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    <title>Vanishing Culture: A Report on Our Fragile Cultural Record (2026) : Luca Messarra : Free Download, Borrow, and Streaming : Internet Archive</title>
    <dc:date>2026-07-12T23:37:08+00:00</dc:date>
    <link>https://archive.org/details/vanishing-culture-2026</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["LISTEN TO THE PODCAST (Release dates: July 1 - August 5, 2026):

• Vanishing Culture Episode #1: What We Stand to Lose with Luca Messarra
• Vanishing Culture Episode #2: The Stories Hidden in Cookbooks with Katie Livingston [via this: https://www.youtube.com/watch?v=RfVF20mFkPg ]
• Vanishing Culture Episode #3: Saving Queer Memory with Brooke Palmieri
• Vanishing Culture Episdoe #4: Keeping African Folktales Alive with Helen Nde & Laura Gibbs
• Vanishing Culture Episode #5: A Language Worth Saving with Peter Scholing
• Vanishing Culture Episode #6: What We've Learned with Vida Vojić & Alice Bridgwood

ABOUT VANISHING CULTURE:

In today’s digital landscape, corporate interests, shifting distribution models, and malicious cyber attacks are threatening public access to our shared cultural history. 

• The rise of streaming platforms and temporary licensing agreements means that sound recordings, books, films, and other cultural artifacts that used to be owned in physical form, are now at risk—in digital form—of disappearing from public view without ever being archived. 

• Web sites like MTV News, Gawker, and others are removed from the live web by their corporate owners, leaving only web archives like those in the Wayback Machine as the last remaining public record of their reporting and cultural impact.

• Cyber attacks, like those against the Internet Archive, British Library, Seattle Public Library, Toronto Public Library and Calgary Public Library, are a new form of digital barrier, impeding access to information at community scale. 

When digital materials are vulnerable to sudden removal—whether by design or by attack—our collective memory is compromised, and the public's ability to access its own history is at risk. Vanishing Culture: A Report on Our Fragile Cultural Record aims to raise awareness of these growing issues, featuring essays from:

• Digital librarian Brewster Kahle, founder of the Internet Archive;
• Humanities scholar Luca Messarra;
• Book historian and social media star Allie Alvis;
• Game designer Jordan Mechner;
• Journalist Philip Bump;
• Writer and editor Maria Bustillos;
• Film archivist Rick Prelinger;
• Digital humanities scholar Nichole Misako Nomura;
• Writer and book artist Eve Scarborough;
• And many more…

The report details recent instances of cultural loss, highlights the underlying causes, and emphasizes the critical role that public-serving libraries and archives must play in preserving these materials for future generations. By empowering libraries and archives legally, culturally, and financially, we can safeguard the public’s ability to maintain access to our cultural history and our digital future."]]></description>
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    <title>Before the Fire Dogs Steal the Sun: An Elegy, by Crystal Mun-hye Baik (2026)</title>
    <dc:date>2026-07-04T09:14:53+00:00</dc:date>
    <link>https://www.dukeupress.edu/before-the-fire-dogs-steal-the-sun</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["In Before the Fire Dogs Steal the Sun, Crystal Mun-hye Baik offers an intimate cultural history of war, illness, banishment, and estrangement through the experiential lens of her family. Beginning with her father's death and mother's psychiatric hold in 2022, Baik situates her parents’ lives within the enmeshed narratives of Japanese colonialism, war, and transoceanic migration, examining Korean diasporic grief as a felt form of thinking and writing, rather than an object of study. In doing so, she reckons with diasporic genealogies of precarity that have configured the everyday lives of her parents and ancestral communities. Blending different genres from narrative prose to visual essay, epistles to ancestral mourning rites, Before the Fire Dogs Steal the Sun is a meditation on the personal and ethical entanglements scholars must confront when they are implicated in the histories of violence they study.

...

“In Before the Fire Dogs Steal the Sun, Baik balances research and storytelling with expert precision. Her beautifully crystalline prose illuminates the historical depth of intimate lives and the personal stakes of social experiences. Sentence after sentence, insight after insight, this elegy grips the reader and holds them in communal embrace until the very last word. A monumental achievement.” - Vinh Nguyen, author of The Migrant Rain Falls in Reverse

“Although rooted in Baik’s deeply personal experience—her mother’s painful break from reality after her husband’s death—reading this book felt like looking into a mirror. A gift to all of us shaped by militarized diasporas and the unfinished business of war, Before the Fire Dogs Steal the Sun: An Elegy moves between memoir and cultural analysis with power and grace. In the wake of profound loss, Baik pieces together a diasporic family history from makeshift archives scattered across borders and time, offering a speculative yet searingly candid account. This is a brilliant work—moving, engaging, and quietly radical. It will stay with you, and in the best way, restore you.” - Jinah Kim, author of Postcolonial Grief: The Afterlives of the Pacific Wars in the Americas

...

Crystal Mun-hye Baik is Associate Professor and Chair of the Department of Gender and Sexuality Studies at the University of California, Riverside and is the author of Reencounters: On the Korean War and Diasporic Memory Critique.

...

Table Of Contents

Note to Readers  vii
An End Is a Return to the Beginning  1
I. Father
The Eye of the Storm  23
The Wind Phone  45
II. Mother
A Cooking Lesson  67
The Diasporic Family Album  98
III. The Memory Keeper
Grief and Return  117
Posthumous Translation  147
IV. Invocation
A Protection Spell / Cristiana Kyung-hye Baik  159
Acknowledgments  163
Notes  169
Bibliography  177
Index  183
Credits  187"

[mentioned here by Javier Arbona:

"Descolonización del patrimonio en Puerto Rico con Rafael Capó García y Javier Arbona-Homar • Sur-Urbano"
https://open.spotify.com/episode/53hnMibTVpbKx7C0OfvhAi ]]]></description>
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    <title>Descolonización del patrimonio en Puerto Rico con Rafael Capó García y Javier Arbona-Homar • Sur-Urbano</title>
    <dc:date>2026-07-03T22:56:24+00:00</dc:date>
    <link>https://open.spotify.com/episode/53hnMibTVpbKx7C0OfvhAi</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Puerto Rico: Un archipiélago que, cada año, recibe a millones de turistas. Muchos de estos visitantes llegan a un lugar que, por décadas, se ha posicionado en una ruta de consumo caribeño – un lugar famoso por fantasías tropicales de ron, cigarros, café y, más recientemente, reggaetón. Si queremos ser más específicos, el Viejo San Juan, el sector colonial de la capital de Puerto Rico, está organizado en torno a satisfacer al visitante con sus restaurantes de comida criolla, coctelerías, tiendas y una proliferación de alquileres a corto plazo. Pero este modelo termina volviéndose insostenible para quienes la habitan. Detrás de las campañas publicitarias cuidadosamente diseñadas para atraer a turistas a un destino familiar y convenientemente situado “dentro” de los Estados Unidos, se oculta una historia incómoda de guerra, racismo y represión violenta.

Hay muchas personas en Puerto Rico cuestionando el espacio público y excavando las historias que existen debajo de cada monumento, de cada estatua, de cada ciudad y su infraestructura. Una de esas personas es Rafael Capó García, el fundador de Memoria (De)Colonial – un proyecto en Puerto Rico que ofrece recorridos históricos en San Juan. Los guías interrogan los legados coloniales de la herencia y el patrimonio puertorriqueño. Esto lo hacen a través de un lente decolonial y antirracista, y el proyecto tiene como misión promover perspectivas críticas en el momento de acercarnos a un monumento histórico. Pueden conocer más de su proyecto aquí:

https://memoriadecolonial.com/

Para pensar más en este acercamiento hacia los monumentos, nos sentamos también con Javier Arbona-Homar, un profesor puertorriqueño en UC Davis quien se enfoca en el diseño y en los estudios explosivos, es decir, cómo las explosiones transformaron la política espacial de los paisajes. Pueden encontrar su libro más reciente, “Explosivity Following What Remains”, aquí:

https://www.upress.umn.edu/9781517918842/explosivity/ "]]></description>
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<item rdf:about="https://theamericanscholar.org/on-the-trail-with-an-arkansas-traveler/">
    <title>On the Trail with an Arkansas Traveler - The American Scholar</title>
    <dc:date>2026-06-27T07:38:26+00:00</dc:date>
    <link>https://theamericanscholar.org/on-the-trail-with-an-arkansas-traveler/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Charles Portis looked past our national mythology to portray the real America"

...

"No other novelist captures the modern American attraction to unsupported fringe beliefs, crackpot schemes, and cults and renders it with such mordant glee as Portis."

...

"Every country has its own myths of origin and national character. We don’t expect our poets and fiction writers, our songwriters and moviemakers simply to tell stories, as vital as narratives are to us. We look to them to establish myths of national identity and create exemplars of these myths, as Whitman does when he sings of the open road in Song of Myself; to ratify and expand those myths, as Kerouac does in On the Road; to challenge and question myths like the idea of the self-made man, as Fitzgerald does in The Great Gatsby. You’d search far and wide before you found a better yarn than the adventures of Mattie Ross and Rooster Cogburn, in which, as Mattie puts it, “I avenged Frank Ross’s blood over in the Choctaw Nation when snow was on the ground.” But storytelling is far from all that Portis is up to. After fairly demolishing any notion of chivalry that readers of an earlier generation might have associated with the Confederacy and undercutting Rooster’s credentials as a Wild West hero, the overweight, hard-drinking, bounty-hunting marshal emerges as a kind of chivalric hero after all—not through any mythic identity, but simply because of who he shows himself to be when the chips are down: a man with true grit.

Portis is one of our great and quintessentially American writers because, like Hemingway, he never abandoned his journalistic sensibilities. His ability to see things as they are is bracing. There is something of the investigative reporter’s determination to discover the truth in the sure-handedness with which Portis gleefully ridicules the gimcrack “secret brotherhood” of Gnomonism in Masters of Atlantis, and how he takes down the grandiose delusions of characters like Symes in The Dog of the South. It’s as if Portis can never quite get over the capacity we have for self-delusion. Americans’ readiness to believe something like Q-Anon wouldn’t have surprised him in the slightest. It’s no accident that Jimmy Burns, the narrator and protagonist of Portis’s last novel, Gringos, is not some mythical road warrior like Kerouac’s Dean Moriarty but a shade-tree mechanic scraping out a living in Mexico. In Portis’s treatment of the West, there’s some truth in Roy Blount Jr.’s statement, quoted earlier, that the author “could be Cormac McCarthy if he wanted to, but he’d rather be funny.” I would amend that judgment slightly and say that he’d not only rather be funny, he’d also rather base his stories on actuality than follow the siren songs of myth. A humorist by temperament, he knew instinctively that, as Charlie Chaplin knew in making The Great Dictator and as Saturday Night Live knows in lampooning our current president, laughter is a powerful weapon in dealing with the folly of those who think they have all the answers."]]></description>
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<item rdf:about="https://ma.tt/2026/06/om-forever/">
    <title>All Roads Lead to Om | Matt Mullenweg</title>
    <dc:date>2026-06-27T07:16:32+00:00</dc:date>
    <link>https://ma.tt/2026/06/om-forever/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Yesterday, my best friend and brother from another mother, Om Malik, passed away.

<blockquote>They say that blood is thicker than water, and what we had was way thicker than blood. — Bob Weir</blockquote>

Om’s request was for a small family prayer ceremony. In mourning, that will be all there is. In celebration and tribute, I love that everyone is sharing their Om stories online, like the writing and photography Christopher Michel shared, which very much embody the OG spirit of blogging that Om pioneered.

***

A Renaissance Man

I knew Om contained multitudes, but sitting by his side these last few weeks, I’ve been amazed to learn how many deep and completely separate communities he was part of. He meant so much to so many, in so many different ways.

Om loved putting on a good conference, and I’d like to celebrate his life with an awesome event on September 29, 2026 (his 60th) in San Francisco, like an OmFest. I’ll find a space where every community from the many facets of Om can come together. In the spirit of Open Source and co-creation, we can have some booths, flash talks, a gallery of his photography, pen showcase, and whatever other fun ideas people want to contribute. I can’t wait for the beautiful collision of his tech / journalism / Indian party planner / pen / coffee / shoes / photography circles, and probably some niches I couldn’t even imagine.

***

A Few Vignettes

I have so much to say about Om, but right now I’m working on moderating comments and keeping his website tip-top, so here are a few snippets:

Fundamentally, Om was a lover of humanity. He became a fast “regular” everywhere he went. He wouldn’t just buy coffee, he would also learn the name and story of every barista, the dogs and people in South Park. His deep curiosity and respect weren’t just for the fine and famous. It extended to every soul that crossed his path. His encyclopedic knowledge and photographic memory created connections not just in San Francisco, but all around the world wherever we traveled. (I need to pull the stats, but we went to five continents together, including Antarctica.)

He loved people and their stories. 

***

Om and I were an odd couple. We met online through forums and email because Om was one of the earliest adopters of WordPress. We finally met in person in 2004 when I was 20 and he was 38. He connected me to the first investors I ever spoke to, Phil Black, who formed True Ventures, and Tony Conrad, and introduced me to Toni Schneider, my business soul mate, who became like a co-founder as the CEO of Automattic in our first 8 years.

And of course on the internet. I don’t know how we would count, but I would guess Om read at least 1 or 2% of the whole thing.

**

Om was a voracious learner. I was there when he first used chopsticks, and only a few months later, he knew every sushi restaurant in San Francisco and exactly what he liked at each.

***

Om is probably in the top ten in the world for finding things incredibly early. That’s why he has the best usernames! How does one guy get the @om username on WordPress.com in 2005 (user ID 719), Twitter in 2006, Instagram in 2010? The first WordPress meetup was at Chaat Cafe (now Corner) in 2005, 8 people showed up, and Om was one of them.

***

One of the biggest lessons I learned from Om is the deep appreciation of craft. When he took an interest in photography or pens, he would somehow find his way to the most obscure, highest-quality expression of that form. “What Would Om Want?” is a question I will always ponder. I want to craft products that would make Om proud.

***

Om’s last word was “love.”"]]></description>
<dc:subject>ommalik grief friendship death life 2026 bobwier mattmullenweg christophermichel writing howwewrite storytelling blogs blogging humanity curiosity respect stories waysofliving craft love</dc:subject>
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<item rdf:about="https://robinrendle.com/notes/make-believe/">
    <title>Make Believe • Robin Rendle</title>
    <dc:date>2026-06-14T09:14:44+00:00</dc:date>
    <link>https://robinrendle.com/notes/make-believe/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["This morning was a total stinker. I woke up with a dull headache, teeth grinding, fists clenched. Sometimes my body becomes haunted, a vessel for a thing; total and all consuming. It could be a conversation the day before or a problem I’m trying to solve, it doesn’t really matter what that the thing is. These moments suck because it feels like I’m trapped inside my body with no way out but it’s extra annoying because the remedy is always so predictable and boring: stop work, find the nearest ocean, push my limp body up that hill, return to literature and books, books, books.

But when I woke up this morning I didn’t know that Make Believe: On Telling Stories to Children by Mac Barnett was the antidote. Because, dear reader, let me tell you: this book is only-the-finest-punk-rock-remedy for my bad brain goo.

Mac’s a children’s writer and in Make Believe he argues that these books aren’t a silly genre, they’re a form we should treat seriously and respect. Meaning, books for children aren’t a lesser kind of literature simply because they’re for children. In fact, Mac argues, there’s an awful lot we can learn about the world from children, too:

<blockquote>...what are “childish enthusiasms” but the ability to see the world with the freshness and wonder that literature requires? The child who stares and marvels at the workings of a garbage truck sees the garbage truck better than adults do. The kid who breathlessly recounts horse facts, who finds it overwhelming that such an amazing creature actually exists, is correct.</blockquote>

Mac continues:

<blockquote>Since the invention of the printing press, children’s books have been a battleground between those who want to tell kids what to do and those who want to tell them stories. [...] adults often expect children’s books to reinforce the prerogative of parents or priests or school principals. Most often, we confuse writers with teachers.</blockquote>

I hate it when stories have treacly moral lessons as an adult, too. I like the complexity! The unknown bits of a story, the blurry edges that are impossible to put into words. So why should kids literature be any different?

<blockquote>Rather than pushing a moral, good fiction invites the reader to make meaning. A moral is an immutable lesson, intentionally encoded into a story by the author, meant to be inscribed on the child’s brain. Meaning, though, is created collaboratively...</blockquote>

I could do this all day, quoting big chunks and spoiling every page of Mac’s very charming, very funny little book. Thankfully, Mac has a newsletter too that I’m now utterly obsessed by. Take this fantastic piece about Where the Wild Things Are for example:

<blockquote>MAC: As Max is crowned “king of all wild things” the pictures get even bigger, and that white bar shrinks, until we come to maybe the most famous sentence in any picture book: “‘And now,’ cried Max, ‘let the wild rumpus start.’” The rumpus is three glorious full-bleed, two-page illustrations. The white space is gone. There are no words.

    (These are called “wordless spreads.”)

    JON: After all, what would you write? A bunch of sounds? It’s so much louder this way.</blockquote>"]]></description>
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<item rdf:about="https://www.koozarch.com/interviews/can-the-unseen-speak-maria-putri-and-ali-napier-on-plantation-ecologies-and-colonial-afterlives">
    <title>Can the Unseen Speak? Maria Putri and Ali Napier on plantation ecologies and colonial afterlives – KoozArch</title>
    <dc:date>2026-06-12T21:54:19+00:00</dc:date>
    <link>https://www.koozarch.com/interviews/can-the-unseen-speak-maria-putri-and-ali-napier-on-plantation-ecologies-and-colonial-afterlives</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["What traces do colonial infrastructures leave behind? In this conversation, architectural researcher and filmmaker Maria Putri joins architect, writer and editor Ali Napier to discuss Can the Unseen Speak? — a film that follows the intertwined histories of plantation economies, environmental violence and land conflict in Sumatra, while exploring how architecture, performance and storytelling might render visible their enduring aftermaths."]]></description>
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<item rdf:about="https://emergencemagazine.org/essay/what-are-we-where-are-we/">
    <title>What Are We? Where Are We? – Charles Foster</title>
    <dc:date>2026-05-31T21:59:18+00:00</dc:date>
    <link>https://emergencemagazine.org/essay/what-are-we-where-are-we/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Contemplating the age-old question of what it means to be human, Charles Foster contends that we are most fundamentally ourselves at the edges of certainty and comfort."]]></description>
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<item rdf:about="https://chrishedges.substack.com/p/a-discussion-on-the-new-novel-palaces">
    <title>A Discussion on the New Novel 'Palaces of the Crow' (with Ray Nayler) | The Chris Hedges Report</title>
    <dc:date>2026-05-23T05:19:01+00:00</dc:date>
    <link>https://chrishedges.substack.com/p/a-discussion-on-the-new-novel-palaces</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["In his new book, “Palaces of the Crow,” Ray Nayler examines human nature through the lens of caring and community amidst the often hidden horrors of World War II."

...

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

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

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

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

...

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

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

...

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

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

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

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

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

...

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

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

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

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

"(0:00) Intro  
(2:25) Why WWII? 
(4:21) Clash of totalitarians 
(6:13) The four characters 
(10:19) The symbology of crows 
(15:58) Karma and resurrection 
(19:46) Kropotkin’s naturalism 
(25:04) The complexity of crows
(27:53) Transgenerational communication 
(30:59) Rootlessness and evil 
(33:03) Human-animal communication 
(38:55) The myth of childhood 
(44:05) The forgotten history of WWII
(51:21) Trauma of veterans 
(52:11) Outro"]]]></description>
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    <title>How Physics is Like Poetry with Chanda Prescod-Weinstein - YouTube</title>
    <dc:date>2026-05-07T04:25:48+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=_sY2bvKrW_M</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["When the world gets to be too much, contemplating the endless wonder and beauty of the cosmos can be a huge relief. After all, we’re insignificant in the grand scale of space and time. But cosmic thinking can also teach us so much about ourselves. This week, Adam sits with Chanda Prescod-Weinstein, professor of physics and faculty member in women’s and gender studies at the University of New Hampshire, to talk about the truths we uncover about ourselves when we search for the truths of the universe. Find Chanda’s new book, The Edge of Space-Time: Particles, Poetry, and the Cosmic Dream Boogie"]]></description>
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    <title>Nobel Prize-winner Orhan Pamuk on why museum are like novels - YouTube</title>
    <dc:date>2026-05-05T20:25:08+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=CbXu9J970sE</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Novelist Orhan Pamuk reflects on the intertwined creation of his book ’The Museum of Innocence’ and the real-life museum it inspired in Istanbul, Turkey, offering a meditation on memory, objects, and storytelling.

Pamuk describes the project as a singular artistic vision conceived long before its completion: “I conceived and thought about the whole project, a novel operating as a museum… telling the same story with objects.” The novel follows a man consumed by love for a distant relative, who begins collecting everyday items connected to her after their relationship ends. Over decades, these objects form the basis of a museum—one that Pamuk later brought into existence in Istanbul, opening its doors in 2011.

Far from being an afterthought, the museum was envisioned alongside the novel as a parallel narrative form. “The relationship between the museum and the novel would be such that the novel would operate as a sort of an annotated catalogue of the museum,” he explains. The physical space now contains 82 vitrines, each corresponding to a chapter in the book, filled with objects that “the characters use, talk about.”

Pamuk emphasises that the museum's power lies not in the intrinsic value of its items but in their arrangement and context. “Anything—a cigarette butt, a ticket or just only a simple tissue we just throw away—if put on a pedestal… suddenly it gets a new aura, a new meaning.” Through careful composition, ordinary objects become vessels of narrative and emotion.

The conversation broadens to Pamuk’s literary career and his evolving relationship with politics. Initially committed to being “an old-fashioned romantic writer,” he found his work increasingly shaped by political expectations as his international reputation grew. “My romantic imagination… was interrupted by crude Turkish politics,” he says, noting that public attention brought legal challenges and personal risk. While he resists being defined as a political writer, he acknowledges that novels like ’Snow’ and ’Nights of Plague’ engage with political themes, particularly nationalism.

Returning to the idea of museums, Pamuk draws a philosophical parallel: “Museums are places where time is transformed to space.” He adds, “In that sense, museums are very much like novels that we get lost in them.” Both forms, he suggests, rely on accumulation, detail, and structure to create immersive worlds that reshape how we experience time and memory.

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

Camera: Jakob Solbakken
Edit: Signe Boe Pedersen
Produced by Christian Lund
Copyright: Louisiana Channel, Louisiana Museum of Modern Art, 2026."]]></description>
<dc:subject>2026 orhanpamuk 2024 museums literature novels collections collecting istanbul storytelling museumofinnocence nationalism turkey türkiye howwewrite writing objects politics</dc:subject>
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    <title>Vicky Osterweil on Disney, Intellectual Property and Storytelling - YouTube</title>
    <dc:date>2026-05-03T19:43:34+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=StrpSp8anQM</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["This week, we’re featuring a recent, live interview that I did at Firestorm books with Vicky Osterweil, anarchist writer and worker, author of In Defense of Looting and more recently The Extended Universe: How Disney Killed The Movies and Took Over the World (Haymarket, 2026). Vicky is a member of the Collective of Anarchist Writers (CAW), and you can also find her on Bluesky and what she's thinking about what she's watching at Letterboxd.

During the chat Vicky talks about intellectual property and how it overlaps between entertainment and other elements like technology and medicine, the shaping and limiting effects IP has on popular culture and imagination, the film industry and more."

[See also:

"In Defense of Looting with Vicky Osterweil" (2021)
https://www.youtube.com/watch?v=qWxjrTRDbio

"In Defense of Looting with Vicky Osterweil This week we are getting the chance to air a conversation that I had with writer, anarchist, and agitator Vicky Osterweil about her recently published book  In Defense of Looting, a Riotous History of Uncivil Action published  (Bold Type Press, August 2020). We get to talk about a lot of different topics in this interview, how the book emerged from a zine written in the middle of the Ferguson Uprising of the summer of 2014, its reception by the far right and by comrades, her process in deciding what to include in this book, the etymology of the word “loot” and ensuing implications thereof, why you should totally transition if that’s the right thing for you to do, and many more topics!"

and 

"The Interregnum: Roundtable with Vicky Osterweil" (2022)
https://www.youtube.com/watch?v=a3MRLe0Gcno

"This week we are pleased to present something a little bit new for TFS listeners. This is a kind of informal round table discussion that co host Scott and I had alongside Vicky Osterweil, who has been on the show before to speak on her book In Defense of Looting; A Riotous History of Uncivil Action. We all sat down to talk about a short and thought provoking article which was published in January of 2022 called “The Interregnum: The George Floyd Uprising, the coronavirus pandemic, and the emerging social revolution” which was published on the Haters Cafe and we will link to it in the show notes for anyone interested in reading it.

An interregnum is defined as being a period of discontinuity in a government, organization, or social order, and it typically points to time frames at which there isn’t a clear monarch or reigning body in a given place. This article points to the many ways the George Floyd uprising, the covid 19 pandemic, the rise of anti-work, and what the article calls the Great Refusal (a pivot from the ‘Great Resignation’ nomenclature of some mass media) have all created the conditions for a possible broadscale social revolution. Also stay tuned to the end of this episode where we chat briefly about what books we’re reading right now. We hope you enjoy this chat!

((note to listeners, I’m now using the name I use in real life for this radio project, which is Amar. It’s become more and more important to me to be as fully acknowledging of my culture and ethnicity as possible, and this is one way I’m choosing to do that))"]]]></description>
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<item rdf:about="https://psyche.co/ideas/well-soon-find-out-what-is-truly-special-about-human-writing">
    <title>We’ll soon find out what is truly special about human writing | Psyche Ideas</title>
    <dc:date>2026-04-21T06:25:34+00:00</dc:date>
    <link>https://psyche.co/ideas/well-soon-find-out-what-is-truly-special-about-human-writing</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["AI can take over many writing tasks. But there is something irreplaceable about a text with an author standing behind it"

...

"In the mid-15th century, when Johannes Gutenberg began experimenting with movable type, the scribes who had spent their lives copying manuscripts by hand could not have known they were witnessing the end of their profession. The texts maintained a deceptive continuity, circulating the same liturgies and legal canons that had always been reproduced, possibly camouflaging the massive shift that was occurring in the mechanics of cultural production. Whether the scribes saw beyond the unchanged content to the upheaval in its origin, who can say; but we, looking back, can see what they couldn’t: that the revolution was invisible in the output – it lived entirely in the means.

Nearly six centuries later, we find ourselves at another such juncture. Large language models (LLMs) can produce prose that is, by most functional measures, indistinguishable from competent human writing. The question that might eventually have come to haunt the scribes of the 15th century – what happens to us when machines can do what we do? – has resurfaced with some vengeance. What happens to writing when the production of prose no longer guarantees the presence of a mind behind what is written?

The answer, if there is one, will possibly be found in what writing has always asked of the person who does it: a willingness to stand behind words, to mean them, and to accept the consequences of having claimed to have written them.

Writing has always been understood as a trace of human thought; when we read, we assume that behind the words lies a consciousness that selected them, a mind that deliberated over their arrangement, a person who stands accountable for their claims. This assumption is so deeply embedded in literate culture that we rarely articulate it – it is simply what writing is. Generative AI disrupts this assumption, producing text that has no author in any meaningful sense, no one who meant it, no one who can be held responsible for it, and no one who was changed by the act of composing it. The words exist, but the covenant that once connected writer to reader has been severed.

The professional consequences of this severance are already visible. Journalism, criticism and the broader ecosystem of writing-for-pay have already been contracting for two decades, squeezed by the ruthless logic of attention economics. Generative AI arrives at this moment as an accelerant, further breaking down the transaction that once sustained writing as labour – time exchanged for text exchanged for money.

Writing has weathered previous technological upheavals but, while the history is instructive, it is not reassuring in the way some of us might hope because the threat this time is of a different kind.

The printing press didn’t destroy writing, but democratised its distribution, making books cheap and abundant, creating new publics and new genres. The intimate relationship between scribe and text, the sense that each manuscript was a unique artefact bearing the marks of its maker, gave way to something less personal.

Up until the late 19th century, handwriting was the dominant form of creative literary expression. This changed in the 1870s, when the first commercial typewriters came to market. Where handwriting had long been understood as an extension of the body, a kind of graphological fingerprint, the typed page was uniform, mechanical, depersonalised. Writers like Henry James and Mark Twain, who were among the first to compose on typewriters, reported that the machine changed not just how their prose looked but how it felt to produce it. The clatter of keys imposed a different rhythm and a different relationship to revision. Something was lost; something else was gained.

The word processor, and later the networked computer, accelerated this logic. The ease of editing made prose more fluid, more provisional, and the internet dissolved the gatekeeping structures that had once controlled publication. Anyone could write and publish, resulting in an explosion of text. Blogs, comments, social media posts, emails – by the early 2000s, written language was being produced on a scale unprecedented in human history. Writing became ubiquitous, ordinary and, in many of its manifestations, sadly disposable.

Each of these transitions was accompanied by predictions of catastrophe and claims of liberation, and each changed writing without eliminating it. The lesson that triumphalists like to draw is one of resilience, that writing adapts and survives, and finds new purposes as old ones become obsolete.

But generative AI represents a rupture of a different order, because, where previous technologies changed how writing was produced or distributed, LLMs change what writing is, or, more precisely, what it can be assumed to be. When a reader encounters a text, they can no longer take for granted that a human being composed it – as long as LLMs exist, there will always be doubt as to whether a piece was entirely written by a human.

The implications ramify in unexpected directions. Academic writing, which depends on the assumption that authors have actually done the thinking their papers represent, faces a crisis of verification. Legal documents, contracts and medical records, genres where accountability is essential, become newly uncertain. Even personal correspondence, the most intimate form of writing, is shadowed by doubt. Did my friend write this message, or did they prompt a machine to write it for them?

This contamination of doubt has spread quickly, most notably online, as the internet, once imagined as a vast library of human knowledge, is filling with synthetic text. Search results, product reviews, news aggregators and social media feeds are increasingly populated by machine-generated content designed to capture attention or manipulate behaviour. It’s harder than ever to identify trustworthy content.

But the question of writing’s future cannot be answered by cataloguing losses. If writing is to survive as something more than a nostalgic practice, it must find a new basis for its value. When it can now be almost entirely simulated by machines, what remains?

The answer is probably not in the properties of text but in the nature of the relationship that text enables. Human writing is only partly concerned with the production of words; more essential to its essence is the assumption of responsibility for those words. When a person writes, they are committing themselves, something a language model cannot do. They are saying, in effect: ‘I stand behind this; I am willing to be held accountable for the attempt.’

This dimension of writing, what we might consider its testimonial function, has always been present, but it has been obscured by more practical concerns. We valued writing for its usefulness, like how it conveyed information, made arguments, entertained, and persuaded. These functions can now be performed by machines with considerable competence, but what machines cannot do is bear witness or stake a claim grounded in lived experience and personal judgment. Large language models cannot enter into the implicit contract that says: here is a mind engaging with a problem, here is a person who cares about getting it right.

In an environment saturated with synthetic text, this testimonial function becomes newly precious. Readers may stop asking whether a piece is well written and begin asking who wrote it, under what conditions, and why they should be trusted. Evidence of human deliberation will not take a single form, but may reside in the traces of process that machines tend to smooth away: in the presence of hesitation, idiosyncrasy, revision and judgment made under constraint. Imperfection itself might acquire a different valence. Even forms long thought obsolete, such as handwritten notes or materially specific modes of composition, may regain appeal as visible reminders that a particular person was present at the act of writing. Essentially, the criteria for valuable writing might shift to provenance, from fluency to accountability, and writing that matters will be writing that can still function as evidence of human deliberation – work that cannot be faked because it carries the marks of genuine thought.

The transition will be messy, and many forms of writing will not survive it. But writing that depends on trust and the willingness to be present to a reader – work grounded in first-hand experience or attributed to an author with a hard-earned reputation – well, this may find itself valued in ways it has not been for decades.

The future of writing may look less like the frictionless content economy of the recent past and more like the older, slower forms of correspondence and publication that preceded it. Letters, essays, criticism, investigative journalism, genres where the identity of the writer matters, where readers seek out particular voices and measure what is written against what has been written before. To hold a writer to account, in this sense, is not simply to agree or disagree, but to respond, to challenge, to cite, to remember and, when necessary, to withdraw trust. Such forms cannot be automated without losing what makes them valuable, because they are, by their nature, resistant to scale. We might think of this moment, nearly six decades since the theorist and critic Roland Barthes proclaimed the death of the author, as a moment of revival, as the rebirth of the author.

Whether such writing can sustain itself economically is another question. Writers have always struggled to make a living, and the coming years will intensify that struggle. But the deeper question is not whether writers will be paid – though that is, of course, vitally important – but whether writing will continue to mean something, and whether the act of composing prose will still carry the weight of human intention.

Real, human writing may become rarer and more deliberate – more visibly marked by the presence of the person behind it. It might slow down, retreat from the platforms that have commodified it, and find refuge in spaces where trust can still be built between writer and reader. It may take place in settings and forms that reward patience rather than immediacy, where words are written with an awareness of who will read them and remembered for having been read. It might become more like it was before the age of mass media – a practice defined by the quality of attention it embodies, rather than volume or reach, gathering value through continuity and recognition rather than constant circulation or amplification.

The scribes of Gutenberg’s time could not have imagined the world that movable type would create, and we are no better positioned to foresee what lies ahead. But if writing survives this rupture, it will be because it offers something that no machine can replicate: the irreducible fact of a human being, thinking in public, willing to be known by their words."]]></description>
<dc:subject>writing howwerwrite jameso'sullivan 2026 ai artificialintelligence generativeai genai human humanism language communication stories storytelling literature technology media rolandbarthes llms publishing henryjames marktwain gutenberg history change wordprocessing chatbots howwewrite gutenberh print printing printingpress</dc:subject>
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<item rdf:about="https://www.nybooks.com/articles/2021/07/01/wayfinding-landscapes-inside-us/">
    <title>The Landscapes Inside Us | Robert Macfarlane | The New York Review of Books</title>
    <dc:date>2026-04-11T05:39:08+00:00</dc:date>
    <link>https://www.nybooks.com/articles/2021/07/01/wayfinding-landscapes-inside-us/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Our navigational ability as a species is closely connected to our ability to tell stories about ourselves that unfold both backward and forward in time."

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

"Reviewed:

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

In Nature Shock, Coleman writes:

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

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

Underlying all three of these books is a deep belief in the importance of collaboration and cooperation between humans and their environments, as well as between humans and other humans. Having read them, I’ve come to think that we might best imagine wayfinding not as a skill or art but as an ethic. The abilities that are cultivated in wayfinding—imagining things from different viewpoints, moving the mind backward and forward in time, seeing situations from other perspectives, weighing alternatives subtly against one another before making the best decisions, seeking information from others and giving it freely in return—might be the same abilities that contribute to a resilient, equitable community or polity. If this is wayfinding, then we need it now more than ever."]]></description>
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<item rdf:about="https://www.frontporchrepublic.com/2026/04/prophetic-possibilities-a-few-words-on-david-w-orr-and-a-healing-vision-for-america/">
    <title>Prophetic Possibilities: A Few Words on David W. Orr and a Healing Vision for America - Front Porch Republic</title>
    <dc:date>2026-04-11T03:11:31+00:00</dc:date>
    <link>https://www.frontporchrepublic.com/2026/04/prophetic-possibilities-a-few-words-on-david-w-orr-and-a-healing-vision-for-america/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["A healing vision for America, Orr suggests in his writings, is one faithful to the great nearby, to the gospel of the local."

...

“How do we reimagine and remake the human presence on earth in ways that work over the long haul?” —David W. Orr

“The plain fact is that the planet does not need more successful people. But it does desperately need more peacemakers, healers, restorers, storytellers, and lovers of every kind. It needs people who live well in their places. It needs people of moral courage willing to join the fight to make the world habitable and humane. And these qualities have little to do with success as we have defined it.” —David W. Orr

...

"And what is Orr’s vision?

In light of the variety of topics he’s written about (love, gratitude, water, oil, speed, scale, diversity, language, education, climate change, technology, science, scientism, spirituality, politics, leadership, citizenship, agriculture, conservation, localism, architecture, ecological design, the industrial economy, and others) and in light of the richness of his expression, attempting a summary of his vision seems a fool’s errand. But let me run that fool’s errand roundaboutly (and uncomprehensively) by sharing a list from his book Hope Is an Imperative, a list of things Orr believes every healthy community needs, a plainly worded but provocative list that I’ve been sharing with friends and students for years:

• front porches
• public parks
• local businesses
• windmills and solar collectors
• local farms and better food
• better woodlots and forests
• local employment
• more bike trails
• summer baseball leagues
• community theaters
• better poetry
• neighborhood book clubs
• bowling leagues
• better schools
• vibrant and robust downtowns with sidewalk cafes
• great pubs serving microbrews
• more kids playing outdoors
• fewer freeways, shopping malls, sprawl, television
• no more wars for oil or anything else"]]></description>
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<item rdf:about="https://www.youtube.com/watch?v=LSLEyD313Fg">
    <title>Stephen Apkon - The Age of the Image: Wayfinding in a World of Screens - YouTube</title>
    <dc:date>2026-04-10T01:57:14+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=LSLEyD313Fg</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Stephen Apkon is the author of the critically acclaimed book, The Age of the Image: Redefining Literacy in a World of Screens, and the Founder and Executive Director of The Jacob Burns Film Center, a non-profit film and education organization located in Pleasantville, N.Y. The JBFC presents a wide array of documentary, independent and foreign film programs in a three-theater state-of-the-art film complex and has developed educational programs focused on 21st century literacy. Since its doors opened in 2001, JBFC education programs have reached over 100,000 children, and under Steve’s leadership, the JBFC inaugurated a 27,000 square foot Media Arts Lab in 2009.

In The Age of the Image, Apkon draws on the history of literacy, on the science of how storytelling works on the human brain, and on the value of literacy in real-world situations, and argues that now is the time to transform the way we teach, create, and communicate so that we can all step forward together into a rich and stimulating future. Legendary director Martin Scorsese writes in the Foreword to the book. “The Age of the Image lays out the tools we need to cultivate our awareness of and attention to every message and every gesture, artistic or opportunistic, expressed in print or in pixels. It's not just a plea for literacy, but a wonderful road map and guide for how it can be taught and nurtured.”

www.chautauqua.eku.edu"]]></description>
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<item rdf:about="https://www.youtube.com/watch?v=ONbP-zUKYRg">
    <title>Leanne Betasamosake Simpson - Wayfinding With Beavers: Generating Theory Together - YouTube</title>
    <dc:date>2026-04-10T01:30:10+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=ONbP-zUKYRg</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Leanne Betasamosake Simpson is a renowned Michi Saagiig Nishnaabeg scholar, writer and artist, who has been widely recognized as one of the most compelling Indigenous voices of her generation. Her work breaks open the intersections between politics,  story and song—bringing audiences into a rich and layered world of sound, light, and sovereign creativity. Working for two decades as an independent scholar using Nishnaabeg intellectual practices, Leanne has lectured and taught extensively at universities across Canada and the United States and has twenty years experience with Indigenous land based education. She holds a PhD from the University of Manitoba, and teaches at the Dechinta Centre for Research & Learning in Denendeh.

Leanne is the author of seven books, including her new novel Noopiming (US release from UMP February 2021), which was named a best book of the year by the Globe and Mail. This Accident of Being Lost,  won the MacEwan University Book of the Year; was a finalist for the Rogers Writers’ Trust Fiction Prize and the Trillium Book Award; was long listed for CBC Canada Reads; and was named a best book of the year by the Globe and Mail, the National Post, and Quill & Quire.  As We Have Always Done:  Indigenous Freedom Through Radical Resistance was awarded Best Subsequent Book by the Native American and Indigenous Studies Association.  A Short History of the Blockade: Giant Beavers, Diplomacy and Regeneration in Nishnaabewin was published by University of Alberta Press in February 2021, and her new project a collaboration with Robyn Maynard, Rehearsals for Living is forthcoming from Knopf Canada in 2022. Leanne’s new critically acclaimed and Polaris Prized short-listed album, Theory of Ice was released by You’ve Changed Records in March 2021.

In this presentation, award-winning writer Leanne Betasamosake Simpson uses Michi Saagiig Nishnaabeg stories, storytelling aesthetics, and practices to explore the generative nature of Indigenous blockades through our relative, the beaver—or in Nishnaabemowin, Amik. Moving through genres, shifting through time, amikwag stories become a lens for the life-giving possibilities of dams and the world-building possibilities of blockades, deepening our understanding of Indigenous resistance as both a negation and an affirmation."]]></description>
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<item rdf:about="https://www.youtube.com/watch?v=ysXAw6SVPJQ">
    <title>Wayfinding: How Humans Navigate the World - YouTube</title>
    <dc:date>2026-04-09T23:47:39+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=ysXAw6SVPJQ</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Science journalist M. R. O’Connor traveled to the Arctic, Australia, and the South Pacific to talk to master navigators who find their way using environmental cues and to learn how they are trying to preserve these unique practices in the age of GPS. Along the way, she explores fascinating aspects of our species’ navigation faculties and how they are connected to our profound capacities for exploration, memory, and storytelling, resulting in powerful connections to the world around us and topophilia (the love of place).

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

The Mariners' Evening Lecture Series is graciously funded in part by the York County Arts Commission"]]></description>
<dc:subject>mro'connor 2023 navigation wayfinding environment place arctic australia southpacific senses gps sensing observation noticing knowledge memory exploration storytelling oraltradition topophilia human humans oralhistory indigenous indigeneity waysofsensing land location bodies embodiment language</dc:subject>
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<item rdf:about="https://www.youtube.com/watch?v=brrGT5kIhqY">
    <title>M.R. O'Connor - Wayfinding: The Science and Mystery of How Humans Navigate the World - YouTube</title>
    <dc:date>2026-04-09T23:39:07+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=brrGT5kIhqY</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["M.R. O’Connor is a graduate of Columbia University’s Graduate School of Journalism who writes about the politics and ethics of science, technology and conservation. She is the author of two acclaimed books about the cutting edges of contemporary scientific research, with a third on the way. Her first book, Resurrection Science: Conservation, De-Extinction and the Precarious Future of Wild Things (St. Martin’s Press, 2015) and was one of Library Journal and Amazon’s Best Books of The Year. Her second book, Wayfinding: The Science and Mystery of How Humans Navigate the World (St. Martin’s Press, 2019) is an exploration of navigation traditions, neuroscience and the diversity of human relationships to space, time and memory. Its writing was supported by the Alfred P. Sloan’s Program for the Public Understanding of Science, Technology & Economics. About the book, Kirkus Reviews writes that “O'Connor talked to just the right people in just the right places, and her narrative is a marvel of storytelling”; Nature explains that “[O’Connor walks the labyrinth of the brain’s time-and-space-mapping hippocampus. And, on the road, she meets astrophysicists, anthropologists and traditional wayfinders — such as Bill Yidumduma Harney of Australia’s Wardaman culture, who steers by thousands of memorized stars”; and Science notes that “O’Connor’s coverage of the cognitive map theory… is deep and broad.” She is currently writing a book called Ignition (Bold Type Books) on fire ecology and prescribed burning, for which she became certified as a wildland firefighter.

Her work has appeared online in The Atavist, Slate, Foreign Policy, The New Yorker, Nautilus, UnDark and Harper’s. A pair of recent essays for The New Yorker include “A Day in the Life of a Tree” and “Dirt Road America,” a feature piece about Sam Correro, who has spent decades stitching together maps of continuous pathways of dirt roads across the United States. In 2008/2009, O’Connor served as a reporter for The Sunday Times, an English-language newspaper in Colombo, Sri Lanka. Her investigative reporting on topics like disappearances in Sri Lanka’s civil war, global agriculture trade in Haiti, and American development enterprises in Afghanistan have been funded by institutions such as the Pulitzer Center on Crisis Reporting, The Phillips Foundation and The Nation Institute’s Investigative Fund. For a long time, she made her bread and butter as a stringer covering crime, courts and breaking news in New York City for publications such as The Wall Street Journal and New York Post, and covered the criminal justice beat for the online investigative site The New York World. She is. She lives in Brooklyn, NY with her partner, the screenwriter Bryan Parker, and their two sons.

Sponsored by the College of Science, Technology, Engineering and Mathematics, the Department of Psychology, the School of Communication and the Honors Program."]]></description>
<dc:subject>mro'connor wayfinding senses sensory multisensory navigation humans indigeneity indigenous 2022 brain neuroscience maps mapping time space memory place inuit nunuvut details memorization memories observation noticing oralhistory storytelling oraltradition imperialism colonialism colonization mobility knowledge culture cartography timingold sami erikliddell kellicarmean hippocampus childhood childhoodamnesia children spatiality sociology anthropology lost gettinglost exploration wandering orientation walking sauntering thoreau plasticity topophilia human presence canon cognition nature morethanhuman multispecies embodiment movement convenience orienteering spatialmemory henrymullison johno'keefe arctic solomonawa oukcholae australia billharney margaretkatherine thomasgridlock cognitivemapping self-determination songlines animals multidisciplinary transdisciplinary waysofsensing sensing land location bodies language</dc:subject>
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</item>
<item rdf:about="https://flaminghydra.com/theres-no-app-for-that/">
    <title>There’s No App for That</title>
    <dc:date>2026-04-02T07:40:13+00:00</dc:date>
    <link>https://flaminghydra.com/theres-no-app-for-that/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["I have a lot of trouble talking about genAI “writing” with people who are in favor of it because it is super embarrassing to me, and pitiful, that anyone would confuse slop with the real thing.

When I say “the real thing,” though, I don’t mean whether or not you can ID genAI writing in a newspaper quiz. I mean that real people with histories, memories, ideas, stories, etc. to share are interesting, and machines don’t have those things and are not interesting. So that genAI “art,” just to begin with, has already whiffed on the original point of, and reason for, making writing, or art, or music. Then, when writers or artists reject the premise that genAI produces anything like what they would consider to be writing or art, they inevitably find themselves rejecting a person—as if saying no, you can’t sit with us—and that’s a horrible feeling.

This is going on all the time now. “Who’s a Better Writer: A.I. or Humans?” asked a would-be provocative headline in the New York Times a couple of weeks ago. The other day I read a listserv post in which this guy announced that readers should care only that a piece of writing moves or engages them, regardless of whether a real person wrote it or not, and he advanced this view in tones suggesting that it would be elitist to get all het up about that.

AI-powered “storytelling” applications are proliferating like freaking kudzu."]]></description>
<dc:subject>mariabustillos 2026 ai artificialintelligence writing howwewrite generativeai genai storytelling</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:081954890880/</dc:identifier>
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</item>
<item rdf:about="https://walklistencreate.org/2026/03/24/scrambling-for-maps/">
    <title>Scrambling for maps – walk · listen · create</title>
    <dc:date>2026-03-24T20:48:51+00:00</dc:date>
    <link>https://walklistencreate.org/2026/03/24/scrambling-for-maps/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["March 2026 we are holding 3 online Map Scrambles, in which artists will be discussing when and why they use maps or mapping to document their walking art.

Map Scramble 1 (Monday 23 7pm GMT)  

Map Scramble 2 (Wednesday 25 7pm GMT)

Map Scramble 3 (Thursday 26 7pm GMT)

Each events part of the EU Create Europe funded Walking Arts & Local Communities project and the events are free to join. After each event, a summary of that event, and the questions and discussion points raised by attendees and posted in the event chat will be added below. An edited recording of each event is available from our video archive or the event page. There are links above to the further Map Scrambles and should you wish to leave comments please go to the event page, to add these there (merely scroll to the bottom of the pertinent event page).

Presenters were invited to respond to 5 questions during their 3-4 minute recorded presentation – the five questions were:

A) Who you are and what was your walking piece that you documented with a map? 
B) Why you chose a map to document your piece?
C) What was the process of creating the map?
D) What were the plus points from having the map?
E) On reflection, what would you have done differently to improve on what you did, and why?"]]></description>
<dc:subject>maps mapping 2026 andrewstruck davidhaley lucyfurlong janettekerr emilyartinian art poetry photography storytelling sound history place landscape play</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:bd1f3e4d507a/</dc:identifier>
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<item rdf:about="https://www.youtube.com/watch?v=XDsUzPHJ7cE">
    <title>IGNORED Wong Kar-Wai Cinematographer Changed Everything About His Films // Christopher Doyle - YouTube</title>
    <dc:date>2026-03-23T04:06:14+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=XDsUzPHJ7cE</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Most video essays on Wong Kar-wai focus on the director, but overlook the cinematographer who shaped the visual language of his most iconic films. Christopher Doyle was not just behind the camera on Days of Being Wild, Chungking Express, Fallen Angels, and In the Mood for Love; he helped define the emotional and spatial identity that audiences associate with Wong Kar-wai’s work. This video breaks down how Doyle’s unconventional life, improvisational filmmaking process, and instinct-driven approach to cinematography shaped some of the most visually distinct films ever made. It also explores his photography and collage work, revealing how his ideas about perception, movement, and collaboration extend beyond cinema. From Hong Kong’s interiors and fragmented spaces to the role of color, intuition, and experimentation, this is a deep dive into the artist who transformed how these films look and feel, and why his absence changes them entirely."]]></description>
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<item rdf:about="https://www.youtube.com/watch?v=iUyQyfz_gtE">
    <title>You've Been Lied to About Addiction | The Gray Area - YouTube</title>
    <dc:date>2026-03-10T00:14:01+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=iUyQyfz_gtE</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Addiction is one of those words that seems obvious until you try to explain it. We tend to fall back on two simple stories. Either addiction is a moral failure or it’s a brain disease that robs people of agency entirely. But neither of those stories feels complete.

Today’s guest is philosopher Hanna Pickard, author of What Would You Do Alone in a Cage With Nothing But Cocaine? Pickard argues that it’s a harmful mistake to treat addiction as either sin or sickness. Instead, it’s a form of behavior that’s shaped by trauma, isolation, identity, social conditions, and often deep psychological pain.

Sean and Hanna talk about her theory of addiction and why our society has built the cage that so many people are trying to escape.

Host: Sean Illing (@SeanIlling)
Guest: Hanna Pickard, author of What Would You Do Alone in a Cage With Nothing But Cocaine?

YouTube Chapter Titles
5:08 Writing about addiction
8:44 Defining addiction
15:23 Wanting something vs. being addicted
20:15 Agency and responsibility
31:15 Untangling blame and responsibility
38:33 Support structures and accountability"]]></description>
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<item rdf:about="https://www.youtube.com/watch?v=sOJ_uaffG5s">
    <title>Rebecca Solnit Says Trump's Strongest Foil Has Been Here All Along | The Interview - YouTube</title>
    <dc:date>2026-03-09T19:15:32+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=sOJ_uaffG5s</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["How does the critically acclaimed progressive writer Rebecca Solnit view the world?  In our era of democratic backsliding, technological disruption and looming climate disaster, is there a more hopeful way to enact change? 

Solnit has written a new book, “The Beginning Comes After the End,” a thematic sequel to her classic “Hope in the Dark.” David Marchese, a host of “The Interview,” says the new book “shines a light on the vibrant world often hidden within our own seemingly gloomier one — a world that has embraced ideas of interconnection, ecological care and political equality.”  

Solnit and Marchese discuss fighting climate change, countering  Donald Trump, the power of the people in Minneapolis and more during their conversation. 

Read more: https://www.nytimes.com/2026/03/07/magazine/rebecca-solnit-interview.html "

...

"As the old saw goes, the only constant is change. But change doesn’t always feel as overwhelming as it does right now. We are living in an era of widespread democratic backsliding, sweeping technological disruption and the slow-motion disaster of the climate crisis, to name just a few of the most troubling societal upheavals. But what if, despite all that, there’s a different and more hopeful story to tell about change?

That’s the question at the heart of “The Beginning Comes After the End,” the new book by the prolific and critically acclaimed progressive writer Rebecca Solnit. A thematic sequel to her classic “Hope in the Dark,” the book shines a light on the vibrant world often hidden within our own seemingly gloomier one — a world that has embraced ideas of interconnection, ecological care and political equality. It’s not a naïve book — Solnit is keenly aware of the challenges we’re all facing — but it provides a stabilizing counterweight to the feeling that the world, of late, has spun dangerously off-kilter."

...

[among elsewhere, referenced here, quoting:
https://kottke.org/26/03/the-hidden-hope-in-the-darknes

"Even the right tells us something encouraging, if we listen carefully to what they’re saying. They tell us: You are very powerful. You’ve changed the world profoundly. All these things that are often treated separately — feminism, queer rights, environmental action — are connected, so they’re basically telling us we’re incredibly successful, which is the good news. The bad news is that they hate it and want to change it all back. There is a backlash, and it is significant. But it is not comprehensive or global."

...

"One of the great weaknesses of our era is that we get lone superhero movies that suggest that our big problems are solved by muscly guys in spandex, when actually the world mostly gets changed through collective effort. Thich Nhat Hanh said before he died a few years ago that the next Buddha will be the Sangha. The Sangha, in Buddhist terminology, is the community of practitioners. It’s this idea that we don’t have to look for an individual, for a savior, for an Übermensch. I think the counter to Trump always has been and always will be civil society. A lot of the left wants social change to look like the French Revolution or Che Guevara. Maybe changing the world is more like caregiving than it is like war. Too many people still expect it to look like war."]

[See also:

"The Beginning Comes After the End by Rebecca Solnit"
https://kottke.org/26/03/beginning-comes-after-the-end

"Rebecca Solnit offers a thrilling account of the sheer breadth and scale of social, political, scientific, and cultural change over the past three quarters of a century.

In this sequel to her enduring bestseller Hope in the Dark, Solnit surveys a world that has changed dramatically since the year 1960. Despite the forces seeking to turn back the clock on history, change is not a possibility; it is an inevitability.

The changes amount to nothing less than dismantling an old civilization and building a new one, whose newness is often the return of the old ways and wisdoms. In this rising worldview, interconnection is a core idea and value. But because the transformation is obscured within a longer arc of history, its scale is seldom recognized.

While the white nationalist and authoritarian backlash drives individualism and isolation, this new world embraces antiracism, feminism, a more expansive understanding of gender, environmental thinking, scientific breakthroughs, and Indigenous and non-Western ideas, pointing toward a more interconnected, relational world."]]]></description>
<dc:subject>rebeccasolnit davidmarchese 2026 donaldtrump resistance change democracy news media power feminism civilsociety society buddha buddhismn thichnhathanh sangha cheguevara care caring caregiving war community collectivism collective queer environment us cleanenergy climate climatechange globalwarming sustainability couternarratives narrative racism homophobia humanrights minneapolis mutualaid politeness truth progressive progressivism eadweardmuybridge climatecrisis storytelling whitesupremacy misogyny zohranmamdani gavinnewsom algore hillaryclinton joebiden kamalaharris politics elections 2028 2024</dc:subject>
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<item rdf:about="https://rosselliotbarkan.com/p/why-fiction">
    <title>Why Fiction? - Political Currents by Ross Barkan</title>
    <dc:date>2026-03-01T22:39:54+00:00</dc:date>
    <link>https://rosselliotbarkan.com/p/why-fiction</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["In the age we’ve entered—this machine age, AI age, whatever it might be—the purpose of fiction is no less essential than it was a century ago. In fact, in these post-analog times, it might be what is required most. Not for a moral purpose—not to be a way to make “better” or more “empathetic” people—but for the need to reclaim, fully, personhood. The coming struggle might not be left vs. right or some other searing binary but human vs. anti-human. The anti-humanists are, for now, ascendant. They are interested, theoretically, in human augmentation, a cybernetic transcendence, but the greater purpose seems to be human replacement, with only a select few—a certain billionaire elect—presiding over the mass of machines. “It also takes a lot of energy to train a human,” Sam Altman, the OpenAI founder, said recently. “It takes, like, 20 years of life and all of the food you eat during that time before you get smart. And not only that, it took, like, the very widespread evolution of the hundred billion people that have ever lived and learned not to get eaten by predators and learned how to, like, figure out science and whatever to produce you, and then you took whatever, you know, you took.”

“The fair comparison,” he continued, is “if you ask ChatGPT a question, how much energy does it take once its model is trained to answer that question, versus a human? And probably, AI has already caught up on an energy-efficiency basis, measured that way.” 

Capitalism will always prize efficiency; efficiency, in isolation, is far from evil. Neither is technology—we do not want to live bereft of electricity, penicillin, or even the computer. Digital entertainments have their purpose, too. What makes this decade different is the desire of this new billionaire class to deny human beings their intellectual and creative essence. It might not happen, but that is the dream. That is what they are yearning towards. Some are more earnest about it than others, or more honest. And the production of novels—the act itself of writing fiction—is alien to these pursuits. What separates a human being from a machine? Consciousness. And what is consciousness? What has the human being been able to do for thousands of years that other animals, largely, cannot? Imagine. The imagination is the greatest gift we have—what’s forged the cathedrals and pyramids, the paintings and poetry, and, yes, even the machines. The automobile and airplane were works of imagination. The novel, in particular, is an imagination art. It flummoxes the Roy Lees of the world, this new rising class, because it is both fundamentally human and asks so much of a human, a reader. The writer of fiction and the reader of fiction are entered, together, into a relationship of the imagination. This relationship can, quite literally, transcend space and time. The writer, long dead, can still commune with the reader through their words, and readers themselves can span the centuries. Both the printed page and the internet can offer their own forms of immortality.

The novel still comes without instructions. As a reader, you might be offered descriptions, but it’s up to you to interpret them—to properly world-build. Your Yoknapatawpha County appears differently in your mind than my Yoknapatawpha County. Cinema can impose far more on the audience. All visual media does this. All of it, to varying degrees, is more passive than fiction, which asks for the fully-fired imagination and the suspension of belief. Journalism is vital for a democracy but most of it is not art—not even close. New Journalism can reach those heights, if there is an inherent danger to that approach because journalism, at its core, demands facts, and facts can run into conflict with art. A fact does not have an aesthetic. The superior aesthetic might be, in fact, untrue. Journalism can be stenography or it can be more interpretive, analytic, and investigative. Still, in those formulations, it does not attempt the higher planes of fiction. Much of nonfiction doesn’t. Literature has the spark of the divine because it is so inherently unexplainable. One can read scores of writing on how to craft a novel or properly consume literature, but there are lacunae inherent to all these explanations; there is a mysticism to the art of fiction that can’t be explicated, what Martin Amis had called the “white magic.” The communing of mind, body, and currents, the flow of image to fingertips, the dream of these creatures in your skull becoming transmuted into a language, maybe English, maybe another, and then this language is the mechanism that produces fresh images for the reader, fresh dreams. And the language, of course, is an aesthetic. Language is never merely utilitarian; language is art, language paints and is the painting. All of it is a miracle.

Fiction, the great imagination art, cannot be defeated as long as humanity exists. Both literally, in the furtherance of modern civilization, and in the current long war against the anti-humanists. The anti-humanists, themselves, have imaginations—AI is its own dream, derived in part from science fiction—but they are repelled by both the indulgences of fiction and its relative unruliness, its inability to offer quantifiable dividends. Why dwell within an author’s world? Why dream if you aren’t making money? Why must a writer dedicate so many hours to a craft that may not be popular or remunerative? The literary novelist, like the ancient monk, toils alone—even in groups, in scenes, the act of writing is solitary—and the only promised reward is the fueling of a spirit, the feeling that, on the level of blood, an important task was performed. As a writer, I, of course, conceive of the reader—anticipate the reader, hope for the reader’s approval—and chase worldly rewards, whatever they may be, but that simply isn’t enough, especially now. You have to want to perform the imagination art. You have to believe in it. You have to love it, or at least like it enough. Even those who suffer through writing do it because of that belief. It must matter. The writer who allows AI to perform the writing for him has lost that belief. He is an apostate. He is claiming religion while having none at all. He is a liar, a liar of the mind and the soul.

The anti-humanists insist AI is conscious. It is conscious now or will be soon. This is like offering a child a toy dog and telling him, repeatedly, the dog is real. Doesn’t it look like a dog? Can’t it bark if you press the button? The simulacra, for the anti-humanists, is always enough because they have experienced a form of spirit-death. Or they are unconsciously hoping, in time, to arrive there, to that stage. It takes a special kind of human—an unusual segment of the species—to long for the obsolescence of their own, to be so against their own. To resent, fully, flesh and blood and brain matter, the stunning complexities of human consciousness and all, in the past millennia, that has been achieved. To make art, humans have never required more than the basics of the machine world: a paintbrush, a chisel, a word-processor. The hierarchy has always been well understood. The machine is the tool of the human being to enhance the experience of being human. Tools are subordinate. Now, AI asks the human to be subordinate to the machine. Or, more accurately, AI asks nothing because it cannot “ask” anything. It is not alive. The anti-humanists make the ask. They’ve grown rich this way, and they’re rotted from within, like Dorian Gray. Except, unlike Dorian, they aren’t even very beautiful on the outside. They cannot entrance or seduce. They are, as a class, froggish and malformed, their mannerisms glitchy. They can’t willingly march us anywhere. They’ll have to do it by force.

I don’t write fiction as an act of rebellion. I do it because I love it and it gives my life meaning, and I believe, through my novels, I can make art and achieve beauty. I can exist in my highest form, as a worshipper might when in prayer. But it is fine, too, to conceive of fiction as rebellion. The more surreal, or hyperreal, our world becomes, the more fiction will need to be the ballast. The more we will need to duck away from the slopstreams, the smartphones, the machines that, like soma pumped into our bloodstreams, steal our agency away. Can it be done? On this score, I tend towards optimism. It is not optimism grounded in the actions the anti-humanists might take. I do not believe in Sam Altman, Roy Lee, or anyone else like them. Their intentions are to make money, unthinkable amounts of it, and they have no second or third order concerns. Rather, my hope resides with everyone else. The human beings who have still, in this decade, not forfeited themselves, not offloaded the act of imagination. Not long ago, there was an AI-generated video of a battle between Tom Cruise and Brad Pitt that looked realistic enough and drove a few commentators to declare that moviemaking as we knew it was over. What more could there be, now that perfect images of celebrities could be created almost instantly, with passable audio? What was left for the human being? It was an infantile conception of art, mistaking, again, the simulacra for the greater purpose, why we strive to paint or sing or write or direct films in the first place. We do not care about a film because a computer has created a representation of Tom Cruise in front of us. We care about Joel in Risky Business, Maverick in Top Gun, and Ethan Hunt in the Mission Impossible series. Brad Pitt is not AI IP; he’s Tyler Durden, Aldo Raine, and Cliff Booth. Both men look like they look, but that’s beside the point. AI enthusiasts wouldn’t understand this—not really—because they don’t grasp the vitality of the human narrative. An actor tells a story on a screen. A machine can write a story and a machine can generate actors in the same way a machine can play chess. A chess fan isn’t less appreciative of Magnus Carlsen because a machine can perform his role. Chess retains its human dimension. Art will, too.

Humans are a story-telling species. Animals have consciousness, animals can feel pain, and the smart animals can communicate in the proximate way people can, but animals do not tell stories. Animal do not conceive art. It is art, and the quest for narrative, that separates the human from all else; for many thousands of years, this was a cause for celebration. Now the anti-humanists hope to stamp it out—slowly, then quickly. The machine will draw, the machine will act, the machine will write. The machine will perform an imitation of imagination, a weak echo, and its creators will hope the human audience will not care either way. That is the darkest outcome: not a world where, Matrix-like, artificial intelligence rises up, enslaves us, and saps our bioenergy to power their own dystopia. The actual outcome, if Altman and his ilk have their way, will be far more banal. Instead of cyborgs, we will have slopborgs, diminished, slothful human beings who have offered themselves up to AI so completely they let machines think and dream for them. Their critical and cultural sensibilities wither away. There is no audience, anymore, for any sort of art. Instead of the Matrix pods, humans will merely stay home, rotting in the digital abyss.

We aren’t there yet. People still do read, make music, watch films, and visit art museums. There is a culture, high and middle and low, even if it’s under attack. There’s an awareness, too, of the cultural and spiritual sickness of anti-humans. The AI revolution is not very popular. None of its progenitors are celebrated in a way Steve Jobs might have been, when Americans still had great faith in their tech innovators. Writers endure and readers endure. Print book sales are not in decline. Neither is live music. The imagination has an audience and a market. The question will be whether, in the next half century, it can keep both. We have to believe it will. That belief will come with friction; the stakes will grow ever higher. Much is on the line for the AI oligarchs. If enough of us do not take to their creations and make them economically viable, they will be out many billions, maybe begging for federal bailouts. They’ll battle to avoid that outcome as much as they possibly can. This next decade will be pivotal, for both the anti-humanists asserting their market position and the humanists trying to lay claim to what is sacred—and what has driven the progress of human civilization for thousands of years. We will have to preserve our right to imagine."

[via:
https://social.ayjay.org/2026/03/01/ross-barkan-people-still-do.html ]]]></description>
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    <title>Homegrown Youth Collaborative</title>
    <dc:date>2026-02-23T03:54:13+00:00</dc:date>
    <link>https://homegrownyouthcollab.com/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Homegrown Youth Collaborative is a peoples school rooted in the Southern California and Tijuana border region. We are made up of young people and comrades organizing across borders to take back our education. Together with insurgent youth, families, and educators of the Global Majority, we build collective liberatory knowledge projects grounded in struggle, not school.

We are anti-capitalist, anti-imperialist, and abolitionist. We believe in national liberation, revolutionary socialism, and the power of collective study to fight empire.

What we do:

• We create political education programs that connect theory to action.
• We host skillshares, study groups, and workshops.
• We make our own journals and learning tools.
• We run cross-border gatherings and learning spaces.
• We support youth organizers through trainings and long-term political homebuilding.
• We plug youth into local and international movements fighting imperialism, policing, borders, and displacement.
• We build collective power through education, not for jobs, but for liberation.

Why we do it:

• Schools aren’t broken. They’re doing what they were built to do: sort, punish, and prepare working-class youth to serve empire.
• We reject the carceral logic of U.S. schooling.
• We believe youth don’t need classrooms to be theorists, and don’t need degrees to fight for life.
• Our way of studying looks different. We don’t memorize facts—we ask questions. We study contradictions. We study struggle. We take a dialectical and historical materialist approach to learning, rooted in the needs of the masses, not the rules of empire. We learn from movements across the world—in Palestine, Congo, Puerto Rico, Iran, the Philippines, and beyond—where people are fighting for land, life, and freedom. We honor all forms of resistance: everyday refusal, cultural survival, political education, direct action, and armed struggle. We believe in building people’s power, not making peace with empire.

Our learning is inseparable from care, from grief, from our neighborhoods, from our desire to live otherwise. We are building something different. And we hope you’ll build with us.

Support our work

Resourcing our work helps pay youth organizers, fund political education, and build the collective infrastructure we need to keep organizing across borders and across ages."

[See also:
https://www.instagram.com/homegrownyouthcollab

via Julie Choo:
https://www.are.na/julie-choo/ ]

[from the "Our Work" page:
https://homegrownyouthcollab.com/our-work

Grading Back School – Youth Power, Adult Supremacy, and Collective Demands

A two-part workshop for elementary and middle school students to “grade back” their school—not through test scores or behavior charts, but by creating their own report card rooted in collective power.

Through roleplay and storytelling, students will explore the everyday realities of school and ask critical questions about power: Who decides the rules? Who doesn’t? What happens when students don’t follow the rules?

We’ll connect these experiences to the concept of adult supremacy and how this system is a part of colonial and imperial rule, training young people to obey, not to question.

Affirming their right to struggle, students will practice writing a collective letter of demands to name what they want to see change at their school and what they know they deserve.

Albert Einstein Academies
April  24th and July 8th, 2025
2-4pm PST

***

Militarized Geographies: A Young Peoples Resistance to War and Schooling

In collaboration with Project Yano, Secret City SoCal, Palestinian Youth Movement San Diego, and Veterans for Peace. 

An intergenerational community workshop and film screening connecting the violence of militarism and young people’s resistance to militarization in the San Diego Tijuana borderlands, past and present. 

We will be screening two powerful short films: “Connie Stay Home,” which explores the anti-Vietnam War campaign in San Diego that mobilized thousands of people to vote against sending the USS Constellation aircraft carrier back to Vietnam, and “Yo Soy El Army,” which takes a critical look at military recruitment targeting Latino communities, particularly young people. Alongside the screenings, we will be countermapping the military presence in our schools and neighborhoods through a series of activities. We will also hear from youth organizers and elders from past and ongoing anti-imperialist and anti-war movements.

Centro Cultural de la Raza
January 25th, 2025
6-8:30pm PST

***

A Peoples History of Schooling: Un/Re-Learning Study/Working Group

An ongoing study/working group on a people’s history of education and people’s schooling. 

Using readings and archival material, we will be exploring the relationship between education and settler colonialism, prisons, war/militarization, labor, and imperalism to develop a material analysis of historical and present day conditions of the US education system and colonial/neo-colonial education internationally. How have people used militancy and popular education to resist subjugation and organize themselves toward self-determination?

As a working group, will also explore how we can translate our study to political education programming within our communities, particularly in the context of the US-Mexico borderlands in which Homegrown’s work has been rooted.

November 2024-February 2025
Tuesdays, 6-7:30 pm PST

***

Sowing Seeds for Learning Beyond Borders

An Allied Media Conference session through the Youth Liberation for Education Justice Track.

This session exposes how the colonial capitalist school system divides and alienates our communities and consciousness. Schools separate us by race, class, language, and ability, policing our bodies and controlling how we learn and move through the world. They sort students into rigid categories — tracking some as “winners” and others as “failures,” disciplining youth with surveillance and punishment, and erasing Indigenous, Black, and working-class histories and ways of knowing.

We will analyze how schools enforce borders between young and old, public and private knowledge, English speakers and multilingual learners, able-bodied and disabled students all to maintain capitalist social relations and control over labor and bodies.

Through collective analysis and creative brainstorming, we’ll reclaim intergenerational and community knowledge that resists capitalist alienation and state violence. Together, we’ll strategize how to dismantle these oppressive borders—physical, linguistic, generational, and epistemic—to build collective, abolitionist educational spaces grounded in solidarity and self-determination.

This is a call to disrupt, sabotage, and overthrow the schooling system that trains submission and reproduces capitalist domination so that our youth can learn to resist, organize, and build a world beyond empire.

Allied Media Conference  - Virtual
July 1st, 2022
11-12:30 am PST

***

Sonic Frontlines / Fronteras Sonoras

A three-part cross-border workshop and listening praxis rooted in our collective fight against settler-colonial borders and capitalist extraction. This intergenerational program, led by youth facilitators Ana Cossío García and Daniela Sandoval Argüelles, centers the San Diego–Tijuana borderlands as a frontline in the struggle for community sovereignty and liberation.

We will deep listen to the multilingual sonic landscape of our communities—labor, movement, memory, and survival—that the colonial state and capitalist forces try to silence and control. We will expose how these oppressive systems fragment our communities and erase histories.

Using sound as a weapon, we will dismantle the logistics of control by learning to build and wield pirate radio and autonomous media platforms. These tools disrupt imperialist communication regimes, reclaim stolen space, and stitch together ruptured networks of power and solidarity. 

This series is a practice in anti-imperialist solidarity, cultivating insurgent networks through sound.

Tijuana - 18 de marzo parque
San Diego - 99 cent store
August 6th, 2022
10am-1:30pm PST

***

How Schools Operate: A Teach-In and Resource Toolkit Release

An intergenerational teach-in with Radical History Club and Homegrown youth educator, Sophie. They will guide us through the histories of violence of the US education system and how schools operate as a means of assimilation to the status quo and as a factory worker training ground.

Libélula Books & Co
February 12th, 2022
4-6:30pm PST"]

[Contact:
https://homegrownyouthcollab.com/contact

Please email us at homegrownyouthcollab@protonmail.com if you’d like to get in touch.

If you are a young person looking to find a space to deepen your political education or build your organizing skills in practical, creative, and accessible ways, we’d love to hear from you! This is also a space for older educators and organizers looking to learn alongside and mobilize our next generation. 

We welcome inquiries from those who want help to develop classes, resource materials, activities or who would like us to facilitate a learning activity at your event. If you have questions or want to connect about a resource we’ve shared, we’d be happy to schedule a call!"]]]></description>
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</item>
<item rdf:about="https://www.youtube.com/watch?v=R9fpm-lorIU">
    <title>Hyperreal Fascism | Plastic Pills - YouTube</title>
    <dc:date>2026-02-19T20:51:51+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=R9fpm-lorIU</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["check https://www.patreon.com/plasticpills or join the channel for my other theory/philosophy content, including an explanation of the "semiotic square".

See the ProPublica story:
https://www.propublica.org/article/kristi-noem-dhs-ad-campaign-strategy-group

Other refs:
Walter Benjamin "The Work of Art in the Age of Mechanical Reproduction" https://amzn.to/4s5svwR
Algirdas Julien Greimas "Semiotics and Language" https://amzn.to/4tRF3cT
Jean Baudrillard "Simulacra and Simulation" https://amzn.to/4rWMzkC
Wilhelm Reich "The Mass Psychology of Fascism" https://amzn.to/4tAS3mS

00:00 - Fascism's New Face
11:03 - what's Hyperreal
18:35 - what's Fascism
32:01 - Kristi Noem ICE Barbie
38:52 - The Psychosexual Semiotics of Fascism"]]></description>
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<item rdf:about="https://newpublic.substack.com/p/something-beautiful-is-happening">
    <title>👀🌷📼 Something beautiful is happening with old YouTube videos</title>
    <dc:date>2026-02-16T01:44:16+00:00</dc:date>
    <link>https://newpublic.substack.com/p/something-beautiful-is-happening</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Ten hours of rain sounds has 9 million views and the comments will make you cry"]]></description>
<dc:subject>youtube comments commenting conversation 2026 jessicafurseth memory bulletinboards joshkramer nostalgia music socialmedia enshittification platforms bigtech kylechayka brendangahan internet web online howwewrite writing nilaypatel messages messaging anonymoud disinhibition disinhibitioneffect meanness shitposting 2023 algorithms chiaamisola alexandraciufudean self-expression storytelling curiosity interest beauty</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
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<item rdf:about="https://thebaffler.com/latest/everything-is-at-stake-tadepalli">
    <title>Everything Is at Stake | Apoorva Tadepalli</title>
    <dc:date>2026-02-04T21:44:34+00:00</dc:date>
    <link>https://thebaffler.com/latest/everything-is-at-stake-tadepalli</link>
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<item rdf:about="https://www.frontporchrepublic.com/2026/02/88360/">
    <title>What Ails You? A Review of Liturgies of the Wild - Front Porch Republic</title>
    <dc:date>2026-02-03T22:19:17+00:00</dc:date>
    <link>https://www.frontporchrepublic.com/2026/02/88360/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["This is not an attempt to paganize the faith, but to re-situate it. “Inhabit the Time and Genesis of your Original Home,” he urges."

[See also:

"Mike Sauter and Martin Shaw
Mike Sauter talks with Martin Shaw about his new book, Liturgies of the Wild."
https://www.youtube.com/watch?v=Moykzg9ti3U ]]]></description>
<dc:subject>michaelsauter wild nature martinshaw 2026 christianity alanwatts iainmcgilchrist wallaceblackelk parzival billkauffman toniok thomasmann robertbly myths stories storytelling dostoevsky brotherskaramazov williamblake catholicism god christ jesuschrist jesus place land distraction</dc:subject>
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<item rdf:about="https://www.youtube.com/watch?v=JlomhzqhgbE">
    <title>Writer Orhan Pamuk believes storytelling begins with a constellation of visual impressions - YouTube</title>
    <dc:date>2026-02-03T20:21:07+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=JlomhzqhgbE</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Nobel Prize–winning novelist Orhan Pamuk reflects on the visual foundations of his writing and the formative influence of painting on his literary imagination: “I wanted to be a painter till the age of 22.” 

Pamuk describes his eventual turn to fiction not as a rejection of visual art but as an extension of it, one that seeks to translate images into language.

Calling himself a “visual novelist,” Pamuk situates his work within a tradition that includes writers such as Leo Tolstoy and Marcel Proust. He explains how scenes first appear as images in the novelist’s mind and are then rendered into prose, inviting readers to reconstruct those images for themselves. For Pamuk, storytelling begins not with plot but with a constellation of visual impressions that demand connection.

The conversation also turns to the emotional and intellectual rhythms of writing. Pamuk describes the novel as a form shaped by contrasting moods: one rational and editorial, the other intuitive and poetic. He argues that both are essential to sustained literary creation. Drawing on his own experience as a former poet, he emphasizes the importance of recognizing and respecting these shifts in creative energy.

Throughout the interview, Pamuk offers a rare, reflective account of how novels are made: from image to sentence, from inspiration to structure, and from private vision to shared meaning.

Orhan Pamuk was interviewed by Malou Wedel Bruun at the 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, 2026."]]></description>
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<item rdf:about="https://aeon.co/essays/sure-ai-can-do-writing-but-memoir-not-so-much">
    <title>Sure, AI can ‘do’ writing. But memoir? Not so much | Aeon Essays</title>
    <dc:date>2026-01-25T03:27:16+00:00</dc:date>
    <link>https://aeon.co/essays/sure-ai-can-do-writing-but-memoir-not-so-much</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["As AI’s endless clichés continue to encroach on human art, the true uniqueness of our creativity is becoming ever clearer"]]></description>
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<item rdf:about="https://tinhouse.com/podcast/crafting-with-ursula-lidia-yuknavitch-on-the-carrier-bag-theory-of-fiction/">
    <title>Crafting with Ursula : Lidia Yuknavitch on The Carrier Bag Theory of Fiction - Tin House</title>
    <dc:date>2026-01-22T06:30:45+00:00</dc:date>
    <link>https://tinhouse.com/podcast/crafting-with-ursula-lidia-yuknavitch-on-the-carrier-bag-theory-of-fiction/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Today’s conversation is about one of Ursula K. Le Guin’s most iconic and influential essays: The Carrier Bag Theory of Fiction, an essay that deserves an entire episode to itself. And who better to discuss it than Lidia Yuknavitch, whose latest novel Thrust follows a character who herself is a “carrier.” Because this essay has influenced not only an incredible number of  writers but anthropologists, visual artists, filmmakers, performance artists, scholars, and musicians as well, we weave in the voices of others, across disciplines, as we talk about and unpack this work of Le Guin’s. The Carrier Bag Theory of Fiction interrogates questions of labor and economy, and interrogates gender in relation to inherited story forms, and looks at the power of story, both to tell and to silence. Le Guin’s essay is her way to reimagine the shape of a story, to dethrone the hero to allow many less familiar and stranger stories to find their way. And she invites us all in to figure it out with her.

If you enjoy the Crafting with Ursula series consider transforming yourself from a listener to a listener-supporter. Every supporter gets a resource-rich email with each episode chock full of things referenced in the conversation and things discovered in preparing for it. But there are a ton of other goodies, from rare Le Guin collectibles to the book Ursula and I did together, Ursula K. Le Guin: Conversations on Writing, and much more."

[See also:

PDF of "The Carrier Bag Theory of Fiction" by Ursula K. Le Guin (1986)
https://www.are.na/block/42827218 ]]]></description>
<dc:subject>lidiayuknavitch ursulaleguin ursulakleguin writing howwewrite 1986 anthropology art film filmmaking performance storytelling form labor economy economics</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:dffd45c8085c/</dc:identifier>
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<item rdf:about="https://www.zendalibros.com/borges-por-piglia-de-ricardo-piglia/">
    <title>Borges por Piglia, de Ricardo Piglia - Zenda</title>
    <dc:date>2026-01-20T05:50:37+00:00</dc:date>
    <link>https://www.zendalibros.com/borges-por-piglia-de-ricardo-piglia/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["La editorial Eterna Cadencia publica un libro que reúne las cuatro clases magistrales que Ricardo Piglia dictó en la TV Pública argentina en 2013. La edición está a cargo de Daniela Portas, colaboradora de Piglia, y el epílogo es de Edgardo Dieleke, crítico cultural y editor.

En Zenda reproducimos el arranque de la primera clase de Borges por Piglia (Eterna Cadencia), de Ricardo Piglia."

[See also:

"Borges por Piglia" (playlist of four videos)
https://www.youtube.com/playlist?list=PLZFywf-9AMzzgs1Y9yW2h61iNb7mTurnY

"La Biblioteca Nacional Mariano Moreno y la TV Pública presentan un nuevo ciclo de clases abiertas a cargo de Ricardo Piglia dedicadas a revisitar la obra literaria de Jorge Luis Borges. En cuatro programas especiales que se emitiron por la TV Pública, Ricardo Piglia abordó con un enfoque original la obra de Borges, buscando renovar y replantear las conceptualizaciones clásicas."

links to each four...

"Borges, por Piglia - Clase 1 (07-09-13)"
https://www.youtube.com/watch?v=yelG-mQKnMc

"Compartimos "Borges, un escritor argentino" el primero de un ciclo de cuatro programas especiales de clases abiertas de Ricardo Piglia para analizar la obra de Jorge Luis Borges, en una segunda producción conjunta entre la TV Pública y la Biblioteca Nacional que pone al alcance de todo el país a uno de los más talentosos intelectuales contemporáneos buscando renovar y replantear las conceptualizaciones clásicas. En esta clase contamos con la participación especial de la socióloga y ensayista María Pía López y de la escritora Paola Cortés Rocca."

"Borges, por Piglia - Clase 2 (14-09-13)"
https://www.youtube.com/watch?v=DM5uy4Ndt0E

"Compartimos "Memoria y violencia en Borges", el segundo de un ciclo de cuatro programas especiales de clases abiertas de Ricardo Piglia para analizar la obra de Jorge Luis Borges, en una segunda producción conjunta entre la TV Pública y la Biblioteca Nacional que pone al alcance de todo el país a uno de los más talentosos intelectuales contemporáneos buscando renovar y replantear las conceptualizaciones clásicas. En esta clase contamos con la participación especial de los escritores Germán Maggiori y Marcos Herrera."

"Borges, por Piglia - Clase 3 (21-09-13)"
https://www.youtube.com/watch?v=qp93XMyKcXM

"Compartimos "La biblioteca y el lector en Borges", el tercero de un ciclo de cuatro programas especiales de clases abiertas de Ricardo Piglia para analizar la obra de Jorge Luis Borges, en una segunda producción conjunta entre la TV Pública y la Biblioteca Nacional que pone al alcance de todo el país a uno de los más talentosos intelectuales contemporáneos buscando renovar y replantear las conceptualizaciones clásicas. En esta clase contamos con la participación especial de los escritores Mario Ortiz y Luis Sagasti."

"Borges, por Piglia - Clase 4 (28-09 -13)"
https://www.youtube.com/watch?v=UeC1PJ1_2l8

"Compartimos "Historia y política en Borges", el cuarto y último programa especial de clases abiertas de Ricardo Piglia para analizar la obra de Jorge Luis Borges, en una segunda producción conjunta entre la TV Pública y la Biblioteca Nacional que pone al alcance de todo el país a uno de los más talentosos intelectuales contemporáneos buscando renovar y replantear las conceptualizaciones clásicas. En esta clase contamos con la participación especial del director de la Biblioteca Nacional, Horacio González y del historiador Javier Trímboli."]]]></description>
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<item rdf:about="https://www.youtube.com/watch?v=uu-5Qqr2Ss0">
    <title>How Creators Are Preserving Oral Traditions in the South - YouTube</title>
    <dc:date>2026-01-16T08:06:14+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=uu-5Qqr2Ss0</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["From Louisiana’s Creole history to Appalachia’s folktales to Memphis’s Black art scene, three creators are keeping Southern oral traditions alive. Jeremy K. Simien, Bryan “YoBreezye” Roberson, and Michael ‪@TheAppalachianSon‬  Story combine creativity, pride, and community to preserve stories for the future. From Front Porches to Feeds brings to life the art of passing Southern stories forward. 

The Story in Us is a thematic anthology that celebrates storytelling traditions from across the United States and the world. Each short character driven documentary is a deep dive into a culture’s tradition of storytelling told faithfully by members of that community. With authenticity and care, each film explores lesser-known histories with unique perspectives and insights to bring these storytelling legacies to light. The first season of The Story in Us was produced in partnership with the PBS Ignite Filmmakers Program, a hybrid 12-month program for up to 10 early-career filmmakers who have experienced barriers to entering the media industry."]]></description>
<dc:subject>south oraltradition storytelling 2026 music us documentary culture history memphis jeremysimien bryanrobertson yobreezye appalachia creativity pride community louisiana</dc:subject>
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<item rdf:about="https://www.nytimes.com/2011/09/18/books/review/train-dreams-by-denis-johnson-book-review.html">
    <title>Train Dreams - By Denis Johnson - Book Review - The New York Times</title>
    <dc:date>2026-01-05T19:40:57+00:00</dc:date>
    <link>https://www.nytimes.com/2011/09/18/books/review/train-dreams-by-denis-johnson-book-review.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Denis Johnson’s Tragedy-in-the-Woods Novella"

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

"Sometimes, if you wander long enough out-of-doors, you look up and find yourself in a suddenly devastating place: on a glittering slab of granite, say, hanging a thousand feet above a mountain lake. Your blood quickens, the clouds stretch, the light turns everything to gold and something enters you, shakes you, seizes some root of your soul and pulps it. Maybe you make your way down to the lake for a swim, or just sit beneath the sky for an hour, dazzled, but what lasts is the feeling that you have found something important, something precious, something that would be world-renowned if only it weren’t so hard to find.

It’s a proprietary feeling, too, when you find a place — or a song, or a painting, or a sandwich — that you love, that moves you. You want to share it with only a few other souls, believers, maniacs, folks who won’t trample on it. Because who wants to see her sacred meadow flattened by the sandals of tourists?

I first read Denis Johnson’s novella “Train Dreams” in a bright orange 2002 issue of The Paris Review and felt that old thrill of discovery. The story concerns the life of Robert Grainier, a fictional orphan shipped by train in 1893 into the woods of the Idaho panhandle. He grows up, works on logging gangs, falls in love, and loses his wife and baby daughter to a particularly pernicious wildfire. What Johnson builds from the ashes of Grainier’s life is a tender, lonesome and riveting story, an American epic writ small, in which Grainier drives a horse cart, flies in a biplane, takes part in occasionally hilarious exchanges and goes maybe 42 percent crazy.

It’s a love story, a hermit’s story and a refashioning of age-old wolf-based folklore like “Little Red Cap.” It’s also a small masterpiece. You look up from the thing dazed, slightly changed.

Every once in a while, over the ensuing nine years, I’d page through that Paris Review and try to understand how Johnson had made such a quietly compelling thing. Part of it, of course, is atmosphere. Johnson’s evocation of Prohibition Idaho is totally persuasive. Grainier occupies a universe of “large old four-shot black powder revolvers” and “six-horse teams” and “jim-crack sawyers,” and Johnson’s dialogue is full of folksy plausibilities. In his youth, Grainier is witness and party to the great subjugation of the American West; he works on railroad trestles, sleds out giant trees and finds himself “hungry to be around other such massive undertakings, where swarms of men did away with portions of the forest and assembled structures as big as anything going.”

The novella also accumulates power because Johnson is as skilled as ever at balancing menace against ecstasy, civilization against wilderness. His prose tiptoes a tightrope between peace and calamity, and beneath all of the novella’s best moments, Johnson runs twin strains of tenderness and the threat of violence.

“The wolves and coyotes howled without letup all night,” he writes, “sounding in the hundreds, more than Grainier had ever heard, and maybe other creatures too, owls, eagles — what, exactly, he couldn’t guess — surely every single animal with a voice along the peaks and ridges looking down on the Moyea River, as if nothing could ease any of God’s beasts. Grainier didn’t dare to sleep, feeling it all to be some sort of vast pronouncement, maybe the alarms of the end of the world.”

In all the paragraphs of “Train Dreams,” one feels vaguely unsettled; one feels the seams of history might unravel at any moment and the legends of the woods come slipping through. The novella has flaws, of course: tufts of seemingly irrelevant material stick out here and there, miscellaneous fevers, peripheral anecdotes, a Chinese deportation, a big kid with a weak heart. But its imperfections somehow make the experience better, more real, more absorbing, and it might be the most powerful thing Johnson has ever written.

But I’ve decided now, after thinking it over for almost a decade, that what ultimately gives “Train Dreams” its power is simpler. It is the story’s brevity.

The novella runs 116 pages, and you can turn all of those pages in 90 minutes. In that hour and a half the whole crimped, swirling, haunted life of Robert Grainier rattles through the forests of your mind like the whistle of the Spokane International he hears so often in his dreams.

In an 1842 review of Nathaniel Hawthorne’s “Twice Told Tales,” Edgar Allan Poe said that apart from poetry, the form most advantageous for the exertion of “highest genius” was the “short prose narrative,” whose length he defined as taking “from a half-hour to one or two hours in its perusal.” Novels, Poe argued, were objectionable because they required a reader to take breaks.

“Worldly interests intervening during the pauses of perusal,” he wrote, “modify, annul or counteract, in a greater or less degree, the impressions of the book.” Because you have to stop reading novels every now and then — to shower, to eat, to check your Twitter feed — their power weakens.

Short stories and novellas on the other hand offer writers a chance to affect readers more deeply because a reader can be held in thrall for the entirety of the experience. They offer writers, in Poe’s phrasing, “the immense force derivable from totality.”

Whether you agree with Poe or not, that totality is ultimately what makes “Train Dreams” so good. Johnson’s 1997 novel “Already Dead” is 435 pages; his 2007 novel “Tree of Smoke” is 624 pages. They are big, pitted, expansive books over which one treks, evening after evening, sometimes hungry, sometimes sunburned — you are in them so long that worldly interests intervene on your right and left. The kids need to be fed; the dog needs to be walked; 50 other stories intrude on your life.

“Train Dreams,” though, presents an opportunity for a more unified experience. One airplane flight, or one shady afternoon in a chair somewhere, and you’ll have passed through the entire thing.

Maybe “Already Dead” and “Tree of Smoke” are big navigable Mississippi Rivers of narrative, and there are lots of times when a reader wants to float the Mississippi. But sometimes one wants only to walk for an hour or two, if only to look for that one intersection of place and hour where the trees whisper and the light streams and the water glows.

I’ve reread “Train Dreams” several times over the last years, and it hasn’t lost any power. Yet hardly anyone I know has read it. Writers who love and teach Denis Johnson’s work don’t always know it. Students who have composed whole graduate theses full of drug-muzzy paeans to Johnson’s story collection “Jesus’ Son” rarely have heard of it.

So it is with a heaping cup of pleasure, and a tablespoon of reluctance, that I tell you this little novella is finally its own book, with its own cover, as easy to find as a national park. Someone has finally put up a sign: Here Is Something Worth Seeing.

I console myself: Most good and private things eventually get shared. Cormac McCarthy visits with Oprah; Bob Dylan gives some of his best tracks to Starbucks. “Train Dreams” ought to be read. You can now go ahead and read it. "]]></description>
<dc:subject>2011 denisjohnson anthonydoerr traindreams nathanielhawthorne edgarallanpoe cormacmccarthy bobdylan idaho hermits recluses solitide regret americanwest forests nature unsettled brevity stories storytelling literature shortstories novellas novels totality</dc:subject>
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<item rdf:about="https://lareviewofbooks.org/article/when-story-loses-the-plot/">
    <title>When Story Loses the Plot | Los Angeles Review of Books</title>
    <dc:date>2026-01-03T06:45:15+00:00</dc:date>
    <link>https://lareviewofbooks.org/article/when-story-loses-the-plot/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Hannah H. Kim ponders the plotless narrative as a tool for meaning-making."]]></description>
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<item rdf:about="https://live-ssmatrix.pantheon.berkeley.edu/research-article/alexis-madrigal/">
    <title>Alexis Madrigal: &quot;To Know A Place&quot; - Social Science Matrix</title>
    <dc:date>2025-12-28T20:58:00+00:00</dc:date>
    <link>https://live-ssmatrix.pantheon.berkeley.edu/research-article/alexis-madrigal/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Recorded on December 4, 2025, this video features a Social Science Matrix Distinguished Lecture, “To Know a Place,” presented by journalist and author Alexis Madrigal.

Madrigal has long explored how technology, culture, and environment shape our lives; from his work co-founding The COVID Tracking Project to his books Powering the Dream and The Pacific Circuit. In this talk, Madrigal turns his attention to the question of how we come to know a place. Drawing on his background as a reporter, writer, and thinker of cities, landscapes, and histories, he explores different ways of writing about and understanding place, revealing how perspective, memory, and narrative inform the stories we tell about the world around us. 

About the Speaker

Alexis Madrigal is a journalist in Oakland, California. He is the co-host of KQED’s current affairs show, Forum, and a contributing writer at The Atlantic, where he co-founded The COVID Tracking Project. Previously, he was the editor-in-chief of Fusion and a staff writer at Wired. His latest book, The Pacific Circuit, came out in March 2025 from MCD x FSG. He is the proprietor of the Oakland Garden Club, a newsletter for people who like to think about plants. Madrigal authored the book Powering the Dream: The History and Promise of Green Technology. He has been a visiting scholar at UC Berkeley’s Information School and UC Berkeley’s Center for the Study of Technology, Science, and Medicine as well as an affiliate with Harvard’s Berkman Klein Center for Internet & Society. He was born in Mexico City, grew up in rural Washington State, and went to Harvard.

Podcast and Transcript

Watch the panel above or on YouTube [https://www.youtube.com/watch?v=URcgwVjoxbE ]. Or listen to the audio recording via the Matrix Podcast below (or on Apple Podcasts)."]]></description>
<dc:subject>alexismadrigal place urban urbanism bayarea 2025 technology culture socialscience cities landscape perspective memory narrative storytelling time watershed placemaking bighere longnnow bignow longhere biomes ecology temporality technophily online internet web bioredionalism garysnyder indigeneity indigenous life living flora fauna reallifemag meatspace nathanjorgenson bodies helenharrison newtonharrison saraamariwalker oakland eastbay peterberg planetdrum berkeley claremontcreek politics institutions robinwallkimmerer siliconvalley sanfrancisco waterfront south norcal mountdiablo mounttamalpais ecofeminism liberation robinsloan treasureisland spirituality strawberrycreek midlredhoward running physical adamwebb astrobiology margaretgordon eastpaloalto richmond marincity race racism russellcity bayview hunterspoint westoakland biology bart capitalism lakemerritt rondellums air water pacificcircuit claireleister sanjose solidarity geology history hydrology baybridge humanism human humans land california wilderne</dc:subject>
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<dc:identifier>https://pinboard.in/u:robertogreco/b:9c6915ef93c3/</dc:identifier>
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<item rdf:about="https://techwontsave.us/episode/303_peter_thiel_is_the_real_antichrist_w_gil_duran">
    <title>Peter Thiel is the Real Antichrist with Gil Duran - Episodes - Tech Won’t Save Us</title>
    <dc:date>2025-11-23T16:32:56+00:00</dc:date>
    <link>https://techwontsave.us/episode/303_peter_thiel_is_the_real_antichrist_w_gil_duran</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[transcript:
https://www.thenerdreich.com/silicon-valleys-fake-christianity-enables-tech-genocide/ ]

"Paris Marx is joined by Gil Duran to discuss how Peter Thiel’s bizarre obsession with the antichrist is really a desperate and embarrassing attempt to divert attention from his own misdeeds.

Gil Duran writes The Nerd Reich and is working on his first book, The Nerd Reich: Silicon Valley Fascism and the War on Global Democracy.

Also mentioned in this episode:

• Gil wrote about Peter Thiel’s Antichrist obsession [https://newrepublic.com/article/200471/peter-thiel-obsession-antichrist-religion ] and the apocalypse capitalism of Silicon Valley [https://www.thenerdreich.com/silicon-valley-apocalypse-capitalism/ ].

• This link is for Peter Thiel (or any Silicon Valley millionaires who may be listening); Gil recommends a brush-up on the French Revolution. [https://www.worldhistory.org/French_Revolution/ ]

• Steve Bannon expects to go to prison. [https://www.newsweek.com/steve-bannon-predicts-prison-if-republicans-lose-midterms-2028-11009422 ]

• Donald Trump’s relationship to crypto continues to be awful. [https://www.forbes.com/sites/danalexander/2025/10/10/trump-is-now-one-of-americas-biggest-bitcoin-investors/ ]"

[also here:

https://podcasts.apple.com/us/podcast/peter-thiel-is-the-real-antichrist-w-gil-duran/id1507621076?i=1000737559693
https://www.youtube.com/watch?v=gyP5hErsA9Y ]]]></description>
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</item>
<item rdf:about="https://liberatedtexts.com/reviews/a-pedagogy-of-nature-my-heart-i-give-to-children-by-vasily-sukhomlinsky/">
    <title>A Pedagogy of Nature and the School of Joy: My Heart I Give to Children by Vasily Sukhomlinsky, by Alex Turrall (2021) — Liberated Texts</title>
    <dc:date>2025-11-14T04:21:21+00:00</dc:date>
    <link>https://liberatedtexts.com/reviews/a-pedagogy-of-nature-my-heart-i-give-to-children-by-vasily-sukhomlinsky/</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>2021 alexturrall vasilysukhomlinsky pedagogy nature school schooling children teaching howweteach ukraine 1968 alancockerill pavylshschool 1951 ww2 wwii sovietunion ussr health boristokin 1990s 1989 phytoncides paulofreire learning howwlearn madalenafreire consciousness stories storytelling beauty rumi olgasukhomlinkaia stalinism authoritarianism nikhilkhrushchev roberttucker pluralism antonmakarenko blikhachev januszkorczak care acring communism antonsemyonovichmakarenko makarenko</dc:subject>
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<item rdf:about="https://samkriss.substack.com/p/numb-at-burning-man">
    <title>Numb at Burning Man - Numb at the Lodge</title>
    <dc:date>2025-11-09T17:19:02+00:00</dc:date>
    <link>https://samkriss.substack.com/p/numb-at-burning-man</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["One of the stereotypes about Silicon Valley that people like me, humanists, book people, love to console ourselves with is the idea that it’s populated entirely by utilitarian drones, who only care about lifeless things like productivity and efficiency and increasing their ARR. They live in homes with no art on the walls. All their clothes are black or grey. They eat protein paste and supplements for dinner. Meanwhile, we flatter ourselves with the notion we’re the only ones who really care about the higher things, beauty and meaning and so on; that we’re fighting against human paperclip maximisers, willing to indifferently scrub out everything important in their quest to totally optimise the world. The reality is much, much worse. These people are deeply spiritual. They are obsessed with meaning.

What I learned is that tech bros care about everything. They want to foster real, profound human connections. They want to form deep, nourishing, authentic communities. They want to plumb their own consciousness through every spiritual or pharmacological avenue there is. An intense fascination with the idea of myth and ritual, the acts and archetypes that draw people together. Storytelling, life as a narrative art. Egregores. Tulpas. They are constantly inventing new religions. Searching for a mission, some purpose, to give structure to their lives. All their friendships need to have an explicit purpose. Their job at a B2B SaaS startup isn’t about exchanging labour for money; they really do expect it to be deeply imbued with significance.

The problem, of course, is that everything these people actually do is totally contrary to everything they want. The world they’ve built is one in which school playgrounds are eerily silent, children scattered like dead flies on the tarmac, staring blankly at their phones. You can order a person off an app to drive you around, or bring you pizza, or clean your house, and once it’s done you give them a rating and never encounter them again. But tech people are good at building things. Alongside the world we all inhabit, they’ve created a synthetic, overengineered version of the one we’ve lost. It’s in the Bay Area cults and the polyamorous cuddle puddles, house parties where everyone has to wear a name tag, all the bizarre attempts to reverse-engineer a normal social life, but most of all it’s in Burning Man. They reached into the storehouse of stock cultural tropes and brought out a big human effigy to set on fire. They may as well have attached a sign to the thing saying HERE’S THE GENERIC UNIFYING ECSTATIC RITUAL YOU ORDERED. A ritual that exists for the sake of being a ritual. Which means it doesn’t really mean anything whatsoever."]]></description>
<dc:subject>samkriss burningman 2025 siliconvalley humanism physical optimization care caring spirituality meaning meaningmaking storytelling religion significance ritual</dc:subject>
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<item rdf:about="https://www.youtube.com/watch?v=q8ZR9-y4ik8">
    <title>How AI Will Translate Human Creativity as Sci-Fi and Reality Converge | The Futurology Podcast - YouTube</title>
    <dc:date>2025-11-04T18:43:57+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=q8ZR9-y4ik8</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The first machines mimicked our muscles. Today, they’ve learned to mirror our minds. Now they’re beginning to imitate something even closer to the core of our humanity – imagination itself. Sci-fi author, translator, and technologist Ken Liu calls this new medium the Noematagraph: a tool for capturing creativity and collaborating with AI in the same way cinema tells stories with actors, sound and a splash of light on a screen.

In this episode of Futurology, Liu joins Berggruen Press’ Executive Editor Nils Gilman to explore how AI blurs the line between artist and audience, code and consciousness. They discuss why storytelling has always been humanity’s most powerful technology and how machines, by learning to tell their own stories, may change what it means to express emotion in the AI age."]]></description>
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<item rdf:about="https://www.nfi.edu/kuleshov-effect/">
    <title>Kuleshov Effect: Everything You Need to Know - NFI</title>
    <dc:date>2025-10-25T03:49:42+00:00</dc:date>
    <link>https://www.nfi.edu/kuleshov-effect/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The Kuleshov effect is the idea that two shots in a sequence are more impactful than a single shot by itself. This effect is a cognitive event that allows viewers to derive meaning from the interaction of two shots in sequence. Kuleshov believed that the interaction of shots in filmmaking was what differentiated cinema from photography, as photographs are single shots in isolation that don’t allow viewers to derive the same meaning."]]></description>
<dc:subject>film filmmaking kuleshoveffect levkuleshov emotions filmediting psychology storytelling</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:6587536eeef9/</dc:identifier>
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</item>
<item rdf:about="https://www.youtube.com/watch?v=6iHlfLPDoS4">
    <title>1. Tech Billionaires vs. Democracy: Elon Musk and the Rise of &quot;Network States&quot; - YouTube</title>
    <dc:date>2025-10-13T00:54:54+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=6iHlfLPDoS4</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["In the explosive first episode of The Nerd Reich podcast, host Gil Duran teams up with economic sociologist Brooke Harrington and internet politics expert Dave Karpf to decode the alarming rise of "network states." They're diving deep into how tech billionaires like Elon Musk are trying to dismantle traditional governance to create their own power structures through crypto and artificial intelligence. They discuss the hidden dangers behind AI-driven governance, the disturbing intersection of wealth and political influence, and why understanding human behavior through humanities matters now more than ever. Plus, they share bold predictions about where tech authoritarianism is heading and reveal powerful strategies for resisting the growing control of billionaire tech elites. Don't miss this essential conversation about the fight for democracy's future!

Mentioned in this Episode:

The Nerd Reich Newsletter: http://www.thenerdreich.com

Dave Karpf's scathing review of the Network State book: "The Tech Barons have a blueprint drawn in crayon. They have not thought any of this through."
https://davekarpf.substack.com/p/the-tech-barons-have-a-blueprint

Brooke Harrington's book, "Offshore: Stealth Wealth and the New Colonialism"  hhttps://bookshop.org/p/books/offshore-stealth-wealth-and-the-new-colonialism-brooke-harrington/ceb89dd93ece7e25?ean=9781324064947&next=t&aid=109206&listref=framelab-book-club

Takeaways: 

The network state aims to replace democratic institutions with tech-driven governance.
Tech billionaires are concentrating power in their hands under the guise of innovation.
Historical attempts at reconfiguring power have often exploited vulnerable nations.
Crypto is seen as a tool to undermine the nation-state's power.
The Supreme Court's decisions have exacerbated the influence of money in politics.
The network state movement reflects a desire to weaken government and labor.
The ideological fervor of tech billionaires can be likened to a religious belief.
Everyday people may face a future of broken systems and governance by subscription.
Being a billionaire can warp your mental health and perception of reality.
Democracy is fragile and currently facing significant challenges.
AI governance raises concerns about efficiency and human oversight.
The humanities provide essential insights into human behavior and decision-making.
Small acts of rebellion can effectively challenge powerful institutions.
The importance of storytelling in shaping a better future is crucial.
We must critically examine the definition of efficiency in governance.
Public protests and ridicule can serve as powerful tools against the elite.
The need for a recommitment to democracy and public service is urgent."]]></description>
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</item>
<item rdf:about="https://www.youtube.com/watch?v=__mhbuPvdZQ">
    <title>Public Transit Visions in Speculative Fiction - YouTube</title>
    <dc:date>2025-09-19T18:49:16+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=__mhbuPvdZQ</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Flying cars in the Jetsons, trains snaking around towers in Wakanda, or the sentient rail system on the newly terraformed Sask-E planet. In building future and alternative worlds, the way people get around can be used to reveal and ask questions about societies, technologies, and politics.

Watch this recording of the Public Transit Visions in Speculative Fiction panel discussion to learn how depictions of public transit in fiction shape the worlds of our imagination. This event took place on September 16, 2025 at the First Unitarian Universalist Society of San Francisco as part of Bay Area Transit Month 2025.

​The panelists are Jeffery Tumlin, Annalee Newitz, Alissa Walker, Vincent Woo, and Alexis Madrigal. Discussion moderated by Audrey T. Williams.

Seamless Bay Area socials
Website: https://www.seamlessbayarea.org/

00:00 Introduction
07:23 Panelist Bios
10:52 Panel Discussion
55:24 Audience Q&A
01:18:00 Closing Remarks"

[See also:
https://luma.com/0olo6szj ]]]></description>
<dc:subject>transit transportation speculative speculativefiction annaleenewitz alissawalker vincentwoo alexismadrigal audreywilliams 2025 bayarea sanfrancisco bart scifi sciencefiction muni sfmta jeffreytumlin publictransit buses trains spikejonze her losangeles speculativedesign design mobility snowpiercer blackpanther wakanda hayaomiyazaki studioghibli catbus anime totoro access justice equity vision myneighbortotoro class crime perception fear race racism infrastructure behavior society agency control illusion safety driving cars danger collectivism community storytelling children future futures futurism government governance accessibility</dc:subject>
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<item rdf:about="https://lithub.com/why-ai-narrators-will-never-be-able-to-tell-a-real-human-story/">
    <title>Why AI Narrators Will Never Be Able to Tell a Real Human Story ‹ Literary Hub</title>
    <dc:date>2025-09-16T04:18:36+00:00</dc:date>
    <link>https://lithub.com/why-ai-narrators-will-never-be-able-to-tell-a-real-human-story/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Adam Verner Explores the Uncanny Valley of Automated Audiobooks"]]></description>
<dc:subject>2025 ai artificialintelligence adamverner audiobooks books storytelling human humans humanism narrative narration voice humanvoice intention audible capitalism</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:31841387b4fa/</dc:identifier>
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<item rdf:about="https://www.nytimes.com/interactive/2025/09/03/magazine/anime-manga-pokemon-demon-slayer-dragon-ball-z.html">
    <title>How Anime Took Over America: From Pokemon to Demon Slayer and Dragon Ball Z - The New York Times</title>
    <dc:date>2025-09-10T06:44:37+00:00</dc:date>
    <link>https://www.nytimes.com/interactive/2025/09/03/magazine/anime-manga-pokemon-demon-slayer-dragon-ball-z.html</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>anime manga us culture media 2025 joshuahunt japan akira katsuhirootomo mamoruoshii ghostintheshell animation comics storytelling film tv television disney shonenjump funimation crunchyroll ianjamescorlett barrywatson toeianimation terryklassen dragonballz doraemon jasondemarco seanatkins toonami cartoonnetwork akiratoriyama pokémmon wb wutangclan liluzivert rap hiphopn music popculture</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:a722d988aae5/</dc:identifier>
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</item>
<item rdf:about="https://mail.cyberneticforests.com/human-literacy/">
    <title>Human Literacy</title>
    <dc:date>2025-08-29T19:56:19+00:00</dc:date>
    <link>https://mail.cyberneticforests.com/human-literacy/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Something I Can Tell Students Now That I Am Not Teaching"

...

"You might be told that AI literacy, as defined by Tik Tok stories of productivity and efficiency hacks, is rewarded quite directly with money and power. The problem with human literacy is that it doesn’t give you something you can count up and compare to the last quarter's financial report. You will find that it comforts you in a far too easily ignorable background hum. It soaks into you and works its magic. If you find others on the same hum, you can share notes. You can share what made you feel OK about the things that were hard, find your own way to celebrate and appreciate the things that are good. You will feel more connected to things, happier with your struggles and choices, learn to learn even from the harshest of mistakes and random catastrophes.

It is weird then to get angry that others are not feeling good in the same way that you do, or not finding comfort in the things that comfort you. It is like insisting that enjoying the same food is essential to being friends with someone who is allergic to chocolate. Not every human shares the same hum. So the right thing to do there is expand your hum, not lock it in: "What's this guy humming about?" Maybe it makes your own hum grow. If it doesn't, that's fine too. It's not your hum. 

Ultimately the richness of a society is strengthened for us all, individually, when we share a deeper commitment to this human literacy. We live better lives when the people around us have empathy. Of course, people can exploit that empathy. It happens all the time. But human literacy doesn’t mean you have to be a sucker. It makes you better, actually, at identifying the politicians and the CEOs and the money they’re slipping into their pockets with their words.

AI generated text may offer up some half-hearted defense of human dignity, informed by thousands of corporate value statements. AI literacy can tell you how to generate bullet-point summaries of human rights statements and make a hodgepodge of why we might preserve “human uniqueness.”

But human uniqueness is not purely collective. It's individual, too. We are human together, but you are also human alone. You exist in the constantly shifting borders between these stories: the story of the sense you make, and the sense you were born into, and the things others see that you cannot. The sense made by your parents and your community can become your sense. You might embrace it all or reject it all or choose your parts. Sometimes it hurts. Sometimes you long for it anyway. But it all gets assembled and reassembled within you. You make the sense you make. Nobody else.

What can AI do for that? As with so much of the world: probably something, but definitely not everything. Stay critical of whatever it tells you, and learn to tell the difference between the words we use for knowing and preserving the loose uncertainty of actually knowing anything at all.

In the end AI is just a sampling of stories and pictures, stripped of the people who wrote them, presented to you as a new story at the center of all things. But AI isn't at the center of anything. It has no greater claim to truth than any one person does. It's a rough sketch of a voice made from a chorus of sketched out voices. Don't let it drown yours out."]]></description>
<dc:subject>eryksalvaggio 2025 education human humanism ai artificialintelligence teaching howweteach pedagogy ailiteracy humanliteracy chatbots generativeai llms society literacy affect humanity stories storytelling productivity efficiency optimization genai</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
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<item rdf:about="https://www.youtube.com/watch?v=TWdD8Dgz3MU">
    <title>For Empire: How Films Play With Our Emotions ft Samantha Youssef - YouTube</title>
    <dc:date>2025-08-21T19:25:53+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=TWdD8Dgz3MU</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["This is the full but edited follow up discussion to Part One where Samantha Youssef further drags me back out of cinematic capture to help reconnect me with my own analyses! 😂 To see the full unedited version please consider moving your Channel Membership to Patreon. The link is below.

We HAVE to work collectively to make our way through it all! Big thanks to Samantha and make sure you have also seen our previous (and forthcoming!) discussions and those she has had with Millennials Are Killing Capitalism, Mtume Gant, and Renee Johnston (Saturdays with Renee)!

Encoding Empire: How Black Panther Manufactures Consent for Imperialism Among Oppressed Groups By Samantha Youssef https://www.academia.edu/143503421/Encoding_Empire_How_Black_Panther_Manufactures_Consent_for_Imperialism_Among_Oppressed_Groups?source=swp_share

Donald Duck Does D.E.I. ft Samantha Youssef and Jared Ware (Saturdays with Renee) https://www.youtube.com/live/Toak26j_Z-Q

True Hollywood Stories on the Military Industrial Complex Featuring Samantha Youssef https://www.youtube.com/live/XQM5s3ZEctc "]]></description>
<dc:subject>2025 samanthayoussef jaredball andor media reneejohnston film filmmaking starwars emotion manipulation storytelling narrative</dc:subject>
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    <title>Subverting Radicalism: How Andor and All Films Do It! ft Samantha Youssef - YouTube</title>
    <dc:date>2025-08-18T04:09:12+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=wo7pXp1SgLY</link>
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<item rdf:about="https://www.youtube.com/watch?v=XQM5s3ZEctc">
    <title>True Hollywood Stories on the Military Industrial Complex Featuring Samantha Youssef - YouTube</title>
    <dc:date>2025-08-18T04:08:44+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=XQM5s3ZEctc</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["On Saturday and Sunday Palestinian-Ukrainian artist, character animator, and award-winning animation director Samantha Youssef will join Saturdays with Renee and MAKC for back to back episodes! Samantha has worked in both feature films and video games for Walt Disney Animation, Filmax, and Ubisoft. Folks have probably seen some of her previous conversations with Dr. Jared Ball on Black Liberation Media and IMIXWHATILIKE and her viral instagram reels about Superman and Andor. 

[Saturday:

"Donald Duck Does D.E.I. ft Samantha Youssef and Jared Ware"
https://www.youtube.com/watch?v=Toak26j_Z-Q ]

On Sunday's show specifically we'll get into the relationships between Hollywood and the Military Industrial Complex and hopefully touch on some aspects of these relationships that may not be exactly secrets, but are not well known by many. Youssef is a critical film scholar with a great deal of personal experience working with major Hollywood and video game studios, and she is sure to help us sharpen our own critical analyses of the popular culture industry in the heart of empire. 

Here is Samantha's linktree to follow her on social media, support Palestinian mutual aid, and find her work: https://linktr.ee/samanthasketches

Joining us in this roundtable discussion with Samantha we be Dr. Jared Ball (IMIXWHATILIKE/Black Liberation Media), Renee Johnston (Saturdays With Renee/BLMedia), and Mtume Gant (Within Our Gates).

THEATERS OF WAR: THE MILITARY-ENTERTAINMENT COMPLEX - Tim Lenoir and Henry Lowood: 
https://web.stanford.edu/class/sts145/Library/Lenoir-Lowood_TheatersOfWar.pdf

Visit https://lifeline4gaza.com/ to find and support nearly 1,000 Palestinian survival campaigns in Gaza.

Some of Samantha's previous appearances with Dr. Jared Ball

 Subverting Radicalism: How Andor and All Films Do It! ft Samantha Youssef
https://www.youtube.com/watch?v=wo7pXp1SgLY

""We See the Audience as Marks!" the Psychology of Manipulation in Film ft. Samantha Youssef"
https://www.youtube.com/watch?v=cNN65kgDpwY

"Encoding Empire with Samantha Youssef"
https://www.youtube.com/live/Vev644NSDks "]]></description>
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<item rdf:about="https://www.youtube.com/watch?v=BTAl9cb8UKQ">
    <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://www.youtube.com/watch?v=WIenAw1_-F4">
    <title>Two Ways To Film The Same Scene (#2) - YouTube</title>
    <dc:date>2025-08-02T20:54:18+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=WIenAw1_-F4</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["SOURCES

Vila, Xavier, and Alice Kuzniar. “Witnessing Narration in ‘Wings of Desire.’” Film Criticism, vol. 16, no. 3, 1992, pp. 53–65. JSTOR, http://www.jstor.org/stable/44075970

Fusco, Coco, and WIM WENDERS. “Angels, History and Poetic Fantasy: AN INTERVIEW WITH WIM WENDERS.” Cinéaste, vol. 16, no. 4, 1988, pp. 14–17. JSTOR, http://www.jstor.org/stable/41687585

Ehrlich, Linda C. “Meditations on Wim Wenders’s ‘Wings of Desire.’” Literature/Film Quarterly, vol. 19, no. 4, 1991, pp. 242–46. JSTOR, http://www.jstor.org/stable/43796511

Casarino, Cesare. “Fragments on ‘Wings of Desire’ (Or, Fragmentary Representation as Historical Necessity).” Social Text, no. 24, 1990, pp. 167–81. JSTOR, https://doi.org/10.2307/827833

Caldwell, David, and Paul W. Rea. “Handke’s and Wenders’s Wings of Desire: Transcending Postmodernism.” The German Quarterly, vol. 64, no. 1, 1991, pp. 46–54. JSTOR, https://doi.org/10.2307/407304

Michael Sexson, "The Storyteller and Wim Wenders' Wings of Desire"
https://thecresset.org/FilmArchive/1993/Sexson_March%201993.html

"Theatres of Architectural Imagination" Edited by Lisa Landrum, Sam Ridgway"
https://www.routledge.com/Theatres-of-Architectural-Imagination/Landrum-Ridgway/p/book/9781032286112

Stuart Jeffries, "The Storm Blowing from Paradise: Walter Benjamin and Klee's Angelus Novus"
https://www.versobooks.com/blogs/news/2791-the-storm-blowing-from-paradise-walter-benjamin-and-klee-s-angelus-novus

Walter Benjamin's Nine Theses On The Philosophy Of History
https://www.sfu.ca/~andrewf/CONCEPT2.html

Ebert's review of City Of Angels
https://www.rogerebert.com/reviews/city-of-angels-1998

MUSIC (via Epidemic Sound)

The Road Less Travelled - Christoffer Moe Ditlevsen
The Seeds We Sow - David Celeste"]]></description>
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<item rdf:about="https://www.youtube.com/watch?v=euahMnkSDiw">
    <title>Overthinking Why Dive Watches Are All the Same - YouTube</title>
    <dc:date>2025-07-30T22:49:28+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=euahMnkSDiw</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["You’ve seen it before — the rotating bezel, the luminous dial, the rugged steel case. Whether it’s a Rolex Submariner, a Seiko SKX, or a $200 homage, the dive watch has become one of the most iconic and instantly recognizable objects in modern design.

But how did we get here? Why does every dive watch — from luxury icons to affordable beaters — follow the same visual formula? And what does that say about us, about design, and about the myths we choose to wear?

In this video, we explore:

The history of the dive watch, from military tool to cultural icon

The aesthetic convergence that shaped its design language

The brands that dared to challenge the mold — and why most didn’t stick

How semiotics, philosophy, and social media help explain the sameness

And what the future might hold for one of horology’s most enduring forms

This isn’t just about watches. It’s about tradition, identity, nostalgia — and the power of design to become myth.

👇 Chapters
00:00 - Intro
00:58 - Origins
03:20 - Formula
05:16 - Rulebreakers
07:37 - Form follows function
09:31 - Design conservatism 
11:29 - Social media
13:26 - Progress
15:12 - The future"]]></description>
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</item>
<item rdf:about="https://www.youtube.com/watch?v=voSv87wg8oM">
    <title>#49 “I’m more about people than more about brands” – Allen Farmelo, Founder of Beyond the Dial - YouTube</title>
    <dc:date>2025-07-25T08:23:37+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=voSv87wg8oM</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Beyond the Dial started off as a podcast that gave Allen a creative outlet to deep dive and discuss watches in a way that working in the watch publication world never did. When COVID hit, his brand grew and he decided to establish his writing, taking a unique perspective by looking at watches through different academic disciplines. In this episode we discuss how Allen and his team keep their journalism authentic and the perception consumers have on watch manufacturing."

[See also:

"#78 “When I put it on I feel the message was received ” – Allen Farmelo, Founder of Beyond the Dial"
https://www.youtube.com/watch?v=dkQ2qZT26vI

"In part 2 of our interview with Allen, we discuss how Andy Warhol inspired him, the American watch scene, and how pocket watches and rail road watches became collectible items."]]]></description>
<dc:subject>allenfarmelo 2021 watches thewaitinglist history watchmedia journalism china switzerland watchmaking pr marketing uk us heritage honesty swissmade manufacturing business collecting watchcollecting colonization whitesupremacy europe eurocentrism labor japan india craft prejudice nationalism luxury communism capitalism americandream anticommunism ussr sovietunion russia propaganda 1950s 1960s 1970s 1980s jaclynli danielsum lunglungthun filters hollywood socialmedia perception redscare mccarthyism storytelling brainwashing influence madeinusa madeinamerica andywarhol pocketwatches railroards railways railwaywatches shinola auntjemima iceland industrialization rail hamilton ads advertising race racism prejudices difference othering multiculturalism whiteness nyc singapore hongkong education humancondition rolex bremont cartier waltham timex patekphilippe elgin ball bulova trumancapote harperlee edouardmeylan hmoser</dc:subject>
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    <title>Can You Believe Your Own Eyes? Not With A.I. | Op-Docs - YouTube</title>
    <dc:date>2025-06-25T02:14:57+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=Sf3wEg9tsCY</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Film and text by Maximilien Van Aertryck and Axel Danielson:
The camera is a tool — but to do what? Images shape our daily life, yet we rarely question how they’re made or why.

As filmmakers, we’re fascinated by how humans use cameras and by the immense influence images have. For 15 years, we’ve investigated the history of the camera, and we’ve turned the material we gathered into a feature documentary, chronicling how people behind the camera went from capturing the image of a backyard to today’s multibillion-dollar content industry.

The video above, “Death of a Fantastic Machine,” is a shorter version of that documentary, and here we focus on something that emerged as the key factor: how economic forces have shaped what we see, from the earliest photography to the algorithms and A.I. of today.

Some say there are an estimated 45 billion cameras on earth today, giving humankind access to perspectives far beyond our own reach. But the very tool that could help us understand the world is increasingly used to distort it. With A.I., this distortion has reached a new level. When any photo or video can be manufactured, what happens to the camera’s credibility? Can we still trust what we see?"

[via:
https://kottke.org/25/06/death-of-a-fantastic-machine

"Death of a Fantastic Machine (aka the camera) is a short documentary on “what happens when humanity’s infatuation with itself and an untethered free market meet 45 billion cameras”…and now AI. It’s about how — since nearly the invention of the camera — photos, films, and videos have been used to lie & mislead, a trend that AI is poised to turbo-charge. Not gonna sugar-coat it: this video made me want to throw my phone in the ocean, destroy my TV, and log off the internet never to return. Oof.

The short is adapted from a feature-length documentary directed by Maximilien Van Aertryck and Axel Danielson called And the King Said, What a Fantastic Machine [https://www.bullittfilm.dk/fantastic-machine ] (trailer [https://www.youtube.com/watch?v=z7TcmTeuCCo ]). Van Aertryck & Danielson made one of my all-time favorite short films ever, Ten Meter Tower [https://kottke.org/17/02/ten-meter-tower ] (seriously, you should watch this, it’s fantastic…then you can throw your phone in the ocean).

P.S. I hate the title the NY Times gave this video: “Can You Believe Your Own Eyes? Not With A.I.” That is not even what 99% of the video is about and captures none of what’s interesting or thought-provoking about it. However, it is a great illustration of one of the filmmakers’ main points: how the media uses simplifying fear (in this case, the AI bogeyman 🤖👻) to capture eyeballs instead of trying to engage with complexities. “Death of a Fantastic Machine” arouses curiosity just fine by itself."]]]></description>
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<item rdf:about="https://www.youtube.com/watch?v=Q0FG0b0Dm58">
    <title>No-Go London - YouTube</title>
    <dc:date>2025-06-21T23:28:37+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=Q0FG0b0Dm58</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[Same can be said about San Francisco, NYC, Los Angeles, etc. in the US.]

"If life already feels precarious on your own high street, then a city like London must be ten times worse? 

Full Show Notes: https://thejaymo.net/2025/06/21/2515-no-go-london/ "

"Over the last few months I’ve been having a conversation with someone about why, exactly, “London is over/a bleak woke dystopia” has become the big talking point on the right. For many, London in their imaginary is some kind of end-times mash-up of: Blade Runner, stabbings, TikTok teens in ramen restaurants and roads blocked permanently by Just Stop Oil.

A view that when interrogated I think, tells us far more about life outside the capital than about the city itself.

First, The biggest burst of dislocation I have felt about the decline of this country wast not on a night bus through central, but back home in Thanet. 

With it’s seaside towns full of boarded shops, chain coffee shops and disappearing bus routes.

Over Easter a family friend, retired,  muttered over a mug tea that the town had tipped into violence; no police, no manners.

Later, walking in the Old Town, two cars locked bumpers. Drivers were out, shouting, slapping bonnets; passers by spilling out and joining in. The next day through a restaurant window, I watched a BMW cut off a young couple crossing the road. One pedestrian shouted, and the driver hit the brakes and got out, forehead to forehead with a guy shouting “you want some?” 

A lorry-driver, stuck, ended up getting out and playing referee until the driver moved on. 

My parents say these flare-ups are now routine. Maybe the pandemic fried everyone’s fuse. There’s anomie in the air. 

Right now, at home, there’s a dispersal order in place after a brawl in the same street. Thrown bottles, and smashed windows. Yet flip on the news and this sort of mayhem is always somewhere else; a stabbing in Hackney followed by a clip of Sadiq Khan looking concerned. An age based dispersal curfew aimed at young people is almost unimaginable in London, but they have been normal outside the M25 for decades.

If life already feels precarious on your own high street, then London must seem ten times worse. 

“London is Over” is a narrative fault-line.  

English culture has never quite trusted the capital. Blame Hogarth; blame the Victorian penny dreadfuls; blame Dickens if you like. The metropolis plays the villain because stories need a face; and London, unlike a declining business park in Essex, is a ready-made psychic landmark. Add in its diverse population and the scene is set. A convenient Other to shoulder the nations anxieties.

Yes, London has some grim statistics; but so do Glasgow, Manchester, Nottingham. Yet overall, crime is down. 

Meanwhile, rural crime costs farmers millions, emergency response times in the sticks are way up, and deaths of despair peak in coastal towns. Plus you don’t get regular mass brawls on the beach in London.

The countryside and suburbs in my opinion just fails to film well. Distance matters, but cameras matter more. I made an episode 5 years ago about how the media and outside of London. It’s more urgent than ever. Camera crews can reach Soho in twenty minutes; but they need hours and a packed lunch to get to Eastbourne. So the capital always wins for airtime.

Older boomers, more rural with patchier broadband absorb a loop of London violence on TV. Whilst younger users in the city watch something else online.

Auntie May in the village watches the BBC at 6pm and scrolls Facebook between her soaps: and the algorithm serves her the same knife-attack clip twice.

Back in the 70s, Gerbner called this mean-world syndrome: the more TV you swallow, the nastier the world looks. In Britain 2025, the mean world is in our pockets with us all the time. The villains are migrants, eco-warriors, gender-neutral baristas. But strip those urban images away and the anxiety out in the shires, beyond the screen has nowhere obvious to land.

Projection does useful work. If your GP’s down to one doctor, the last bank replaced by a Costa, and there’s an hour’s wait for an ambulance, it’s neater to insist that things must be worse in London. 

So a loop forms: rural unease fuels anti-city talk; national media pumps London footage; Facebook pages ad YouTubers monetise the churn. The capital’s imperfections—and its migrants—become catch-all explanations.

Strangers sell stories. And London has a big cast. Racial characters are handed an old script: once it was the gin-soaked mother; today it’s second-gen teens with Caribbean or Somali roots. Same scaffold; same role.

London isn’t paradise; it’s expensive, noisy, and very unequal. But the portrayal of the capital collapsing under the weight of rainbow flags, vegan burgers is theatre. 

Meanwhile the real rot nibbles away in places where buses stop at 8pm and the mobile signal dies on the high street.

Politicians also know this. And “Take back our streets” polls well with the over-55s, but the problem is, they only ever visit the shopping centre out of town. 

If we insist on villains, let us at least try to choose systemic ones; under-funded services, hollowed out local economies, first past the post in local government. Blaming London (or the people who give it its colour) is as empty as shouting at the sea. 

It fills airtime, gets clicks, but changes nothing on the ground.

I’m not sure what to do about it, I have no advice. But I do know that if you start looking around at your own high street, instead of across at the city’s dark and ominous skyline, the fear will fade. Because the real work, as ever, lies at home."]]></description>
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<item rdf:about="https://www.nytimes.com/2025/06/16/magazine/ai-history-historians-scholarship.html">
    <title>A.I. Is Poised to Rewrite History. Literally. - The New York Times</title>
    <dc:date>2025-06-20T16:34:50+00:00</dc:date>
    <link>https://www.nytimes.com/2025/06/16/magazine/ai-history-historians-scholarship.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The technology’s ability to read and summarize text is already making it a useful tool for scholarship. How will it change the stories we tell about the past?"]]></description>
<dc:subject>ai artificialintelligence 2025 billwasik text writing howwewrite history future culture academia storytelling scholarship</dc:subject>
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    <title>Opinion | Jesus Has ‘More to Say Than Any Human Language Can Carry’: A Q&amp;A With Rowan Williams - The New York Times</title>
    <dc:date>2025-06-10T19:39:15+00:00</dc:date>
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    <dc:creator>robertogreco</dc:creator><description><![CDATA["The New Atheists ‘Attack a God I Don’t Believe In, Either’: A Q&A With Rowan Williams"

...

"Rowan Williams is among the most important religious thinkers in the world. A theologian, poet, playwright and literary critic, he served as the archbishop of Canterbury from 2002 to 2012. I spoke to Dr. Williams about his journey of faith and doubt, why God allows the innocent to suffer and how to interpret the Bible (and how not to). He talked about the New Atheists and the influence on his theology of Fyodor Dostoyevsky, what makes Jesus such a compelling figure and what it means to pastor people through grief. Dr. Williams also talked about how, for him, the Christian faith is “the perspective that enriches.” Our conversation, which has been lightly edited, is the third in a series of interviews I am doing that explores the world of faith.

1. Dostoyevsky Led the Way

Peter Wehner: Let me start out by asking you to describe your journey of faith. As a young adult, what was the pull toward Christianity for you? Was it primarily intellectual or aesthetic or an appeal to the imagination or some combination of those? Did you experience what C.S. Lewis called “Sehnsucht,” an intense longing and divine spark for something that’s unattainable in this material world?

Rowan Williams: I’d grown up in a Christian environment but not a very intense one. It was really when I was a teenager that it began to speak to me, and it did so largely, to pick up your categories, at the imaginative level. It felt like a larger world to inhabit and at a time when I was discovering more and more about the literary world, about philosophical questioning, about the historical roots of our culture.

All of that seemed to me, as a student, enriching and exciting. But it was also brought alive — and here was my good fortune — through particular people who were very important to me at the time, especially my parish priest, who was a huge influence — encouraging, supportive, giving me the message all the time that there’s room for all that in the life of faith.

When I started as a university student — coming into contact with an awareness of human need and human suffering that I hadn’t quite registered before, meeting homeless people when I was a student in Cambridge, the sense that you needed to have quite a capacious picture of human nature in order to see the dignity and the need — that reinforced my feeling that the faith I’d grown into was something which actually allowed you to engage at depth with people.

Wehner: Is the draw of faith for you now essentially what it was when you were younger?

Williams: It’s probably pretty much what I grew up in, in many ways, which is not to say it’s not changed or developed. It’s certainly been battered and tested in various ways. But when I go back to what I was learning at that time, it’s still that same sense that this is the perspective that enriches. This is the perspective that enlarges.

Wehner: You’re a person of great theological depth, but I imagine, like many people of faith, you’ve struggled at various points with doubt. If so, how has that manifested itself to you?

Williams: Looking back, there have been very few times when I felt what you might call a substantive doubt of the whole thing. You know, “Is any of this true?” It’s much more, “Does any of this make sense where I am?” I’ve always resonated with the person who said, “God exists, but I don’t believe in him,” in the sense that the system’s there, the pattern’s there and it’s compelling. But how much am I actually inhabiting it? How much am I making it my own? How much is it really making sense of where I am? And there have been periods, especially of personal loss and personal awareness of struggle and uncertainty, where it’s been not so much I doubt that God exists but I don’t know whether I’m connecting with what’s there — and I don’t know how to.

Wehner: Those moments, that particular manifestation of doubt, how have you worked your way through that?

Williams: It’s a lot to do with doing the next thing. It’s a lot to do with trying to hold your position, and I don’t mean an intellectual position. I mean holding a place where you are standing firm and doing what you can do. I was very struck as a young man reading the fiction of Iris Murdoch, particularly her novel “The Bell.” At the end of that, you’re faced with a chapter about the experience of somebody who has been intensely involved in religious activity and has just had an absolutely traumatic shock to everything that he believes in and everything he holds dear.

He’s living next door to a convent, and all he can do is to go to Mass every morning. And I thought, “Yes, I see what’s going on there. He’s doing the next thing.” He’s treading water, you might say, but also he knows something can be done — not to keep the darkness at bay but to keep breathing, to keep moving, to keep open to something. I think that sense of wanting to keep open to something is probably quite near the center of what I believe about a spiritual life. You don’t pray or meditate or contemplate in order to get results, exactly.

Wehner: Sometimes doing the next thing is the best thing to do. You wrote a book on Fyodor Dostoyevsky. He’s one of the writers who have meant the most to you, and it’s understandable why. What is it about the work of Dostoyevsky, in particular, that has so impressed you in the context of faith? How has your theology been shaped by him?

Williams: I discovered Dostoyevsky as a teenager and read him fairly intensely as a student and as a graduate student. What struck me most was two things. One is he’s very good at depicting characters who are holy, who are in some sense transparent to the divine and also letting you see that they’re not going to have all the answers. They’re going to be the window that lets the light in. And I thought, “That tells me something about holiness. Don’t look for the leader, the controller, the problem solver. Look for where the light gets in.” In Leonard Cohen’s famous image, the persons who are part of the crack that lets the light in.

Throughout my life I’ve been privileged to see a number of individuals in whom I could say, “Yes, there’s the crack. They’ve let the light in.” They’ve been people of varied accomplishment or status, but the one thing in common is things look different in their light. So that was one thing I learned from Dostoyevsky.

I suppose the other thing was Dostoyevsky’s absolutely relentless commitment to making it as difficult for himself as he possibly could. He says: You want the grounds for atheism? I’ll tell you the grounds for atheism. Let me lay out to you all the good reasons for not believing in God.

Of course, in the famous chapters in “The Brothers Karamazov” where Ivan Karamazov talks about the suffering of children, that’s Dostoyevsky saying: Let me show you. You think you have reason for not believing? I can show even better reasons for not believing. And pushing through that, saying: I’m not going to pretend it’s simpler than it is. And saying at the end of that: I’m not going to pretend to give you an answer. I’m going to give you the fact that love is possible in the middle of this.

The moment of reconciliation, of love, of forgiveness, of acceptance is as real as all the nightmares that he describes. Dostoyevsky, as it were, flings down his pen and says: Well, there you are. You make your choice. The world is full of evidence against love, against reconciliation, against the possibility of a God who holds the world.

The probabilities stack up in a fairly unpromising way, and then a moment happens where the light gets in, where something in the world refuses to be crushed by that.

Nick Cave, the singer and songwriter, with whom I had a long conversation a couple of years ago, spoke about the impact on him of the tragic death of his teenage son. He said his main feeling was not that it made faith harder but that it made faith more imperative: I’m not going to be defeated.

I think there’s something of that in Dostoyevsky, when at the end of that astonishingly painful and difficult section of “The Brothers Karamazov” Alyosha kisses his brother. It’s as if Dostoyevsky is saying: Well, that is as real as any amount of suffering. Make what you will of it. I’m not going to tell you, but there it is.

Wehner: Let me stay on Dostoyevsky for a moment, because, as you said, his indictment of God was so searing in “The Brothers Karamazov” that he wasn’t even confident that he’d adequately refuted it. That raises the issue you touched on, which is theodicy, the effort to resolve the problem of evil with the existence of an all-powerful and all-benevolent God. You touched on this in your answer, but I want to home in on it a little bit more. What is Dostoevsky’s response to suffering? If I understand you right and if I’ve read Dostoyevsky correctly, the answer is not philosophical or theological. It’s primarily love. How would you respond to people who ask this ancient question: Why does a good God allow the innocent, the children, to suffer?
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Williams: The question I want to ask in reply — though, of course, I can’t ask it in quite these terms if somebody is actually in the middle of suffering — is: What would a satisfactory answer to that look like? What would our lives be like if I could say, “I’ll tell you exactly why your child died. I’ll tell you exactly why you suffered that terrible accident. I’ll tell you exactly why people are dying daily in Ukraine and Gaza and Congo. I can tell you, and it’ll all be clear, and you won’t have to worry about it any longer.”

What would that feel like? When people say they want an answer, it’s not that kind of answer they’re really looking for. I don’t know entirely what to make of that. But whenever people say, “Have you got an answer?” I say, “Do you really want that kind of answer?” Imagine the bereaved mother turns up at the parsonage door and says, “Why should my child die?” And you say, “Because of this, this and this. Satisfied? See you next week.”

No, that’s not it. And what is “it”? I don’t entirely know, except that people live with these horrors. People make personal sense of them. People are sometimes opened up by them to depths they hadn’t expected. That’s, again, as Dostoyevsky would say, it’s as much a part of the fabric of the world as anything else.

The other dimension was that he’s always nudging us to ask, “You talk about suffering. So what’s your complicity in this?”

He invites you to understand that you are part of the problem. You’re part of what tangles and embroils the world more and more in injustice and suffering. Just step up to that and say, “Yes, I’m part of this. I’m responsible. I’m answerable for the neighbor.” We’re not just talking about love in a vague and general way, but as he put it and as the great Dorothy Day liked to quote, this is a “harsh and dreadful love.” This is asking something really quite frightening of you, that you understand your solidarity in this.

Wehner: I imagine what some people might ask, what Ivan Karamazov might ask, isn’t simply, “Tell me the reason that this happened.” It might be, “Why did you allow it to happen in the first place?”

Williams: Of course. It essentially has to do with the basic question of why there is anything other than God. Because anything other than God is going to be, in some ways, unstable, in some ways flawed. If God made the perfect, God would make another God. So why does God invest in what isn’t God? And not being God, I don’t have a very clear sense of the answer to that, nor do any of us.

2. The Purpose of God’s Elusiveness

Wehner: Why would God deny tangible assurances — empirical and nearly incontestable proofs — to those whom he loves and who desperately cry out for it?

Williams: It’s not that God is deliberately making things difficult but that God is God. God is not a thing among other things. God is not an item in the world, and God is not a response to our mail order form. He doesn’t simply slot into what we think is intelligible or manageable. God is the infinite, unmanageable, unconditioned context of all that we are and we do, and so it’s not entirely surprising if we can’t boil that down into something we can manage. That’s why, of course, in Hebrew Scripture, when the people of Israel gather at Mount Sinai, the mountain is covered with cloud and fire, and God says to Moses: Keep your distance. I’m sorry. This is how I am. You’re not going to boil me down to something that’s manageable.

There’s always an innate depth, inaccessibility, unmanageability about this, and at times that comes home to us with enormous force when we would like there to be a simple answer — part of the burden of what Old and New Testaments alike say: Be careful of idolatry. You’re always prone to making a God you can manage.

That’s what idolatry boils down to. You can make that manageable God in any number of forms. You can make it in religious forms. You could make it in economic and social forms. Just be very conscious that, as the Lord says to Moses, “You shall have no other gods before me.” Don’t go putting in his place something which is a pseudo-God.

When you’ve got all that going on in the background, then it does seem to me that there’s always going to be that elusiveness, that “something around the corner of your vision” quality about God. At the same time you are talking about this elusive and unmanageable, unimaginable God there have been lives and signs and nudges and hints everywhere you look. In the work of some great mystical writer like St. John of the Cross you have that sense that at one and the same time, there’s nowhere you can pin God down in the world and there’s nowhere where God isn’t. And you are always poised on the knife edge.

Reinforcing that, look at the basic story of Christian faith, the story of Jesus Christ, and you see that Jesus himself, as he moves toward his death, stares into the darkness and says: Well, can’t you do something to stop this? “Let this cup pass from me.” On the cross he asks, “Why have you abandoned me?” And those things have always been profoundly difficult for Christians to get their mind around but also profoundly important in helping us see that Jesus’ humanity is real. It’s as three-dimensional as ours. And also, when we feel those dark moments of rebellion, we’re not alone. Those words have been spoken by the son of God himself, so don’t be too surprised. As St. John of the Cross says in one of his works: Don’t imagine that God is going to make things so much easier for you than they were for Jesus.

Wehner: It sounds like what you’re saying is God is elusive but deeply present.

Williams: Deeply present, yes. Absolutely that, and I love the Jewish image of the divine glory, the Shekinah, being present everywhere in the world but present as if it were a beggar in the street, as if scattered, exiled, obscure. Yet around every corner is this presence, this insistent reminder.

Wehner: Early in my Christian journey, I was struck by the exchange that Jesus had with Thomas, when Jesus told Thomas, after Thomas asked for evidence, “Blessed are those who haven’t seen and believed.” I thought, “Now, why is that? Why would it be better to believe not having seen?” I was never fully able to answer that question, but I came to understand that there was something in the nature of faith that was important to God, that Kierkegaard’s leap of faith meant something to him.

Williams: It’s a real theme in St. John’s Gospel, isn’t it? Because it’s not only the story of St. Thomas but also earlier on, at the Last Supper, when Jesus says, “It is expedient for you that I go away,” as if Jesus is saying, “If I stay around, it’ll be all too easy for you to be comfortable with the assurance of the love of God and the healing power of God that I have embodied for you. But actually, for you to be open to the full range and depth of what God is going to give through the life of the Holy Spirit, then you’ve got to let go of having me around as a best friend. It’s more than that.”

“The point of my going away is that immeasurably more will open up. If I don’t go, the Holy Spirit won’t come,” says Jesus, in effect. “If you cling to me as a human friend, a warm presence, that’s not it.” There’s a joy and a fullness beyond that.

That’s the good news. The bad news is that in order to open up to that fullness, you’ve got to let go of pretty well everything you think makes you feel better, which is why Christian spirituality has a very complicated relationship to joy and fulfillment. It’s all about joy and fulfillment, and it’s all about the fact that joy and fulfillment, if they’re real, if they’re durable, cost you.

Wehner: You’ve debated some of the most prominent New Atheists, as they were referred to some 15 years ago. One of them is the evolutionary biologist Richard Dawkins. What do you think they might have missed in their understanding of faith or of God?

Williams: It’s been an interesting experience, being in debate with Richard, with others like A.C. Grayling and Philip Pullman. I always learn from those encounters, and I have respect and affection for them. I think what’s missing sometimes is precisely that sense that when we talk about God, we’re not just talking about a thing or a person, in the sense of an individual. As a Christian, I believe in God as Trinity. I believe in God as an interweaving of personal agencies, the love and mutuality of what we call the Father, the Son and the Holy Spirit. In that sense, I’m not saying I believe in an impersonal God. Far from it.

But very often the God who’s being attacked and questioned by the Dawkinses and the Graylings and the Pullmans of this world is a God I don’t believe in, either: an individual who sits in the remote parts of the universe and treats the rest of the universe as an intriguing hobby for himself, rather than the God who is much more like the ocean that soaks through everything that is and yet is infinitely beyond it.

I found recently in the work of a 17th-century Welsh Catholic writer, Augustine Baker, a wonderful image: that the soul without God, the soul cut off from God, is like a whale stuck in a pond. It longs for the ocean, he said. It can’t be in the depths where it belongs. Now, I don’t hear very much of that sense in the New Atheists. They come up with all sorts of very neat and, as far as they go, perfectly rational arguments about how difficult it is to believe in some chap out there in midspace.

I want to say, “Well, yeah. I have no interest in a chap out there in outer space, none at all.” But I am quite interested in what the infinite, unconditioned life of generosity is within which I and everything else live. And I have every interest in the story of how that life astonishingly comes to fruition in the middle of our history in the life of Jesus. Now, that’s something I do think I can spend my life thinking and praying about and something that transfigures the horizons in which we live.

So the old chestnut about talking about the existence of God is like saying, “Well, there’s a chocolate teapot infinitely circling the earth, and it happens to be invisible and intangible and incapable of offering any evidence at all for its presence, and I still believe in it.” Well, no. Open a page of St. Augustine or George Herbert or T.S. Eliot or Dostoyevsky, and chocolate teapot doesn’t quite do the work there.

Wehner: It sounds like you reject the God of the New Atheists but your God is not their God.

Williams: Indeed, and there’s a very interesting paper by a French writer, Olivier Clément. He was a convert to Russian Orthodoxy, and back in the late ’60s he wrote a very interesting essay called “Purification by Atheism,” in which he said, long before the age of Dawkins and the others: When people talk about the death of God, when people talk about the impossibility of belief, one thing we might say in response is, “Well, thank God, you’ve been delivered from a particular kind of idolatry in mythology. Thank God, you’ve broken through the chocolate teapot level and realized that it’s much more exciting than that.”

Wehner: Let me ask you an interpretive question related to Christianity. How would you recommend Christians think about situations in which they’re convinced the Bible is teaching something that their moral conscience would otherwise say is horrifying? For example, the slaughter of the Canaanites, including children and other innocents, or God predestining people before time to eternal conscious torment.

Many American evangelicals argue that our moral consciences are fundamentally flawed and often unreliable and therefore we have to let the Bible shape our moral consciences rather than the other way around. Their view, as I understand it, is 1) the Bible, inerrant and infallible, clearly teaches these things and 2) human beings are in no position to question any action of God. They’d much rather have God’s revelation — or what they believe to be God’s revelation — be the source of what they consider to be true and good. They don’t want to rely on human logic or moral intuition, even if God’s revelation seems to endorse genocide or God creating individuals predestined to experience unceasing agony. What problem, if any, do you see with this fairly widely accepted approach to the Bible and moral reasoning?

Williams: I’m familiar with the approach, and I’ve come across it in parts of my own church from time to time. The problem that strikes me is that it takes the Bible completely out of any sort of human context, as if the Bible had fallen from heaven as a self-contained unit, as if it were exactly like what the Quran claims to be. But the Quran, of course, is radically different. The Quran was composed in one short period and proclaims itself to be direct revelation. The Bible doesn’t seem to work like that. The Bible is the accumulation of what you might call the interaction of God with a succession of human societies.

Within the Bible itself, you have little bits that are in tension with one another. To take one of my favorite examples: You have God apparently telling Elisha to go and anoint a new king for Israel, Jehu, and to overthrow the dynasty of Ahab, and there’s a blood bath that follows. And then, at the beginning of the book of Hosea, a century or so after that, you have a statement essentially that that blood bath was an offense in the eyes of God.

So you have already — and this is the really important thing — you have the self-critical element within Scripture. The one thing you don’t have is a revelation you can grasp hold of and say, “Now I can weaponize this against whoever I choose.”

Now, that means if you read the Bible as it stands — literally, if you like — what you have is a painful, protracted conversation on who the God is that is engaging with you. There are moments where you will draw radically mistaken conclusions from that.

There are also moments where you can see a continuity you hadn’t expected. I love the idea that the Book of Ruth was written as a pushback against an excessively exclusive racial policy in the Judaism of the postexilic period, where somebody said: All right. You may be very unhappy with the Jews returning from exile and marrying the people of the land. But don’t forget that King David’s great-grandmother was a Moabite.

Even within the New Testament, you can see the gradual emergence of a recognition that this new community doesn’t work by quite the same standards and quite the same protocols as the Jewish world. It’s continuous, but it’s also fresh. What does that mean? You have sometimes the painfully difficult language of antisemitic hatred that appears in pages of the New Testament. At the same time, you have in St. Paul the clear affirmation: Well, I’m proud to be Jewish, and the future of the world is somehow connected with the history that begins with Jews, and don’t forget it.

So a process is always going on, a lively exchange, a discovery over time. Now, I think that is how to read the Bible literally, and I think that is quite consistent with saying the Bible is the Word of God, in the sense that the Bible tells us what God needs us to know. And looked at as a whole, it says what we need to know is that we are made freely by God, in God’s image. That we are from the very first moment of being made in God’s image also capable of an almighty train crash of misunderstanding and misrepresentation. Our massive misinterpretation of who God is and what God is up to doesn’t frustrate the purpose of God. God is faithful. Any Jew would say that. A Christian would add that faithfulness is embodied once and for all in the event where the worst thing possible is done to the incarnate representative of God and God is not defeated by it — the cross and the Resurrection.

Now, I think that gives you quite a bit to go on, and I think it does indeed shape a moral perspective on things. What it doesn’t do is say anything and everything that is described in Scripture as good must be accepted as good and anything that Scripture describes as bad has to be accepted as bad — never mind the context, never mind the place it holds the unfolding story that I’ve mentioned. I just don’t think it can be quite that simple.

That’s not putting our values or our principles in the place of the will of God. It’s much more saying: Let the whole of that story shape my principles and my vision. Because when that happens, I don’t see that it’s consistent to believe in a God who deliberately endorses genocide, a God who deliberately creates people for damnation. Is that the God who is at work in the story of faithfulness, the story of a constant radical reclaiming of the human world through compassion and absolution, the God of Jesus?

So, yes, I think the idea that we just park our instinctive moral reactions and accept what the Bible says is a travesty. And I would use that strong a word, because of course, our moral instincts are faulty, but they’re faulty because they are self-protective, self-serving, idolatrous, short term, based on fictional views of who we are and what we are. Yes, they’re faulty in all sorts of ways. But when I say I can’t imagine God commanding genocide, then my inability to believe that God commands genocide is precisely not a failing to do with my selfishness or my idolatry. I think it’s the beginnings of a sense of where the true God is at work and where he isn’t.

So I want us to read the Bible again and again. I want us to read it literally and closely and intensely and prayerfully and to read it as a whole and not just to say, “It’s a sort of monolithic block.” It’s much more interesting, much more challenging, much more transformative if we can get into the conversation that the Bible embodies.

Wehner: It sounds like what you’re saying is that the Bible is both the Word of God and a dialectic and that God has invited human beings into the process in an intimate way beyond simply being transcribers.

Williams: Absolutely, yes. Because of course, if you say that the whole of the Bible is the Word of God, then you are saying that, for example, the passionate protests against God that you find in the Book of Job are the Word of God. That the Psalms — where the psalmist says: Where are you? What are you doing? I can’t come to you. Are you deaf? — that’s the Word of God. The words of protest and pushback against God, that’s also what God wants you to know. He wants us to hear: It’s all right to express that anguish and frustration. Don’t panic. I’m not going to go away because you shout at me.

3. The Jesus Who Never Stops Asking Questions

Wehner: The theologian David Bentley Hart said that he finds Jesus to be “infinitely compelling.” Hart says he finds the Christian religion is “a dogmatic and institutional reality” secondary and even marginal to his faith. It’s the person of Jesus, “the presence of God in time,” he finds impossible to abandon. I wonder if you could talk about what aspects of Jesus you might find infinitely compelling.

Williams: Let’s begin with Jesus as a storyteller. One of the things that people seem to have remembered about Jesus is that he told extremely good stories and stories which left you with an enormous agenda of self-discovery. So with the great classical stories like the good Samaritan and the prodigal son, you are left not with a neat answer to the question. You are left with a question to you: Who do you identify with? Where do you stand in this? And what are you going to do? Are you going to be the sort of person who resents the generosity shown to another, like the elder brother in the prodigal son? Are you going to be the sort of person who finds a good religious excuse for not crossing the road to attend to suffering?

So the first thing that strikes me is that the compelling distinctiveness of Jesus has a great deal to do with the stream of powerful, disturbing stories which put you on the spot, which make you ask: So who am I? Where am I? And do I know who I am yet?

The second thing is — it’s an odd thing to say about the figure of Jesus in the Gospels, but I’ve always been struck by it — from time to time there’s a deep impatience in Jesus: How can I make this clear to you? You’re an unfaithful generation. He bursts out in exasperation at the disciples. Do you understand nothing? Even in exasperation of the crowds. Jesus said: You’re all looking for miracles.

In a strange way, I feel that’s a rather compelling aspect of the story of Jesus. There’s more going on in him than he can express, and sometimes it kind of bursts out. And when I think of what the divinity of Jesus means in that context, one of the signs of it is that feeling he’s got more to say than human language can carry. As he says in St. John’s Gospel, “I have many things to say to you, but you cannot bear them now.”

And it’s almost as if Jesus goes to the cross saying: The only way of telling you what the love of God is like is to absorb this monumental violent injustice and show you that God is not crushed by it.

Not words but the act of redemptive self-giving. The image I’ve sometimes used, especially with St. Mark’s Gospel, is it’s almost as if you’re looking at a Jesus who stands at the mouth of an enormous dark cave. Behind is a mystery you can’t get at and express. He’s trying to tell you something about it, and it doesn’t always come through. But it comes through finally in the act and the suffering rather than in the words. And that I’m completely compelled and haunted by.

But on top of that, the more obvious things — the instinctive compassion for the rejected and the forgotten — and the deeper tension when people come for healing and Jesus turns to them and says: So what do you want me to do? You have to say it. You have to tell me. It’s as if he’s saying: Step out. Let me know where the pain is. Let me into that.

I find it so deeply moving that he doesn’t wave a wand. He attends. He spends the time. And of course, famously in the story of the woman taken in adultery where he, in effect, enacts an enormous joke. Addressing professional teachers of the law, you could paraphrase his response: So you are very keen to uphold the standards of the law, right? You’re clear the law says such behavior is sin. So fine, go ahead. If you’re confident that you deserve better from God than this person does, just go ahead. I’ll watch.

And that profoundly convincing and compelling moment when nobody quite has the nerve to say: I deserve a reward from God. And they all drift away. You have that almost comical moment where Jesus looks up from doodling on the ground in the dust and says: Oh, have they all gone? It’s one of those moments which to my mind just shines through with a sense of the eyewitness recollection of something very, very unusual.

Wehner: You mentioned Jesus entering into the pain of others. I want to ask a question about Rowan Williams entering into the pain of others. You’re a renowned scholar, but you’re also known as a man with a pastor’s heart. So I want to ask you this: When you’ve pastored people in the midst of grief — a terminal diagnosis, the death of a dream, the death of a child — what have you found is most helpful for them to receive from you? Is it something you say? Some perspective you can offer? Or perhaps it’s mainly your presence, listening to them, weeping with them, reassuring them, even giving them the space to rage at God. So what does it mean for you to be a minister of the Gospel in those moments?

Williams: The main thing is always accompaniment. You’re not there to answer questions at the theoretical level. You are there to try to embody the God who is not going away. And that does mean sometimes sticking through times when people rage not only against God but against the church, against you personally. And the challenge is: Can you take a deep breath and absorb that as some kind of sign that God is not to be written out of this encounter, this event, and God will not turn his back?

And that’s hard. It’s hard in individual pastoral terms at times because you’d quite like people to go away saying, “Oh, he was so helpful.” And when people say, as occasionally they do, “Well, that’s no help to me at all,” you just have to digest that.

But it’s also something about the church, isn’t it? Because people rage at the church, and I don’t blame them. They rage about its history of exclusion of various kinds of people. They rage about its record on child abuse. They rage about its wealth, its indifference, all sorts of things. And here am I, ordained in the church. So I’m part of that system against which they’re raging. And it’s not part of my job to say, “Oh, it’s not as bad as you think,” but to say, “Yep, it’s pretty bad. And the only thing I can tell you is that we’re still here not because we’re succeeding but because God is present.”

What the church does is not to point to itself as an example of impeccable behavior and triumph and success but to point to the faithfulness of God who won’t let go of even this very unpromising human material. So all of that somehow comes into this business of accompanying, accepting the pain and the anger and trying not to be crushed by it.

Wehner: That’s very moving.

If faith was not a part of your life, how would Rowan Williams be different? And I mean as a person, not vocationally, what part of you that is essential to who you are would be missing? And would the world be less enchanting to you without your faith?

Williams: I certainly believe that the world would be less exciting without my faith. I’ve been blessed with so many examples of people whose faith has, as I said right at the beginning, enlarged and enriched what I see and what I sense.

But what would be different about me? The main thing that came to my mind was I think I’m very much a perfectionist, in the sense that I like to think that I’m doing well, that I can polish my image successfully. And I can be very unforgiving of myself when I get that wrong.

And I think, without faith, that would have made my life even less edifying than it is. I’d have been trapped in that mixture of self-punishing and self-aggrandizing that is so easy to slip into. I aim at a polished self-image, and at the same time, I’m brutally unforgiving of myself if that doesn’t work and unforgiving of others who make it difficult for me.

There are personalities around us, even in some very high places, who seem to be trapped in something of that kind of hall of mirrors. And I guess I would be much more trapped in that without faith, with how to manage the reality of failure, the reality of having to start again, the reality of knowing one’s limitations, the reality of needing to be forgiven.

Wehner: When people have asked me about faith, I’ve said it’s almost as if you’re dropping food coloring into water. It changes everything. It’s not compartmentalized. Over time you may not even be aware how you’re different. So when you think of the question “How would I be different without my faith?” in some respects you think very little would be different, and in other respects you think everything would be different.

Williams: Everything would be different. Yes, that’s right. That’s right.

Wehner: It’s the prism, I think, through which people of faith see things.

Williams: Interesting, isn’t it? That we turn to these images of life in the water, like the whale in the pond once again. Everything’s different if the whale is in the ocean.

Wehner: When you think about your vast work over the course of your life, which traverses so many disciplines and genres, what are the unifying themes? What are some of the things you’ve most wanted to convey to others?

Williams: What I’ve most wanted to convey, I suppose, is that sense of the enrichment just around the corner of your vision, the perspective of that eternally overflowing source of love and mercy and how that lights up everything. I’d like people to see the world afresh. I suppose that’s why my other vocation, if you like, as a poet, has come in there. And I see what I do as a poet and what I do as a theologian or a preacher as absolutely bound up. I’ve been — I still am, to some extent — an academic theologian. I preach regularly. I write poems. They’re all about this new landscape, trying to get people into a new landscape. And if anything that I’ve said or done has somehow kept the door open to the depth and the richness of that new landscape, then I might not have been wasting my time.

Wehner: Well, you’ve helped a lot of people keep a lot of doors open through your life and ministry. So thanks for doing that, and thanks for doing the interview. It was moving and enlightening — and helpful to me on a personal level.

Williams: Thank you very much."]]></description>
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    <title>Wild Magnolias | DigiDocs - YouTube</title>
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    <dc:creator>robertogreco</dc:creator><description><![CDATA["In New Orleans, a vibrant tradition lives on, stitched into the hearts and hands of its youth. Wild Magnolias is a short documentary that follows Corey, Alvon and JaCorey—teenage protégés of master barber and mentor Chief Bo Dollis Jr.—as they are initiated into adulthood as Mardi Gras Indians, a centuries-old Black masking tradition rooted in resistance, pride and artistic brilliance. The film offers an intimate look behind the scenes, capturing the long hours of sewing, storytelling and community building that lead up to the unveiling of each handcrafted suit. Through this process, the tradition becomes a powerful space for personal growth and the preservation of a cultural legacy. At its heart, Alexandra Kern’s Wild Magnolias is a story about how culture shapes identity and uplifts the next generation."]]></description>
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    <title>'Santa Clause for Billionaires': How Bad are Trump's Tax Cuts? - YouTube</title>
    <dc:date>2025-05-18T01:10:12+00:00</dc:date>
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    <dc:creator>robertogreco</dc:creator><description><![CDATA["As Donald Trump and the Republican Party fight to pass his “big, beautiful bill” to cut taxes for the wealthy and gut federal spending for key federal agencies and social support programs, a new podcast miniseries from The Lever is pulling back the curtain on how Republicans became the face of the anti-tax movement.

David Sirota, the founder and editor-in-chief of The Lever and a former speechwriter and senior adviser to Bernie Sanders, joins Mehdi to discuss the podcast, “Tax Revolt”, and the surprising state where the movement took off in the 1970s: California.

Sirota tells Mehdi that while “Democrats were the Santa Claus of spending programs,” Republicans realized they could be “the Santa Claus of tax cuts.”

But as Sirota explains, Republican voters are beginning to sour on the idea of tax cuts as more people have learned that while this “Santa Claus” provides gifts “to the very richest,” those benefits aren’t trickling down to those who need them most.

“We’re living through a time where you can see every day the actual real-world effects of prioritizing tax cuts over a government that can accomplish the most basic necessities that we need it to accomplish,” Sirota tells Mehdi.

Mehdi and Sirota discuss the parts of Donald Trump’s playbook that trace back to the early days of the tax revolt, the lasting impacts of a California ballot measure that has made it nearly impossible to raise taxes in the state, and whether AOC is the heir to Bernie Sanders’ movement.

Chapters:
1:35 ‘Tax Revolt’
4:37 California
7:51 Trump Playbook
10:25 Deficits Don’t Matter
16:15 Bernie and AOC"

[See also:

[11 April 2025] "Are You Ready For The Tax Revolt?
As Trump’s new tax bill advances, The Lever is releasing a four-part miniseries revealing how the anti-tax movement came to dominate Washington."
https://www.levernews.com/are-you-ready-for-the-tax-revolt/

[24 April 2025] "Is The GOP’s Tax Revolt Collapsing?
The anti-tax movement has dominated American politics for 50 years — but it may finally be fraying."
https://www.levernews.com/is-the-gops-tax-revolt-collapsing/

[25 April 2025] "How Art Laffer Created The Cult Of Reaganomics
Economist Art Laffer was the intellectual backbone of every Republican tax cut, including Trump’s. Laffer’s advice: Don’t bother fighting the rich anymore, they’ve already won."
https://www.levernews.com/how-art-laffer-created-the-cult-of-reaganomics/

[16 May 2025] The Secret History Behind Trump’s Big, Beautiful Tax Bill
As Trump’s contentious tax-cut megabill moves forward, explore the untold story of how the anti-tax movement took over the country."
https://www.levernews.com/the-secret-history-behind-trumps-big-beautiful-tax-bill/

and this four-part podcast

[18 April 2025] "TAX REVOLT, Part One: The Man Who Started The War On Taxes
The leader of California’s tax revolt launched a populist revolution to limit his state’s property taxes. The movement evolved beyond his wildest dreams."
https://www.levernews.com/tax-revolt-part-one-the-man-who-started-the-war-on-taxes/

[25 April 2025] "TAX REVOLT, Part Two: Supply Side Santa Claus
How a small group of economists shaped Reagan’s tax policy and the future of the Republican party."
https://www.levernews.com/tax-revolt-part-two-supply-side-santa-claus/

[2 May 2025] "TAX REVOLT, Part Three: Voodoo Economics
A president took a stand on taxes. It radicalized the Republican Party."
https://www.levernews.com/tax-revolt-part-three-the-broken-promise-that-changed-america/

[9 May 2025] "TAX REVOLT, Part Four: The Pledgemaster
Grover Norquist made a name for himself by cancelling politicians who dared to raise taxes. Is his reign ending?"
https://www.levernews.com/tax-revolt-part-four-the-pledgemaster/ ]]]></description>
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</item>
<item rdf:about="https://www.workingtheorys.com/p/the-craft-neal-agarwal">
    <title>In the age of slop, craft is rebellion</title>
    <dc:date>2025-05-08T19:37:37+00:00</dc:date>
    <link>https://www.workingtheorys.com/p/the-craft-neal-agarwal</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The Craft 001: A conversation about craft, code, and creative freedom with indie game artisan Neal Agarwal, creator of Neal.fun."]]></description>
<dc:subject>slop games creativity craft nealagarwal resistance rebellion 2025 anuatluru gaming videogames stories storytelling ai artificialintelligence generativeai genai</dc:subject>
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<item rdf:about="https://dark-mountain.net/about/manifesto/">
    <title>The Manifesto - Dark Mountain</title>
    <dc:date>2025-05-04T23:42:49+00:00</dc:date>
    <link>https://dark-mountain.net/about/manifesto/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["THE EIGHT PRINCIPLES OF UNCIVILISATION

‘We must unhumanise our views a little, and become confident
As the rock and ocean that we were made from.’

1. We live in a time of social, economic and ecological unravelling. All around us are signs that our whole way of living is already passing into history. We will face this reality honestly and learn how to live with it.

2. We reject the faith which holds that the converging crises of our times can be reduced to a set of ‘problems’ in need of technological or political ‘solutions’.

3. We believe that the roots of these crises lie in the stories we have been telling ourselves. We intend to challenge the stories which underpin our civilisation: the myth of progress, the myth of human centrality, and the myth of our separation from ‘nature’. These myths are more dangerous for the fact that we have forgotten they are myths.

4. We will reassert the role of storytelling as more than mere entertainment. It is through stories that we weave reality.

5. Humans are not the point and purpose of the planet. Our art will begin with the attempt to step outside the human bubble. By careful attention, we will reengage with the non-human world.

6. We will celebrate writing and art which is grounded in a sense of place and of time. Our literature has been dominated for too long by those who inhabit the cosmopolitan citadels.

7. We will not lose ourselves in the elaboration of theories or ideologies. Our words will be elemental. We write with dirt under our fingernails.

8. The end of the world as we know it is not the end of the world full stop. Together, we will find the hope beyond hope, the paths which lead to the unknown world ahead of us."]]></description>
<dc:subject>manifestos darkmountainproject myth resilience civilization poetry collapse dougaldhine paulkingsnorth darkmountain 2009 ralphwaldoemerson robinsonjeffers fragility josephconrad bertrandrussell politics karlmarx enlightenment christianity progress salvation history overdevelopment development environment sustainability socialbreakdown crime humanity humanism class convention individualism understanding existence climatechange climate globalwarming powerlessness technology slow small bubbles fossilfuels ecocide philiplarkin consumerism consumption capitalism greens greenparty ecosystems ecology denial johnberger transcendence relgion secularism science mysticism myths rationalism scientism stories storytelling reason rationality entertainment reality narrative uncivilization degrowth inhumanism writing howwewrite wendellberry wsmerwin maryoliver cormacmccarthy geoffdyer geoffreydyer maps mapping stoicism humility questioning criticalthinking williamwordsworth morethanhuman multispecies nonhuman place roots ide</dc:subject>
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</item>
<item rdf:about="https://map.simonsarris.com/p/in-praise-of-the-gods">
    <title>In Praise of the Gods - by Simon Sarris</title>
    <dc:date>2025-04-30T01:22:34+00:00</dc:date>
    <link>https://map.simonsarris.com/p/in-praise-of-the-gods</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>simonsarris 2020 rationalism rationality awe wonder descartes religion proof humnanism authoritarianism modernity modernism environment urban urbanism urbanplannign buildings architecture ritual rituals liturgy supernatural science alchemy delusions delusion socialsciences consensus scientism education mythology traditions tradition stories storytelling humanities aristotle wisdom literature myths fables understanding tv television experience intuition reasoning embodiment soceity modernart art design cities aesthetics lecorbusier heartlessness gkchesterton</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:397a69cd475c/</dc:identifier>
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    <title>Theory of Water - YouTube</title>
    <dc:date>2025-04-24T04:27:59+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=P4_5HpR9GOY</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Join Leanne Betasamosake Simpson for a conversation with Sarah Haley to celebrate the release of her new book Theory of Water: Nishnaabe Maps to the Times Ahead.

--------------------

In her powerful new book, Theory of Water, Leanne Betasamosake Simpson offers a radical rethinking of relationships between beings and forces in the world today. Simpson draws on Nishnaabeg origin stories while artfully weaving the work of influential writers and artists alongside her personal memories and experience—and in doing so, reimagines water as a catalyst for radical transformation, capable of birthing a new world.

Theory of Water is a resonant exploration of an intricate, multi-layered relationship with the most abundant element on our planet—one that, as Simpson eloquently shows, is shaping our present even as it demands a radical rethinking of how we might achieve a just future.

Theory of Water is a genre-bending exploration of that most elemental force–water–through Indigenous storytelling, personal memory, and the work of influential artists and writers.

--------------------

Speakers:

Leanne Betasamosake Simpson is a Michi Saagiig Nishnaabeg scholar, writer, musician and member of Alderville First Nation. She holds a PhD from the University of Manitoba and is the author of seven previous books, including Rehearsals for Living with Robyn Maynard, and the novel Noopiming: A Cure for White Ladies. Her newest book is Theory of Water: Nishnaabe Maps to the Times Ahead.

Sarah Haley’s work focuses on questions of carceral gendering and the long history of Black women’s ensnarement in U.S. prison regimes as well as their historical and ongoing opposition to carceral power. Her research interests include gender and carceral history, Black feminist history and theory, queer studies, prison abolition, and feminist archival methods. She is the author of No Mercy Here: Gender, Punishment, and the Making of Jim Crow Modernity, published in 2016. Her essays and articles have appeared in edited volumes as well as in journals including Signs, The Journal of African American History, GLQ, Souls, and Women & Performance. She is working on a book titled The Carceral Interior: A Black Feminist Study of American Punishment, 1966-2016. She is associate professor of gender studies and history at Columbia University and has been active in abolitionist and labor movements and currently organizes with Scholars for Social Justice."]]></description>
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<item rdf:about="https://lithub.com/on-the-episode-that-changed-ira-glasss-this-american-life-forever">
    <title>On the Episode That Changed Ira Glass’s This American Life Forever ‹ Literary Hub</title>
    <dc:date>2025-04-12T22:06:29+00:00</dc:date>
    <link>https://lithub.com/on-the-episode-that-changed-ira-glasss-this-american-life-forever</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Or, On the Importance of Fact-Checking"]]></description>
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</item>
<item rdf:about="https://www.bbc.co.uk/programmes/b01sg4kg">
    <title>BBC Radio 4 - Wireless Nights</title>
    <dc:date>2025-04-12T16:24:13+00:00</dc:date>
    <link>https://www.bbc.co.uk/programmes/b01sg4kg</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Jarvis Cocker explores the human condition after dark, with stories of night people"

[See also:
https://www.bbc.com/audio/brand/b01sg4kg
https://podcasts.apple.com/us/podcast/wireless-nights/id520488825
https://open.spotify.com/show/2qzPWX0v7IxPKOAb6opDvO

https://archive.org/search?query=wireless%20nights&and[]=mediatype%3A%22audio%22 ]]]></description>
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