You were very sick last week. You had a procedure that led to a systemic infection and had to go to the hospital. And it was a rough week. How did your conscious solitude work out when you were alone in the hospital? Did you feel like you had enough connection with people who were friends or colleagues or students or whatever, who were there for you and came and visited you when you maybe really wanted company and wanted support and reassurance?

JOHNSON: That is a very good question because it addresses the challenge of living alone, if you're living alone, which is the establishment of those kinds of networks. To experience the support and outpouring of love and affection was so moving that it almost made the illness worth the price of the ticket. Those people did come together for me. They did support me in a way that was extraordinary to witness. And during this week of illness - and I was very, very ill - I have to say that I got through some of the most difficult times, the 3 a.m., 4 a.m. times in the hospital, drawing upon the reservoir of strength that I had assembled over my time of living alone, of accepting being alone, of accepting that this is happening to me and it's OK. It is what it is. It's a different version of the autumn light falling across the room. And I don't think I could have - I don't think I could have gotten - I couldn't have gotten through those - the past week - without two ways of being in the world, one of which was the great love of my friends who came together to support me and family. And the other was that reservoir that I had built up in solitude of accepting illness, even death - especially death - as a necessary and beautiful part of what is, in its way. But at 3 and 4 o'clock in the morning, what I went back to a lot was sitting alone in silence, for day after day, with a Zen Buddhist community. And I went back to those times of sitting alone. And I drew a lot of strength from them. And I thought, I'm lying in this hospital bed, and it's just a different way of sitting alone and being alone with the world."]]></description>
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<item rdf:about="http://www.evergreen.edu/catalog/2014-15/programs/silencesolitudelazinessandotherpillarsofthegoodlife-10909">
    <title>Silence, Solitude, Laziness and Other Pillars of the Good Life | The Evergreen State College</title>
    <dc:date>2014-09-30T21:41:42+00:00</dc:date>
    <link>http://www.evergreen.edu/catalog/2014-15/programs/silencesolitudelazinessandotherpillarsofthegoodlife-10909</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Freedom and discipline concur
only in ecstasy, all else
is shoveling out the muck.
Give me my old hot horn.
Hayden Carruth, “Freedom and Discipline”

Silence has been banished by ear buds, the roar of politics and the economy, and the hum of hard disks doing our searching. Solitude? Think- as you're tempted to buy a retreat in a monastery or take a guided walk in a faraway canyon- of surveillance and our collective reliance on Facebook and its e-cousins. Laziness? We're anxious to be worker bees, and the last defense of a “right to be lazy” was written by Paul Lafargue in 1883. Silence, solitude, laziness: gone.

This program will consider three paradoxical, counterintuitive hypotheses: Silence may open space to enjoy the virtues of vernacular speech and living in common. Solitude may allow us to know the importance of embracing others. Laziness may be more productive than work if our aim is the good life.

We will follow the paths of iconoclasts, monks, mystics, utopian socialists, Charlie Chaplin and other artists, stoics and cynics and the occasional (certified) sociologist or philosopher to remember what we know about living well.

In addition to the common work of the program, students will undertake an independent study of considerable significance that should be more admirable than convincing.

At least four class hours each week will be devoted to writing, learning to make artful sentences.  Students will read their work aloud and learn to accept and give good, open and public criticism of writing. In addition to the common work of the program, students will undertake an independent study of considerable significance that should be more admirable and beautiful than convincing.  This project will account for up to half of the credit to be awarded. If your own writing practice contains even a scintilla of laziness, that’ll change."]]></description>
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<item rdf:about="http://www.theguardian.com/books/2012/mar/08/marilynne-robinson-when-child-read-books-review">
    <title>When I Was a Child I Read Books by Marilynne Robinson – review | Books | The Observer</title>
    <dc:date>2014-08-07T23:29:25+00:00</dc:date>
    <link>http://www.theguardian.com/books/2012/mar/08/marilynne-robinson-when-child-read-books-review</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[I picked up When I Was a Child… with a curiosity about Marilynne Robinson equal only to her disinclination to give anything away – in a homespun, ordinary, autobiographical sense – about herself. This book is not, as its title might suggest, a memoir. Nor is it about childhood. She says there is a difference – for a writer as well as for readers – between "knowing" a person and "knowing about" them, and the extraordinary experience of reading these idiosyncratic, high-minded theological essays is about the former. It is the equivalent of an uncommon library ticket, an admission to the subjects that most obsess her: the frail human enterprise, faith and its absence, mysteries that elude language.

…


"And she tells us, in passing, about a scientific experiment of her own. She was educated at a centre of behaviourist psychology where they "pestered" rats (in a maze-learning experiment) and attempted to "lure" them with Cheerios – her rat turned out not to be easy to bribe. It seems appropriate that her rat was a rebel for there is nothing Robinson likes less than facile conclusions about motivation. She deplores "so-called rational choice economics which assumes we will all find the shortest way to the reward". She has no truck with the selfish gene – if anything, she seems to think a selfless gene more likely. She asks why society is full of arrangements that "seem to inhibit or defeat self-interest?" Yet, at the same time, she is anti "austerity" as a policy (and is especially eloquent about its deleterious effects on American universities)."

…

"There is a subtle tension throughout the book between society and solitude. She describes poetry as "a highly respectable use of solitude", the writings of Edgar Allan Poe have an "almost hallucinatory loneliness", and, she reveals – wonderful detail – that, in Iowa, the word "lonesome" has positive connotations. Yet what makes this book is Robinson's belief in community, her feeling that "it is in the nature of people to do good to one another" (as well as to sin), and that the world is, to quote Louis MacNeice, "incorrigibly plural" (even if, for her, it has only one God). Robinson is adept at studying the small print and reading between the lines but she never forgets to look up at the stars."]]></description>
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<item rdf:about="http://www.nytimes.com/2012/04/22/books/review/marilynne-robinsons-when-i-was-a-child-i-read-books.html?pagewanted=all">
    <title>Marilynne Robinson’s ‘When I Was a Child I Read Books’ - NYTimes.com</title>
    <dc:date>2014-08-07T23:26:09+00:00</dc:date>
    <link>http://www.nytimes.com/2012/04/22/books/review/marilynne-robinsons-when-i-was-a-child-i-read-books.html?pagewanted=all</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Robinson grew up in Idaho and now lives in Iowa — places where, as she puts it in her new collection of personal and critical essays, “When I Was a Child I Read Books,” “ ‘lonesome’ is a word with strongly positive connotations.” In her lexicon, lonesomeness means the opposite of isolation. It envelops the mind and heart in unsullied nature, allowing focused apprehension of the miracle of creation, as when she remembers kneeling alone as a child “by a creek that spilled and pooled among rocks and fallen trees with the unspeakably tender growth of small trees already sprouting from their backs, and thinking, there is only one thing wrong here, which is my own presence, and that is the slightest imaginable intrusion — feeling that my solitude, my loneliness, made me almost acceptable in so sacred a place.”

One inference to be drawn from Robinson’s essays is that her novels contain a good deal of self-portraiture. When she was young, she seems to have been a prairie version of one of J. D. Salinger’s Glass children — except that rather than urbanity, her precociousness took the form of piety. “I looked to Galilee for meaning,” she tells us, “and to Spokane for orthodonture.” Only such a reverent child could have felt, as Ruth, the narrator of “Housekeeping,” feels when the boat she’s in seems about to capsize, that “it was the order of the world that the shell should fall away and that I, the nub, the sleeping germ, should swell and expand.” This kind of high-mindedness can appear a little chastising to those of us who would have worried about drowning.

But if Robinson writes with a devoutness that can alienate those who don’t share it, she also avers that wisdom is “almost always another name for humility.” Not only in Christian Scripture but throughout the Hebrew Bible, she finds a “haunting solicitude for the vulnerable.” Like many conservative critics, with whom she would otherwise disagree, she is angry at America for its putative betrayal of its founding principles. She condemns “condescension toward biblical texts and narratives, toward the culture that produced them, toward God.” She decries the diminution of religion as “a primitive attempt to explain phenomena which are properly within the purview of science.” But her anger arises not on behalf of some fanciful notion that America was once a monolithic Christian nation. She is angry, instead, at our failure to sustain the capacious conception of community with which, as she shows in a brilliant essay entitled “Open Thy Hand Wide: Moses and the Origins of American Liberalism,” America began — a community founded not on the premise that human beings are motivated primarily by greed, but as an experiment in building a society on the principle of love. She persists in believing that this experiment has not been futile: “The great truth that is too often forgotten is that it is in the nature of people to do good to one another.”"

…

"“I think we all know,” she remarks near the beginning of the book, “that the earth might be reaching the end of its tolerance for our presumptions.” In that word “presumptions” there is great force, amplified by the plural possessive pronoun that precedes it and that underscores everyone’s “inevitable share in human fallibility.” Like every good preacher, Marilynne Robinson judges others while including herself — in theory, at least — in the judgment."]]></description>
<dc:subject>2012 andrewdelbanco christianity lonesomeness loneliness solitude isolation presumptions humanism humility grace religion belief marilynnerobinson</dc:subject>
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<item rdf:about="http://www.cityofsound.com/blog/2014/05/essay-designing-finnishness-for-out-of-the-blue-gestalten.html">
    <title>cityofsound: Essay: 'Designing Finnishness', for 'Out Of The Blue: The Essence and Ambition of Finnish Design' (Gestalten)</title>
    <dc:date>2014-05-12T05:39:28+00:00</dc:date>
    <link>http://www.cityofsound.com/blog/2014/05/essay-designing-finnishness-for-out-of-the-blue-gestalten.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Knowing what to do when there is nothing to do

<blockquote>"The press conference is over, and in comes Jari Litmanen, from behind the door. And I looked at his face and I looked at his eyes, and I recognised something in those eyes. And I thought, this is a man with a great willpower. Because he was not shy, not timid, but he was modest. He is not a man who will raise his voice, or bang with his fist on the table and say, ‘We do it this way.’ No, he was more of a diplomat, not wanting to be a leader, but being a leader." [Former AFC Ajax team manager David Endt, on legendary Finnish footballer Jari Litmanen]</blockquote>

Finland has proven that it can take care of itself locally and globally. At home, its sheer existence is a tribute to fortitude, guile and determination, never mind the extent to which it has lately thrived. Globally, through Nokia, Kone, Rovio and others, through its diplomatic and political leadership, and through its design scene in general, it has punched well above its weight. Having been a reluctant leader, like Litmanen, will Finland once again step up to help define a new age, a post-industrial or re-industrial age? Unlike 1917, there are few obvious external drivers to force Finns to define Finnishness. So where will the desire for change come from?

Finland, and Finnishness, is not immune to the problems facing other European countries; the Eurocrisis, domestic xenophobia, industrial strife. Challenging these is difficult for an engineering culture not yet used to working with uncertainty, and in collaboration.

That requires this sense of openness to ambiguity, to non-planning, which is quite unlike the traditional mode of Finnishness. And yet there are also valuable cues in Finnishness, such as in the design—or undesign, as Leonard Koren would have it—of Finnish sauna culture.

<blockquote>"Making nature really means letting nature happen, since nature, the ultimate master of interactive complexity, is organized along principles too inscrutable for us to make from scratch. … Extraordinary baths … are created by natural geologic processes or by composers of sensory stimulation working in an intuitive, poetic, open-minded—undesign—manner." (Koren, ibid.)</blockquote>

Equally, the päiväkoti day-care system demonstrates a learning environment built with an agile structure that can follow where children wish to lead. The role of expertise—and every teacher in Finnish education is a highly-qualified expert—is not to control or enforce a national curriculum, but to react, shape, nurture and inspire. As such it could be a blueprint not only for education generally, but also for developing a culture comfortable with divergent learning, with exploration and experiment, with a broader social and emotional range, and with ambiguity.

Chess grandmaster Savielly Tartakower once said “Tactics is knowing what to do when there is something to do, strategy is knowing what to do when there is nothing to do.” Indeed, Finland's early development was driven by tactics—survival, consolidation and then growth in the face of a clear set of "things to do"; defeat the conditions, resist the neighbours, rebuild after war.

With that, came success, comfort and then perhaps the inevitable lack of drive. The country is relatively well off and stable, and perhaps a little complacent given the recent accolades.

Design in recent years has seen a shift towards the ephemeral and social—interaction design, service design, user experience design, strategic design and so on. Conversely, there has been a return to the physical, albeit altered and transformed by that new modernity, with that possibility of newly hybrid “things”: digital/physical hybrids possessing a familiar materiality yet allied with responsiveness, awareness, and character by virtue of having the internet embedded within. With its strong technical research sector, and expertise in both materials and software, Finland is well-placed. Connect the power of its nascent nanotech research sector—interestingly, derived from its expertise with wood—to a richer Finnish design culture capable of sketching  social objects, social services and social spaces and its potential becomes tangible, just as with the 1930s modernism that fused the science and engineering of the day with design in order to produce Artek.

Finnish design could be stretched to encompass these new directions, the aforementioned reversals towards openness, ambiguity, sociality, flexibility and softness. Given that unique DNA of Finnishness — both designed and undesigned, both old and young—Finland is at an interesting juncture.

The next phase, then, is knowing what to do, despite the appearance of not having anything to do.

Buckminster Fuller, a guest at Sitra's first design-led event at Helsinki’s Suomenlinna island fortress in 1968, once said “the best way to predict the future is to design it.” Finland has done this once before; it may be that now is exactly the right time to do it again."]]></description>
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<item rdf:about="http://www.theparisreview.org/interviews/3196/the-art-of-fiction-no-69-gabriel-garcia-marquez">
    <title>Paris Review - The Art of Fiction No. 69, Gabriel Garcia Marquez</title>
    <dc:date>2014-04-18T21:14:48+00:00</dc:date>
    <link>http://www.theparisreview.org/interviews/3196/the-art-of-fiction-no-69-gabriel-garcia-marquez</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["When García Márquez speaks, his body often rocks back and forth. His hands too are often in motion making small but decisive gestures to emphasize a point, or to indicate a shift of direction in his thinking. He alternates between leaning forward towards his listener, and sitting far back with his legs crossed when speaking reflectively."

…

INTERVIEWER How do you feel about using the tape recorder?

GABRIEL GARCÍA MÁRQUEZ The problem is that the moment you know the interview is being taped, your attitude changes. In my case I immediately take a defensive attitude. As a journalist, I feel that we still haven’t learned how to use a tape recorder to do an interview. The best way, I feel, is to have a long conversation without the journalist taking any notes. Then afterward he should reminisce about the conversation and write it down as an impression of what he felt, not necessarily using the exact words expressed. Another useful method is to take notes and then interpret them with a certain loyalty to the person interviewed. What ticks you off about the tape recording everything is that it is not loyal to the person who is being interviewed, because it even records and remembers when you make an ass of yourself. That’s why when there is a tape recorder, I am conscious that I’m being interviewed; when there isn’t a tape recorder, I talk in an unconscious and completely natural way.

…

GARCÍA MÁRQUEZ I’ve always been convinced that my true profession is that of a journalist. What I didn’t like about journalism before were the working conditions. Besides, I had to condition my thoughts and ideas to the interests of the newspaper. Now, after having worked as a novelist, and having achieved financial independence as a novelist, I can really choose the themes that interest me and correspond to my ideas. In any case, I always very much enjoy the chance of doing a great piece of journalism.

…

INTERVIEWER Do you think the novel can do certain things that journalism can’t?

GARCÍA MÁRQUEZ Nothing. I don’t think there is any difference. The sources are the same, the material is the same, the resources and the language are the same. The Journal of the Plague Year by Daniel Defoe is a great novel and Hiroshima is a great work of journalism.

INTERVIEWER Do the journalist and the novelist have different responsibilities in balancing truth versus the imagination?

GARCÍA MÁRQUEZ In journalism just one fact that is false prejudices the entire work. In contrast, in fiction one single fact that is true gives legitimacy to the entire work. That’s the only difference, and it lies in the commitment of the writer. A novelist can do anything he wants so long as he makes people believe in it.

…

INTERVIEWER How did you start writing?

GARCÍA MÁRQUEZ By drawing. By drawing cartoons. Before I could read or write I used to draw comics at school and at home. The funny thing is that I now realize that when I was in high school I had the reputation of being a writer, though I never in fact wrote anything. If there was a pamphlet to be written or a letter of petition, I was the one to do it because I was supposedly the writer. When I entered college I happened to have a very good literary background in general, considerably above the average of my friends. At the university in Bogotá, I started making new friends and acquaintances, who introduced me to contemporary writers. One night a friend lent me a book of short stories by Franz Kafka. I went back to the pension where I was staying and began to read The Metamorphosis. The first line almost knocked me off the bed. I was so surprised. The first line reads, “As Gregor Samsa awoke that morning from uneasy dreams, he found himself transformed in his bed into a gigantic insect. . . .” When I read the line I thought to myself that I didn’t know anyone was allowed to write things like that. If I had known, I would have started writing a long time ago. So I immediately started writing short stories. They are totally intellectual short stories because I was writing them on the basis of my literary experience and had not yet found the link between literature and life. The stories were published in the literary supplement of the newspaper El Espectador in Bogotá and they did have a certain success at the time—probably because nobody in Colombia was writing intellectual short stories. What was being written then was mostly about life in the countryside and social life. When I wrote my first short stories I was told they had Joycean influences.

…

INTERVIEWER Can you name some of your early influences?

GARCÍA MÁRQUEZ The people who really helped me to get rid of my intellectual attitude towards the short story were the writers of the American Lost Generation. I realized that their literature had a relationship with life that my short stories didn’t. And then an event took place which was very important with respect to this attitude. It was the Bogotazo, on the ninth of April, 1948, when a political leader, Gaitan, was shot and the people of Bogotá went raving mad in the streets. I was in my pension ready to have lunch when I heard the news. I ran towards the place, but Gaitan had just been put into a taxi and was being taken to a hospital. On my way back to the pension, the people had already taken to the streets and they were demonstrating, looting stores and burning buildings. I joined them. That afternoon and evening, I became aware of the kind of country I was living in, and how little my short stories had to do with any of that. When I was later forced to go back to Barranquilla on the Caribbean, where I had spent my childhood, I realized that that was the type of life I had lived, knew, and wanted to write about.

Around 1950 or ’51 another event happened that influenced my literary tendencies. My mother asked me to accompany her to Aracataca, where I was born, and to sell the house where I spent my first years. When I got there it was at first quite shocking because I was now twenty-two and hadn’t been there since the age of eight. Nothing had really changed, but I felt that I wasn’t really looking at the village, but I was experiencing it as if I were reading it. It was as if everything I saw had already been written, and all I had to do was to sit down and copy what was already there and what I was just reading. For all practical purposes everything had evolved into literature: the houses, the people, and the memories. I’m not sure whether I had already read Faulkner or not, but I know now that only a technique like Faulkner’s could have enabled me to write down what I was seeing. The atmosphere, the decadence, the heat in the village were roughly the same as what I had felt in Faulkner. It was a banana-plantation region inhabited by a lot of Americans from the fruit companies which gave it the same sort of atmosphere I had found in the writers of the Deep South. Critics have spoken of the literary influence of Faulkner, but I see it as a coincidence: I had simply found material that had to be dealt with in the same way that Faulkner had treated similar material.

From that trip to the village I came back to write Leaf Storm, my first novel. What really happened to me in that trip to Aracataca was that I realized that everything that had occurred in my childhood had a literary value that I was only now appreciating. From the moment I wrote Leaf Storm I realized I wanted to be a writer and that nobody could stop me and that the only thing left for me to do was to try to be the best writer in the world. That was in 1953, but it wasn’t until 1967 that I got my first royalties after having written five of my eight books.

…

INTERVIEWER What about the banana fever in One Hundred Years of Solitude? How much of that is based on what the United Fruit Company did?

GARCÍA MÁRQUEZ The banana fever is modeled closely on reality. Of course, I’ve used literary tricks on things which have not been proved historically. For example, the massacre in the square is completely true, but while I wrote it on the basis of testimony and documents, it was never known exactly how many people were killed. I used the figure three thousand, which is obviously an exaggeration. But one of my childhood memories was watching a very, very long train leave the plantation supposedly full of bananas. There could have been three thousand dead on it, eventually to be dumped in the sea. What’s really surprising is that now they speak very naturally in the Congress and the newspapers about the “three thousand dead.” I suspect that half of all our history is made in this fashion. In The Autumn of the Patriarch, the dictator says it doesn’t matter if it’s not true now, because sometime in the future it will be true. Sooner or later people believe writers rather than the government.

INTERVIEWER That makes the writer pretty powerful, doesn’t it?

GARCÍA MÁRQUEZ Yes, and I can feel it too. It gives me a great sense of responsibility. What I would really like to do is a piece of journalism which is completely true and real, but which sounds as fantastic as One Hundred Years of Solitude. The more I live and remember things from the past, the more I think that literature and journalism are closely related.

…

INTERVIEWER Are dreams ever important as a source of inspiration?

GARCÍA MÁRQUEZ In the very beginning I paid a good deal of attention to them. But then I realized that life itself is the greatest source of inspiration and that dreams are only a very small part of that torrent that is life. What is very true about my writing is that I’m quite interested in different concepts of dreams and interpretations of them. I see dreams as part of life in general, but reality is much richer. But maybe I just have very poor dreams.

INTERVIEWER Can you distinguish between inspiration and intuition?

GARCÍA MÁRQUEZ Inspiration is when you find the right theme, one which you really like; that makes the work much easier. Intuition, which is also fundamental to writing fiction, is a special quality which helps you to decipher what is real without needing scientific knowledge, or any other special kind of learning. The laws of gravity can be figured out much more easily with intuition than anything else. It’s a way of having experience without having to struggle through it. For a novelist, intuition is essential. Basically it’s contrary to intellectualism, which is probably the thing that I detest most in the world—in the sense that the real world is turned into a kind of immovable theory. Intuition has the advantage that either it is, or it isn’t. You don’t struggle to try to put a round peg into a square hole.
…

"GARCÍA MÁRQUEZ In general, I’m not a friend of writers or artists just because they are writers or artists. I have many friends of different professions, amongst them writers and artists. In general terms, I feel that I’m a native of any country in Latin America but not elsewhere. Latin Americans feel that Spain is the only country in which we are treated well, but I personally don’t feel as though I’m from there. In Latin America I don’t have a sense of frontiers or borders. I’m conscious of the differences that exist from one country to another, but in my mind and heart it is all the same. Where I really feel at home is the Caribbean, whether it is the French, Dutch, or English Caribbean. I was always impressed that when I got on a plane in Barranquilla, a black lady with a blue dress would stamp my passport, and when I got off the plane in Jamaica, a black lady with a blue dress would stamp my passport, but in English. I don’t believe that the language makes all that much difference. But anywhere else in the world, I feel like a foreigner, a feeling that robs me of a sense of security. It’s a personal feeling, but I always have it when I travel. I have a minority conscience.

INTERVIEWER Do you think that it’s an important thing for Latin American writers to live in Europe for a while?"

…

"INTERVIEWER Aside from your favorites, what do you read today?

GARCÍA MÁRQUEZ I read the weirdest things. I was reading Muhammad Ali’s memoirs the other day. Bram Stoker’s Dracula is a great book, and one I probably would not have read many years ago because I would have thought it was a waste of time. But I never really get involved with a book unless it’s recommended by somebody I trust. I don’t read any more fiction. I read many memoirs and documents, even if they are forged documents. And I reread my favorites. The advantage of rereading is that you can open at any page and read the part that you really like. I’ve lost this sacred notion of reading only “literature.” I will read anything. I try to keep up-to-date. I read almost all the really important magazines from all over the world every week. I’ve always been on the lookout for news since the habit of reading the Teletype machines. But after I’ve read all the serious and important newspapers from all over, my wife always comes around and tells me of news I hadn’t heard. When I ask her where she read it, she will say that she read it in a magazine at the beauty parlor. So I read fashion magazines and all kinds of magazines for women and gossip magazines. And I learn many things that I could only learn from reading them. That keeps me very busy."]]></description>
<dc:subject>gabrielgarcíamárquez 1981 interviews colombia writing journalism truth reality fiction literature latinamerica drawing kafka jamesjoyce stories storytelling everyday williamfaulkner imagination biography autobiography politics childhood fantasy magicrealism credibility detail details belief believability responsibility history bricolage collage power solitude flow dreams dreaming inspiration intuition intellectualism translation mexico spanish español gregoryrabassa borders frontiers miguelángelasturias cuba fame friendship film filmmaking relationships consumption language languages reading howweread howwewrite routine familiarity habits gabo</dc:subject>
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<item rdf:about="http://www.goodreads.com/quotes/431052-i-want-to-be-alone-and-i-want-people-to">
    <title>Quote by Thom Yorke: I want to be alone and I want people to notice ...</title>
    <dc:date>2014-02-03T22:03:07+00:00</dc:date>
    <link>http://www.goodreads.com/quotes/431052-i-want-to-be-alone-and-i-want-people-to</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[“I want to be alone and I want people to notice me — both at the same time”

― Thom Yorke

[Goes with: http://robertogreco.tumblr.com/post/22494191356/me-gustas-cuando-callas ]]]></description>
<dc:subject>attention megustascuandocallas company solitude quiet via:lukeneff thomyorke</dc:subject>
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<item rdf:about="https://medium.com/p/66bd9c323630">
    <title>Interrupt the program — Medium</title>
    <dc:date>2013-08-06T01:00:29+00:00</dc:date>
    <link>https://medium.com/p/66bd9c323630</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Spoiler alert: I am about to tell you what to do.

1. Talk to a stranger

It’s simple, and harmless, and generous, a beautiful interruption. You can do it without even slowing down your pace. Catch someone’s eye, smile in passing, say “have a good day,” or “how’re you doing.” These are mundane utterances that are also deeply profound. They say to someone: I see you there, we are both people walking down this street or through this lobby, we are both real and it’s worth a nod to that. If you are still smiling for two seconds after you pass by, you are doing this right. You have created a moment of street intimacy.

2. Fall down a rabbit hole

Ignore the kerfuffle about what the internet is doing to your attention span. There are kinds of distraction that are deeply focused. There are many clicks involved in this. Someone, somewhere on your internet has posted something that intrigues you, that you want to know more about. Read it, watch it, wonder about it. What questions does it leave you with? Dig deeper into it. Or, what does it remind you of? Follow unexpected tangents. You are not scattered, you are on a quest. You are looking for answers. If what you find are more questions, you are doing this right. You have been distracted from what you were doing when you started all this. You have been curious.

3. Do nothing

Sit by yourself somewhere in public for 7 minutes without looking at your phone. It has to be somewhere without a TV. Neither of these are bad, I like them too. Do it anyway. This may make you uncomfortable. Do it anyway. Unless you choose to sleep, you will find that you are forced to look at something. What is it? Are you reading signs or looking at things in store windows? Are you looking at other people? Are you looking at trees? Water? Sand? Cement? If you start talking to yourself in your head, you are doing this right. I should have said at the beginning, take a pen in case you want to write something down. You can write on your hand, it’ll wash off. You have been awake."]]></description>
<dc:subject>kiostark strangers 2013 intimacy conversation idleness stillness distraction internet attention focus depth messiness curiosity advice solitude awakeness slow time noticing mindfulness observation engagement people life living interruption</dc:subject>
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<item rdf:about="http://www.theparisreview.org/interviews/5583/the-art-of-poetry-no-91-jack-gilbert">
    <title>Paris Review - The Art of Poetry No. 91, Jack Gilbert</title>
    <dc:date>2013-05-11T02:23:54+00:00</dc:date>
    <link>http://www.theparisreview.org/interviews/5583/the-art-of-poetry-no-91-jack-gilbert</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["He failed out of high school and worked as an exterminator and door-to-door salesman before being admitted, thanks to a clerical error, to the University of Pittsburgh. There he met the poet Gerald Stern, his exact contemporary. Gilbert started writing poetry, he says, because Stern did."

…

'INTERVIEWER: Do you think it’s important for American writers to live abroad?

GILBERT: At least at some point—so you have something to compare to what you think is normal, and you encounter things you aren’t used to. One of the great dangers is familiarity."

…

"INTERVIEWER: Did being removed from the literary community benefit you?

GILBERT: Sure. 

INTERVIEWER: What did you like most about it?

GILBERT: Paying attention to being alive. This is hard—when I try to explain, it sounds false. But I don’t know any other way to say it. I’m so grateful. There’s nothing I’ve wanted that I haven’t had. Michiko dying, I regret terribly, and losing Linda’s love, I regret equally. And not doing some of the things I wanted to do. But I still feel grateful. It’s almost unfair to have been as happy as I’ve been. I didn’t earn it; I had a lot of luck. But I was also very, very stubborn. I was determined to get what I wanted as a life.

INTERVIEWER: Do you think that your idea of happiness differs from most people’s idea of happiness?

GILBERT: Sure. I’m vain enough to think that I’ve made a successful life. I’ve had everything I’ve ever wanted. You can’t beat that."

…

"INTERVIEWER: Did school influence you as a young writer? 

GILBERT: No, I failed high school; I got into college by mistake. I failed freshman English eight times. I was interested in learning, but I wanted to understand too, which meant I was fighting with the teachers all the time. Everybody accepted the fact that I was smart but I wouldn’t obey. I didn’t believe what they said unless they could prove it.

INTERVIEWER: Was your defiance—your resistance—ultimately an advantage?

GILBERT: Yes and no. It takes much longer if you have to find it all and do it all for yourself. My mind was not available for the impress of teachers or other people’s styles. The other arts were important to me. At one time I was working in photography with Ansel Adams. He offered to help me with my photographs if I would help him write his books, which was fine until we ran short of money and the woman I was with finally said she was tired of cooking pancakes. 

INTERVIEWER: How did you get involved with Ansel Adams?

GILBERT: I was teaching a class and some of his students got to know me. I wish I’d been able to continue working with him, but it was either him or the woman. I chose the woman. After that I went to Italy and everything went into my falling in love for the first time. I did some painting there and won a fourth prize. I wish I had continued with painting and photography—novels too. But I was excited.

INTERVIEWER: What was Ansel Adams like?

GILBERT: Very German.

INTERVIEWER: Have you ever looked to other writers for inspiration?

GILBERT: I liked many writers but never found a teacher."

…

"INTERVIEWER: Do you think this has anything to do with the fact that so many poets come out of M.F.A. programs and go right on to teach?

GILBERT: If I answer that I’ll get into a rant, but I’ll tell you—I think poetry was killed by money. When I started out, no poet in America could make a living in poetry except Ogden Nash. And he did it with light verse."

…

INTERVIEWER: You taught in universities very rarely, only when you had to—just enough so that you could travel and write. Do you think writing poetry can be taught?

GILBERT: I can teach people how to write poetry, but I can’t teach people how to have poetry, which is more than just technique. You have to feel it—to experience it, whether in a daze or brightly. Often you don’t know what you have. I once worked on a poem for twelve years before I found it."

…

"INTERVIEWER: What, other than yourself, is the subject of your poems?

GILBERT: Those I love. Being. Living my life without being diverted into things that people so often get diverted into. Being alive is so extraordinary I don’t know why people limit it to riches, pride, security—all of those things life is built on. People miss so much because they want money and comfort and pride, a house and a job to pay for the house. And they have to get a car. You can’t see anything from a car. It’s moving too fast. People take vacations. That’s their reward—the vacation. Why not the life? Vacations are second-rate. People deprive themselves of so much of their lives—until it’s too late. Though I understand that often you don’t have a choice."

…

"INTERVIEWER: It sounds like even in your San Francisco days you sustained a rather remote life away from others. Is solitude important for you?

GILBERT: I don’t know how to answer that because I’ve always lived a life with a lot of quiet in it—either alone or with someone I’m in love with."

…

"INTERVIEWER: Is being childless good for a poet?

GILBERT: I could never have lived my life the way I have if I had children. There used to be a saying that every baby is a failed novel. I couldn’t have roamed or taken so many chances or lived a life of deprivation. I couldn’t have wasted great chunks of my life. But that would be a mistake for other people. Fine people. Smart people."

…

"INTERVIEWER: Do you keep to a work schedule?

GILBERT: No, I have an approximate rhythm, but I don’t like the idea of anything creative being mechanical. That’ll kill you. On the other hand, if I was not satisfied with how much I’d written in a year, then I would set out to write a hundred poems in a hundred days. I force myself to write poems even though I don’t approve of it because it does keep something alive. So I guess I have a little bit of a pattern that I live by. For instance, the other day I woke up at one in the morning and worked until four in the afternoon. I do that a lot. I can do that because I don’t have to accommodate anybody but me.

INTERVIEWER: So discipline is important to you?

GILBERT: Yes, because I’m lazy. If you have it in you, you want to create, but I won’t force myself—because it’s dangerous. People who are organized are in danger of making a process out of it and doing it by the numbers."

…

"INTERVIEWER: What’s your relationship with the contemporary literary community now?

GILBERT: I don’t have one.

INTERVIEWER: Does that bother you?

GILBERT: No. Why? Why would it bother me? Those people are in business. They’re hardworking.

INTERVIEWER: Don’t you work hard?

GILBERT: Not in the same meaning of the word hard. I put in a lot of effort because it matters to me. Many of these people who teach would do anything not to teach. I don’t have any obligations. I don’t have a mortgage. These people are working hard at a great price. 

INTERVIEWER: I’m struck by how rarely I see your poems in anthologies and how  often I see the same poems by other poets over and over again. Do you think there’s a disadvantage to spending most of your life abroad or outside of literary circles?

GILBERT: It’s fatal, which is all right with me. 

INTERVIEWER: Do you ever feel any professional antagonism toward other writers?

GILBERT: Them toward me or me toward them?

INTERVIEWER: You toward them.

GILBERT: No.

INTERVIEWER: Do you feel it from them toward you?

GILBERT: Sure. I contradict a lot of what they’re doing. I don’t go to the meetings and dinners. I don’t hang out."

…

"INTERVIEWER: Have you ever followed a particular religion? 

GILBERT: Presbyterianism. Till I was about seven, I guess. My mother never went to church, but she was a believer. She loved God and believed God would be good to her. She sang when she cleaned the house on Sunday mornings.

INTERVIEWER: Do you consider yourself religious now?

GILBERT: I’d like to be. I think I’m very religious by temperament. I think it would be a great comfort to believe. But you don’t have a choice. Either you believe or you don’t. It’s not a practical matter. Religion is a beautiful idea, but I don’t have a choice.

INTERVIEWER: Where does your preoccupation with mythology and the gods come from?

GILBERT: Careless reading. I never read mythology or any fiction as if I were in a class. Myths give shape to what I feel about the world and my instinct about what I’m looking at. They inform what I think about the past."

…

"INTERVIEWER: Have you ever thought of writing your memoirs?

GILBERT: Yes. Every once in a while someone asks to do it for me. Sometimes I’m interested because I’ve forgotten so much of the past and I like the idea of walking through my life. What’s more, it’s a profound experience to be with people from my past again. To be with my memories. Things that I thought I’d forgotten all of a sudden become visible, become present.

INTERVIEWER: Like a film?

GILBERT: Different than that. It’s more like a feeling rising from the tops of my knees. Then I start remembering. It’s complicated; a child seldom remembers anything before he’s four years old. I just wonder how much I know, how much I’ve been through, that I no longer remember."

…

"INTERVIEWER: Does the United States—Northampton—feel like home to you now?

GILBERT: No, I don’t have a home. Not anymore. When Linda’s not teaching anymore we’ll probably leave this lovely Massachusetts world for another fine world. To be happy. Very happy."]]></description>
<dc:subject>jackgilbert jackspicer allenginsberg anseladams poems poetry writing howwewrite teaching learning dropouts education life living happiness loneliness solitude quiet love children parenting community purpose experience travel livingabroad expatriates business mfa mfas obligations work labor howwework relationships inspiration geraldstern familiarity difference routine process success photography ogdennash aging death organization laziness schedules interviews parisreview nomads nomadism belonging place memory memories forgetting religion belief myths reading howweread mythology sarahfay idleness</dc:subject>
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<item rdf:about="http://www.theatlantic.com/international/archive/2013/03/departures-cont/274394/">
    <title>Departures, Cont. - Ta-Nehisi Coates - The Atlantic</title>
    <dc:date>2013-03-28T06:23:14+00:00</dc:date>
    <link>http://www.theatlantic.com/international/archive/2013/03/departures-cont/274394/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["I felt myself as horrifyingly singular there. A language is more than grammar and words, is the movement of The People, their sense of appropriate laughter, their very conception of space. In Paris the public space was a backyard for The People and The People's language was not mine.  Even if I learned the grammar and vocab so part of it must be off-limits to me.  it could never really be "mine." I had a native language of my own. I felt like a distant friend crashing a family reunion. Except the family was this entire sector of the city. I could feel their nameless, invisible bonds all around me, tripping my every step."

…

"I got my ticket,  boarded the train. and descended further into the European continent.

The loneliness was intense. I knew at a least few people in Paris. But this train winding through high and gorgeous country, leaving behind small Hallmark towns, was truly taking me into foreign depths. For most of the ride there were English translations. But when I transferred at Lausanne, the pretensions dropped away and there was only French.  I have spent almost as much time away from my family in the past year as I've spent with them. Is this how it's supposed to be? Is learning forever winding through these strange and foreign places?  Is study the opposite of home?

In Vevey, I was met at the station by a mother and her daughter. They gave me the layout of the town. They showed me how to catch the train to school. They told me how to lock up their house. They poured me red wine, served bread and cheese. This was immersion. I was given a room. I called my wife then went to bed. That night everyone in my dreams spoke French.  I could not understand a word they said."]]></description>
<dc:subject>paris switzerland language learning ta-nehisicoates 2013 dreams dreaming french france languagelearning languageacquisition solitude cultureclash loneliness belonging safety risk</dc:subject>
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<item rdf:about="http://yes-i-can-write.blogspot.com/2013/03/learning-advice-from-learning-life.html">
    <title>I'm Unschooled. Yes, I Can Write.: Learning Advice from a Learning Life</title>
    <dc:date>2013-03-10T18:41:28+00:00</dc:date>
    <link>http://yes-i-can-write.blogspot.com/2013/03/learning-advice-from-learning-life.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Be comfortable learning just enough and nothing more…

Be comfortable focusing on one subject to the exclusion of (almost) all else…

Learn alone: Books are great. So is the internet. So are solitary walks in the woods.

Seek out groups, teachers, or mentors to learn: Sometimes learning with other people really feels best (for some people often, others, rarely). Whether it's in a group where big interesting discussions can happen, or finding a teacher who can help you gain the level of skill you want to have, learning with other people can be wonderful. There's nothing that says just because you're a self-directed learner you can't direct yourself towards lots of other people!

Don't force it: If you find yourself reading the same paragraph half a dozen times because you're just not taking it in, stop. Put the book down. Maybe permanently, maybe just until the next day if it seems interesting again then. But I do find, in my experience at least, that anything I've ever had to choke down or really force myself through, I've forgotten. Every single time. That doesn't mean you might not want to force yourself through a boring chapter in an otherwise interesting book on occasion, or get through a not-so-interesting article online because it's the only place you've found to get that specific information you want. Just that if you're really not enjoying something and there's nothing forcing you to do it (as in, you're not studying for a test you really want to pass), then give up. If you're not enjoying it and not taking it in, what's the point?

Learn to quit: We live in a society that despises "quitters," and we're reminded of this in small ways on a very regular basis. Quitting is usually equated with "failure" (something else we're taught to avoid at all cost), when in fact quitting is sometimes the best and healthiest thing to do. If you thought you wanted to learn ballroom dancing, but then find you hate ballroom dancing class with a passion, stop going. If you loved a subject deeply and spent all your time studying it, but now find yourself no longer feeling it's draw, find something else you want to devote your time to. If everything you've been doing for years has been towards achieving a specific goal, yet you come to the realization that that's no longer a goal that will make you happy, let go of it. This is a lot harder in practice than in theory, but I know I've found much happiness when I realize something's no longer working for me, no longer what I want, and choose to let go.

Ask for help: Even for unschoolers, who usually strive to learn from their community, asking for help can be hard (or at least it can be for this perfectionist unschooler!). But I've had to come to realize that sometimes, you really do need to just ask for help. People are usually very happy to oblige in sharing something they know about and enjoy doing!

Don't fear mistakes…

Don't compare yourself to others…

Don't let others' ideas about the right way to learn get in your way…"]]></description>
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<item rdf:about="http://cargocollective.com/tomloois/Blank-Ways">
    <title>Blank Ways - Tom Loois</title>
    <dc:date>2012-09-13T17:38:34+00:00</dc:date>
    <link>http://cargocollective.com/tomloois/Blank-Ways</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["NAVIGATE TO THERE WHERE YOU HAVE NEVER BEEN

Design your personal definition of silence, was the assignment. Tom Loois finds his silence in places where he has never been. And there are plenty of those, even in a city you have lived in for years already. Intrigued by the blank spots in his mental map, he designed a special route planner. Blank Ways keeps track of where you have been or not been and this new application will lead you to your destination via the places you have never visited before."]]></description>
<dc:subject>solitude mentalmaps place mapping maps unknown silence blankways tomloois</dc:subject>
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<item rdf:about="http://therumpus.net/2012/07/the-lehrer-affair/">
    <title>The Lehrer Affair - The Rumpus.net</title>
    <dc:date>2012-07-12T00:07:36+00:00</dc:date>
    <link>http://therumpus.net/2012/07/the-lehrer-affair/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Lehrer … isn’t an artist or scientist, but a skillful journalist, and while he’s never pretended otherwise, there’s often a secondhand feel to much of his work. Lehrer has always had trouble discussing the process behind specific acts of creativity—as in his rather confused discussion of Bob Dylan in Imagine, which Isaac Chotiner of The New Republic has ruthlessly picked apart—and the fact that he returns so often to the same examples reflects the fact that he doesn’t yet have the deep well of insight that comes only after years of creative endeavor.

The real irony is that the sort of career that Lehrer is building for himself makes it especially hard to achieve this kind of knowledge. Creative work tends to be solitary, pursued without an audience or any clear reward, and rarely happens on schedule. It has little to do, in short, with the life of a pundit, blogger, and public intellectual…"

[Via: http://ayjay.tumblr.com/post/27009303981/lehrer-isnt-an-artist-or-scientist-but-a ]]]></description>
<dc:subject>audience rewards intellectualism blogging solitude knowledge isaacchotiner bobdylan journalism time alecnevala-lee 2012 creativity jonahlehrer</dc:subject>
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<item rdf:about="http://www.theawl.com/2012/06/how-silence-works-trappist-monks">
    <title>How Silence Works: Emailed Conversations With Four Trappist Monks | The Awl</title>
    <dc:date>2012-06-16T02:57:02+00:00</dc:date>
    <link>http://www.theawl.com/2012/06/how-silence-works-trappist-monks</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[via Caren]

<blockquote>Sometimes I think silence is one way of not letting our differences define who we are for one another.</blockquote>

<blockquote>[T]he habit of silence keeps me from seeking additional noise.</blockquote>

[via Migurski]

"If by “complexity” you mean the extraordinary diversification of forms of experience and the myriad ways they meet and interact in the course of living life, all of this is inexpressibly beautiful and it would be hard to see how it could be a challenge to anyone's faith. Probably, by “complexity” you mean rather the perplexing, self-defeating… binds we get ourselves into individually and collectively because of the influence of sin. It is sin that makes the world complicated, and sin comes from us. But if sin comes from in us, then a monk, living in silence and solitude, is sitting in the eye of the storm.

My own impression is that life in the world provides many diversions which guard a person from really engaging the battle with sin, and can even render him quite insensible of its existence. Such a person is not so much engaging the complexity of the world as becoming numb to it. In the cloister, on the other hand, you engage the Adversary face to face. It is hard for me to imagine where in the world a person more directly engages “the world in all its complexity” than battling with the very source of evil in one's own heart in the solitude and silence of the cloister.

As regards “grappling” with the world, in its present state, I will frankly confide to you two very personal vulnerabilities which would make living outside the cloister very difficult for me. First is my impression of the general formlessness of life in America today. So many people today live without a coherent language, symbol system, tradition, or rituals to give concrete expression to what they believe and so speak of seeking “happiness,” “contentment, “light,” “fulfillment”… The abstract formlessness of how Americans talk about matters of ultimate concern wearies me deeply.

The other is the loneliness that characterizes life in America today. Mother Theresa, visiting the U.S. for the first time in the 70s, said she had never seen poverty like what she saw here and she meant the loneliness of Americans. The breakdown and relinquishment of shared value systems and traditions, has left individuals adrift in a private search for God and meaning. This is a terribly lonely way to live. In America, loneliness can become like the blueness of the sky. After a while, people don't think about it anymore."]]></description>
<dc:subject>thinking playlist via:litherland silence noise jeremymesiano-crookston monks trappists trappistmonks buddhism complexity simplicity slow attention loneliness sharedvalues meaning meaningmaking happiness contentment fulfillment solitude mothertheresa us culture society</dc:subject>
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</item>
<item rdf:about="http://goodmenproject.com/bobblehead-dad/id-suck-at-being-a-teen-today/">
    <title>I’d Suck at Being a Teen Today — The Good Men Project</title>
    <dc:date>2012-02-20T06:09:00+00:00</dc:date>
    <link>http://goodmenproject.com/bobblehead-dad/id-suck-at-being-a-teen-today/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["My son checks online about a college out east he’s curious about. He picks up a few facts and data. And suddenly he’s panicking about his class schedule. We see natural disasters occur – many times live on our televisions or computers – and we become overcome with a desire to help. Again, some of these things are extraordinarily good. But they illustrate the demands placed on our shoulders by having easy access to information.

Technology makes it nearly impossible for many kids to get a break. When I was a 16-year-old who had a bad day, I’d go home, put some headphones on and listen to my favorite album until my dad called me down for dinner. Today, that same 16-year-old might toss on headphones and listen to music on their iPhone. But they also are checking Facebook and texting at the same time. They still are getting sucked into the drama of their life and their friends."
]]></description>
<dc:subject>anxiety stress collegeadmissions search informationaccess childhood socialnetworking socialnetworks solitude quiet highschool jimhigley adolescence connectivity teens 2012</dc:subject>
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</item>
<item rdf:about="http://www.theatlanticcities.com/design/2012/01/collaborative-workspaces-not-all-theyre-cracked-be/946/">
    <title>Collaborative Workspaces: Not All They're Cracked Up to Be - Design - The Atlantic Cities</title>
    <dc:date>2012-01-19T22:03:31+00:00</dc:date>
    <link>http://www.theatlanticcities.com/design/2012/01/collaborative-workspaces-not-all-theyre-cracked-be/946/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Being a part of group is awesome (go team!) but so is individual effort. The uncritical embrace of collaboration above all else can lead, as a social scientist at the SPUR panel remarked, to the reverse of what was intended: group-think, conformity, consensus for the sake of peace-making. Further, the suburban corporate campus, even when it attempts, as Facebook and Google are, to approximate urban environment, can often serve to exacerbate the type of self-reinforcing behaviors Bill Bishop explored a few years ago in his book, The Big Sort: Why the Clustering of Like-Minded America is Tearing Us Apart. Forest City’s Alexa Arena, another participant in the SPUR panel, says that her company’s anthropological research while working on the more iterative workspace model seen in its 5M Project revealed that employees working in these environments found that their best ideas came not while in that bustling, lively office but more likely when they were in their own neighborhoods hanging…"]]></description>
<dc:subject>schooldesign classroomdesign 2012 variety adaptability flexibility work attention furniture openstudioproject openstudio lcproject tcsnmy allornothing unintendedconsequences brainstorming collaboration susancain extroverts introverts howwework officedesign architecture design workplace workspace allisonarieff groupthink solitude productivity workspaces</dc:subject>
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</item>
<item rdf:about="http://www.nytimes.com/2012/01/15/opinion/sunday/the-rise-of-the-new-groupthink.html?pagewanted=all">
    <title>The Rise of the New Groupthink - NYTimes.com</title>
    <dc:date>2012-01-15T22:08:03+00:00</dc:date>
    <link>http://www.nytimes.com/2012/01/15/opinion/sunday/the-rise-of-the-new-groupthink.html?pagewanted=all</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["But even if the problems are different, human nature remains the same. And most humans have two contradictory impulses: we love and need one another, yet we crave privacy and autonomy.

To harness the energy that fuels both these drives, we need to move beyond the New Groupthink and embrace a more nuanced approach to creativity and learning. Our offices should encourage casual, cafe-style interactions, but allow people to disappear into personalized, private spaces when they want to be alone. Our schools should teach children to work with others, but also to work on their own for sustained periods of time. And we must recognize that introverts like Steve Wozniak need extra quiet and privacy to do their best work."
]]></description>
<dc:subject>committees susancain socialnetworks socialnetworking online web internet communication proust efficiency howwelearn learning interruption freedom privacy schooldesign lcproject officedesign tranquility distraction meetings thinking quiet brainstorming teamwork introverts stevewozniak innovation mihalycsikszentmihalyi flow cv collaboration howwework groupthink solitude productivity creativity marcelproust</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:e32cadbd0825/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:marcelproust"/>
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</item>
<item rdf:about="http://www.nytimes.com/2012/01/01/opinion/sunday/the-joy-of-quiet.html?pagewanted=all">
    <title>The Joy of Quiet - NYTimes.com</title>
    <dc:date>2012-01-03T08:50:14+00:00</dc:date>
    <link>http://www.nytimes.com/2012/01/01/opinion/sunday/the-joy-of-quiet.html?pagewanted=all</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["A few months later, I read an interview with the perennially cutting-edge designer Philippe Starck. What allowed him to remain so consistently ahead of the curve? “I never read any magazines or watch TV,” he said, perhaps a little hyperbolically. “Nor do I go to cocktail parties, dinners or anything like that.” He lived outside conventional ideas, he implied, because “I live alone mostly, in the middle of nowhere.”

Around the same time, I noticed that those who part with $2,285 a night to stay in a cliff-top room at the Post Ranch Inn in Big Sur pay partly for the privilege of not having a TV in their rooms; the future of travel, I’m reliably told, lies in “black-hole resorts,” which charge high prices precisely because you can’t get online in their rooms."]]></description>
<dc:subject>2012 philippestarck thinking attention technology quiet silence solitude picoiyer</dc:subject>
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<item rdf:about="http://theamericanscholar.org/the-disadvantages-of-an-elite-education/">
    <title>The American Scholar: The Disadvantages of an Elite Education - William Deresiewicz</title>
    <dc:date>2011-11-15T15:39:38+00:00</dc:date>
    <link>http://theamericanscholar.org/the-disadvantages-of-an-elite-education/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Being an intellectual begins with thinking your way outside of your assumptions and the system that enforces them. But students who get into elite schools are precisely the ones who have best learned to work within the system, so it’s almost impossible for them to see outside it, to see that it’s even there."

"What happens when busyness & sociability leave no room for solitude? The ability to engage in introspection…is the essential precondition for living an intellectual life, and the essential precondition for introspection is solitude…one of them said, with a dawning sense of self-awareness, “So are you saying that we’re all just, like, really excellent sheep?” Well, I don’t know. But I do know that the life of the mind is lived one mind at a time: one solitary, skeptical, resistant mind at a time. The best place to cultivate it is not within an educational system whose real purpose is to reproduce the class system."

Also here http://www.laphamsquarterly.org/voices-in-time/william-deresiewicz-trims-the-ivy.php?page=all in this issue: http://www.laphamsquarterly.org/magazine/ways-of-learning.php ]]]></description>
<dc:subject>williamderesiewicz 2008 via:jeeves highered highereducation learning unschooling deschooling liberalarts class perpetuation criticalthinking skepticism resistance institutions intellectualism introspection solitude cv self-awareness conformism elites power control racetonowhere purpose vision education colleges universities lapham'squarterly</dc:subject>
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    <title>‪How To Be Alone‬‏ - YouTube</title>
    <dc:date>2011-07-28T22:28:55+00:00</dc:date>
    <link>http://www.youtube.com/watch?v=k7X7sZzSXYs</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["A video by fiilmaker, Andrea Dorfman, and poet/singer/songwriter, Tanya Davis. 

Davis wrote the beautiful poem and performed in the video which Dorfman directed, shot, animated by hand and edited. The video was shot in Halifax, Nova Scotia and was produced by Bravo!FACT http://www.bravofact.com/

For more information on Tanya, go to http://www.tanyadavis.ca or visit her facebook page at http://www.facebook.com/?ref=home#!/pages/Tanya-Davis/8063194647?ref=sgm You can purchase her first two CDs Make A List and Gorgeous Morning on iTunes and look out for her third CD which will be released in the fall!

For more information on Andrea Dorfman, visit her facebook page http://www.facebook.com/pages/Andrea-Dorfman-Films/110789945626226?ref=mf or http://www.andreadorfman.com "]]></description>
<dc:subject>alone solitude andeadorfman tanyadavid howto art psychology film animation poetry society stillness loneliness silence acceptance well-being peace wellbeing</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:b51a6edcb128/</dc:identifier>
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    <title>Parent-child relationships in the Facebook, cellphone and Skype era - latimes.com</title>
    <dc:date>2011-06-07T04:21:38+00:00</dc:date>
    <link>http://www.latimes.com/features/home/la-hm-parent-tech-connect-20110604,0,217463,full.story</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["…not so long ago parents drove a teenager to campus, said tearful goodbye & returned home to wait week or so for phone call from dorm. Mom or Dad, in turn, might write letters…

But going to college these days means never having to say goodbye, thanks to near-saturation of cellphones, email, instant messaging, texting, Facebook and Skype. Researchers are looking at how new technology may be delaying the point at which college-bound students truly become independent from their parents, & how phenomena such as the introduction of unlimited calling plans have changed the nature of parent-child relationships, & not always for the better."

[Anyone looking into comparisons w/ countries where university students mostly live at home? This isn't new to them. There's something to be said about maintaining strong family ties. Many implications here regarding depression, over-emphasis of the individual, etc. Helicopter parents exist for reasons other than technology.] 

[Related article here: http://articles.latimes.com/2011/mar/12/home/la-hm-parent-anxiety-20110312 ]]]></description>
<dc:subject>families parenting connectivity helicopterparents trends universities colleges adulthood society sherryturkle adolescence cellphones mobile phones communication skype texting im facebook solitude barbarahofer helicopterparenting</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:790f6f0465f4/</dc:identifier>
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