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  </channel><item rdf:about="https://www.documenta14.de/en/south/25225_signals_from_another_world_proletarian_theater_as_a_site_for_education_texts_by_asja_la_cis_and_walter_benjamin_with_an_introduction_by_andris_brinkmanis">
    <title>Signals from Another World: Proletarian Theater as a Site for Education Texts by Asja Lācis and Walter Benjamin, with an introduction by Andris Brinkmanis - South Magazine Issue #9 [documenta 14 #4] - documenta 14</title>
    <dc:date>2026-07-04T08:04:46+00:00</dc:date>
    <link>https://www.documenta14.de/en/south/25225_signals_from_another_world_proletarian_theater_as_a_site_for_education_texts_by_asja_la_cis_and_walter_benjamin_with_an_introduction_by_andris_brinkmanis</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Signals from Another World: Proletarian Theater as a Site for Education
Texts by Asja Lācis and Walter Benjamin, with an introduction by Andris Brinkmanis"

...

"What are the forms of culture still capable of assuming the shape of a chorus, an assembly? Which cultural forms might help build communities in which a multitude of diversities might be expressed as a collective force, as a voice able to articulate its discourse, its desires, and give shape to its politics, even if just for a specific period of time? And might such experiences produce knowledge that resists the infinite separation imposed by capitalism and bring one back to self-determined vita activa (praxis)? Indeed, what tools for a positive dialectics do we still have at our disposal and where shall we look for them? 

To revisit the intellectual legacy of early twentieth-century Germany and Soviet Russia means to revisit the “ruins of yesterday where today’s riddles are solved,” as Walter Benjamin once put it. It also means to face wounds and confront ghosts that this time might become allies in our attempt to decipher what can be learned from their haunting presence. To cope with these phantom limbs and ghostly presences of modernity, sometimes violently blasted out of the collective memory, and to oppose the anosognosia of our time is perhaps the task of the materialist historian today. To learn to understand what a body—a social body—was once able to do and still can or cannot do, may provide the necessary awareness to lay the ground for art forms and politics yet to come."]]></description>
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    <title>Fatiguing fascism</title>
    <dc:date>2026-03-13T23:19:15+00:00</dc:date>
    <link>https://sf.gazetteer.co/fatiguing-fascism</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The outrage over Greg Bovino’s ‘Nazi chic’ outfit in Minnesota ignores the reality that in a society of the spectacle, we’re all fighting for stage time"

...

"It’s been a minute since we’ve seen the likes of one Greg Bovino. The now-reassigned commander-at-large of the US Border Patrol catwalked into public awareness thanks to his personal style while overseeing ICE and Border Patrol agents on the streets of Minneapolis earlier this year.

Sporting an eye-catching olive green greatcoat that was just a little too close to Nazi chic for comfort, Bovino volunteered to serve as latest poster-/whipping-boy for the Trump administration’s ongoing playlist of throwback hits that also includes Elon Musk’s now classic “Roman salute.” 

Bovino’s long military trench coat flapping in the Minneapolis breeze fueled all the predictable hysteria one expects from the liberal media during our era of theatrical #Resistance. Social media feeds were ablaze for a couple of days about yet another supposed recrudescence of fascism — even Germany got into the mix with their Der Spiegel hyperbolically accessorizing Bovino’s fit with “Nazi” gloss.

You probably heard this story told with a different emphasis than the one I’m giving here: Since 2015, the Year of the Golden Escalator, liberal pundits, podcasters, and posters have holstered the words “fascism” and “Nazi” more accessibly than an itchy-fingered gunslinger in a spaghetti Western.

In this climate, Bovino’s crypto-fascist turn as a supermodel sporting Nazi chic (never mind that the greatcoat in question dates back to the early 19th century and was widely deployed across the European continent, fascist and otherwise) is supposedly only the latest on-the-nose indicator that literal fascism is again on the rise, a specter haunting bottomless mimosa brunches from Cape Cod to Marin County.

But does the hypocrisy of the Chardonnay #Resistance really matter at the end of the day? After all, it would be a hard sell indeed to impute plausible deniability to Bovino’s frisson of authoritarian drag.

I won’t even try to make a case that our fashionable commander-at-large was blissfully ignorant that his brass-festooned greatcoat (to say nothing of the 1930s heritage haircut) wasn't communicating anything. 

It’s obvious to anyone who’s been paying attention to the right’s provocations these past ten years that Bovino didn’t just accidentally put on a militaristic show with that coat. Yet, it’s also obvious that he not only knew precisely what he was doing, but why. If there is one common denominator across the political spectrum, it’s that everyone is awake to theater now. Nothing that hits our screens, not even the slaughter of our fellow Americans, hasn’t been framed for maximum visual flair and shareability. 

My personal experience with the question of ‘to Nazi or not to Nazi’ gives me a more informed take than most on the Great Greatcoat Affair. 

During the early days of my tenure with the alternative rock band Interpol in the 2000s, I myself dabbled — more than dabbled — in the “rich” rock tradition of Nazi drag. Unlike Keith Moon, who donned an entire SS uniform or Siouxie Sioux who accessorized her perfect punk look with an actual swastika armband, my own carefully crafted attempt at Nazi chic was more suggestive — though, admittedly, with the ensemble featuring polished combat boots, a sleek, black leather holster, a plain armband, and a striking Hitlerjugend coiffure, the “suggestion” was communicated through a megaphone. 

It would stretch credulity if I insisted that I had no idea that my onstage costume wasn’t curated with the highest degree of attention to communicate something. The references I was making with this turn on that virtual catwalk were obvious. I even showcased much greater verisimilitude than Bovino.

As with Moon, facetiousness was meant as a clear sign that I and everyone else at the time knew what was really going on. I remember visiting my bespoke tailor one time and laughing after I’d come out of the dressing room decked out in one of his latest creations. “May I see your papers?” he inquired with a German accent delivered through a shit-eating grin. 

Though our backgrounds, our politics and our job description are worlds apart, Bovino and I nonetheless have something in common: We both partook of the captivating allure of midcentury military chic knowing full well that a bunch of cameras were around the corner waiting to capture it all for posterity.

Of course, both of our fashion choices were already shopworn by the time we donned them, as “Fascinating Fascism,” Susan Sontag’s classic 1974 essay in The New York Review of Books reveals. 

Yet, whereas Sontag’s analysis of the appeal of fascism emphasized its shared visual vernacular with sexual sadomasochism (something my stage attire was intended to theatricalize), Bovino’s seems less preoccupied with titillation than with provocation. 

While it’s easy to imagine Bovino — like so many of his fellow MAGA mascots — is an actual Nazi-admiring fascist, the truth is probably less terrifying or even interesting. As with so many other politically motivated public figures (and, honestly, so many of us), he knows that spectacle, not actual politics, drives clicks. Those clicks are pre-political; and, sadly, they dominate our lives at the moment. 

In our latter-day Debordian Society of the Spectacle, everyone is competing with everyone else for attention. Bovino’s display of muscular militarism can not be taken at face value. It should be seen for what it is (and was for Moon, Sioux, and me): a gimmick and a gambit.

In Subculture: the Meaning of Style, the English sociologist Dick Hebdige wrote about mods, rockers, Teddy Boys, Rastas, and other British music scenes of the 1970s. Hebdige’s exegesis of London punks has stuck with me the most, particularly his analysis of their deployment of the swastika. At one point, Hebdige quotes a “punk on the street” speaking with the kind of terse, uncomplicated logic one expects from a disaffected working class Brit: “Punks just like to be hated.”

I look back to my dalliance with Nazi chic as being of a very specific time and place, a context far removed from the present. It’d be in bad taste, and probably insensitive, for me to do today what I did back then.

The 2000s were a different time: no omnipresent cameras, no social media, no hashtags. In the intervening two decades, consciousness has been raised among the liberal class; similarly, the impulse to create a capital-S Spectacle has risen among the illiberal one. 

Would that the consciousness of so-called progressives continued to higher spheres, we might be spared their obnoxious sermons; would that people like Bovino not bait them so expertly, we might be able to think about other things for a change."]]></description>
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    <title>Drama Masks: The Manhattanization of San Francisco stages - 48 hills</title>
    <dc:date>2026-02-27T07:01:18+00:00</dc:date>
    <link>https://48hills.org/2026/02/drama-masks-the-manhattanization-of-san-francisco-stages/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Bilal Mahmood's proposal for a new arts district promises to be of little benefit to local creatives."]]></description>
<dc:subject>charleslewisiii bilalmahmood sanfrancisco theater art arts 2026 deanpreson manhattanization timredmond politics policy</dc:subject>
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<item rdf:about="https://www.youtube.com/watch?v=R9fpm-lorIU">
    <title>Hyperreal Fascism | Plastic Pills - YouTube</title>
    <dc:date>2026-02-19T20:51:51+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=R9fpm-lorIU</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["check https://www.patreon.com/plasticpills or join the channel for my other theory/philosophy content, including an explanation of the "semiotic square".

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

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

00:00 - Fascism's New Face
11:03 - what's Hyperreal
18:35 - what's Fascism
32:01 - Kristi Noem ICE Barbie
38:52 - The Psychosexual Semiotics of Fascism"]]></description>
<dc:subject>fascism latefascistaesthetics fascistaesthetics 2026 plasticpills aesthetics walterbenjamin jeanbaudrillard wilhelmreich algirdasjuliengreimas semiotics trumpism donaldtrump us media socialmedia hyperrealism power threat violence kristinoem guns dhs ice police policing militarism baudrillard reality stephenmiller jdvance meaning messaging policy dickcheney tv television performance transparency theater pallywood marketing corruption canon carlschmitt advertising propaganda italy nazis nazigermany germany italia mussolini benitomussoilini luxurybrands hugboss politics rolex capitalism fendi chanel bimbocore louisvuitton christiandior balenciaga emergency strategygroup fascists aesthetization flags symbolism symbols ivylee hyperreality dior hypernormalization ussr conspiracy conspiracies publicreleations inequality elites fashion democracy ford ibm truenation purification rebirth nationalism scapegoating business 1920s 2020s standardoil profits profit corporations corporatism immigration elonmusk peterthiel ser</dc:subject>
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<item rdf:about="https://www.roborantreview.com/reviews/a-tale-of-two-first-thursdays">
    <title>A Tale Of Two First Thursdays — Roborant Review</title>
    <dc:date>2026-02-16T04:08:22+00:00</dc:date>
    <link>https://www.roborantreview.com/reviews/a-tale-of-two-first-thursdays</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Perspectives: A series authored by art world professionals on the state of the arts."

...

"Before proceeding, I should interject that I have no intention of villainizing anyone at the TLCBD—since we opened our space they have been incredibly helpful and supportive of us every step of the way, and generally do a lot of important work in the neighborhood. Everyone I’ve met who works for them also, in their own way, genuinely cares for the Tenderloin and wants to see it thrive. I also understand that, especially in our current economic climate, organizations like the TLCBD need to take whatever funding they can get—public or private—and selectiveness is not a luxury everyone can always afford to exercise in the nonprofit sector. That being said, it has become apparent I have some major philosophical differences with them regarding what our neighborhood needs right now, and it’s my opinion that it isn’t a sleek makeover aimed at transforming it into a trendy and up-and-coming place to live. We’ve all seen what similar initiatives have done in neighborhoods like Bushwick in Brooklyn, and Boyle Heights in Los Angeles—and they almost exclusively result in erased cultures, higher rents, and ultimately displacement. 

All opinions aside, however, the move to bring that same money—and the same people behind DFT—into our neighborhood to manufacture this rebranding was something more than an ideological difference at this point—it was personal. If watching this cabal of billionaires and their money usurp the First Thursdays wasn’t hard enough, not being able to speak up or do anything about it for two years has given the umbrage I’ve carried plenty of time to ferment. This was, not to mention, compounded by the recognition of the greater motives at play—to further transform San Francisco into a playground for the ultra-wealthy along with their ensuing urban development and unchecked tech experimentation (e.g., Waymo). Offers to bolster and fold the First Thursday Art Walk into this “Larkin Street Revival” program struck me as a textbook example of Art Washing—because, of course, if efforts to “revive” and gentrify a commercial corridor are underway, what better place to start than with a monthly art walk?

Beginning on January 1st, 2026, the First Thursday Art Walk officially found itself without funding once again—and admittedly of my own volition this time. The TLCBD offered to try to find additional funding that did not come from Chris Larsen’s $5 million donation, but I decided that the affiliation, even if only by proxy, was too strong, and I was thus resolute in cutting my ties with them. I did, however, acknowledge that while I was the steward and the main organizer, I did not start nor own the Art Walk. It was a community event, and the community ought to decide what was best for it. If the community chose to take Chris Larsen’s money, I would not stand in their way—however, neither I nor my gallery would have any part in it. On January 27th, I called a meeting that brought together a congress of those of whom I considered the most active participants of the Art Walk—those who regularly organized events each month and had some level of investment in the growth of the First Thursdays. The objective was to educate everyone on the situation, share opinions, and discuss whether they as a whole wanted to accept this money, and if not, then what to do in the interim until alternative sources of funding were found. 

Among the dozen or so small business owners and representatives present, the consensus on whether to take the money was generally divided. A few people wholeheartedly stood behind my decision, while a few others were quite vocal in their beliefs that the money could benefit the community. Most, however, acknowledged both the pros and cons equally and expressed little more than indecision. One of the biggest arguments for accepting it was that the money was going to be allocated to the neighborhood anyway, and as the pre-existing small businesses here, we should be the ones to receive it and put it to use. An understandable perspective, but one that, for me at least, begins to break down in light of the increasingly exposed designs underway in the reshaping of our city to fit the wants and needs of a select few at the cost of many. And if we believe these billionaires are inherently unethical, along with their constant bypassing of democracy through “charity,” the question remains: how can we accept their contributions without incurring the moral and existential toll? 

While no conclusion was reached at the meeting, more or less everything was laid out on the table, and it was decided that the matter of accepting Chris Larsen’s money would be put to a vote in the coming weeks. This would give everyone time to do their own research and come to their own conclusions before making a final judgment. The Art Walk now sits in limbo, and the future of its governance rests in the hands of its most devoted participants. 

Go To Hell With Your Money, Bastards

Of all of my favorite pieces of dusty, twentieth-century art history lore, one of the perhaps most inspiring is the response of Danish artist and thinker Asger Jorn (co-founder of the COBRA group and Situationist International) to receiving the Guggenheim International Award in 1964. The esteemed award, which included a $2,500 prize, was promptly rejected by Jorn who, via telegram, immediately responded with “Go to hell with your money, bastard,” and a demand that public confirmation of his refused participation be made. In a day-and-age when selling out is not only increasingly acceptable, but the active goal of many artists and institutions, the sentiment of Jorn’s telegram rings for me now louder than ever. 

While the term “art washing” itself is relatively new, the practice has existed in many forms over the course of not just decades, but centuries. As early as the Renaissance, the aristocracy has used art to both launder any number of their own misdoings and as attempts to share credit for the achievements of greater minds than their own. Jorn most certainly saw past this veil, just as many now collectively recognize the sly employment of artists, muralists, galleries, and subcultures as tools for real estate speculation and development. Given such understanding, I would think the choice to not accept money from the likes of Chris Larsen, Daniel Lurie, or the Civic Joy Fund should be an easy one. 

The unfortunate reality, however, is that the reigning narrative of modern-day San Francisco just may no longer be one of conviction, compassion, and standing up to power that it has historically been touted for. That narrative has been replaced by one defined by mass surveillance, hostile anti-houseless architecture, and the full embodiment of our century’s tech-entrepreneurial response to Manifest Destiny. And the remaining pockets of genuine culture and community that exist here seem under constant threat themselves of either co-option, exploitation, or eventual displacement. For those of us who are still clutching onto some vision of the San Francisco we fell in love with however many years ago, the choice is now ours as to whom we align ourselves with. 

I know a lot of people view the Civic Joy Fund and their donors and affiliates as some sort of vital and even necessary force in the resuscitating of our city and in helping it to thrive. Others, like myself, see it as yet another arm of the technocratic billionaire class’s crushing stranglehold on the soul of San Francisco, but all the more nefarious in its masquerading as culture, equity, and inclusion. It is of my humble opinion that a city is not “thriving” when a small group of the ultra-wealthy are having to bankroll endless free street concerts and activations to try to make the city more fun for exactly the same class of people who helped decimate it in the first place—especially when those activations are co-opted and at the expense of pre-existing traditions like the Tenderloin & Lower Polk Art Walk. 

A city thrives when working-class families, individuals, and artists can afford to live in it and aren’t constantly suffocated by rent, rising costs of living, and the looming fear of eviction. A city thrives when workers, students, and small businesses are supported both by infrastructure and by demographics of people who not only inherit the city but are actively interested and engaged with it. San Francisco’s problem for too long has been pandering to an industry of people who are generally detached—and whose only incentives for living here lie in the close proximity to their tech jobs and the convenience of being able to order a near-infinite variety of meals from DoorDash while they isolate in the safety and comfort of their condos and can only be lured out with enormous (and free) block parties. 

As I write this, the corporate street fair known as DFT, about which I’ve hitherto been prohibited from speaking, continues to rage on at the start of each month, along with the endless other events and activations they’re trying to use to invigorate San Francisco and, in turn, preserve the investments of the city’s wealthiest shareholders. Meanwhile, the future of the First Thursday Art Walk—or at very least my involvement in it—is precarious. These recent events have led me to do some deep introspection about whether a gallery like ours, and a monthly art walk, can even exist at all in a neighborhood like the Tenderloin without, in some way—if even inadvertently—feeding the cycles of gentrification, no matter how intent we’ve become on resisting them. Looking back, I question whether my endeavors to work with the city at all have been the right idea, and whether my efforts would have matured better had they remained in spite of, rather than in collaboration with, these institutions shaped by conflicting incentives and entrenched in the power structures that govern San Francisco. 

Documenting this all has also prompted me to do some serious ruminating on not only my own complicity, but that of artists and galleries in general within these extractive economic systems we’re immersed in. Unless one keeps the creative work they do entirely divorced from commerce—and I praise the few that do—there is no practical way to vet every transaction that helps uphold our practices. As the adage goes, there is no ethical consumption under capitalism. This raises the question: when, and where do we then draw the line? For me, I’ve concluded it’s when my work risks being weaponized, either directly or indirectly, to perpetuate harm or promote the agendas of those I stand in moral opposition to. Witnessing what has happened in San Francisco over the past few years, I’ve grown to understand how challenging it can be for artists to evade such agendas, as they often arrive disguised as much-needed patronage and support, and prey on a financially vulnerable class of people. But that does not excuse us from having to ask ourselves these hard questions, and with what’s happening in our city, the time to be asking them is now.  

The closure of Moth Belly Gallery at this point may be all but imminent, but I’d much prefer that over having our legacy tainted by any affiliation to the rampant sterilization of this city and the billionaire money propelling it. Besides, five years is a long time to have run a space like ours, and it would be in line with the ephemeral nature of DIY, artist-run galleries to clock out around this time. If that means getting a regular job again, all the better—as I’m at a point where I’d rather do that than continue to be constantly beholden to the interests of others when it comes to the things that I cherish. And if that also entails the true end of my now 23-year tenure as a resident of San Francisco, I also accept that fate, and am thankful for having at least caught a short glimpse of the marvelous city San Francisco once was before being devoured by the mass corporatization of the twenty-first century."]]></description>
<dc:subject>johnvochatzer 2026 art arts sanfrancisco via:subtopes theater museums culture housing ellisact tenderloin galleries firstthursdays tenderloinartwalk lowerpolk sffirstthursday civicjoyfund intothestreets mannyyekutiel katybirnbaum mothbellygallery mothbelly sfmoma financialdistrict abraallan marketstreet artwalk chrislarsen tlcbd artwashing billionaires waymo gentrification urban urbandevelopment development asgerjorn situationist situationistinternational 1964 2020 daniellurie money power conviction compassion homelessness lowerpolkartwalk doordash corporations corporatism diy corporatization commerce capitalism creativity artmaking sros technology lowernobhill nobhill westernaddition property realestate raimondoforlin government governance streetart hobbies 2021 nepotism moralbankruptcy castro 2022 bayarea storefronts harveymilkdemocraticclub lowkeyskateshop tiltedbrim fleetwood rosebudgallery richmonddistrict vacanttovibrant oewd bobfisher mariekerothschild 2023 downtown 2024 2025 bushwick brooklyn losangel</dc:subject>
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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>
<dc:subject>adamneely suno ai artificialintelligence art artmaking music musicmaking slow friction chatgpt howwethink thinking loneliness narcissism work labor effort isolation friendship influences copyright deskilling learning howwelearn humanism human humans tecnhooptimism movefastandmakethings futurism technology songwriting culture relationships community movefastandbreakthings efficiency impatience patience optimization dystopia craft mikeyshulman howwemake making howwewrite writing rickrubin taste skill skills rolemodels inspiration lineage influence improvisation alanjacobs evil techmooptimism siliconvalley arthurcclarke ip intellectualproperty streaming internet web online creativity sharedexperience experience disruption fun humanity chess play craftsmanship turingtest jamming sychophancy capitalism technodeterminism technologicaldeterminism tressiemcmillancottom control power marketing mohinidey education vc venturecapital artseducation musiceducation italianfuturism filippomarinetti marcandreessen nickland pr</dc:subject>
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</item>
<item rdf:about="https://www.cbsnews.com/video/extended-interview-ethan-hawke/">
    <title>Extended interview: Ethan Hawke - CBS News</title>
    <dc:date>2025-12-15T06:53:32+00:00</dc:date>
    <link>https://www.cbsnews.com/video/extended-interview-ethan-hawke/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["In this web exclusive, actor Ethan Hawke talks with Tracy Smith about his first experiences with Broadway. He also discusses his films "Explorers," "Dead Poets Society," "Reality Bites," "Training Day," and his latest, "Blue Moon," Leonardo DiCaprio's success, and his obsession with Jack Nicholson's performance in "One Flew Over the Cuckoo's Nest.""

[See also:
https://www.cbsnews.com/news/ethan-hawke-on-blue-moon-and-taking-nothing-for-granted/


AI clip here:
https://www.instagram.com/p/DSBC2TxEl5_/ ]]]></description>
<dc:subject>ethanhawke 2025 film acting art poetry theater broadway deadpoetssociety tracysmith realitybites standbyme riverphoenix leonardodicaprio jacknicholson ai artificialintelligence generativeai creativity performance human humans humanism writing howwewrite robinwilliams genai</dc:subject>
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<item rdf:about="https://www.cbsnews.com/news/ethan-hawke-on-blue-moon-and-taking-nothing-for-granted/">
    <title>Ethan Hawke on &quot;Blue Moon,&quot; and taking nothing for granted - CBS News</title>
    <dc:date>2025-12-15T06:53:18+00:00</dc:date>
    <link>https://www.cbsnews.com/news/ethan-hawke-on-blue-moon-and-taking-nothing-for-granted/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[See also:
https://www.cbsnews.com/video/extended-interview-ethan-hawke/

AI clip here:
https://www.instagram.com/p/DSBC2TxEl5_/ ]]]></description>
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    <title>Cuba, Culture, and Politics with Sandra Levinson - YouTube</title>
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    <dc:creator>robertogreco</dc:creator><description><![CDATA["An excerpt from a political education session among LAP editors, featuring remarks by  Sandra Levinson, executive director and co-founder of the nonprofit Center for  Cuban Studies, and the founder and curator of the  Cuban Art Space gallery in Brooklyn, New York. In her talk, Sandra offers her reflections on the contemporary state of Cuban art, culture and politics—drawing on decades of experience engaging with artists, intellectuals, and activists on the island."]]></description>
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<item rdf:about="https://modernagejournal.com/encounters-with-east-and-west/246686/">
    <title>Encounters with East and West – Modern Age</title>
    <dc:date>2025-03-17T00:13:51+00:00</dc:date>
    <link>https://modernagejournal.com/encounters-with-east-and-west/246686/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Salesman in China and Wim Wenders’s Perfect Days are brilliant cultural mirrors."]]></description>
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<item rdf:about="https://harmonyholiday.substack.com/p/baby-youre-a-lost-cause">
    <title>Baby, you're a lost cause - by Harmony Holiday</title>
    <dc:date>2024-11-06T18:17:42+00:00</dc:date>
    <link>https://harmonyholiday.substack.com/p/baby-youre-a-lost-cause</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Baby, you're a lost cause
And Beyoncé can't save you

Harmony Holiday
Nov 06, 2024

It’s the scapegoat’s job to pretend not to notice as she’s siloed into that position, so that any opportunist naive enough to keep trying to trade her energy for undeserved favor, will fall into a bottomless ditch when she moves out of their way. In the case of the hideous, genocide-denying presidential election of 2024 AD, black music and culture have been the scapegoats for the unapologetic insincerity of the democratic candidate. When that failed, we were told to worry solely about our abortion rights, after having been made to watch babies and mothers bombed and displaced almost daily for over a year in Gaza, with help from U.S. tax dollars, while said candidate was incumbent Vice President. We’re asked to dissociate so that our so-called freedoms become more important than divine justice. When we refuse, we may be villainized by the exact type of neoliberal identity politicking shill who would fear real integrity, the one that might benefit from us pretending we don’t know how to think in complete sentences, or contradict ourselves on purpose to get closer to universal truths. It’s important to watch this fail; internalize some of the shame. I hope it’s the final effort at coercing and infantalizing black people to such a degree that arts that should be sacred are outsourced to utter minstrelsy.

“Send in the Clowns” (baby they’re here), is the perfect lyric for all of it, slurred out through the pink and green sweat turning Sarah Vaughan’s makeup into a lush hysteria of color and powder. She delivers the lines with dejected triumph, and why they’re so winning and haunting, is because nothing about the demeanor of her when she demands these clowns be summoned and banished, is smug. In fact, she seems to harbor fondness for those fumbling so helplessly it feels almost romantic. We could have that grace for the democratic agenda reliant on semantics and race-baiting, Cardi B, Beyoncé, Meg, GloRilla, Usher, Jay Lo, all paraded out as if under trance or part of a two-way humiliation ritual. I don’t remember one moment of wholehearted conviction about anything coming from Kamala, but she mined the convictions of unassuming decent people who took her greens-in-the-bathtub approach at face value and thought they were going to get a free Beyoncé show as consolation for self-delusion. Now when Kamala concedes and the spell lifts or buckles, faint and pseudo as it was, will those who pretended there was passion behind this charade feel it was worth it to lie to themselves about what love is? Do you love yourself enough to admit when the demagogs are lying to you, not even in a pretty way, in a futile, frivolous borderline personality disordered way?

[embed: "You Don't Know What Love Is" by John Coltrane Quartet https://open.spotify.com/track/3gKYq33uHC0FKHp8V7yzFi ]

I believe that, in a final assessment, when it’s all underground or sea, black music will be one of the only redeeming elements of this empire, the poetics of inevitability black music insists upon, so much that if it’s used to propagate deceit it will self-destruct and take the deceivers down with it. Now look. One tweet smirks : Diddy’s never getting out of prison now. Elsewhere on the Internet there are suspicions he’s on a secluded island while a body double or ghost serves his time. Your brother the king, sold you to the ghost, Amiri Baraka reminds us in a poem about African complicity in turning black slaves into the capital that made America possible. We can carry all the blood in the world and still be ourselves, we don’t disappear, Abbey Lincoln adds, in a poem she recites on the black public access show “Like it Is.” It’s as if the system is rigged in favor of the secret heartbeat it’s running on, hijacking, and people are silly enough to think they can tempt it toward catastrophic arrhythmias, that the faux prestige of a first black woman president is enough for us to trade and abuse decades of black beauty, to forget who we could be or as the candidate put it, be unburdened by what has been.

[image: Sarah Vaughan's "Send In The Clowns" album cover]

It is black music that governs the US, that gives it a legible pulse and makes it a real place and not a full time amusement park for disaster capitalism, but when that music grows too shallow and 'popular’ to face its own heartbreak, and change, so starts pretending to be hard and declaring itself a winner of a race everyone is losing and limping through, the music becomes Legba, the trickster god turning the ritual into a theater. We tricked you, or were you the trick? You thought this was a party and not a funeral for the sound you can never access again, the sound of one of those weirdos with a pure soul. Hush, now.

[image: Cardi B gives a speech for Kamala Harris attacking Donald Trump]"]]></description>
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    <title>Imagining Urban Complexity. A Humanities Approach in Tropes, Media, and Genres - Leiden University</title>
    <dc:date>2024-10-19T05:15:08+00:00</dc:date>
    <link>https://www.universiteitleiden.nl/en/research/research-output/humanities/imagining-urban-complexity</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Imagining Urban Complexity introduces passionate and critical perspectives on the link between the humanities and urban studies."

...

"Author: Frans-Willem Korsten and Anthony T. Albright
Date: 13 September 2024 

More information [https://www.routledge.com/Imagining-Urban-Complexity-A-Humanities-Approach-in-Tropes-Media-and-Genres/Korsten-Albright/p/book/9781032735276 ]

It emphasizes tropes, media, and genres as cultural techniques that shape complexity in urban environments by distributing affordances, modes of sensing, and modes of sense-making. The book grew out of Frans-Willem and Anthony’s teaching experiences in The Hague. The course from which the book emerged, Imagining the City, was initially designed by Frans-Willem for first-year students in the university’s new Urban Studies program. This program attracted a different type of student, one that forced all participants in the program to rethink more fundamentally what a humanities approach to urbanism could or should look like. The result was a period of intense interdisciplinary research, with the classroom as a field of experiments. In 2021, Anthony entered this field as the book’s editor, translator, and eventually co-author, co-researcher, and co-teacher. It took another three years of intense interdisciplinary research, rewriting, deleting, and adding to get to the end result. 

The overarching objective for the book and the course has been for students to take an active and critical attitude toward everyday life: to reflect on how dominant ways of sensing cities, and foundational assumptions about urban life, are political at heart. We also seek to extend this critical attitude to the university classroom situation itself, where one of the more specific aims of Imagining the City is to defamiliarize the habits of passive absorption and tactical memorization in which many of our students have been so effectively trained by Dutch and international high school curricula. 

To this end, we recently replaced the traditional final exam for Imagining the City with a portfolio project in which students are asked to analyze photographic case studies from within ongoing scholarly debates presented in the book. Crucial, the methodological program of our book proposes, is to begin with what one sees: to describe the urban case study, in all of its possible obscurities or inconsistencies, without forcing it into a pre-established theoretical mold. Theories, we emphasize, are not just nice ideas waiting to be exemplified, and real life does not just take place in between more serious obligations."

[from
https://www.routledge.com/Imagining-Urban-Complexity-A-Humanities-Approach-in-Tropes-Media-and-Genres/Korsten-Albright/p/book/9781032735276 

"Description

Imagining Urban Complexity introduces passionate and critical perspectives on the link between the humanities and urban studies. It emphasizes tropes, media, and genres as cultural techniques that shape complexity in urban environments by distributing affordances, modes of sensing, and modes of sense-making.

Focusing on urban political and cultural dynamics in 24 global cities, the book shows that urban environments are thematized in literature and art, but are also entities that are shaped, perceived, interpreted, and experienced through sense-making techniques that have long been central concerns of the humanities. These techniques, the book argues, activate a dialectic between urban imaginations and cancellations. Tropes, media, and genres are aesthetically and politically powerful: they propel imaginations and open up multiplicities of urban possibilities, they naturalize actualized orders, and they cancel alternatives. The book moves between close readings of city spaces and more systemic and infrastructural approaches to urban environments, providing tools and strategies that can be adapted and extended to understand urban complexity in different cultural and political contexts.

The book speaks to global audiences from a continental philosophical tradition. It is relevant to undergraduates, postgraduates, and academic researchers in the fields of critical urban studies, urban design, comparative literature, cultural studies, cultural analysis, ecocriticism, political theory, and ethics.

Table of Contents

Preamble
Urban complexities: a humanities toolkit of tropes, media, genres

I Tropes

1. What holds cities together?
Body Politic - Network - Belt: Hong Kong & Atlanta

2. Cities as paradigms of nature-culture
Jungle - Desert - Garden : Mexico City & Canberra

3. Urban distributions of access
Archive - Labyrinth - Zone: Istanbul & Moscow

4. Cities as centers of expectation and disillusion
Utopia - Dystopia - Non-Place: Paris & Brasilia

II Media

5. Bringing urban selves and world into perspective
Theatre - Spectacle: Amsterdam & Naples

6. Connecting the private and the masses
Newspaper - Radio: Chicago & Caïro

7. Battlegrounds of representation and motors of desire
Television - Cinema: Beijing & Bangkok

8. Media relating dividuals and scapes
Digital - Social Media: Mumbai & Nairobi


III Genres

9. Cities as forms of emplotment
Narrative – Documentary: Rio de Janeiro & Seattle

10. Urban life fragmented and improvized
Collage – Play: Lagos & Barcelona

11. Who does a city address and what do its rhythms express?
Lyric – Poetry: Isfahan & Jakarta

12. City secret, city trauma and the unrepresentable
Allegory – Comics: Jerusalem & Hiroshima


Postscript
The smart city: archipelagos of tests

Author(s) Biography

Frans-Willem Korsten is professor of Literature, Culture, and Law at the Leiden University Centre for the Arts in Society and professor of Literature and Society at the Erasmus School of Philosophy. He was responsible for the Dutch Research Council (NWO) internationalization program "Precarity and Post-Autonomia: The Global Heritage" and took part in the NWO/Research Foundation Flanders (FWO)–funded program "Imagineering Techniques in the Early Modern Period." He currently takes part in a program funded by the NWO entitled "Playing Politics: Media Platforms, Making Worlds." He published extensively on the Dutch Republican baroque, theatricality, and sovereignty (A Dutch Republican Baroque; 2017), and on the relation between literature, art, politics, justice, and law—Art as an Interface of Law and Justice: Affirmation, Disturbance, Disruption (2021) and Cultural Interactions: Conflict and Cooperation (2022).

Anthony T. Albright is a PhD candidate and lecturer at the Leiden University Center for the Arts in Society. He received a bachelor of arts (BA) with a concentration in English and Comparative Literature from Columbia University and a master of arts (MA) in Media Studies from Leiden University."]]]></description>
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<item rdf:about="https://www.youtube.com/watch?v=3zTK_jCp89M">
    <title>SELF-PORTRAIT AS A COFFEE POT | Official Trailer | Coming Soon - YouTube</title>
    <dc:date>2024-10-10T18:20:14+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=3zTK_jCp89M</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Laying bare the creative process, Self-Portrait As A Coffee- Pot is a dazzling, nine-episode film series by South African artist William Kentridge, renowned for his animated drawings for projection, as well as his sculpture, theatre and opera productions over the last forty years. https://mubi.com/en/us/films/self-portrait-as-a-coffee-pot

The nine-episode series, created and directed by William Kentridge, is executive produced by Rachel Chanoff and Noah Bashevkin of THE OFFICE PERFORMING ARTS + FILM, Joslyn Barnes of LOUVERTURE FILMS and the WILLIAM KENTRIDGE STUDIO, and edited by Walter Murch, Janus Fouché and Žana Marović."

[See also:
https://www.tiff.net/events/self-portrait-as-a-coffee-pot

"In three segments of a nine-part series, prolific South African artist and filmmaker William Kentridge chronicles how he creates intricate, wall-sized charcoal drawings of the vistas from his childhood in Johannesburg and life-sized paintings of himself — all while ruminating on the puzzle of self-knowledge."


https://www.hauserwirth.com/news/william-kentridge-self-portrait-as-a-coffee-pot-venice-arsenale-institute/

"An exhibition curated by Carolyn Christov-Bakargiev at Arsenale Institute for Politics of Representation, Venice on view from 17 April through 24 November 2024

For his new exhibition at Arsenale Institute for Politics of Representation in Venice, South African artist William Kentridge, renowned for his animated drawings for projection, as well as his sculpture, theater and opera productions over the last forty years, collaborates with curator Carolyn Christov-Bakargiev, friend and author of the foundational monograph on his work published in 1998, to premiere his intriguing new nine-episode video series, ‘Self-Portrait as a Coffee-Pot.’

This exhibition of thirty-minute episodes by Kentridge that were primarily created as a series for online viewing, is an experiment in embodiment and phenomenological experience in the digital age, and a reflection on what might happen in the brain and in the studio of an artist, today.

The nine-episode series was created and directed by William Kentridge, executive produced by Rachel Chanoff and Noah Bashevkin of The Office Performing Arts + Film, Joslyn Barnes of Louverture Films and the William Kentridge Studio. Walter Murch supervised the editing by South African digital artist Janus Fouché and Kentridge's regular collaborators Žana Marović and Joshua Trappler.

Shot in his Johannesburg studio during and in the aftermath of the 2020 – 2022 COVID-19 pandemic, and completed in 2023, these works will be viewed in a unique concentrated environment that partially recreates the studio where they were made. ‘Filming began in the first lockdown and the studio mimicked the closed spaces of COVID,’ states Kentridge, ‘but the studio is also an enlarged head, a chamber for thoughts and reflections where all the drawings, photos and detritus on the walls become these thoughts.’

As a physical exhibition space, the same size as his studio, this installation becomes a place between a private and a public space, the studio of a solitary artist deeply immersed in self-reflection and the joyous space of childhood play and of collaboration with others. These works, intended ultimately for online, mobile or television viewing, are a hymn to artistic freedom, ominously revealing the lack of freedom typical of our enclosed spaces in the digital era. They also foreground how the activity of mark-making with materials constructs the self in the process of making. Furthermore, the relationship between painting and musical scores, as well as between dance and drawing, become a form of mental gymnastics or yoga for the brain, exercises to expand and improve human intelligence in our era where the prosthetics of AI and the increasing use of social media ultimately and dangerously atrophy our cognitive and emotional abilities.

‘Kentridge’s art is rooted in South Africa, where he continues to live and create most of his work,’ says Christov-Bakargiev. ‘It stems from an attempt to address the nature of human emotions and memory, as well as the relationship between knowledge, desire, ethics, practice and responsibility. He investigates how our identities are shaped through our shifting ideas of history and place, looking at how we construct our histories as forms of collage and what we do with them, both singularly and collaboratively. His is an elegiac yet humorous art that explores the possibilities of poetry in contemporary society, even in the absence of utopian visions for the future, and provides an acerbic commentary on our society, while proposing a way of seeing life as a continuous process of change and uncertainty rather than as a controlled world of facts. In this new series, Kentridge’s alter egos and doppelgängers debate over a series of issues: how does memory work? What makes the self? Why does history always go wrong? One might interpret the works as a reversal of the obsessive narcissistic split personalities of our era of avatars on social media into forms of quiet psychoanalysis.’

Arsenale Institute for Politics of Representation in Venice, directed by philosopher Wolfgang Scheppe, is a space devoted to research and exhibitions that critique spectacle and investigate the politics of representation in the spirit of Situationism, of which Scheppe is an expert and the Institute the holder of one of the most comprehensive collections. Although interested in the trajectories of Situationism, Kentridge’s visual vocabulary, his costumes and designs, have often been inspired by an earlier period, in particular by Dada, Bauhaus and Constructivist precursors, including Oskar Schlemmer’s Ballet Triadique (1916 – 1922), and some of these costumes appear in Episode 8 of this series—Oh to Believe in Another World, which references the falling out of favor of utopian intellectuals generally through the story of Dmitri Shoshtakovic, and is also the title of a live orchestra performance and an installation by Kentridge of 2022 – 2023.

During the opening week of the Venice Biennale, from Monday 15 to Friday 19 April, Kentridge and Christov-Bakargiev will converse over a late-night whisky from 11 pm to 12 am, with special guests. This series of Midnight Whisky Talks presents improvisational philosophical dialogues that take place physically on the second floor of Arsenale Institute, in an environment reminiscent of a temporary domestic space adorned with Situationist documents and anti-art works from the 1950s and 60s, presumedly inhabited by an imaginary twentieth-century intellectual couple. Midnight Whisky Talks will take place daily, live streamed at 11 pm Central European Time (CET) on Instagram @williamkentridgestudio.

Additionally, Kentridge will speak at Università Ca’ Foscari Venezia on Friday 19 April from 11 am to 1 pm. The talk will take place in the historical Aula Magna Silvio Trentin at Palazzo Ca’ Dolfin, where a series of ten exceptional Tiepolo paintings (1726 – 1729) once hung, prior to their dismantling and sale in the late 1800s. The original paintings theatrically represent battles and scenes of expansion of the Roman Empire, including the Punic wars, and are located today in museums including the Metropolitan Museum of Art in New York and the Hermitage Museum in Saint Petersburg.  

– 

On view from 17 April – 24 November 2024, the exhibition curated by Carolyn Christov-Bakargiev is hosted at Arsenale Institute for the Politics of Representation. With thanks to Wolfgang Scheppe, founding director of Arsenale Institute, and Marie Letz, as well as to Chiara Spangaro, project manager. With Thanks to Anne McIlleron and Damon Garstang, WILLIAM KENTRIDGE STUDIO.

With thanks to Anne McIlleron and Damon Garstang of William Kentridge Studio, and to Sara Codutto.  

The exhibition is supported by Goodman Gallery, Galleria Lia Rumma and Hauser & Wirth."]]]></description>
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    <title>Dos en la Ciudad, junto a Iván Guerrero: Elisa Zulueta - YouTube</title>
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<item rdf:about="https://podcasts.apple.com/us/podcast/nota-al-calce-171-ni-dios-ni-amo-ft-jorell-a-mel%C3%A9ndez-badillo/id1373561170?i=1000632567226">
    <title>Plan de Contingencia: Nota al Calce 171: &quot;Ni dios ni amo&quot; ft Jorell A. Meléndez Badillo on Apple Podcasts</title>
    <dc:date>2023-10-27T21:32:12+00:00</dc:date>
    <link>https://podcasts.apple.com/us/podcast/nota-al-calce-171-ni-dios-ni-amo-ft-jorell-a-mel%C3%A9ndez-badillo/id1373561170?i=1000632567226</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["En la historia de Puerto Rico el anarquismo ha sido un tema marginal a pesar de su importancia en la formación del movimiento obrero. Junto al profesor y sociólogo Gary Gutiérrez, nos sentamos con el profesor Jorell Meléndez Badillo, estudioso del anarquismo, para conversar sobre sus orígenes y su desarrollo en Puerto Rico.

Plan de Contingencia es un podcast producido en Puerto Rico por Esteban Gómez y Guarionex Padilla donde discutimos temas de actualidad nacional e internacional."

[Also here:

https://open.spotify.com/episode/3OuBhdyuQwTUxPP8eGaqra

https://podcasters.spotify.com/pod/show/plan-de-contingencia/episodes/Nota-al-Calce-171-Ni-dios-ni-amo-ft-Jorell-A--Melndez-Badillo-e2b19gd ]]]></description>
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    <title>Imagina a un anarquista - YouTube</title>
    <dc:date>2023-08-10T06:53:13+00:00</dc:date>
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    <dc:creator>robertogreco</dc:creator><description><![CDATA["El anarquismo es un universo ideológico complejo y en Chile ha tenido una larga tradición, que ha estado ligada, más que a la violencia, a la solidaridad, al feminismo y al desarrollo cultural. Este capítulo es sobre anarquismo y, más precisamente, anarquismos. Sobre su historia en Chile y su presente. Participa el historiador Eduardo Godoy, autor del libro Llamaradas de rebelión: breve historia del anarquismo en Chile, 1890-2000 (Eleuterio, 2020); el músico y diseñador Joaquín Contreras, vocalista de la banda Marcel Duchamp; y Slavia Maggio, parte de Editorial Eleuterio, sello dedicado a la difusión del pensamiento ácrata."]]></description>
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    <title>JOSEF KOUDELKA ¿El mejor fotógrafo del mundo? - YouTube</title>
    <dc:date>2023-03-29T21:51:37+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=72zZjOKIJuE</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Josef Koudelka es el fotógrafo checoslovaco del teatro, de los gitanos, de la invasión Praga '68, del exilio, del caos. Uno de los miembros más prominentes de Magnum Photos es una de las figuras más respetadas de la fotografía y uno de los documentalistas cruciales."]]></description>
<dc:subject>oscarcolorado josefkoudelka 2021 photography margins exile documentation theater prague roma exiles ussr sovietunion romani czechoslovakia landscape</dc:subject>
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<item rdf:about="https://www.accutronwatch.com/blogs/podcast/the-storytelling-power-of-virtual-reality-with-shari-frilot">
    <title>The storytelling power of virtual reality with Shari Frilot – accutron</title>
    <dc:date>2022-06-08T21:52:48+00:00</dc:date>
    <link>https://www.accutronwatch.com/blogs/podcast/the-storytelling-power-of-virtual-reality-with-shari-frilot</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[on YouTube:
https://www.youtube.com/watch?v=CXv51mqs9fU ]

"[25:03] What gets us into trouble is not technology, what gets us into trouble are our values, what we feel is important to do with our lives. To acquire things, to buy things, to extract, to go into competition, you know those sets of values. Versus to work together, to create, to magnify beauty, that's another set of values. Those two sets of values and the same technology can get two different results, two different worlds, two different internets."

...

"Episode Summary

Technology advancement can often make our life better, but what role does it play in art and film? In this episode of The Accutron Show, our hosts talk to Shari Frilot, artist, filmmaker, and chief curator of the New Frontier program at the Sundance Film Festival. Shari plays a key role in discovering new art forms that use technology as a tool to tell stories. Together they discuss the importance of values in a time where everything is controlled by technology, the meaning of the word "bio-digital" and much more.

Episode Notes

Technology advancement can often make our life better, but what role does it play in art and film? In this episode of The Accutron Show, our hosts talk to Shari Frilot, artist, filmmaker, and chief curator of the New Frontier program at the Sundance Film Festival. Shari plays a key role in discovering new art forms that use technology as a tool to tell stories. Together they discuss the importance of values in a time where everything is controlled by technology, the meaning of the word "bio-digital" and much more. They also talk about the "spaceship" at Sundace, the physical and virtual space where everyone can hang out, socialize and experience art. Tune in and project yourself into cyber space.

Episode Highlights

25:03 What gets us into trouble is not technology, what gets us into trouble are our values, what we feel is important to do with our lives. 

36:04 What artists are doing with these technologies is really incredible. What may be a prototype today, may well become a whole industry a year later. And we have seen this happen already. 

39:37 This technology is powerful and very compelling. It makes you feel, it's revelatory, it's connected to a very powerful, very lucrative network technology called, cell phone. So it's very compelling to put money into this. It's healthy to see this enthusiasm and investment, we just have to be very careful of where our values go, so that this technology is working for humanity and not against it."]]></description>
<dc:subject>sharifrilot film virtualreality dance theater creativity 2022 interviews vr technology art values filmmaking sundance facebook metaverse markzuckerberg billmccuddy davidgraver documentary animation newfrontier empathy immersive curation media newmedia storytelling bodies</dc:subject>
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<item rdf:about="https://www.polygon.com/22961714/spirited-away-stage-play-photos">
    <title>The Spirited Away stage show looks incredible in new photos - Polygon</title>
    <dc:date>2022-03-06T04:29:52+00:00</dc:date>
    <link>https://www.polygon.com/22961714/spirited-away-stage-play-photos</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["All the creatures are rendered as gorgeous puppets"]]></description>
<dc:subject>spiritedaway theater costumes 2022 film hayaomiyazaki</dc:subject>
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<item rdf:about="https://www.gawker.com/culture/hbos-station-eleven-surpasses-the-book">
    <title>HBO's 'Station Eleven' Surpasses the Novel: Patrick Somerville’s adaptation is about adaptation</title>
    <dc:date>2022-01-18T02:05:38+00:00</dc:date>
    <link>https://www.gawker.com/culture/hbos-station-eleven-surpasses-the-book</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The basic appeal of a pastoral apocalypse like Station Eleven — both Emily St. John Mandel’s novel and Patrick Somerville’s HBO miniseries — is the suspicion that life might be better if society, as we know it, was wiped out. This is the long-running fantasy of “the Quiet Earth,” a genre staple in which an apocalyptic event creates the space for the survivors to build the kind of frontier utopia that modern society won’t allow. After the unpleasantness of a flu that kills 99 percent of humanity, Station Eleven tells the story of the survivors and the communities they find and rebuild, a post-capitalist utopia where you can live in tents, party, and do art. Once you get past all the death, it’s not too shabby.

It’s easy to understand the attraction of this kind of story: think how much time we spend in our day to day lives trying to wean ourselves off the devices and logistics that make the modern world what it is. We go camping. We limit screen-time. We try to work less, spend time with our loved ones, and reconnect with the things that “really matter.” During the pandemic, how many of us re-evaluated our lives? How many of us learned to see our commutes as obscene and immoral infringements on our wild and precious lives? How many jaundiced eyes now look at their 9-to-5 grinds — or, more frequently, their app-enabled gigs — and wonder if maybe the soft animal of our bodies might want something else?

Of course, we don’t want to look too closely at the fantasy element of the story. After all, we don’t really want most of humanity to die, horribly, alone and in despair; we certainly don’t want that for our loved ones. This is why Station Eleven treads lightly past the gruesome details. Kirsten’s parents die, but they do it offscreen, like Jeevan’s girlfriend and sister and mother. Despite all the death, the show gives us a world of green forests, and the wilderness reclaiming the city.

I don’t want to condemn this fantasy for being a fantasy. But I want to understand how a novel which I enjoyed, but largely forgot, has become a show that made me weep openly, and that I haven’t been able to get off my mind. Somerville’s adaptation doesn’t just change the original; it has a radically different philosophy of art. Station Eleven was a novel about the persistence of art — about the “classics” that continue to illuminate the human condition, no matter what happens to our society — but the substance of Patrick Somerville’s vision turns out to be “adaptation” itself. The show is about how art must be transformed as the world changes, how it must grow and change if humanity is to survive. You might even say that it’s about how, in 2021, we need a different Station Eleven than we did in 2014.

When Mandel gets invited to opine on pandemics, she has been refreshingly candid about all of the ways the “Georgian Flu” of her novel — though certainly a terrifying thing to read about in March 2020 — was a very different thing than COVID-19, not only scientifically implausible, but essentially a plot contrivance. She didn’t write about a pandemic, not really; she wrote a nostalgic novel about art, a very classical-minded vision of what might survive us. “People want what was best about the world,” as a character in the book declares, which turns out to be mostly Shakespeare and Beethoven. But if it’s a novel about the enduring value of the humanities, I think Somerville’s adaptation learned something from the pandemic about the preciousness of human beings, and about what we all lost when we were locked away from each other in our homes. It’s the first thing I’ve seen that really captured something crucial about what all of this has felt like.

Put simply, Patrick Somerville’s Station Eleven is about care work. It’s about parenting in impossible circumstances — also known as “parenting” — and about the fears that can make parents hold their children too tightly (or freeze up entirely). It’s about the desperate temptation to run away, to simply free yourself from your inadequacies, cut anchor, and go; it’s about the work that must be done to build trust when it’s been lost. Most of all, it’s about the hope that people are basically good, that trauma is survivable, and that any stranger — no matter how lost or wild — can be made into a friend.

This shift is refreshing, since most post-apocalyptic stories feel like fictionalized prepper manuals, filled with strangers trying to kill you and take your stuff. To survive, you must bug out, build a fortress, and defend it. Zombie stories particularly tend to be Hobbesian parables about the war of all against all that begins once society falls, with its walls, cops, and dads. In such a world, not dissimilar from the fantasy world of Fox News, strangers are the danger: outsiders must be kept out and the kids must be kept in, for their safety. If you see a zombie — even if it used to be someone you love — you must shoot it in the head.

In Somerville’s Station Eleven, the dangerous thing is being alone. What, after all, is a “stranger” in a world when everyone you knew and trusted is dead? Think about the scene where we see Kirsten fight off half a dozen “red bandana” assailants, by herself: the one thing she learned in her lost year of wandering alone was how to kill. This she can do. But she only survives because a stranger (one she’d previously stabbed, in fact) nurses her back to health. This will be a pattern the show repeats, over and over again: in a world so short of people — and so full of stuff — the great drama of post-apocalyptic life is not protecting your treasures but finding someone to share them with, to take you in, to tell you stories.

In Mandel’s Station Eleven, the world still contains dangerous figures like the Prophet. Kirsten pities him, and even recognizes the boy that he had once been; he too, she speculates, must have once been “adrift on the road.” But only in the show do we learn this story. We see Tyler’s primal scene, the trauma that makes him what he becomes: watching his family shoot a stranger that he tried to help, poisoned with paranoia and fear of an outsider carrying contagion. The word they shout, when they see the stranger, is “Zombie!”

Tyler wants to delete the old words, to destroy the museum of civilization because “the before” is coming back. And he is right. The Severn City airport has preserved more than just electricity, running water, and a museum of electronics; it has prison cells, surveillance towers, and the paranoias of hierarchy. Clark fears the coming of the Traveling Symphony, because the anti-establishment messages they carry (in Hamlet of all things) could spread like a virus. The only safe thing to do, he proposes, is to cancel the play and imprison them. “It isn’t fucking art therapy!” he sneers. “It’s civilization!”

Clark is wrong, of course. Art is not old treasure to be hoarded and preserved; as Kirsten drily observes, “the world is filled with garbage from before.” Nor is Art what distinguishes us from the savages. In a story about a theater troupe — and a web of familial connections to a man named Arthur Leander — “Art” is the thing that binds people together, the most precious thing in the world. And it is therapy, the structured communication, storytelling, and confession that help people heal, and change, and grow. It is the thing we make, in order to make ourselves. It is how we turn inarticulate pain into the kinds of everyday sadness we can live with.

It’s also not a panacea. Art is work, from the tense collaborations that make a theater production to the tedium of practicing, preparing, and even performing. And Station Eleven is under no illusions that all art is good. The danger is always that our griefs will be too profound, our traumas too deep, and that, alone, narcissistic, we won’t be able to live with them. The danger is that we will disconnect from those around us and be frozen in our griefs; that we will fear and seek to imprison and even kill.

This, in a surprising twist, turns out to be the meaning of the comic book that gives the novel and show its name. In the novel, the comic is a figure for the randomness of what gets canonized and preserved, as well as the malleability of art (a cherished story in Kirsten’s hands, the Prophet infuses it with old testament fury to make the bible of his death cult). In the show, it represents melancholia, the failure to grieve that famously afflicts Hamlet with morbid indecision, ghosts, and an inwardly-spiraling narcissism. It’s a brooding, wounded book that inarticulate children cathect onto, in their pain, but with consistently disastrous results: Kirsten loses Alex and Jeevan while distracted by the book, Tyler flees his family under its spell, and Haley — a member of the undersea whose significance we desperately needed the scenes which were reportedly cut out of the show to understand — orchestrates the bombing that climaxes the fourth episode. (It’s also kind of perfect that the comic book itself appears to resemble a Wes Anderson film; one of the funniest moments in the show is Jeevan’s bleeding-to-death-in-the snow judgment on the twee piece of work: “SO PRETENTIOUS!”)

The comic book’s astronauts represent the fantasy of solitude, of armor, of sterile invulnerability, Miranda’s dangerous conceit that “I am at my best when I'm escaping.” As we learn, Miranda began writing it the day her entire family died, while she, safe on a high counter, was coloring; from an expression of her apocalyptic loss during Hurricane Hugo, it becomes the vehicle for her inability to re-connect to the world afterwards. Arthur calls the comic book “the asshole who ruined my life,” blaming it for her inability to be present in their marriage, a sentiment she echoes (“I think that book ruined my life,” she tells Clark). It keeps her locked in melancholy stasis, and if she gets a job in logistics because “I remember everything,” it’s that very job that makes her absent when the man she loves dies. It makes her inscribe the symbol of an anchor — which means to “cut and run” — into the center of her life’s work. It makes her share that work with no one, until it’s almost too late.

Does Art save us? In a sense, Station Eleven argues that it does. The play is the thing, both softening Clark’s monomania and creating a space where Tyler can speak to his mother and stepfather; the ghost of the man they all loved brings them together, in a radically perverse re-imagining of what Hamlet is about. But this is a show with no time for mere things, or fidelity to the past. What saves everyone in the airport is Miranda’s transcendence of her grief through a desperate act of trust with a stranger. The comic book was a MacGuffin; we are the ones we’ve been waiting for, as someone once said. And that’s why you can’t simply delete capitalism, as the young Tyler suggests of a downloaded wikipedia entry for the old world’s economics (“we’ll just invent it again,” his mother observes). It’s also why “stabbing doesn’t work,” and why burning things never seems to get rid of them: they keep coming back as ghosts until you give them away. Healing, the show insists, is when you build something new, when you do it together, and when you return to see how it’s grown in your absence. Care compounds, and trust reproduces itself; in this post-capitalist utopia, investments in love are what return interest."]]></description>
<dc:subject>aaronbady 2022 stationeleven tv television art dystopia utopia relationships strangers mutualaid pandemic emilystjohnmandel patricksomerville theater company care caring purpose trauma death mourning grief grieving capitalism trust canon loss humanism humanity anarchism anarchy survival love loving hbo</dc:subject>
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<item rdf:about="https://missionlocal.org/2021/12/san-francisco-tenderloin-matrix-declaration-of-emergency-london-breed/">
    <title>'The bullshit that has destroyed our city' is bad government - Mission Local</title>
    <dc:date>2021-12-24T16:15:21+00:00</dc:date>
    <link>https://missionlocal.org/2021/12/san-francisco-tenderloin-matrix-declaration-of-emergency-london-breed/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Voters are riled up about crime and safety; they’re riled up about filth and quality-of-life issues. These are all issues directly under the aegis of this city’s strong mayor. And, once again, the onus has been deflected to the Board and the District Attorney. That’s clever. But in and of itself, it won’t make a whit of difference for the people of the Tenderloin. 

There’s a difference between politics and government. In San Francisco, we excel at the former, but not at the latter. That’s a glitch. That’s bullshit. And it’s destroying our city."]]></description>
<dc:subject>sanfrancisco 2021 government politics londonbreed tenderloin theater joeeskenzi governance drugs police policing sfpd misery poverty</dc:subject>
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<item rdf:about="https://books.google.com/books/about/Researching_Children_Researching_the_Wor.html?id=1hgsPQAACAAJ">
    <title>Researching Children Researching the World: 5x5x5 - Google Books</title>
    <dc:date>2020-09-16T10:12:43+00:00</dc:date>
    <link>https://books.google.com/books/about/Researching_Children_Researching_the_Wor.html?id=1hgsPQAACAAJ</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[“Children are born equipped with creative capacities: the drive to explore, to hypothesize, to make connections and to communicate. 5x5x5=creativity is discovering how this creative potential can be supported in children’s and adults’ lives, in educational settings and in their homes. This arts-based research project sees creativity as a life-wide capacity that affects all aspects of children’s development.

5x5x5=creativity originally involved five educational settings, five artists and five cultural centers (galleries, theatres, music centers) working in dynamic, multi-professional and researchful partnerships to support young children’s creativity. Although influenced by the creative educational approach of early years’ settings in Reggio Emilia in Italy, it has developed it own identity. This book shares the discoveries over seven years’ experience in over 55 schools and preschools in five local authorities. This account of the process that has proved so successful will whet the appetites of others. The book aims to inspire and transform personal and professional practice.

Visually exciting, multi-layered and rich in information, the book considers: the philosophical framework, based on valuing children as competent creative learners; the context and history of the approach; case studies and adults’ and children’s stories of transformative learning; the practical framework of the collaborative researchful practice; and integrated working in partnerships.

There is a dearth of material for artists working in educational settings and this book offers valuable information to museums, galleries, and theatres. Artists and educators also contribute chapters.”

[See also:
https://styluspub.presswarehouse.com/browse/book/9781858564340/Researching-Children-Researching-the-World
https://www.amazon.com/Researching-Children-World-5x5x5-creativity/dp/1858564344 ]

[via: https://twitter.com/PenAHay/status/1305172824118747143 ]
]]></description>
<dc:subject>books children research creativity howwelearn education unschooling learning deschooling art theater music susibancroft maryfawcett pennyhay</dc:subject>
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<item rdf:about="https://www.anothergaze.com/towards-quilombo-cinema-afro-brazilian-roundtable/">
    <title>Towards a Quilombo Cinema: An Afro-Brazilian Feminist Roundtable - Another Gaze: A Feminist Film Journal</title>
    <dc:date>2020-07-21T10:44:55+00:00</dc:date>
    <link>https://www.anothergaze.com/towards-quilombo-cinema-afro-brazilian-roundtable/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["In Brazil a heterogeneous group of Black people – working in production, criticism, curation, and other positions within cinema and audiovisual media – have recently begun to unite. Although we are still a relatively small number, given that the proportion of Black people in Brazilian society is more than half of the total population, our presence is unprecedented. This network, an aquilombamento that constitutes the so-called Cinema Negro Brasileiro (Black Brazilian Cinema), has emerged in the last ten years as a provocation and confrontation to what has historically been understood as our national cinema. The word aquilombamento derives from the word quilombo, which is used to name groups of Black people who unite to resist racism and neo-coloniality.1 By aquilombamento we mean – in the words of historian and Brazilian Black feminist Beatriz Nascimento – an “aggregation, a sense of community, of fight.” For Nascimento, “the investigation into quilombo is based on the question of power. No matter how much a given social system dominates, it is possible to create a differentiated system therein, and this is what the quilombo is. Only it is not a state power in the sense that we normally understand it – political power, power of domination – because it does not share that perspective. Each individual is the power; each individual is the quilombo.”2

The following conversation brings together four women who form part of this quilombo cinema network: the filmmaker Everlane Moraes; curator and researcher Janaína Oliveira; researcher and critic Kênia Freitas, and myself, Tatiana Carvalho Costa, a curator, professor, and mediator of the discussion. The four of us have met before on many occasions, at film festivals, conferences and other events, and for us this conversation was a great opportunity to elaborate on the questions that recur in our respective fields and to try to understand the parameters of power in the world of Brazilian cinema. Although this discussion relates for the most part to our national context, it is also informed by a consideration of the production of and thought about films made by Black people in other parts of the world, and may therefore resonate with issues pertaining to other Afro-diasporic countries.

Understanding the Brazilian context means identifying the various factors that have contributed to the increase of Black people in leading roles in cinema. Brazil has a strong history of Black activism and of the participation of Black intellectuals in culture, education and institutional policy, and this has of course been influenced by movements for civil rights and colonial freedoms in other countries of the African diaspora. This activism has, for example, included the founding of major experimental groups in Black drama, such as the Experimental Black Theater (TEN), founded by Abdias do Nascimento and active between 1944 and 1968. The two decades of affirmative public policies at the start of the 21st century, along with progressive governments for the inclusion of Black people in higher education and in other areas of education and cultural production, can be seen as the cumulative result of movements and groups like these. Another critical figure in the history of Cinema Negro Brasileiro is Zózimo Bulbul, who was also an important actor in the Cinema Novo and acted in films such as Ganga Zumba (1963/72, Carlos Diegues) and Terra em Transe (1968, Glauber Rocha). Bulbul is the director of the seminal ‘Alma no olho’ (‘Soul in the Eye’, 1973). Dedicated to John Coltrane and inspired by the Black Panther Eldridge Cleaver’s book Soul on Ice (1968), the film operates what Janaína Oliveira describes in the following conversation as an “oppositional Blackness”: a direct and incisive approach to racial issues that draws on and illustrates the Black experience. Although there were others before Bulbul it was this 11-minute film that laid the foundations for Cinema Negro Brasileiro. Bulbul formally disrupted stereotypical representations of the Black body on-screen, bringing this body into a new and inclusive relation to cinematic time, space and rhythm. He was followed by other men of the same generation – such as the actor and director Antônio Pitanga – and later directors such as Joel Zito Araújo and Jeferson De have also been deeply influenced by his work.

The recent rise in Black film exists in contrast to the almost total historical absence of Black people in positions of power within the film industry, which is an arena from which Black women have been doubly excluded. Brazilian cinema was born in the late 19th-century, but the first full-length fiction film directed exclusively by a Black woman and released commercially did not appear until 1984: Adelia Sampaio’s Amor Maldito (Cursed Love). To set historical landmarks is always a risky and imprecise task, but as far as we know, the first decade in which a group of Black women directed full-length documentaries or feature films was in the 2000s: Lilia Solá Santiago with Família Alcântara (2004) and Eu tenho a Palavra (2011), both co-directed by Daniel Solá Santiago; Sabrina Rosa with Vamos fazer um brinde (2011) co-directed by Cavi Borges; Carmen Luz with the documentary Um filme de dança (2013); Camila de Moraes with the documentary The Case of the Wrong Man (2018); Camila Pitanga with the biopic Pitanga (2017), co-directed by Beto Brant; and Glenda Nicácio directed Coffee with Cinnamon (Café com Canela, 2017), Island (Ilha, 2018) and the Deep End (2020) with Ary Rosa. The second time a Black woman was the sole director of a highly-circulated film was last year: Viviane Ferreira’s ‘Jerusa’s Day’ (‘O dia de Jerusa’, 2019). Others might have appeared between 1984 and this century, but one of the things sexism and racism in Brazil does effectively is to erase Black female subjects from History. And we regret that at this time we don’t have much more available data on those other pioneers. 

For obvious structural reasons, women have often found themselves excluded from processes where there is a great concentration of money and power. But despite this unfavourable framework a new generation of filmmakers – mostly young – is gaining ground. While the terrain of feature films remains more difficult to penetrate, when it comes to short films the situation is changing at a greater speed. Data from one of the most important festivals in the country – Mostra de Cinema de Tiradentes (Tiradentes Film Festival) – shows that the number of Black people in directorial positions has significantly increased: out of the 806 shorts included in 2019 there were 206 Black directors, while in 2020 there were 231 shorts with Black directors out of a total 870.

In a country with colonial foundations, the idea of being ‘Black’ presupposes a subaltern homogeneity, based on stereotypes, or what Patricia Hill Collins calls “controlling images”.3 Our growing body of films contradicts this historical flattening, showing a heterogeneity of representations of Black life and a diverse set of approaches to cinema. The same is reflected in our conversation below. Points of divergence between the interlocutors point to the rich variety of cinematic thought and what it means to be an artist and Black intellectual in Brazil. What does Cinema Negro Brasileiro mean? In the words of Heitor Augusto, one of the leading voices to define and describe this recent phenomenon, contemporary Black Brazilian Cinema is a “political gesture to make a special demarcation […] as a way to exist outside the hegemonic”.4 The history of national cinema is full of attempts to circumscribe the Black presence in film. But the situation is changing. Our conversation is a way of understanding the specificities of this historical moment and where both these production paths and the reflections that surround them situate us. Although this conversation may seem devoid of contemporary Brazilian political context, it is not. Since January 2019 we have had a far-right national government that works on a daily basis to dismantle national policies for culture and particularly targets the film industry. The heterogeneity and growth of Cinema Negro Brasileiro is vulnerable. But what we’ve achieved up until now is enough to demonstrate the strength of this movement and its impact on contemporary Brazilian Cinema. Inspired by those who came before us, we point to a path of possible resistance to both the present and historic brutality in a country founded on structural racism."]]></description>
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<item rdf:about="http://www.blackmountaincollege.org/womenofbmc/">
    <title>Question Everything! The Women of Black Mountain College Digital Exhibition - Black Mountain College Museum + Arts Center</title>
    <dc:date>2020-04-02T23:53:12+00:00</dc:date>
    <link>http://www.blackmountaincollege.org/womenofbmc/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Freedom. 
Freedom to walk barefoot, to wear old clothes and have long hair, to have a sex life – but beyond all that to have a freedom the other side of which was (is) responsibility. And that had two sides: a responsibility to listen to the inner voice and labor to follow one’s own deepest and truest desires, and a responsibility to give to, and not just take from the school which made such choices possible for us in that place. – Mary Fitton Fiore (Alumna, 1949-1956) 
 

In the midst of modernism, when the foundations of culture were under question, prompted by war and global crises, women were able to make space for themselves in mediums, movements, and institutions where previously there was little or none. Black Mountain College (1933-1957) was a place where women were expected to question things, to think critically, and to explore their own self-determinacy. Each story is her own, with glimpses to be seen through her words, images, and ongoing work. 

They came to Black Mountain College from diverse circumstances and backgrounds: as refugees escaping persecution in Europe; as promising students who wanted and needed something more; as educators seeking a new way to teach; as resourceful staff looking for meaningful work; as poets, potters, painters, and performers searching for peers and mentors. Where some found refuge and community, others found great personal and professional challenges. For many, their time at Black Mountain provided a critical catalyst for growth and a profound connection to something substantive and life-altering…freedom.  

Establishing themselves in New York, San Francisco, Santa Fe, Boston and beyond, they carried the Black Mountain spirit with them as artists, writers, scientists, mothers, educators, and mentors. This new generation went forward with a strong sense of what it meant to be a woman in the 20th century, forging new paths for themselves and those who followed. Question Everything! looks at some of these women of Black Mountain College, recognizing their significance to the history of the college and beyond.   

 

Curated by Kate Averett + Alice Sebrell  

This exhibition received support from The Beattie Foundation, John Byrd + Ellen Clarke, Marion L. Johnson Church, Mr. + Mrs. Raymond J. Horowitz Foundation, Thomas Frank, and the Windgate Charitable Foundation. 

Special thanks to: BMCM+AC Board of Directors, The Britton family, Connie Bostic, Crystal Bridges Museum of American Art, Sarah Downing, Johanna Engebrecht, Katherine French, Suzi Gablik, Lorrie Goulet, Rob Hazelgrove + Dan McLawhorn, Hudson + Terry Lanier, Rebecca Lowell, Michael Manes, The Milton Resnick and Pat Passlof Foundation, Donna Marie Perkins, Reynolda House Museum of American Art, Jo Sandman, Susan Rhew Design, Heather South, Western Regional Archives, and Erika Zarow."]]></description>
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<item rdf:about="https://mitpress.mit.edu/books/remediation">
    <title>Remediation: Understanding New Media, by Jay David Bolter and Richard Grusin | The MIT Press</title>
    <dc:date>2019-06-02T22:20:10+00:00</dc:date>
    <link>https://mitpress.mit.edu/books/remediation</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Summary

A new framework for considering how all media constantly borrow from and refashion other media.

Media critics remain captivated by the modernist myth of the new: they assume that digital technologies such as the World Wide Web, virtual reality, and computer graphics must divorce themselves from earlier media for a new set of aesthetic and cultural principles. In this richly illustrated study, Jay David Bolter and Richard Grusin offer a theory of mediation for our digital age that challenges this assumption. They argue that new visual media achieve their cultural significance precisely by paying homage to, rivaling, and refashioning such earlier media as perspective painting, photography, film, and television. They call this process of refashioning "remediation," and they note that earlier media have also refashioned one another: photography remediated painting, film remediated stage production and photography, and television remediated film, vaudeville, and radio."

Review:

"The authors do a splendid job of showing precisely how technologies like computer games, digital photography, film television, the Web, and virtual reality all turn on the mutually constructive strategies of generating immediacy and making users hyperaware of the media themselves...The authors lay out a provocative theory of contemporary selfhood, one that draws on and modifies current notions of the 'virtual' and 'networked' human subject. Clearly written and not overly technical, this book will interest general readers, students, and scholars engaged with current trends in technology."]

[via:
https://twitter.com/thezhanly/status/1135170311941492736

in this exchange:

Venkatesh Rao (@vgr): "I think several new genres of fiction are being born right now that will break the Industrial Age ones (SFF, mystery, romance, horror, thriller).

One I think is alt-realism. Or adjacent-realism. Not counterfactuals, more like fictional conspiracy theories."

Me (@rogre): "Have you done the same for *form* of fiction? (Think length, type of prose, formatting, use of multimedia, etc.) I think there is something similar going on there too. I also think that these genres and forms are not necessarily as new as they seem, just finally gaining traction?"
‏
Venkatesh Rao (@vgr): I think that’s probably overtheorized already by all the hypermedia studies people. I’m more interested in content. I suspect @thezhanly has good knowledge on state of art there. But overall I think media form evolves much less quickly than people want it too.

Zhan Li (@thezhanly): Bolter & Grusin’s remediation concept is a crucial perspective for this https://mitpress.mit.edu/books/remediation ]]]></description>
<dc:subject>books media jaydavidbolter richardgrusin 1998 photography film painting art writing howwrite publishing theater filmmaking radio television tv refashioning culture</dc:subject>
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<item rdf:about="https://www.theawl.com/2017/11/quiet-style-annie-baker/">
    <title>The Triumph of the Quiet Style - The Awl</title>
    <dc:date>2019-05-01T16:00:37+00:00</dc:date>
    <link>https://www.theawl.com/2017/11/quiet-style-annie-baker/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The clearest demonstration of the quiet style—the dominant, most provocative, most interesting aesthetic of our time—is in theater, where Annie Baker created a revolution by slowing everything down, inserting long pauses, setting plays at room temperature. Baker is, in America and for straight plays, the unquestioned superstar playwright of her generation. She won the Pulitzer Prize in 2014 and a MacArthur Grant in 2017. Her success is so sweeping that it’s almost hard to remember how weird her style seemed five or ten years ago, and how much it ran against all the prevailing headwinds of playwriting, which, for decades, had been all about making plays faster, more shocking, edgier.

American plays were already fast-paced (quick cuts, overlapping dialogue) and then, in the 1970s, David Mamet figured out a syncopated style that made them even faster. (“Arrive late, leave early,” is his prescription for writing scenes). Neil LaBute, Mamet’s heir, starts his signature play, Reasons to Be Pretty, with the stage direction: “Two people in their bedroom, already in the middle of it. A nice little fight. Wham!” Edward Albee, the reigning granddaddy of American theater, admitted that he wrote The Goat, a play about a man’s love affair with a farm animal, more or less because he couldn’t think of any taboos left to break.

For Baker, studying playwriting at NYU, the contemporary approach to playwriting was a nightmare—a formula to get your turns and reveals as plentiful and as high up in the script as possible, and all of it about as artistic as working in the pit at Daytona. While in graduate school, she had a breakdown (by her accounting, one of many) and, stuck, declared to her mentor that what she really wanted to do was to write a play about her mom and her mom’s “hippie friends sitting around and talking about spirituality for two hours,” which, to Mamet and her NYU professors, would have been like saying that what she wanted most as a playwright was to make sure that her audience had the right atmosphere for a nice, peaceful nap."

…

"But it’s not as if the quiet style began ten years ago. Chekhov is quiet. Our Town is quiet. Beckett is quiet. French New Wave is quiet. Probably, in every era, ‘serious’ art is quieter and slower than commercial. What I am saying, though, is that something distinctive is happening, and it’s clearly resonating with audiences since the same tendencies are dominant in all these different mediums, producing what for years has been the the most unsettling, most challenging, most talked-about work.

The key figure for the quiet style, the one who lays its sociopolitical foundations, is J.M. Coetzee. In Coetzee, the ruling class relinquishes—reluctantly but voluntarily—all its entitlements and, in humility and debasement, acquires a kind of beneficence. “The alternatives [to the power structure] are not,” he writes in the Diary Of A Bad Year, “placid servitude on the one hand and revolt against servitude on the other. There is a third way, chosen by thousands and millions of people every day. It is the way of quietism, of willed obscurity, of inner emigration.”

For the protagonists of the quiet style, most of whom descend from generations of easy living (their privilege is so patent and so internalized that they rarely deign even to speak of it), institutions no longer have anything to offer them and need nothing from them. They tend to be very willing to relinquish whatever societal power they have to those who want it more than they do. It’s characteristic to be an ex-pat (as in Lerner and Greenwell) or to be in some sort of internal exile (Vermont in Baker’s plays) or to be adrift in the ghettos of the unpublished, unproduced artistic underclass (as in Jarmusch, Baumbach, Heti, Dunham, etc). In other words, to have opted out.

What’s crucial—and, ultimately, what defines the quiet style—is the gesture of abnegation, a recognition by its heroes that success either is not for them or doesn’t matter to them. In spite of its heavy use of naturalism, the quiet style is not realism. Fundamentally, the quiet style is a mode of religious expression and it leans heavily on its confessional aspect, its blind faith that the moments of most abject, most senseless humiliation are also the moments when we are at our funniest and truest and (ultimately) most divine.  For me, the great attraction of the quiet style is that it takes the attributes of my much-maligned generation—our restlessness, fecklessness, envy, solipsism—and turns them into something like a prayer."]]></description>
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<item rdf:about="https://theoutline.com/post/6709/debate-is-stupid?zd=2&amp;zi=57g5arrd">
    <title>Resolved: Debate is stupid | The Outline</title>
    <dc:date>2018-12-01T03:54:02+00:00</dc:date>
    <link>https://theoutline.com/post/6709/debate-is-stupid?zd=2&amp;zi=57g5arrd</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["People — yes, even you — do not make decisions on an entirely rational basis. An audience is more easily won over with a one-liner that inspires applause or laughter than a five-minute explanation of a complicated phenomenon. A false statistic repeated confidently will be more convincing than a truth stated haltingly by some guy you’ve never heard of, and who you’ve already decided you don’t like because he’s arguing against the guy you came to see. Massively complex ideologies with hundreds of years of scholarship behind them are reduced to a couple of fast-talking egos in Dockers thinking about the best way to make their opponent look like a dumbass. Debate is not politics. It’s theater.

Real learning is hard. It’s a slow, confusing process where you sometimes have to read long books with dreadful covers, and look at footnotes and shit. It requires us to recognize and then overcome our biases as best we can. It can take years to learn what we really think and why, and then if we get a lingering feeling we might be wrong, it can take years to un-learn and start all over.

Debate, in contrast, offers an easy way out. Some dudes spouting their favorite buzzwords in each other’s vicinity makes us feel smart and engaged, like we’re in that fresco of the Greek men they put on all the philosophy textbooks. (Small aside — have you ever noticed how in this image, all the female figures look thoroughly sick of these guys?) However, the format of debate, which is supposed to represent the height of intellectual tradition, encourages us instead to applaud the candidate who is best at using simple rhetoric, looking suave, and machine-gunning irrelevant lines at their browbeaten interlocutor. These are all things that real intellectual inquiry is supposed to look beyond.

Do not be tempted by the promise of easy satisfaction. Watching a debate can make you actively worse at understanding the nuances of a topic. If you want to really know about a subject, here’s my advice: read widely and extensively (and not just the books your favorite YouTuber recommends). Talk to people, patiently and fairly, rejecting your instinctual desire to win. And perhaps most importantly — take this from a veteran — do not reward former debate team kids with your attention. They are the worst type of nerds and they never share their snacks."]]></description>
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<item rdf:about="https://www.nytimes.com/2011/04/30/world/americas/30haiti.html">
    <title>Frankétienne, Father of Haitian Letters, Is Busier Than Ever - The New York Times</title>
    <dc:date>2018-11-14T01:58:03+00:00</dc:date>
    <link>https://www.nytimes.com/2011/04/30/world/americas/30haiti.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Frankétienne has had prophecies of death (his own) and destruction (Haiti’s).

The earthquake that wrecked this country in January 2010? It was foreseen, said Frankétienne, the man known as the father of Haitian letters, in his play “The Trap.” It was written two months before the disaster and depicts two men in a postapocalyptic landscape, now a familiar sight in his Delmas neighborhood here.

“The voice of God spoke to me,” said Frankétienne, 75, later noting he had also long dwelt on the ecological ruin he believes the planet is hurtling toward. As for his death, that will come in nine years, in 2020, he says, at age 84. He is not sick, he says, but he has learned to “listen to the divine music in all of us.”

And so the prolific novelist, poet and painter — often all three in a single work — hears his coda. He is vowing to complete a multivolume memoir “before I leave, physically,” while keeping up an increasingly busy schedule of exhibitions and conferences.

“I am going to talk about everything I have seen from age 5 or 6,” he said recently at his house-cum-museum and gallery. “And stuff that hasn’t happened yet because I am a prophet.”

Eccentric. Abstract. A “spiralist,” who rejects realism and embraces disorder. Frankétienne — he combined his first and last names years ago — embraces chaos as a style he believes befits a country with a long, tumultuous history birthed in a slave revolt more than 200 years ago and scarred by a cascade of natural and man-made disasters.

In chaos he finds order.

“I am not afraid of chaos because chaos is the womb of light and life,” he said, his baritone voice rising as it does when he gets worked up over a point. “What I don’t like is nonmanagement of chaos. The reason why Haiti looks more chaotic is because of nonmanagement. In other countries it is managed better. Haiti, they should take as reference for what could happen in the rest of world.”

Scholars widely view Frankétienne as Haiti’s most important writer. He wrote what many consider the first modern novel entirely in Haitian Creole, “Dezafi,” in 1975, and a play well known here that challenged political oppression, “Pelin Tet.” It is a biting work from 1978 that is aimed, not so subtly, at Jean-Claude Duvalier, the son of the dictator François Duvalier and himself a former dictator known as Baby Doc, who returned here from exile in January.

Although not well known in the English-speaking world, Frankétienne has star status in French- and Creole-speaking countries and was rumored to be on the short list for a Nobel Prize in Literature in 2009.

After the quake, his works gained more international attention, particularly in Canada and France. “The Trap” debuted in March 2010 at a Unesco forum in Paris that named him an artist for peace; galleries in New York have organized shows featuring his artwork. Still, he also holds informal Sunday workshops with young artists in Haiti to talk about and critique their work.

“He is not only a major Haitian writer, he is probably the major Haitian writer, forever,” said Jean Jonassaint, a Haitian literature scholar at Syracuse University.

Frankétienne’s output, about 40 written works and, by his count, 2,000 paintings and sketches, comprises dense, baroque affairs. He invents new words, blending French and Haitian Creole. Long digressions are de rigueur. His paintings, which he says are selling particularly well these days, blur swirling blacks, blues and reds, often covered with poems.

He admires James Joyce, and it shows. “ ‘Finnegan’s Wake’ was like a crazy book, just like I write crazy books,” he said.

Still, the Haitian-American writer Edwidge Danticat said Frankétienne remained popular among Haitians, in part because some of his plays had been videotaped and passed around in Haiti and in immigrant communities in the United States.

“Pelin Tet,” in which the grim life of two Haitian immigrants in New York deliberately echoes the oppression of the Duvalier era on the island, is a touchstone for many Haitians, said Ms. Danticat, who grew up in the same neighborhood as Frankétienne and was, in part, inspired to write by his rise to the top.

“His work can speak to the most intellectual person in the society as well as the most humble,” she said. “It’s a very generous kind of genius he has, one I can’t imagine Haitian literature ever existing without.”

Frankétienne was born as Franck Étienne on April 12, 1936, and raised in the Bel-Air neighborhood of Port-au-Prince, the son of a Haitian farmworker and an American businessman, who later abandoned her.

Frankétienne’s mother worked as a street vendor — selling cigarettes, charcoal, candies, moonshine — while raising eight children.

“Since I was 5 or 6 I was smoking or drinking, but my mother never knew,” he recalled. He was the oldest, and she strove to send him to school (he, in turn, tutored his younger siblings, leading him to establish his own school).

The school he attended was French-speaking. Frankétienne initially did not know a word of French, but angered at being teased by other students, he set about mastering the language and developing an affinity for words and artistic expression.

His best-known works came in the 1960s and ’70s, and he ranks his novel “Dezafi” as one of his most cherished. Set in a rural Haitian village, it weaves cockfighting, zombification, the history of slavery and other themes into an allegory of the country’s pain and suffering.

“It is the challenge of finding the light to liberate everyone,” he said. He wrote it in Creole, he said, because that was the voice of the characters he imagined.

But Frankétienne also felt a need to assert his Haitian identity, as people often look at his fair skin, blue eyes and white hair and doubt he is from this predominantly black country.

“They might think I am white or mulatto or whatever, but I am not,” he said. “I have black features, Negro features. My mother was an illiterate peasant and she had me when she was 16. She was taken in by an American, a very rich American. The American was 63 and my mother was 16 at the time.”

Switching from Creole to English, which he is usually too timid to speak, he added, “You understand who I am now?”

After completing “Dezafi,” he was frustrated that so few of his compatriots could read it, with nearly half the adult population illiterate. He switched to plays, even if that meant irritating the dictatorship.

“Dictators are mean but not necessarily stupid, so they knew I didn’t have any readers,” Frankétienne said. “What really gave them a problem was when I started with plays.”

Other writers and artists left Haiti during the dictatorship, but he stayed as his reputation grew outside the country and human rights groups closely followed him, providing, he believes, some cover from Mr. Duvalier.

Later, he joined other intellectuals in denouncing Jean-Bertrand Aristide, the first democratically elected president after Jean-Claude Duvalier was overthrown. Mr. Aristide, he said, became fixated on power and tolerated corruption and thuggery in his administration.

“He is a ghost, too,” Frankétienne said of Mr. Aristide’s return in March after seven years in exile.

His only regret, he said, is that his work is not widely translated and better known. If he knew Chinese, Japanese, Italian or other languages, he said, he would put them in his works.

“Everything is interconnected,” he said. “We are connected to everything, everyone.”

Frankétienne added, “The only thing not chaotic is death.”"]]></description>
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<item rdf:about="https://www.youtube.com/watch?v=AIEmvRlPzCc">
    <title>The Philosophy of Sacha Baron Cohen: How To Prank The Establishment – Wisecrack Edition - YouTube</title>
    <dc:date>2018-08-20T05:51:11+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=AIEmvRlPzCc</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>sachabaroncohen philippegaulier humor clowns 2018 shakespeare history theater</dc:subject>
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<item rdf:about="http://synonymsforchurlish.tumblr.com/post/113978877618/whether-you-whine-or-twine-he-shake-it-up-right">
    <title>SYNONYMS FOR CHURLISH by Megan Vaughan - Whether you whine or twine He shake it up, right...</title>
    <dc:date>2016-01-31T05:34:48+00:00</dc:date>
    <link>http://synonymsforchurlish.tumblr.com/post/113978877618/whether-you-whine-or-twine-he-shake-it-up-right</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Whether you whine or twine
He shake it up, right on time

I’ve had a go at reviewing The Privileged by Jamal Harewood in Twine because, frankly, I’ve no idea how else to even begin talking about a show so totally rattling.

Apols that it’s just got the default formatting on it. CSS coding is like ?????? to me. (That Facebook blue gets fucking everywhere these days innit.)

Have a go here [https://dl.dropboxusercontent.com/u/41115788/The%20Privileged.html ], and please shout if anything doesn’t work, or there are typos. My campaign to bring spellcheck to Twine starts now."]]></description>
<dc:subject>twine via:tealtan meganvaughan jamalharewood reviews if interactivefiction theater performance gaming theprivileged</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
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<item rdf:about="http://www.odysseyworks.org/blog/2015/9/5/christine-jones-on-the">
    <title>Christine Jones on the notion of the gift, reciprocity, and how being a parent influences her work — Odyssey Works</title>
    <dc:date>2015-09-08T23:05:18+00:00</dc:date>
    <link>http://www.odysseyworks.org/blog/2015/9/5/christine-jones-on-the</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["OW: WHY CREATE EXPERIENCES?

CJ: As a parent I am aware of creating a world where Santa Claus and the Tooth Fairy exist for my kids. When they die it's our job to make other kinds of magic. I love what Charlie Todd of Improv Everywhere says. He said he wanted to live in a world where anything can happen at any moment. His work makes our world just such a world...I think everyone has a desire to be surprised, delighted, moved, and transported. If we don't do this for each other, no one else will. Our parents will make magic for us when we are young, when we are older, we have to make it for ourselves and each other."

OW: WHAT ARE YOU TRYING TO DO WITH YOUR WORK?

CJ: This probably sounds horribly pretentious, but lately I have been thinking of myself as an artist who uses Intimacy the way a painter uses paint. My intention with all of my work is to enhance a feeling of connection and presence that makes people feel seen, and sometimes, especially with Theatre for One, loved. It is always amazing to me how simple acts of kindness and generosity are so deeply appreciated. We very rarely slow down enough to feel truly with other people. I am trying to create fruitful circumstances for a gift exchange between audience and performer. Whether it be a big Broadway show, or an immersive dinner theatre experience, or Theatre for One, I am hoping to create a space and relationships within the space that allow the audience to feel that they are receiving a beautiful experience and in return they are giving the performers or creators the gift of their full presence and attention."]]></description>
<dc:subject>audiencesofone 2015 christinejones art performance theater reciprocity presence care parenting interactivity immersivity immersive experiencedesign magic intimacy audience setdesign wonder discovery visibility gifts interviews odysseyworks wanderlust sextantworks relationships davidwheeler generosity theatreforone</dc:subject>
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<item rdf:about="https://medium.com/why-2015-wont-suck/28-you-will-attend-a-theater-for-one-5bce7da6626f">
    <title>28. You Will Attend a Theater for One — Why 2015 Won’t Suck — Medium</title>
    <dc:date>2015-01-15T08:25:56+00:00</dc:date>
    <link>https://medium.com/why-2015-wont-suck/28-you-will-attend-a-theater-for-one-5bce7da6626f</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["You Me Bum Bum Train has a very silly title that sounds like a Portuguese man propositioning you for anal sex. I don’t know why I say Portuguese — could be Dutch or Pashto. It sounds like a broken English bumsex proposition is what I’m saying.

I suspect that they keep the silly title because if they called it anything that communicated how utterly amazing it is, they’d be even more deluged with requests for tickets than they are already. I feel bad for bigging it up: Their entire run sold out in eight minutes last time.

London’s YMBBT is what they call “theater for an audience of one,” which sounds a bit frightening. Or “immersive theater,” which these days seems to mean standing in the dark being shouted at by someone wearing a weird hat.

Imagine this instead: You climb through a cupboard and find yourself in a boardroom, about to chair a shareholder meeting. You do brilliantly. After a few minutes, an aide leads you up some stairs and suddenly you’re the lead detective examining a crime scene. Somehow, you know just what to say. One of the police officers leads you through a wine cellar and then you’re on a live TV chat show being asked about your latest book. You make the host and audience laugh and laugh.

Everyone else in each of these scenes is in on it. You cannot fail. You feel that maybe you could fly if you really tried. It’s like the best crazy dream you’ve ever had, that one you wake up from thinking, “Yes, I am okay, yes, I can do more than I thought.” It’s self-help in art form. It should be available by prescription."]]></description>
<dc:subject>2015 naomialderman art youmebumbumtrain ymbbt audiencesofone theater performance immersivetheater self-help</dc:subject>
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<item rdf:about="http://www.bostonglobe.com/magazine/2014/12/03/ideas-for-making-boston-more-inclusive/mMHyMCTNbuwxSKRSosNsAM/story.html">
    <title>12 ideas for making Boston more inclusive - Magazine - The Boston Globe</title>
    <dc:date>2014-12-11T15:12:54+00:00</dc:date>
    <link>http://www.bostonglobe.com/magazine/2014/12/03/ideas-for-making-boston-more-inclusive/mMHyMCTNbuwxSKRSosNsAM/story.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["1) CREATE SPACES WHERE PEOPLE FROM ALL WALKS CONVERGE … — Francie Latour

2) HELP SKILLED IMMIGRANTS GET RE-LICENSED … — Omar Sacirbey

3) BRING HIGH-TECH OPPORTUNITIES TO THE INNER CITY … — Michael Fitzgerald

4) GET HIGH SCHOOLERS TO CROSS CLIQUE LINES … — James H. Burnett III

5) ENSURE ACCESS TO PUBLIC TRANSPORTATION … — Sarah Shemkus

6) NURTURE URBAN BUSINESSES … — Michael Fitzgerald

7) SPREAD THE HEALTH … — Priyanka Dayal McCluskey

8) BUILD MORE MIXED-INCOME HOUSING … — Jeremy C. Fox

9) PROTECT THE RIGHTS OF TRANSGENDER PEOPLE … — Jeremy C. Fox

10) CULTIVATE INCLUSION EXPERTS … — Nadia Colburn

11) CELEBRATE DIVERSITY THROUGH THEATER … — Cindy Atoji Keene

12) TEACH TOLERANCE TO CHILDREN — Sarah Shemkus"

[See also: "What are Boston’s biggest barriers to inclusion? Community and nonprofit leaders, academics, activists, and others discuss problems and priorities."
http://www.bostonglobe.com/magazine/2014/12/03/what-are-boston-biggest-barriers-inclusion/0PnxFPYOYlqbAyQRGS4TRK/story.html

[via: https://twitter.com/anamarialeon/status/543045803393433600 ]]]></description>
<dc:subject>boston cities urban urbanism inequality 2014 francielatour omarsacirbey michaelfitzgerald jamesburnett sarahshemkus priyankadayalmccluskey jeremyfox nadiacolbum cindyatojikeene inclusion housing education health healthcare business highschool relationships community diversity tolerance theater children youth technology immigrants urbanplanning inlcusivity inclusivity</dc:subject>
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<item rdf:about="http://www.timeshighereducation.co.uk/comment/opinion/sarah-churchwell-why-the-humanities-matter/2016909.article">
    <title>Sarah Churchwell: why the humanities matter | Opinion | Times Higher Education</title>
    <dc:date>2014-12-10T07:28:41+00:00</dc:date>
    <link>http://www.timeshighereducation.co.uk/comment/opinion/sarah-churchwell-why-the-humanities-matter/2016909.article</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The renowned scientist E. O. Wilson recently described the humanities as “the natural history of culture, and our most private and precious heritage”. The humanities are the study of what makes us human, of what it means to be human. As they penetrate every aspect of existence, they can, and should, intersect with the natural and social sciences, but literature, history, art, music, languages, theatre, film – and yes, television and computer games – are the stories and ideas through which we express our humanity.

We understand ourselves and our world through the telling of stories. Visual dramas teach us sympathy, empathy, pity, encouraging us to break out of our solipsistic shells. They explore ethical issues, ask challenging questions, inform the way we view each other. Today we live in a culture more defined by images and stories than ever before. Given this, it is vital that we approach the media, advertising and marketing discourses that influence and often manipulate us with critical thinking. We need improved communication skills; no one is born with them, and just chatting with your family and friends does not teach the precision of language needed to negotiate and reframe our complicated world. In a global age, we need to understand other societies. Anyone who has ever studied a foreign language knows that different phrases can prompt new perspectives and open our eyes to cultural values; studying foreign languages also improves mastery of our own. This rule holds by analogy more generally: when we learn about other people, we also learn about ourselves.

The politicians and corporations telling us that the humanities do not matter are, by no coincidence, the same people who think of us only as workers and consumers, not as citizens or individuals, and who strip away our human rights, one by one. It is the wealthy who insist that we should seek only to work: we don’t need the humanities, they tell us, all we need is to labour in a marketplace that will enrich them, not us.

If we agree that the humanities do not matter, or fail to challenge this assessment, we are colluding in the very practices that reduce our humanity, that impinge upon all the other ways in which we can enrich our lives, our abilities to express our creative individuality. Until we reconsider what it means to lead a truly satisfying life, what the ancient Greeks considered the “good life” – who are by no coincidence the people who invented the study of the humanities – we should not be surprised if we have the politicians and plutocrats we deserve. Why should any politician seek to challenge the source of his (rarely her) power?

The humanities conserve and safeguard those aspects of our being that intersect with the meanings of human existence beyond industry. A certain playwright was said to love humanity as a concept but to have less time for human beings. The same can be said of our so-called leaders, whose lofty rhetoric in support of humanity is belied by their contempt for the study of the humanities. That said, as the historian James Truslow Adams wrote some years ago, it is absurd to think that the powerful will abandon their power “to become spiritual leaders of a democracy that despises spiritual things”.

There is a story that may be apocryphal but is illustrative. Supposedly, Richard Dawkins was once visiting an art gallery in Florence, and as he left was heard to ask, “But what’s all this art for?” Regardless of whether Dawkins actually said it, this question articulates a widely held view among the instrumentalists and technocrats who decide our society’s priorities. Last year it was revealed that scientific studies had “proven” that reading made people more empathetic. At last, some book lovers cried, what we always knew has been proven: book lovers are better people! Anyone who has spent time in a literature department might challenge this jolly notion, but I agree with the critic Lee Siegel, who responded by defending his right to love books regardless of whether they “improved” him. Let me answer the question: what’s all this art for? It’s for us.

When we stopped being citizens and began to think of ourselves – or rather, each other – only as consumers, we relinquished thousands of years of human development. How can we sustain our civilisation if we don’t understand how it works? How can we interpret Magna Carta and defend our rights if no one reads Latin? How will we protect our own laws? How can we hope for transcendence in a secular age if we give up on beauty? Even in instrumentalist terms, the humanities represent 5,000 years of free research and development in what it means to be human. I think we should make use of that.

The humanities are where we locate our own lives, our own meanings; they embrace thinking, curiosity, creation, psychology, emotion. The humanities teach us not only what art is for, but what life might be for, what this strange existence might mean. What kind of humans would think that the humanities don’t matter? We need the advanced study of humanities so that we might, some day, become advanced humans."]]></description>
<dc:subject>humanities 2014 sarahchurchwell eowilson humanity culture literature art history language languages stories storytelling theater film music socialsciences videogames tv television humans capitalism policy politics markets richarddawkins technocracy technocrats instrumentalists leesiegel secularism thinking criticalthinking thewhy why existence existentialism purpose</dc:subject>
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<item rdf:about="http://en.wikipedia.org/wiki/List_of_fictional_U.S._states">
    <title>List of fictional U.S. states - Wikipedia</title>
    <dc:date>2014-12-09T23:00:14+00:00</dc:date>
    <link>http://en.wikipedia.org/wiki/List_of_fictional_U.S._states</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>fiction states us via:robinsonmeyer geography law comics radio theater film television videogames lists</dc:subject>
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<item rdf:about="http://www.gdcvault.com/play/1020596/Scenography-of-Kentucky-Route">
    <title>GDC Vault - Scenography of Kentucky Route Zero</title>
    <dc:date>2014-11-22T06:08:10+00:00</dc:date>
    <link>http://www.gdcvault.com/play/1020596/Scenography-of-Kentucky-Route</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>via:tealtan theater theaterdesign setdesign design scenography 2014 tamaskemenczy space cinema light dramaticspace games gaming scenicdesigner videogames kentuckyroutezero</dc:subject>
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<item rdf:about="https://vimeo.com/79522231">
    <title>Burn the Seats: Audience Immersion in Interactive Theater on Vimeo</title>
    <dc:date>2014-09-07T08:08:43+00:00</dc:date>
    <link>https://vimeo.com/79522231</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["“It’s about a heightened state of awareness,” says Felix Barrett about groundbreaking productions like Sleep No More and The Drowned Man. Punchdrunk productions transform existing architectural spaces into interactive theater pieces in order to disrupt the traditional, formulaic, and passive theater model. They demand the attention of all five senses."]]></description>
<dc:subject>theater storytelling 2013 sleepnomore felixbarrett thedrownedman architecture immersive senses punchdrunk interactive</dc:subject>
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<item rdf:about="http://moolelo.net/">
    <title>MO`OLELO [mo-oh-Leh-low] Hawaiian story/legend/tale/narrative</title>
    <dc:date>2014-04-24T20:41:29+00:00</dc:date>
    <link>http://moolelo.net/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["MO`OLELO [mo-oh-Leh-low] Hawaiian story/legend/tale/narrative
a community-focused, socially-conscious, equity theater company"

"Mo`olelo was recognized by The American Theatre Wing with their 2011 National Theatre Company grant.

Create
Mo`olelo exists to uncover and research stories within different communities and bring them to life on stage, using all the artistic and technical elements of the performing arts.

Produce
Mo`olelo exists to produce original stories by contemporary playwrights and lesser-known stories by master playwrights.

Educate
Mo`olelo exists to educate youth in technical theater and design, exposing them to potential careers, and grooming this new generation of theater artists so they can tell stories on stage with integrity.

Mo`olelo Performing Arts Company’s mission is to create, produce, and educate. Through all three aspects, we seek to broaden the scope of San Diego’s cultural environment by offering professional, socially-conscious theater that provides a voice for diverse and underrepresented populations, aesthetics, and issues on stage; generates participation and dialogue between local communities; and creates paid employment for local theater artists. Our commitment to paying artists union-level wages reflects our strong belief that professional, resident artists will make San Diego a nationally-competitive destination arts scene, thus improving the quality of life for all people of San Diego County. Mo`olelo serves the diverse general public, from youth to seniors, with particular focus toward providing a forum for those who are typically underserved in mainstream American theater. Mo`olelo means story in Hawaiian, and is a reflection of our vision to present powerful stories that are as diverse as the Islands of Hawaii."]]></description>
<dc:subject>sandiego theater hawaii</dc:subject>
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<item rdf:about="http://www.paulmullin.org/just-wrought/2013/08/nypl-draft.html">
    <title>A Friend Visits my Slotin Notes - Just Wrought</title>
    <dc:date>2014-01-24T23:17:53+00:00</dc:date>
    <link>http://www.paulmullin.org/just-wrought/2013/08/nypl-draft.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["And just like that, Thia Stephan Hyde was making plans to  pay my notes a visit.  All that day she updated me with emails and pictures  from her time with my darlings. At the end of it she sent me the following lovely email, which she has graciously allowed me post. Reading it felt like an injection of light straight into my worn-out artist’s heart."

…

"There is a sub-genre of theatre people who are absolute full-on theatre geeks. We are the ones who revel not only in the delight and the accolades of the performances themselves, but who glory in the research that leads up to the live show. Theatre geeks don’t think of it as “homework”, theatre geeks actually get off on endless hours of dramaturgy, historical research and literary cross-referencing, and GO off on intellectual tangents that may not have any direct correlation with any actual decision put into the work of rehearsal or performance. . .  though I insist that you never, ever know what tiny tidbit of historical backstory or arcane research may lead to a tiny choice that lifts a performance from serviceable to inspired.

Anyway, when playwright Paul Mullin mentioned on Face Book that he wondered if someone in New York might have a chance to go visit some materials he had loaned to the Library for the Performing Arts here in town, I was an instantly enthusiastic volunteer! (and I am already registered as a researcher at said library, because – why? I am a theatre geek. You got it.)"

…

"About 25 minutes later, the boxes arrived, very officially delivered on a cart, signed out from the page who brought them to the librarian, and then signed out again from him to me. I was told to turn in my pen, as only pencils are allowed at the desks, and was told that yes, I could take photos of the material. But I could only have one box at a time, and could only remove one folder at a time from each box. Where to start, where to start? I guessed that “Box 1” was the earliest of the papers (Ding Ding Ding Ding Ding!!), and I started with the “generative notes” folder, which was fascinating.  Truly, from just a few scribbled words on a few pages (the very first said: “The relationship of horror and happiness”) through longer philosophical paragraphs and charts of dramatis personae and timelines through feedback from early draft read-throughs, I got to see the “birth” of a play."

…

"And SO much more. Honestly, I found almost every scribble compelling.

Moving on to other folders, I found out:

That Paul’s own father had been a physicist. (I never knew this.)

That a fellow named Thomas Keenan who was associated with Los Alamos after the fact thought the play contained a “disturbing amount of non-pertinent philosophy and mental meandering”. (Paul pointed out that of course THAT is of what a play consists. . .  Hamlet, for example)

That a CD was being rushed to “Anzide’s”, which tickled me because I adore Jim Anzide, and got to work with him in a Circle X production of a play written by another favorite of mine, Tom Jacobson.

That Louis Slotin was not covered by insurance and that the US Government haggled and dragged its heels over compensating his family and returning his belongings to them. And that though they didn’t want to do so at first, eventually the government decided that it would be good to give sick leave pay to the other scientists for the days they had been hospitalized, as it had “been determined advisable in order to ensure confidence on the part of employees . . . who may perform similar operations or experiments in the future.” Sigh.

That I had forgotten how we all used to live by the FAX machine! The faxes, the faxes, the piles of FAXES!"]]></description>
<dc:subject>libraries research names naming references paulmullin thiastephenhyde 2013 writing science theater metadata meta geeks theatergeeks intertextuality howwework howwelearn facebook fandom losalamos via:vruba notes notetaking time memory</dc:subject>
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<item rdf:about="http://larrycuban.wordpress.com/2013/08/15/why-common-core-standards-will-succeed/">
    <title>Why Common Core Standards Will Succeed | Larry Cuban on School Reform and Classroom Practice</title>
    <dc:date>2013-08-15T21:04:45+00:00</dc:date>
    <link>http://larrycuban.wordpress.com/2013/08/15/why-common-core-standards-will-succeed/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Reform-minded policy elites–top federal and state officials, business leaders, and their entourages with unlimited access to media (e.g., television, websites, print journalism)–use these talking points to engage the emotions and, of course, spotlight public schools as the reasons why the U.S. is not as globally competitive as it should be. By focusing on the Common Core, charter schools, and evaluating teachers on the basis of student test scores, these decision-makers have shifted public attention away from fiscal and tax policies and economic structures that not only deepen and sustain poverty in society but also reinforce privilege of the top two percent of wealthy Americans. Policy elites have banged away unrelentingly at public schools as the source of national woes for decades.

National, state, and local opinion-makers in the business of school reform know that what matters is not evidence, not research studies, not past experiences with similar reforms–what matters is the appearance of success. Success is 45 states adopting standards, national tests taken by millions of students, and public acceptance of Common Core. Projecting positive images (e.g., the film Waiting for Superman, “everyone goes to college”) and pushing myths (e.g., U.S schools are broken, schools are an arm of the economy) that is what counts in the theater of school reform.

Within a few years–say, by 2016, a presidential election year–policy elites will declare the new standards a “success” and, hold onto your hats, introduce more and better and standards and tests.

This happened before with minimum competency tests in the 1970s. By 1980, thirty-seven states had mandated these tests for grade-to-grade promotion and high school graduation. The Nation at Risk report (1983) judged these tests too easy since most students passed them. So goodbye to competency tests. That happened again in the 1990s with the launching of upgraded state curriculum standards (e.g., Massachusetts) and then NCLB and later Common Core came along. It is happening now and will happen again.

Policy elites see school reform as a form of theater. Blaming schools for serious national problems, saying the right emotionally-loaded words, and giving the appearance of doing mighty things to solve the “school” problem matter far more than hard evidence or past experiences with similar reforms."]]></description>
<dc:subject>larrycuban policy edreform commoncore politics businessasusual standards 2013 success theater blame schools publicschools poverty inequality economics distraction</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
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</item>
<item rdf:about="https://www.openforum.com/articles/why-english-majors-are-the-hot-new-hires/">
    <title>Why English Majors are the Hot New Hires | The New OPEN Forum</title>
    <dc:date>2013-07-31T20:00:36+00:00</dc:date>
    <link>https://www.openforum.com/articles/why-english-majors-are-the-hot-new-hires/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Years ago while interviewing an English major, I mentioned that—for many reasons—I liked hiring individuals who have a degree in the humanities. When I finished speaking, I noticed that the applicant was slightly choked up. He said, "You are the only person who has made me feel good about my degree." It's not uncommon for English majors—or anyone majoring in the humanities for that matter—to get a bad rap. Even Marc Andreessen, founder of Netscape, not too long ago said that people should get math-oriented degrees; otherwise, they will end up working in shoe stores.

We place a great value on a STEM education (degrees in science, technology, engineering and mathematics). But are the tables turning? Are hiring managers beginning to see the value that a liberal arts education—and an English major in particular—brings to the workplace? Recently, some high-profile businesspeople came out in favor of hiring English majors. Bestselling author and small-business expert Steve Strauss, for example, has admitted that "English majors are my employee of choice." And Bracken Darrell, CEO of Logitech, had this to say: "When I look at where our business is going, I think, boy, you do need to have a good technical understanding somewhere in there, to be relevant. But you’re really differentiated if you understand humanities.""

[Related: http://www.usatoday.com/story/money/personalfinance/2013/07/30/tech-job-unemployment/2595669/ ]]]></description>
<dc:subject>englishmajors humanities education hiring work employment trends careers 2013 brunamartinuzzi stem stevestrauss brackendarrell communication writing research empathy janerobbins davidboyes ideo jobs highereducation highered arts art theater</dc:subject>
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</item>
<item rdf:about="http://spiritsmeltedintoair.com/">
    <title>Spirits Melted Into Air</title>
    <dc:date>2012-11-24T09:10:14+00:00</dc:date>
    <link>http://spiritsmeltedintoair.com/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Spirits Melted Into Air takes individual scenes or speeches - in this case, from the 2012 Royal Shakespeare Company productions of Richard III and The Comedy of Errors - and produces data-visualisations of actors' motion during them.

Produced by Tom Armitage for the Royal Shakespeare Company, the work is in parts a technology prototype, data visualisation, and artwork.

It explores stripping the text away from dramatic performance: removing the playwright, and leaving only the production elements - the actor, the director, and everyone else who influences a performance. The project seeks to highlight the work that the Royal Shakespeare Company does in bringing the written texts of Shakespeare's plays to life."]]></description>
<dc:subject>royalshakespearecompany movement visualization tomarmitage shakespeare theater</dc:subject>
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<item rdf:about="http://readlists.com/00ceea94/">
    <title>The Insomniac's Guide to Sleep No More - Readlists</title>
    <dc:date>2012-07-06T23:41:13+00:00</dc:date>
    <link>http://readlists.com/00ceea94/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The crunchiest writing about SNM and its development, extensions, and effects. Please sign your additions. (@kissane)"]]></description>
<dc:subject>2012 readlists macbeth nyc theater sleepnomore</dc:subject>
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<item rdf:about="http://www.freshandnew.org/2012/05/sleep-more-magic-immersive-storytelling/">
    <title>On Sleep No More, magic and immersive storytelling | Fresh &amp; New(er)</title>
    <dc:date>2012-07-06T23:40:21+00:00</dc:date>
    <link>http://www.freshandnew.org/2012/05/sleep-more-magic-immersive-storytelling/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Towards the close of their talk Pete Higgin had a nice line – “explanation is the killer of wonderment”.

It reminded me of a recent article from Salon on the effect of YouTube on the traditions & social practices of magicians.

“The biggest problem with DVD and YouTube exposure is that it has damaged the skill of learning through asking…

What if we designed exhibitions to have the same ‘dense, cinematic detail’ that Punch Drunk’s productions have? (And trusted visitors to respect and engage with them appropriately through scaffolding the entry experience?)

What if we designed our exhibitions to hold things back from some visitors? And to purposefully make some elements of an exhibition ‘in-accessible’ to all? (The Studio Ghibli Museum in Tokyo is wonderfully designed with some spaces and passages that are only accessible by small children that lead to experiences that only children can have separate from their parents.)

What if we made ‘wonderment’ our Key Performance Indicator?"]]></description>
<dc:subject>theatricality magic explanation parallelism mitmedialab colinnightingale petehiggin transmedia storytelling punchdrunk via:tealtan storycode immersive exploration museums themeparks theater exhibitions inaccessibility accessibility nyc lcproject experiencedesign experience studioghiblimuseum studioghibli details wonder wonderment sebchan 2012 sleepnomore design medialab</dc:subject>
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</item>
<item rdf:about="https://vimeo.com/11290693">
    <title>Playmakers on Vimeo</title>
    <dc:date>2012-02-15T03:46:06+00:00</dc:date>
    <link>https://vimeo.com/11290693</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["playmakers, a 35 minute documentary, is the culmination of a six month project following the progress of Hide&Seek; game designers Alex Fleetwood and Holly Gramazio through the development of a new game. The documentary was filmed over the first 6 months of 2009 and premiered at the Sheffield Documentary festival. Playmakers will be available to download and view on the 5th of May 2010.

Over the last 50 years play has become an increasingly private activity. Now it is bursting back onto our streets. playmakers explores the emerging area of pervasive games it examines the implications of reclaiming play into the public domain and shows the possibilities offered by new technologies.

Playmakers investigates four main themes:

Part 1: Play…

Part 2: Public space…

Part 3: Technology…

Part 4: Theatre/art…"

[See also: http://playmakers.org.uk/ ]]]></description>
<dc:subject>blasttheory simonevans quentinstevens paulinabozek duncanspeakman mattadams simonjohnson clarereddington jackcase thomasbrock hollygramazio alexfleetwood art theater urbanplay urbangames parkour social urbanism urban legal law publicspace fun ubiquitousconnectivity ubicomp geolocation geocaching socialgames gaming via:chrisberthelsen playmakers play games rules arg pervasivegames pervasive 2010 howardrheingold michaelwesch hide&amp;seek hide&amp;seek;</dc:subject>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:hide&amp;seek;"/>
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</item>
<item rdf:about="http://smallwoodenshoe.org/2010/performance/phy/">
    <title>Small Wooden Shoe » Perhaps in a Hundred Years</title>
    <dc:date>2011-08-03T11:49:41+00:00</dc:date>
    <link>http://smallwoodenshoe.org/2010/performance/phy/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Perhaps in a Hundred Years is a tender science fiction story about three friends stuck in outer space, waiting for the future to arrive. They tell stories, sing songs, pass notes, and try to answer some questions about communism, candy bars and parties. Dancing, lip syncs and quiet beauty fill the space. Our heroes are surprisingly optimistic, given the conditions outside, armed as they are with cheerful pop songs and over a millennium worth of utopias.  Despite an almost overwhelming pessimism for the long term future, which many of us share, Perhaps in a Hundred Years endeavors to keep it upbeat, or at least tenderly, militantly, hopeful. <br />
<br />
Perhaps in a Hundred Years mixes space-rock show with confessional, talk show with theatre to create performance for the future from the past (or at least from 2005.) "]]></description>
<dc:subject>theater scifi sciencefiction plays 2005 smallwoodenshoe space amehenderson chaddembski jacobzimmer hub14 2010</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:7e0c6f08bf17/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:scifi"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:amehenderson"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:chaddembski"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:jacobzimmer"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:hub14"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:2010"/>
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</item>
<item rdf:about="http://www.punchdrunk.org.uk/">
    <title>Punchdrunk</title>
    <dc:date>2011-07-21T02:15:15+00:00</dc:date>
    <link>http://www.punchdrunk.org.uk/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Since 2000, Punchdrunk has pioneered a game changing form of immersive theatre in which roaming audiences experience epic storytelling inside sensory theatrical worlds. Blending classic texts, physical performance, award-winning design installation and unexpected sites, the company's infectious format rejects the passive obedience usually expected of audiences. Lines between space, performer and spectator are constantly shifting. Audiences are invited to rediscover the childlike excitement and anticipation of exploring the unknown and experience a real sense of adventure. Free to encounter the installed environment in an individual imaginative journey, the choice of what to watch and where to go is theirs alone."]]></description>
<dc:subject>art culture alternative interactive storytelling london theater immersive sleepnomore classideas sensory experiencedesign space performance audience</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:6bde70714b79/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:london"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:sleepnomore"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:sensory"/>
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</item>
<item rdf:about="http://log.scifihifi.com/post/7773478290/hecate-had-just-sat-down-and-was-about-to-start">
    <title>Sci-Fi Hi-Fi • Hecate had just sat down and was about to start...</title>
    <dc:date>2011-07-21T02:10:45+00:00</dc:date>
    <link>http://log.scifihifi.com/post/7773478290/hecate-had-just-sat-down-and-was-about-to-start</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["…experienced “Sleep No More,” a sprawling interactive theatrical production…in a renovated former warehouse…it was one of the most amazing “designed” experiences I’ve ever had. The entire place is essentially a giant interactive set featuring a cabaret, hotel lobby, a graveyard, a mental hospital, a hedge maze, a detective agency, and numerous other locations you’re allowed to move around freely—following the action (loosely based on “Macbeth”) if you like, or simply exploring. There are secret passages, doors that are locked & unlocked throughout the performance, & dark areas that take a fair amount of courage to explore at first. I found I was exercising parts of my brain I hadn’t used since building a mental map of “Legend of Zelda” dungeons. As the story illustrates, there’s always a possibility you, as an observer, will be pulled into the play’s action, which keeps you constantly a bit on edge. It’s very hard not to get swept up by it all…the immersion is near total"]]></description>
<dc:subject>buzzandersen sleepnomore performance experience experiencedesign immersive theater nyc classideas zelda legendofzelda space place 2011 emursive punchdrunk</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:974f69f2fc13/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:performance"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:nyc"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:classideas"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:zelda"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:legendofzelda"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:space"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:place"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:2011"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:emursive"/>
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</item>
<item rdf:about="http://sleepnomorenyc.com/">
    <title>Sleep No More</title>
    <dc:date>2011-07-21T02:06:24+00:00</dc:date>
    <link>http://sleepnomorenyc.com/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Completed in 1939, the McKittrick Hotel was intended to be New York City's finest and most decadent luxury hotel of its time. Six weeks before opening, and two days after the outbreak of World War II, the legendary hotel was condemned and left locked, permanently sealed from the public. Until now... Seventy-two years later, EMURSIVE has brought the Grande Dame back to life. Collaborating with London's award-winning PUNCHDRUNK, the legendary space is reinvented with SLEEP NO MORE, presenting Shakespeare’s classic Scottish tragedy through the lens of suspenseful film noir. Audiences move freely through a transporting world at their own pace, choosing their own path through the story, immersed in the most unique theatrical experience in the history of New York."

[via: http://log.scifihifi.com/post/7773478290/hecate-had-just-sat-down-and-was-about-to-start ]]]></description>
<dc:subject>experience nyc design art performance experiencedesign theater classideas immersive emursive sleepnomore punchdrunk</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:d4f8571a2cc4/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:classideas"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:immersive"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:emursive"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:sleepnomore"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:punchdrunk"/>
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</item>
<item rdf:about="http://www.venuszine.com/articles/you/7325/Girl_of_the_Month_Kartina_Richardson">
    <title>Venus Zine: Venus Girl of the Month: Kartina Richardson</title>
    <dc:date>2011-07-11T05:00:41+00:00</dc:date>
    <link>http://www.venuszine.com/articles/you/7325/Girl_of_the_Month_Kartina_Richardson</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[Wayback link: https://web.archive.org/web/20100729201452/http://www.venuszine.com:80/articles/you/7325/Girl_of_the_Month_Kartina_Richardson ]

"I left film school for a number of reasons…frustrated by what seemed to be a fear among my peers—to be serious, thoughtful, or experimental…film department, in my experience, didn't approach making movies in a way that I believed in…

I started writing plays in school because I found that the theater department was more open to the artistic or unusual. It is also a solitary activity, whereas making a film is collaborative…

"The best advice I can give to any young lass who wants to do anything in film is to watch movies nonstop like it's your job. I mean, like, five movies a day if you have the time. In fact, make the time, dammit! Pick a director and watch all their films in chronological order. Keep a notebook and jot down your thoughts. You’ll absorb the rhythm of great filmmaking and though you may not think it’ll make a difference, it absolutely will."]]></description>
<dc:subject>kartinarichardson film theater plays classideas learning autodidacts toshare autodidactism</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:dab7cd2db164/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:film"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:theater"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:plays"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:classideas"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:learning"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:autodidacts"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:toshare"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:autodidactism"/>
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</item>
<item rdf:about="http://littlebrotherlive.wordpress.com/">
    <title>LITTLE BROTHER LIVE</title>
    <dc:date>2011-07-04T09:17:25+00:00</dc:date>
    <link>http://littlebrotherlive.wordpress.com/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["I am adapting and directing Cory Doctorow’s novel Little Brother for Custom Made Theatre Company, opening January 2012 in San Francisco. I’ll be blogging about the process here. Blog posts will include insights into the process of adapting the novel for the stage, changes that our production will make (spoilers!), and the process of staging the play. Single tickets aren’t on sale yet, but you can purchase a subscription to Custom Made’s full 2011-12 Season on their website. Want to get involved? Check back soon for information about auditions, design positions, and how you can support the production."]]></description>
<dc:subject>littlebrother sanfrancisco theater custommade 2012 books adaptation corydoctorow blogs</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:558f3ac35259/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:littlebrother"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:sanfrancisco"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:theater"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:custommade"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:2012"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:corydoctorow"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:blogs"/>
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</item>
<item rdf:about="http://en.wikipedia.org/wiki/Anagnorisis">
    <title>Anagnorisis - Wikipedia</title>
    <dc:date>2011-06-27T07:38:47+00:00</dc:date>
    <link>http://en.wikipedia.org/wiki/Anagnorisis</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Anagnorisis ( /ˌænəɡˈnɒrɨsɨs/; Ancient Greek: ἀναγνώρισις) is a moment in a play or other work when a character makes a critical discovery. Anagnorisis originally meant recognition in its Greek context, not only of a person but also of what that person stood for. It was the hero's sudden awareness of a real situation, the realisation of things as they stood, and finally, the hero's insight into a relationship with an often antagonistic character in Aristotelian tragedy." ]]></description>
<dc:subject>culture writing language literature realization anagnorisis aristotle plays drama theater discovery insight definitions greek via:rodcorp</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:dbb7a8297015/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:writing"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:language"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:literature"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:realization"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:greek"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:via:rodcorp"/>
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</item>
<item rdf:about="http://electrictemple.net/">
    <title>Mo`olelo Performing Arts Company</title>
    <dc:date>2011-05-25T06:09:26+00:00</dc:date>
    <link>http://electrictemple.net/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["CreateMo`olelo exists to uncover and research stories within different communities and bring them to life on stage, using all the artistic and technical elements of the performing arts.

ProduceMo`olelo exists to produce original stories by contemporary playwrights and lesser-known stories by master playwrights.

EducateMo`olelo exists to educate youth in technical theater and design, exposing them to potential careers, and grooming this new generation of theater artists so they can tell stories on stage with integrity."]]></description>
<dc:subject>sandiego theater glvo performingarts</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:656930e07bc5/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:sandiego"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:glvo"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:performingarts"/>
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</item>
<item rdf:about="http://www.sandiegodancetheater.org/">
    <title>San Diego Dance Theater</title>
    <dc:date>2011-05-15T09:14:02+00:00</dc:date>
    <link>http://www.sandiegodancetheater.org/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Founded in 1972 as a 501(c)3 professional company, the San Diego Dance Theater (SDDT) has for 39 years enriched the cultural life of San Diego through countless dance concerts and training for young dancers. Jean Isaacs was appointed Artistic Director in 1997 and under her direction, SDDT has earned its reputation as a company of fully-professional dancers committed to unconventional and deeply courageous programming which expands access to the stage for dancers of many nationalities, races, ages, and physical abilities. We are best known for our cross-border projects, our site-specific Trolley Dances, our summer dance workshops, and for the sheer beauty of our dancers."]]></description>
<dc:subject>music sandiego modern theater dance glvo tcsnmy</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:564ddf7d308d/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:music"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:sandiego"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:modern"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:dance"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:tcsnmy"/>
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</item>
<item rdf:about="http://quietbabylon.com/2011/upper-toronto/">
    <title>Upper Toronto | Quiet Babylon</title>
    <dc:date>2011-02-26T22:00:32+00:00</dc:date>
    <link>http://quietbabylon.com/2011/upper-toronto/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Upper Toronto is a science fiction design proposal to build a new city in the sky. The CN restaurant might be ground level, or imagine a city sitting on top of the Bay Street towers. When Upper Toronto is finished, all residents of will be relocated upwards and Lower Toronto will transformed into some combination of intentional ruin, national park, and farmland.

This is, of course, a terrible idea. But it is a terrible idea that lets us imagine and perform about the kind of city we’d want if we could start fresh."]]></description>
<dc:subject>toronto timmaly cities designfiction sciencefiction architecture theater engineering urban urbanism urbanplanning planning policy publicpolicy development design</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:f3c62247afaf/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:toronto"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:timmaly"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:cities"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:designfiction"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:sciencefiction"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:architecture"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:engineering"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:urban"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:urbanism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:urbanplanning"/>
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</item>
<item rdf:about="http://www.designboom.com/architecture/kobberling-and-kaltwasser-jellyfish-theatre/">
    <title>kobberling and kaltwasser: jellyfish theatre</title>
    <dc:date>2010-09-13T04:00:35+00:00</dc:date>
    <link>http://www.designboom.com/architecture/kobberling-and-kaltwasser-jellyfish-theatre/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["berlin-based architects köbberling and kaltwasser have worked alongside volunteers to create 'the jellyfish theatre'. located in southwark, it is london’s first fully-functioning theatre made entirely from recycled and reclaimed materials. the project focuses on energy-efficiency, co-operation and human-scale construction. opening to the public at the end of august, this temporary structure is made of materials from all sources: junked theatre sets, reclaimed timber from building sites, market pallets, old kitchen units that the public brought along."]]></description>
<dc:subject>architecture art theater pallets design recycling temporary energy-efficiency reclamation</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:bea60a3687e2/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:architecture"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:art"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:theater"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:pallets"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:design"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:recycling"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:temporary"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:energy-efficiency"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:reclamation"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://www.nytimes.com/2010/07/28/theater/28bumbum.html">
    <title>Theater - ‘You Me Bum Bum Train’ in London Is a Wild Ride for One - NYTimes.com</title>
    <dc:date>2010-08-01T19:12:47+00:00</dc:date>
    <link>http://www.nytimes.com/2010/07/28/theater/28bumbum.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["How elastic can a single ego be? Mine was stretched in all directions during the ~40 minutes I spent being pushed through halls &, it seemed, of an office building in East London this month. I was exalted & excoriated, hailed as a genius, reviled as a charlatan and mistaken for both a rock star & a bag of garbage.]]></description>
<dc:subject>theater experimental interaction participatory 2010 audience</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:c9d75529d2d3/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:theater"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:experimental"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:interaction"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:participatory"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:2010"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:audience"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://snarkmarket.com/2010/5854">
    <title>Why Old Spice matters « Snarkmarket</title>
    <dc:date>2010-07-17T23:28:29+00:00</dc:date>
    <link>http://snarkmarket.com/2010/5854</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["blogs are actu­ally more related to live the­ater than they are to, say, news­pa­pers. The things that make a blog good are almost exactly the things that make a live per­for­mance good...most impor­tant...is inter­play w/ the audience...

...this cam­paign [also] made me think of 48 Hour Mag­a­zine...same sense of you-gotta-see-this...can-they-really-do-it. It was an event..."But [an event’s] urgency—its live­ness, human vital­ity, &, frankly, its risk & unpredictability—is what makes it more than just another link in the stream"...

one final rea­son to take this for­mat seriously:

...It’s tons of fun. Any­body who’s writ­ten a blog, got­ten deep into Twit­ter, run a Kick­starter project, pulled strings on an ARG will tell you...There’s a spe­cial sat­is­fac­tion to see­ing its impact on the world immediately—and adjust­ing based on what you see. It’s alive, it’s elec­tric, it’s addic­tive. It’s con­nected and communal."]]></description>
<dc:subject>robinsloan socialmedia storytelling advertising oldspice 2010 theater analysis marketing media digital creative casestudy video events ted realtime twitter blogs blogging feedback interactive interactivity</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:74c06807dc8c/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:storytelling"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:advertising"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:2010"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:analysis"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:marketing"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:events"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:ted"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:realtime"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:twitter"/>
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</item>
<item rdf:about="http://www.smh.com.au/entertainment/theatre/geeks-tweets-and-bums-on-seats-20100709-103g8.html">
    <title>How social media is shaping the arts in Australia</title>
    <dc:date>2010-07-14T17:04:18+00:00</dc:date>
    <link>http://www.smh.com.au/entertainment/theatre/geeks-tweets-and-bums-on-seats-20100709-103g8.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["From backstage status updates to an opera libretto, the arts are learning to be creative with social media, writes Elissa Blake."
]]></description>
<dc:subject>arts culture twitter socialmedia socialnetworking performance drama theater ballet future tcsnmy classideas</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:af9c8aaf83d8/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:arts"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:culture"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:twitter"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:socialmedia"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:socialnetworking"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:performance"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:drama"/>
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</item>
<item rdf:about="http://www.eyeweekly.com/article/94824">
    <title>Maude-Lynne Sells Out! - EYE WEEKLY</title>
    <dc:date>2010-07-05T22:48:11+00:00</dc:date>
    <link>http://www.eyeweekly.com/article/94824</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Morgan Norwich is both magnetic and gut-busting as Maude-Lynne, a reclusive retro-fetishist who sells bootleg movies & Victorian literature from her mom’s basement to make ends meet. An enigma, she speaks with a 19th century parlance but has her Tweets relayed to her on a futuristic headset, and pines for a Wuthering Heights-style romance yet dates a keyboard-playing comic book dork (Peter Cavell). A quirky, wit-laden script provides a solid backbone for this show, while Norwich brings it to uproarious life with her geeky grandiosity, sharp ad-libbing, & eventual character unraveling, which rivals Robert Downey Jr.’s in Tropic Thunder."

[via: http://twitter.com/doingitwrong/status/17815931145 ]]]></description>
<dc:subject>theater atemporality atemporaldernity victorian tcsnmy classideas</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:02c87d239fcf/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:theater"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:atemporality"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:atemporaldernity"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:victorian"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:tcsnmy"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:classideas"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://www.thebuildersassociation.org/">
    <title>The Builders Association</title>
    <dc:date>2010-06-30T08:10:07+00:00</dc:date>
    <link>http://www.thebuildersassociation.org/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Founded in 1994 and directed by Marianne Weems, The Builders Association is a New York-based performance and media company that creates original productions based on stories drawn from contemporary life. The company uses the richness of new and old tools to extend the boundaries of theater. Based on innovative collaborations, Builders' productions blend stage performance, text, video, sound, and architecture to tell stories about human experience in the 21st century. From BAM to Bogata, Singapore to Melbourne, Minneapolis and Los Angeles to Budapest, The Builders Association's OBIE award-winning shows have toured to major venues the world over."

[see also: http://www.continuouscity.org/ ]]]></description>
<dc:subject>artists art business borders culture newmedia multimedia technology interactive media theater nyc performance globalization installation sound film design</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:a2a9ee18be29/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:art"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:business"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:borders"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:culture"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:multimedia"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:technology"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:interactive"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:media"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:theater"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:nyc"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:performance"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:film"/>
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</item>
<item rdf:about="http://www.npr.org/templates/story/story.php?storyId=96589447">
    <title>In A 'Continuous City,' A Meditation On Connection : NPR</title>
    <dc:date>2010-06-30T08:06:51+00:00</dc:date>
    <link>http://www.npr.org/templates/story/story.php?storyId=96589447</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Continuous City, the latest play from the Builders Association — an experimental theater company that's made a name using technology in innovative ways — centers on a corporation that's trying to sell a new brand of video phones.]]></description>
<dc:subject>2008 theater online relationships lajollaplayhouse connection media npr mobil phones internet community socialmedia</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:2a7ba59cfa65/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:2008"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:theater"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:online"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:relationships"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:lajollaplayhouse"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:connection"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:media"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:npr"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:mobil"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:phones"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:internet"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:community"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:socialmedia"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://losangeles.broadwayworld.com/article/La_Jolla_Playhouse_Receives_Major_Grant_from_The_James_Irvine_Foundation_20010101">
    <title>La Jolla Playhouse Receives Major Grant from The James Irvine Foundation 2010/06/29</title>
    <dc:date>2010-06-30T08:04:48+00:00</dc:date>
    <link>http://losangeles.broadwayworld.com/article/La_Jolla_Playhouse_Receives_Major_Grant_from_The_James_Irvine_Foundation_20010101</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["La Jolla Playhouse is pleased to announce that it was recently named the recipient of a $900,000 grant from The James Irvine Foundation. The grant will fund the Playhouse's new Theatre Without Walls program over the next four years.

Underscoring the theatre's mission of providing "unfettered creative opportunities for the leading artists of today and tomorrow," coupled with the idea that the Playhouse is defined by the work it creates - not the space in which it is performed - the institution will use the grant to offer theatrical experiences that venture beyond the physical confines of its facilities. The Playhouse will also explore alternative methods of conveying content to audiences through new platforms, such as the use of social media, cell phones, video and other current technologies."]]></description>
<dc:subject>sandiego lajolla lajollaplayhouse theater grants tcsnmy socialmedia mobile phone video arts</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:6df595372d62/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:lajollaplayhouse"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:theater"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:grants"/>
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</item>
<item rdf:about="http://roski.usc.edu/news/joel-kyack-mfa-08-launches-sup.html">
    <title>Joel Kyack (MFA '08) launches Superclogger, large-scale public project presented by LA&gt;&lt;ART - Roski School of Fine Arts</title>
    <dc:date>2010-06-27T07:23:45+00:00</dc:date>
    <link>http://roski.usc.edu/news/joel-kyack-mfa-08-launches-sup.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Joel Kyack's (MFA '08) first large-scale public project, Superclogger, will present various puppet shows to L.A. drivers caught in afternoon traffic jams from a mobile theater housed in the back of a nondescript white pickup truck. Broadcasting soundtracks discretely to the viewer's car stereo, Superclogger, curated by Cesar Garcia (MPAS '09), aims to briefly halt the progression of chaos by temporarily drawing the audience out of the commute experience and placing them within an intimate space of engagement and performance that highlights their own individual presence within the broader structure of the traffic jam."

[via: http://www.clusterflock.org/2010/06/superclogger.html ]]]></description>
<dc:subject>art california cars traffic losangeles puppets theater cesargarcia commuting joelkyack</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:5937dc4d8131/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:art"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:california"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:cars"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:traffic"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:losangeles"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:cesargarcia"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:commuting"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:joelkyack"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://www.suchtweetsorrow.com/">
    <title>Such Tweet Sorrow</title>
    <dc:date>2010-05-21T16:36:49+00:00</dc:date>
    <link>http://www.suchtweetsorrow.com/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Two families in the same town have loathed one another for years. But a boy from one and a girl from the other fall in love - deep, sweet and destructive. You know the tale of Romeo and Juliet but now you can see it happening live and in real time - in modern Britain and on Twitter. Six characters live the story over the five weeks of Such Tweet Sorrow and you can experience it with them."

[via: http://www.paula.cl/blog/tendencias/2010/05/20/twitteleseries/ via Lizette]
]]></description>
<dc:subject>shakespeare romeoandjuliet play twitter storytelling literature narrative theater performance english</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:6d059f5376c0/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:shakespeare"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:romeoandjuliet"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:twitter"/>
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</rdf:Bag></taxo:topics>
</item>
<item rdf:about="http://www.paula.cl/blog/tendencias/2010/05/20/twitteleseries/">
    <title>Twitteleseries | Blog - Paula</title>
    <dc:date>2010-05-21T16:21:57+00:00</dc:date>
    <link>http://www.paula.cl/blog/tendencias/2010/05/20/twitteleseries/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["En Chile acaba de terminar la twitteleserie del momento y en Londres cinco actores twittean una moderna versión de Romeo y Julieta en mensajes de 140 caracteres. Dramaturgos, guionistas y escritores se toman twitter."
]]></description>
<dc:subject>twitter chile shakespeare romeoandjuliet theater</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:3d6a45896b0a/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:twitter"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:chile"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:shakespeare"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:romeoandjuliet"/>
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</item>
<item rdf:about="http://radar.oreilly.com/2010/02/a-dream-about-augmented-reality.html">
    <title>A Dream About Augmented Reality Fiction - O'Reilly Radar</title>
    <dc:date>2010-02-14T22:37:22+00:00</dc:date>
    <link>http://radar.oreilly.com/2010/02/a-dream-about-augmented-reality.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["augmented reality could be an important component of a new kind of storytelling, making today's 3D entertainments as dated as silent films. Elan Lee's Fourth Wall Studios is already chipping away at barrier between storytelling & daily life. The 1st augmented reality entertainments may be text based rather than video; eventually they will likely be as immersive as my dream.

Many years ago, I saw a play in LA called Tamara, story set in mansion where WWI hero & author Gabrielle D'Annunzio was held under house arrest by Mussolini...fascinating experiment in theater...took place in many different rooms of the house. As audience member, whenever scene ended, you had an opportunity to follow the character of your choice to another room. No audience member could see entire play. My wife & I went w/ her parents (back for 3rd or 4th time, seeing parts of play they'd missed on previous visits), & afterwards, we all compared notes for hours about what we'd seen & what we'd missed."]]></description>
<dc:subject>augmentedreality fiction tcsnmy writing timoreilly future gabrielled'annunzio tamara theater cyoa perspective distributed augmentedrealityfiction literature interactive if interactivefiction ar</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:0674bf243707/</dc:identifier>
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</item>
<item rdf:about="http://www.ted.com/talks/joshua_prince_ramus_building_a_theater_that_remakes_itself.html">
    <title>Joshua Prince-Ramus: Building a theater that remakes itself | Video on TED.com</title>
    <dc:date>2010-02-01T06:34:34+00:00</dc:date>
    <link>http://www.ted.com/talks/joshua_prince_ramus_building_a_theater_that_remakes_itself.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Joshua Prince-Ramus believes that if architects re-engineer their design process, the results can be spectacular. Speaking at TEDxSMU, Dallas, he walks us through his fantastic re-creation of the local Wyly Theater as a giant "theatrical machine" that reconfigures itself at the touch of a button."
]]></description>
<dc:subject>architecture theater dallas princeramus</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:550510c7cac8/</dc:identifier>
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<item rdf:about="http://www.designboom.com/weblog/cat/10/view/7898/handa-gote.html">
    <title>handa gote</title>
    <dc:date>2009-10-19T18:18:00+00:00</dc:date>
    <link>http://www.designboom.com/weblog/cat/10/view/7898/handa-gote.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["the research and development of czech performance group, handa gote, is based on]]></description>
<dc:subject>art diy handagote performance dance cargocult glvo edg srg sound assemblage theater post-dramatictheater craft</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:08b73a8eea54/</dc:identifier>
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</item>
<item rdf:about="http://www.knowledgeboard.com/item/259/pg_dtl_art_news/pg_hdr_art/pg_ftr_art">
    <title>Space SIG 7: Designing Knowledge Spaces that work for Learning: the experiment of the art exhibition and the garden shed - KnowledgeBoard</title>
    <dc:date>2009-07-13T09:37:25+00:00</dc:date>
    <link>http://www.knowledgeboard.com/item/259/pg_dtl_art_news/pg_hdr_art/pg_ftr_art</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["early decision was made to create some unspecified type of artefact that could be first used at the evening event & then re-used at the Design & Education exhibit. Until very late, this was to be an oral artefact – a story which would capture the passing listener but have no visible form – the story as vehicle for the elicitation, structuring & dissemination of key insights...by chance, at a late stage in project planning...theatre designer, writer & poet Angela Dove suggested that the artefact should be a garden shed...The garden shed was an exceptional success...ordinary 8x6 Homebase shed, adapted only to make it easier to assemble & reassemble, served as an incredibly powerful metaphor for the organic nature of knowledge management. Apart from the obvious role of the shed in artistic creativity - George Bernard Shaw, Hemingway & Mahler all wrote in sheds or huts - the organic growing metaphor really connected with attendees."
]]></description>
<dc:subject>lcproject knowledgespaces art design schooldesign learning experience knowledgemanagement museums theater environmentaldesign</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:857f9331fb26/</dc:identifier>
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