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    <title>The A.I.-Design Aesthetic That’s Taking Over the Internet | The New Yorker</title>
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    <dc:creator>robertogreco</dc:creator><description><![CDATA["How Anthropic’s new tool, Claude Design, is creating overnight web-design clichés."]]></description>
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    <title>AI's Social Scene Is Shifting to Curated Offline Events, Dinner Parties - Business Insider</title>
    <dc:date>2026-06-26T01:15:39+00:00</dc:date>
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    <dc:creator>robertogreco</dc:creator><description><![CDATA[[In which the AI-saturated tech space is slowly rejecting its own dogfood of optimization, scalability, and slop. They seem to be slowly re-inventing the humanities and liberal arts that they skipped and derided.]

"If "taste" is the buzzword in the AI world right now, then IRL events have become the best way to demonstrate it.

As AI becomes more competitive and taste — the idea of having superior aesthetic judgment — emerges as a key differentiator, AI companies and young founders are hosting intimate, curated gatherings — often dinner parties — to cultivate cool and build real-world communities.

<blockquote>Hosting an intimate dinner in sf for lore builders.

    Founders, narrative architects, writers, world builders. Humans at the intersection of storytelling x culture x craft x storytelling x philosophy x design.

    Keeping it to <10. Who should be in the room? 🫶
    — Joumana (@JoumanaElomar) June 23, 2026 [https://x.com/JoumanaElomar/status/2069509402437222482 ]</blockquote>

Many of these curated events follow a similar blueprint: a promo that looks like an A24 film poster and grainy, film-like photos that make it feel more like a 90s-era house party than a tech founders' event.

"I think trusted (human) curation is so important now, even more than ever," said Michelle Fang, who leads Stripe Startups, a program offering financial support and resources to early-stage, venture-backed companies, and has a weekly newsletter that rounds up in-person tech events in San Francisco.

Fang said that when she first started the newsletter in 2023, she posted an average of 20 to 30 in-person events a week. That number has now risen to 70 to 80 a week.

"There's been a noticeable shift in both the frequency and types of events happening in SF, especially over the past year," she said.

AI has accelerated this trend dramatically, she said, as the AI boom brings an influx of talent who want to establish their community in the city.

While some of the events Fang has listed are traditional building workshops and hackathons, others include Pilates classes, peptide tasting parties — the latest self-optimization craze — and "intentionally curated" dinners.

It's a vibe shift from the large happy hours and networking events that defined post-pandemic tech socializing, said Fang. These smaller events don't require a big budget or venue, and with the speed of AI growth, people want to make sense of new concepts and the changes happening in real time, she said.

[image: "Dinner table with bowls of sushi and edamame at an event hosted by coworking and tech events startup Verci's / Verci, a coworking space and events startup, hosts monthly dinners and workshops for members.  Ami Yoshimura/Verci"]

'Taste is a new core skill'

The taste conversation kicked off earlier this year when Y Combinator cofounder Paul Graham wrote in a post on X that, as AI democratizes building, "taste will become even more important."

Two days later, OpenAI President Greg Brockman cemented the catchphrase on X, writing that "Taste is a new core skill." Since then, it's led the tech world to hyperfocus on AI companies and founders who are winning the taste battle.

Alongside the taste discourse, being offline has become a status symbol. Having the ability to de-digitalize is seen as a luxury and a way to connect with people more authentically, with in-person events being a means to achieve this, especially for those whose working lives already revolve around AI.

<blockquote>peak bengaluru and bangerlore pic.twitter.com/1imEhjhCBX
    — prerna (@Prerrrrna_) June 7, 2026 [https://x.com/Prerrrrna_/status/2063545613632037129 ]</blockquote>

An event "only for hot people and nerds" in Bangalore, which appeared to be in collaboration with the early-stage Bangalore-based consumer tech company Faff, made the rounds on X earlier this month. The vibe is artfully arranged cheese boards, trendy cocktail menus (with AI puns), and grainy photos.

Ami Yoshimura, the 23-year-old cofounder of Verci, a members club and coworking space in New York, hosts events such as rooftop parties and multi-day retreats for founders and creatives. "Relationships, aesthetics, and telling a story" have become crucial ways to stand out in the hyper-competitive AI industry, he said.
Small parties, big bucks

It's not just San Francisco that is seeing this event boom.

<blockquote>new york tech week highlights:1. went blind into an event hosted by @join_ef and successfully met a group of really cool people with 0 degrees of mutual connection2. met/made some really good friends from url ➡️ irl shoutout fonzi and corgi team3. ended off the week with a… pic.twitter.com/CA3h0mwmLe
    — sara kong (@saraknggg) June 8, 2026 [https://x.com/saraknggg/status/2064047927702782454 *]</blockquote>

Katia Ameri, a partner at A16z who spearheads Tech Week in San Francisco, LA, and New York City, wrote on X last month that New York was so far the largest Tech Week in history by events and attendees. The LA and San Francisco equivalents are coming up later this year.

Eliza Wu, cofounder of Corner, a social mapping app that describes itself as "Google but social," wrote in a post on X that there were over 600 RSVPs for a panel she was hosting at New York Tech Week.

Leading AI companies are also taking note. In April, Anthropic posted a brand events lead role in San Francisco, with a salary of up to $400,000.

There are four open marketing events positions at Anthropic, while OpenAI has two open positions for events, commanding over $200,000 salaries with options to gain equity too.

<blockquote>Anthropic is paying up to $400,000 a year for an events role.They're looking for someone to own the execution of brand experiences that translate Anthropic's values into physical moments.This person will produce everything from intimate thought-leadership gatherings to… pic.twitter.com/SWvmSarclY
    — Andrew Yeung (@andruyeung) April 26, 2026 [https://x.com/andruyeung/status/2048545188608364593 ** (archived: https://www.are.na/block/47316282 )]</blockquote>

Andrew Yeung, an ex-Google and Meta product lead turned event host and angel investor, wrote on X in response to the job advert that it shows Anthropic understands that "they need to create visceral, unforgettable IRL experiences that make complex technology feel accessible and human."

"The massive opportunity now is offline, analog, in-person," he said.

But while the taste that goes into hosting a party is human, we are living in an AI world — and as with your job applications, an AI screener might still be standing between you and an invitation.

Wu, the cofounder who hosted a New York Tech Week event with 600 RSVPs, said she turned to Claude to winnow down her guest list.

She said she prompted the chatbot to scan through potential attendees' social posts to identify "markers of excellence" and to suss out the "quality of their thoughts."

With the help of Claude, only 300 people made the cut."

[* full text of https://x.com/saraknggg/status/2064047927702782454:

<blockquote>new york tech week highlights:

1. went blind into an event hosted by @join_ef and successfully met a group of really cool people with 0 degrees of mutual connection
2. met/made some really good friends from url ➡️ irl shoutout fonzi and corgi team
3. ended off the week with a bang at vega (shoutout ben & maddie)

i think when it boils down to WHAT constitutes a good event, it varies based off what your specific persona is trying to get out of it.

for me, events with well-catered hospitality that are more intimate (without just randomly throwing people together sloppily) call out more to me because you make more solidified relationships. 

likewise, it’s good to put an online face to a name because that alone can unlock so much trust and future opportunities.

see you soon nyc!</blockquote>

** full text of https://x.com/andruyeung/status/2048545188608364593

<blockquote>Anthropic is paying up to $400,000 a year for an events role.

They're looking for someone to own the execution of brand experiences that translate Anthropic's values into physical moments.

This person will produce everything from intimate thought-leadership gatherings to large-scale industry activations.

The top AI research lab in the world recognizes that to cross the chasm and reach everyday consumers, they need to lean into hospitality. They need to create visceral, unforgettable IRL experiences that make complex technology feel accessible and human.

They understand that digital channels are getting increasingly saturated. Every feed is flooded with AI content... every inbox is overflowing.

The massive opportunity now is offline, analog, in-person.

The companies that win in the next decade won't just have the best product but the most emotional in-person presence and the most compelling storytelling.

If you're in events, experiential marketing, or brand activations, this is your moment. The biggest tech companies in the world are betting on you.

[two images of the job posting]</blockquote>]]]></description>
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<item rdf:about="https://www.youtube.com/watch?v=zdsGXd5enKg">
    <title>How ACRONYM Changed Design: An Hour with Errolson Hugh - YouTube</title>
    <dc:date>2026-06-05T09:12:15+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=zdsGXd5enKg</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["An hour with Errolson Hugh, cofounder of ACRONYM GmbH. We talk early life, influences, martial arts, starting the brand, and the design principles that shaped ACRONYM’s now-classic DNA. This is a deep dive on first-person design, function, and the systems thinking behind design.

What you’ll learn
- How discipline and martial arts inform Errolson’s design process
- The path to founding ACRONYM and building a studio that prioritises function
- The principles behind ACRONYM’s classic silhouettes and pocket systems
- First-person design vs third-person design in real use
- Advice for designers on craft, iteration, and longevity"

[via this clip from it:

"Autobiographical Design"
https://www.youtube.com/watch?v=Kj3H2hzYrg8

another video here:

"Designing Pockets with Errolson Hugh"
https://www.youtube.com/watch?v=SebAFZV8kh0

"Many designers create from a third person perspective- imagining how clothes look on a mannequin, in a photo, or to someone else’s eyes. But some design from the first person- thinking about how garments feel, function, and move when you wear them.

Errolson Hugh is one of those rare first-person designers. I visited him in Berlin, where he walked me through his process of designing and optimising for the wearer’s own enjoyment and experience.

Produced by Alisa Yamada."]]]></description>
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<item rdf:about="https://www.esquire.com/style/a71276009/what-has-happened-to-taste/">
    <title>What Has Happened to Taste?</title>
    <dc:date>2026-05-27T07:57:56+00:00</dc:date>
    <link>https://www.esquire.com/style/a71276009/what-has-happened-to-taste/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Technology has made it easier than ever to broadcast the things we like. Do any of us actually know anymore why we like them?"

...

"The ease and omnipresence of these technologiescan feel insurmountable. Who could bring themselves to get off Spotify? But they aren’t only swallowing us. Especially in the age of AI, when creation is just as cheap as curation, technology is killing the entire online experience. The Dead Internet Theory supposes that AI slop has taken over all previously genuine human activity on the Internet. Discussion forums have been flooded with bot accounts, all photos and videos are generated by AI, etc. It’s the natural and metaphorical end state for the version of taste we have now: literal robots endlessly aping things that already exist with minute variations. But we’re not there yet, and in fact, if the dead parts of the Internet are our flattened, gerrymandered style subcultures, perhaps that’s good.

As much as we’re told that the Web has become this poisonous, self-referential cesspool, such that finding inspiration offline is the new gold standard—or at least that’s what the consensus is here in Brooklyn—I think that’s too easy. For all the harm technology has done to our ability to develop taste, it’s still true that the Internet has given us unparalleled access to just about anything. We can now sift through the entire discographies of obscure international bands, watch independent short films, and read archived magazines whenever we want. I believe it still holds promise.

Here is what we must get rid of: Having taste today is synonymous with having “good taste.” That is what we mean when we say that someone “has taste”; we mean that they have good taste. That is a lie.

There was a time when taste was cultivated through trial and error. We used to have to take risks and suffer through its repercussions. By basking in the discomfort of ill-fitting silhouettes and excessive layering, we learned what worked best for us. We weren’t constantly trying to define and communicate what our tastes were because there wasn’t a “right” answer to what makes good taste. We got to good taste, such as it was, through a series of horrendous choices that exhibited bad taste.

The evil of the Dead Internet Theory, if it is right, is that it leaves us nowhere to turn for inspiration. But it supposes that the Algorithm is all that there is. There are broad swaths of the Internet that haven’t been colonized; the Algorithm is only the neatly paved brick road on the Internet’s uneven, treacherous terrain. It has its limits. No one’s stopping you from venturing off the beaten path to destinations that aren’t optimized for visibility: personal websites, anonymous bulletin boards, resource libraries.

“Internet walks”—the act of aimlessly surfing through online rabbit holes, not unlike how we experienced Wikipedia when it was new and wondrous, clicking from page to page until you wound up with knowledge you never would have suspected even existed—exposes us to the less legible textures of the Web. There are tools designed to facilitate this. The platform Are.na is like a nonalgorithmic Pinterest board where you can follow different people and traverse the parts of the Internet they bookmark. “The goal is not self-improvement,” says a note at the bottom of its home page. “The goal is engaging more deeply with the World.” It is precisely through navigating the vast, digital ridges that we’re forced to consider what resonated and why. That provokes introspection, through which the walls that once gerrymandered our tastes slowly crumble.

This notion, of course, is older than the Internet. In 1958, Guy Debord—a contemporary of Sontag, the author of The Society of Spectacle, and a member of the French postwar avant-garde group Situationist International—introduced the concept of the dérive. Defined as an unstructured, improvised wandering through an urban landscape, dérive pushes participants to let go of the relationships they have with their social environment. Pick a color and follow it; close your eyes and identify the loudest persistent sound you’re hearing, then walk to go find it; at every intersection, roll the dice to see which way to turn. In other words, walk for walking’s sake. A predecessor of Baudrillard, Debord saw the practice as the antidote to society’s “decline of being into having, and having into merely appearing.”

Debord’s position operated in direct opposition to a culture of being “intentional.” Today’s algorithmic culture is the epitome of intentional. Nothing is an accident. Terms like curated and mindful are sprinkled across everything. What those terms obscure is a lack of introspection. Debord believed that by refamiliarizing ourselves with the things of the world rather than the relationships we have to them, we could find new, deeper meaning and come to know ourselves better. Perhaps by refamiliarizing ourselves with the physical (wearing a shirt) rather than the intellectual (what the shirt says about you), we can find a way out of what we would today call the Algorithm. Objects of trends, when considered in isolation, are simply things. They stop representing our membership in an algorithmic faction or signaling social status. They become free to mean anything for anyone.

The risk is that you will occasionally step on thorns. You will have moments of bad taste. But taste is by definition subjective, so unpopular tastes should exist, too. Where there is preference for Rick Owens, there’s also demand for Allbirds and skinny jeans. Our fixation on embodying the consensus of whatever algorithmic faction we fall under has asphyxiated every ounce of whimsy. Aren’t occasional poor choices worth the trade-off?

I now occasionally start my mornings with an aimless walk around the neighborhood, fueled partially by a desire to happen upon some caffeine. I no longer judge shops by their Japandi aesthetic, and I’ve stopped using Google Maps to read reviews or navigate to nearby joints. I’ve gotten the sense that much of the most highly acclaimed spots, while perfectly Instagrammable, make horrible coffee. But that’s by my own definition of what makes coffee good, and my opinion is that the best cup of coffee is just something that’s piping hot and costs less than three dollars. I recognize that that’s out of step in Brooklyn, but who’s a better judge of what I like best than me? I think it’s fair to say that I’ve tried enough happenstance coffee at this point to have an actual opinion. Cheap, hot coffee is what I like, and I’m not ashamed to say it. I earned it.

The same goes with taste. Forget the expensive coffee. Ignore the barber’s perfectly curated Instagram. Give the wrong bands a chance. Watch Kurosawa, sure, but not because another famous director, QT or otherwise, said anything—watch Kurosawa because Rashomon will terrify you. I could say more, but I’ll stop there because I’m getting away from my point. The point of this essay is don’t take my word for it."]]></description>
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<item rdf:about="https://www.frontporchrepublic.com/2026/05/is-there-room-for-enmity-in-the-a-i-classroom/">
    <title>Is There Room for Enmity in the A.I. Classroom? - Front Porch Republic</title>
    <dc:date>2026-05-22T08:21:03+00:00</dc:date>
    <link>https://www.frontporchrepublic.com/2026/05/is-there-room-for-enmity-in-the-a-i-classroom/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["By heightening emotion, hatred deepens the personhood of both teachers and students."

...

"Over the past year, the deployment of Large Language Models (LLMs) in high school and college classrooms has called into question the uniquely human elements of teaching. What can a flesh-and-blood instructor offer that a well-tuned machine cannot?

One naturally thinks of affirmation and love, of the teacher as a moral exemplar and a trusted advisor, which are roles that disembodied algorithms can at best counterfeit.

Less obvious is the student’s need for hatred.

Theorists have long recognized that opposition drives identity-formation. As Walter Ong puts it, an individual’s sense of self comes from the knowledge “that something else is not me and is (in some measure) set against me.” We often associate eye-rolling, scorn, spite, and defiance with middle-schoolers, but the same reactions remain important (if more subtly expressed) through all levels of education. Schooling is a protracted struggle, and students learn their lessons in part from feelings of revulsion and revolt.

Alarmed by the sycophancy that LLMs employ and the intellectual laziness that they allow, critics have begun to use similar language, exhorting students to “normalize struggle,” seek out “friction” or “disagreement,” and “grapple with A.I.” Professor Marc Watkins advises his students to

<blockquote>choose courses that will challenge you, even unsettle you. Don’t accept being coddled. When you choose to engage in debates, please have the intellectual curiosity to explore the topic in depth, have the intellectual honesty to recognize the merits of arguments of the opposing side, admit to the weaknesses in your own viewpoint, and have the intellectual humility to admit when you don’t know and wish to learn more.</blockquote>

Sound advice, but woefully incomplete in the current context.

LLMs are already capable of exploring topics and weighing arguments with students, not to mention structuring personal goals and offering encouragement. (“Let’s dive in!”) Thus, Watkins’s vision of “struggle,” construed as a matter of personal choice and individual self-improvement, is easily reconciled with the quantification and benchmarks of artificial intelligence.

Loathing (like love) operates quite differently, creating meaning through human relationships, in which willfulness, idiosyncrasy, and feelings preclude quantification or smooth standardization. By heightening emotion, hatred deepens the personhood of both teachers and students.

Of course, feelings of hatred spring from many sources and encompass many shades of meaning. Some students nurse petty grudges to avoid responsibility for their own wrongdoing. Others perceive condescension from their teachers and repay it in kind. Some rankle at teachers with strong personalities and worldviews. Others feel the stirring of metaphysical revolt, objecting to the very existence of injustice, suffering, and constraint in the classroom or the world at large.

Uniting all these types of hatred are their mimetic effects on the student. Strong feelings bind the individual to the object of disdain, whose attributes he internalizes and mirrors (if only in negation). Thus, every type of hatred is educational insofar as it holds the student’s attention and shapes his character.

The trouble is that not all these lessons are equally educational or necessarily salutary. To set oneself against another can spur achievement (as in athletic rivalries) but, if one is not careful, it can also lead to what the philosopher Friedrich Nietzsche calls ressentiment: an unworthy type of envy, insecurity, and conformity that debases the individual as it tears others down. That is why Nietzsche urges students to choose their enemies carefully, noting that “the most spiritual human beings” will test themselves only against life’s “most formidable weapons.”

One need not agree with every aspect of Nietzsche’s philosophy to grant the point. We all need someone to pitch our deepest aspirations against, someone we can both respect and pointedly reject as we chart our own course. It is in this sense that “the man of knowledge must be able not only to love his enemies but also to hate his friends,” Nietzsche writes. “One repays a teacher badly if one remains only a pupil.”

To help students strive toward selfhood, the teacher must embody authority—not only communicating information but personifying standards of wisdom, taste, and morals—and must do so knowing that pupils will chafe not only at the lessons but at the teacher herself. Yet, she cannot simply play the foil, pull punches, or abdicate responsibility for the struggle. To become the bearer of student hatred—to stand as an obstacle for the next generation to overcome—is a tragic aspect of teaching, but there is nothing to do but to press on in sincerity and faith.

Unfortunately, both the rhetoric and reality of teachers’ authority have been in decline for a long time. By bifurcating knowledge and value, LLMs now threaten to dissolve this authority entirely. The teacher can no longer be the master of content or technique, while the algorithm cannot embody truth, culture, or human excellence. LLMs already provide students with detailed (sometimes problematic) feedback, but as Abeba Birhane points out, “There is nothing at stake for a generative AI model. It cannot feel a sense of loss, embarrassment, accomplishment or care towards a student, as human teachers do.” An algorithm cannot feel the pangs of doubt or resolve, and for the same reason it cannot elicit existential scorn or hatred. Students know that a machine’s praise or censure rings hollow. They cannot define themselves in opposition to an LLM, and why should they want to?

In Being and Time (1927), Martin Heidegger argues that the modern individual (Dasein) “stands in subjection to Others.” Worse, they are not even “definite Others” but an anonymous amalgam of social conventions: a “dictatorship of the ‘they.’” It is hard to read Heidegger’s diagnosis without thinking about LLMs. In today’s world, he writes, anonymous authority

<blockquote>prescribes what can and may be ventured, it keeps watch over everything exceptional that thrusts itself to the fore. Every kind of priority gets noiselessly suppressed. Overnight, everything that is primordial gets glossed over as something that has long been well known. Everything gained by a struggle becomes just something to be manipulated. Every secret loses its force. This case of averageness reveals in turn an essential tendency … which we call the ‘levelling down’ of all possibilities of Being…. The ‘they’ is there alongside everywhere, but in such a manner that it has always stolen away whenever Dasein presses for a decision. Yet because the ‘they’ presents every judgment and decision as its own, it deprives the particular Dasein of its answerability.</blockquote>

LLMs stifle self-realization because, while they seem ubiquitous and almost omniscient, they also deprive students of any answerable or embodied authority, trapping them instead in a web of probability, generalization, and disembodied “expertise.” Subjection is in some ways intrinsic to education, part of a broader project of discipline and formation, but it must be experienced concretely, in relationship to “definite Others.”

Hannah Arendt warns that as technology expands, it becomes less likely “that man will encounter anything in the world around him that is not man-made and hence is not, in the last analysis, he himself in a different disguise.” Drawing from Heidegger, she underscores the danger of this eerie echo chamber. It is only through encounters with reality (not artificiality) that one becomes truly human. Consciousness begins not in the familiarity and sameness of one’s own mind but in confrontation with an unpredictable, inflexible entity outside the self—whether Nature, God, or (for our purposes) a recalcitrant teacher.

LLMs merely masquerade as the Other. Aggregated and amorphous, designed for fluidity and user satisfaction, they are artificial in the fullest sense of the word. When students engage with an LLM, they are literally talking to no one. How much classroom time should be occupied with such activities? What lessons should they replace?

However one responds to those questions, the answers have nothing to do with processing speed, safety guardrails, or other technical matters. They are fundamentally questions about how we conceive of humanity and whether we are committed to its formation and perpetuation. If we hope to prevent “cognitive atrophy” in our students, if we hope to awaken them to existential meaning, we have to invest in teachers worthy of their attention, their respect, and, sometimes, their hate."]]></description>
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<item rdf:about="https://www.youtube.com/watch?v=Yt15iNgvNsw">
    <title>McMansion Hell, Fandoms, Retinol and Modern Opera | Middlebrow Podcast - YouTube</title>
    <dc:date>2026-05-13T06:55:58+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=Yt15iNgvNsw</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Kate Wagner is the architecture critic at The Nation and the creator of the internet's favorite architecture criticism blog, McMansion Hell. We dive into finding beauty in all buildings, criticism as a practice, modern opera, retinol, fandoms and more. Read McMansion Hell here: https://mcmansionhell.com 

00:00 - Intro 
00:23 - Retinol 
2:30 - Anime Face 
2:58 - Defining McMansion 
05:47 - 80s Architecture 
07:05 - Revival of Old Tastes 
20:51 - Agrarian High School 
21:13 - Autodidact Gang 
22:25 - Challenges of Architecture 
26:39 - McMansions Abroad 
31:04 - Politics of a McMansion 
34:45 - Emerging Movements 
38:26 - Edgar Wright’s Running Man 
41:04 - DSA Baby Boom 
41:35 - Modern Opera 
45:18 - The Ring Cycle 
47:07 - Receptiveness in a Critic’s Heart 
49:21 - Fandoms 
50:33 - Faith in the Public 
53:48 - All Buildings Are Interesting 
55:03 - The Goal of Criticism 
01:00:38 - Fascist Architecture"]]></description>
<dc:subject>middlebrowpodcast katewagner mcmansionhell 2026 architecture mcmansions criticism us 1980s 1990s postmodernism charlesjencks autodidactism autodidacts taste edgarwright politics inequality economics policy suburbia suburbs conspicuousconsumption fandoms fandom buildings fascism fascistarchitecture fascistaesthetics donaldtrump latefascistaesthetics opera runningman society vernaculararchitecture danrosen brianpark oil wealthinequality oman serbia construction realestate wealth luxury dubai dubaichocolate labubus power ideology magaface castledoctrine utah florida environment bjarkeingels thomasheatherwick autocad frankgehry technology robotics smartcities design adaptivereuse materials shippingcontainers césarpelli adaptation domination architects housing aoscott fans reading howweread writing film movies music tuckercarlson italianfuturists italianfuturism nazis ai artificialintelligence llms education</dc:subject>
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</item>
<item rdf:about="https://www.oaklandreviewofbooks.org/picky-book-review/">
    <title>Pickiness tastes like trauma</title>
    <dc:date>2026-05-12T04:15:02+00:00</dc:date>
    <link>https://www.oaklandreviewofbooks.org/picky-book-review/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["How American children became the fussiest eaters in history (and why they need to check their not-dying privilege)."]]></description>
<dc:subject>amybrown children parenting diet food pickiness trauma helenzoeveit industrialization taste senses emotions psychology johnharveykellog kellog's maha sylvestergraham history society</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:b794aa5e754c/</dc:identifier>
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</item>
<item rdf:about="https://www.itsnicethat.com/articles/pov-graphic-design-schools-are-teaching-tech-not-taste-creative-industry-150426">
    <title>Graphic design schools are teaching tech, but are they teaching taste?</title>
    <dc:date>2026-04-16T04:00:18+00:00</dc:date>
    <link>https://www.itsnicethat.com/articles/pov-graphic-design-schools-are-teaching-tech-not-taste-creative-industry-150426</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Graphic design courses have become trade schools – they should be so much more."]]></description>
<dc:subject>design graphicdesign graphics education designeducation work creativity taste tardeschools technology labor liberalarts purpose industry</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:04f361d15a38/</dc:identifier>
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</item>
<item rdf:about="https://kyla.substack.com/p/the-ozempicization-of-the-economy">
    <title>The Ozempicization of Everything - by kyla scanlon</title>
    <dc:date>2026-03-30T05:02:52+00:00</dc:date>
    <link>https://kyla.substack.com/p/the-ozempicization-of-the-economy</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Biohacking, gambling, and war"]]></description>
<dc:subject>kylascanlon 2026 economics politics biohacking looksmaxxing manosphere optimization efficiency finance financialnihilism socialmedia millennials genz generationz zoomers geny generationy ivanillich google meta nihilism raymondwilliam medicine health infrastructure donaldtrump trumpism peptides ozempic ozempification control bryanjohnson longevity institutions government governance governing immortality chads wwe maha healthcare siliconvalley taste agency branding marcandreessen samkriss cluely generativeai genai aislop aihype aibubble crypto cryptocurrencies gambling markets predictionmarkets monetization capitalism latecapitalism novig kalshi coinbase narrative loneliness spectacle louistheroux clavicular mlm onlyfans polymarket stuartthompson davidyaffe-bellany mikeisaac conspiracytheories benjaminfogel andrewtate predation exploitation clout cloutchasing hustlecultire hustling scams celebrity attention privateequity confusion uncertainty belief joblessness pain alienation desperation amandamull consumption</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:7e81b60da6e0/</dc:identifier>
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    <title>Is Taste the One Thing A.I. Can’t Replace? - The New York Times</title>
    <dc:date>2026-03-23T20:38:27+00:00</dc:date>
    <link>https://www.nytimes.com/2026/03/22/style/ai-tools-taste.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Is Taste the One Thing A.I. Can’t Replace?

Anxious tech workers in Silicon Valley are trying to cultivate a quality they say ChatGPT can’t provide."

[See also:

"Why Tech Bros Are Now Obsessed with Taste"
https://www.newyorker.com/culture/infinite-scroll/why-tech-bros-are-now-obsessed-with-taste
https://archive.is/VdzLq

"In the age of A.I., the term has become as much of a Silicon Valley cliché as “disruption” was in the twenty-tens."

archived:
https://archive.is/sWVGp ]

"“I don’t think I could teach someone to have taste,” said Jamey Gannon, a brand designer in Brooklyn.

Ms. Gannon, 24, runs an online course, called “Learn to Control A.I. Like a Creative Director,” for designers and marketers from big tech firms like Google, Meta and Coinbase. The idea is to teach tech guys to incorporate A.I into their designs — tastefully, of course.

But it won’t help students who aren’t willing to put in the work outside class.

“If you watch every Wes Anderson movie, spend an hour a day on Pinterest and work on your personal style, in a year you will come out with better taste,” Ms. Gannon said.

“Taste,” like “irony” or “fun,” depends largely on context. Is it discernment? Sensibility? Cultivation? Is it inborn or learned? A marker of distinction or a marker of class?

Whatever it is, personal taste about things like food, art, design and interiors — outside certain rarefied worlds — isn’t usually a prerequisite for professional success. Unless you listen to Greg Brockman, the president of OpenAI.

“Taste is a new core skill,” Mr. Brockman wrote on X last month.

For a big kahuna in the tech industry, which is known more for quantifying than qualifying, such a proclamation might seem strange.

Yet, in recent months, the rise of sophisticated artificial intelligence tools that can be told in plain language to code better and faster than humans has forced many in the tech world to contemplate the prospect of their own obsolescence. If a computer can do anyone’s programming job — or turn anyone who can type into a programmer — how can a person make him or herself indispensable?

Maybe with something impossible to quantify.

“When you can easily turn any idea into reality, it is tempting to turn every idea into reality — and most things should not be produced,” said Shawn Wang, a developer who hosts Latent Space, a newsletter and podcast popular among the growing class of coders who rely on A.I. tools for much of their work.

When too much is produced, said Mr. Wang, who writes under the name Swyx (it rhymes with the candy bar), the result is “slop.”

That is, the geyser of uncannily generic A.I.-made media that has flooded our feeds. It’s plentiful, aesthetically off-putting and bottom shelf. For Mr. Wang and others, the antidote to slop is taste — which here means the judgment of a human guiding the machine and choosing between its many outputs.

Mr. Wang cited some recent examples of what he considered good taste in the culture at large: a Ferrari designed by Jony Ive, the ex-Apple creative lead; “KPop Demon Hunters,” the animated Netflix sensation; and Anthropic, the A.I. start-up that last year opened a pop-up in the West Village that it called a “Zero Slop Zone.”

It is generally accepted that the tech industry’s greatest figure, Steve Jobs, had highly developed taste. He wore a custom Issey Miyake turtleneck as his personal uniform, and he considered the elegant design of his Apple products to be a form of cultural elevation for the masses. But the industry’s rank and file have not escaped the stereotype of gray hoodies, bloodless co-working spaces and nerdy hobbies. Can they be taught otherwise?

Taste, of course, is no small thing to learn: It is a function, the sociologist Pierre Bourdieu theorized, of one’s entire “habitus,” the way a person’s social context shapes his or her perception of and reaction to the world.

Recently, Sarah Chieng, a graduate of the Massachusetts Institute of Technology who works at the A.I. company Cerebras, started a dinner series with two friends called “In Pursuit of Taste.” One recent meal featured a five-course menu — highlights included scallops with corn and edible flowers — and attendees who worked at OpenAI, Anthropic, YCombinator and Notion.

Ms. Chieng, 24, contrasted that dinner, held at her apartment in the Marina district of San Francisco, with the lavish, expense-account affairs that A.I. companies put on to woo young talent in the industry.

Prepared by a friend with culinary training, the meal was served to a dozen guests crowded around Ms. Chieng’s dining table. If it weren’t for the elevated cuisine, custom napkins reading “In Pursuit of Taste” and some fake moss on the walls, the evening could have been mistaken for a humble dinner party.

“The biggest things with taste at a high level is figuring out how to stay differentiated,” Ms. Chieng said, adding that she had received interest from more than 100 people who wanted to attend her next event.

Of course, in an industry where contrarianism is considered a virtue, not everyone agrees that the taste trend is, well, tasteful.

In a widely shared essay on X titled “Against Taste,” the investor and writer Will Manidis called the discussion around taste a “fundamental demotion” of “human agency” that reduced us to mere consumers rather than creators.

“It places man at the end of the chain of creation, evaluating what has already been generated,” Mr. Manidis wrote.

Emily Segal, the co-founder of the brand consultancy Nemesis — her clients include Louis Vuitton, Nike and Cash App — said that the tech world’s attempts to speed-run good taste missed out on a crucial quality: personal idiosyncrasy.

“Cookie-cutter taste is by definition bad taste because taste is by definition relational and relative,” Ms. Segal said. “You can’t just clone some situational idea of good taste and hold it up as good taste.”

Whether taste is the basis of a new approach to technology or merely a buzzword, at least one eminence of the industry thinks the discussion is a healthy sign in and of itself.

“Any time that technologists are talking about things that are hard to measure and subjective and have to do with human empathy and feelings, it’s a step in the right direction,” said Evan Spiegel, the chief executive of Snap Inc.

Among the most aesthetically minded of the tech bosses, Mr. Spiegel once appeared on the cover of the Italian men’s fashion magazine L’Uomo Vogue, and he sits on the board of Otis College of Art and Design in Los Angeles, where he took classes as a high schooler.

Mr. Spiegel said he believed that taste — in product design, anyway — was about anticipating what people wanted. Can A.I. do that? Maybe. But for the time being, Mr. Spiegel said, the taste debate is forcing deeper questions about what makes the legacy species of the tech industry indispensable.

“I love that this moment is causing people to spend more time thinking about what really makes us human,” he said. “If it’s not intelligence, it might focus us all on things that are far more important. And that would be a good thing.”

As for what those things are, well, it may be a matter of taste."]]></description>
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<item rdf:about="https://www.newyorker.com/culture/infinite-scroll/why-tech-bros-are-now-obsessed-with-taste">
    <title>Why Tech Bros Are Now Obsessed with Taste | The New Yorker</title>
    <dc:date>2026-03-23T04:48:26+00:00</dc:date>
    <link>https://www.newyorker.com/culture/infinite-scroll/why-tech-bros-are-now-obsessed-with-taste</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["In the age of A.I., the term has become as much of a Silicon Valley cliché as “disruption” was in the twenty-tens."

[archived:
https://archive.is/VdzLq

See also:
https://www.nytimes.com/2026/03/22/style/ai-tools-taste.html
https://archive.is/sWVGp

"Is Taste the One Thing A.I. Can’t Replace?

Anxious tech workers in Silicon Valley are trying to cultivate a quality they say ChatGPT can’t provide."]

"With artificial intelligence continuing to dominate corporate strategies and news headlines, Silicon Valley has embraced a new buzzword, one that may feel too close to home for those already feeling embattled by automation. That word is “taste,” and in recent months it has become as much of a tech-world cliché as “disruption” was in the twenty-tens. The esteemed technologist Paul Graham posted on X, “In the AI age, taste will become even more important.” Koen Bok, a founder of the booming A.I. design tool Framer, said on a podcast that “great taste” is what will create the best new products. The bookmarking app Sublime promises to build “a library that reflects your taste,” with the help of A.I.-driven recommendations. The entrepreneur and former Bytedance engineer Cong Wang echoed a new Silicon Valley axiom in a blog post, writing, “In the AI era, personal taste is the moat”—“moat” being entrepreneur lingo for an unreplicable advantage, the thing that makes your company stand out above its competitors. Startups apparently need taste like A.I. needs data centers.

For tech bros, the word seems to have a pragmatic function. By their definition, taste is inherently profitable; it is the ability to discern what will make the most money, whether by choosing your next big software concept or by convincing users that your product is necessary. “The recipe for great work is: very exacting taste, plus the ability to gratify it,” Graham wrote in an essay from 2002, which he referenced in his recent post. This emphasis on tasteful decision-making makes sense, given that A.I. is gradually democratizing technological production. With the newly powerful likes of Anthropic’s Claude Code assistant, anyone can theoretically program anything—a chatbot companion that surveils you 24/7, for example, or an A.I. matchmaker that helps you land a date. The only task left is to decide what to make, as one might request a wish from a genie. Hence a comment made last year by the venture capitalist Marc Andreessen, that, once the A.I. era is fully upon us, V.C., the art of picking worthy investments, “may be one of the last remaining fields.” Of course, he may be somewhat biased.

The uptick in concern about taste is both surprising and discomfiting, because the word comes with particular generational baggage. A decade or two ago, millennial hipsters made a claim to good taste by exercising their preference for, say, craft India pale ales over Budweiser, Arcade Fire over Nickelback, or American Apparel over Abercrombie & Fitch. Hipster identity was built on what one chose to consume, and a fetishization of the lo-fi, the handcrafted, and the artisanal—qualities that were eventually co-opted and absorbed by corporate behemoths such as Meta, via Instagram, and Amazon, via Whole Foods. Now A.I. companies are attempting to hitch themselves to a similar aura of artisanality, even as their core products promise to automate all that is human into obsolescence. Last year, Anthropic hosted a pop-up café in Manhattan (what could be more hipster?) and gave away baseball caps embroidered with the word “thinking.” OpenAI’s recent Super Bowl commercial, titled “You Can Just Build Things,” is shot, with faux-analog cinematographic flair, from a human point of view, with hands gripping the handlebars of a bike, writing in a notebook, and playing chess—never mind that the thing being advertised is a hypothetically omniscient robot. You, too, can be tasteful, the ad seems to say, if only you choose the right chatbot to run your life.

A.I. companies need to associate themselves with taste precisely because their tools are not very palatable, much less cool, to anyone outside of Silicon Valley. Many people view A.I. tools as a threat—to their livelihoods, to their futures, to their senses of self. Few, whom I know, see them as individuality-affirming life-style choices. We might call what’s going on now “taste-washing,” an attempt to give anti-humanist technologies a veneer of liberal humanism. The Times perpetuated this mythmaking when it launched a poll last week asking users to read passages drawn from well-known works of literature, and passages generated by A.I., and choose which they preferred stylistically. Nearly fifty per cent of participants preferred the texts written by artificial intelligence. Is A.I. now so adept that it can write like Hilary Mantel? Another conclusion might be that the online ecosystem has become so polluted—so fragmented, deceptive, overstimulating, ersatz—that it has warped our ability to exercise taste at all.

The jostling hordes of A.I. boosters crow over new ventures launching at dizzying scales and speeds, mediating every facet of daily life. These include A.I. actors, A.I. travel agents, A.I. sommeliers, A.I. eulogy generators, A.I. virtual pets, and A.I. toothbrushes that give you “real-time feedback” on how to brush. The text-editing software Grammarly recently added (and promptly removed) a feature that gave users notes on their writing from chatbot versions of well-known writers, appropriating their sensibilities without getting permission. However discerning the humans behind these endeavors fancy themselves to be, A.I. remains a fundamentally tasteless technology, in at least one respect. The eighteenth-century French philosophers who established a definition of taste in Western thought considered it an ineffable quality, a reminder that the God-given goodness in each of us recognizes that of the rest of the world. Voltaire once wrote that, “in order to have taste, it is not enough to see and to know what is beautiful in a given work. One must feel beauty and be moved by it.” No large language model has yet been programmed to feel anything, and no number of branded baseball caps is going to change that."]]></description>
<dc:subject>kylechayka siliconvalley taste 2026 disruption ai artificialintelligence koenbok framer bytedance congwang paulgraham anthropic claude claudecode marcandreessen chatbots artisan grammarly humanism technology voltaire mythmaking senseofself openai meta amazon instagram hipsters analog</dc:subject>
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</item>
<item rdf:about="https://www.youtube.com/watch?v=2jtBSC-ZgCI">
    <title>The Ideology of Contentmaxxing - YouTube</title>
    <dc:date>2026-02-23T04:54:51+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=2jtBSC-ZgCI</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The algorithm does to a discussion what Clavicular does to his face — a series of micro-fractures, delivered repeatedly and with precision, in the hopes that it will match a target number that nobody actually wants, but which the machine is thirsty for us to find."

[See also:

"Clavicular and contentmaxxing
the next step after groyperfication" (Aidan Walker)
https://howtodothingswithmemes.substack.com/p/clavicular-and-contentmaxxing

"Clavicular and Fuentes
elder zoomers vs. the young ones" (Aidan Walker)
https://howtodothingswithmemes.substack.com/p/clavicular-and-fuentes

(referenced within) "We are entering the era of Show more
The endless agony of thinking doing being content" (Jamie Cohen)
https://newmediahomework.substack.com/p/we-are-entering-the-era-of-show-more ]]]></description>
<dc:subject>aidanwalker metrics looksmaxxing content contentmaxxing quantification latefascistaesthetics aesthetics reality hyperrealism hyperreality socialmedia measurement 2026 algorithms microfractures machines economics fascism web online internet rationalism transhumanism ideology ritual louisalthusser althusser engagement institutions popularity platforms instagram tiktok grades grading taste socialcapital pierrebourdieu performance surveillance attention competition access success interestingness society fascistaesthetics bodies maximization optimization hyperoptimization credibility individualism dehumanization mutilation taboos fame andrewtate nickfuentes clipfarming sneako myrongaines tristantate malcontents jamiecohen jestermaxxing farright rightwing radicalization nihilism politics audience desperation extraction sadomasochism attentioneconomy self-harm men whitesupremacy normality radicalism subjugation</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:23dcb76ab2b3/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:men"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:whitesupremacy"/>
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</item>
<item rdf:about="https://www.garbageday.email/p/the-only-taboo-left-is-copyright-infringement">
    <title>The only taboo left is copyright infringement</title>
    <dc:date>2026-02-22T01:31:20+00:00</dc:date>
    <link>https://www.garbageday.email/p/the-only-taboo-left-is-copyright-infringement</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>platforms media copyright tiktok ryanbroderick 2026 openai gregbrockman taste culture clavicular nickfuentes hasanpiker discord streaming stephencolbert cbs censorship jamestalarico youtube tv television veradrew 2022 markfischbach mattjohnson attention andrewtate genz truth socialmedia life living bradenpeters</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:3f825303afaf/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:copyright"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:tiktok"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:ryanbroderick"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:2026"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:gregbrockman"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:taste"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:culture"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:clavicular"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:nickfuentes"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:hasanpiker"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:discord"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:streaming"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:stephencolbert"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:cbs"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:censorship"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:jamestalarico"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:youtube"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:tv"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:television"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:veradrew"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:markfischbach"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:mattjohnson"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:attention"/>
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</item>
<item rdf:about="https://sf.gazetteer.co/the-high-fantasy-cult-of-anthropic">
    <title>The high-fantasy cult of Anthropic</title>
    <dc:date>2026-02-18T01:46:30+00:00</dc:date>
    <link>https://sf.gazetteer.co/the-high-fantasy-cult-of-anthropic</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Plus, its fight with the Pentagon, OpenAI and Meta race to deploy AI agents to the masses, and tasteless AI people argue about taster"

...

"An Open relationship began on Valentine’s Day…

Peter Steinberger, the Austrian founder of the viral AI agent OpenClaw (fka MoltBot, fka Clawdbot), announced on Saturday that he is joining OpenAI to do ... stuff with agents. Sam Altman did not add many details in his statement on the acquisition, saying of Steinberger, “He is a genius with a lot of amazing ideas about the future of very smart agents interacting with each other to do very useful things for people.” Which is Altman’s extremely specific way of saying that he is not quite sure what OpenAI is going to do with OpenClaw or Steinberger insofar as generating revenue, which is currently OpenAI’s top concern.

Despite the deal’s many headlines, the OpenClaw craze remains largely contained to AI evangelists with social media addictions. Altman said he expects “this will quickly become core to our product offerings,” but even if we assume “this” means an OpenClaw-like, personal agent product (OpenClaw will move to a foundation and remain open-source, which OpenAI has had a lot of success with), I imagine mass adoption will take longer than Altman’s balance sheet is hoping for.

…and Meta, uninvited to the love-fest, buys itself flowers

And by flowers, I mean a different AI agent company called Manus. It’s a classic Zuck move (see: Stories eating Snapchat’s lunch, Reels eating TikTok’s), to which I say, good for you, buddy, good for you.

Anthropic is beefing with the Pentagon…

After months of heated negotiations about how the military might use Anthropic’s government-specific LLM Claude Gov, Defense Secretary Pete Hegseth said he is “close” to cutting ties with the AI lab, Axios reported yesterday. Reps from the Department of War have said they should be able to use Claude for “all lawful purposes,” including uses Anthropic CEO Dario Amodei has publicly opposed, including mass surveillance of civilians and autonomous deployment of weapons. 

Last year, Anthropic won a two-year contract with the defense department, but this frisson opens the door to the next contract to be handed to other labs like OpenAI, Google, or (god forbid) xAI.

…meanwhile, their cyber-elf philosopher queen is on the PR circuit

Elsewhere in Anthropica, the Wall Street Journal published a profile of the lab’s “resident philosopher” Amanda Askell. The profile leans into Askell’s anthropomorphization of Claude — by “developing Claude’s understanding of itself,” she is like “a parent raising a child” — and paints Askell as a white-haired, blue-eyed, elfin philosopher (Ph.D. from NYU) from the High North (Scotland), who’s otherworldly, wise, and ageless (she’s 37).

The discourse surrounding the profile mainly involves people wondering whether it’s wise to hand over Claude’s moral compass to a singular person with biases and quirks and an unclear political worldview. But there’s a more important point to raise here: Anthropic’s publicity team has been on a run lately, inserting its lab into high-minded features about AI and God and the balance between good and evil. These articles provide little insight into the lab’s business; more importantly, they advance Anthropic’s brand story as an intellectual and truth-seeking hero among a swarm of greedy, lowbrow competitors. If you can’t build a profit, you might as well build a cult.

AI people have decided that being cool and artsy is valuable after all

“Taste is a new core skill” and “startups in the future will get acquired merely for the founder’s taste profile” is what thenerds are saying, which is about the stiffest and tech-poisoned way to say it’s good to have interests and know yourself. Awesome!

The week ahead: Will MrBeast join the a16z New Media cabal on its recent hiring blitz?"]]></description>
<dc:subject>anthropic claude ai artificialintelligence 2026 cydneyhayes amandaaskell lexfridman peterstreinberger moltbot clawdbod openclaw samaltman openai meta markzuckerberg manus llms pentagon chatgpt google xai taste cults politics morality policy god pr surveillance petehegseth darioamodei revenue profit profits</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:7f685e671546/</dc:identifier>
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<item rdf:about="https://www.youtube.com/watch?v=U8dcFhF0Dlk">
    <title>Suno, AI Music, and the Bad Future - YouTube</title>
    <dc:date>2026-02-09T16:51:18+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=U8dcFhF0Dlk</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Sources:
https://docs.google.com/document/d/1my3jJ96cyKmHubZu5mTLgp3wzEWtXKJkqfP0kKcF6kE/edit?tab=t.0

0:00 Intro
4:06 Challenge accepted
6:55 Three Questions
24:14 Why no influences? (deskilling/narcissism)
35:50 Profiles of the Future
47:54 Good uses of Suno
59:05 Futurism/Techno-Optimism
1:16:22 New Virtues
1:22:03 Final Predictions"

[via:
https://blog.ayjay.org/faster/

"Near the beginning of this long, fascinating, and deeply depressing video [https://www.youtube.com/watch?v=U8dcFhF0Dlk ] Adam Neely says that he doesn’t think Mikey Shulman, the CEO and prime hypeman of Suno, is evil. I dunno, I think he might be evil. A person who makes and advocates for anything this destructive will likely be one of the following:

• Evil — happy to do any amount of damage to humanity as long as he gets rich;
• Sociopathic — unable to consider the consequences of his actions for others;
• Self-deceived — skilled at internally avoiding obvious questions about the validity of what he’s doing.

So being evil is not the only option here, but it’s definitely one of three.

There are so many bizarre things about this dude, but I was taken by one small thing: around the 8:40 mark of the video he says, “I know one person who is a songwriter who had a lull in creativity, and after finding Suno went from maybe making 50 songs a year to making 500 songs a year.” Now this is a ridiculous thing to say — but in an interesting way. Shulman knows so little about musical composition that he thinks that a person in a creative “lull” writes a mere fifty songs a year.

Let’s think about that. Consider Bob Dylan, whom some people think of as a prolific sngwriter. In his 65-year career he has composed roughly 700 songs. Pathetic! Even if he had experienced a lifelong “lull in creativity,” he’d have, by Shulman’s metrics, produced 3250 songs — and if he’d used Suno, why, he’d have knocked out 32,500 songs by now, with a few thousand more probably remaining to be processed by the Suno Song Extruder™.

As absurd sales pitches go, Shulman’s is solid gold.

Anyway, you should watch Adam’s human-made non-extruded video. It raises many important issues and makes many important points, especially about the relative value of patience and impatience. Shulman loves impatience, because impatient people are his primary marks. “Faster is obviously better,” he says, a comment he doesn’t seem to think applies only to music composition. Maybe he has the same view about eating, talking with friends, and sex. Faster! And then what? [https://blog.ayjay.org/and-then/ ]

But the most vital claim Adam makes, I think, is this: the arrival of AI slop machines like Suno will dramatically accelerate something that’s already well underway, the widening chasm between live music and recorded music. When musicians recorded live in studio, the gap between that and live performance was very small; now it’s vast and getting vaster. And as Adam says, people will always want to experience live music — and perhaps will value it all the more because of the contrast to an increasingly slop-dominated world of recordings. (Especially in human-scale venues where lip-syncing and pitch-correction are impossible.)

I happened to come across Adam’s video yesterday just after watching Julian Lage and his bandmates perform “Something More” [https://youtu.be/AECKSq8r2OM?si=WCJ4gW-viCdlYjAX ] — what a beautiful song, and look at that, it’s just four people in a room making that beauty happen. I only wish they were coming my way sometime soon."]]]></description>
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<item rdf:about="https://www.welcometohellworld.com/life-is-a-problem-that-cant-be-solved/">
    <title>Life is a problem that can’t be solved</title>
    <dc:date>2026-01-05T22:19:40+00:00</dc:date>
    <link>https://www.welcometohellworld.com/life-is-a-problem-that-cant-be-solved/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Remembering Kaleb Horton"]]></description>
<dc:subject>kalebhorton lukeo'neil 2025 death obituaries california photography writing taste talent normmacdonald davidletterman merlehaggard goodwillhunting bakersfield</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
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<item rdf:about="https://www.youtube.com/watch?v=fAxRj3njH7I">
    <title>Substack's Stacked Debates: Utopia - Can you teach an AI taste? - YouTube</title>
    <dc:date>2026-01-01T04:18:36+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=fAxRj3njH7I</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Substack's Stacked Debates: Utopia - Can you teach an AI taste? 
Jasmine Sun vs. Robin Sloan"]]></description>
<dc:subject>robinsloan jasminesun humans humanism ai artificialintelligence taste 2025 deepmind alphago music culture finitude human humanity technology experience surprise insight fashion musicmaking confidence computers computing effectivealtruism spotify claude anthropic chatgpt openai deepseek courage specificity decisionmaking stakes risk risktaking dreams dreaming choice quality quantity decisions</dc:subject>
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<item rdf:about="https://www.joanwestenberg.com/dont-become-a-connoisseur/">
    <title>Don't Become a Connoisseur.</title>
    <dc:date>2025-12-08T20:05:16+00:00</dc:date>
    <link>https://www.joanwestenberg.com/dont-become-a-connoisseur/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[video version:
https://www.youtube.com/watch?v=F1D6kPJMDe8 ]

"One of the great pleasures of my life is a bacon double cheeseburger. The simpler the better. Meat, cheese, a good pickle, a lug of ketchup and some sizzling bacon. There's nothing particularly refined about it. And there's not much I'd choose to eat instead of it, whether I can get one from McDonalds, Burger King or a corner diner.

I'll say it plainly: I do not consider myself a connoisseur of anything. I am neither an epicure nor an aesthete. I like the things I like, and I like 'em simple and (where possible) I like 'em cheap.

Connoisseurship is widely understood to be a good thing: we call it a mark of sophistication - a form of self-improvement that deepens your relationship with beauty and pleasure.

I think this is almost exactly backwards.

In fact, I've started to believe that developing "refined taste" is one of the most reliable ways to make yourself worse off.

Let me explain.

Someone decides to "get into" wine, coffee, whiskey, or any other domain where refined taste is possible // encouraged. They read books, subscribe to newsletters, join clubs, and begin paying attention to what they're consuming instead of just consuming it.

Within a couple of years they have developed what they proudly call "a palate."

They have also, if they're being honest, stopped enjoying approximately 90% of the options available at normal human price points.

The cheap stuff they used to consume happily now tastes "thin" or "unbalanced" or possesses some technical flaw that their newly trained senses cannot ignore.

And yes, the wine expert experiences rapture at a great Burgundy that the casual drinker can never access. The trained musician hears structure and beauty in a symphony that the untrained ear misses entirely.

But I think we massively underestimate the costs and overestimate the benefits.

You spend enormous amounts of time and mental energy developing your discernment; you read, you practice, you compare, you discuss. This is time you could have spent doing almost anything else, including simply enjoying the thing you're trying to become expert at.

Simply: the aspiring coffee connoisseur who spends 200 hours learning to distinguish processing methods could have spent those 200 hours just drinking coffee and enjoying the hell out of it.

Then, once you've developed your refined taste, you've created an expensive new preference for yourself. Where before you were satisfied with a $12 bottle of wine or a $3 cup of coffee, you now need a $60 bottle or an $8 pour from a specialty roaster to achieve the same level of satisfaction.

You've shifted your hedonic baseline upward without actually capturing any more total pleasure from the experience. You are, in almost every way, worse off.

The casual coffee drinker has expectations that hover somewhere around "hot, contains caffeine." Almost every cup of coffee clears this bar.

The connoisseur has expectations calibrated to the best coffee they've ever encountered, which means almost every cup falls short.

You've traded a world where 90% of coffee is acceptable for a world where 10% of coffee is acceptable. This is not an improvement.

So why do people keep attempting to leap into the connoisseur category?

It's not a complicated question to answer.

Refined taste is a form of social currency. When you can discourse knowledgeably about single-origin chocolate or Japanese denim, you're signaling membership in a particular, educated, cultured, upper-middle-class tribe. You're demonstrating that you have the leisure time to develop these refined preferences, the disposable income to indulge them, and the social connections to learn the right vocabulary and opinions.

Connoisseur-ship is, basically, a very elaborate and expensive form of peacocking.

Which would be fine, I suppose, if people were honest about it. We pretend the acquisition of refined taste is a form of self-improvement. But what if it's mostly just competitive consumption?

Imagine you could take a pill that would give you all the functional benefits of the improvement without the social signaling value. Would you still want it?

If you could take a pill that would make cheap wine taste exactly as good to you as expensive wine, would you take it?

I think most honest people would say yes. The expensive wine doesn't actually contain more hedonic value; you've simply trained yourself to require more expensive inputs to achieve the same output. The pill would be pure upside.

But I think there are more than a few professed connoisseurs who would find the idea repulsive.

I'll admit: there really is something wonderful about understanding a complex domain, about being able to perceive distinctions that others miss, about having the vocabulary to articulate your experiences precisely. I don't want to deny this entirely.

But the joy of mastery is portable; it doesn't need to attach itself to consumption goods that will raise your cost of living and narrow your sources of pleasure.

If you want to develop deep expertise in something, develop it in something that won't make you more expensive to satisfy.

Become a connoisseur of free things: sunsets, birdsong, public domain blues recordings, the way light filters through leaves.

Or become expert in something productive, where your refined judgment actually creates value rather than just consuming it. Learn to distinguish good code from great code, or compelling prose from merely competent prose, and you've developed expertise that pays dividends rather than extracting them.

The trap of connoisseur-ship is that it disguises consumption as cultivation. You end up poorer in money and narrower in the range of things that can make you happy, but you get to feel like you've achieved something meaningful.

The lesson here is simple: be very careful about what you let yourself get good at noticing. Every distinction you learn to perceive is a new way for the world to fail your standards.

The critic's eye is a curse. Better to stay a little ignorant, a little undiscerning, a little easier to please. The man who can enjoy an Aldi wine and a fast food burger has access to pleasures that the refined palate has permanently foreclosed.

That kind of effortless enjoyment is worth protecting.

If you're young, or if you've somehow preserved your capacity for unselfconscious enjoyment, guard it fiercely.

Refined taste looks like elevation from the outside, and even on the inside it can feel like expanding. But it's actually a narrowing. Every palate you develop is a menu shrinking.

The happiest readers I know haven't built an identity around Proust. The happiest drinkers I know cannot distinguish a Burgundy from a Bordeaux. The happiest programmers I know use whatever works without agonizing about whether something might work better.

They are richer in experience than any connoisseur, even if their experiences are individually less exquisite. They read whatever looks interesting at the airport bookstore. They drink whatever their hosts are serving. They use whichever tool loads fastest.

The enthusiast might not be as refined as the connoisseur. But they have a good deal more fun."]]></description>
<dc:subject>joanwestenberg connoisseurs connoisseurship 2025 coffee wine enjoyment taste sophistication whiskey luxury money joy life living snobbery cv peacocking pleasure burgers beauty refinedtaste amen knowledge sunsets free publicdomain birdsong blues music consumption consumerism cultivation discernment noticing enthusiasm enthusiasts proust simplicity voluntarysimplicity performance class uppermiddleclass denim japanesedenim marcelproust</dc:subject>
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<item rdf:about="https://lmnt.me/blog/and-stay-out.html">
    <title>And Stay Out</title>
    <dc:date>2025-12-05T01:39:59+00:00</dc:date>
    <link>https://lmnt.me/blog/and-stay-out.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Alan Dye may have left for a more lucrative offer from Meta, but this is absolutely a good thing for Apple, which also benefitted from “losing” Jony Ive.

There’s no doubt Jony has good taste, by the way. He and his team designed great products during the first half of his tenure at Apple. But as he became wealthier, he started to conflate good taste with luxury. Jony often described Apple products with words about craft, material, and precision, all things that appeal to a luxury market. Apple shifted away from making products “for the rest of us” and started making products that appealed specifically to rich people.

Not to put too fine a point on it, but they started making products that appealed to themselves. Because since Steve Jobs died, Apple, its executives, and its corporate employees got significantly wealthier. It wasn’t just Jony who took an interest in luxury. The whole company did. Anyone with even a little bit of power in the company started to dress more expensively. They all look like they could walk right out of a fashion advertisement.

This is all to say Apple’s restyling was not just with iOS 7 or even Liquid Glass. It was in how Apple presented themselves as people who had good taste, because that’s their way of communicating authority on the subject of design.

It’s like the trope of overlaying the golden ratio on a logo, or drawing excessive guidelines to “prove” it was thought through. To me, if you have to explain it for people to get it, then it’s not that good, actually. And that’s how all those video presentations from Jony or Alan sound to me. It’s just marketing with a veneer of design. I think we all know that.

Speaking of those video presentations, I recall Jony’s use of the word “familiar” during the introduction of Apple Watch. He used it as a way to bridge the gap between iPhone and Apple Watch. If I remember correctly, Alan Dye also used this word when introducing Liquid Glass. Despite using this word, modern UI design has drifted away from what’s familiar, both in real world analogs—that we called skeuomorphism—and from traditional UI elements and arrangements that many of us have used for many years.

Familiarity is a great tool designers can use to get people quickly to an understanding about what they’re using. Not just in software, but in real life, you can utilize certain forms and materials to encourage people to use something in a way they already know how. It’s only when something feels unfamiliar that we become puzzled and ask for help.

And hasn’t this been happening—ironically—more since they started using this word? How many of us have searched the Internet for ways to “turn off” a new thing or “revert” to a previous arrangement of UI to feel more familiar? How many times has Apple specifically introduced a new setting just so we can do that? I use the “Tinted” setting for Liquid Glass, the “Bottom” tab style in iOS Safari, the “Classic” view for Phone, and “List View” rather than “Categories” in Mail.

Neither Jony nor Alan should ever have been in charge of UI design or product design. Elevating Jony was a bad decision on Tim Cook’s part. And it’s unfortunate that resulted in Jony putting Alan into this position to begin with, because it only lengthened this period of time where bad taste and poor sensibility in software prevailed. There was no reason to believe Jony would be good at this, and there was never any evidence Alan would be good at this either. I’ve never found any examples of Alan’s professional work prior to having this job. In any case, I hope neither of them step foot inside Apple ever again.

I don’t have much to say about Steve Lemay. He was the hiring manager for my first interview at Apple fifteen years ago. It didn’t work out, and I went to work on iTunes and iLife instead. But he had already been at Apple for a long time, and I have lots of respect for him for his platform knowledge and expertise. I don’t expect any big changes because I don’t think he or Apple are looking at this as an opportunity to undo Jony and Alan’s influence on the company, but I do sincerely think this will all feel better with Lemay’s leadership. I wish him the best."]]></description>
<dc:subject>2025 apple louiemantia alandye ui design jonyive wealth taste productdesign luxury eattherich fashion liquidglass authority excess veneer familiarity ux timcook stevelemay</dc:subject>
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<item rdf:about="https://www.youtube.com/watch?v=EwTUM9cFeSo">
    <title>Why don't movies look like *movies* anymore? - YouTube</title>
    <dc:date>2025-11-21T22:32:18+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=EwTUM9cFeSo</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Remember when movies used to look good?

Rich shadows, bold colors, and depth. But now? A lot of films and shows look flat, dull, and lifeless. In this video, I break down why modern cinematography feels so uninspired, and it’s NOT digital’s fault. Let’s talk about dynamic range, lighting, and why intentional choices matter more than ever.

What you’ll learn:
 • Why older movies look better than modern ones
 • How dynamic range & contrast affect the cinematic look
 • The role of VFX, lighting, and production design in the decline of movie aesthetics

James Mathieson clip from The Unscriptify Podcast. 

Movies featured:
The Parent Trap
Superbad
Zodiac
WICKED
Se7en
The Killer"]]></description>
<dc:subject>film filmmaking patricktomasso cinematography lighting 2025 highdinamicrange intention taste talent aesthetics parenttrap deancundey superbad filmproduction johnmathieson davidfincher craft realism</dc:subject>
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<item rdf:about="https://jasmi.news/p/dictionary">
    <title>are you high-agency or an NPC? - by Jasmine Sun</title>
    <dc:date>2025-09-25T23:54:27+00:00</dc:date>
    <link>https://jasmi.news/p/dictionary</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["AI anxiety and the new lexicon of silicon valley"

[See also:

"The Clean-Living Kids Fueling San Francisco’s AI Gold Rush"
https://nymag.com/intelligencer/article/san-francisco-ai-boom-artificial-intelligence-tech-industry-kids.html
https://archive.ph/fVUsf ]]]></description>
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    <title>Trump is rebranding America — and his Oval Office makeover is just the start | Vox</title>
    <dc:date>2025-08-29T20:53:32+00:00</dc:date>
    <link>https://www.vox.com/politics/459397/trump-rebranding-america-style-aesthetic-taste</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The president’s tacky aesthetic is a window into his quest to become the single most enduring symbol of America."

[archived:
https://archive.ph/C5qGV ]

"That individualistic philosophy is why Trump is so invested in remodeling the White House, the Kennedy Center, and even museums in his own style — to exhibit his image as the greatest marker of success. It’s why, on the right, there’s such an overwhelming cult following around a single individual. There’s an obsession with personifying America, and Trump desperately wants to be that personification.
The America Trump wants to project, in other words, is not the Statue of Liberty welcoming “huddled masses yearning to breathe free” or a country of shared collective interests, but one that adheres to the concept of the survival of the fittest. And Trump seems to believe — or at the very least wants to convey — that he’s the fittest of us all.
Much of what has informed Trump’s whole philosophy is his simplistic idea of success: that his many failures aren’t necessarily a reflection on him, but that his success and wealth were achieved solely because of him. So the aesthetic Trump is trying his very best to push onto Americans — displays of sheer rugged strength, of vast wealth, of supposed success — points to a picture of an individualistic society that doesn’t really care about its past sins. Because in Trump’s world, so long as you amass an enormous amount of wealth and power (as both he and America have), then it’s all worth showing off.
It’s like he told Playboy back in 1990: “Let me tell you, a display is a good thing…It’s very important that people aspire to be successful. The only way you can do it is if you look at somebody who is.”
That’s why Trump doesn’t just want to be a political or historical figure, but a cultural icon that can represent American greatness long after he’s gone. He wants the whole world to forever look at him."]]></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://robbreport.com/style/watch-collector/rolex-history-2900561/">
    <title>A Brief History of Rolex, the World's Most Renowned Watchmaker</title>
    <dc:date>2025-07-26T22:47:12+00:00</dc:date>
    <link>https://robbreport.com/style/watch-collector/rolex-history-2900561/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Rolex became the dominant industrial watchmaker through a series of eccentric, and effective, business practices."]]></description>
<dc:subject>allenfarmelo 2024 rolex history business watches mercedes gucci apple culture brands branding wealth success taste style quality innovation manufacturing marketing design consistency independence scarcity hanswilsdorf precision identity mercedesgleitze rolexexplorer malcolmcampbell edmundhillary tenzingnorgay mounteverest everest rolexgmtmaster rolexmilgauss blancpain rolexsubmariner rolexcellini</dc:subject>
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<item rdf:about="https://www.beyondthedial.com/post/e31-spiritual-materialism-how-watches-take-on-significance-and-meaning/">
    <title>Podcast Insights E16 - Spiritual Materialism: How Watches Take On Significance and Meaning - BEYOND THE DIAL</title>
    <dc:date>2025-07-24T23:12:10+00:00</dc:date>
    <link>https://www.beyondthedial.com/post/e31-spiritual-materialism-how-watches-take-on-significance-and-meaning/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["On the surface, owning a watch isn’t a complex thing. Dig a little deeper into our motives for owning any given watch, and things get complicated fast. Allen explores the mental gymnastics involved in picking out your next watch, and he explores everything from the study of human motives, to why so many watch nerds hate on Invictas, and more."

[Also here:
https://podcasts.apple.com/us/podcast/insights-e16-spiritual-materialism-how-watches-take/id1472733566?i=1000472834936
https://open.spotify.com/episode/3ZyTLTvJ8JfY9J4LJc3Dwu ]]]></description>
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</item>
<item rdf:about="https://www.robinsloan.com/lab/surrendering-to-the-surface/">
    <title>Surrendering to the surface</title>
    <dc:date>2025-06-12T04:15:42+00:00</dc:date>
    <link>https://www.robinsloan.com/lab/surrendering-to-the-surface/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The lie at the center of the Jony and Sam video is that the coffee at Cafe Zoetrope is ter­rible. I’m very sure Jony knows it — that’s his neighborhood — and if Sam took a sip, he knows it too. Me? I know it because, for sev­eral years, I had an office above the cafe, and it was a source of per­sis­tent con­ster­na­tion that the iconic, super­cute estab­lish­ment at the building’s base was not, in any sense, actu­ally good.

No big deal … except that this video is a presentation, an incantation, that wants to cel­e­brate deep taste and deep skill. It wants also to cel­e­brate San Fran­cisco — the city’s extra­or­di­nary qualities! But the ter­rible coffee gives it away: oh, no, this is all about surface. In that way, the video has the flavor of AI slop: Cafe Zoetrope is what we imagine a great cafe in San Fran­cisco should look like. Alas it is not the real thing — the extra­or­di­nary thing — the deep thing.

Should have walked the stacks in City Lights instead.

(In other respects, I endorse Jason Snell’s assessment [https://sixcolors.com/post/2025/05/sam-and-jony-and-skepticism/ ]: with sin­cerely all credit where due, this is not the team to figure out the suc­cessor to the smartphone. Now is the time for feral upstarts, not designers emeritus.)"]]></description>
<dc:subject>2025 robinsloan sanfrancisco cafezoetrope jonyive samaltman citylights coffee authenticity taste skill cafes jasonsnell smartphones io openai chatgpt ai artificialintelligence feral</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
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</item>
<item rdf:about="https://thejaymo.net/2025/06/01/2512-overdosed-on-ai-music/">
    <title>Overdosed on AI Music | 2512 - thejaymo</title>
    <dc:date>2025-06-02T02:38:23+00:00</dc:date>
    <link>https://thejaymo.net/2025/06/01/2512-overdosed-on-ai-music/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Many, myself included a week ago, would expect this experiment to have driven me towards romanticising ‘human’ authenticity or creativity. Real recorded music, recorded by real people. But that isn’t what’s happened. 

Instead, something more unsettling occurred. The very seamlessness of the AI-generated material, the knowledge that its sounds were entirely synthetic, ‘engineered’, and it has cast a shadow over my perception of all recorded music. A kind of unease about the truthfulness (or untruthfulness) of any media that wasn’t live and unmediated.

I’ve developed a pervasive negative reaction to all of what I’m going to call “engineered sound.”

This umbrella covers everything: studio recordings, electronic music, and AI tracks. AI-generated or human-made, all recorded music now has this weird uncanny quality to me. It’s all just engineered sound and it makes me uneasy, ontologically. This unreality, this sense that the material is synthetic, has now tainted my experience of all recorded music.
Like I’m a modern day John S. Wilson calling the entire enterprise of recorded music suspect.

As a music lover, I’m concerned. Will this uneasiness dissipate if I stop listening to AI? I suspect I will need a break from “all music” – or rather, engineered sound – altogether."

...

"Which brings me to my last realisation.

I have a new rule, universally true: All AI text, video, and engineered sound prompted by other people is subjectively mid. But all AI content you spawn yourself is objectively great, and interesting.

All week I was prompting the Slop Machine to spawn songs like the intro, in the style of a manic pixie dream girl in a yoghurt advert. But based on the ancient Odes to Solomon. Unsurprisingly, no one around me is clamouring for New Age AI slop with 2000 year old religious lyrics. But I am, in a “This is my hole! It was made for me” kind of way.

Giovanni della Casa, in his 1558 etiquette manual Galateo, wrote, “One should not annoy others with such stuff as dreams, especially since most dreams are by and large idiotic.” 

Joan Didion also remarked that “Nobody wants to hear about someone else’s dream… nobody wants to walk around with it.” There’s little more boring than hearing someone’s rambling dream, and this is true of AI slop shared on social media.

In this period of Information Age iconoclasm, machine dreams are now endless, infinite, and can inspire. But raw and unfiltered, they’re sloppy.

A new social etiquette for sharing machine dreams is required. I’ll happily listen to your dreams over a beer, especially if they involve me. But in general, in polite company? You don’t share dreams. And perhaps people shouldn’t be so quick to share the raw dreams of the machine either."

[direct link to YouTube video:
https://www.youtube.com/watch?v=ZS3ZsZb8gtc ] ]]></description>
<dc:subject>ai artificialintelligence music slop aislop generativeai taste dreasm thejaymo 2025 jayspringett perormance marekpoliks genai</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:0ef6d99620f2/</dc:identifier>
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<item rdf:about="https://www.youtube.com/watch?v=jtOffvS6ugQ">
    <title>Can We Radicalize the Professional Managerial Class? with Catherine Liu - YouTube</title>
    <dc:date>2025-06-01T20:36:10+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=jtOffvS6ugQ</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["This week Briahna Joy Gray speaks to Catherine Liu, professor of Film and Media Studies at the University of California Irvine & author of Virtue Hoarders: The Case Against the Professional Managerial Class, about whether the left takes it's criticism of PMCs too far. Is PMC bashing a kind of reductive class identity politics? Is it worth it to try to mobilize the petite bourgeoisie in an electoral context, or leave them to vote for Elizabeth Warren? Do we love a class traitor, or nah?"]]></description>
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    <title>What does Maga-land look like? Let me show you America’s unbeautiful suburban sprawl | Alexander Hurst | The Guardian</title>
    <dc:date>2025-03-22T02:12:32+00:00</dc:date>
    <link>https://www.theguardian.com/commentisfree/2025/mar/19/maga-america-suburban-donald-trump</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["I drove 2,000 miles with a French friend across my home country – and saw the endless nowhere land that is the crucible of Trumpism"
]]></description>
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    <title>The life-changing magic of Japanese clutter | Aeon Essays</title>
    <dc:date>2024-10-16T21:15:56+00:00</dc:date>
    <link>https://aeon.co/essays/the-life-changing-magic-of-japanese-clutter</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The world sees Japan as a paragon of minimalism. But its hidden clutter culture shows that ‘more’ can be as magical as ‘less’"]]></description>
<dc:subject>japan 2024 clutter mattalt aesthetics minimalism economics stuff society organization taste time space</dc:subject>
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<item rdf:about="https://emergencemagazine.org/essay/skal-cheate-knowing-your-taste/">
    <title>ស្គាល់ មជាតិ Knowing Your Taste – Emergence Magazine</title>
    <dc:date>2024-09-28T03:42:20+00:00</dc:date>
    <link>https://emergencemagazine.org/essay/skal-cheate-knowing-your-taste/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Reconnecting with her homeland of Cambodia through the taste of Battambang oranges, yellow mushrooms, and chapchang snails, filmmaker Kalyanee Mam shares the land-tastes that helped orient her to a way of life deeply tethered to the land."]]></description>
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<item rdf:about="https://www.workingtheorys.com/p/taste-is-eating-silicon-valley">
    <title>Taste is Eating Silicon Valley. - by Anu Atluru</title>
    <dc:date>2024-09-27T23:43:39+00:00</dc:date>
    <link>https://www.workingtheorys.com/p/taste-is-eating-silicon-valley</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Just as software ate the world and dramatically transformed industries in the last era, taste is now eating software—and with it, Silicon Valley."

...

"Taste is eating Silicon Valley.

In 2011, Marc Andreessen famously declared that software was eating the world. For a time, that was the undeniable reality. Software was the engine of transformation, revolutionizing everything from tech to finance and retail to healthcare.

Back then, technical prowess meant market dominance. Y Combinator, the spiritual center of Silicon Valley,1 crowned technical founders as the chosen ones. Those who could manifest and master software were seen as gods. Venture capitalists funded those who could scale that code to massive heights. After all, software alone could transform giant, legacy industries, rapidly and efficiently.

It’s a different story today. Software has been commoditized — the result of technological advancement, decreasing cost and complexity, and democratization of coding as a skill. AI’s push into the mainstream has supercharged this shift. The lines between technology and culture are blurring. And so, it’s no longer enough to build great tech.

Everyone’s software is good enough. Software used to be the weapon, now it’s just a tool.

In a world of scarcity, we treasure tools. In a world of abundance, we treasure taste. The barriers to entry are low, competition is fierce, and so much of the focus has shifted — from tech to distribution, and now, to something else too: taste.2

Taste is eating software. Taste is the new weapon.

Whether in expressed via product design, brand, or user experience, taste now defines how a product is perceived and felt as well as how it is adopted, i.e. distributed — whether it’s software or hardware or both.

Technology has become deeply intertwined with culture.3 People now engage with technology as part of their lives, no matter their location, career, or status.

The markets being served now are cultural markets, where utility plus taste is the foundation.

In this new era, functional products are increasingly just supporting players in larger cultural movements. And so, in one way or another, founders are realizing they have to do more than code, than be technical. Utility is always key, but founders also need to calibrate design, brand, experience, storytelling, community — and cultural relevance.

The likes of Steve Jobs and Elon Musk are admired not just for their technical innovations but for the way they turned their products, and themselves, into cultural icons. But the competition isn’t just within the tech world anymore — founders are up against celebrities and influencers that have an edge in distribution, branding, access, and cultural resonance, even if they’re not as readily tech-savvy. The elevation of taste invites a melting pot of experiences and perspectives. Thus, the imperative of taste will challenge “legacy” Silicon Valley.

You could look at companies like Apple and Tesla and AirBnb and say taste matters because they’re classically consumer-facing businesses. But that’s not the whole story — consumer-driven traits like taste have infiltrated every corner of the tech world. B2C sectors that once prioritized functionality and even B2B software now feel the pull of user experience, design, aesthetics, and storytelling.

Arc is taking on legacy web browsers with design and brand as core selling points. Tools like Linear, a project management tool for software teams, are just as known for their principled approach to company building and their heavily-copied landing page design as they are known for their product’s functionality.4 Companies like Arc and Linear build an entire aesthetic ecosystem that invites users and advocates to be part of their version of the world, and to generate massive digital and literal word-of-mouth. (Their stories are still unfinished but they stand out among this sector in Silicon Valley.)5

Even in the most cutting-edge technical fields, taste is shaping the future as much as the technology itself.

In the general-purpose AI chatbot sector, OpenAI’s ChatGPT came out strong as the market leader. Since then, Anthropic’s Claude, Google’s Gemini, Meta’s Llama, Microsoft Copilot, Perplexity, Poe, and others have joined the race from different angles. Yes, they’re competing on technical merits, but with how quickly AI is improving, it feels like they’ll converge on similar functionality.

So how do they compete? On how they look, feel, and how they make users feel.6 The subtleties of interaction (how intuitive, friendly, or seamless the interface feels) and the brand aesthetic (from playful websites to marketing messages) are now differentiators, where users favor tools aligned with their personal values. All of this should be intertwined in a product, yet it’s still a noteworthy distinction.7

Investors can no longer just fund the best engineering teams and wait either.

They’re looking for teams that can capture cultural relevance and reflect the values, aesthetics, and tastes of their increasingly diverse markets. How do investors position themselves in this new landscape? They bet on taste-driven founders who can capture the cultural zeitgeist. They build their own personal and firm brands too. They redesign their websites, write manifestos, launch podcasts, and join forces with cultural juggernauts. (And yes, people will still question whether VCs even “get” taste.)

Code is cheap. Money now chases utility wrapped in taste, function sculpted with beautiful form, and technology framed in artistry.

But what exactly is taste? The dictionary says it’s the ability to discern what is of good quality or of a high aesthetic standard. But who sets that standard? Taste is subjective at an individual level — everyone has their own personal interpretation of taste — but within a given culture or community, it can be calibrated.8

Taste is some combination of design, user experience, and emotional resonance that defines how a product connects with people and aligns with their values and identity. None of these things alone are taste; they’re artifacts or effects of expressing taste. At a minimum, taste isn’t bland — it’s opinionated.

As Arnold Bennett famously said, ‘Good taste is better than bad taste, but bad taste is better than no taste.’9

Products make you feel something when you use them, and they make other people feel something about you.

Products are no longer just functional tools; they are emotional touchpoints. Increasingly, products are designed as vehicles of self-expression and social signaling, reflecting your values, lifestyle, and identity. Products with technology at their core are closer than ever to art. If true, this also means that other players become critical to the ecosystem: artists, designers, creators, creative directors, media companies.

And more questions inevitably arise: Who are the kingmakers and gatekeepers of taste? What culture war will the greater focus on taste ignite? Does the city or culture a company is created in matter a lot more?10 Nobody owns “taste,” but enough people will certainly try.11

Just as software ate the world and transformed industries in the last era, taste is now eating software—and with it, Silicon Valley.

In this new era of Silicon Valley, taste isn’t just an advantage — it’s the future. The most compelling startups will be those that marry great tech with great taste. Even the pursuit of unlocking technological breakthroughs must be done with taste and cultural resonance in mind, not just for the sake of the technology itself. Taste alone won’t win, but you won’t win without taste playing a major role.

As taste continues to infiltrate every corner, the roles of founders and venture capitalists are evolving. Founders must now master cultural resonance alongside technical innovation. And investors? They must bet on which companies will lead the next wave of innovation, where tech and culture are no longer separate entities, but fused into one. Some people won’t like this, some will rebel against it, some will just try to wait it out — but it’s a sign of the times.12

Founders must become tastemakers, and venture capitalists the arbiters of taste.

The challenge: Utility still demands respect. Theory still needs execution. More people think they have great taste than is reality. And maybe taste recognizes taste, but can metrics recognize it? It’s more of a science than just “vibes” — right?"]]></description>
<dc:subject>anuatluru siliconvalley taste technology design culture 2024 marcandreessen software productdesign markets elonmusk stevejobs products airbnb apple tesla arcbrowser chatgpt anthropic ai artificialintelligence chatbots google meta microsoft copilot perplexity poe gemini aesthetics marketing venturecapital latecapitalism utility vibes arc vc latestagecapitalism venturacapital</dc:subject>
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<item rdf:about="https://emergencemagazine.org/film/taste-of-the-land/">
    <title>Taste of the Land – by Adam Loften &amp; Emmanuel Vaughan-Lee</title>
    <dc:date>2024-09-23T20:08:31+00:00</dc:date>
    <link>https://emergencemagazine.org/film/taste-of-the-land/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["In the Khmer language, the root word for “nature” and “country” is cheate, meaning “taste”: to truly understand the essence of the land, one must know it through the senses. Since fleeing Cambodia with her family during the Khmer Rouge regime, and a genocide which devastated an entire culture and displaced millions of people from their homes, award-winning documentary filmmaker Kalyanee Mam has spent much of her life searching for a rooted connection to place. This film follows her to the landscapes of her homeland—changing through deforestation, industrialization, urbanization and development—where she has spent years tenderly documenting the disappearing, relational ways of life held within them. As she comes to know these places not only through the lens of her camera, but through the intimate relationships she forms with the landscapes and people whose stories she shares, Kalyanee awakens an ancestral memory of the taste of the land that lies within."

[See also:
https://emergencemagazine.org/interview/documenting-shifting-landscapes/ ]]]></description>
<dc:subject>kalyaneemam cambodia khmerrouge land industrialization urbanization place homeleand deforestation development adamloften emmanuelvaughan-lee senses allthesenses taste belonging 2024</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
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</item>
<item rdf:about="https://www.tasteland.fyi/ep-6-here-for-the-wrong-taste-w-charles-broskoski/">
    <title>Ep. 6: Here for the Wrong Taste with Charles Broskoski</title>
    <dc:date>2024-09-19T19:42:10+00:00</dc:date>
    <link>https://www.tasteland.fyi/ep-6-here-for-the-wrong-taste-w-charles-broskoski/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Daisy and Francis are joined by Charles Broskoski aka Cab, co-founder of are.na, to discuss his recent essay 'Here for the Wrong Reasons.'

Here for the Wrong Reasons: https://www.are.na/editorial/here-for-the-wrong-reasons

00:00 Adjust your frame
04:05 Writing is the hardest thing in the world
08:58 Taste nodes
12:24 Entering the are.na
30:05 I wanna talk about AI
34:35 Sharing nodes
44:38 Just be yourself, optimally"]]></description>
<dc:subject>are.na charlesbroskoski 2024 daisyalioto franciszierer identity aesthetics writing howwewrite substack thinkpieces socialmedia skating skateboarding howwelearn amateurs novices learning moodboards sharing howweread reading taste tasteland amateurism</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
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<item rdf:about="https://emergencemagazine.org/interview/documenting-shifting-landscapes/">
    <title>Documenting Shifting Landscapes – A Conversation with Kalyanee Mam</title>
    <dc:date>2024-09-14T20:43:49+00:00</dc:date>
    <link>https://emergencemagazine.org/interview/documenting-shifting-landscapes/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["In this conversation, recorded live at our Shifting Landscapes exhibition last year, Emergence executive editor Emmanuel Vaughan-Lee speaks with award-winning Cambodian-American filmmaker Kalyanee Mam about her process of creating Lost World—a short film that shares the story of a Koh Sralau community whose livelihood is threatened by ruthless sand dredging. Talking about the importance of documenting the shifts in our outer landscapes as a way to understand our changing inner relationship with the Earth, Kalyanee shares how her intimate experiences with people and places while filmmaking have rooted her in spiritual connection with the landscapes of Cambodia."

[See also:
https://emergencemagazine.org/film/taste-of-the-land/ ]]]></description>
<dc:subject>kalyaneemam 2024 emmanuelvaughan-lee cambodia place film filmmaking slow senses allthesense taste time land mangroves sanddredging singapore experience migration immigration photography people memory presence sensing perception stories storytelling belonging connection khmerrouge education reading culture wisdom control individualism collectivism community interconnectedness interconnected identity howwelive living landscape landscapes mourning cities homeland change listening grief spirituality loss erasure displacement pain numbness numbing suffering healing wholeness forests rivers feeling</dc:subject>
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<item rdf:about="https://psyche.co/films/for-a-chinese-tea-master-each-sip-is-a-rich-expression-of-memory">
    <title>Her scents of pu er | Psyche Films</title>
    <dc:date>2024-08-30T17:18:10+00:00</dc:date>
    <link>https://psyche.co/films/for-a-chinese-tea-master-each-sip-is-a-rich-expression-of-memory</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["For a Chinese tea master, each sip is a rich expression of memory
For Yu Hui Tseng, drinking tea isn’t simply a daily habit or a cultural norm, but a spiritual practice at the very core of her being. A Chinese tea master, Tseng describes flavours with a rich, refined specificity. She finds aromas that evoke ‘an old trunk where clothes are stored with camphor’ or ‘bricks after a summer storm’. Each sip is imbued with a swirl of intermingling memories – of the life of the tea, and her own.

In Her Scents of Pu Er, the Paris-based filmmaker Anna-Claria Ostasenko Bogdanoff visits Maître Tseng in the tea cellar beneath her salon, Maison des Trois Thés (House of the Three Teas) in Paris. With the ageing vintages stacked ceiling-high behind her, Maître Tseng describes how each tea, like a person, expresses its own rich, evolving story, and how a once-unfashionable tea, pu er (or pu-erh), became her passion. Like her subject, Ostasenko Bogdanoff luxuriates in detail, assembling a beautifully shot sequence that weaves scenes from the elegantly adorned Maison des Trois Thés with images that conjure up the complex smells that Maître Tseng describes. The resulting film forms is its own intoxicating sensory experience, evoking the power of aromas and tastes to launch us into the past and to places as yet unknown."

[Direct link to video:
https://vimeo.com/900211313 ]]]></description>
<dc:subject>food drink memory tea senses sensory film yuhuitseng anna-clariaostasenkobogdanoff maîtretseng smell taste allthesenses video memories nostalgia transcendence experience</dc:subject>
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</item>
<item rdf:about="https://www.avabear.xyz/p/knowing-what-i-iike">
    <title>knowing what I Iike - by Ava - bookbear express</title>
    <dc:date>2024-04-07T22:42:35+00:00</dc:date>
    <link>https://www.avabear.xyz/p/knowing-what-i-iike</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["is the first step to get it"

...

"For many years I’ve been in desperate search of taste. I think people wrongly assume that your taste is a birthright, that it will fall into your lap. I don’t think so. I think you have to run after it. That was what I was doing all those years when I was poring over books written by old Russian men instead of paying attention in class, picking cherry blossom petals off the ground by the handful and worrying them until they fell apart between thumb and index finger, talking to you instead of living my life, buying the wrong clothes and discarding them, screenshotting thousands of words of text. I was following my attention. I was letting myself get caught, and then I was tearing myself free.

Addiction is the opposite of attention because it lacks variety. True attention is always fresh, never monotonous; you look at the same thing and see something different each time. You’re always going deeper.

I always thought I needed to wrestle with my attention, push it into a mold. I needed more credentials, a more conventional life path, a steady partner, a shiny apartment. I feel differently now. I think the goal of my life is to be as interested as I can, all the time. And there’s no way to force interest. You can lead a horse to the water but it will only drink when it wants."]]></description>
<dc:subject>attention taste via:shiraz 2023</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:47d71eba9c71/</dc:identifier>
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<item rdf:about="https://brill.com/display/title/34485">
    <title>Empire of the Senses – Sensory Practices of Colonialism in Early America | Brill</title>
    <dc:date>2024-02-28T05:25:03+00:00</dc:date>
    <link>https://brill.com/display/title/34485</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[PDF here:
https://library.memoryoftheworld.org/#/book/55f824ba-086e-4109-8252-893f8bc61612
https://slowrotation.memoryoftheworld.org/Daniela%20Hacke/Empire%20of%20the%20Senses_%20Sensory%20Prac%20(50630)/Empire%20of%20the%20Senses_%20Sensory%20P%20-%20Daniela%20Hacke.pdf
 ]

"Volume Editors: Daniela Hacke and Paul Musselwhite

Empire of the Senses brings together pathbreaking scholarship on the role the five senses played in early America. With perspectives from across the hemisphere, exploring individual senses and multi-sensory frameworks, the volume explores how sensory perception helped frame cultural encounters, colonial knowledge, and political relationships. From early French interpretations of intercultural touch, to English plans to restructure the scent of Jamaica, these essays elucidate different ways the expansion of rival European empires across the Americas involved a vast interconnected range of sensory experiences and practices. Empire of the Senses offers a new comparative perspective on the way European imperialism was constructed, operated, implemented and, sometimes, counteracted by rich and complex new sensory frameworks in the diverse contexts of early America."]]></description>
<dc:subject>senses allthesenses history imperialism 2017 danielahacke paulmusselwhite gardens aromas diving underwater knowledge fruit flavor taste colonialism colonization sound soundscapes touch tactile communication friendship newworld aroma</dc:subject>
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<item rdf:about="https://www.nytimes.com/2024/01/09/opinion/ezra-klein-podcast-kyle-chayka.html">
    <title>Opinion | How to Discover Your Own Taste - The New York Times</title>
    <dc:date>2024-01-19T16:29:19+00:00</dc:date>
    <link>https://www.nytimes.com/2024/01/09/opinion/ezra-klein-podcast-kyle-chayka.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[Also here:
https://podcasts.apple.com/us/podcast/the-ezra-klein-show/id1548604447?i=1000641013414

transcript:
https://www.nytimes.com/2024/01/09/podcasts/transcript-ezra-klein-interviews-kyle-chayka.html ]

"Being on the internet just doesn’t feel as fun anymore. As more of our digital life is driven by algorithms, it’s become a lot easier to find movies or TV shows or music that fits our preferences pretty well. But it feels harder to find things that are strange and surprising — the kinds of culture that help you, as an individual, develop your own sense of taste.

This can be a fuzzy thing to talk about. But Kyle Chayka, a staff writer at The New Yorker, has written a whole book on it, the forthcoming “Filterworld: How Algorithms Flattened Culture.” We talk about how today’s internet encourages everything to look more the same and is even dulling our ability to know what we like. And we discuss what we can do to strengthen our sense of personal taste in order to live a richer, more beautiful life.

Mentioned:

“Quartets: Two: II. Warmth” by Peter Gregson

Ambient 1: Music for Airports by Brian Eno

Book Recommendations:

“In Praise of Shadows” by Junichiro Tanizaki (essay)

Seeing Is Forgetting the Name of the Thing One Sees by Lawrence Weschler

The Mushroom at the End of the World by Anna Lowenhaupt Tsing"]]></description>
<dc:subject>kylechayka ezraklein 2024 taste algorithms internet corydoctorow enshittification spotify sameness feeds online howweread reading film music brianeno harukimurakami books aesthetics selfhood self individuality annalowenhaupttsing annatsing lawrenceweschler robertirwin junichirotanizaki international design art discovery exploration ambient mobydick slow curating curation sharing culture web data chatcpt criticism platforms monetization recommendation coffeeshops moby-dick coffeehouses cafes</dc:subject>
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<item rdf:about="https://publicinfrastructure.org/podcast/80-nick-seaver/">
    <title>80 *Slaps Roof of Algorithm* You Can Fit so Much Taste in This Thing with Nick Seaver - Initiative for Digital Public Infrastructure</title>
    <dc:date>2023-12-29T07:43:32+00:00</dc:date>
    <link>https://publicinfrastructure.org/podcast/80-nick-seaver/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Do Spotify’s algorithms make a listener’s music taste, or does taste make the algorithm? Nick Seaver embedded himself as an ethnographer at a music recommendation software firm to learn about the the very real way very specific people influence the algorithms that power our automated world.

Nick Seaver directs the program in Science, Technology, and Society at Tufts University, and his fantastic book Computing Taste: Algorithms and the Makers of Music Recommendation is out now on University of Chicago Press."

[full transcript and audio on this page]]]></description>
<dc:subject>nickseaver 2023 algorithms music recommendation computing taste technology automation spotify software</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:65ec2b6a96e1/</dc:identifier>
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</item>
<item rdf:about="https://www.youtube.com/watch?v=3OIrdqam3sU">
    <title>How Hard Candy Flavors Are Made | WIRED - YouTube</title>
    <dc:date>2023-12-13T19:08:41+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=3OIrdqam3sU</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Candy maker Greg Cohen and the staff from Lofty Pursuits show the process of concocting new candy flavors by making a full meal out of round hardy candy. Using century’s old techniques, watch and see how Greg and the staff make a candy feast, including blueberry pie, apple cider, sweet corn and...vegan ham!"]]></description>
<dc:subject>flavors taste candy howthingsaremade food 2023 allthesenses loftypursuits gregcohen</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:8310580ed6e5/</dc:identifier>
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<item rdf:about="https://jackforster.substack.com/p/age-of-innocence-the-disappearing">
    <title>Age Of Innocence: The Disappearing Charm Of The Good Cheap Watch</title>
    <dc:date>2023-12-10T03:27:05+00:00</dc:date>
    <link>https://jackforster.substack.com/p/age-of-innocence-the-disappearing</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[""You don't know what you've got 'til it's gone." – Joni Mitchell

There are two watches I own which, for me, define one of the most important features of watch collecting, and of being a watch enthusiast. One of them is a Tudor Black Bay from 2015 and the other is a Seiko 5. Both of them have the virtues which the Joker, in The Black Knight, ascribed to a couple of other things: 

"See, I'm a man of simple tastes. I like gunpowder ... and dynamite ... and gasoline! Do you know what all of these things have in common? They're cheap."

Cheap they may be, but they get the job done and when it comes to watches, there is a surprising amount of interest to be found in being a watch lover on the cheap.

There are of course any number of people who start out with plenty of money, and who, right away, want to find out what watches are considered cool and which will be part of a larger project of building prestige on social media. This sounds like a cynical and even judgemental statement but it is not; we all get into watches, watchmaking and watch collecting for different reasons, and there is nothing inherently more virtuous about having an entry level job but finding your way in through Seiko 5 watches (or Casio G-Shocks, or what have you) than there is about have an annual watch budget of fifty thousand dollars or more, and starting out with high-end vintage, or with trying to get on the list for blue-chip watches from Audemars, Lange, Patek or Rolex (the Big-ish Four).

Still, though, there is something to be said for being forced to start small, because the new watch enthusiast on a budget is forced to concentrate on details, and on aspects of value added, which are not necessarily going to force themselves on someone who is starting out knowing they are secure for life financially, and who have enough to spend on watches that it’s more or less a question of choosing from among the usual suspects.

One of my favorite writers, A. J. Liebling, was a writer for the New Yorker for most of his professional career, and during that time he covered a lot of deadly serious subjects, including World War II (he rode a landing craft in towards the Omaha beachhead on June 6th, the first day of Operation Overlord) and some less serious but still of international interest, including boxing (The Sweet Science should be a must-read for anyone interested in old-fashioned, craftsmanlike, excellence in writing, not just boxing enthusiasts, although the latter will be apt to get the most out of a book on boxing, natch).

He also wrote, widely and enthusiastically, about food and his reflections on eating in Paris before the war, and then finding it something of a shadow of its former self afterwards. You would expect that, from years of rationing and occupation, but mourning for what's gone is separate from knowing there is a reason it happened. Anyway, on the subject of an eater's education, he wrote:

"A man who is rich in his adolescence is almost doomed to be a dilettante at the table. This is not because all millionaires are stupid, but because they are not impelled to experiment. In learning to eat, as in psychoanalysis, the customer, in order to profit, must be sensible of the cost." (Between Meals: An Appetite For Paris).

The situation for watch enthusiasts has to do with deciding, on a fixed collector's budge, what will give you the most satisfaction for a certain number of dollars. You fall in love with watches and you very quickly, if you are anything like the average watch enthusiast, find out that you are not a client for Patek, Vacheron, Lange, Rolex or Audemars Piguet.

Instead, if you are lucky, you can to choose between brands like Grand Seiko, Tudor, and Omega and if you go down the price scale a bit, companies like Longines or Hamilton or even Mido are within reach but then again, you also are starting to get into some interesting German brands, including Sinn and NOMOS Glashütte (and others.) And of course, the 800 pound gorilla of value for the money is Seiko, with its bewildering variety of models, model families, and sub-brands – including Presage (and if anyone can tell me if it should be pronounced pre-SAHZH or PRESS-ahzh, I will die a happy man, or at least, less unhappy.

Being forced to work within a budget, in other words, means you have to pay attention to details that you might not consider if you had five (or six) figures to work with and were looking for one of the top six or seven hardest-to-find, and therefore most prestigious, luxury watches. You don’t necessarily notice that both the Nautilus and the Royal Oak have baignoire (bathtub) hands because they’re both more or less the same watch, in terms of perceived prestige at least, and the details of the watch matter less than the difficulty and probability of acquisition.

On the other hand, if you are choosing among Seiko dive watches or even dive watches under five hundred dollars, the differentiating details suddenly become the only things that matter. Because acquisition is easy, taste becomes the paramount consideration. A few years of exercising taste in the field of sub-500-dollar watches and you find, surprisingly, that you can tell a good piece of work from a bad whether the name on the dial is Daniel Wellington or Patek Philippe.

The premiumization of watch prices across the board, means that the exercise of taste is harder and harder to nurture because how easy or hard it is to get something, and how much it costs, is what matters, both to the enthusiast and from a social signaling standpoint. The cheap but good watch is a critical experience in building discriminating taste, which takes time and requires looking at factors other than conferred prestige (the worst manifestation of which is the current “got the call” trope, which is I believe what the kids used to call a humblebrag). Ironically, it’s among the wide (but decreasing) pool of cheap but good watches that much of the real exercise of taste exists nowadays and without it, the whole ecosystem of watch connoisseurship collapses, like an ocean full of whales, suddenly devoid of krill."]]></description>
<dc:subject>jackforster 2022 taste watches connoisseurship signaling socialsignaling price appreciation details</dc:subject>
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<item rdf:about="https://web.archive.org/web/20220916075125/https://www.theatlantic.com/magazine/archive/1942/07/middlebrow-a-letter-written-but-not-sent/654308/">
    <title>Middlebrow: A Letter Written but Not Sent - The Atlantic</title>
    <dc:date>2023-04-11T01:11:15+00:00</dc:date>
    <link>https://web.archive.org/web/20220916075125/https://www.theatlantic.com/magazine/archive/1942/07/middlebrow-a-letter-written-but-not-sent/654308/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["When the middlebrows, on the contrary, have earned enough to live on, they go on earning enough to buy — what are the things that middlebrows always buy? Queen Anne furniture (faked, but none the less expensive); first editions of dead writers — always the worst; pictures, or reproductions from pictures, by dead painters; houses in what is called “the Georgian style” — but never anything new, never a picture by a living painter, or a chair by a living carpenter, or books by living writers, for to buy living art requires living taste. And, as that kind of art and that kind of taste are what middlebrows call “highbrow,” “Bloomsbury,” poor middlebrow spends vast sums on sham antiques, and has to keep at it scribbling away, year in, year out, while we highbrows ring each other up, and are off for a day’s jaunt into the country. That is the worst, of course, of living in a set — one likes being with one’s friends."

[See also:
https://en.wikipedia.org/wiki/Middlebrow
https://www.themarginalian.org/2014/11/05/virginia-woolf-middlebrow/

original URL (Wayback boomerked):
https://www.theatlantic.com/magazine/archive/1942/07/middlebrow-a-letter-written-but-not-sent/654308/ ]]]></description>
<dc:subject>virginiawollf 1942 highbrow lowbrow middlebrow taste art design furniture conservatism antiques classics living contemporary contemporaries hibrow</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:f252d896230d/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:contemporaries"/>
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</item>
<item rdf:about="https://www.youtube.com/watch?v=HVAECy_5Sag">
    <title>How the U.S. used bland food to “Americanize” immigrants - YouTube</title>
    <dc:date>2023-01-19T18:24:41+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=HVAECy_5Sag</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Here’s how the U.S. government used school lunch to make immigrants more “American”"

[See also:

"What’s WRONG with school lunch in the U.S.?"
https://www.youtube.com/watch?v=EGqy7BPDxJU

"School lunch in the U.S. can be awful. Compared to countries like Japan, France and Brazil — where public school students are often served scratch-cooked, appetizing meals — the U.S. is really lagging. So what’s the deal? Yara goes deep into the U.S. school lunch system to look for answers, and to see just how bad – and how good – American school lunch can get."]]]></description>
<dc:subject>us food schoollunches schools flavor taste 2023 immigrants immigration assimilation</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:764c36c43f22/</dc:identifier>
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</item>
<item rdf:about="https://www.youtube.com/watch?v=Pzsjw-i6PNc">
    <title>The hidden sensory world of animals | Ed Yong - YouTube</title>
    <dc:date>2022-09-09T18:20:30+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=Pzsjw-i6PNc</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Catfish taste with their whole bodies - and that’s just one way animals sense the world totally differently than us."]]></description>
<dc:subject>edyong 2022 allthesenses senses morethanhuman multispecies animals birds sight vision hearing taste light smell smells touch video umvelt perception experience otters dogs spiders odor survival adaptation biology elephants owls behavior proust marcelproust fish catfish insects flies butterflies</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:ef26b11b8f2d/</dc:identifier>
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</item>
<item rdf:about="https://www.hodinkee.com/articles/the-almost-inexplicable-popularity-of-the-divers-watch">
    <title>Editorial: The (Almost) Inexplicable Popularity Of The Diver's Watch - HODINKEE</title>
    <dc:date>2022-08-14T01:12:57+00:00</dc:date>
    <link>https://www.hodinkee.com/articles/the-almost-inexplicable-popularity-of-the-divers-watch</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Shallow appeal, or deep value? You be the judge."

[via:
https://www.fratellowatches.com/why-is-everyone-always-wearing-a-dive-watch/#comment-839175 ]

"A dive watch, in its most classic iterations, doesn't particularly feel designed at all, so much as made simply and purely to suit a particular purpose and that purity of intent has long outlasted the intent's actual relevance, in either diving or everyday life. In short, dive watches feel authentic – they project an air of necessity which other categories of timepieces simply fail to match, on many levels. In a world full of timepieces whose designs seem more or less arbitrary, or at best present in order to appeal to highly subjective vagaries of taste, the dive watch, we feel, looks the way it looks for a reason. This solid grounding in reality that the best dive watches have, this absence of arbitrariness and subjectivity in their basic features, is I think the most substantial reason for their enduring appeal."]]></description>
<dc:subject>jackforster 2019 watches divewatches durability dependability rolex rolexsubmariner blancpain fiftyfathoms iso waterresistance ruggedness jamesbond masculinity marketing stevemcqueen purity purpose design taste fashion simplicity authenticity necessity objectivity subjectivity iso6425 water diving seiko omega citizen</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:5236cf201536/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:rolex"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:fashion"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:citizen"/>
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</item>
<item rdf:about="https://www.ottomanhistorypodcast.com/2018/06/istanbul-and-ottoman-olfactory-heritage.html">
    <title>Istanbul and the Ottoman Olfactory Heritage</title>
    <dc:date>2022-03-11T21:37:06+00:00</dc:date>
    <link>https://www.ottomanhistorypodcast.com/2018/06/istanbul-and-ottoman-olfactory-heritage.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["What did Istanbul's Spice Bazaar smell like in Ottoman times? In this episode, we explore the historical smellscape of this iconic market space from its early history up to the present day. Through a story about Ottoman smells and their transformations in the twentieth century, we touch on the trade routes of exotic spices, Ottoman marketing practices, and the greener, more fragrant Istanbul that still lives in the memories of twentieth-century shopowners who spent their lives in and around the Bazaar. Finally, we consider how telling history through smell could change the way we think about the past and struggle to preserve it."]]></description>
<dc:subject>smell smells senses allthesenses perception memory emotion istanbul 2018 maps mapping markets ottoman history sensoryhistory sensoryethnography science spices scents incense laurendavis susannaferguson colonization colonialism vision hegemony enlightenment west westernism rosewater roseoil westernthough greeks romans plato visualsupremacy visionsupremacy aristotle touch taste sight hearing multisensory rogerbacon hierarchy sound charlesdarwin kant karlmarx immanuelkant hegemonyofvision observation imperialism environment anthropology smellappreciation regulation values geography pine cleaning ottomanempire ambergris space borders international cinnamon frankincense myrrh preservation records recording archives oraltradition stories dialog heritage chemistry perfume rose canon darwin türkiye turkey</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:549bb5e2caaa/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:senses"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:laurendavis"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:susannaferguson"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:colonization"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:colonialism"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:hegemony"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:enlightenment"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:plato"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:visionsupremacy"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:aristotle"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:touch"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:charlesdarwin"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:ottomanempire"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:frankincense"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:myrrh"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:preservation"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:records"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:recording"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:archives"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:oraltradition"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:dialog"/>
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<item rdf:about="https://www.hodinkee.com/articles/jewelry-designer-maggi-simpkins-finds-power-in-her-grandmothers-cartier-tank">
    <title>Jewelry Designer Maggi Simpkins On Her Cartier Tank</title>
    <dc:date>2022-02-15T19:47:11+00:00</dc:date>
    <link>https://www.hodinkee.com/articles/jewelry-designer-maggi-simpkins-finds-power-in-her-grandmothers-cartier-tank</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Most of the jewelry I wear has a significant amount of sentimental value for me. Almost every day I wear my mom’s engagement ring, a ring of her mother's that I stack with a band I made out of my father’s gold-fill glasses frames. On my neck, I wear a pendant necklace from his mother. I’m a strong believer in connecting emotion to the objects we wear.

That’s part of why I love what I do with engagement rings because my connection to jewelry is really a sentimental one. I like pretty things, but really it comes down to really wanting to create things that tell stories and mean something significant to people.

And while the pieces I wear every day keep me connected to my loved ones, I have a special piece, my superhero piece, that I save for special occasions – my grandmother Lilian’s Cartier Tank.

I never knew my grandmother, she passed away when my mom was pregnant with me, but I always think of her as an absolute powerhouse. She managed to buy her own home on Long Island as a Black woman in the 1960s, working two and three jobs to send my dad and his twin brother to private school (which, of course, he hated). She was a sweet, hard-working, deeply religious woman who dedicated her life to others. I think of the pieces I have from her – my necklace and this watch, especially – as my guardian angels, her strength is carried through me.

My career feels like a reflection of my family in some ways; my mother encouraged me to be creative, my father was a welder and made things with his hands, and my grandmother was this source of strength.

My dad and his brother inherited her home in the late ’80s, but when my father passed away in 2012, I went to the home to help clean through all the belongings. It was a time capsule of his life and hers, as well. There were lots of old photos of my dad and a few funky vintage toys, but she was a single mom of two boys so there wasn’t a ton of opulence. But then there was this watch in her dresser. So beautiful and out of place. I think one of the reasons why I am so sentimental with jewelry is that there have been family members that I never got to meet, but I get to have little pieces that hold their stories.

Because I never got to know her, I don’t know much about the watch itself. I took it to a local watch shop when I first got it a few years ago to get it fixed and was told it was real, but if I’m being 100 percent honest, whether it’s real or fake means nothing to me. In that sense, it might as well be a Seiko or a Casio. It just so happens that I think it’s stunningly beautiful and is to my taste.

I recently had an epiphany – it felt like it was right in front of my nose, really – and I want to get into working with watches. For so many people they serve the same purpose as jewelry – pieces that commemorate occasions, get passed on from loved ones. I was intimidated by watches, the mechanics, “does it come with a box and papers?”, but the more that I learn about it, the more I approach it the way that I approach jewelry. I’m not so precious about the little things. I sell stones with certificates, but I also sell stones without certificates. For me it’s most important to think: Do we like the stone? How does that sparkle? If you touch it and it means something to you, that’s what is important."]]></description>
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<item rdf:about="https://sub.rescapement.com/p/11-lessons-and-tips-from-my-first">
    <title>11 lessons and tips from my first year of watch collecting</title>
    <dc:date>2021-12-27T01:35:34+00:00</dc:date>
    <link>https://sub.rescapement.com/p/11-lessons-and-tips-from-my-first</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["1. Don’t buy into the ‘textbook’ watches

The impetus for this upcoming melange of words was my feeling of being cheated by one of Reddit’s more universally recommended watches — the Seiko SARB017 Alpinist. I was (and many newcomers to the watch world are) obsessed with starting off with a watch that could ‘tick all the boxes’. The problem is that when you’re new, you don’t even know what the boxes are! I was gaslighting myself into thinking the words, ‘reliable Seiko 6R15 automatic movement’ weren’t literal gibberish to me. Watches are an anachronism. They have lost the pure function form they were born from. So why do so many of us talk about them as if they have ‘features’?  As a new collector, I initially approached this hobby in a totally logical but highly incorrect way — looking for standardized checkmarks I could tick off. After watching about twenty YouTube videos of people reviewing watches, listing water resistance specs as if watches were a smartphone, I bought in. ‘Great watches that YOU can afford!’, ‘INCREDIBLE value!’, ‘Top 10!’.

The true fun of collecting anything is in the emotional response it gives you and the life experiences you imbue onto said things. I sold my SARB017 soon after I bought it because it simply didn’t mean anything to me. Watches at their peak are storytelling devices. My problem was I didn’t buy into the story of the Seiko Alpinist being the choice watch for Japanese mountain climbers. What I bought was a 38mm case with a 6R15 automatic movement with a water resistance of 200m that was affordable and ticked all the boxes. We make fun of Omega’s moonwatch marketing barrage but that stuff really does matter! Buy a highly recommended television or fridge that ticks all the boxes. Not a watch. If you’re interested in listing off a bunch of specifications I believe a company called Apple makes something that might impress you. The best watches are pure storytelling devices. Every object is more enjoyable with a story behind it. Find the watch for you."

...

"2. Figuring out what you DON’T want on a watch is easier than figuring out what you DO want

I call this, ‘Big Menu At Restaurant Theory’ (look forward to the scientific paper). It’s far easier to knock off categories of things you don’t want than it is to pick out a singular thing you do want. I learned from my early Seiko Alpinist that I absolutely did not enjoy setting the date. I could look at the date on my damn phone. That was my arbitrary line. Every watch with a date window is now dead to me. This has evolved into only wanting to collect time-only watches.

Draw your own arbitrary lines and come up with your own personal catch-alls. This alleviates a substantial amount of decision fatigue and frustration from your collecting. It will streamline the collecting process immeasurably. Don’t like dive watches? Anything with a bezel is now inconsequential to you. Hate Roman numerals? Pretend every watch with roman numerals doesn’t exist. Tom Brady first surveys the gigantic open field, then eliminates closed passing lanes, and finally narrows into the singular receiver. He doesn’t continually scan the open field because that would waste time, he’d get tackled and I think not getting tackled is the point of American football. What I’m saying is, Bucs in six."

"3. Find your ‘north star’ watch as fast as possible

After an initial period of buying whatever the internet told me to, realizing that was dumb, and then looking at too wide a field of watches — I decided to ask myself the question. ‘What is a watch that I want, and why?’ I’m not saying to pick a brand and then pick a model, I’m asking you, ‘Hey, what do you want to wear on your wrist?’ If that so happens to be a Rolex X or a Patek Y, then great!

This ties into the previous point nicely. The step after figuring out what you don’t want on your wrist is figuring out what you do want on your wrist. If what you narrowed down to is unattainable at the moment, try to pick watches that fit the ‘vibe’ you’ve curated for yourself with this ‘north star’ of a watch you’ve chosen. My north star is the Credor Eichii II. It’s a time-only and watch made in Japan. I can’t get it right now because I didn’t buy any $GME, but my collection is dominated by time-only, made-in-Japan pieces. In finding the Credor I found out that I wanted to have something that was time-only and made in Japan on my wrist. Go figure. Identifying a grail watch as a mental exercise can lead you in the direction of many watches that will resonate with you."

"4. You will screw up a few purchases, guaranteed"

"5. It’s okay to not own a watch you really like

I like the Black Bay 58. I really really like the Black Bay 58. Yet I don’t want to have my own. It took months for my pea-sized brain to reconcile the fact that I don’t need to actually own something I really enjoy. For a while, I couldn’t comprehend the fact that I liked this thing but didn’t want to buy it. Predatory consumer psychology compounded by social media (repeatedly seeing beautiful shots of the BB58 in my social feeds) and FOMO really hit hard. Just endure and remind yourself you don’t need to own something you really like. While usually linked, you’re allowed to divorce the idea of liking something from the idea of owning something. I really really like saxophones, funky strobe lights, fighter jets and Yankee Stadium."

"6. It’s okay to not get why everyone likes a certain watch"

"7. Watch photography is hard, man"

"8. Watches will always look better in person and straps will always look worse

Part of the charm of watches is that intangible something that you get from seeing a watch through your own eyes. Every single watch ever photographed looks even better in person (100% facts). The illusion of the watch photo on the internet tricks you into believing watches are bigger than they actually are. In reality, most watches are in fact micro marvels. Utter joys to look at in their true and tiny form. However, on the internet, a lot of watches look like clunky wall clocks. Watches just look better in person. It’s not just a bunch of gears. In person you truly appreciate the art. Compare Mona Lisa the .png to Mona Lisa the real thing.

The opposite is the case for watch straps. Watch strap sellers have mastered the art of making their watch straps look like the second coming of Mona Lisa on internet photos — often tacking their watch strap onto some unattainable reference. Then it arrives in the mail, duller and lacking the magic you were promised. Like Fantastic Beasts and Where to Find Them. A watch strap will always look 20% worse than the picture presented on the internet."

"9. Sometimes there just...isn't any easily available information"

"10. Get a nice watch box"

"11. The only watch collectors who actually know what they're doing are G-Shock collectors

What do you want in a watch? Do you want a great looking, durable, waterproof, great value, resalable, highly collectible, easily serviceable, and astoundingly accurate watch with a lot of cultural prestige and horological heritage that can be worn in any situation that friends and onlookers will recognize and point out?

Just get a G-Shock. No cap. Just buy the G-Shock and get out while you still can. I’m begging you. Aside from G-Shock aficionados, all us watch collectors are truly idiots. Should’ve gotten into knitting instead."]]></description>
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<item rdf:about="https://www.frieze.com/article/many-loves-etel-adnan">
    <title>The Many Loves of Etel Adnan | Frieze</title>
    <dc:date>2021-11-15T06:40:57+00:00</dc:date>
    <link>https://www.frieze.com/article/many-loves-etel-adnan</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[“Negar Azimi on Adnan’s sensuous intellect”

[image: “Main Image: Etel Adnan, Quiétude (Quietness), 2017–18, handwoven wool tapestry, 1.4 × 2 m. Courtesy: Sfeir-Semler Gallery, Beirut/Hamburg”]

“Etel loves Franz Schubert and Umm Kulthum. She loves ice cream and tabouleh and red wine. In Paris, she loves Pizza Chic, a serious restaurant with an embarrassing name. In Beirut, she loves Mount Sannine, the way its pencil edges turn pink at sunset. She loves Death in Venice (1971), the moody and sensuous Luchino Visconti film about an ageing composer’s infatuation with a dreamy Polish boy. She loves people, including the ones who visit her at home to ply her with question after question after question. She interviews them before they interview her. She listens with electric interest. Etel loves to love. She loves the Venus de Milo (c.100 BCE). The sight of the love goddess’s lusty statue at the Louvre sets her imagination on fire. She loves Marguerite Yourcenar, a writer who once tried to seduce her by depositing a copy of One Thousand and One Nights (c.8th century) by young Etel’s bedside. She loves the artist Simone Fattal, her partner of over four decades, above all. One thing she does not love, she announces one Christmas Eve, is holidays.

[photo: "Etel Adnan and Simone Fattal in their apartment in Paris, 2016. Photograph: Thibault Montamat"]

‘Every square is a fresh beginning,’ she says of her own bright, geometrically inclined paintings. ‘Painting is not a shape, but it is a feeling.’ This child of the Ottoman Empire loves the state of California, where a mountain named Tamalpais is her best friend. ‘How beautiful it is’, says this lifelong lover of the sea, ‘to arrive to a country by boat.’ At 95, Etel is still ravenous for the world. Informed one day about a newfangled thing called Uber, she swipes her index finger across a visitor’s iPhone and sends it flying off the table. ‘It is difficult to be alive,’ she concludes, and we laugh. A woman who never cared for money, she now has more than she could ever wish to spend. ‘How ironic,’ she says, in her textured Levantine accent. From Los Angeles, where I am marooned in ambiguous ‘lockdown’, I try to imagine what Etel’s take on this wretched moment might be, a moment politicians and pundits liken to wartime. A moment in which we are isolated, masked and muzzled, cut off from so many of our loves. She has thought deeply, profoundly, about wartime, the way it batters the psyche, the ghastly imprints it leaves on the soul. Once upon a time, the Algerian War hardened her against France. The Vietnam War (1955–75) made her a poet. Love, she suggests, requires a different sort of bravery. ‘Love in all its forms is the most important matter that we will ever face,’ she wrote in The Cost for Love We Are Not Willing to Pay (2011). ‘But also the most dangerous, the most unpredictable, the most maddening.’

[image: “Etel Adnan, The Arab Apocalypse, 1989, book cover. Courtesy: The Post-Apollo Press”]

I think of her in Paris now, listening to the radio, fiddling with the libretto she has been composing on Marie de’ Medici, staring out at a doomy and deserted rue Madame. I envision her trying to make a painting. Failing to make a painting. Trying again. The writer of a book called The Arab Apocalypse (1989) is an inveterate optimist. The writer of a book called The Arab Apocalypse is a committed sensualist. ‘Love is the only salvation I know of.’”]]></description>
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<item rdf:about="https://wornandwound.com/finding-your-lane-buying-watches-that-matter/">
    <title>Cutting Through The Noise, and Finding Your Lane - Worn &amp; Wound</title>
    <dc:date>2021-11-06T18:54:44+00:00</dc:date>
    <link>https://wornandwound.com/finding-your-lane-buying-watches-that-matter/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[“For many of us, the entry to watch enthusiasm can be traced to a single watch or moment that proceeded to set the tone of our collections and serve as the foundation of our taste. For some that watch or moment may be embarrassing, for others, defining. The moment responsible for pulling me deeper into this world was a hands-on experience with a vintage Submariner, reference 5512. This watch, and its impossibly romantic history, spoke to me and, for better or worse, cast the die of my collecting motivations for years to come. Looking back, it’s a rather unremarkable entry point, and one that I undoubtedly share with many others. “Oh, a vintage Sub got you into watches? You don’t say…” eye roll

Now, I have no shame in that (this was well before the explosion of vintage Rolex prices, after all), and I still love a good Sub, vintage or modern, to this day. Very original, I know. But with time came more experiences with a wide range of watches, many of which appealed to me for very different reasons than a Sub. The more watches I encountered, the more fleshed out “my lane” became. I’d call the Sub the center point of that lane. Today, over a decade later, that lane is still taking shape almost everyday. An edge-shift here and there with every new corner I round.

Today, finding and nourishing your own lane is more challenging than ever. We are inundated with new products, trends, and styles on a near daily basis, each more appealing than the last. The level of FOMO on limited editions and what gains are yet to be realized by in-demand references can cloud our ability to decipher what it is that truly appeals to us about these watches. At the end of the day, it has to be about more than just how ‘investment grade’ these investments may be. So how then, do we carve out our lane in this here hobby of ours? Do we even need to? Is it possible to confront the myriad of influences and influencers and come away with something of value to our own tastes and preferences?

First, there’s nothing wrong with being influenced per se. We are all the time. The challenge is maintaining a sense of yourself through it, and not succumbing to every whim. It’s perfectly natural to ooh and ahh at something new, nice, and attractive, but it’s worth taking a step back to fully digest the ‘why’. Given some time, those knee-jerk reactions aren’t always on-point, and we learn something about ourselves and our taste when we come back to something after first blush. This is most evident when you’re able to get some hands-on time or even just see ‘IRL’ pics of a watch after release.

But even then, do you really like the watch on its own merits, or does its cultural status weigh the scales, even subconsciously? Here, it’s important to be honest with yourself and accept that factors outside of the watch itself can and will have an impact on your appreciation of a watch, both positive and negative. Take the Speedmaster, for instance. This is a watch heavily associated with space, and has deep ties to some of NASA’s most dramatic moments in history. Omega has done a great job of keeping that history front and center when it comes to the Speedmaster. That association alone doesn’t make the Speedmaster great, of course, but it will almost certainly deepen your love of the watch if you own one. And I’d argue that’s just fine. 

Finding your lane doesn’t have to mean enjoying and collecting watches that no-one else will. It means being comfortable with where your own taste takes you, and understanding that you’ve ended up there for your own reasons. If that means liking a few watches that aren’t always en vogue, well, so be it. Conversely, if you find yourself attracted to the hottest references, the 116500s, 5711s, and SPB149s of the world, there’s no shame in that, either, assuming you’d feel the same way about them should their values crash back down to earth. As Emily Dickinson said, the heart wants what the heart wants (or was that Selena Gomez?).

I will take a moment here to advocate for watches that might be way outside of your usual comfort zone, really explore the edges with odd cases, colors, brands, or even complications. Not every collection needs an oddball in the box, but straying from the beaten path from time to time provides some enlightening experiences that provide meaningful context to your core preferences. 

Whether it’s a collection you’re building out over time, or a single watch you’re looking to rock for the rest of your days, your lane is likely to evolve with time and experience. It’s important to let that happen organically, which means you’ll probably make a mistake or two along the way. Embrace it, recognize outside influences, and take your time in deciding what works and what doesn’t for you. If you can do this, and manage to put yourself in front of as many experiences as you can along the way, even if they’re outside of your comfort zone, you’ll have no problem finding a lane of your own that you feel comfortable in.

How do you find and stay in your lane, free from outside distractions and influences? Has your collection taken any left turns you weren’t expecting? Let us know your thoughts in the comments below and we’ll incorporate them into a video discussion in the coming weeks.”]]></description>
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</item>
<item rdf:about="https://twitter.com/EricaJoy/status/1116752100715667457">
    <title>EricaJoy on Twitter: &quot;ok so cilantro tastes like soap to some of us. i want to know this: does any other food taste like an identifiably unpleasant flavor to y’all? an example (that i just pulled out of thin air) is blueberries tasting like grass or som</title>
    <dc:date>2019-04-13T21:00:14+00:00</dc:date>
    <link>https://twitter.com/EricaJoy/status/1116752100715667457</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[read responses]]]></description>
<dc:subject>taste ericjoy 2019 senses cilantro fruit vegetables food eating</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:cdfd73d3d691/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:taste"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:ericjoy"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:2019"/>
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</item>
<item rdf:about="https://www.instagram.com/p/BmL784CHIlP/">
    <title>Jacob Sam-La Rose en Instagram: “Decluttering. These are the keepers. I harbour a fantasy of my future kids being fascinated with these in the same way I raided my mother’s…”</title>
    <dc:date>2018-08-10T00:07:29+00:00</dc:date>
    <link>https://www.instagram.com/p/BmL784CHIlP/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Decluttering. These are the keepers. I harbour a fantasy of my future kids being fascinated with these in the same way I raided my mother’s record collection. Not just for the music itself, but the cover design, the appeal of the tangible object... In a digital world, it’s good to have analog anchors..."

[Commented: "Oh, those spacial, ambient, tactile, smell, taste, and sound memories that come from the places where we are raised. Swoon. I just tracked down a book about whales that was in our house as a child. I’d been referencing it for years without remembering the name (The Whale), but recalling so many details of its contents and the situations I was in while pouring over the book. The confines of small-ish collections encourage repeated reencounters that just don’t come as easily in the near infinite expanse of YouTube, Spotify, etc. Maybe this is why I have been so keen to create my on digital collections, something that I can move around in over and over again?"]

[See also: https://www.instagram.com/p/BmL5xv5HcOo/]]]></description>
<dc:subject>jacobsam-larose 2018 decluttering memory space sound music collections senses mariekondo taste smell sounds place finite curation tangible tactile analog digital books childhood memories</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:30d08965ec73/</dc:identifier>
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</item>
<item rdf:about="https://vimeo.com/85584034">
    <title>GhostFood on Vimeo</title>
    <dc:date>2018-05-19T19:15:58+00:00</dc:date>
    <link>https://vimeo.com/85584034</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["GhostFood explores eating in a future of and biodiversity loss brought on by climate change. The GhostFood mobile food trailer serves scent-food pairings that are consumed by the public using a wearable device that adapts human physiology to enable taste experiences of unavailable foods.

Created in collaboration with Miriam Songster. Commissioned by the Robert Rauschenberg Foundation for Marfa Dialogues/NY, with additional support provided by Takasago, NextFab Studios and Whole Foods. Marfa Dialogues/NY is a collaboration between the Robert Rauschenberg Foundation, Ballroom Marfa and the Public Concern Foundation. GhostFood was presented by Gallery Aferro in Newark, Rauschenberg Project Space in New York and by SteamWorkPhilly in Philadelphia."]]></description>
<dc:subject>2014 food miriamsongster climatechange speculativefiction speculativedesign physiology taste smell senses ghostfood extinction cod fish peanuts cocoa flavor multisensory flavors miriamsimun</dc:subject>
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<item rdf:about="https://www.youtube.com/watch?v=m1-r7CR6FsI">
    <title>Museums should activate multiple senses, not just the eyeball | Ellen Lupton | TEDxMidAtlantic - YouTube</title>
    <dc:date>2018-01-22T01:18:16+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=m1-r7CR6FsI</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>ellenlupton museums senses multisensory curation 2017 seeing sensing smell touch audio taste classideas accessibility inclusivity inclusion texture food light sound music acoustics architecture ranzheng haptics deafness tactile design vibeat lirongino michellequreshi cooper-hewitt cooperhewitt</dc:subject>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:cooperhewitt"/>
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<item rdf:about="http://www.wiley.com/WileyCDA/WileyTitle/productCd-1119941288.html">
    <title>Wiley: The Eyes of the Skin: Architecture and the Senses, 3rd Edition - Juhani Pallasmaa</title>
    <dc:date>2017-08-26T22:18:57+00:00</dc:date>
    <link>http://www.wiley.com/WileyCDA/WileyTitle/productCd-1119941288.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["First published in 1996, The Eyes of the Skin has become a classic of architectural theory. It asks the far-reaching question why, when there are five senses, has one single sense – sight – become so predominant in architectural culture and design? With the ascendancy of the digital and the all-pervasive use of the image electronically, it is a subject that has become all the more pressing and topical since the first edition’s publication in the mid-1990s. Juhani Pallasmaa argues that the suppression of the other four sensory realms has led to the overall impoverishment of our built environment, often diminishing the emphasis on the spatial experience of a building and architecture’s ability to inspire, engage and be wholly life enhancing.

For every student studying Pallasmaa’s classic text for the first time, The Eyes of the Skin is a revelation. It compellingly provides a totally fresh insight into architectural culture. This third edition meets readers’ desire for a further understanding of the context of Pallasmaa’s thinking by providing a new essay by architectural author and educator Peter MacKeith. This text combines both a biographical portrait of Pallasmaa and an outline of his architectural thinking, its origins and its relationship to the wider context of Nordic and European thought, past and present. The focus of the essay is on the fundamental humanity, insight and sensitivity of Pallasmaa’s approach to architecture, bringing him closer to the reader. This is illustrated by Pallasmaa’s sketches and photographs of his own work. The new edition also provides a foreword by the internationally renowned architect Steven Holl and a revised introduction by Pallasmaa himself."

[via: https://www.instagram.com/p/BYOgbLqHRWb/ ]

[two different PDFs at:

http://arts.berkeley.edu/wp-content/uploads/2016/01/Pallasmaa_The-Eyes-of-the-Skin.pdf
http://home.fa.utl.pt/~al7531/pedidos/livros/Juhani%20Pallasmaa%20-%20Eyes%20of%20the%20Skin.pdf ]]]></description>
<dc:subject>books toread architecture senses multisensory juhanipallasmaa humans bodies stevenholl sight smell sound taste texture touch humanism sfsh design peterkeith body</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:d74b5b8c5ce6/</dc:identifier>
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</item>
<item rdf:about="https://www.youtube.com/watch?v=rD1qKMgTnAE&amp;t=0s">
    <title>Bad Taste - YouTube</title>
    <dc:date>2016-07-20T01:24:08+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=rD1qKMgTnAE&amp;t=0s</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["You often hear it said that taste is all in the eye of the beholder - and that there is no such thing as 'bad taste'. We think there is - and that bad taste is often down to excess; caused by trauma."]]></description>
<dc:subject>style taste badtaste excess overcompensation schooloflife deprivation trauma sentimentality gaudiness design aesthetics economics appreciation desperation humans understanding</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:326288a7f0f0/</dc:identifier>
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<item rdf:about="http://blog.ayjay.org/uncategorized/alan-dreams-of-suya/">
    <title>Alan dreams of suya | Snakes and Ladders</title>
    <dc:date>2015-08-29T20:39:38+00:00</dc:date>
    <link>http://blog.ayjay.org/uncategorized/alan-dreams-of-suya/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["I woke up in the middle of the night last night with an inexplicable but overwhelming craving for a food that I haven’t eaten in nearly 25 years. Suya: marinated, highly spiced slices of beef cooked over a wood or charcoal fire and served with sliced onions and, when I had it, anyway, plum tomatoes. (It turns out, comically enough, that the Wikipedia page for suya links to an article I published in 1992.) It’s a Nigerian treat, especially favored by the Hausa people in the north of the country, but I first tasted it in the city of Ilorin in the heart of Yorubaland.

It was early evening, and the suya vendor had set up his cart at the side of a road on which the chief government building of Kwara state stood facing the sharia court building, in a kind of standoff. I don’t know that I’ve ever smelled anything more mouth-watering than the aromas wafting from that cart, and though I haven’t thought about the experience in years, probably, when I woke up last night everything about that evening came back to me with an uncanny clarity — spreading the suya on its bed of newspaper out on the hood of a minivan, eating and talking quietly with my friends as others drifted to and from the cart … how wonderful that was. So many moments in life get lost in the jumble of everyday busyness, it’s a gift when something small and sweet makes a gentle return to memory, to presence."]]></description>
<dc:subject>food taste smell senses memory suya nigeria 2015 alanjacobs</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
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</item>
<item rdf:about="http://www.vox.com/2015/5/20/8625785/expensive-wine-taste-cheap">
    <title>Expensive wine is for suckers. This video shows why. - Vox</title>
    <dc:date>2015-05-22T20:49:33+00:00</dc:date>
    <link>http://www.vox.com/2015/5/20/8625785/expensive-wine-taste-cheap</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Therein lies the problem with wine: you have the science of turning a great fruit into a great drink. Then you have what are seemingly objective quality variables like balance and complexity. But layered onto that is a mountain of subjective opinions, people trying to prove their sophistication, and a whole lot of marketing. The nature of wine makes it really hard to tell the difference between expertise, nonsense, and personal preference.

Take wine comments, for example. There's no doubt that people can learn through training how to identify different grapes and regions, and develop the vocabulary to distinguish and describe subtle flavors and aromas.  But at the same time, people are always vulnerable to the influence of their expectations. And time and again, researchers have been able to trick even expert wine tasters.

By dyeing a white wine red, researchers at the University of Bordeaux showed how easily visual cues can dominate wine students' sense of smell. When they thought the white wine was a red one, they described it using words commonly applied to red wines (incidentally, those words are typically dark objects like red berries or wood).

Another powerful cue is price. We can't help but associate price with quality, and most of the time it's probably a good assumption that you're paying more for a reason. But does that association hold up for wine? I bought three red wines at different prices to see if my coworkers could tell the difference.

Would they be able to tell which wine was the most expensive? Would they enjoy that wine more than the others? Check out the video above to see our results."

[direct link to video: https://www.youtube.com/watch?v=mVKuCbjFfIY ]]]></description>
<dc:subject>wine taste food drink 2015 ratings price pleasure money</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
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<item rdf:about="http://www.washingtonpost.com/blogs/wonkblog/wp/2015/03/03/a-scientific-explanation-of-what-makes-indian-food-so-delicious/">
    <title>Scientists have figured out what makes Indian food so delicious - The Washington Post</title>
    <dc:date>2015-03-27T05:54:51+00:00</dc:date>
    <link>http://www.washingtonpost.com/blogs/wonkblog/wp/2015/03/03/a-scientific-explanation-of-what-makes-indian-food-so-delicious/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Indian food, with its hodgepodge of ingredients and intoxicating aromas, is coveted around the world. The labor-intensive cuisine and its mix of spices is more often than not a revelation for those who sit down to eat it for the first time. Heavy doses of cardamom, cayenne, tamarind and other flavors can overwhelm an unfamiliar palate. Together, they help form the pillars of what tastes so good to so many people.

But behind the appeal of Indian food — what makes it so novel and so delicious — is also a stranger and subtler truth. In a large new analysis of more than 2,000 popular recipes, data scientists have discovered perhaps the key reason why Indian food tastes so unique: It does something radical with flavors, something very different from what we tend to do in the United States and the rest of Western culture. And it does it at the molecular level.""

…

"Researchers at the Indian Institute for Technology in Jodhpur crunched data on several thousand recipes from a popular online recipe site called TarlaDalal.com. They broke each dish down to its ingredients, and then compared how often and heavily ingredients share flavor compounds.

The answer? Not too often.

Here's an easy way to make sense of what they did, through the lens of a single, theoretical dish. Say you have a dish with 4 different ingredients, like the one below:

[image]

Each one of those ingredients has its own list of flavor compounds. And any two of those ingredients' lists might have some overlap. Take the coconut and onion, for instance. We can all agree that these two things are pretty different, but we can also see (in the Venn diagram below) that there's some overlap in their flavor make-up. (Ignore the math symbols.)

[image]

You could create the same diagram for all the ingredients with overlapping flavor compounds, as in this diagram. There are six that have overlap.  (Again, ignore the math.)

[image]

The researchers did this for each of the several thousand recipes, which used a total of 200 ingredients.  They examined how much the underlying flavor compounds overlapped in single dishes and discovered something very different from Western cuisines. Indian cuisine tended to mix ingredients whose flavors don't overlap at all.

"We found that average flavor sharing in Indian cuisine was significantly lesser than expected," the researchers wrote.

In other words, the more overlap two ingredients have in flavor, the less likely they are to appear in the same Indian dish.

The unique makeup of Indian cuisine can be seen in some dishes more than others, and it seems to be tied to the use of specific ingredients. Spices usually indicate dishes with flavors that have no chemical common ground.

More specifically, many Indian recipes  contain cayenne, the basis of curry powder that is in just about any Indian curry. And when a dish contains cayenne, the researchers found, it's unlikely to have other ingredients that share similar flavors. The same can be said of green bell pepper, coriander and garam masala, which are nearly as ubiquitous in Indian cuisine."]]></description>
<dc:subject>food indian india 2015 flavor taste cooking</dc:subject>
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<item rdf:about="http://www.nytimes.com/2014/09/07/opinion/sunday/how-culture-shapes-our-senses.html">
    <title>How Culture Shapes Our Senses - NYTimes.com</title>
    <dc:date>2014-09-10T01:27:41+00:00</dc:date>
    <link>http://www.nytimes.com/2014/09/07/opinion/sunday/how-culture-shapes-our-senses.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["FLORENCE, Italy — WE think of our senses as hard-wired gateways to the world. Many years ago the social psychologist Daryl J. Bem described the knowledge we gain from our senses as “zero-order beliefs,” so taken for granted that we do not even notice them as beliefs. The sky is blue. The fan hums. Ice is cold. That’s the nature of reality, and it seems peculiar that different people with their senses intact would experience it subjectively.

Yet they do. In recent years anthropologists have begun to point out that sensory perception is culturally specific. “Sensory perception,” Constance Classen, the author of “The Deepest Sense: A Cultural History of Touch,” says, “is a cultural as well as physical act.” It’s a controversial claim made famous by Marshall McLuhan’s insistence that nonliterate societies were governed by spoken words and sound, while literate societies experienced words visually and so were dominated by sight. Few anthropologists would accept that straightforwardly today. But more and more are willing to argue that sensory perception is as much about the cultural training of attention as it is about biological capacity.

Now they have some quantitative evidence to support the point. Recently, a team of anthropologists and psychologists at the Max Planck Institute for Psycholinguistics and Radboud University, both in Nijmegen, the Netherlands, set out to discover how language and culture affected sensory awareness. Under the leadership of Asifa Majid and Stephen C. Levinson, they made up a kit of systematic stimuli for the traditional five senses: for sight, color chips and geometric forms; for hearing, pitch, amplitude and rhythm variations; for smell, a set of scratch-and-sniff cards; and so forth. They took these kits to over 20 cultural groups around the world. Their results upend some of our basic assumptions.

For example, it’s fairly common, in scientific literature, to find the view that “humans are astonishingly bad at odor identification and naming,” as a recent review of 30 years of experiments concluded. When ordinary people are presented with the smell of ordinary substances (coffee, peanut butter, chocolate), they correctly identify about half of them. That’s why we think of scent as a trigger for personal memory — leading to the recall of something specific, particular, uniquely our own.

It turns out that the subjects of those 30 years of experiments were mostly English-speaking. Indeed, English speakers find it easy to identify the common color in milk and jasmine flowers (“white”) but not the common scent in, say, bat droppings and the leaf of ginger root. When the research team presented what should have been familiar scents to Americans — cinnamon, turpentine, lemon, rose and so forth — they were terrible at naming them. Americans, they wrote, said things like this when presented with the cinnamon scratch-and-sniff card: “I don’t know how to say that, sweet, yeah; I have tasted that gum like Big Red or something tastes like, what do I want to say? I can’t get the word. Jesus it’s like that gum smell like something like Big Red. Can I say that? O.K. Big Red, Big Red gum.”

When the research team visited the Jahai, rain-forest foragers on the Malay Peninsula, they found that the Jahai were succinct and more accurate with the scratch-and-sniff cards. In fact, they were about as good at naming what they smelled as what they saw. They do, in fact, have an abstract term for the shared odor in bat droppings and the leaf of ginger root. Abstract odor terms are common among people on the Malay Peninsula.

The team also found that several communities — speakers of Persian, Turkish and Zapotec — used different metaphors than English and Dutch speakers to describe pitch, or frequency: Sounds were thin or thick rather than high or low. In later work, they demonstrated that the metaphors were powerful enough to disrupt perception. When Dutch speakers heard a tone while being shown a mismatched height bar (e.g., a high tone and a low bar) and were asked to sing the tone, they sang a lower tone. But the perception wasn’t influenced when they were shown a thin or thick bar. When Persian speakers heard a tone and were shown a bar of mismatched thickness, however, they misremembered the tone — but not when they were shown a bar mismatched for height.

The team also found that some of these differences could change over time. They taught the Dutch speakers to think about pitch as thin or thick, and soon these participants, too, found that their memory of a tone was affected by being shown a bar that was too thick or too thin. They found that younger Cantonese speakers had fewer words for tastes and smells than older ones, a shift attributed to rapid socioeconomic development and Western-style schooling.

I wrote this in Florence, Italy, a city famous as a feast for the senses. People say that Florence teaches you to see differently — that as the soft light moves across the ocher buildings, you see colors you never noticed before.

It taught Kevin Systrom, a co-founder of Instagram, to see differently. He attributes his inspiration to a photography class he took in Florence while at a Stanford study-abroad program about a decade ago. His teacher took away his state-of-the-art camera and insisted he use an old plastic one instead, to change the way he saw. He loved those photos, the vintage feel of them, and the way the buildings looked in the light. He set out to recreate that look in the app he built. And that has changed the way many of us now see as well."]]></description>
<dc:subject>senses taste olfaction touch sight seeing noticing language languages culture darylbem tmluhrmann constanceclassen wcydwt glvo slow marshallmcluhan anthropology psychology perception sense asifamajid stephenlevinson sound hearing tone pitch rhythm color comparison schooling unschooling deschooling literacies literacy identification naming kevinsystrom smell</dc:subject>
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<item rdf:about="http://austinkleon.com/2014/02/12/guilty-pleasures/">
    <title>No more guilty pleasures</title>
    <dc:date>2014-02-12T20:28:54+00:00</dc:date>
    <link>http://austinkleon.com/2014/02/12/guilty-pleasures/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["More than 400 years ago, Michel de Montaigne, in his essay “On Experience,” wrote, “In my opinion, the most ordinary things, the most common and familiar, if we could see them in their true light, would turn out to be the grandest miracles . . . and the most marvelous examples.”

All it takes to uncover hidden gems is a clear eye, an open mind, and a willingness to search for inspiration in places other people aren’t willing or able to go.

We all love things that other people think are garbage. You have to have the courage to keep loving your garbage, because what makes us unique is the diversity and breadth of our influences, the unique ways in which we mix up the parts of culture others have deemed “high” and the “low.”

When you find things you genuinely enjoy, don’t let anyone else make you feel bad about it. Don’t feel guilty about the pleasure you take in the things you enjoy. Celebrate them.

When you share your taste and your influences, have the guts to own all of it. Don’t give in to the pressure to self-edit too much. Don’t be the lame guys at the record store arguing over who’s the more “authentic” punk rock band. Don’t try to be hip or cool. Being open and honest about what you like is the best way to connect with people who like those things, too."]]></description>
<dc:subject>austinkleon taste guiltypleasures 2014 davegrohl nelsonmolina micehldemontaigne highbrow lowbrow punk hibrow</dc:subject>
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<item rdf:about="http://www.openletters-online.com/Issue-07-Alexandra-Lange-to-siwssmiss">
    <title>Issue # 07 Alexandra Lange to swissmiss - open letters</title>
    <dc:date>2014-02-01T07:10:29+00:00</dc:date>
    <link>http://www.openletters-online.com/Issue-07-Alexandra-Lange-to-siwssmiss</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Here’s my @DearOpenLetters to @swissmiss, Criticism = Love" https://twitter.com/LangeAlexandra/status/429369322331721728

[Text here: http://observatory.designobserver.com/alexandralange/feature/criticism_love/38310/ ]

"Dear swissmiss:

It may seem strange to be bothered by something published on the internet in 2011. But I am, because that text remains the clearest evocation of an attitude I continue to see on design blogs: that we critics are motivated by hate. This is just plain wrong. Criticism = love.

On October 17 of that year you quoted your studiomate Chris Shiflett under the heading, “Ignore haters”:

<blockquote>I always take more pleasure in liking something than in disliking something. That’s not to say there aren’t some things that deserve to be liked and some things that deserved to be disliked, but I’m never fond of disliking something.</blockquote>

<blockquote>The lesson I’ve learned is to be wary of those who are. The ones who seem to think that being critical is the same as having good taste. Those people almost never have good taste, so their opinions don’t matter.</blockquote>

<blockquote>There’s no particular sophistication required to be a critic. We know this, because children often dislike foods they learn to love as adults.</blockquote>

As a child I disliked the Eames LCW chair in my parents’ bedroom. I took no pleasure in hating it. My feeling separated me from my mother, whose taste I have always admired. Was Eames a flavor I had to become more sophisticated to enjoy? Perhaps. But that dislike, that gap between us in taste, fueled a productive thought process. I had to figure out what was so great about an object so ugly, so bulbous, so unlike the other (normal) chairs in our house. I had to learn about the Eameses, about bentwood, about cleaning up “the slum of legs.” If at the end of that process I still hated the chair, would I have gained less in sophistication? I learned to love the exploration. I love the chair too, even though, due to its age and the innovative industrial means of its manufacture, it is now sculpture rather than furniture.

All my life, criticism has been a gift. Literally. My mom gave me the Eames chair a few years ago. I can wave at it from the desk at which I’m typing.

In high school my mother gave me the collection of Ada Louise Huxtable’s essays, Kicked A Building Lately?, as an example of what writing about architecture could achieve. The reflected skyline on the cover. The pithy comments within, which hardly required illustration. The rhythm of seeing and thinking and writing. It felt fast and it felt just. Can’t you imagine Huxtable as Lois Lane, kicking the steel corners of the nascent Park Avenue School of Architecture? It’s true, she didn’t make the buildings. But, just like Lois, her reporting separated the real Supermen from Bizarro. Her words shaped what came next for New York. She made up names for what was happening to the city and to culture. By naming, she created an arena in which discussion could occur.

My now-husband’s first gift to me was another collection of criticism, Michael Sorkin’s Exquisite Corpse. My education in criticism up to that date had been establishment; this book was made of ruder stuff. It bristles with dislike about some of the very same buildings Ada Louise Huxtable loved, and love for those about which she was lukewarm. The Ford Foundation. The Whitney. My favorite essay in the book is probably the one on the Whitney, an all-too-rare love letter to Marcel Breuer intertwined with a demolition of Michael Graves and his “shitty beaux-arts apparatus.” However quotable, I still wouldn’t call that hating. Sorkin says Graves can’t help it, the apparatus is just his way. It’s on the rest of us to save the Whitney. Sorkin is simply giving us reasons why we should. His conclusion is less important than explaining how to get there.

Your blog is clearly a critical enterprise. The mission of swissmiss seems obviously analogous to Tattly, which you created to clean up the slum of temporary tattoos. You must get hundreds of emails a day with products, apps, videos and posters that you deem unworthy of publication. Every time you don’t publish something, you are being a critic. Yet you don’t share that judgment. That negative determination happens without comment, in the click of the trash button. What I’d like to hear about is what happens in your head between the look and that judgmental click. Why this and not that? What’s wrong with that picture?

To be able to say, simply and directly, what is wrong (or not-yet-right) in design is not a child’s task. I don’t think it is possible to educate about design without talking about the world of wrong, ugly, misguided and oversize. Yes, swissmiss, like Switzerland, might be the exception to that world. But it will never be the rule, and accentuating the positive will only reorganize so much territory. Today’s Lois Lane cannot avoid the aisles of the grocery store, the app store, or Toys R Us. This Internet of Things: can it be without glitch? Skimming the cream off the top will always generate more clicks (anyone can compare our Twitter followings), but there’s more constructive work to be done below, where so many design blogs fear to dive.

You are motivated by a love of design, as am I. Haters are name-callers, body-shamers, trolls. They are destructive. If my fellow critics and I did not love buildings, books, gadgets and food, there would be no reason for us to do what we do. I really don’t get paid enough. But as I move through the world of objects, I have a lot of questions. I can’t ignore what I dislike or don’t understand. Sometimes I describe the way I choose my topics as scratching an itch: if something bothers me each time I see it, the only salve is investigation. Growing up is doing more than complaining (or, as you have said, coming up with a Twitter hashtag). Let’s talk about it—as adults, of course.  I would like to save a building or improve a megaproject, but sometimes the critic has to settle for creating a conversation.

Maybe this is just the long way of saying something very simple: Dear Design, I love you. But love isn’t blind."]]></description>
<dc:subject>alexandralange 2014 criticism caring taste learning howwelearn cv love design swissmiss tinarotheisenberg</dc:subject>
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<item rdf:about="http://www.dezeen.com/2014/01/15/mimi-zeiger-moma-american-folk-art-museum-architecture-obsolescence/">
    <title>MoMA's demolition of AFAM and architectural obsolescence</title>
    <dc:date>2014-01-16T01:25:17+00:00</dc:date>
    <link>http://www.dezeen.com/2014/01/15/mimi-zeiger-moma-american-folk-art-museum-architecture-obsolescence/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["In retrospect, Muschamp's effusive wordsmithing borders on hyperbole. Yet in focussing on the cultural context in which the building was born, it captures much of what is missing from current discussion (which tends to be markedly concentrated on functionality and new square footage). If we practice the rules of obsolescence, the death of this signature piece of architecture was designed in at the beginning.

As much as I would want to praise the American Folk Art Museum for pointing a way forward out of that dark time, the structure is no phoenix. From the beginning it was anachronistic. This is its downfall.

Although completed in the new millennium, it is an artefact from the 1990s, or to crib from Portlandia, an artefact from the 1890s. Muschamp's title suggests as much: Fireside Intimacy for Folk Art Museum. "Our builders have largely dedicated themselves to turning back the clock," he writes of Williams and Tsien's obsessive attention to materiality.

The museum is a little too West Coast for midtown - too much like something from the Southern California Institute of Architecture, before computation took command. Its design values everything the current art and real estate markets reject: hominess, idiosyncrasy, craft. By contrast, Diller Scofidio + Renfro's scheme emphasises visibility and publicness. The same could be said for an Apple store.

A message from MoMA director Glenn D. Lowry posted on the museum’s website touts that the new design will "transform the current lobby and ground-floor areas into an expansive public gathering space." Indeed, the much talked-about Art Bay, the 15,500-square-foot, double-height hall in the scheme, walks a fine line between public space and gallery. Fronted with a retractable glass wall and designed for flexibility, the Art Bay is so perfectly attuned to the performance zeitgeist, that it makes Marina Abramović want to twerk.

…

The Tumblr #FolkMoMA, initiated and curated by Ana María León and Quilian Riano, dragged the fate of AFAM - a pre-internet building - into the age of social media. The hashtag set the stage for a robust dialogue on the subject and a much-needed commons for debate, but failed to save architecture from capital forces.

In weighing in to protest or eulogise the passing of the American Folk Art Museum, perhaps what we mourn is not the building per se, but a lingering sentimental belief that architecture is an exception to the rules of obsolescence. This building strived to represent so many intimacies, but ultimately its finely crafted meaning was deemed disposable.

Fingers may point at the ethics of Diller Scofidio + Renfo's decision to take on the project or wag fingers at MoMA's expansionist vision, but the lesson here cuts deeper into our psyche. Architecture, as written in long form, exceeds our own life spans and operates in a time frame of historical continuity. Architecture writ short reminds us of our own mortality, coloured by mercurial taste."]]></description>
<dc:subject>plannedobsolescence obsolescence moma afam diller+scofidio ephemerality mortality design architecture anamaríaleón quilianriano mimizeiger taste timing disposability visibility publicness craft hominess idiosyncrasy herbertmuschamp 2014 dillerscofidio ephemeral</dc:subject>
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<item rdf:about="http://nataliacecire.blogspot.com/2013/09/wasting-time-on-internet-syllabus.html">
    <title>Works Cited: Wasting time on the internet: a syllabus</title>
    <dc:date>2014-01-13T05:44:25+00:00</dc:date>
    <link>http://nataliacecire.blogspot.com/2013/09/wasting-time-on-internet-syllabus.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["This is a syllabus in progress, imagined as part writing workshop, part American studies course on aesthetics. Comments and suggestions are welcome.

What I Did For Love: Taste, Evaluation, and Aesthetics in American Culture

“I don’t know art, but I know what I like,” goes the disclaimer. In this writing-intensive part-workshop, part-seminar, we will seek to unpack the relationship between “art” and “what I like” by examining a variety of cultural objects together with accounts of “taste.” What are the uses of an art that nobody likes? Could “annoyance” be an aesthetic principle? What is the role of money in taste? What are the ethics of aesthetics? Under what circumstances is an aesthetic pleasure “guilty”? When should the appreciation of art works be a matter of disinterested judgment, and when a matter of passionate engagement? Does “love” blind? What is the difference between a “fan” and a “critic”? What are the affordances and limits of the “formulaic” and the “generic”? 

Four weeks of this course will be devoted to workshopping students’ critical writing, examining the roles of description, praise, blame, analysis, and enthusiasm in writing about culture. Students will also maintain a course blog. For the final assignment, students are encouraged to pitch their writing to an appropriately chosen publication.

…

Short exercise: choose a cultural object to describe as plainly as possible. About 500 words. 

…

Essay 1: Describe some piece of culture (novel, film, painting, poem, music video, etc.) that you love, and that you also think is good. (These are two different things.) Explain why it is that you love the piece, what it is that makes it good, and how you can tell the difference (and under what circumstances you can’t). Be sure to explain what it is that makes art good in general—you don’t need to advance a fully developed theory of aesthetics, but you do need to unpack your assumptions as much as you can. Have an argument. This should be around 3000 words. 

…

Short exercise: write a piece of fanfiction, about 1000 words, in the setting of your choice. 

…

Short exercise: Make the case that some cultural object is a “remake” of another, earlier one (for example, that Pixar’s Toy Story is a remake of Disney’s Pinocchio). Be honest about the ways in which the claim does not hold up. In addition to noting similarities or lines of influence, you should explain what we gain from understanding the later object as a remake of the earlier one. 500–1,000 words. 

…

Essay 2: Choose a piece of art and viciously pan it. Your critique should be utterly devastating, which is to say that you should be able to persuade your reader that this piece is a blight on humanity, and not merely that you are a mean-spirited person. This will be more effective if you resist choosing an easy target. 2,000–3,000 words. 

…

Essay 3: Review some piece of culture that was recently produced—say, since January 2012. Give your reader a fairly thickly textured sense of what this piece is like, and explain what its successes and failures are. Once again, be sure to unpack what it means for something to “succeed” (in any register). What is the historical, cultural, or aesthetic milieu in which this piece is ideally legible? Make a point. This should be around 3,000 words. 

…

Essay 4: Revise your review for publication in a venue of your choice. It may be print or online. When you submit this assignment to me, you should also submit a copy of the submission guidelines for this venue (to which your revised review should adhere) and a rationale (about 500 words) for choosing this publication. You are encouraged to actually submit the review to the publication you have chosen. (You might be interested in this [http://whopays.tumblr.com/ ].)"]]></description>
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<item rdf:about="http://www.ibraaz.org/interviews/100">
    <title>Ibraaz Talks: Trevor Paglen on Aesthetics | Ibraaz</title>
    <dc:date>2013-10-24T23:07:31+00:00</dc:date>
    <link>http://www.ibraaz.org/interviews/100</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Ibraaz Talks is a series of specially curated conversations with artists, curators and writers. Participants are invited to respond to a particular issue or keyword that addresses formal and conceptual issues affecting both their personal practices and contemporary visual culture. Initiated at Art Dubai in 2013, this latest series was staged at SALT Beyoğlu during the opening days of the 13th Istanbul Biennial. In this talk, artist Trevor Paglen and Ibraaz Senior Editor Omar Kholeif ask the question: why aesthetics? The discussion considers the notion of aesthetics in the context of a practice that often deals with ideas of anti-aesthetics. The talk takes into account a project Paglen presented during the Istanbul Biennial with Protocinema titled Prototype for a Nonfunctional Satellite (Design 4; Build 3) (2013) – a 4-metre tall model for an orbital spacecraft, which considers how such a functional object might operate in a non-functional context."]]></description>
<dc:subject>ibraaztalks trevorpaglen 2013 aesthetics objects function art anti-aesthetics via:javierarbona economics politics taste relationships class inequality time mortality space satellites immortality elitism</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
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<item rdf:about="http://tumblr.austinkleon.com/post/60209591086">
    <title>“It wasn't for me.” - Austin Kleon</title>
    <dc:date>2013-09-04T00:12:56+00:00</dc:date>
    <link>http://tumblr.austinkleon.com/post/60209591086</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["I’ve become fond of the phrase “it wasn’t for me,” when referring to books (music, movies, etc.) that I don’t get into.

I like the phrase because it’s essentially positive: underlying it is the assumption that there is a book, or rather, books, for me, but this one just wasn’t one of them. It also allows me to tell you how I felt about the book without me shutting down the possibility that you might like it, or making you feel stupid if you did like it.

It just wasn’t for me. No big deal.

And “me” changes, so when you say, “It wasn’t for me,” maybe it’s not for the “me” right now—maybe it’s for future Me, or Me lounging in a beach chair in Jamaica, or Me at fourteen.

Responding to art is so much about the right place and right time. You have to feel free to skip things, move on, and (maybe) come back later.

And you have to be okay with saying, “It wasn’t for me.”"]]></description>
<dc:subject>austinkleon timing taste readiness 2013 filtering kindness criticism haters notforme it'snotforme itwasn'tforme</dc:subject>
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<item rdf:about="http://blogs.smithsonianmag.com/smartnews/2013/06/your-choice-of-spoon-changes-the-taste-of-your-food/">
    <title>Your Choice of Spoon Changes the Taste of Your Food | Smart News</title>
    <dc:date>2013-06-30T21:59:42+00:00</dc:date>
    <link>http://blogs.smithsonianmag.com/smartnews/2013/06/your-choice-of-spoon-changes-the-taste-of-your-food/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The next time you’re getting ready to eat, think carefully about what utensil you choose to dig into that tasty morsel. Researchers, publishing in the journal Flavour, showed that how we perceive food and even how we taste it, can be affected by the type of cutlery we use.

One of the food stuffs that researchers from the University of Oxford took as a subject was yogurt. And they came up with some  bizarre results. For example: yogurt was perceived to be denser and more expensive when eaten from a light plastic spoon, as opposed to a weighted plastic spoon.  

They also tested the effect of color on yogurt-eaters. White yogurt eaten from a white spoon was deemed sweeter, more expensive and denser than a similar yogurt that was dyed pink. When the subjects ate the pink and white yogurt with black spoons, the effects were reversed.

The researchers didn’t just limit themselves to a single dairy product though. They also tested whether the shape of cutlery would affect the taste of cheese and found that cheese tasted saltier when eaten off a knife as opposed to a spoon, fork or toothpick."]]></description>
<dc:subject>spoons taste ncmideas 2013 food eating utensils</dc:subject>
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<item rdf:about="http://io9.com/slow-mo-reel-of-kids-tasting-foods-for-the-first-time-499103547">
    <title>Slow-mo reel of kids tasting foods for the first time. You're welcome.</title>
    <dc:date>2013-05-10T22:29:52+00:00</dc:date>
    <link>http://io9.com/slow-mo-reel-of-kids-tasting-foods-for-the-first-time-499103547</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>taste novelty newness reactions food children expression slowmotion 2013 video</dc:subject>
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<item rdf:about="https://vimeo.com/59132858">
    <title>Subject, Theory, Practice: An Architecture of Creative Engagement on Vimeo</title>
    <dc:date>2013-03-12T22:20:02+00:00</dc:date>
    <link>https://vimeo.com/59132858</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[“Tell me to what you pay attention and I will tell you who you are.” José Ortega y Gasset

A 'manifesto' for the curious architect/designer/artist in search of depth, but in love with plenty, in the saturated world of the 21st Century.

"In a world where grazing is the norm, in which the bitesize is the ideal that conflates ease of consumption with value, where yoghurts are increased in sales price by being reduced in size and packaged like medicines, downed in one gulp; in a world where choice is a democratic obligation that obliterates enjoyment, forced on consumers through the constant tasting, buying and trying of ever more gadgets; a world in which thoughts, concepts -entire lives- are fragmented into the instantaneous nothings of tweets and profile updates; it is in this world, where students of architecture graze Dezeen dot com and ArchDaily, hoovering up images in random succession with no method of differentiation or judgement, where architects -like everyone else- follow the dictum ‘what does not fit on the screen, won’t be seen’, where attentions rarely span longer than a minute, and architectural theory online has found the same formula as Danone’s Actimel (concepts downed in one gulp, delivered in no longer than 300 words!), conflating relevance with ease of consumption; it is in this world of exponentially multiplying inputs that we find ourselves looking at our work and asking ‘what is theory, and what is practice?’, and finding that whilst we yearn for the Modernist certainties of a body of work, of a lifelong ‘project’ in the context of a broader epoch-long ‘shared project’ on the one hand, and the ideas against which these projects can be critically tested on the other; we are actually embedded in an era in which any such oppositions, any such certainties have collapsed, and in which it is our duty –without nostalgia, but with bright eyes and bushy tails untainted by irony- to look for new relationships that can generate meaning, in a substantial manner, over the course of a professional life.

This film is a short section through this process from May 2012."

This montage film is based on a lecture delivered by Madam Studio in May of 2012 at Gent Sint-Lucas Hogeschool Voor Wetenschap & Kunst.

A Madam Studio Production by Adam Nathaniel Furman and Marco Ginex

[via: https://twitter.com/a_small_lab/status/310914404038348800 ]]]></description>
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