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    <title>Vincent Catala's Situationist Drift in Brazil — Blind Magazine</title>
    <dc:date>2026-06-27T05:58:22+00:00</dc:date>
    <link>https://www.blind-magazine.com/en/news/vincent-catalas-situationist-drift-in-brazil/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["In Charleroi, the photographer is showing “Île Brésil,” the fruit of ten years spent wandering on foot, by bus and by motorbike through the outskirts of the country’s three great cities: São Paulo, Rio, and Brasília. A drift, in the sense Guy Debord gave that word: a voluntary surrender to the pull of the terrain."]]></description>
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    <dc:date>2026-06-20T08:48:28+00:00</dc:date>
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    <dc:creator>robertogreco</dc:creator><description><![CDATA["Establishing a human colony on Mars is fraught with risk. Why are so many people obsessed with achieving it?"]]></description>
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    <title>The Slow Line: Art Through Train Travel and Public Transit Spaces</title>
    <dc:date>2026-06-04T08:01:13+00:00</dc:date>
    <link>https://summer-university.udk-berlin.de/?id=653</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["#artisticpractice #publicspace

A site-based class turning trains, stations, and movement into artistic material. Through fieldwork, theory, and public encounters, participants create works for a final exhibition at railway stations

The Slow Line invites participants to explore how artistic practice can expand beyond institutional frameworks into public space, mobility, and actual travel experience. Set in and around railway stations in Berlin and Brandenburg, the class turns travel, waiting, and the rhythms of movement into inspiration for artistic practices. It culminates in a public exhibition at stations and light-based interventions in a historic tower, visible to commuters and passing trains.

The theme ENOUGH acts as critique and invitation: enough of institutional hierarchies, closed selection systems, and sterile white cubes. Instead, we shift the focus toward artistic work that grows from travel experience and direct engagement with the public realm. Participants develop site-responsive works on platforms, trains, and inside dormant railway structures, addressing the social, poetic, and ecological dimensions of travel.

Train journeys function as both method and metaphor: slow, collective movement as an alternative to acceleration, and as a gesture toward sustainability in times of climate urgency. The train becomes a mobile classroom in which perception sharpens, conversations unfold, and artistic ideas emerge organically, meeting railway employees and other creatives working in a relevant context.

The course combines theory, fieldwork, and experimentation. Readings - including Schivelbusch’s The Railway Journey and Bachelard’s Poetics of Space - frame discussions on perception, infrastructure, and spatial transformation. Guided visits to unique railway sites, supported by Deutsche Bahn and local railway communities, provide access to spaces rarely open to the public. These encounters form the foundation for individual artistic responses through photography, sound, video, writing, installation, interdisciplinary formats and more.

The workshop fosters autonomous production through exchange among participants from diverse backgrounds. The final exhibition offers a portfolio-strengthening opportunity rooted not in institutional mediation but in a hands on public exhibition practice.

Schedule

Days 1–4 – Introduction; theory inputs; first station observations; fieldwalks; train travel and train-based fieldwork; railway site visits; material collection; concept sketches; peer feedback; meetings with creatives working in the railway context and with railway employees.

Day 5 – Pause / individual planning.

Days 6–10 – Production phase; individual and group work; exhibition setup and light intervention; public exhibitions; closing reflections.
 
Prior application requirements

Short statement (max. 1 page) on your interest in mobility, public space, or site-specific work; Brief note on what you hope to explore during the class; CV.

Knowledge requirements

No prior railway or public art knowledge needed

Basic familiarity with artistic or creative research methods helpful

Openness to working process oriented, outdoors and in transit is essential

Equipment requirements

Computer (laptop) for editing, writing, and documentation

Any tools relevant to your own artistic practice, depending on what you plan to work with during the course (e.g., sketching materials, sound-recording devices, camera, video equipment, drawing tablets, etc.)

Natalia Irina Roman is an artist, curator, and researcher whose work investigates how mobility infrastructures - especially railways - shape perception, public space, and collective experience. She has developed an innovative teaching method that turns train journeys into artistic practices through observational travel, multi-sensory fieldwork in motion, and site-responsive production on trains, platforms, and in dormant railway architectures. She has been teaching at Bauhaus University Weimar and Berlin University of Arts.

Her Fulbright Fellowship in New York City deepened her research into interlocking towers and transit thresholds, informing ongoing collaborations in Berlin and Brandenburg with railway organisations and local communities. These partnerships open restricted infrastructures - signal towers, lock sheds, service areas - for artistic and curatorial experimentation. Roman designs teaching formats in these contexts, including classes conducted on trains and workshops situated in active stations. Her railway-related projects and past classes can be viewed under www.instagram.com/sitespecificideas.

She currently leads an international Creative Europe cooperation project, an artist in residency on trains across Europe, she has created public artworks supported by the Hauptstadtkulturfonds, and has worked in cultural education since 2017. Roman also serves on juries for public art and interdisciplinary cultural programmes, advocating for accessible, transparent and context-sensitive evaluation practices.

www.nataliairinaroman.eu "]]></description>
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<item rdf:about="https://shop.ayinpress.org/products/surviva-a-future-ancestral-field-guide">
    <title>SURVIVA: A Future Ancestral Field Guide – Ayin Press</title>
    <dc:date>2026-06-02T05:17:07+00:00</dc:date>
    <link>https://shop.ayinpress.org/products/surviva-a-future-ancestral-field-guide</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Winner of the 2026 PEN/Jean Stein Award

An ambitious, world-envisioning work of Indigenous futurism.

Since 2015—through a proliferation of forms including sculpture, regalia, film, photography, poetry, painting, and installation—acclaimed multimedia artist Cannupa Hanska Luger has been weaving together strands of a new myth. Collectively referred to as Future Ancestral Technologies, this sprawling series of interrelated works seeks to reimagine Indigenous life and culture in a postcolonial world where space exploration has reduced and reconfigured the earth’s population.

Part graphic novel, part art book, SURVIVA: A Future Ancestral Field Guide offers readers a view beneath, beyond, and between the lines of Luger’s ever-expanding artistic universe. In this ecstatically hybrid work, Luger transforms a 1970s military survival guide through poetic redaction, speculative fiction, and iterative line drawing—deftly surfacing and disrupting the colonial subconscious that haunts this vexed source text. An epic and timely meditation on planetary life in the midst of transformation, SURVIVA boldly presents an earth-based, demilitarized futuredream that foregrounds Indigenous knowledge as critical to humanity’s survival.

SURVIVA is the first title from Aora Books, a publishing imprint dedicated to exploring transformational thought and culture that transcends borders, disciplines, and traditions. Rooted in an ethos of polyvocality and planetary consciousness, Aora publishes works that forge bold connections across time, place, ideas, and beings often seen as separate.

About the Author

Cannupa Hanska Luger is a multidisciplinary artist who creates monumental installations, sculpture, and performance to communicate urgent stories of twenty-first-century Indigeneity. Born on the Standing Rock Reservation in North Dakota, Luger is an enrolled member of the Three Affiliated Tribes of Fort Berthold and is Mandan, Hidatsa, Arikara, and Lakota. Luger’s bold visual storytelling presents new ways of seeing our collective humanity while foregrounding an Indigenous worldview. His work is in numerous permanent museum collections and has been exhibited around the world, including at the Sharjah Biennial 16, United Arab Emirates; the 81st Whitney Biennial, New York; the 14th Shanghai Biennale; and at the National Gallery of Art in Washington, DC; the Metropolitan Museum of Art in New York; the Gardiner Museum in Toronto; and the National Center for Civil and Human Rights in Georgia. Luger has been awarded fellowships from the Guggenheim Memorial Foundation, United States Artists, Creative Capital, the Smithsonian Institution, the Open Society Foundation, and the Joan Mitchell Foundation, among others. Luger currently lives and works in Glorieta, NM.

Praise for SURVIVA

“Cannupa Hanska Luger has created a wondrous book of survivance, a story to carry in pocket and study at every opportunity. At once a dystopia (earth is near destroyed) and a postcolonial fantasy (the colonizers abandon the planet for good), SURVIVA is a work of artistic brilliance that draws our attention to the simultaneity of ruins and futures. Rich with dreampower and evocation, these pages illustrate the mysteries of space-time, the dissolution of boundaries, and the relational universe described by Indigenous quantum mechanics. Read carefully, SURVIVA has the power to bend time itself, lifting us from past and present into futures innumerable.”
—Philip J. Deloria, Leverett Saltonstall Professor of History at Harvard University and author of Playing Indian

“SURVIVA offers Indigenous wisdom for a shared future built on ancestral knowledge in radical relation. This is a survival guide like none other.”
—Candice Hopkins, curator of the Forge Project

“SURVIVA is not just another riff on a sci-fi depiction of some imagined future. Luger’s poetic and visual interventions are clear directives for all of us to ready our minds, bodies, and spirits as we continue to move through the future together.”
—Jeffrey Gibson, artist and editor of An Indigenous Present

“Cannupa Hanska Luger’s SURVIVA: A Future Ancestral Field Guide boldly reimagines our conceptions of time and history as it interweaves past, present, and future. This inventive work challenges our collective narratives, pushing us to rethink the art of survival through a lens of transformation.”
—Hank Willis Thomas, artist and cofounder of For Freedoms

“Cannupa Hanska Luger is a mad genius able to weave parables from tomorrow with lessons from yesterday into a stunningly prescient and wise field guide you should read right now. This is not a book. This is a time machine.”
—Jordan Klepper, The Daily Show, Comedy Central

“SURVIVA feels everlasting and also like it will self-destruct after you read it.”
—Sterlin Harjo, filmmaker, Reservation Dogs (Hulu/FX)

“A hybrid work from a plain 1970s field guide found in an army surplus store, Luger transforms the book through unexpected redacting, speculative fiction, and informative and artistic line drawing.”
—Sandra Hale Schulman, ICT News

“Interdisciplinary Native American artist Luger delivers a daring work of speculative fiction set in a future in which the wealthy and non-Indigenous have fled the Earth they ravaged.”
—Publishers Weekly

“*SURVIVA *****provides text with new and old Indigenous lessons intermingled, while time is wonky and permeable, and the world must be rebirthed, or re-membered in a postcolonial way. This is a message from both our future and past ancestors. The thread is one and the same.”
—Soph Myers-Kelley, Graphic Medicine

Book Details
160 pages | Paperback | 8.3 x 5.4 in. | ISBN: 9781961814264 | e-ISBN: 9781961814271
Publication date: September 2nd, 2025

Product Photography by Jackson Krule"

[via: 

"Red Power Hour - Learning what we already know - YouTube"
https://www.youtube.com/watch?v=K9LiED_5Rj8

"RPH is back! Co-hosts Elena Ortiz and Melanie Yazzie discuss Cannupa Hanska Luger's Surviva: A Future Ancestral Field Guide (2025), a hybrid art piece/survival manual exploring indigenous futurism, decolonization, and relationality through redacted military text and Indigenous artwork." ]]]></description>
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[book link:
https://shop.ayinpress.org/products/surviva-a-future-ancestral-field-guide ]]]></description>
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    <title>M.R. O'Connor - Wayfinding: The Science and Mystery of How Humans Navigate the World - YouTube</title>
    <dc:date>2026-04-09T23:39:07+00:00</dc:date>
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    <dc:creator>robertogreco</dc:creator><description><![CDATA["M.R. O’Connor is a graduate of Columbia University’s Graduate School of Journalism who writes about the politics and ethics of science, technology and conservation. She is the author of two acclaimed books about the cutting edges of contemporary scientific research, with a third on the way. Her first book, Resurrection Science: Conservation, De-Extinction and the Precarious Future of Wild Things (St. Martin’s Press, 2015) and was one of Library Journal and Amazon’s Best Books of The Year. Her second book, Wayfinding: The Science and Mystery of How Humans Navigate the World (St. Martin’s Press, 2019) is an exploration of navigation traditions, neuroscience and the diversity of human relationships to space, time and memory. Its writing was supported by the Alfred P. Sloan’s Program for the Public Understanding of Science, Technology & Economics. About the book, Kirkus Reviews writes that “O'Connor talked to just the right people in just the right places, and her narrative is a marvel of storytelling”; Nature explains that “[O’Connor walks the labyrinth of the brain’s time-and-space-mapping hippocampus. And, on the road, she meets astrophysicists, anthropologists and traditional wayfinders — such as Bill Yidumduma Harney of Australia’s Wardaman culture, who steers by thousands of memorized stars”; and Science notes that “O’Connor’s coverage of the cognitive map theory… is deep and broad.” She is currently writing a book called Ignition (Bold Type Books) on fire ecology and prescribed burning, for which she became certified as a wildland firefighter.

Her work has appeared online in The Atavist, Slate, Foreign Policy, The New Yorker, Nautilus, UnDark and Harper’s. A pair of recent essays for The New Yorker include “A Day in the Life of a Tree” and “Dirt Road America,” a feature piece about Sam Correro, who has spent decades stitching together maps of continuous pathways of dirt roads across the United States. In 2008/2009, O’Connor served as a reporter for The Sunday Times, an English-language newspaper in Colombo, Sri Lanka. Her investigative reporting on topics like disappearances in Sri Lanka’s civil war, global agriculture trade in Haiti, and American development enterprises in Afghanistan have been funded by institutions such as the Pulitzer Center on Crisis Reporting, The Phillips Foundation and The Nation Institute’s Investigative Fund. For a long time, she made her bread and butter as a stringer covering crime, courts and breaking news in New York City for publications such as The Wall Street Journal and New York Post, and covered the criminal justice beat for the online investigative site The New York World. She is. She lives in Brooklyn, NY with her partner, the screenwriter Bryan Parker, and their two sons.

Sponsored by the College of Science, Technology, Engineering and Mathematics, the Department of Psychology, the School of Communication and the Honors Program."]]></description>
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<item rdf:about="https://www.quantamagazine.org/carlo-rovellis-radical-perspective-on-reality-20251029/">
    <title>Carlo Rovelli’s Radical Perspective on Reality | Quanta Magazine</title>
    <dc:date>2026-04-09T20:15:09+00:00</dc:date>
    <link>https://www.quantamagazine.org/carlo-rovellis-radical-perspective-on-reality-20251029/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The theoretical physicist and best-selling author finds inspiration in politics and philosophy for rethinking space and time."

[See also:

"Carlo Rovelli: ‘Time Is an Illusion’
Carlo Rovelli discusses his research on time and his view that it should not appear in the quantum theory of gravity."
https://www.quantamagazine.org/videos/carlo-rovelli-time-is-an-illusion/

or

"Is Time Real? The Physics Behind the Illusion of Time"
https://www.youtube.com/watch?v=PuLaUYQFIwg
https://vimeo.com/1135354054

"What if time isn't fundamental at all? Physicist Carlo Rovelli reveals how modern physics, from relativity to quantum gravity, has gradually erased time from its equations. In its place, we find change, entropy, and the deep connection between the universe's evolution and our own perception of its flow. Featuring Rovelli's thermal time hypothesis, this video explores how our sense of past and future arises from the physics of heat."]]]></description>
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<item rdf:about="https://placesjournal.org/article/oakland-and-the-ghosts-of-urbicide/">
    <title>Oakland and the Ghosts of Urbicide</title>
    <dc:date>2026-04-06T19:45:24+00:00</dc:date>
    <link>https://placesjournal.org/article/oakland-and-the-ghosts-of-urbicide/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["A specter of Blackness haunts Oakland, California, lingering palpably in cultural and material landscapes that have been shaped by generations of Black Oaklanders."]]></description>
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</item>
<item rdf:about="https://www.noemamag.com/limiting-not-just-screen-time-but-screen-space/">
    <title>Limiting Not Just Screen Time, But Screen Space - NOEMA</title>
    <dc:date>2026-04-06T02:54:40+00:00</dc:date>
    <link>https://www.noemamag.com/limiting-not-just-screen-time-but-screen-space/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["We no longer think a robot is intelligent just because it can move in a world built for bodies like ours. Large language models (LLMs), in our imagination, are conversational beings without bodies, without any friction of environment. We speak to them as if they were somewhere nearby, and yet they are not anywhere our imaginations can place. And so we begin to accept the strange premise that intelligence might exist outside of the physical world, floating above the constraints that make human life legible.

Yet intelligence is environmental.

My colleague at Williams College, Joe Cruz, notes that for an AI to strike us as authentically intelligent, it will have to be embodied, because many of the features we value in human (and animal) intelligence arose from the task of keeping a body alive as it moves through shared space. We recognize dogs as intelligent, for instance, in part because they have facility in our built and social spaces, communicating through shared emotional expressions, having evolved to live within our environments. Some cognitive scientists argue that intelligence cannot be made sense of in isolation from body and environment at all. 

The sci-fi image of the floating brain that finds a body and learns to walk (or to love) has the steps reversed. We learn through our bodies; we sense the world, make decisions about it and act within it. Intelligence that is disembodied will not seem like intelligence to us. 

And yet, in Silicon Valley, the opposite vision holds sway. Powerful people, including tech experts and many of our elected officials, believe that with LLMs, we will find a better way of living together, a better way of governing our shared environment.

Sam Altman, the CEO of OpenAI, has argued that AI acceleration will usher in an “Intelligence Age” of “unimaginable” and “shared” prosperity and “astounding triumphs” like “fixing the climate.” Deep learning, he explains, is an algorithm that can truly learn the rules behind any distribution of data. The more compute and data available, the better it can help people “solve hard problems.” 

Altman’s vision collides with basic truths of how people live. We care for places because we inhabit them. Love of place arises through our bodies as much as our minds.

But those committed to disembodied intelligence reach for a different solution: total representation. If the model cannot dwell in the world, the world must be made to dwell in the model as a “digital twin,” rendered at ever finer resolution, until environment becomes data and data becomes environment. 

Argentinian author Jorge Luis Borges’ parable “On Exactitude in Science” imagines an empire that produces a map the exact size of the territory. It is a useless tool, one that becomes territory itself. “In the Deserts of the West,” Borges concludes his story, “there are Tattered Ruins of that Map, inhabited by Animals and Beggars.”

<blockquote>“What would it mean to limit not only screen time, but screen space?”</blockquote>

Those dreaming of a nascent cognitive revolution are imagining that Borges’ one-to-one map will be finally useful — that if we just feed enough text, enough human knowledge, into the machine, it will comprehend the world in a way we never can. 

Even if we had the time, labor and energy to attempt this, why would we? Why not put that effort into talking to each other? 

The alternative is an increasingly familiar solipsism. A solipsistic person believes the self is the only reality. Other minds, other bodies, may as well be an illusion. 

Today’s internet bends us toward solipsism. We no longer imagine ourselves to be placing our images and our voices into the internet. We imagine ourselves — our physical beings — to be living within it. We imagine the internet to be our environment.

In “Trick Mirror,” journalist Jia Tolentino warned that the internet, once imagined as a space of freedom, had become a mechanism for surveillance, performance and commodification. Online life encourages self-optimization and branding at the expense of connection. “In physical spaces, there’s a limited audience and time span for every performance,” Tolentino writes. “Online, your audience can hypothetically keep expanding forever, and the performance never has to end.” 

Tolentino focused on time, but this internet is an endless stage, too, one with no wings, no exit, no place to step off and be alone again. 

“brb” once acknowledged departure and faith in return. It reminded us of the body behind the screen. Now, we are infinitely available, and AI is sold to us as the tireless and needless assistant. But our bodies continue to live in the world with stubborn persistence, despite Silicon Valley’s dream of the immortal avatar, the ability to upload our essence into a durable machine, which is a dream of escaping death and environment alike.

Most of the questions worth asking are not about how to transcend the environment, but how to inhabit it. How to live together in shared space. 

Many social, historical and economic forces led me to check my work email in the bathroom. Among them is the way we have come to imagine the internet not as a place we go, but as a space we inhabit. We make sense of abstract experience through bodily metaphors grounded in orientation and sensation: Up is good, down is bad, warmth is affection, weight is importance. These metaphors shape how we act and what we value. 

Window, weather: Change the metaphor and you change the possibilities for thought and action. If the internet once taught us to say “brb,” perhaps the work ahead is to recover that ethic of interruption, to remember the body in a room, waiting to return."]]></description>
<dc:subject>2026 lauramartin interner web online ai artificialintelligence intelligence bodies embodiment physical environment senses wireless wifi mobile attention privacy space sharedspace smartphones place chatgpt samaltman openai connectivity gps jiatolentino spikejonze her llms joecruz socialspaces emotions cognition cognitivescience borges connection audience time performance freedom boredom surveillance commodification solipsism data representation sensory decisionmaking isolation</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
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    <title>‘This feels fragile’: how a satellite-smashing chain reaction could spiral out of control | Space | The Guardian</title>
    <dc:date>2026-04-05T06:54:34+00:00</dc:date>
    <link>https://www.theguardian.com/science/ng-interactive/2026/mar/31/this-feels-fragile-how-a-satellite-smashing-chain-reaction-could-spiral-out-of-control</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Today, the space around Earth can no longer be considered empty. More than 30,000 objects are in orbit, and that figure is rising exponentially"]]></description>
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    <title>Orbital data centers, part 1: There’s no way this is economically viable, right? - Ars Technica</title>
    <dc:date>2026-03-24T21:06:14+00:00</dc:date>
    <link>https://arstechnica.com/space/2026/03/orbital-data-centers-part-1-theres-no-way-this-is-economically-viable-right/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["“This is not physically impossible; it’s only a question of whether this is a rational thing.”"]]></description>
<dc:subject>ericberger datacenters space 2026 ai artificialintelligence computing economics</dc:subject>
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<item rdf:about="https://www.themarginalian.org/2026/03/21/wayfinding-m-r-oconnor/">
    <title>Place, Personhood, and the Hippocampus: The Fascinating Science of Magnetism, Autonoeic Consciousness, and What Makes Us Who We Are – The Marginalian</title>
    <dc:date>2026-03-24T19:54:17+00:00</dc:date>
    <link>https://www.themarginalian.org/2026/03/21/wayfinding-m-r-oconnor/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The psychological, neurocognitive, and geophysical underpinnings of these astonishments are what M.R. O’Connor explores in Wayfinding: The Science and Mystery of How Humans Navigate the World (public library) — a layered inquiry into the science and cultural poetics of how we orient in space and selfhood, illuminating the stunning interpenetration of the two."]]></description>
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<item rdf:about="https://www.youtube.com/watch?v=U1ombPdaRd0">
    <title>The Billionaire Plan to Escape Democracy: Quinn Slobodian on 'Crack-Up Capitalism' - YouTube</title>
    <dc:date>2026-02-08T21:15:08+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=U1ombPdaRd0</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Will tech billionaires get rid of democracy by getting rid of people?

In this episode of The Nerd Reich, Gil Duran sits down with renowned historian Quinn Slobodian (Globalists, Crack-Up Capitalism) to dissect the "ideology of exit." 

While the media focuses on failed "Freedom City" experiments like Prospera, Slobodian reveals a darker endgame: a shift toward automated, "post-human" infrastructure where voters are no longer part of the equation.

In this episode, we explore:

The Hong Kong Blueprint: How a colonial relic became the template for 21st-century capitalism.

Authoritarian Capitalism: Why Silicon Valley elites are obsessed with models of control.

The Post-Human Zone: Why the future of "sovereignty" belongs to Manhattan-sized data centers, not citizens.

The Octavia Butler Reality: What if future isn't about escaping the "company town," but fighting to get inside one?

Connect with Quinn Slobodian: https://bsky.app/profile/quinnslobodian.com

New Book: Muskism: A Guide for the Perplexed (Releasing April 21, 2026): https://www.harpercollins.com/products/muskism-quinn-slobodianben-tarnoff?variant=43838135402530

Must Read: Crack-Up Capitalism: Market Radicals and the Dream of a World Without Democracy: https://us.macmillan.com/books/9781250753892/crackupcapitalism/ "

[transcript:
https://www.thenerdreich.com/you-dont-need-democracy-if-you-dont-have-people/ ]]]></description>
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    <dc:date>2026-01-16T17:30:51+00:00</dc:date>
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    <dc:creator>robertogreco</dc:creator><description><![CDATA["In the 19th century, the linear idea of time became dominant – with profound implications for how we experience the world"]]></description>
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    <title>US is better than Europe! - Chris Arnade Walks the World</title>
    <dc:date>2026-01-10T20:43:08+00:00</dc:date>
    <link>https://walkingtheworld.substack.com/p/us-is-better-than-europe</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Or so say some people, at least by their actions"

...

"(Warning: The headline is engagement bait. Read below for a more nuanced discussion. Well, hopefully it is more nuanced.)

Every few weeks Twitter gets caught up in a fight when someone proclaims that Europe is better than the US, or vice-versa1. I usually stay away from these dust ups because it’s an ignorant debate. The question is badly defined, subjective, and impossible to answer, so the fights devolve into two groups talking past each other, until someone eventually drags out a picture of Breezewood [https://walkingtheworld.substack.com/p/walking-america-part-5-breezewood ], and then for all effective purposes it’s over2.

To the pro-Europe side, Europe is a cornucopia of crime-free, gothic-cathedral-having cities with great public transportation, quaint row homes, and sensible policies on guns, health care, and child care. America, in contrast, is a dystopian landscape of depressing suburbs with oversized cars, soul-sucking strip malls, and people shooting up drugs and each other.

To the pro-US side America is a land of hard-working, money-making, independent-minded people who hate being told what to do, especially by mid-wit bureaucrats with zero appreciation that human flourishing requires true and almost absolute freedom. Europe, by contrast, is an impoverished, crowded, backward, continent determined to stay impoverished, crowded, and backward because of a stubborn and stupid commitment to high taxes, high regulation, and low entrepreneurialism.

The inconvenient reality (for each camp) is that both are large diverse places with a lot of different groups living in very different ways, and so it’s close to impossible to compare, except in strokes so broad it ends up being useless.

The latest of these tweets, which against my better judgement I engaged with, isn’t that bad, because I think it gets the broad strokes correct. Which is, in the US most of your income is yours to decide what to do with, whereas in Europe a majority of it, or close to it, is funneled to a central authority that’s dedicated (in theory) to the public good.

[screenshots:

<blockquote>[Marko Jukic, @mmjukic]Europeans aren't poor. They are illiquid. Much of Europe's wealth is stored in safe streets, nice parks, public transit, "free" healthcare, etc. which, it turns out, are too socially expensive for Americans to maintain. Americans take the money instead. The rest is only natural.

<blockquote>[Flo Crivello, @Altimor] Americans severely underestimate how dirt poor most Europeans are.

They go spend their American wages there and are amazed at the "quality of life," not realizing that they're taking the equivalent of a trip to Disneyland, and everyone around them is the staff.

<blockquote>[Scott Lincicome @scottlincicome] Median size of a dwelling in every US state vs the same thing in Europe. [presumably a map or chart]</blockquote></blockquote>

[Marko Jukic, @mmjukic]The EU has triple the population density of the United States and doesn't believe in "suburbs," just "cities." Given how much more space there is in America, it's surprising that the numbers are so close, if anything. [maps]</blockquote>

Or, as I’ve written before [https://walkingtheworld.substack.com/p/why-the-us-cant-have-nice-things-a6d ], it’s about a communitarian versus individualistic lifestyle, with the US having chosen a policy path emphasizing self-sufficiency and convenience, and Europe being more focused on the communal good and restraint.

The tweet also highlights the two most striking, easy-to-measure differences between the US and Europe — the US is wealthier, at least in material terms, and has a lot more space, and so US homes end up being large enough that Europeans get either jealous, or see them as wasteful — You mean, you don’t live with your parents and grandparents in a fourth floor walk-up? You mean you have separate rooms to cook in, eat in, and even store your junk in? Wow.

There are so many other easy-to-measure differences between the US and Europe, like life-span, crime, pollution, car ownership, and so on, that makes it close to impossible to adjudicate which is better on data alone, even if you wanted to go that way.

Then there are all the hard to measure very subjective differences, like aesthetics, food, nature, and so on, that highlights that it’s a very personal decision.

Or, asking which is better is a deeply silly and flawed question, since it’s asking someone if they prefer the culture they grew up in, or a different one, and with a few notable exceptions3 the majority of people will vote for their own culture because it’s core to their identity. Humans are cultural animals, groomed from birth by the society they grew up in, to value the society they grew up in.

I’ve alluded to this cultural essential-ism before, in my essay on Thick Travel [https://walkingtheworld.substack.com/p/thick-travel ],

We humans are cultural animals, imbued at birth with “the natural equipment to live a thousand kinds of life” but who generally end up “in having lived only one.”

That one life we end up living is largely determined by what culture, and place in it, we are born into.

As Geertz writes,

<blockquote>“As culture shaped us as a single species so too it shapes us as separate individuals. This … is what we have in common.

Oddly enough, many of our subjects seem to realize this more clearly than we anthropologists ourselves. In Java, for example, the people quite flatly say, “To be human is to be Javanese.”</blockquote>

To be human is to be American, or Danish, or Japanese, so it’s not surprising the majority of people are more comfortable in the culture they’re born into4.

So, why am I writing this essay, and why did I title it the way I did, other than as click-bait, especially given how often I write about what the rest of the world does better than the US, like the whole being happy thing. [https://walkingtheworld.substack.com/p/walking-the-world-hanoi-part-1 ]

Because while the majority of the world does like where they live (again, with the big caveat of destitute places), a minority does indeed reject the culture they’re born into, and choose to move, and an even larger minority dream of moving, and almost all of those who do, imagine themselves in the US.

As I tweeted in response to the above tweet, again somewhat provocatively,

[screenshot:

<blockquote>Don't necessarily disagree with this framing (would say it differently), but I believe a large percentage of Europeans would swap their tiny apartment three miles from downtown Brussels, or Marseille, their tiny car, for a ranch house in Jacksonville beach with three cars & a yard for the kids to play in.

Not sure many Americans would take up the opposite offer, other than grad students wanting a quaint experience

Maybe I'm wrong, but that's my sense.</blockquote>]

Now there are things I would change with that tweet, which was attempting to compare the modal (or most common) European experience to the modal US experience. For instance, I would switch Jacksonville Beach to Jacksonville, or Houston, and Marseille to Bucharest or some other Eastern European city.

Yet, I stand by the intended larger point, culled from years of talking to people all over the world, which is, what the US is selling (space, freedom, meritocracy), has a lot of buyers across the globe, including in Europe. Or to put it another way, the rest of the world (other than academics) really really love the US. Or, at least they love the idea of the US.

Why do I feel the need to point this out? Because I don’t think it’s well understood on twitter, and certainly not in the “smart” discourse.

The reason it’s not well understood is because the people who find the US brand the most appealing are not people you hear from a lot, because they don’t have lots of money, or lots of education.

There is a big educational divide in how the world views the US, and it’s lifestyle, with the less educated being largely positive towards it, while the highly educated generally favor a more European lifestyle (walkable urban environments with smart regulation), including those in the US, who cluster in the most European parts of the US5.

That’s partly why I went to Phoenix, which in many ways represents the pinnacle of what the educated hate most about the US — its sprawl, its dependency on cars, its disregard for the natural elements, its ugly wastefulness, its shortsightedness that places immediate convenience above a focus on the longer term and greater good.

Now, I also famously hated Phoenix, loathed it so much that I’m still getting yelled at on Reddit, but Phoenix is growing rapidly, which shows that while I don’t like it, and you might not like it, a lot of people really do like it. Or at least what it represents to them.

As I wrote then,

<blockquote>Phoenix is a large grid, of mile-long four-lane sides, with shopping plazas at the corners, and an inside of twisting single-lane roads and simple ranch homes on half-acre plots. Those residential insides are the nice parts, and showing that they’re nice is partly why I’d come to Phoenix: to highlight a version of the American Dream, which, while I might not love and isn’t necessarily “walkable,” is still very appealing to lots of people. It’s what I wrote about last week, when I cautioned that walkability doesn’t necessarily translate into livibility. [https://walkingtheworld.substack.com/p/so-what-makes-a-city-more-walkable ]</blockquote>

This weekend I made a personal trip to Miami, where I did a ten-mile walk through the least fancy parts6. When I mentioned this on Twitter, I got a now very familiar push-back telling me all that’s wrong with Florida: That it’s going to be underwater soon. It’s hot. It doesn’t have any culture. Basically, it’s an unlivable gross shit-hole with a wrong approach to everything, including politics.

Yet, people are moving to Florida. In droves. And they’ve been moving there in droves for the last fifty years.

I grew up in central Florida, not the fancy part, and back in the 70s our school system was so overwhelmed with an influx of new residents from Michigan, New York, Ohio, and the rest of the north, that they shifted to an absurd system called 45-15. Each student was assigned one of four tracks (mine was B) that went to school year round, but alternating between nine week stints, followed by three week breaks, so that at any time only three quarters of the students were attending.7

Since college I’ve been moving further and further north, and at each stop people keep telling me I’m going in the wrong direction. Just this morning, at my local upstate NY McDonald’s, the old man table, when they found out I was originally from Florida, did the usual, “So, why in the hell did you leave?” thing.

All of this is a very long way of saying, people’s actions reveal a lot, and one of the things they’ve revealed to me over the last four years of travel is that while I might be very critical of the US, especially places like Phoenix, I’m beginning to understand that I’m in the minority. Which is helpful to remember.

The American lifestyle I’m so critical of, the lack of public transport, the selfish lifestyle, the gross materialism, the shortsightedness, the paper thin intellectually vapid bling, is very appealing to a large percentage of the world, and that should matter. How large a percentage? I’m not sure, but while it may not be a majority, it’s not far from it.

The smart push-back against this, which is something I’ve written a little bit about before, is that ok, people think they like the US, think they want to move to Phoenix or Florida, but that’s them responding to an image being sold. It isn’t reality.

Or, the people who tell me, over beers in Hanoi or Ulaanbaatar, or coffees in Belgium or Bucharest, that they want to move to the US don’t really know what they’re getting themselves into, deluded by glossy images from TV. Or it’s the grass is always greener effect.

There is certainly a lot of that going on, but the more time I spend walking the world, the more time I spend talking to people, I think the deeper answer is that the image the US projects and represents to a lot of the world, and in many ways provides its residents relative to other places — opportunity, material wealth, safety, independence, space, convenience, and lots of immediate pleasure — is a lot more appealing than what I’ve believed before, or want to believe. So appealing it breaks across cultural boundaries and life-long preferences.

That is, maybe most people really do want an American style transcendent-free lifestyle, especially if it comes with the conveniences of a huge dyer, powerful AC, two large cars, and a ranch house on a plot of land that couldn’t ever hold a heard of animals larger than rats.

The US has a lot of problems, but people not wanting to move here, isn’t one of them, and that shouldn’t be forgotten.

[footnotes]

1 - There is a whole meme dedicated to this, called “The American mind cannot comprehend this.” Google it.

2 - There is something called Godwin's law, which states, “As an online discussion grows longer, the probability of a comparison involving Nazis or Hitler approaches one.”

I would like Arnade’s law to be, “As an online discussion over Europe versus US grows longer, the probability of someone posting that picture of Breezewood approaches one.”

3 - Very destitute places are a clear exception. Like Senegal.

Also, as I address further down in the essay, highly educated people (like myself) are less products of their culture. One of the attributes of modern education is an emphasis on valuing new experiences, and different cultures.

4 - Or to put it another way, our cultural provides us our utility function and that is what we use when we decide what array of variables is most important.

5 - Upscale neighborhoods in big cities, and any neighborhoods around elite colleges.

6 - For Miami knowers, I walked up 441, from downtown to Opa-Locka

[map]

7 - They both couldn’t, and didn’t want to out of cheapness, build new schools fast enough to deal with the demand. "]]></description>
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<item rdf:about="https://buttondown.com/creativegood/archive/2025-showed-why-to-get-off-big-tech/">
    <title>2025 showed why to get off Big Tech</title>
    <dc:date>2025-12-22T05:55:24+00:00</dc:date>
    <link>https://buttondown.com/creativegood/archive/2025-showed-why-to-get-off-big-tech/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[See also:

"Why we can't trust Apple" (2022)
https://creativegood.com/blog/22/why-we-cant-trust-apple.html ]]]></description>
<dc:subject>markhurst 2025 bigtech apple alexwhite parisbuttfield-addison data cloud cloudcomputing control anonymity access karlvoit yaëleisenstat facebook meta markzuckerberg prsicillachan sarahwynn-williams blacklisting whistleblowers johnolson enron ibobot roomba siliconvalley rodneybrooks elonmusk ai artificialintelligence robots datacenters adambecker starlink creativegood space spacedebris merrilllynch llms surveillance google</dc:subject>
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<item rdf:about="https://www.youtube.com/watch?v=lUxf7Sfqxsk">
    <title>What Whales Can Teach Us About Talking to Aliens | The Futurology Podcast - YouTube</title>
    <dc:date>2025-11-28T22:51:13+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=lUxf7Sfqxsk</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["We’ve spent decades beaming radio waves into space listening for an answer. But it might be enough to start here on Earth, or more accurately, under the seas. Sperm whales live in complex clans and communicate in rapid-fire clicks. Even if we could decode their messages, is it safe to assume they want to talk to us? What, exactly, would we have to say to them?

The Cetacean Translation Initiative – CETI for whales not SETI for E.T. – is considering the implications of AI translation tools for the ocean’s depths. In this episode of Futurology, CETI Founder David Gruber joins Claire Webb – the director of the Berggruen Institute's Future Humans program – to explore what it means to approach another intelligence with humility rather than conquest. In the end, creating a direct linguistic connection with another species may be yet another white whale that humanity should abandon as folly. For Gruber, the point isn’t fluency. It’s learning to speak more softly on a planet filled with minds we’ve barely begun to meet.

Chapters
Introduction (0:00)
David’s Journey to Becoming a Marine Biologist (1:44)
Bioluminescence, Biofluorescence, and Deep Sea Life (7:32)
Discovering Biofluorescence in Sharks (21:06)
The Evolutionary Story of Whales (29:12)
How Sperm Whales Make Sound (31:53)
Whale Songs—The Sirens of the Sea (36:16)
How Whale Songs are Recorded (42:53)
Accents and Dialects in Whale Communication (45:30)
Vladimir Nabokov and the Art of Translation (52:06)
The Challenge of Inhabiting an Alien Consciousness (56:56)
How Machine Learning Can Help Us Understand Whales (1:04:42)
If We Can Translate Whales, Can We Translate Extraterrestrials? (1:09:46)

Resources

Aglow in the Dark: The Revolutionary Science of Biofluorescence — David Gruber & Vincent Pieribone (Book, 2005)
https://www.bibliovault.org/BV.book.epl?ISBN=9780674024137

The Art of Translation — Vladimir Nabokov (Essay, 1941)
https://newrepublic.com/article/113310/vladimir-nabokov-art-translation

Songs of the Humpback Whale — Roger Payne & Scott McVay (Scientific Article, 1970)
https://www.science.org/doi/10.1126/science.173.3997.585

Songs of the Humpback Whale — Roger Payne & Frank Watlington (Audio Recording, 1970)
https://open.spotify.com/album/5h96FXOFTdfJxanqdzoczd?nd=1&dlsi=7740e03967f04b0d

Follow David Gruber: 
@davidfgruber
https://www.davidgruber.com/

Follow Project CETI
Instagram:   / projectceti  
LinkedIn:   / project   CETI
Twitter/X: https://x.com/ProjectCETI
YouTube:    / projectceti  
TikTok: https://www.tiktok.com/projectceti "]]></description>
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<item rdf:about="https://www.authoritarian-stack.info/">
    <title>The Authoritarian Stack</title>
    <dc:date>2025-11-07T18:22:22+00:00</dc:date>
    <link>https://www.authoritarian-stack.info/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["How Tech Billionaires Are Building a Post-Democratic America — And Why Europe Is Next"

[via:
https://www.thenerdreich.com/techs-authoritarian-stack/ ]]]></description>
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<item rdf:about="https://craigmod.com/ridgeline/217/">
    <title>Full Days and the Long Walk — Ridgeline issue 217</title>
    <dc:date>2025-11-06T19:04:51+00:00</dc:date>
    <link>https://craigmod.com/ridgeline/217/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["This is why I always say: Aim for fullness if you want happiness. If the creator itself came down from the sky at the end of a big walking and photographing and writing day and asked: Did ya do all ya could today? I’d be able to answer, without hesitation, heck yes. I suspect we’re “programmed” to feel good about this, and this is, fundamentally, how we emerged from the muck, how we walked out of Africa, how we engineered the miraculous (and horrific) bits of modern humanity. Fullness feels good because DNA knows fullness pushes us ever “forward” (to better, more efficient, more fail-safe means of replication).

I’d go so far to say that “full days” is one of the wells from which we derive our humanity.

The modern smartphone, laden with the corporate ecosystem pulsing underneath its screen, robs us of this feeling, conspires to keep us from “true” fullness. The swiping, the news cycles, the screaming, the idiocy — if anything destroys a muse, it’s this. If anything keeps you locked into a fetid loop of looking, looking, and looking once more at the train wreck, it’s this. I find it impossible to feel fullness, even in the slightest, after having spent just a bit of a day in the thralls of the algorithms.

The smartphone eradicates “space” in the mind. With that psychic loss of space, grace becomes impossible. You see the knock-on effects of this rippling out across the world politically."

[See also:
https://kottke.org/25/11/aiming-for-fullness ]]]></description>
<dc:subject>craigmod 2025 attention japan offline online happiness fullness fulfillment humanism humanity smartphones idiocy space grace politics algorithms socialmedia slow human humans</dc:subject>
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<dc:identifier>https://pinboard.in/u:robertogreco/b:e9aa29d76fd9/</dc:identifier>
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<item rdf:about="https://www.youtube.com/watch?v=AdR-ypBxY_U">
    <title>CITY LIGHTS LIVE! Rasheedah Phillips with Fred Moten - YouTube</title>
    <dc:date>2025-10-06T20:56:15+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=AdR-ypBxY_U</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["AK Press and City Lights celebrate the publication of 

Dismantling the Master’s Clock On Race, Space, and Time 
By Rasheedah Phillips 
Published by AK Press 

Purchase the book at this link:
https://citylights.com/dismantling-the-masters-clock-on-race

A radical new treatise on time, quantum physics, and racial justice from world-renowned artist and advocate Rasheedah Phillips of Black Quantum Futurism.

Why do some processes—like aging, birth, and car crashes—occur in only one direction in time, when by the fundamental symmetry of the universe, we should experience time both forward and backward? Our dominant perception of time owes more to Western history and social order than to a fact of nature, argues writer Rasheedah Phillips, delving into Black and Afrodiasporic conceptions of time, where the past, present, and future interact in more numerous constellations.

Phillips unfolds the history of time and its legacy of racial oppression, from colonial exploration and the plantation system to the establishment of Daylight Savings. Yet Black communities have long subverted space-time through such tools of resistance as Juneteenth, tenant organizing, ritual, and time travel. What could Black liberation look like if the past were as changeable as the future?

Drawing on philosophy, archival research, quantum physics, and Phillips’s own art practice and work on housing policy, Dismantling the Master’s Clock expands the horizons of what can be imagined and, ultimately, achieved.

Rasheedah Phillips is a queer housing advocate, lawyer, parent, and interdisciplinary artist working through a Black futurist lens. Phillips is the founder of the AfroFuturist Affair, founding member of the Metropolarity Queer Speculative Fiction Collective, and co-creator of the art duo Black Quantum Futurism. Phillips’ work has been featured in the New York Times, The Wire, New York Magazine, Boston Review, Hyperallergic, and e-flux.

Fred Moten studies the social practice of poetry/criticism. He lives in New York and teaches at New York University. His most recent work, in collaboration with Brandon López and Gerald Cleaver, is the blacksmiths, the flowers (Reading Group Records, 2024).

Praise for Dismantling the Master’s Clock:

“The straightening and whitening of time are as viciously colonial, as brutally geocidal and genocidal, as the settling and owning of space. Rasheedah Phillips brilliantly and rigorously alerts us to this condition while also showing us how we walk with and wait on one another in rhythm. Dismantling the Master’s Clock is a queer, black, reconstructive tour de force.” —Fred Moten, co-author of The Undercommons: Fugitive Planning and Black Study

“This book is a fruitful offering to a world with ever-increasing anxiety about the future. With incredible precision, the text delivers an invitation to reconstruct all that we accept in relation to time and existence. The brilliant Rasheedah Phillips untangles and explores history, memory, and quantum perspectives like so few others can.” —Kimberly Drew, author of Black Futures

“I often speak to friends about a virtual workshop I attended guided by a Black woman on how to time travel. How I sat in awe experiencing a life-altering experimentation with time. I am utterly blown away by the work of Rasheedah Phillips and Black Quantum Futurism. Phillips’ … bold declarations about time, Blackness, and the power of space feels like a special, underground portal silently healing us and shifting culture. Dismantling the Master’s Clock is our path to deep connection and power. This is revolutionary work.” —Tricia Hersey, author of Rest Is Resistance: Free Yourself from Grind Culture and Reframe Your Life

“Whether the device in hand is a quantum time capsule, a newly crafted time zone protocol, or instruments for bending the arrow of time, the praxis is one of grounded theory, laser-focused on changing the material conditions of possibility for reconfiguring geographies, architectures, calendars, and constellations … Phillips invites us into a real-world laboratory of situated analysis and experimentation that takes seriously the material nature of imaginings.” —Karen Barad, author of Meeting the Universe Halfway: Quantum Physics and the Entanglement of Matter and Meaning

“In this well-researched and expansive text, Rasheedah Phillips offers a detailed history of how standardized colonial time constricts Black life and decolonial freedom … The time you will spend with this book will not drag you from point A to point B; it will expand into the field of deep black contemplation we’ve been waiting for.” —Alexis Pauline Gumbs, author of Survival Is a Promise: The Eternal Life of Audre Lorde


This event was originally broadcast on Monday, March 3, 2025"]]></description>
<dc:subject>rasheedahphillips fredmoten time clocks race space racialjustice quantumphysics quantummechanics futurism physics philosophy timekeeping past present future quantumtheory</dc:subject>
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<item rdf:about="https://catalystjournal.org/index.php/catalyst/article/view/38155/30997">
    <title>View of Wartime’s “Undeniable Linkages”: Feminist Studies of Everyday Militarisms across Time and Space | Catalyst: Feminism, Theory, Technoscience</title>
    <dc:date>2025-09-24T07:12:18+00:00</dc:date>
    <link>https://catalystjournal.org/index.php/catalyst/article/view/38155/30997</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Feminist scholars and social movements have long been important voices against war and empire. Yet the era of global "endless wars" stretches behind and before us, challenging both our longstanding intellectual theories of violence and our political strategies for combating entrenched imperialism. This essay reviews three monographs in the emergent field of "everyday militarisms," a new direction forward for understanding and criticizing global war in the past, present, and future. Threading connections between feminist science studies, cultural studies, and women of color and transnational feminisms, these texts ask us to more closely consider how elements of war show up in ordinary formations. I highlight how these books and the field of everyday militarisms more broadly makes us question what is understood as feminist work in both theory and method, through their shared and novel feminist theories of temporality. Together they open new understandings of ongoing systemic and state violence in the world today and different political paths forward in the face of seemingly intractable conflict."]]></description>
<dc:subject>feminism militarism everyday temporality time space culture imperialism via:javierarbona gabikirk chrononormativity crystalmun-hyebaik carenkaplan jenniferterry war wartime violence korea koreanwar diaspora 2018 2020 2017 2023</dc:subject>
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</item>
<item rdf:about="https://vimeo.com/1064446435">
    <title>Dismantling the Master's Clock: On Race, Space, and Time book launch on Vimeo</title>
    <dc:date>2025-09-22T18:13:48+00:00</dc:date>
    <link>https://vimeo.com/1064446435</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["AK Press and the Vera List Center for Art and Politics celebrate the launch of artist and advocate Rasheedah Phillips’s expansive new book, Dismantling the Master’s Clock: On Race, Space, and Time (AK Press 2025). [https://www.akpress.org/dismantling-the-masters-clock.html ]

Our dominant perception of time owes more to Western history and social order than to nature, argues Rasheedah Phillips, delving into Black and Afrodiasporic conceptions of time, where the past, present, and future interact in more numerous constellations. Drawing on philosophy, archival research, quantum physics, and Phillips’s art and law practice on housing policy, Dismantling the Master’s Clock expands the horizons of what can be imagined and, ultimately, achieved.

This collaborative event doubles as the soft launch of As for Protocols [https://www.veralistcenter.org/publications/as-for-protocols/ ]—a book by the Vera List Center and Amherst College Press in which an essay by Phillips elaborates on her 2020–2022 VLC Fellowship project, Time Zone Protocols, and maps out her ongoing practice as a member of Black Quantum Futurism to examine the political agendas that uphold Westernized time constructs. Phillips is joined in conversation by writer and VLC Assistant Director of Editorial Initiatives Re’al Christian, co-editor of As for Protocols.

Uploaded on Mar 10, 2025 at 1:08 pm"

[See also:
https://www.veralistcenter.org/events/dismantling-the-masters-clock-on-race-space-and-time ]]]></description>
<dc:subject>rasheedahphillips 2025 race space time quantumphysics physics quantummechanics politics art futurism philosophy archives housing past present future thomasjefferson benjaminfranklin slavery labor work liberation money observation whitegaze freedom management clocks timekeeping economics socialcontrol psychology surveillance industry whitesupremacy culture us history watches pocketwatches industrialization punctuality timemanagement pjgibbs americana subversion surveilance solidarity spacetime disenfranchisement environmentalracism environment redlining presentism stereotypes quantumtheory</dc:subject>
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</item>
<item rdf:about="https://www.youtube.com/watch?v=CFaTxvlMWuY">
    <title>The Wisdom of Not Knowing (with Pico Iyer and Nathan Gardels) - YouTube</title>
    <dc:date>2025-09-16T17:16:11+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=CFaTxvlMWuY</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["We live in a culture hooked on speed and certainty. Hot takes, quick fixes, and algorithms that claim to know us better than we know ourselves. Yet despite all the information at our fingertips, the world seems to make less sense by the day.

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

Chapters
0:00 Intro
2:15 What’s in a Name
4:28 Travel and Stillness
7:19 The Contemplative Life
9:02 The Mirage of Globalization
14:06 The Inward Clash of Civilizations
17:36 The Nation of No Nation
24:24 The Return of the Strong Gods
26:54 Science, Spirituality, and the Dalai Lama
31:36 Leonard Cohen and the Half-Known Life
40:50 Ego and Undeludedness
43:00 Living in the Moment
46:41 Fire and Impermanence
52:19 The Danger of Certainty"]]></description>
<dc:subject>picoiyer 2025 nathangardels dawnnakagawa travel zoominginandout wisdom modernity global local stillness globalization place science dalailama ego undeludedness presence impermanence certainty uncertainty notknowing knowing knoweledge sameness silence humility speed slow monasteries bigsur attention retreats monoculture diversity doubt christianity buddhism hinduism islam judaism theosophy names naming religion benadictines self memory quiet insight experience meaning meaningmaking movement perspective byung-chulhan contemplation interiority world informationage communication moevement harukimurakami japan west westernization culture turkey iran russia china differences smallness distance howweread understanding depth nepal materialism affluence 1986 pacificcentury bollywood baseball india 1985 1980s civilization society multiculturalism barackobama malcolmgladwell zadiesmith naomiosaka 1983 shinto surfaces palestine israel us uk popculture translation history context politics emotion identity technology econo</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:e501fb627c6a/</dc:identifier>
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</item>
<item rdf:about="https://www.youtube.com/watch?v=wxWfpBQvfLs">
    <title>Navigating a City Without Street Addresses | Direcciones | The New Yorker Documentary - YouTube</title>
    <dc:date>2025-09-13T23:10:41+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=wxWfpBQvfLs</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["In Costa Rica, a centralized system for street addresses does not exist, so people use landmarks as reference points in giving out directions. A short documentary by María Luisa Santos and Carlo Nasisse attempts to figure out why.

The story behind the film: https://www.newyorker.com/culture/the-new-yorker-documentary/an-intimate-cartography-of-costa-rica-in-direcciones ["In María Luisa Santos and Carlo Nasisse’s short film, addresses suggest an alternative understanding of space and time."]"]]></description>
<dc:subject>maps mapping 2025 navigation wayfinding maríaluisasantos carlonasisse addresses referencepoints cartography space time directions connection connections memory poetry nostalgia saudade place placememory legibility illegibility ghosts pain longing sadness mourning grief brain loneliness past existence generation travel monarchbutterflies butterflies canon costarica</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:6dae201ae8fb/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:2025"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:maríaluisasantos"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:carlonasisse"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:addresses"/>
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</item>
<item rdf:about="https://www.youtube.com/watch?v=gKOzDU64iPA">
    <title>The cyberpunk dystopias inspiring Big Tech elites | The Listening Post - YouTube</title>
    <dc:date>2025-09-07T19:14:25+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=gKOzDU64iPA</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Silicon Valley’s tech titans often say they are shaping a better tomorrow. This is a clique of men - names like Musk, Zuckerberg, Thiel and Altman - who all say they’ve been heavily influenced by science fiction. But those imagined sci-fi futures often come with a dystopian side, warnings that tech billionaires have seemingly failed to understand.

Featuring: 
Alex Hanna - Director, Distributed AI Research Institute
Max Read - Senior editor, New York magazine
Tim Maughan - Author and Journalist"]]></description>
<dc:subject>2025 alexhanna maxread timmaughan ianbanksjeffbezos samaltman elonmusk tesla spacex amazon chatgpt ai artificialintelligence technology bigtech markzuckerberg peterthiel dystopia tescreal scifi sciencefiction bryanjognson misreading marcandreessen billgates meta facebook readyplayerone snowcrash nealstephenson satire future metaverse money power influence vision innovation blueorigin neuralink space spacecolonization meenaskshiravi humanity society transhumanism longevity longtermism fantasy lordoftherings extropianism singularity singularitarianism cosmism rationalism effectivealtruism technosolutionism tormentnexus alexblechman externalities nerdreich extroprianism capitalism fascism technofascism</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:de4b6596cb2b/</dc:identifier>
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<item rdf:about="https://www.hachettebookgroup.com/titles/adam-becker/more-everything-forever/9781541619593/">
    <title>More Everything Forever: AI Overlords, Space Empires, and Silicon Valley's Crusade to Control the Fate of Humanity, by Adam Becker | Hachette Book Group</title>
    <dc:date>2025-08-25T05:19:51+00:00</dc:date>
    <link>https://www.hachettebookgroup.com/titles/adam-becker/more-everything-forever/9781541619593/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["This “wild and utterly engaging narrative” (Melanie Mitchell) shows why Silicon Valley’s heartless, baseless, and foolish obsessions—with escaping death, building AI tyrants, and creating limitless growth—are about oligarchic power, not preparing for the future

Tech billionaires have decided that they should determine our futures for us. According to Elon Musk, Jeff Bezos, Sam Altman, and more, the only good future for humanity is one powered by technology: trillions of humans living in space, functionally immortal, served by superintelligent AIs.  
 
In More Everything Forever, science journalist Adam Becker investigates these wildly implausible and often profoundly immoral visions of tomorrow—and shows why, in reality, there is no good evidence that they will, or should, come to pass. Nevertheless, these obsessions fuel fears that overwhelm reason—for example, that a rogue AI will exterminate humanity—at the expense of essential work on solving crucial problems like climate change. What’s more, these futuristic visions cloak a hunger for power under dreams of space colonies and digital immortality. The giants of Silicon Valley claim that their ideas are based on science, but the reality is darker: they come from a jumbled mix of shallow futurism and racist pseudoscience.  
 
More Everything Forever exposes the powerful and sinister ideas that dominate Silicon Valley, challenging us to see how foolish, and dangerous, these visions of the future are."]]></description>
<dc:subject>adambecker 2025 siliconvalley pseudoscience racescience racism futurism elonmusk jeffbezos samaltman immortality ai artificialintelligence space spacecolonization maleniemitchell oligarchy growth humanity broligarchy transhumanism tescreal darkenlightenment scientificracism nerdreich singularity singularitarianism extropianism rationalism cosmism longtermism extroprianism effectivealtruism capitalism fascism technofascism</dc:subject>
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<item rdf:about="https://www.designscene.net/2024/08/dscene-interview-tavares-strachan.html">
    <title>DSCENE Interview: Tavares Strachan on Crafting the Future</title>
    <dc:date>2025-08-14T16:41:15+00:00</dc:date>
    <link>https://www.designscene.net/2024/08/dscene-interview-tavares-strachan.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Tavares talks about his B.A.S.E.C. project, the themes of exploring, space and more"]]></description>
<dc:subject>tavaresstrachan art exploration space 2024</dc:subject>
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    <title>Artist Tavares Strachan: Our Universal Currency is Storytelling - YouTube</title>
    <dc:date>2025-08-14T15:34:24+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=BTAl9cb8UKQ</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["I am afraid of being afraid.”

We met Tavares Strachan, one of the most interesting and exploratory artists of our time, in his New York studio for an in-depth conversation about his work and how he sees the world.

”I think there's a beautiful relationship, a poetic relationship, between fear and knowledge. And I think one’s relationship, one's proximity to fear has a lot to do with one’s proximity to knowledge.”

”There is so much work about how human beings are different. I'm interested in how we're the same, and one of the ways we're profoundly the same is the fact that our universal currency is storytelling. We tell each other stories to heal each other, soothe each other, get full, be empty, exercise, understand our mental and physical health, and understand our place in the universe. So, I think storytelling is essential to the human experience, and no matter where you're from, stories are going to ground you in some way. I think stories are the glue that holds this kind of human civilization together.”

Tavares Strachan’s artistic practice activates the intersections of art, science, and politics, offering uniquely synthesized points of view on the cultural dynamics of scientific knowledge. Aeronautics, astronomy, deep-sea exploration, and extreme climatology are but some of the thematic arenas out of which Strachan creates monumental allegories that tell of cultural displacement, human aspiration, and mortal limitation. Themes of invisibility, displacement, and loss are central to his work, which questions historically canonized narratives that marginalize or obscure others. His text-based neon sculptures are an anthem for our political and cultural moment, and his lexicon is an effort to mobilize community and societal change. Strachan’s ambitious, open-ended practice has included collaborations with numerous organizations and institutions across the disciplines.

”When you grow up in a place where everyone looks the way that you look and then you look in institutional books and you look at photographs of things that are perceived to be important, like the picture of the Last Supper in your grandmother's wall, one with the small amount of curiosity might want to ask the question, well why are these people in our house and why do they look so radically different from the way that we look, and why do they have this perceived idea of being elevated in some way beyond the way that we were understanding ourselves. If one allows oneself to ask the question, one starts to realize that the power is actually in the question. All of our magic is in our ability to be curious about the world around us.”

Strachan was born in 1979 in Nassau, Bahamas, and currently lives and works between New York City and Nassau. He received a BFA in Glass from the Rhode Island School of Design in 2003 and an MFA in Sculpture from Yale University in 2006. He draws on both the resources and community of his birthplace, dividing his time between his studio in New York and Nassau, where he has established an art studio and scientific research platform B.A.S.E.C. (Bahamas Aerospace and Sea Exploration Center) and OKU, a not-for-profit community project encompassing an artist residency and exhibition spaces, a scholarship scheme, and after-school creative programs.

Strachan’s work has been featured in numerous solo exhibitions, including You Belong Here, Prospect 3. Biennial, New Orleans; The Immeasurable Daydream, Biennale de Lyon, Lyon; Polar Eclipse, The Bahamas National Pavilion 55th Venice Biennale, Venice; Seen/Unseen, Undisclosed Exhibition, New York; Orthostatic Tolerance: It Might Not Be Such a Bad Idea if I Never Went Home Again, MIT List Visual Arts Center, Cambridge; among others. The Hayward Gallery in London recently featured Strachan in a solo exhibition, titled Tavares Strachan: There Is Light Somewhere, in summer 2024.

He has been the recipient of numerous awards including the John D. and Catherine T. MacArthur Foundation fellowship (2022), 2019-20 Artist in Residence at the Getty Research Institute, 2018 Frontier Art Prize, and the Allen Institute’s inaugural artist-in-residence in 2018, 2014 LACMA Art + Technology Lab Artist Grant, 2008 Tiffany Foundation Grant, 2007 Grand Arts Residency Fellowship, and 2006 Alice B. Kimball Fellowship.

Tavares Strachan was interviewed by Marc-Christoph Wagner in his studio in New York in March 2025.

Camera: Sean Hanley
Edited by: Jarl Kaldan Therkelsen
Produced by: Marc-Christoph Wagner
Copyright: Louisiana Channel, Louisiana Museum of Modern Art, 2025"]]></description>
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<item rdf:about="https://daily.jstor.org/shifting-forces-the-evolving-debate-around-dark-energy/">
    <title>Shifting Forces: The Evolving Debate Around Dark Energy - JSTOR Daily</title>
    <dc:date>2025-07-31T20:11:46+00:00</dc:date>
    <link>https://daily.jstor.org/shifting-forces-the-evolving-debate-around-dark-energy/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["New evidence suggests the universe might not behave as expected, raising questions about the costs of being wrong."]]></description>
<dc:subject>2025 sarahscoles bigbang matter energy darkenergy physics universe melissajacquart cosmology cosmos science space</dc:subject>
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<item rdf:about="https://architecture-history.org/schools/SUPERMODERNISM.html">
    <title>SUPERMODERNISM</title>
    <dc:date>2025-07-27T02:34:01+00:00</dc:date>
    <link>https://architecture-history.org/schools/SUPERMODERNISM.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Critic and historian Hans Ibelings—borrowing from anthropologist Marc Augé—uses the term “supermodernism” (also called “hypermodernism”) to describe a style of architecture emerging in the 1990s, characterized by structures that are often airy, minimalist or monolithic, and transparent or translucent and that use an abundance of glass. Although supermodern structures exploit technological innovation, they are generally visually and symbolically simple, with clean lines, a minimalist style, and neutral materials.

Theoretically, Ibelings situates supermodernism in relation to Postmodernism and Deconstructivism and in conjunction with some of the aims of modernism. Ibelings noticed common tendencies in several architectural books published in the mid-1990s: Terence Riley’s Light Construction (1995), Rodolfo Machado and Rodolphe el-Khoury’s Monolithic Architecture (1995), Vittorio Savi and Josep Ma Montaner’s Less Is More: Minimalism in Architecture and the Other Arts (1996), and Daniela Colfrancescchi’s Architettura in superfice; Materiali, figure e technologie delle nuove facciate urbane (1995). The almost simultaneous publication of these texts describing a similar aesthetic led Ibelings to condense formal and theoretical tendencies into a description of a coherent architectural style.

Contributors to this style include contemporary international architectural firms such as Rem Koolhaas’s Office of Metropolitan Architecture (OMA), Jean Nouvel, Dominique Perrault, Herzog and De Meuron, and Iñaki Abelos and Juan Herreros. Noteworthy examples of supermodernist architecture include Jean Nouvel’s beautifully transparent Cartier Foundation for Contemporary Art and Head Office of Cartier France (1991–94) in Paris as well as his design for the Tour sans Fin (1989), a glass-topped tower to be built in Paris’s La Défense. Also significant are Dominque Perrault’s new home for the Bibliothèque Nationale (1989–96) in Paris as well as her Hotel Industriel Berlier (1985– 90) in Paris and Koolhaas and OMA’s Educatorium (1997), a multipurpose building designed for Utrecht University in the Netherlands.

Supermodernism is a phenomenological architecture, an architecture that appeals to the experience of place rather than to ideas or symbols. Although postmodernist and deconstructivist approaches to architecture often appeal to intellectual and historical relationships among forms, supermodernism suggested a shift toward (perhaps even a return to) the formal qualities of space and the visual and tactile sensations that accompany them. According to Ibelings, the emphasis on space and place rather than on form (or style as an end it itself) contradicts one of the main tenets of postmodern architecture—that a particular building is an often-contradictory composite of symbols or signs that carry cultural and linguistic meanings. Supermodern architecture rejects the desire or need to decode symbols and instead appeals to a range of physical as well as psychological qualities perceived through the experience of the forms. Supermodern buildings reflect neither the history of architecture nor extraarchitectural ideas.

The supermodern structure in part appeals to universal concerns (a stronghold of modernist ideology of the earlier part of the century). This emphasis on universality reflects the current interest in globalization, which Ibelings links to homogenization and commodification in art and architecture. Global homogenization has generated a rash of chain stores, internationally recognized products, and expressionless, nondescript architecture in world cities that resemble one another as well as architecture that is no longer built by local architects in local styles.

Linked to globalization is the development of what Augé calls “nonspace.” Nonspaces are spaces that “cannot be defined as relational, or historical, or concerned with identity” (Augé, 1995). Rather than social centers where communities gather for collective activity, nonspaces function as common places where groups of people come together yet experience the space separate from others. The current built environment is, according to Augé's somewhat relativist reading, meaningless. However, meaningless space arises as a reaction to three kinds of abundance: an abundance of space, an abundance of signs, and an abundance of individualism. The plethora of nonspaces creates what Augé calls the supermodern condition, an obvious reference to French philosopher Jean-Francois Lyotard’s 1979 seminal study La condition postmoderne: rapport sur le savoir (The Postmodern Condition: A Report on Knowledge).

Because globalization has increased world travel to a phenomenal extent, the airport perhaps functions as the quintessential nonplace, although supermarkets, hotels, and oversized malls could be added to this list. Ibelings argues that the airport structure has evolved into a universal type he describes as “an exposed steel construction (a space-frame or gigantic trusses), a marked preference for vaulted roofs, a colour palette of grey, white, pale blue and light green and, above all, acres and acres of glass” (1998). Examples of this design include Kansai International Airport Terminal, Osaka (Renzo Piano Building Workshop, 1988–1994); Hong Kong International Airport, Hong Kong, Chek Lap Kok (Foster and Partners, 1992–98); Stansted Airport, Essex, England (Foster and Partners, 1981–91); and Europier, Heathrow Airport, London (Richard Rogers Partnership, 1992–95). Functionally, the contemporary airport encompasses services such as shopping in addition to a means of travel, and further serves as an economic center for the surrounding area, a trend that reflects the transition of the symbolic city center to the periphery.

Supermodernism maintains particular traditions of modernism; namely, an aesthetic of neutrality, minimalism, and abstraction. Yet supermodernist architects seek expressivity; buildings are intended to be as autonomous and obviously separate from their surroundings; as contemporary and new, reflecting the present; as technically innovative; and finally, as a clean slate, an intended break from the past. Nonetheless, contemporary critics and stress the need to not only examine these qualities but to locate them within our contemporary global experience.

LINDA M. STEER

Sennott R.S. Encyclopedia of twentieth century architecture, Vol.3 (P-Z).  Fitzroy Dearborn., 2005."]]></description>
<dc:subject>supermodernism modernism globalization 1990s marcaugé handiberlings 1998 architecture design lindasteer neutrality minimalism abstraction buildings airports travel jeanfrançoislyotard nonspaces art homogenization deconstruction deconstructivism terenceriley rodolfomachado rodolpheel-khoury vittoriosavi josepmamontaner danielacolfrancescchi herzoganddemeuron dominiqueperrault jeannouvel oma remkoolhaas juanherreros iñakiabelos space place form commodificaiton neoliberalism nonspace</dc:subject>
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<item rdf:about="https://lareviewofbooks.org/article/the-private-fiefdom-as-planetary-project/">
    <title>The Private Fiefdom as Planetary Project | Los Angeles Review of Books</title>
    <dc:date>2025-07-18T04:29:26+00:00</dc:date>
    <link>https://lareviewofbooks.org/article/the-private-fiefdom-as-planetary-project/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Raymond Craib reviews five new books to show that we ignore “Freedom Cities” and proprietary states at our peril."]]></description>
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<item rdf:about="https://aeon.co/videos/a-tour-of-new-yorks-gaudiest-neighbourhood-with-the-marxist-geographer-david-harvey">
    <title>A tour of New York’s gaudiest neighbourhood with the Marxist geographer David Harvey | Aeon Videos</title>
    <dc:date>2025-06-18T01:13:00+00:00</dc:date>
    <link>https://aeon.co/videos/a-tour-of-new-yorks-gaudiest-neighbourhood-with-the-marxist-geographer-david-harvey</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The sleek high-rises in Manhattan’s Hudson Yards were built atop what was once a hub of industry. Today, argues the celebrated British American geographer David Harvey, they’re towering symbols of speculative wealth. In David Harvey and the City, he gives viewers a tour of this 21st-century redevelopment – not far from where he teaches at the Graduate Center of the City University of New York (CUNY) – and the New York beyond it. Harvey gives a Marxist perspective on how spaces like these reflect the deeper tensions inherent in capitalist systems, where urban design is increasingly shaped by financial interests rather than the wellbeing of communities. He suggests that, by changing how we value space – treating land not as a commodity but as part of a shared civic life – we could begin to imagine cities that prioritise people, not profit. Directed by the Canadian filmmaker Brett Story, the short documentary serves as both an accessible introduction to radical geography and a compelling invitation to rethink the modern city."

[direct link to video:
https://www.youtube.com/watch?v=iPGvXhicF2M ]]]></description>
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    <dc:creator>robertogreco</dc:creator><description><![CDATA["On Adam Becker's new book and the people who are going to destroy the universe in the name of saving "humanity.""]]></description>
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    <dc:creator>robertogreco</dc:creator><description><![CDATA["The artist's 1973 work invites participants to feel time through heartbeats, breath, and shared awareness."]]></description>
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    <title>CABINET // A Brief History of String</title>
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<item rdf:about="https://www.space.com/spacex-starlink-satellites.html">
    <title>Starlink satellites: Facts, tracking and impact on astronomy | Space</title>
    <dc:date>2025-05-09T03:08:07+00:00</dc:date>
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    <dc:creator>robertogreco</dc:creator><description><![CDATA["Are Starlink satellites a grand innovation or an astronomical menace?"]]></description>
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<item rdf:about="https://www.theverge.com/space/657113/starlink-amazon-satellites">
    <title>Starlink’s got company — and Earth’s orbit is getting crowded | The Verge</title>
    <dc:date>2025-04-30T07:43:11+00:00</dc:date>
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    <dc:creator>robertogreco</dc:creator><description><![CDATA["Amazon’s Project Kuiper satellite mega constellation is just the beginning."]]></description>
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    <title>Pour un atlas des Figures: À propos d’un « geste nôtre ». La caméra dans la tentative de Fernand Deligny</title>
    <dc:date>2025-04-30T06:48:04+00:00</dc:date>
    <link>https://www.pourunatlasdesfigures.net/element/a-propos-dun-geste-notre-la-camera-dans-la-tentative-de-fernand-deligny</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[machine translation of one section]

"The camera as a clinical tool

The camera is the center of gravity of the scenic and plastic device that Deligny calls "living in close presence". An essential figure of the “customary” of the chain of activities that rhythm daily, this camera allows, in the form of “our” gestures, to a human link of species that it is impossible to know, at this stage of the analysis, whether it is simply encrypted in the “normal” exchange of the signs, repressed and therefore preserved by it, or whether it belongs to a completely different register.

The introduction of this camera tool responds in any case to a theoretical construction that can be summarized in a two-pronged hypothesis. Assumption about diagnosing "what we miss" to be perceptible to this kid there. Assumption as to what can make up for this structural lack.

On the diagnostic side, Deligny’s analysis falls within the scope of what phenomenology and psychoanalysis make it possible to pose, even if it is from diametrically opposed viewpoints. We, speaking subjects, are locked into a specular relationship with the world, taken by our structural narcissism in the register of identification with others and alienation from ourselves. The bond that unites us is thus structured by the imaginary fence of the supposed resemblance between supposedly similar ones. We can see nowhere than we are looking at ourselves.

We do not see, for example, the actions of these children, because these “act” are not meant to be seen or understood by us. They are not addressed to us. Nor do our gestures led by the rule of habitus and, therefore, the address inherent in the behaviour acquired, are visible to this kid there.

If proximity can be established between “them, there” and “us”, it cannot go through the gaze or the social imagination that guides it. In order for proximity to be established between us, it is therefore necessary to block the space open to the eye, the space where the social subject sees itself, is not without seeing it.

From this diagnosis, Deligny deduces a inspired mode of action and the fundamental structure of this human environment, such as Leroi-Gourhan, in particular, allows him to think (namely the production of the human species from the outsourcing of the organ in the tool), and the practice of the environment that he theorized with the “oyster eye”. He imagines a camera capable of producing an unprecedented use of the eye, a tool that de-specularizes the gaze. The caulent then becomes – under certain conditions – the name of the technique of near and far-hauling life.

It is in fact as a prosthesis, extension and substitute of the eye that the camera will be responsible for seeing, unloading, at the same time, at least partially, the young adults of the observation function which they otherwise are responsible, with what this function entails, namely the tengization of the scopic anguish. Possibly held by anyone – a neighbour, a visitor, a close presence – the camera is first of all the tools that free the adult from the task of recording what happens, whether or not the child has seen, whether or not the child has seen, understand what is happening or not. All of this, the camera does it for him. It releases him from his request to the child as she also releases the refractory child at any request to have to respond.

Rather than having to respond, he is allowed to resonate with what he perceives and not in response to what is being asked of him.

On the one hand, therefore, no need to see. The camera does the work. On the other hand, this camera, which has become a full-fledged character in the Territory’s economy, opens up a new perspective in the empirical space of the scene. She creates another scene for the address, a scene parallel to the real place of the event. Placed there, among us, the camera otherwise rearticulates our bodies and gestures of talking, communicating subjects. In the new framework represented by the situation of the recording, in the place thus opened, where the young adult is freed from the function of seeing, of questioning what he sees, and of the reflexive circle that follows each other then, what do we indeed see? We see that his gestures are changing.

Here, with his body, he begins to live the space, to trace its movements, and to make these movements fully resonate, so that everything that is there, arranged as so many potential clues of an unknown life, these stones, benches, clubs, kitchen utensils, become the elements of a choreography, of a dance that no one sees, except the camera. Strange gestures, signs for nothing and for no one, intended for nothing and no one, except for the camera who hears nothing about it even if it is there. "Gestests that don't make a sign even if we sign."

Thanks to the blind eye of the camera tool, the adult can turn elsewhere, in a space other than the one where his gestures take place: a fictitious space that takes a double background to the real situation and whose camera is in a way the intricatore in the scene.

The clinical operator, the camera, allows the adult’s gestures no longer to be a sign for the child: sent elsewhere, they have become traced no longer signs, psychomotor, non-specular, non-representable image, an image-sensation that frees the child from the shackle of the immutable. And sets it on the road. Instead of these gestures being addressed to him, and immediately converting into threats, they become the elements of this fluid medium where they are together, talking or non-speaking subjects, human beings.

This Gamin, there, arrives at the image what is as essential to the human order as the sea can be to the cosmic order: a “city gesture” testifying to the archaic link that exists between humans, between living human bodies, talking or not, a distinct link therefore from that built between talking subjects. This gesture of the species or, “made” gesture, is invisible to the talking subjects that we are. On the other hand, it can be recorded. But it has to take place.

That the talking topics that we are can be seen by children elsewhere than in the world where we live, regardless of the skill regime that articulates all of our behavior. But also that our bodies transformed by these gestures addressed “otherly” than where we are, to a psychic place of ourselves unknown, then access and unknowingly give us access to this unprecedented register of the act “for nothing” that Deligny calls it “action”.

From this event, this Gamin, there, testifies through the recurrent image of a gesture that makes a sign and does not make a sign, a double gesture emanating from a corporeal corporeality, and testifying to the emergence of an unprecedented body, or rather unnoticed, a “common” body."]]></description>
<dc:subject>catherineperet fernanddeligny pedagogy cameras film filmmaking gestures tools education childhood consciousness marcelmauss intervention confrontation gaze social language research space time children psychiatry psychoanalyis psychology phenomenology</dc:subject>
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<item rdf:about="https://thejaymo.net/2025/04/26/2509-surface-without-substance/">
    <title>Surface Without Substance | 2509 - thejaymo</title>
    <dc:date>2025-04-28T01:54:49+00:00</dc:date>
    <link>https://thejaymo.net/2025/04/26/2509-surface-without-substance/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[direct link to video version:
https://www.youtube.com/watch?v=dz7G0AoRSQM

primary reference:

"Player One and Main Character
Gideon Jacobs considers what Donald Trump and Elon Musk, as odd couple in chief, have in common." 
https://lareviewofbooks.org/article/player-one-and-main-character/ ]

"This week, whilst shopping in town, I listened to two podcasts back-to-back: Gideon Jacobs on the newest episode of New Models, and Never Post with its segment on the disappearance of buttons from our devices.

I’ve written before about the surface flatness of contemporary society, but these two shows reignited the idea. There is, I think, a compelling argument that the physical design of the modern smartphone with its dark, glassy, featureless surface, has reshaped how we perceive reality: a reality now dominated by images, detached from any material origin or anchor.

Jacobs contends that our present media environment has produced a world saturated with self-referential imagery. Reality, he says, has become a loop of symbols, gestures, and signs that point only to more of themselves: meaning without anchor. Baudrillard diagnosed this condition nearly forty-five years ago, calling it hyperreality. Once an academic abstraction, it is now tangible with every scroll and swipe.

This is not merely an aesthetic or media-literacy concern; it is about the broader conditions through which we perceive and interpret the world. The simulation, as Baudrillard put it, has grown so seamless, so ever-present, that the scaffolding of “the real” feels less persuasive than the abstract surfaces it supposedly supports.

In my own writing I refer to this domain as the Semiosphere: a para-reality of signs, symbols, and meaning-making that restructures the material world through the attention we pay to it.

Donald Trump, Jacobs argues, is the embodiment of this shift — an idea larger than the man himself, composed entirely of signs: soundbites, slogans, facial expressions, media feedback loops. He operates within the Semiosphere so fluently that base reality becomes an irrelevant medium. What matters is presence, affect, the high-stakes manipulation of symbol. Trump exudes a distortion field. What the old tales would have called glamour turning the world into something closer to theatre or a game.

No object, save perhaps a magic wand or a conductor’s baton, crystallises the peculiar new reality conjured by the smartphone.

With its smooth, depthless glass, the smartphone is the ultimate surface: no ridges, no contours, nothing to locate you. It denies the body its place in the interface. There is no entrance or window into the Semiosphere via a smartphone, only exposure to it.

You don’t grip a smartphone; you stroke it.

Interaction with symbol becomes pure glide. Nothing truly moves, yet with our fingertips we influence the world. The screen-tap is a magician’s gesture: something appears, something vanishes. “The doing” is replaced by the appearance of something happening. In this frictionless flow, symbols need relate to nothing deeper; we drift, untethered, immersed in the feed. The smartphone is an occult object: a black mirror through which pure image flows, unburdened by resistance.

The home button once provided interruption, reminding you the device was a machine with limits, an actual object. Its removal dissolves the membrane between user and content.

Gestural interactions on a seamless surface are inherently theatrical; every motion becomes performance, aligning neatly with today’s urge to self-mythologise. We don’t merely consume content, we perform our consumption of it. We react and gesture: swipe left, swipe right.

Steve Jobs’s first demonstration of the two-finger pinch-to-zoom was staged for show; the boundary between performance and interaction vanished. Buttons, knobs, and sliders possessed depth. Their erasure from our fridges, washing machines, and even our cars reflects the self-referential nature of our age: everything must resemble everything else, a literal collapse of depth.

Yet this flattening is neither inevitable nor irreversible. I genuinely believe that people who spend most of their internet time on laptops or desktops are wired differently from habitual phone users.

Laptops retain a tactile grounding: the click of keys, the heft of the machine, the edge of the screen with the real world behind it. These affordances anchor the body in reality. There is a boundary, a distinction between self and system. And with that boundary comes a different mode of attention, one less susceptible to seamless surfaces and frictionless signs.

The desktop or laptop is also more sensorial: cords, ports, sounds, even smells on occasion. It demands a place in your environment. Even if the device perches on your lap like a cat.

You look at the internet on a laptop,
but you touch the internet on a phone.

As generative AI erodes the very nature of the image, this spiral will only accelerate. VR and XR are approaching fast. The world will continue to thicken with surfaces: shimmering, shifting, signs slipping past meaning. It is another stage in the Information-Age iconoclasm. The great unravelling of the image as a stable carrier of truth.

We can no longer gesture at the future; if we want it to be different, we must grip it tight."]]></description>
<dc:subject>2025 screens surfaces smartphones computing computers laptops gideonjacobs form touch tactile flatness society buttons devices technology media baudrillard hyperreality aesthetics medialiteracy simulation seamlessness semiosphere signs symbols donaldtrump medium presence affect glide friction frictionlessness untethered immersion feeds socialmedia doing stevejobs iphone knobs sliders depth appliances cars flattening bodies space boundaries attention generativeai ai artificialintelligence gestures thejaymo jayspringett elonmusk genai jeanbaudrillard</dc:subject>
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<item rdf:about="https://kottke.org/25/04/swamped-skies">
    <title>Swamped Skies</title>
    <dc:date>2025-04-16T05:10:16+00:00</dc:date>
    <link>https://kottke.org/25/04/swamped-skies</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Photographer Joshua Rozells on his photo of our increasingly crowded night skies:

<blockquote>The light pollution caused by satellites is quickly becoming a growing problem for astronomers. In 2021, over 1700 spacecrafts and satellites were put into orbit. Light pollution caused by SpaceX’s Starlink satellites are the worst offenders because they are low Earth orbit satellites, and they travel in satellite trains. One can only assume the issue will exponentially increase in the next few years, with SpaceX alone intending to launch over 40,000 satellites in total. The space industry is almost entirely unregulated, with no limits on the amount of satellites that anyone is able to launch and there is currently no regulation in place to minimise the light pollution they cause.</blockquote>"]]></description>
<dc:subject>nightsky photography joshuarozells 2025 satellites lightpollution spacex space science</dc:subject>
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<item rdf:about="https://www.e-flux.com/architecture/off-earth/653090/code-space/">
    <title>Off-Earth - Fred Scharmen - Code Space</title>
    <dc:date>2025-03-11T06:24:48+00:00</dc:date>
    <link>https://www.e-flux.com/architecture/off-earth/653090/code-space/</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>2025 fredscharmen architecture infrastructure space earth outerspace humans nasa</dc:subject>
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<item rdf:about="https://www.youtube.com/watch?v=LagpKkQLTIg">
    <title>We Mapped Elon Musk's Entire Empire | On The Grid | WIRED - YouTube</title>
    <dc:date>2025-03-08T21:40:56+00:00</dc:date>
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    <dc:creator>robertogreco</dc:creator><description><![CDATA["There's barely a place left on Earth outside the gravitational pull of Elon Musk’s empire. How far does Elon's clout really stretch—and what conflicts of interest are emerging as he wields the power of the federal government? WIRED pulled the data and mapped out the key places that shape Elon's Empire.

Map of Starlink satellites courtesy of satellitemap.space "

[See also:
https://www.wired.com/story/mapping-elon-musk-global-empire/ ]]]></description>
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<item rdf:about="https://helenbeetham.substack.com/p/the-audrey-watters-episode">
    <title>The Audrey Watters episode - by Helen Beetham</title>
    <dc:date>2025-02-03T20:27:59+00:00</dc:date>
    <link>https://helenbeetham.substack.com/p/the-audrey-watters-episode</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["As we sink further into the pit that is the Musk/Trump presidency, who better to survey the hellscape on the way down than Audrey Watters, ed tech’s sharpest and toughest commentator? If you don’t know Audrey’s work, you really should. You’ll find her Second Breakfast newsletter in the shownotes, along with a link for her book, Teaching Machines, and plenty more that came up in our discussion. It’s the first imperfect x breakfast cross-over on the pod, and I hope it won’t be the last.

Audrey’s newsletter, Second Breakfast: https://2ndbreakfast.audreywatters.com/

Audrey’s book Teaching Machines https://mitpress.mit.edu/9780262546065/teaching-machines/

Simone Brown on the origins of surveillance in the management of plantation labour: https://journals.kent.ac.uk/index.php/klr/article/view/1100

Emily Bender and Timnit Gebru (et al’s) famous paper: On the dangers of stochastic parrots: https://dl.acm.org/doi/10.1145/3442188.3445922

Recent critique of this paper from a posthumanist perspective, referenced by Helen: https://posthumanism.co.uk/jp/article/view/3287

Meredith Whittaker on Babbage, computers and plantation labour: https://logicmag.io/supa-dupa-skies/origin-stories-plantations-computers-and-industrial-control/

Reid Hoffman ‘AI will empower humanity’ in the NYT, referenced by Audrey: https://www.nytimes.com/2025/01/25/opinion/ai-chatgpt-empower-bot.html

The article is paywalled but there is an interview with similar takes here: https://techcrunch.com/2025/01/26/why-reid-hoffman-feels-optimistic-about-our-ai-future/

A recent Guardian UK article on the ‘Paypal Mafia’: https://www.theguardian.com/technology/2025/jan/26/elon-musk-peter-thiel-apartheid-south-africa

Peter Thiel’s argument that freedom and democracy are incompatible, referenced by Audrey: https://www.cato-unbound.org/2009/04/13/peter-thiel/education-libertarian/. This is also referenced by Curtis Yarvin and Nick Land in support of their Dark Enlightenment neo-reactionary movement: https://en.wikipedia.org/wiki/Dark_Enlightenment

Links between Palantir (Peter Thiel’s company) and the US military: https://www.palantir.com/offerings/defense/air-space/

Helen’s original substack post on Faculty AI (a new one follows shortly): https://helenbeetham.substack.com/i/139080460/safer-ai-round-two

AI Snake Oil, blog of the book by Arvind Narayanan and Sayash Kapoor, discussed by Audrey and Helen:
https://www.aisnakeoil.com/ "]]></description>
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<item rdf:about="https://www.youtube.com/watch?v=-pVq7f1PUMI">
    <title>‘OFF-EARTH: INFRASTRUCTURES’ with Megan Eardley &amp; Fred Scharmen - YouTube</title>
    <dc:date>2025-01-23T08:49:00+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=-pVq7f1PUMI</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Speakers
Megan Eardley (Postdoctoral Fellow, Centre of Excellence for Anthropocene History, KTH Royal Institute of Technology, SE)
Fred Scharmen (Program Director and Associate Professor of Architecture, Morgan State University School of Architecture and Planning; Co-Founder, Brick Moon, US)

Moderated by 
Marija Marić (Postdoctoral Research Associate, Master in Architecture, LU)
Valentin Bansac (Co-Curator, Luxembourg Pavilion at the 2025 Venice Architecture Biennale, LU)

In 2024, LUCA with curator and researcher Marija Marić organised, with the support of the Ministry of Culture, the international symposium ‘Off-Earth. A Critical Reading of Resources, Infrastructures, and Commons’, which followed on from the work undertaken by the curators of the Luxembourg Pavilion at the 18th Venice International Architecture Biennale (2023).

This symposium brought together international architects, historians, geographers, and artists, working critically on issues of extraction beyond Earth. It featured fragments from the exhibition in Venice, including the screening of the film ‘Cosmic Market’, directed by Armin Linke. 

The symposium in Luxembourg will result in the publication of a series of essays in collaboration with e-flux.

7.11.24 Symposium ‘Off-Earth. A Critical Reading of Resources, Infrastructures, and Commons’ at LUCA – Luxembourg Center for Architecture.

www.luca.lu "]]></description>
<dc:subject>meganeardley fredscharmen via:javierarbona 2025 space nasa history</dc:subject>
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<item rdf:about="https://www.danikacooper.com/research#/how-to-draw-a-dust-storm-jola/">
    <title>RESEARCH — DANIKA COOPER</title>
    <dc:date>2025-01-20T20:24:22+00:00</dc:date>
    <link>https://www.danikacooper.com/research#/how-to-draw-a-dust-storm-jola/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Challenging assumptions about how to represent both the scientific and the aesthetic provides an opportunity to reject traditional notions that these two are in direct opposition. By producing a ‘nexus of science, memory, and strategy,’ these drawings create new readings of dust by overlapping knowledge from the natural sciences with the aesthetic, temporal, and perceptual qualities of dust. The coupling of analog and digital techniques aims to address the challenges associated with the dramatic scalar differences between the particle and the storm. 

Drawing the dust is more than simply pointillism; adopting a filmic approach to build a visual narrative of the process of moving dust results in drawings that address the inherent and essential ephemerality of the storm through seriality. 

In a highly-speculative intervention, the planting of psamophile fields (desert dune plants) on destabilized, dust prone lands encourages the settlement of aeolian dust by hindering the movement of wind and stabilizing the ground.Over time, the plants create a dust sink, accumulating so much material that dunes begin to form. Throughout the territory, ephemeral topographies are continually created and eroded by the wind over time and space."]]></description>
<dc:subject>danikacooper research method methods landscapearchitecture architecture landscape drawing drawings via:javierarbona time space dust ephemeral pointillism narrative ephemerality particles science memory strategy</dc:subject>
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<item rdf:about="https://www.youtube.com/watch?v=m_aT9jbxrHY">
    <title>Neil deGrasse Tyson's 5-Minute Takedown of Elon Musk's Biggest Mistake - YouTube</title>
    <dc:date>2025-01-03T00:28:11+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=m_aT9jbxrHY</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Astrophysicist Neil deGrasse Tyson went Piers Morgan Uncensored and debunked Elon Musk.

Tyson brought his insight and scientific knowledge to Piers Morgan and pointed out how much of what Elon Musk says is nothing but talk.

The conversation between Piers Morgan and Neil deGrasse Tyson focused on Mars and the fallacy of thinking we need to flee to Mars rather than trying to fix things here on Earth.

It's a vital discussion to question just exactly what Elon Musk's goals are when he is now so intertwined with our government and the levers of power. Let me know in the comments what you think of this debate between Neil deGrasse Tyson and Piers Morgan about the ambitions of the richest man on Earth."]]></description>
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<item rdf:about="https://ciechanow.ski/moon/">
    <title>Moon – Bartosz Ciechanowski</title>
    <dc:date>2024-12-28T00:51:52+00:00</dc:date>
    <link>https://ciechanow.ski/moon/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["In the vastness of empty space surrounding Earth, the Moon is our closest celestial neighbor. Its face, periodically filled with light and devoured by darkness, has an ever-changing, but dependable presence in our skies.

In this article, we’ll learn about the Moon and its path around our planet, but to experience that journey first-hand, we have to enter the cosmos itself."]]></description>
<dc:subject>bartoszciechanowski moon visualisation astronomy interactive space science dataviz</dc:subject>
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<item rdf:about="https://www.youtube.com/watch?v=v3vmCpimA-g">
    <title>Writer Orhan Pamuk Presenting the Museum of Innocence | Louisiana Channel - YouTube</title>
    <dc:date>2024-12-24T19:08:07+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=v3vmCpimA-g</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["“A tribute to the unimportant daily life objects and their valuable meaning for our memory and connection with time lost.” Nobel laureate Orhan Pamuk delves into the deeply personal and intricate world of his Museum of Innocence, both the novel he published in 2008 and the museum he opened in Istanbul in 2012. 

Blurring the lines between fiction and reality, Nobel laureate Orhan Pamuk shows us around his Museum of Innocence in Istanbul. It is a physical manifestation of his protagonist Kemal’s unfulfilled love and longing, embodied in everyday objects meticulously collected and a personal reflection of life in Istanbul in the late 20th century.

Orhan Pamuk originally wanted to be a painter but failed, he says. Instead, at the age of mid-forties, he realized that he “wanted to create an artwork combined with literature, and this is my first attempt at combining the two."
Pamuk began collecting everyday objects for the museum and writing the novel at the same time, the objects inspired the novel and vice versa: “It's not that I had a collection, then I thought about a home for my collection. I collected and wrote and wrote and collected.” 

When planning the museum, Orhan Pamuk wanted the visitors who had not read the novel to “have a sense of the quality of the surface of the objects, the texture of life of Istanbul between 1970s and early 2000s, and also the visual atmosphere of Istanbul.” Pamuk did not write for six months but was busy composing one by one glass vitrines, boxes, and units in the manner of Joseph Cornell, Robert Rauschenberg, and Juan Gris: “This museum is based on the things that this generation of surrealistic artists developed with the concept of ready-mades.” 

Throughout the interview, Pamuk reveals his lifelong fascination with objects as vessels of memory and nostalgia. “Objects have the power to trigger our memories,” he notes, comparing his work to Marcel Proust’s exploration of involuntary memory. He believes that even the smallest items have the power to transport us back in time: “A movie ticket found in a jacket can be the only reason you remember the film 20 years later”, Pamuk reflects, highlighting the profound relationship between memory and material objects.

At the museum, Orhan Pamuk’s manifesto for museums is written as he believes, he says, that museums “should not be a safe or heaven for precious things only. The museum should honor the objects of daily. Museums should not only dramatize the history of a nation, or a group, or a gender, or a Chinese army but should also go and explore the dramas of individual beings.” Pamuk argues that “the future of museums should be inside our own personal homes.” 

Orhan Pamuk concludes: “I am inviting you to a new artificial space which will envelop you and will make you ask questions about being, time, remembering attachment, love, jealousy, anger, and these objects are there to generate these things or make you ask these questions about your life”.

Orhan Pamuk, born in Istanbul in 1952, is one of Turkey's most acclaimed writers. Known for novels like My Name is Red, Snow, and Istanbul: Memories and the City, his work examines themes of identity, memory, and the cultural tensions between East and West. In 2006, Pamuk received the Nobel Prize in Literature for his contributions to world literature.

Orhan Pamuk was interviewed by Christian Lund in Istanbul in September 2024. 

Camera: Rasmus Quistgaard 
Edited by Roxanne Bagheshirin Lærkesen 
Produced by Christian Lund 
Copyright: Louisiana Channel, Louisiana Museum of Modern Art, 2024 "]]></description>
<dc:subject>orhanpamuk collections collecting objects museums museumofinnocence istanbul 2024 memory josephcornell robertrauschenberg juangris marcelproust proust memories everyday writing howwewrite time ottomanempire clocks watches surrealism art literature visualarts readymade homes life living emotions love anger place space türkiye turkey</dc:subject>
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<item rdf:about="https://emergencemagazine.org/essay/breath-space-and-seed-time/">
    <title>Breath-Space and Seed-Time – David Hinton</title>
    <dc:date>2024-12-08T20:02:18+00:00</dc:date>
    <link>https://emergencemagazine.org/essay/breath-space-and-seed-time/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The yü ideogram portrays breath spreading beneath a roof, rendered as the end-view of a traditional Chinese roof, its dragon-spine ridge and wing-curve slope. Hence: “the space beneath eaves” or “house.” Then by extension, it comes to mean “breath spreading free beneath the canopy of heaven,” from which is derived “the space beneath the canopy of heaven,” and on to “space,” “space itself as dwelling-place,” dwelling-place alive with primal breath. And so, the Cosmos as a living breath-infused expanse, as our breath-space home.

Similarly, the chou ideogram depicts a seed sprouting beneath the same dragon-spine wing-curve roof, from which comes the meaning “home” or “dwelling-place.” By extension, this becomes “a seed burgeoning forth beneath the canopy of heaven,” which came to mean “time,” “time itself as dwelling-place.” And this seed is also infused with that primal breath, making it the very image of a more primordial understanding of time. Rather than time as an imaginal dimension that seems to somehow leave us out of the fundamental movement of natural process, a kind of metaphysical river flowing past, chou recognizes the Cosmos as an all-encompassing present, a constant burgeoning forth to which we belong wholly. And so, the Cosmos as a generative self-emergent tissue, as our seed-time home.

Combined, yü and chou describe the two dimensions that weave together to form this Cosmos as a tissue of breath-emergent transformation. Vast and deep, everything and everywhere, including all the depths of our mental realm, this Being is always moving and changing. It is alive somehow—existence-tissue magically, mysteriously, inexplicably alive. It is whole—but not complete, never complete. Instead, it is pregnant through and through, subjective and objective realms a single generative tissue all dynamic energy in perpetual transformation. This is the Cosmos infused with an awesome sense of wonder and the sacred. There seems no other way to say it, for each of the ten thousand things, including everything that happens in the mind, seems to be miraculously burgeoning forth from a kind of emptiness at its own heart. And at the same time, it is always a burgeoning forth from an emptiness at the very heart of the Cosmos itself."]]></description>
<dc:subject>davidhinton 2024 poems poetry space-time spacetime space time comos china</dc:subject>
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<item rdf:about="https://www.zendalibros.com/cuatro-cuentos-cuanticos-de-javier-arguello/">
    <title>Cuatro cuentos cuánticos, de Javier Argüello - Zenda</title>
    <dc:date>2024-11-24T07:35:40+00:00</dc:date>
    <link>https://www.zendalibros.com/cuatro-cuentos-cuanticos-de-javier-arguello/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Los cuatro relatos que componen este libro desafían literalmente la consistencia del mundo que habitamos. Un ejemplo: un periodista varado en Ucrania termina encontrándose en Londres con un escritor del siglo XIX. Y es que los saltos cuánticos que propone el título no son aquí cosa de broma.

En Zenda reproducimos el arranque del relato “Partir”, presente en el libro Cuatro cuentos cuánticos (Random House), de Javier Argüello.

***

PARTIR

Fue una noche en el bar de la universidad que conocí a Oscar Caridad. Oscar Caridad era un loco. Y sé que esto es algo que se dice de mucha gente, pero en este caso no se trata de una apreciación mía. Tal vez convenga aclarar que yo asistí a la Facultad de Ciencias Sociales de la Universidad de Buenos Aires, el lugar escogido por los integrantes del Frente de Artistas del hospital psiquiátrico José Borda para dar a conocer sus trabajos. Oscar Caridad formaba parte del taller de poesía, y la noche de la que hablo había venido junto con otros internos a enseñarnos sus escritos. Yo había terminado mi última clase y, antes de irme a casa, había decidido pasar por el bar a ver si me encontraba con alguna cara conocida. Fue así que, por pura casualidad, di con el singular grupo de poetas.

Antes de dar por comenzado el evento, el coordinador del taller nos explicó que lo que íbamos a escuchar eran justamente las reflexiones de los internos acerca de lo que representaba para ellos la palabra poesía. El texto presentado por Caridad se titulaba Partí, y constituía una hermosa y poética explicación acerca de la manera en que había comenzado a alejarse el mundo, hasta que llegó un punto en que se le hizo imposible compaginar ese alejamiento con la realidad cotidiana. Me impresionó de tal manera que, luego de que bajara del escenario, me acerqué a hacérselo saber y a pedirle que me dejara fotocopiarlo o transcribirlo. Accedió con aire ausente y, como la fotocopiadora ya estaba cerrada a esas horas, nos sentamos en una mesa, yo a copiar su escrito y él a esperar a que lo hiciera. Apenas había empezado cuando Caridad me preguntó si el edificio en el que estábamos era el de la Facultad de Filosofía y Letras. Le expliqué que no, que era el de Ciencias Sociales, y restándole importancia al asunto seguí trabajando. No pasó mucho tiempo, sin embargo, antes de que volviera a interrogarme acerca del mismo asunto. ¿Y en algún otro momento no fue la Facultad de Filosofía y Letras? preguntó. No lo creo, le dije. En los cinco años que llevaba estudiando allí nunca había escuchado a nadie que hiciera ninguna referencia al tema, así que asumí que mi interlocutor debía estar confundiéndose ¿Está seguro?, insistió él. Más por complacerlo que por otra cosa, interrogué a la gente del bar al respecto y para mi sorpresa descubrí que, efectivamente, hasta hacía doce años atrás, esa en la que nos encontrábamos había sido la sede de la Facultad de Filosofía y Letras de la Universidad de Buenos Aires. Sentí algo de vergüenza. En ningún caso había querido tratarlo como a un loco, pero las circunstancias hacían poco probable que él pensara algo diferente. Discreto, sin embargo, guardó silencio. Seguí trabajando, y ya casi había terminado, cuando Oscar Caridad intervino de nuevo. Yo antes estudiaba acá, me dijo obligándome a levantar la vista. Entonces me miró a los ojos, y con la misma inmutable inexpresividad agregó: yo antes era como vos.

Transcribo a continuación el poema que Oscar Caridad leyó esa noche:

<blockquote>-Partí-
En el muelle saludé vestido de rojo.
Sabía y estaba alerta del largo viaje de Ulises.
Soñé que mi pensamiento fuera como el mar.
Soñé con un violeta eterno.
La mecánica del ego nunca te deja ir del todo.
La inteligencia te juega trampas, como el recuerdo.

-Partí-
En la borda mirando el mar oscuro.
Tenso, vestía luto.
Despedí mis últimas palabras reconocidas.
Despedí la muerte del delirio de este mundo.
Una palabra volvió sobre sí: poesía.
El retorno de la fuga de todas las palabras.</blockquote>

El hecho ocurrió hace unos diez años, y no fue sino hasta esta noche que volví a tener noticias de Oscar Caridad. Fue en un bar cerca de mi casa. Un bar en el que, extrañamente, nunca antes había reparado. Me encontraba regresando de un día particularmente ajetreado cuando lo vi. Y no es que estuviera escondido, no. Tampoco era un sitio nuevo. Se notaba en la arquitectura y en el mobiliario, y sobre todo en la forma en que el hombre que lo atendía se relacionaba con sus clientes. Era un tipo mayor y llevaba a cabo su trabajo con la mecánica tranquilidad que sólo el tiempo otorga.

Entré como por obligación. Me parecía una especie de deslealtad hacia vaya a saber quién esto de no conocer un bar tan cercano a mi domicilio. Me senté en la barra y pedí cerveza, y mientras esperaba, comencé a recorrer el sitio con la vista. Entonces lo descubrí. A escasos dos metros de donde me hallaba, y también junto a la barra, me encontré con la melancólica silueta de Oscar Caridad."]]></description>
<dc:subject>javierargüello 2024 science physics quantumphysics quantummechanics reality philosophy literature fiction perception time space conscience consciousness intelligence uncertainty observation experience cern oscarcaridad poetry poems quantumtheory</dc:subject>
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<item rdf:about="https://www.lavanguardia.com/cultura/20240415/9595054/javier-arguello-cuatro-cuentos-cuanticos-sentido-realidad-limite-ficcion-tecnologia-inteligencia-artificial.html">
    <title>Javier Argüello: “Si no damos un sentido a la tecnología, se puede volver peligrosa”</title>
    <dc:date>2024-11-24T07:35:08+00:00</dc:date>
    <link>https://www.lavanguardia.com/cultura/20240415/9595054/javier-arguello-cuatro-cuentos-cuanticos-sentido-realidad-limite-ficcion-tecnologia-inteligencia-artificial.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["El escritor argentino publica 'Cuatro cuentos cuánticos', donde explora los límites entre la realidad y la ficción"

...

"“¿Y si todo lo que estamos viviendo no es verdad? ¿Y si realmente estamos inmersos en una especie de show de Truman, en el que otros, sin ser nosotros conscientes, nos observan?”. Estas son solo algunas de las muchas preguntas que Javier Argüello (Santiago de Chile, 1972) se pregunta mientras se refresca la garganta con un agua con gas. Hace días que el calor acecha en Barcelona, pero puede que no sean las elevadas temperaturas para esta época del año lo que le causa sofoco, sino su constante búsqueda de los límites entre realidad y ficción, muy presente en toda su obra y especialmente en su último libro, Cuatro cuentos cuánticos (Random House).

“Tenía muy claro el título sin haber escrito nada. Así, que, el hecho de que fueran solo cuatro cuentos los que conformaban un libro, me obligaban a que fueran largos. Y eso es algo que no había hecho nunca”, asegura el autor argentino nacido en Chile y radicado en Barcelona, que presenta a un hombre que se reúne con sus compañeros de clase treinta años después; a un periodista varado en Ucrania que se encuentra en Londres con un escritor del siglo XIX; a un conferenciante que descubre las calles de Pekín de la mano de una íntima desconocida; y a un escritor que roza la locura siguiendo la pista de un paciente de un manicomio”.
“Las vidas posibles, soñadas e imaginadas, pero que no siempre son, es algo que me seduce. Los escritores vamos descubriendo nuestras obsesiones a lo largo de nuestra trayectoria. Yo no fui consciente del todo de qué era lo que tanto me impresionaba hasta que escribí mi primer libro de cuentos. Pensaba que eran historias inconexas, hasta que las leí de una sentada y me percaté de lo mucho que me fascinaba el tratar de entender cómo las reglas narrativas se entremezclan con la naturaleza provisional y aleatoria de lo real. La respuesta es fácil, si tiene sentido es ficción, porque la realidad no lo tiene”.

Argüello forma parte de un selecto grupo de escritores, como Benjamin Labatut y su Maniac (Anagrama), que incorporan la ciencia en sus relatos, pues “es algo que sale de forma natural”. Son muchos los foros multidisciplinares, de ciencia y humanismo, en los que participa y ya van dos veces que ha visitado el acelerador de partículas de Ginebra. Un provechoso viaje del que extraerá dos ensayos que llegarán en los próximos meses. 

No es extraño que, con esa predilección, esté pendiente de los avances robóticos y la inteligencia artificial. “La tecnología no es peligrosa en sí misma, pero debemos darle un sentido para que no se vuelva peligrosa. Si no hay un centro a partir del cual dotamos algo de sentido, podemos perder el rumbo y la dirección”.

La ciencia no deja de ser un relato”
Fue en la universidad cuando su vena científica salió a relucir: “Estudié ciencias sociales, pero cursé un seminario de física en el que me explicaron la idea de la consciencia construyendo realidad, y me pareció revelador”. Un principio que ya estaba presente en la antigüedad clásica, “cuando nadie dudaba de que la palabra rea el mundo. Ahora parece que estamos volviendo a esa vieja posibilidad”, dice convencido.

El autor de Ser rojo (2020) se pregunta a menudo por qué el sistema educativo separa a los alumnos en ciencias y letras, cuando “la ciencia no deja de ser un relato. Einstein decía que nos hemos especializado tanto, que estamos sabiendo cada vez más acerca de cada vez menos, hasta que va a llegar un punto en el que vamos a saber casi todo acerca de casi nada”. Una frase con la que está “cien por cien de acuerdo. Resume casi todo”."
]]></description>
<dc:subject>javierargüello 2024 literature fiction reality laragómezruiz benjamínlabatut science quantumphysics physics quantummechanics philosophy perception time space conscience consciousness intelligence uncertainty observation experience cern ukraine beijing geneva ai artificialintelligence robotics robots humanities schools schooling disciplines antidisciplinary transdisciplinary multidisciplinary quantumtheory</dc:subject>
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<item rdf:about="https://elpais.com/babelia/2024-07-06/cuatro-cuentos-cuanticos-de-javier-arguello-un-salto-a-la-incertidumbre-de-la-mano-de-la-fisica-cuantica.html">
    <title>‘Cuatro cuentos cuánticos’, de Javier Argüello: un salto a la incertidumbre de la mano de la física cuántica | Babelia | EL PAÍS</title>
    <dc:date>2024-11-24T07:34:36+00:00</dc:date>
    <link>https://elpais.com/babelia/2024-07-06/cuatro-cuentos-cuanticos-de-javier-arguello-un-salto-a-la-incertidumbre-de-la-mano-de-la-fisica-cuantica.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Este libro es a veces una introducción disimulada de la famosa teoría de Albert Einstein y otras, en las más, relatos de amor"

...

"Parece mentira que una teoría científica como la cuántica deje tanto espacio para maniobrar con la imaginación. Pablo Picasso creó el cubismo desde la idea de asimetría que llevó a Einstein a formular su teoría de la relatividad. También con Albert Einstein contrajo deuda Lawrence Durrell, cuando escribió el célebre El cuarteto de Alejandría; así lo reconoció un tiempo después. La música, el arte más cartesiano de todos, sirvió al escritor inglés Aldous Huxley a concebir su obra mayor y una de las más importantes del siglo XX, Contrapunto. He citado estos casos de connivencia entre ciencia y ficción para introducir al lector en la obra del escritor argentino (aunque nacido en Santiago de Chile) Javier Argüello. Por supuesto que estas concomitancias no son mecánicas. Cada una de las citadas tiene su manera muy particular de trasladar algunas leyes científicas a su estructura. En Javier Argüello, que ya lo sugirió en obras anteriores, se explicita aquella connivencia con mayor transparencia y convicción narrativa en el libro nuevo que ahora publica; se trata de Cuatro cuentos cuánticos.

La literatura de Javier Argüello se desenvuelve entre lo lineal de toda historia escrita y el salto a la incertidumbre, a lo no comprobable aunque tal vez vivido o soñado. En este libro, Argüello nos introduce en ese espacio que va de la física clásica a la mecánica cuántica, de la conciencia como creadora de la realidad a la indeterminación de esa realidad. Este libro es a veces una introducción disimulada de la teoría cuántica y otras, en las más, relatos de amor. Un viaje por las rutas de la incertidumbre hasta llegar al instante de los milagros terrenales.

Quiero decir que cada uno de estos cuentos puede funcionar perfectamente como nouvelles. Son cuatro historias con un desarrollo narrativo que los acerca a la novela corta. No se espera al final de cada uno de ellos ningún desenlace que nos sorprenda, ni ningún inicio que necesitemos completar con un final imprevisto. De los cuatro me quedo con tres, si tuviera que recomendarlos efusivamente. El que no me gustó se titula ‘Un cuento inglés’. Es un homenaje a Borges y me perdí, tal vez por ser demasiado borgeano. No pasa lo mismo con los otros tres. Tres enormes relatos a caballo entre lo que vemos y tocamos y lo que vemos, tocamos y alcanzamos para siempre."
]]></description>
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<item rdf:about="https://www.latercera.com/culto/2024/09/17/javier-arguello-escritor-argentino-la-realidad-no-es-algo-dado-objetivo-e-inmutable-como-solemos-creer/">
    <title>Cómo son los Cuatro Cuentos Cuánticos de Javier Argüello - La Tercera</title>
    <dc:date>2024-11-24T07:33:30+00:00</dc:date>
    <link>https://www.latercera.com/culto/2024/09/17/javier-arguello-escritor-argentino-la-realidad-no-es-algo-dado-objetivo-e-inmutable-como-solemos-creer/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["El autor trasandino acaba de publicar Cuatro cuentos cuánticos, donde cruza la ciencia con la narrativa. En los cuatro relatos que forman la colección está la idea de que la conciencia -o el punto de vista particular- es de algún modo, generadora de la realidad. Su autor habló con Culto, abordó su vínculo con la física y cómo construyó este particular artefacto literario."

...

"Al escritor trasandino Javier Argüello (52 años, nacido en Santiago de Chile), le interesa tanto la narrativa como la física. Un cruce que a simple vista parece improbable, pero él le encontró una vuelta. Como toda historia sucede en un tiempo y espacio, estos son elementos que de alguna manera pueden ser puestos en entredicho. Dicho de otro modo, la realidad, todo lo que vemos es algo que se construye con la participación subjetiva de cada cual. Así lo reconoce a Culto.

“El cruce entre la narrativa y la física es un tema que empecé a trabajar hace varios años, cuando entendí que la teoría cuántica abría la puerta a la idea de que la conciencia participa en la construcción de la realidad. En ese momento estaba estudiando el modo en que los relatos que nos contamos construyen nuestra idea de mundo, y me pareció muy sugerente el hecho de que hubiera una teoría científica que planteara cuestiones como esta. Estos cuentos son el resultado de la última exploración que he llevado a cabo en ese territorio de frontera”.

Así nacieron los Cuatro Cuentos Cuánticos, que el escritor acaba de publicar vía Random House, donde en 4 relatos aborda historias de personajes que en el paso del tiempo se ven enfrentados a diferentes situaciones. Como un hombre que asiste -a regañadientes- a una reunión con sus antiguos compañeros de colegio tras 30 años; un periodista que de estar en Ucrania de repente se encuentra en Londres con un escritor del siglo XIX; o la locura que un escritor experimenta junto a un paciente de un manicomio.

En los cuentos, hay una idea de que la conciencia -o el punto de vista particular- es de algún modo, generadora de la realidad. ¿Lo pensaste así?

Es algo que en la narrativa resulta innegable. Un relato no cobra sentido por su correlación con ninguna realidad exterior, sino a partir de la cohesión y la coherencia del punto de vista escogido para narrarlo. Lo interesante es que, al parecer, en la teoría cuántica, la realidad no termina de construirse, no termina de fijarse, hasta el momento en el que interviene la mirada del observador. Para la mecánica cuántica, eso que llamamos realidad no es más que un campo de probabilidades que sólo colapsa en una posibilidad concreta frente a la mirada concreta que un observador pone en juego.

¿Cómo equilibraste la precisión científica con la necesidad de crear historias atractivas y emocionantes? ¿Cuál consideras que es el punto óptimo entre ambas?

La clave que conecta ambas cuestiones es el punto de vista como creador de la realidad. Y en narrativa esa operación resulta ineludible, con lo que te diría que está presente en cada relato que leemos. La particularidad de estos cuentos radica en que la realidad construida juega con los propios límites de la realidad y acentúa el papel de la conciencia en el modo en el que ésta es moldeada. Pero al tratarse de historias, de artefactos narrativos, creo que lo que debe mandar es siempre la tensión dramática. No creo que se deba “ilustrar” una teoría, sino que hay centrarse en la acción dramática y dejar que sea el diseño estructural el que refleje los posibles saltos cuánticos.

¿Qué dificultades encontraste al escribir estos cuentos? ¿Hubo algún concepto o idea que te costara especialmente transmitir?

Todas tienen su dificultad, pero no sé si mayor que la que nos encontramos siempre que nos enfrentamos a la construcción de un relato. Es verdad que algunas de las ideas que están detrás de estos cuentos son un poco más difíciles de digerir que las que juegan con reglas de nuestro mundo cotidiano. Pero, al menos en el modo en el que yo entiendo el funcionamiento de un relato, siempre se trata de construir un artefacto o un artificio que genere un efecto más profundo y duradero que el que podríamos alcanzar con una explicación. Ahí es donde radica el desafío.

En Un cuento inglés, hay un guiño a Borges. ¿Qué te impulsó a eso?

La verdad es que la historia de ese cuento involucra otro cuento con el que el protagonista se encuentra en Londres de una manera misteriosa, y que efectivamente está incluido en una antología de la literatura fantástica recopilada por Borges, Bioy Casares y Silvina Ocampo, con lo que se trató de una cuestión más bien fortuita. Lo que no es fortuito es que ellos se hayan interesado por la literatura fantástica, y en ese sentido evidentemente hay una confluencia de intereses con las exploraciones que yo llevo a cabo.

En el cuarto cuento se desdibuja el límite entre la ficción y la realidad, entrando en una ciencia ficción. ¿Te consideras escritor de ciencia ficción?

Yo no diría que el género del cuarto cuento es la ciencia ficción, en el sentido de que no es una ficción propiamente científica. Creo que se corresponde más bien con lo que se define como ficción fantástica tal y como acabamos de mencionar a raíz de la antología de Borges, Bioy Casares y Silvina Ocampo. Pero por supuesto que las clasificaciones nunca son una cosa cerrada.

¿Cómo ves la relación entre la ciencia y el arte? ¿Crees que son disciplinas complementarias o que tienen objetivos completamente diferentes?

Creo que cualquier aproximación a la realidad es una ficción, entendiendo por ficción el ordenamiento caprichoso que un determinado relato hace de una realidad a la que no nos es posible acceder de manera directa. En ese sentido el de la ciencia también es un relato. La diferencia es que la ficción científica se define como no ficticia, inaugurando así la noción de lo real. Y es justamente esa noción la que la teoría cuántica está poniendo en jaque hoy en día. Hace un tiempo atrás un físico muy reputado me decía que, a nivel subatómico, la idea de una realidad objetiva sencillamente no es defendible. Y en ese sentido creo que sí, que las miradas de la ciencia y de la literatura se complementan y se enriquecen de numerosas maneras. En última instancia, con diferentes metodologías y criterios de validación, ambas se proponen entender y explicar el mundo que nos rodea.

¿Qué esperas que los lectores se lleven de la lectura de tus cuentos? ¿Deseas que reflexionen sobre la naturaleza de la realidad, que se interesen más por la ciencia o simplemente que disfruten de una buena historia?

Me encantaría que pasaran las tres cosas. Me encantaría que, a través del disfrute de una buena historia, los lectores tengan la posibilidad de cuestionarse la naturaleza de la realidad para comprender que no es algo dado, objetivo e inmutable como solemos creer, sino que está en permanente construcción, y que en ese sentido todos tenemos una cuota de responsabilidad en el modo en que se manifiesta. A fin de cuentas, y como te decía, somos las historias que nos contamos.

¿En tu experiencia laboral has podido compartir con el trabajo de los físicos?

Sí. He tenido ocasión de visitar dos veces el acelerador de partículas del CERN, en Ginebra, y participo de algunos foros multidisciplinares con algunos físicos a partir de los cuales hemos desarrollado diferentes instancias de colaboración mutua. El espíritu que las gobierna es siempre el de enriquecer nuestra mirada sobre el mundo poniendo en común nuestras diferentes aproximaciones. De hecho, en octubre llega a Chile un breve ensayo titulado “Los límites de la ciencia” en el que cuento la primera de mis visitas al CERN y las reveladoras conversaciones mantenidas con los físicos que allí trabajan. En noviembre he sido invitado al festival Puerto de Ideas, en Valparaíso, para hablar de todos estos temas.

¿Consideras este libro una introducción a la mecánica cuántica?

No, no. Este libro es una exploración narrativa de algunas de las posibles implicaciones que la teoría cuántica despliega acerca del modo que tenemos de entender la realidad. Parafraseando a un físico chileno con el que tuve ocasión de conversar, se trata de un intento de que la gente pueda aproximarse a los misterios de esas implicaciones sin tener que entender de ecuaciones, así como puede disfrutar de la música sin tener que entender lo que es una corchea."]]></description>
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<item rdf:about="https://www.youtube.com/watch?v=R-5mecyWUgI">
    <title>Entre partículas y palabras. Física y literatura en la construcción de la realidad - Javier Argüello - YouTube</title>
    <dc:date>2024-11-23T20:01:14+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=R-5mecyWUgI</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["A partir de sus visitas al acelerador de partículas del CERN, el centro de investigación de física de partículas más grande del mundo, y de las conversaciones mantenidas con los renombrados físicos que allí trabajan, el escritor Javier Argüello abordó el fascinante momento que está viviendo la física y los límites con los que se está encontrando. También revisó qué tienen que decir al respecto las estructuras literarias como fórmulas capaces de incluir el papel de la conciencia en la construcción de la realidad.

Presenta Colbún y Coopeuch. Proyecto financiado por PAOCC"]]></description>
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<item rdf:about="https://paragonday.systems/">
    <title>Paragonday</title>
    <dc:date>2024-11-22T07:39:32+00:00</dc:date>
    <link>https://paragonday.systems/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Paragonday is a new form of space and time."

[via:
https://www.are.na/editorial/an-interview-with-yatu-espinosa ]]]></description>
<dc:subject>paragonday space time spacetime yatúespinosa normo'hagan</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
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<item rdf:about="https://www.youtube.com/watch?v=Pke3OnztBi8">
    <title>Automation &amp; The Future of Subways - YouTube</title>
    <dc:date>2024-11-16T23:11:55+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=Pke3OnztBi8</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["As more and more automotive companies start to develop driverless technology for their cars, automated trains might already be the real future of automated transportation. Let's take a closer look at this decades-old transformative technology."]]></description>
<dc:subject>rmtransit mobility automation publictransit transportation transit 2024 avs robotaxis trains maintenance emissions efficiency cities urban urbandesign planning urbanplanning urbanism walking bikes biking landuse weather climate airports rail railways automatedtransit subways syndey paris copenhagen nyc sanfranciso montreal dallas atlanta hyperloop affordability space london dlr technology osaka railsystems railnetworks toronto lyon vancouver barcelona singapore buses britishcolumbia roads highways freeways kualalumpur doha rennes</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
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<item rdf:about="https://thejaymo.net/2024/11/10/364-a-rediscovered-map/">
    <title>A Rediscovered Map | Weeknotes - thejaymo</title>
    <dc:date>2024-11-12T05:29:57+00:00</dc:date>
    <link>https://thejaymo.net/2024/11/10/364-a-rediscovered-map/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Edge of the Grid – Notes Toward a Manifesto

I. The First Act of Rebellion

Commitment to avoiding distraction is an outright rejection of contemporary capitalism. In a world engineered to fracture your focus, reclaiming your attention is revolutionary. A first strike in the mind war against modernity’s systems of control.

II. The Smartphone Is a Cruel Device

The smartphone is a Trojan Horse. Camouflaged as a ‘smart-phone’ it’s really a portable computer designed to interrupt your life. Unlike a traditional phone, which called for your attention only when necessary, the smartphone is aggressive. It sits quietly, waiting to hijack your focus at any moment.

Notifications turn it into a dopamine dispenser. Apps are engineered to keep you coming back, training you like a lab rat to seek constant rewards.

This is not convenience—it’s control. It’s a prison you carry in your pocket.

III. The Distraction Economy

The “attention economy” is a lie. What we’ve created is a distraction economy, where human focus is harvested for profit. Your attention is sold to the highest bidder, leaving you fragmented.

Attention is your most valuable resource. It’s the foundation of your consciousness. Without control over it, you lose control of your life. Privacy matters, but without sovereignty over your focus, privacy won’t save you.

IV. How Are We to Act in the World?

In the physical world, we often play roles, becoming the version of ourselves that others expect in the moment. This approach can be grounding, but it also erodes our consciousness over time. Our spiritual commitments must stay rooted in the physical realm.

Sit and breathe and have big feelings.

Learn how to feel.

V. Reclaim Time and Space

Turn off notifications. Delete manipulative apps. Engage with technology on your terms, not theirs. Every ignored notification is an act of defiance.

We know time moves slower where gravity is heaviest. What if the opposite is true? What if matter and consciousness move toward places with more time?

What if focus works the same way?

Think bigger thoughts. Reclaim your time.

VI. Live Ethically

Resist overconsumption. Refuse planned obsolescence. Repair, reuse, and embrace second-hand markets. Every act of ethical living undermines the relentless churn of exploitation.

VII. Live at the Edge

Step outside the grid. At the margins, new things bloom. Be amongst the ruderal species, where new ways of living take root. The edge is where we escape the spectacle.

Make the work you want to read. Make the work you want to listen to. make the work you want to watch. Out at the edge there is an audience of one. There is plenty of time to write, make and think.

You just have to direct your attention towards it.

VIII. The Counter-Grid

Rebellion isn’t just about saying no—it’s about creating alternatives. At the edge, we build open networks, cooperative economies, and resilient communities. These are systems for mutual aid and shared knowledge.

Roll your own culture. Own your online life.

IX. The Atemporal Identity

The digital world fractures our identity into countless dimensions. Each handle, each post, each fragmented piece of our online presence is still us. It demands as much attention and care as our physical identity. These digital selves are atemporal identities.

Your digital presence is a map of who you’ve been. But online identities are harder to shed than physical ones. In the physical world, a person grows, speaks, and their presence shifts naturally. But the digital record reifies past selves, locking them in amber for others to discover.

This creates a tension: how do we act online when every post is a permanent, searchable artefact? Only speak online in ways that recognise that the you of today will not be the you of tomorrow.

Extend this grace to others. What they’ve left online is not the totality of who they are but a snapshot in time.

X. A Focused Future

Every reclaimed moment of focus, every step away from the grid, builds a new world. Together, we can create many worlds, and many futures. Between us maybe we can find one to step into."]]></description>
<dc:subject>2024 2016 thejaymo smartphones rebellion distraction distractioneconomy economics privacy focus attention attentioneconomy behavior time space applications ethics offgrid offline web online internet maintenance care caring reuse repair secondhand future wellbeing sustainability solarpunk culture society jayspringett consumption consumerism overconsumption resistance modernity phones consciousness feelings allthesense multisensory senses physical meatspace human humanism humans cooperation resilience sharedknowledge alternative well-being</dc:subject>
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    <title>How the Wealthy Hack the World with Atossa Araxia Abrahamian - YouTube</title>
    <dc:date>2024-11-06T19:53:50+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=X8tYY7hl3Nw</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["We all know the ultra-wealthy look for ways to dodge paying taxes, but when you have enough money, this game goes global. From Swiss bank accounts to international business consultants, there’s an entire network dedicated to helping the rich hide their money and avoid paying their fair share. This week, Adam sits down with journalist and author Atossa Araxia Abrahamian to discuss her book, The Hidden Globe: How Wealth Hacks the World, and uncover the shady tricks the wealthy are using on a global scale."

[See also:

The Hidden Globe: How Wealth Hacks the World, by Atossa Araxia Abrahamian (2024)
https://www.penguinrandomhouse.com/books/667306/the-hidden-globe-by-atossa-araxia-abrahamian/

"About The Hidden Globe

“Vivid, revelatory, and politically unpredictable…What bothers Abrahamian, in the end, isn’t the anarchic but the unfair; if capital is free, people deserve the same respect.” — Gideon Lewis-Kraus, The New Yorker

“A season of unrest looms ahead, and The Hidden Globe lays out the unvarnished truth in a luminous feat of reportage.”—Hamilton Cain, Minneapolis Star Tribune

Borders draw one map of the world; money draws another. A journalist’s riveting account exposes a parallel universe that has become a haven for the rich and powerful.
 
A globe shows the world we think we know: neatly delineated sovereign nations that grant or restrict their citizens’ rights. Beneath, above, and tucked inside their borders, however, another universe has been engineered into existence. It consists of thousands of extraterritorial zones that operate largely autonomously, and increasingly for the benefit of the wealthiest individuals and corporations.

Atossa Abrahamian traces the rise of this hidden globe to thirteenth-century Switzerland, where poor cantons marketed their only commodity: bodies, in the form of mercenary fighters. Over time, economists, theorists, statesmen, and consultants evolved ever more sophisticated ways of exporting and exploiting statelessness, in the form of free trade zones, flags of convenience, offshore detention centers, charter cities controlled by foreign corporations, and even into outer space. By mapping this countergeography, which decides who wins and who loses in the new global order—and helping us to see how it might be otherwise—The Hidden Globe fascinates, enrages, and inspires."

and

https://www.nytimes.com/2024/10/06/books/review/the-hidden-globe-atossa-araxia-abrahamian.html

"Freeports, Free Zones and Other Places With Perks — for the Rich
In “The Hidden Globe,” the journalist Atossa Araxia Abrahamian examines the rise of spaces where wealthy countries and companies bend rules and regulations to their advantage.

...

In the early 1960s, an American named Richard Bolin, who was working for the consulting firm Arthur D. Little, pitched an idea to the Mexican government. What if it put factories along its border with the United States and allowed them to produce goods that could be exported duty-free? The goal was to jump-start the economy in the border region while at the same time encouraging free trade. The factories built under this plan, called maquiladoras, exist to this day. The concept behind them — that you could siphon off part of a country and allow it to play by different rules — has spread globally.

Take, for instance, the Geneva Freeport, a warehouse complex where collectors can store, buy and sell art, wine and other valuables without being taxed. Or the Dubai International Financial Center, a 110-acre “free zone” spread across the center of Dubai where registered foreign businesses can benefit from tax breaks and expedited immigration procedures for employees. Or Próspera, a resort town on the Honduran island of Roatán that functions as a semiautonomous territory, with its own tax and governance system, as well as an e-residency program enabling people to incorporate a business there even if they don’t live on the island.

The rise and spread of these “extraterritorial domains” is the subject of Atossa Araxia Abrahamian’s new book, “The Hidden Globe: How Wealth Hacks the World.” Abrahamian, a journalist who grew up in Geneva, a city rife with enclaves “bound by some Swiss laws, but immune from others,” traces the development of such zones, talking to some of the people who made them happen, including a few who regret their role in helping countries excise pieces of themselves in the name of allowing the already privileged to become even wealthier.

In Abrahamian’s telling, these features of what she calls the hidden globe have their roots in freeports, places that emerged centuries ago, originally in Italy, so that traders on long journeys could store perishable merchandise for a short time without having to go through local customs. But these zones have lately taken on a life of their own, she writes, as “capitalists, forever pursuing profit, regard liminal and offshore jurisdictions as frontiers.” Shipping companies have figured out how to reflag their ships, registering them to countries with less regulation. Nations have developed special economic zones exempt from tariffs and other taxes to attract foreign investment. And governments eager not to admit asylum seekers have established offshore domains where they can hold and process people arriving at their borders without documentation.

One interesting argument Abrahamian makes is that these exceptional areas came about as imperialism was declining; in some respects, they represent a less conspicuous form of colonialism. By setting up special economic zones, for instance, richer countries push poorer ones into participating in manufacturing and trade relationships without having to deal with local rules or regulations. In Mauritius in 1970, the Parliament passed a law giving tax breaks and customs exemptions to firms that produced exports; though the firms were located within the nation’s territory, they functioned as if they were outside it — not subject to normal protocols. The law led to an economic boom that generated jobs but not necessarily good ones. The concessions lowered the minimum wage and made women — the majority of the firms’ work force — more vulnerable to sexual harassment.

Abrahamian’s interviews with the people — the vast majority of them men — who helped develop and run these special economic zones provide a window into how just a few economists and consultants could change the way countries around the world operate. But her accounts of the conversations can be meandering, and sometimes divert her from a focus on the final product: the unusual jurisdictions her book seeks to illuminate.

Abrahamian is ostensibly looking at how wealthy nations and companies create zones for the benefit of capitalists and entrepreneurs, and for the states themselves. But some of her examples don’t fall obviously into this category. She devotes a heart-wrenching chapter to Abdul Aziz Muhamat, an asylum seeker from Sudan who spent years detained on Manus Island, which is part of Papua, New Guinea, but was used by Australia to detain migrants and prevent them from entering Australian territory. While Muhamat’s story is fascinating, Abrahamian does not explain how such “extralegal” zones figure in Australia’s economic interest. Moreover, as she acknowledges, almost all its offshore detention centers have been shut down, undercutting her argument that these places are hallmarks of the new world order.

Abrahamian ends her book with the tale of Svalbard, a Norwegian archipelago with no passport control and thus where, at least in theory, anyone can live. In some ways, it is the anti-special zone: a place where capitalists can’t expect special treatment because no one can. “Svalbard suggests that out of the darkness we might coax some light,” she writes. Finding solace in a place without borders makes for a nice conclusion, but it skips over the question of what to do about the rest of the world — the hidden globe of Abrahamian’s title. The answer might require another book."]]]></description>
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    <title>The Thought Experiments That Fray the Fabric of Space-Time | Quanta Magazine</title>
    <dc:date>2024-10-27T19:04:52+00:00</dc:date>
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    <dc:creator>robertogreco</dc:creator><dc:subject>silviolorusso complexity 2024 design warrenweaver leevinsel theodoradorno society disiplines antidisciplinary multidisciplinary transdisciplinary knoweledge border borders sociology donaldschön professionalization virology professionals experts specialists carlobramanti dylanlouismonroe richardhofstadter mistakes. ambiguity georginavoss science authority chaos fragmentation praxis space time situated presence situatedepistemology corneliuscastoriadis power powerlessness organization control totality totalitarianism philosophy progress allisonrove guyhulier marshallmcluhan</dc:subject>
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<item rdf:about="https://aworkinglibrary.com/writing/what-are-we-making-together">
    <title>What are we making together? | A Working Library</title>
    <dc:date>2024-10-11T04:54:39+00:00</dc:date>
    <link>https://aworkinglibrary.com/writing/what-are-we-making-together</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["As I retreat from the socials, something I have been wondering about is how much of the frenetic, restless, too-much feeling I get from them is a product of the algos and the corporate incentives, and how much of it might just be something we’re doing. Here, Marion Fourcade and Kieran Healy consider a related question:

<blockquote>Quite often—for good and bad—changes are driven by or originate in user innovations that either increase frequency or intensity of social interaction or widen the scope of what people can do in a particular setting. Platform owners and application developers repeatedly find enthusiastic users “overflowing” the application, pushing the product to do this rather than that, changing its character and purpose in the process.</blockquote>

I’m thinking here of the ways in which a host of now very common design patterns—retweets, quote tweets, replies, mentions—are all behaviors that users originated, and which where then captured by Twitter. Fourcade and Healy, again:

<blockquote>Often, users introduce wider aspects of sociality and social practice into this world, and then the company realizes this is behavior that might be fashioned into something more delimited, organized, data-generating, and ultimately profitable: something that can generate a manageable order, fit for an algorithm to digest, analyze, and sell to advertisers.</blockquote>

But what I’m still chewing on here is how those aspects of sociality don’t seem to have been limited to the profit-seeking platforms. You see the same design patterns on Mastodon, where the incentives are entirely different. But then, it was we—the users—who established these patterns, and perhaps we are the ones carrying them forward:

<blockquote>[I]n some ways social life is anything but scarce and people are anything but reasonable. From this point of view, human societies are driven by reckless profligacy, impulse, and rivalry rather than prudent saving, coolheadedness, and self-interest.</blockquote>

Which makes me want to spend time with a few different questions: what would it mean to build design patterns that respond to, or counter, or engage with those impulses, in some way? I’m not interested in paternalistic nudges or vapid prompts to think twice, but rather, something like the way a well-designed park creates space both to gather and to wander—quiet benches tucked under trees alongside open fields fit for games, pathways for walking in ones and twos, blooms and birdhouses that invite a moment of rest. What if our social spaces had more ways to get lost? More places to sit a spell? What if we brought more intention to the way we contribute to these patterns? To the way our own choices overflow the container, and push on what’s possible. What is it that we are making together?"

[See also Sara Hendren in response:

"our choices overflow the container"
https://sarahendren.com/2024/10/07/choices-overflow-the-container/

"The always-probing Mandy Brown muses on some findings about human behavior as it meets technology in The Ordinal Society. Brown picks up the book’s data on social media that complicates two generalizations in most commentary about this technology: Neither “it just depends on how you use it, for good or ill,” nor “the algo-plus-profit-motive is the sole culprit” will suffice. As always, human behavior, including very ugly behavior, is both incentivized by design but also inventive on its own, thereby shaping design. To wit:

<blockquote>[V]ery common design patterns — retweets, quote tweets, replies, mentions — are all behaviors that users originated, and which where then captured by Twitter. Fourcade and Healy, again:

Often, users introduce wider aspects of sociality and social practice into this world, and then the company realizes this is behavior that might be fashioned into something more delimited, organized, data-generating, and ultimately profitable: something that can generate a manageable order, fit for an algorithm to digest, analyze, and sell to advertisers.</blockquote>

The race to the bottom of human relational patterns, it seems, is both driven by ethnographic behavior observation and managed, top-down style. What does that mean for those of us looking for alternatives? I’ve written before about a common lazy cognitive bias around social media and behavior — “I can spot the bad actors out there, which thereby confers immunity to me” — but really my questions are also Brown’s:

<blockquote>I’m not interested in paternalistic nudges or vapid prompts to think twice, but rather, something like the way a well-designed park creates space both to gather and to wander — quiet benches tucked under trees alongside open fields fit for games, pathways for walking in ones and twos, blooms and birdhouses that invite a moment of rest. What if our social spaces had more ways to get lost? More places to sit a spell? What if we brought more intention to the way we contribute to these patterns? To the way our own choices overflow the container, and push on what’s possible. What is it that we are making together?</blockquote>

For me, micro.blog and Finite Photos have been good places to start. Eli Pariser also offered the park inspiration a few years ago, an idea that became the engine for New_Public."]]]></description>
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<item rdf:about="https://www.youtube.com/watch?v=mX_Qe2HKuEA">
    <title>William Kentridge Interview on 'The Refusal of Time' - YouTube</title>
    <dc:date>2024-10-10T18:17:53+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=mX_Qe2HKuEA</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["How can we get a hold of time with our body and mind? This question is the crux of South African artist William Kentridge’s immersive installation ’The Refusal of Time.’ Join the artist for a detailed tour of his pulsing, breathtaking work.

‘The Refusal of Time,’ 2012, is an immersive installation and a meditation on time, space and the complex legacies of colonialism and industry. A multi layered work packed to the brim with references - to early cinematic history, and the science and philosophy of time and images - the work combines visually seductive imagery, sculptural objects, megaphones and sound. ”It’s not a scientific lesson in time,” explains the artist. “But it uses the metaphors scientists use when they’re doing their deepest thinking about time.” Therefore references to Einstein’s theory of relativity and figures like black holes - “a space in which everything disappears, a way of talking about death” - feature throughout the work.

Kentridge uses cinema as ”an artistic, mechanical and optical means of playing with time,” to show time materialized. Cinema can slow time down, replay it, hold it, run it backwards, and by employing these techniques of making time visible, the work shows time, and essentially the trudge of a human life, as “a series of predictable, unremarkable actions that continue until we are worn out.” But within that frame there are also refusals says Kentridge. “Those moments of coherence, of understanding and changing the world, which is the most we can hope for.”

Fragmented and futile in its story telling, ‘The Refusal of Time’ also references the painful histories of colonial wars and anti-colonial revolts in the context of time. In the colonial era the imposition of European time in the colonies was a means of control, Kentridge explains. “The resistance towards time became a metaphor for other kinds of resistance towards other forms of political control.” “In the end” – the artist says polemically – ”the project isn’t really about time. It’s much more about to what extent do we escape our fate? To what extent are we heading towards our fate whether we like it or not? Can we change the world on our way or is this all illusory?”

William Kentridge (b. 1955) is a South African filmmaker, draughtsman, and sculptor. He has produced both animation, set design and sculpture as directing operas at the Metropolitan Opera in New York, USA, and the Royal Opera House in London, UK. His work has been shown around the world, e.g. at dOKUMENTA 10, 11 and 13 Kassel, Germany, the 1999 Venice Biennial, Italy, the Metropolitan Museum and the Museum of Modern Art, New York, USA, the Louvre, Paris, France, and Louisiana Museum of Modern Art, Denmark. Kentridge’s work is held in numerous private collections worldwide and he is the recipient of many prestigious awards such as the 1999 Carnegie Medal, the 2010 Kyoto Prize and the 2013 Commandeur des Arts et des Lettres.

William Kentridge's installation 'The Refusal of Time' is a collaboration with composer Philip Miller, filmmaker Catherine Meyburgh & Peter Galison, professor of the history of science and of physics at Harvard University. The work is part of the exhibition ’Thick Time’, at the Louisiana Museum of Modern Art, 16 February – 18 June, 2017. William Kentridge’s installation is also part of the Louisiana Collection.

This video also features extracts from 'Making Time', 2011, a film about the making of 'The Refusal of Time', filmed and edited by Catherine Meyburgh.

William Kentridge was interviewed Christian Lund in the installation of ‘The Refusal of Time’, at the Louisiana Museum of Modern Art, in February 2017.

Camera: Jakob Solbakken
Edited by: Klaus Elmer
Produced by: Christian Lund
Copyright: Louisiana Channel, Louisiana Museum of Modern Art, 2017

Supported by Nordea-fonden"

[See also:
https://louisiana.dk/en/exhibition/kentridge-the-refusal-of-time/

https://www.kentridge.studio/william-kentridge-projects/the-refusal-of-time/

https://www.sfmoma.org/exhibition/william-kentridge-refusal-time/
https://www.sfmoma.org/theme/on-william-kentridges-the-refusal-of-time/
https://www.sfmoma.org/watch/william-kentridge-refusal-time/

https://www.metmuseum.org/art/online-features/metcollects/the-refusal-of-time

https://www.youtube.com/watch?v=izc7yqJDlB4

https://www.theguardian.com/culture/australia-culture-blog/2014/feb/21/william-kentridge-the-refusal-of-time-interview ]]]></description>
<dc:subject>williamkentridge time clocks art installation 2017 1905 bodies pulse resistance 2012 colonialism industry death metronomes photography film zoetropes fragmentation movement history relativity alberteinstein 2016 2013 science metaphor metaphors space cosmos agency universe howwethink thinking existence platoscave allegory processions revolt colonization control politics dying animation longing entropy anti-entropy fragments artmaking coherence understanding sensemaking fate change changemaking technology making canon emergence makingsense</dc:subject>
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<item rdf:about="https://instituteofradicalimagination.org/">
    <title>INSTITUTE_of_RADICAL_IMAGINATION – art is political prefiguration | political prefiguration is art</title>
    <dc:date>2024-09-30T17:13:42+00:00</dc:date>
    <link>https://instituteofradicalimagination.org/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Towards the constitution of a new think-tank for a post-capitalist transition in the Mediterranean
by Massimiliano Mollona

The Institute of Radical Imagination is a think-tank inviting experts – political scientists, economists, lawyers, architects, hackers, activists, artists and cultural producers to share knowledge on a continuous base with the aim of defining and implementing zones of post-capitalism in Europe’s South and the Mediterranean. The think-tank works nomadically across the nodes of the network – Madrid, Athens, Istanbul, Cairo, Palestine, Naples – and connects with other nodes in “global south” – Eastern Europe, Latin America, South-East Asia.

IRI is a hybrid between a travelling research centre, a refuge for intellectuals and artists at risk, a radical museum and a policy-making body generating ideas and applied knowledge that respond to specific urgent needs on the ground – more than a structure, an intellectual logistical infrastructure operating across existing arts, academic and activist networks.

AREAS OF INTERVENTION
1. Legalisation of the commons
2. Radical pedagogy
3. Work and labour commoning
 - De-commodification of Work – Cultural Work and Immaterial Work
4. Rethinking Citizenship
5. Space and architecture of the commons
6. Economies of the commons
 - Parasitical Finance and Sharing Economy"]]></description>
<dc:subject>mediterranean art socialism sharingeconomy economics madrid athens istanbul cairo palestine naples globalsouth easterneurope latinamerica southeastasia radicalpedagogy commons decommodification work labor citizenship finance architecture space politicalscience law legal napoli türkiye turkey</dc:subject>
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    <title>E05 | The Invisible World of Sound with Nicolas Sowers - YouTube</title>
    <dc:date>2024-09-27T05:23:31+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=rzYvK-GwMCg</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["In this episode of Third Space, host Sola Da Silva joins sound architect Nicolas Sowers, founder of Timbre Architecture and Sound [https://www.timbrearchitects.com/ ], for a sound walk along the LA River. They investigate the diverse soundscapes embedded in urban settings and discuss the role of intentional sound design in enhancing architectural spaces including individuals with varying needs.

hello@thirdspacemedia.co
https://bio.site/thirdspacemedia.co"

[also here:
https://open.spotify.com/episode/1tLMrRFJKHiyzjvfGbiIXE ]]]></description>
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<item rdf:about="https://www.youtube.com/watch?v=s0ssAtOn6I0">
    <title>Writer Orhan Pamuk | A Good Novel Should Make Us Feel the Passing of Time | Louisiana Channel - YouTube</title>
    <dc:date>2024-08-20T21:19:51+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=s0ssAtOn6I0</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["According to Nobel Prize-winning author Orhan Pamuk, great novels should evoke a profound sense of the passage of time. In this interview, Pamuk contemplates his own mortality while reflecting on why the experience of time is central to the art of storytelling. 

Pamuk explores the narrative techniques employed by literary giants like Joseph Conrad and Virginia Woolf to manipulate readers' perceptions of time. 

He admires how Thomas Mann's The Magic Mountain effectively suspends the reader in a timeless space, making them "forget about the passing of time." Pamuk also notes how Conrad's complex narrative structures, as seen in Nostromo, challenge conventional storytelling by disrupting chronological order, although he humorously admits, "I don't advise that too much to my readers or to would-be writers."

The author also discusses how his own works reflect his deep engagement with time, both aesthetically and technically. He explains how the structure of chapters in a novel can serve as markers of time, allowing readers to experience the "life's pace of passing time" in contrast to the narrative's pace. "Chapters in novels help us to feel the existence of time," Pamuk notes, highlighting the subtle ways in which time permeates his storytelling.
Pamuk acknowledges that time becomes even more precious with age, intensifying the existential questions that arise about life's meaning. "The most valuable thing, the time is finishing," he remarks, underlining the urgency that time imposes on both life and art.

Orhan Pamuk, born in Istanbul in 1952, is one of Turkey’s most acclaimed novelists. He received the Nobel Prize in Literature in 2006 and is known for works such as My Name is Red (2001), Snow (2004), and The Museum of Innocence (2009). ‘A Strangeness in My Mind’ (2015) and ‘The Red-Haired Woman’ (2017) and Nights of Plague (2022) He is also the recipient of numerous other prestigious literary awards such as the 2002 Prix du Meilleur Livre Étranger and the 2003 International Dublin Literary Award. Orhan Pamuk lives in Istanbul, Turkey

Orhan Pamuk was interviewed by Malou Wedel Bruun at Admiral Hotel, Copenhagen, in February 2024.

Camera: Jakob Solbakken 
Edit: Signe Boe Pedersen
Produced by Christian Lund
Copyright: Louisiana Channel, Louisiana Museum of Modern Art, 2024.

Louisiana Channel is supported by Den A.P. Møllerske Støttefond, Ny Carlsbergfondet, C.L. Davids Fond og Samling, and Fritz Hansen."]]></description>
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<item rdf:about="https://www.youtube.com/watch?v=I8qWLzKuEko">
    <title>FAITH IN ARTS: A Conversation with Dr. Fahamu Pecou - YouTube</title>
    <dc:date>2024-07-24T22:45:52+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=I8qWLzKuEko</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Faith In Arts: A Conversation with Fahamu Pecou
Wednesday, July 24, 2024
Presented as part of Faith in Arts

These conversations and interviews with a diverse group of artists, curators, faith leaders, and scholars explore the role of arts in spiritual practice and religious life in the arts.

Fahamu Pecou is an interdisciplinary artist and scholar whose works combine observations on hip-hop, fine art, and popular culture to address concerns around contemporary representations of Black men. Through paintings, performance art, and academic work, Dr. Pecou confronts the performance of Black masculinity and Black identity, challenging and expanding the reading, performance, and expressions of Blackness.

Dr. Fahamu Pecou received his BFA at the Atlanta College of Art in 1997 and a Ph.D. from Emory University in 2018. Dr. Pecou exhibits his art worldwide in addition to lectures and speaking engagements at colleges and universities. In 2024, Dr. Pecou was recently named Chevalier de l’Ordre des Arts et des Letres (Knight in the Order of Arts and Letters) by the Republic of France.

As an educator, Dr. Pecou has developed (ad)Vantage Point, a narrative-based arts curriculum focused on Black male youth. Dr. Pecou is also the founding Director of the African Diaspora Art Museum of Atlanta (ADAMA).

Pecou’s work is featured in noted private and public national and international collections including; Smithsonian National Museum of African American Art and Culture, Societe Generale (Paris), Nasher Museum at Duke University, The High Museum of Art, Crystal Bridges Museum of American Art, Seattle Art Museum, Paul R. Jones Collection, ROC Nation, Clark Atlanta University Art Collection and Museum of Contemporary Art Georgia.

Dr. Pecou was recently announced as one of the recipients of the 2022 Louis Comfort Tiffany Award. In 2020, Pecou was one of 6 artists selected for Emory University’s groundbreaking Arts & Social Justice Fellowship. Additionally, Pecou was the Georgia awardee for the 2020 South Arts Prize. In 2017 he was the subject of a retrospective exhibition “Miroirs de l’Homme” in Paris, France. A recipient of the 2016 Joan Mitchell Foundation “Painters and Sculptors” Award, his work also appears in several films and television shows including; HBO’s Between the World and Me, Blackish, and The Chi. Pecou’s work has also been featured on numerous publications including Atlanta Magazine, Hanif Abdurraqib’s poetry collection, A Fortune for Your Disaster and the award-winning collection of short stories by Rion Amilcar Scott, The World Doesn’t Require You."]]></description>
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<item rdf:about="https://sarahendren.com/2024/05/20/an-unconditioned-whole/">
    <title>an unconditioned whole | sara hendren</title>
    <dc:date>2024-06-12T03:16:16+00:00</dc:date>
    <link>https://sarahendren.com/2024/05/20/an-unconditioned-whole/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["I am loving William Egginton’s The Rigor of Angels: Borges, Heisenberg, Kant, and the Ultimate Nature of Reality [https://www.penguinrandomhouse.com/books/678831/the-rigor-of-angels-by-william-egginton/ ], not least because I just finished making a film that’s partly about classical and quantum mechanics. Egginton unites these thinkers around their understanding of the limits of human knowledge — limits that are at the bedrock of making empirical sense of the world and, therefore, with implications for our existential movements through space, time, choices, relationships.

It’s incredibly moving to read how Einstein found Heisenberg’s uncertainty principle so challenging. He actively resisted and argued against it at length before finally accepting its claims. An intellectual giant, with his own famous formula that overturned Newton’s machinic universe — even he had trouble making peace with the profound contingency baked into our understanding of nature.

Here’s Egginton in a characteristically lucid explanation of the profundity of limitations:

<blockquote>In his influential treatise The Problems of Philosophy, the English philosopher and mathematician Bertrand Russell declared that the goal of philosophy was to free itself from the biases of individual perspectives and to see the world “as God might see, without a here and now, without hopes and fears…in the sole and exclusive desire of knowledge…as impersonal, as purely contemplative, as it is possible for man to attain.” But in practical terms, what would such a knowledge look like? The ideal of “seeing” the universe sub specie aeternitatis has existed for millenia, but those who have grappled deeply with this ideal have all tended to founder on the same shoal. As beings who must know the world in time and space, the notion of a knowledge unconstrained by time and space is quite simply inconceivable.

Take one metaphor for knowledge, that of sight. Sight grants us an image of the world, yes, but an exceedingly partial one. Not only do we see very few images in any given moment, but even when we envision an object, we can only ever do so one aspect at a time. Now try to generalize or expand on that ability. Even to stretch the visualization of a single object beyond a single facet quickly runs aground. What is a cube when simultaneously viewed from all six sides? We quickly see that freeing the constraints of our perspective in such a way doesn’t sharpen our understanding of the cube; instead, it obliterates it. Indeed, the very “cubeness” or “cubity” of the cube depends on our not being able to see more than three sides at a time. When we start to push the boundaries of this thought ever wider, this limitation becomes all the more apparent. Not only all visual discernment but every possible form of knowledge we can obtain about the world depends, radically and entirely, on its limitations in time and space. Seeing everything simultaneously or knowing all time in the blink of an eye would obliterate the very connection between objects and instances that constitutes knowing. Thus, although godlike knowledge in its ostensible freedom from bias may seem like a desirable goal, its realization even in theory leads to an absolute contradiction in terms.</blockquote>

And:

<blockquote>What I can know is always conditioned on an unconditioned whole that I must presume to exist but that remains unknowable. Put another way, the minimum condition of any experience whatsoever is not being a god, whether a god of very small things or of very large ones.</blockquote>

If more thinkers were willing, like Egginton, to extend and elucidate the philosophical implications of physics in the actual physics classroom, we’d quickly realize much more of the so-called interdisciplinarity that so many of us claim to want. But the mastery of calculations is just easier in the end. To take uncertainty seriously would cede too much ground to the humanist’s conundrum."

[See also this followup:
https://sarahendren.com/2024/05/20/twofold/ ]]]></description>
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