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    <title>The radical reasons why you dream of making things by hand | Aeon Essays</title>
    <dc:date>2026-07-06T10:56:02+00:00</dc:date>
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    <dc:creator>robertogreco</dc:creator><description><![CDATA["Is all the beekeeping, baking and leatherwork just escapist fantasy or the start of a radically human approach to work?"
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    <title>A Glorian Is a Moment of Grace – Terry Tempest Williams</title>
    <dc:date>2026-07-04T12:42:48+00:00</dc:date>
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    <dc:creator>robertogreco</dc:creator><description><![CDATA["In this intimate conversation, Terry Tempest Williams shares the dream that set in motion her ongoing work of attending to “the Glorians”—moments of wonder, loss, and joy that fuse our attention with the mystery of Earth. Terry explores how visitations from the Glorians can help us engage with a spiritual life that recognizes wildness as the taproot of our consciousness."

[audio also here:
https://www.youtube.com/watch?v=XkINnRhNEcE ]]]></description>
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    <dc:date>2026-07-04T08:29:38+00:00</dc:date>
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    <dc:creator>robertogreco</dc:creator><description><![CDATA["As writers, our job is to remind us of our truest selves."]]></description>
<dc:subject>kenhada writing howwewrite literature poetry 2026 aldoleopold thoreau wendellberry garysnyder rachelcarson barrylopez anniedillard terrytempestwilliams wildness nature ecosystems robinsonjeffers planet environment poems williamstaffod consumerism maryoliver mscottmomaday experience livedexperience humanness wilderness</dc:subject>
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    <dc:date>2026-06-11T22:19:47+00:00</dc:date>
    <link>https://psyche.co/ideas/how-needing-others-became-a-source-of-shame-for-americans</link>
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    <title>Hurry slowly</title>
    <dc:date>2026-06-09T07:11:20+00:00</dc:date>
    <link>https://austinkleon.com/2017/11/08/hurry-slowly/</link>
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<item rdf:about="https://thefarocafe.com/">
    <title>Faro Cafe</title>
    <dc:date>2026-05-05T15:48:33+00:00</dc:date>
    <link>https://thefarocafe.com/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Faro is a coffee shop in Cambridge built on leisure, community, and a deep love for Thoreau. In a world obsessed with the "cold hand of productivity," we’ve chosen to go the other way. We are an analog space, designed for those who believe that real connection happens when the screens go away.


Whether it’s through live music, skill-sharing, or just a long conversation over a ceramic mug, Faro is a place to reconnect—with each other, with the planet, and with the places we inhabit.


Our Philosophy:

• Beyond Consumerism: We imagine regenerative futures through repair workshops, pop-up art, and community talks.

• Deliberate Presence: A space built for conversation and connection, not for "co-working."

• Fiercely Local: Independently owned and dedicated to protecting the disappearing character of our neighborhood.

Faro is your friendly, light-hearted, and slightly irreverent home in Harvard Square. Leave the laptop at home; bring a friend (or a book) instead."

[via:
https://open.spotify.com/episode/11zlpahmklfgr8YOUrtLnY ]]]></description>
<dc:subject>cambridge cafes coffeeshops slow leisure artleisure leisurearts productivity resistance connection attention presence consumerism repair community art deliberateness conversation local neighborhoods laptop-freecafes thoreau</dc:subject>
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    <title>The Landscapes Inside Us | Robert Macfarlane | The New York Review of Books</title>
    <dc:date>2026-04-11T05:39:08+00:00</dc:date>
    <link>https://www.nybooks.com/articles/2021/07/01/wayfinding-landscapes-inside-us/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Our navigational ability as a species is closely connected to our ability to tell stories about ourselves that unfold both backward and forward in time."

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

"Reviewed:

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

In Nature Shock, Coleman writes:

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

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

Underlying all three of these books is a deep belief in the importance of collaboration and cooperation between humans and their environments, as well as between humans and other humans. Having read them, I’ve come to think that we might best imagine wayfinding not as a skill or art but as an ethic. The abilities that are cultivated in wayfinding—imagining things from different viewpoints, moving the mind backward and forward in time, seeing situations from other perspectives, weighing alternatives subtly against one another before making the best decisions, seeking information from others and giving it freely in return—might be the same abilities that contribute to a resilient, equitable community or polity. If this is wayfinding, then we need it now more than ever."]]></description>
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    <title>M.R. O'Connor - Wayfinding: The Science and Mystery of How Humans Navigate the World - YouTube</title>
    <dc:date>2026-04-09T23:39:07+00:00</dc:date>
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    <dc:creator>robertogreco</dc:creator><description><![CDATA["M.R. O’Connor is a graduate of Columbia University’s Graduate School of Journalism who writes about the politics and ethics of science, technology and conservation. She is the author of two acclaimed books about the cutting edges of contemporary scientific research, with a third on the way. Her first book, Resurrection Science: Conservation, De-Extinction and the Precarious Future of Wild Things (St. Martin’s Press, 2015) and was one of Library Journal and Amazon’s Best Books of The Year. Her second book, Wayfinding: The Science and Mystery of How Humans Navigate the World (St. Martin’s Press, 2019) is an exploration of navigation traditions, neuroscience and the diversity of human relationships to space, time and memory. Its writing was supported by the Alfred P. Sloan’s Program for the Public Understanding of Science, Technology & Economics. About the book, Kirkus Reviews writes that “O'Connor talked to just the right people in just the right places, and her narrative is a marvel of storytelling”; Nature explains that “[O’Connor walks the labyrinth of the brain’s time-and-space-mapping hippocampus. And, on the road, she meets astrophysicists, anthropologists and traditional wayfinders — such as Bill Yidumduma Harney of Australia’s Wardaman culture, who steers by thousands of memorized stars”; and Science notes that “O’Connor’s coverage of the cognitive map theory… is deep and broad.” She is currently writing a book called Ignition (Bold Type Books) on fire ecology and prescribed burning, for which she became certified as a wildland firefighter.

Her work has appeared online in The Atavist, Slate, Foreign Policy, The New Yorker, Nautilus, UnDark and Harper’s. A pair of recent essays for The New Yorker include “A Day in the Life of a Tree” and “Dirt Road America,” a feature piece about Sam Correro, who has spent decades stitching together maps of continuous pathways of dirt roads across the United States. In 2008/2009, O’Connor served as a reporter for The Sunday Times, an English-language newspaper in Colombo, Sri Lanka. Her investigative reporting on topics like disappearances in Sri Lanka’s civil war, global agriculture trade in Haiti, and American development enterprises in Afghanistan have been funded by institutions such as the Pulitzer Center on Crisis Reporting, The Phillips Foundation and The Nation Institute’s Investigative Fund. For a long time, she made her bread and butter as a stringer covering crime, courts and breaking news in New York City for publications such as The Wall Street Journal and New York Post, and covered the criminal justice beat for the online investigative site The New York World. She is. She lives in Brooklyn, NY with her partner, the screenwriter Bryan Parker, and their two sons.

Sponsored by the College of Science, Technology, Engineering and Mathematics, the Department of Psychology, the School of Communication and the Honors Program."]]></description>
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<item rdf:about="https://austinkleon.com/2019/08/30/thoreaus-laundry/">
    <title>Thoreau’s laundry - Austin Kleon</title>
    <dc:date>2026-04-09T21:06:56+00:00</dc:date>
    <link>https://austinkleon.com/2019/08/30/thoreaus-laundry/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["<blockquote>“No other male American writer has been so discredited for enjoying a meal with loved ones or for not doing his own laundry.“
    —Laura Dassow Walls, Henry David Thoreau: A Life </blockquote>

“Thoreau” was trending on Twitter yesterday, not because anyone was actually reading him or grappling with his ideas, but because his “mom did his laundry” and “brought him sandwiches” at Walden.

There have been many takedowns of Thoreau and many defenses of him. (I recommend this essay and Laura Walls’ wonderful bio.) But “over the question of the laundry,” Rebecca Solnit wrote an attempt to “exonerate” him in 2013. (The essay, much like this blog post, was provoked by getting mad at something someone said on social media. It was published in Orion under the title “Mysteries of Thoreau, Unsolved.” Poke around a little online and you’ll find it. It’s funny and good.) The essay begins:

<blockquote>There is one writer in all literature whose laundry arrangements have been excoriated again and again, and it is not Virginia Woolf, who almost certainly never did her own washing, or James Baldwin, or the rest of the global pantheon. The laundry of the poets remains a closed topic, from the tubercular John Keats (blood-spotted handkerchiefs) to Pablo Neruda (lots of rumpled sheets). Only Henry David Thoreau has been tried in the popular imagination and found wanting for his cleaning arrangements, though the true nature of those arrangements are not so clear.</blockquote>

She goes on to list “a long parade of people who pretended to care who did Thoreau’s laundry as a way of not having to care about Thoreau,” even though it is unclear, even amongst Thoreau scholars, who actually did do Thoreau’s laundry.

<blockquote>Do we care who did the chores in any other creative household on earth? Did Dante ever take out the slops? Do we love housework that much? Or do we hate it that much? This fixation on the laundry is related to the larger question of whether artists should be good people as well as good artists, and probably the short answer is that everyone should be a good person, but a lot of artists were only good artists (and quite a lot more were only bad artists). Whether or not they were good people, the good artists gave us something.</blockquote>

“None of us is pure,” she writes, “and purity is a dreary pursuit best left to Puritans.”

Solnit points out that unlike other lit’ry men looking for a woman to look after them, Thoreau never married and “did little to make work for women.” In fact, though we obsess over his two years at Walden, Thoreau was an integral part of his household throughout his life, both supporting his family and gaining support from them. (Which is, you know, the whole damned point of a family.)

It’s also the case that the abolitionist women in Thoreau’s life did a whole lot of influencing on him. “The Thoreau women took in the filthy laundry of the whole nation, stained with slavery, and pressured Thoreau and Emerson to hang it out in public, as they obediently did.”

“This,” Solnit writes, “is the washing that really mattered.”"]]></description>
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<item rdf:about="https://commongoodmag.com/harlan-hubbards-ohio-river/">
    <title>Harlan Hubbard’s Ohio River | Common Good Magazine</title>
    <dc:date>2026-04-05T06:50:10+00:00</dc:date>
    <link>https://commongoodmag.com/harlan-hubbards-ohio-river/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["How a summertime stop along the river shaped the life of “Kentucky’s Thoreau.”"

[via:
https://www.frontporchrepublic.com/2026/04/abundance-chromebooks-and-satellites/

"Michael Winters describes the origin of the painting on the cover of Jayber Crow. Hubbard created it in response to a request from the pastor of Mt. Byrd Christian Church for a baptismal painting: “The painting he created, measuring roughly 4 feet high by 8 feet wide, depicts a contemporary view of the Ohio River. Sunlight comes out of the clouds in the upper right corner, covering the water and summer hills in light. A few buildings, including a church steeple, can be seen in the lower right portion of the painting, but they are not centered or highlighted by the glorious sunlight. If the church was expecting a view of an ancient Jordan River, they instead got something that looked very much like the river just down the hill.”"]]]></description>
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<item rdf:about="https://thebaffler.com/latest/think-nothing-of-it-wright">
    <title>Think Nothing of It | Webb Wright</title>
    <dc:date>2026-04-01T03:59:35+00:00</dc:date>
    <link>https://thebaffler.com/latest/think-nothing-of-it-wright</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Whenever a new technology drops, humans can tend to panic. In Plato’s Phaedrus (written in the fourth century BCE), Socrates tells the story of an Egyptian god who invents the art of writing and tries to bestow it as a gift to humanity. They’re less than thrilled. “This discovery of yours will create forgetfulness in the learners’ souls, because they will not use their memories,” Thamus, a local king, complains. “They will appear to be omniscient and will generally know nothing . . . having the show of wisdom without the reality.”

Twenty-four centuries later, amid the disorientation of the AI boom, this argument is relevant once again. The arrival of ChatGPT in late 2022 sparked a debate around whether the technology will supercharge human creativity and critical thinking or effectively replace them as it automates an increasingly broad range of cognitive tasks. Tech companies breathlessly promote AI as an end to menial drudgework, liberating our attention for more engaging and meaningful pursuits. Some of its more devoted proselytizers go further, claiming it’ll be a near-panacea to humanity’s most pressing problems: cancer, climate change, loneliness, poverty, etc.

Any “societal disruptions” encountered along the way are scrupulously downplayed as the justifiable costs of a worthwhile future. “There will be very hard parts like whole classes of jobs going away, but on the other hand the world will be getting so much richer so quickly that we’ll be able to seriously entertain new policy ideas we never could before,” OpenAI’s Sam Altman avowed last year in a blog post. Altman and other AI boomers often invoke what they regard as a key lesson of history: that every disruptive technology—the printing press, photography, calculators, the internet—unsettles some portion of the population when it first appears (hence the “disruptive” part), but gradually everyone adjusts to a new equilibrium. That which initially seemed scary soon becomes mundane, and eventually it’s hard for us to imagine what life must’ve been like without it. So, too, with AI, the true believers argue: “Humanity is close to building digital superintelligence, and at least so far it’s much less weird than it seems like it should be,” Altman continued.

There’s an implicit assumption behind this techno-optimistic historical narrative, and it’s now being drilled harder than ever: This is the unavoidable next stage in technological evolution, so you may as well just accept it.

It’s a line of thinking born less from an accurate reading of history than from financial pressure: AI developers like OpenAI desperately need to keep attracting capital and users at a time when many of them have yet to become profitable, and when the future of their industry—all the bluster notwithstanding—is very much an open question. It also elides another important, and far less comforting, historical lesson: the mass adoption of any new technology, by definition, entails the loss of some aspect of human agency. Thamus had a point: Even if few of us today would argue that we should jettison writing altogether, there’s a very strong case to be made that we moderns don’t have the capacity for memory that our ancient ancestors did, with their reliance upon vast oral traditions and mythologies passed down from one generation to the next. For better or worse, technology becomes a prosthesis. “Men have become the tools of their tools,” Thoreau wrote at the peak of the Industrial Revolution.

To be clear, I’m neither a Luddite nor an AI doomer. We’re a technological species; inventiveness is intrinsic to human nature. And given enough time, I believe we inevitably would’ve found a way to build intelligence, or at least something that looks a lot like it, into machines. I also consider AI legitimately useful in some respects. But like many others, the steady creep of AI into the fabric of everyday life often leaves me feeling deeply unsettled. Not so much for the obvious reasons, like its tendency to hallucinate or to be comically obsequious—those are bugs that are being worked out with every new model. The really disturbing thing is how well it often works, the mind-numbing convenience it affords.

AI can already automate many of the day-to-day workflows of professionals working in fields like software engineering, finance, and customer service, and some of the technology’s more vocal proponents—like Altman and Anthropic CEO Dario Amodei—predict that in the not so distant future most businesses will require much fewer human employees as they outsource critical tasks to semiautonomous “agents.” In February, Block CEO Jack Dorsey announced he was laying off over four thousand employees—close to half the company’s total headcount—due to the growing capabilities of AI: “We’re already seeing that the intelligence tools we’re creating and using, paired with smaller and flatter teams, are enabling a new way of working which fundamentally changes what it means to build and run a company,” he wrote in an post on X, “and that’s accelerating rapidly.” It will be years before the consequences of this rising tide of automation on the economy become clear, but its effects on human psychology are already beginning to show. Plato’s words ring like a warning: They will appear to be omniscient and generally know nothing.

Friction, a catchall term for superfluity in the user experience, has become a pejorative in the modern tech industry: something to be rooted out and eliminated, like weeds from a garden. Chatbots and agents, we’re endlessly told, can remove hassle and frustration not only in our jobs but also in our personal lives. The ultimate vision of artificial general intelligence, or AGI—the goal to which every major AI lab is ostensibly moving toward—is to automate any cognitive task the human brain can do (or according to another definition, all economically valuable labor). By that logic, any kind of challenge a human being might grapple with, be it psychological or physical, is recast as a market opportunity. Friction-removal is big business, and business is a-booming.

Big tech’s promise of AI as the end of friction, of course, hinges on the presumption that friction is inherently a bad thing. This is yet another argument we’d be wise not to accept at face value. Some studies, in fact, have already strongly suggested the opposite—that friction is healthy and that we get rid of it at our peril.

In January of last year, Michael Gerlich, a professor at the Swiss Business School, published the results of a study which found “a significant negative correlation between frequent AI tool usage and critical thinking abilities,” especially among younger users. Gerlich interviewed over 650 people across a range of education levels and ages and concluded that while AI can provide some educational benefits (by generating personalized lesson plans, for example), it also undermines more reflective thought through “cognitive offloading,” a phrase coined almost a decade earlier by psychologist Evan Risko and cognitive neuroscientist Sam Gilbert—basically, outsourcing the most difficult and therefore productive parts of thinking onto a machine. “The pervasive availability of AI tools, which offer quick solutions and readymade information, can discourage users from engaging in the cognitive processes essential for critical thinking,” Gerlich writes. A few months later, that conclusion was echoed in a report published by a team of researchers from none other than Microsoft, which showed that the more confidence that “knowledge workers” placed in AI, the less likely they were to exhibit strong critical thinking skills. Dependence upon the one seemed to be coming at the expense of the other.

Another recent study, which has yet to be peer-reviewed, took things one step further by actually peering into the brains of people who are actively using AI. The researchers used electroencephalography (EEG) to map the brain activity of three separate groups of subjects, all of whom were asked to write a short essay. The first had access to ChatGPT, which they could interact with as they wrote; the second was able to use Google and other online search engines (with AI-generated responses deactivated); and a third “brain only” group had access to neither of those digital tools. The results showed higher levels of activity between brain regions in the third group compared to the first two, indicating that they were getting more cognitive exercise. The LLM-assisted group also reported a lower sense of ownership over what they’d written, and many of them weren’t able to accurately quote a single passage from their essay. The use of AI to work through some of the more difficult parts of writing, the researchers concluded, induced a “metacognitive laziness”: a diminished motivation to think about how we’re thinking.

“AI tools that generate essays without prompting students to reflect or revise can make it easier for students to avoid the intellectual effort required to internalize key concepts, which is crucial for long-term learning and knowledge transfer,” the researchers wrote. In other words, using AI to bypass the time and effort required to grapple with an intellectual problem might feel productive in the short-term, but those cognitive shortcuts add up. Eventually, you could be standing in front of a gap that you can’t cross without the help of a chatbot.

This is all a bit discouraging, but it isn’t surprising. Of course a tool that’s built to take on cognitive work on our behalf is going to cause some degree of mental “laziness,” at least among its more active users. Again, this has been a theme of technology through the ages: tool use takes its toll on human agency.

Speaking of human agency, it’s important to bear in mind that AI per se doesn’t erode critical thinking skills, memory, or any other ability that humans pride themselves on. It’s how we use it that matters. And despite the inevitability narrative being pushed by Silicon Valley, we still have a choice in this regard.

Another team of researchers from the Georgia Institute of Technology and the University of California San Diego has shown that when used to strategically cultivate friction rather than bypass it, AI can nurture reflective thinking and cognitive flexibility. In a paper posted in September, they described their experiment with an AI tool called “Socratic Mind,” designed not to provide users with quick answers but to draw out their own reasoning capabilities through the style of questioning pioneered by Socrates.

A cohort of students interacted with Socratic Mind while completing an online computer science course, and the system would respond with what were supposed to be constructive follow-up questions. Just as Socrates tried to lead his interlocutors to a definition of justice or wisdom through dialectic (elenchus in Greek), this AI system would respond to, say, a question about debugging a line of code with another question intended to spark deeper thought. (Think: “And why do we get this specific error message?”) The researchers found that this friction-friendly use of AI improved the students’ output quality, underscoring the technology’s “promising role in fostering deep engagement, personalized learning, and scaffolding when used interactively.” This hints at what’s already becoming a growing trend in the age of AI: intentionally fostering some forms of friction to preserve cognitive autonomy and as a kind of mental moat against the encroachments of automation.

In early 2024, behavioral design researchers Zeya Chen and Ruth Schmidt posted a paper laying out what they call a “positive friction model” for human-AI interaction. They argue that through the use of “behavioral speed bumps”—design features which cause momentary, reflective pauses for users—AI developers can build products that foster well-being rather than dependency. Chen and Schmidt draw upon real-world experiments aimed at intentionally slowing down a process which might otherwise be ripe for automated acceleration, such as Dutch kletskassas, or “chat checkouts,” in which supermarket customers take their time and interact with a human cashier rather than rushing through an automated checkout process. So-called “friction-maxxing” is a thing now too.

But phrases like positive friction and friction-maxxing come off as oxymoronic in a culture that places a premium on convenience at every turn. Chatbots, at least as they’re currently trained, optimize for engagement, not psychological health. Developers might eventually start prioritizing AI tools trained to leave room for a healthy amount of friction à la Socratic Mind, but that seems unlikely to happen anytime soon.

At the very least, the positive friction model can plant a seed, enabling us to envision an alternative vision of the future that is much more worthwhile than the one being pushed by the AI boomers. The need to invent new technologies may indeed be innate to human beings, and it’s true that we have an unrivaled ability to normalize the abnormal. But it’s a very big leap to take those two tenets of human nature as the justification for the claim that AI is a historical, even evolutionary inevitability.

This is one of the more disturbing qualities of the so-called AI boom: in a rhetorical sleight-of-hand that makes a mockery of human agency, it’s presented as if it were unavoidable. Silicon Valley likes to play the part of that god from Plato’s parable, the bringer of new technology from on high. But there is no god of technology, only human choices; no inevitabilities in the future of AI, only clever marketing schemes trying to convince us otherwise."]]></description>
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<item rdf:about="https://www.thesunmagazine.org/articles/603-sunbeams">
    <title>Issue 603 | Sunbeams | The Sun Magazine</title>
    <dc:date>2026-03-20T07:27:05+00:00</dc:date>
    <link>https://www.thesunmagazine.org/articles/603-sunbeams</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Slight was the thing I bought, / Small was the debt I thought, / Poor was the loan at best— / God! but the interest!" —Paul Laurence Dunbar, “The Debt”

"I have no doubt that some of you who read this book are unable to pay for all the dinners which you have actually eaten, or for the coats and shoes which are fast wearing or are already worn out, and have come to this page to spend borrowed or stolen time, robbing your creditors of an hour." —Henry David Thoreau

"Small debts are like small shot; they are rattling on every side, and can scarcely be escaped without a wound: great debts are like cannon; of loud noise, but little danger." —Samuel Johnson

"Let us run up debts. One is nobody without debts." —Muriel Spark, “The Fathers’ Daughters”

"To owe what you had not yet earned, to have to work to earn what you had already spent, was a personal diminishment, an insult to nature and common sense." —Wendell Berry, Jayber Crow

"One of the greatest disservices you can do a man is to lend him money that he can’t pay back." —Jesse Holman Jones

"All decent people live beyond their incomes nowadays, and those who aren’t respectable live beyond other people’s. A few gifted individuals manage to do both." —Saki, “The Match-Maker”

"A good name is still to be preferred to great riches. Especially is it to be preferred to the appearance of riches, acquired with nothing down and nothing to pay for two months." —Ezra Taft Benson

"We all run in debt fer things we wouldn’ think o’ payin’ perfectly good money fer." —Kin Hubbard

"Like the heavy judgment of God on the sinner, the bill came." —Robert Hughes

"The consumption-driven mindset masquerades as “quality of life” but eats us from within. It is as if we’ve been invited to a feast, but the table is laid with food that nourishes only emptiness, the black hole of the stomach that never fills." —Robin Wall Kimmerer

"Our expense is almost all for conformity. It is for cake that we run in debt; it is not the intellect, not the heart, not beauty, not worship, that costs so much." —Ralph Waldo Emerson

"If the correct things belonged to you, perhaps you might belong." —Colson Whitehead, Sag Harbor

"The human animal is a beast that dies and if he’s got money he buys and buys and buys and I think the reason he buys everything he can buy is that in the back of his mind he has the crazy hope that one of his purchases will be life everlasting!—Which it never can be." —Tennessee Williams, Cat on a Hot Tin Roof

"The pyramids were built for pharaohs on the happy theory that they could take their stuff with them. Versailles was built for kings on the theory that they should live surrounded by the finest stuff. The Mall of America is built on the premise that we should all be able to afford this stuff. It may be a shallow culture, but it’s by-God democratic." —Molly Ivins

"We owe something to extravagance, for thrift and adventure seldom go hand in hand." —Jennie Jerome Churchill

"People, one by one as I meet them, I find are wondrous. When you have time to listen and watch them, when you look them in the eyes, you see all the potential of the whole thing, this whole species that has such a wonderful gift that was given by nature. . . . And we’ve wasted it by everyone wanting a fanny pack and to go to the mall and to be paying 18 percent interest on things that we don’t need, don’t want, don’t work, and can’t give back." —George Carlin

"We seek fulfillment but settle for abundance. Prisoners of plenty, we have the freedom to consume instead of the freedom to find our place in the world." —Clive Hamilton

"More than enough is too much." —Thomas Fuller]]></description>
<dc:subject>capitalism consumerism consumption employment povery sustainability thoreau paullaurencedunbar murielspark samueljohnson jesseholmanjones wendellberry jaybercrow roberthughes kinhubbard ezratafthubbard saki colsonwhitehead ralphwaldoemerson roberhughes tennesseewilliams jenniejeromechurchill mollyivins thomasfuller clivehamilton georgecarlin slow small us society abundance freedom belongings possessions robinwallkimmerer wealth poverty</dc:subject>
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<item rdf:about="https://www.theatlantic.com/ideas/2026/02/youth-reading-books-professors/685825/">
    <title>Stop Meeting Students Where They Are - The Atlantic</title>
    <dc:date>2026-02-16T03:39:00+00:00</dc:date>
    <link>https://www.theatlantic.com/ideas/2026/02/youth-reading-books-professors/685825/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["What I learned when I finally started assigning the hard reading again."]]></description>
<dc:subject>walthunter 2026 pedagogy education highereducation highered colleges universities howweread reading attention howwteach teaching academia tonimorrison songofsolomon ai art chatgpt virginiawoolf writing howwewrite ulkrajanand harrietjacobs williamfaulkner willacather jonathanedwards literature experience wegsebald emilydickinson johnkeats tolstoy victorhugo michaelcrichton charlesswann georgesaunders books thoreau distraction confusion endurance stamina understanding waltwhitman humanities wallacestevens adriennerich adamkirsch vice vices mobydick moby-dick hermanmelville</dc:subject>
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<item rdf:about="https://www.artforum.com/features/long-walks-208841/">
    <title>Long Walks</title>
    <dc:date>2026-01-25T21:51:43+00:00</dc:date>
    <link>https://www.artforum.com/features/long-walks-208841/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["WHY GO FOR A WALK? Not to get anywhere; the lack of destination makes it a walk rather than a journey. But a walk is never aimless; you set limits even before you start out: “as far as the woods,” “around the lake,” “along the river to the bridge and back.” Expediency determines the structure of a journey; on a walk you impose your own.

A walk offers a chance to check up on nature, to give in to your senses. You can take your self along for company, or leave it behind, depending on your mood. You can take the dog—an ideal arrangement, since your separate amusements don’t intrude on one another. It’s usually a mistake, as William Hazlitt has said, to go with a friend. Chatting turns the walk into a visit, and miles roll by without your once managing to come in touch with the sensibility of walking.

A walk is an abstraction, an idea. It is a particular kind of passage through space and time; you embark on it to stretch your consciousness as much as your legs. A journey is aimed at its end; the point of a walk is the walk itself.

Richard Long’s art must touch somehow on our experience of walking. Otherwise, why would we find his solitary travels so oddly affecting? When news of them reaches us they are long over. All we get is an Ordnance Survey map, a few photographs, and terse notations of location and duration, deliberately edited of seductive detail. Unlike his literary counterparts, who delight in describing their shanks’ mare adventures, Long tells only that he went.

This absence of rhetoric results in a kind of transparency; Long passes through the countryside, a figure only hinted at, eluding the art audience. There is no way to visit his temporary sculptures of stones or brush, no invitation to follow his carefully structured routes. So the work remains largely cerebral: a mind, more than a body, traveling through the landscape. If we let our minds wander after him, however, we begin to gain limited access to his art. We will never be privy to his experience, but we can reconstrue it to a certain extent. “Going for a walk” can put us in step with him.

Long’s work takes several forms: walks with a stated purpose and duration, site sculptures made in remote places from whatever materials he finds when he gets there, and large floor installations in galleries and museums (the most tangible, though least evocative). All have an economy of gesture; concept, method and materials converge neatly. In the walks the three are synonymous. Less obviously, this is also true of the outdoor pieces.

Long never “forces” a work; stones are used when there are stones, branches when there are branches, brush when there is brush. It’s all local produce; nothing is imported. His works may last or they may become overgrown or wash away. It doesn’t matter, since he doesn’t intend anyone to see them. In the end, we are left with nothing but the knowledge of Long’s intervention, handed to us in the form of photographs and captions describing two generalized particulars—medium and place: Sticks in Somerset, A Circle in the Andes, Stones in Clare.

The indoor pieces—lines, circles and spirals of stones, sticks or dirt placed on the floor—share aspects of this conceptual and structural oneness, for each remains tied to its site despite its deportation. Stones and sticks are often from the vicinity of the installation; their source becomes the work’s title. The position of a specific element within a piece is usually determined by its relation to the other elements, so that while individual installations might differ, a work’s concept remains the same. Driftwood sticks of various lengths are laid down in rows so that each stick is a certain number of its own lengths in front of its predecessor. A track of muddy footprints, “the length of a straight walk from the bottom to the top of Silbury Hill,” is curled into a spiral, the size of the room determining the number of coils. Presumably these works could be redone; I know of a large circle of loose stones that is periodically picked up and put back. Long specified the diameter of the circle and left written instructions that the stones lie randomly within it, resting on their longest, flattest and most stable sides without touching each other.

The scale of Long’s art is often ambiguous. Considering its utter privacy, its lack of pretension and its scanty traces, it seems intimate and small (a dot or a line on a vast plane; a moment in an aeon). But a walk’s dimensions (often hundreds of miles) or duration (many hours, even several days) are quite sizable. Long’s works are not performances, his unknown endurances are not the stuff of body art. Did he take sandwiches, get caught in the rain, camp out for the night? We are told nothing of this. (How different from Peter Hutchinson’s Foraging, an esthetic hike in the Rockies where recording of detail was the purpose and survival the issue—a theme that became particularly poignant after the artist and his companion dined on the wrong mushrooms.)

Though time and distance complicate our perceptions of scale in Long’s work, they tend to crystallize its structure. One or the other is predetermined on a walk—usually distance, though sometimes, as in A Walk of Four Hours and Four Circles, Dartmoor, 1972, time is the determining factor. This walk is recorded as four concentric circles on an Ordnance map, each representing a one-hour walk. How four trips of such obviously different lengths could all take the same time is not explained—but the artist’s decisions are hinted at: perhaps he strolls slowly, then speeds up, even runs around the largest circle.

The site sculptures are seldom presented within the context of a walk, but occasionally these two facets of Long’s art come together in an enterprise that is conceptually quite terse. For 164 Stones/164 Miles, Long walked across Ireland (164 miles) “placing a nearby stone on the road at every mile along the way.” He lists the number of stones per county he passed through: Clare 49 stones, Tipperary 38 stones/Kilkenny 27 stones, Leix 9 stones, Carlow 20 stones, Wicklow 21 stones. The piece combines a long walk, an immense stone sculpture (or is it? It only has 164 stones; much shorter lines have contained more) and a substructure in which the counties, boundaries in themselves, are represented by stones, which represent miles, which are arbitrary measurements in the first place. It is a major work, but Long boils it down to a two-page spread in a book, with text on the left and a photograph of the road, and a stone, on the right.

Though much of Long’s work is linear, its development is not. Ideas appear again and again. His art is cyclical, like time, when thought of in terms of hours, seasons, and finally, history. It is natural to perceive time as linear, since one’s life occupies such a short segment of it that the curve isn’t always noticed. But time circles around and around, renewing, altering, passing by again. A dialogue between the constantly changing and the enduringly permanent takes place in the landscape. Long’s recurring motifs—the line, the circle, the spiral—emerge from landscape, and have acquired something of its character.

It is tempting to take an art/historical walk through time, back from Richard Long’s work. One could start at the stone circles of neolithic Britain and the spiral carvings of the Bronze Age, travel along early Roman roads, and take in Medieval pilgrimages, especially that of Edward I, who erected stone crosses at each resting place of the funeral procession of his queen. The 17th and 18th centuries become even more interesting. Not only is there all that theory about the “natural artifice” of parks and gardens; you could also make the Grand Tour of Europe, de rigueur for the well-heeled young Englishman. Traveling within the British Isles became equally popular about this time, Samuel Johnson’s trip with Boswell to the Hebrides being one literary result. Next century you could drop in on Constable and Turner and take a stroll around the Lake District with Wordsworth and friends. And once you hit the 20th, if you’re at a loss for directions, just consult the Blue Guide, that compendium of fanatical detail that fascinates the English traveler and reveals as much as any romantic poet.

In trying to attach any of this to Long, however, one inevitably comes a cropper. It has everything—and nothing—to do with him. Long makes no secret of his interest in the ancient work; some pieces draw directly on it. Stonehenge and the Cerne Abbas giant have been focal points for walks; a labyrinth carved in a boulder in Ireland generated his Connemara Sculpture, 1971, where he reproduced the design in stones on the ground. Other works, which involve spirals and circles, especially circles of standing stones, incorporate this history as fully, if not as specifically.

The differences between Long and his unknown ancestors are more subtle than the similarities. Were the ancient monuments religious, funereal, astronomical? Convincing arguments have been put forth for all three. But Long does not borrow his sources’ presumed content, as does much recent art that depends on deliberate “primitivizing.” His primary concern seems to be with the geography and topography of the landscape; with measuring and marking on it, with echoing its character in his choice of sculptural materials and methods. Long’s connection with the ancient monuments has more to do with their presence in the landscape than with their role in prehistoric culture.

The pilgrimage model also turns out to be a dead end. Pilgrims undertook arduous journeys propelled by faith and the hope of salvation, or for the good time and good company, as Chaucer would claim. Neither motivation can profitably be applied to Long.

The builders of the great 18th-century gardens and parks may seem closer at first, since their endeavors were at least artful, and involved imposing a structure on nature. But again the connection fades out; those designers were after visual effects—carefully planned vistas that would be pleasing to the eye and mind. With the exception of a very early work, England, 1967, in which he erected a rectangular frame in the landscape and placed a circle on the ground some distance away that was meant to be seen either through or outside of the frame, I know of nothing Long has done that places much emphasis on visual effect. So again he remains, fundamentally, separate.

But Long does have something in common with all of these predecessors, even if specific connections continue to elude us. For their activities are carried out within the landscape itself, particularly the English landscape. A feeling for the countryside has always informed the English sensibility. A small, well-groomed island, spared extremes of climate, Britain has been under cultivation for so long that few parts remain untouched. The traces of the past to be found are not glimpses of its primeval state, but endless evidence of previous tenants (unlike America, where immense areas of wilderness and desert still allow you to preserve at least the illusion that no one has been there before you). In Britain landscape is in short supply; the English dream most fervently of cottages in the country. But their fascination is with the landscape’s spirit, rather than its geology, which offers no challenge to conquer—no vast peaks or wastelands, no major wonders. England offers a landscape of tranquility, solace, respite. A gentle communion with the countryside pervades all English art, Long’s no less than his forebears’.

It is so fundamental to his work, in fact, that he does not alter his approach or methods in foreign terrain. Long has worked in far more rugged places than the British Isles—Alaska, Canada, the Andes, the Himalayas. But the results all evidence the same softness of touch; it is not as though he embarks on such trips for more remote or more challenging quests.

Long’s work may have its roots in the English attitude to the countryside, but it also catalyzes some of the definitive ideas of 1970s art. The abrupt retreat from the frenetic ’60s; the renewed interest in natural rather than industrial forms and materials; a shift in the approach to the art audience, not to mention the change within that audience; the move out of doors, away from the museums and galleries—such developments have characterized, and helped to form, the diffuse activities that composed ’70s art. It is interesting that Long has never worked in a more traditional medium; he has walked only ’70s territory, adapting its recurring themes—the line, the circle, even the grid.

Over the past ten years Long’s work has remained much the same; his gentle interventions in the landscape have maintained their discretion, his indoor pieces continue along similar paths. The line, the circle and the spiral still form the basis of his sculptural vocabulary. But although there has been no radical shift in direction, he continues to hone his processes. For one thing, his work has become more conceptually tight as he has intertwined it with its generating impulse—the landscape. Walks have become less rigid in structure as he has turned from formal to natural yardsticks.

Earlier walks, such as the concentric circles, the grid, or the many straight lines, skirt the issue of how one executes such a project accurately on natural terrain. On maps they can, of course, be diagrammed precisely, but on foot this would be impossible. More recently, however, Long has been drawing the structure of his pieces from geography instead of geometry/focusing especially on rivers. The choice is particularly suited to the cogency of his thinking, since rivers are also lines; they mark on, and in a sense “structure” the landscape. (The landscape also determines the course of the rivers, much as it influences the direction of Long’s art.)

The Avon has provided the impetus for several recent works, among them A Walk of the Same Length as the River Avon. There is no difficulty here about rendering straight lines or perfect curves. The Avon “walks” from its source to its mouth; Long walks the same distance, not along the river itself, but on an ancient road that follows it. At one point the road crosses the river; a photograph of a footbridge, along with maps of the river and the road, become the evidence.

Another recent river work has a slightly different inflection, but is just as harmonious conceptually. In 130 Miles from the Source to the Sea, Dumfriesshire, Scotland, 1978, Long placed a pile of 130 stones at the source of the River Clyde, furnishing on his return a photograph of the pile of stones, duly labeled. Again the gesture is entirely suited to the circumstance; concept and method remain inextricable. Long’s work has always been extremely economical, but the recent pieces seem particularly well resolved.

For an art that gives us so little to go on, Long’s work is surprisingly rewarding. There is an element of romance in our knowledge that it is, for the most part, unattainable. Or is it? There is no law against pushing our imagination; it can become our passage to England, our Himalayan trek. We can negotiate our own progress through space and time as surely as Long can. That’s where walking comes in.

On one of this walks, Long went around a mountain range in Ireland—Macgillicuddy’s Reeks—throwing a stone. Anyone who does this knows. As you start out your eye scans the roadside for the right stone. You find one and give it a toss; it skitters along and rolls to a stop some yards ahead. Eye fixed on it to make sure you don’t lose track of it among the others, you catch up to it, toss it again. Before you know it, you have become very attached to that stone. It structures your walk; you go where it goes.

—————————

The soul of a journey is liberty, perfect liberty, to

think, feel, do just as one pleases. We go a journey

chiefly to be free of all impediments and of all

inconveniences; to leave ourselves behind, much

more to get rid of others.

—William Hazlitt, On Going a Journey

In climbing, the summit is nearly always hidden,

and nothing but a track will save you from false

journeys. In descent it alone will save you a

precipice or an unfordable stream. It knows upon

which side an obstacle can be passed . . . and

where there is the best going. . . . It will find what

nothing but long experiment can find for an

individual traveller . . . everywhere The Road,

especially the very early Road, is wiser than it

seems to be.

—Hilaire Belloc, The Old Road

. . . de Selby makes the point that a good road will

have character and a certain air of destiny, an

indefinable intimation that it is going somewhere,

be it east or west, and not coming back from there.

If you go with such a road, he thinks, it will give

you pleasant traveling, fine sights at every corner

and a gentle ease of peregrination that will

persuade you that you are walking forever on

falling ground. But if you go east on a road that is

on its way west, you will marvel at the unfailing

bleakness of every prospect and the great number

of sore-footed inclines that confront you to make

you tired.

—Flann O’Brien, The Third Policeman

It is not indifferent to us which way we walk. There

is a right way; but we are very liable from

heedlessness and stupidity to take the wrong one.

We would fain take that walk, never yet taken by us

through this actual world, which is perfectly

symbolical of the path which we love to travel in

the interior and ideal world; and sometimes, no

doubt, we find it difficult to choose our direction,

because it does not yet exist distinctly in our idea.

—Henry David Thoreau, Walking

A walking tour should be gone upon alone,

because freedom is of the essence; because you

should be able to stop and go on/and follow this

way or that, as the freak takes you; . . . you must

be open to all impressions, and let your thoughts

take colour from what you see. You should be as a

pipe for any wind to play on.

—Robert Louis Stevenson, Walking Tours

Nancy Foote is an art critic.

—————————

NOTES

With all ephemeral art, documentation becomes of major importance. It takes several forms in Richard Long’s work: photographs and maps framed together with text; photographs and text presented in books (often published by museums and galleries at the artist’s request instead of conventional catalogues); and artists’ books. Much of Long’s documentation wavers between “primary” and “secondary” information—the work itself versus a reproduction of that work. Photographs of site sculptures would normally fall into the second category, but as Long presents them, with laconic captions, they become, in a sense, primary. His interest in “art” photography is minimal, unlike that of his friend and sometime walking companion Hamish Fulton, whose images, though related to Long’s in concept, are much more self-consciously concerned with photography. In addition to strict recording, Long sometimes uses a photograph to stake an esthetic claim, as when he takes a spot of conceptual interest, such as the source of a river that generates a walk. And in books such as A Hundred Stones; One Mile Between First and Last, the photographs are, in a sense, primary because they gather the stones into a single work."]]></description>
<dc:subject>1980 art walking nancyfoote ideas abstraction senses aimlessness expediency chatting conversation consciousness richardlong williamhazlitt hilairebelloc flanno'brien thoreau robertlouisstevenson artforum nature temporary experience installations peterhurchinson foraging cycles time slow spirals circles samueljohnson pilgrimage landscape 1970s</dc:subject>
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<item rdf:about="https://www.frontporchrepublic.com/2026/01/vision-for-a-new-cabinet/">
    <title>VISION FOR A NEW CABINET: - Front Porch Republic</title>
    <dc:date>2026-01-13T17:05:11+00:00</dc:date>
    <link>https://www.frontporchrepublic.com/2026/01/vision-for-a-new-cabinet/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["A Proposal of Possibilities for the Next American President

Secretary of Kitchen Gardens and Small Diversified Farms
Secretary of the Nameless Snowmelt Springtime Creeks Along the Highways of  Wyoming
Director of Indiscriminate Mercy
Director of Haiku, Fermentation, and Midwifery Studies
Secretary of Defense Against Solipsistic Acquisitiveness
Secretary of the Fragrance of the Magnolia Blossoms on the Capitol Building Lawn
Secretary of the Lonesome Baseball Diamonds of St. George, Utah
Secretary of the Fifteen Wolves Left in California
Secretary of the Memory of Matthew Shepard Tied to a Fence and Dying
Secretary of the Memory of Flocks of Passenger Pigeons So Great They For Hour Upon Hour Blocked the Light of the Sun
Director of the Office of Amish Studies
Director of the Office of Nonaligned Political Incorrectness
Secretary of the Memory of Henry David Thoreau Throwing Summer Muskmelon Parties, Playing His Flute for the Perch, and Hoeing His Beans Barefoot
Director of Homage to the Cabin at Walden Pond, Tor House, Kitkitdizze, and Lanes Landing Farm
Director of the Office of the Jaguars of Arizona and the Gulf of Mexico Bull Sharks Swimming (For More than a Thousand Miles) Up the Mississippi
Administrator of the Agency of the Veneration of Mothers
Administrator of the Agency of Jubilant Unrepentant Under-the-Trees Procreation
Director of the Office of Malice Toward None and Charity Toward All
Secretary of the Memory of Martin Luther King Jr. and Thich Nhat Hanh in Chicago Holding Hands
Secretary of Awareness of the Ineradicable Reality of Sickness, Vulnerability, and Death
Secretary of Awareness of Chronological Snobbery and the Myth of Progress
Secretary of the Memory of John Henry Outhammering the Machine
Secretary of Awareness that Inevitability Often Does Not Last Long
Director of Awareness that Now, As Always, It is Early
Administrator of the Agency of Raw Milk and a Revolution of Spirit
Secretary of the Memory of Crazy Horse on Lookout Wedging Rocks Between His Toes
Director of the Office of Another American Dream"]]></description>
<dc:subject>slow small 2026 teddymacker whatmatters mercy poetry haiku fermentation multispecies morethanhuman food thoreau thichnhathanh mlk martinlutherkingjr vulnerability death progress johnhenry human humanism humanity humanities crazyhorse americandream awareness temporality chronology time charity malice trees mothers waldenpond torhouse kitkitdizze laneslandingfarm artleisure leisurearts leisure wolves pigeons acquisitiveness midwifery farms farming rural agriculture</dc:subject>
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<item rdf:about="https://lithub.com/looking-for-god-in-the-writing-of-denis-johnson/">
    <title>Literary Hub » Looking for God in the Writing of Denis Johnson</title>
    <dc:date>2026-01-05T19:33:38+00:00</dc:date>
    <link>https://lithub.com/looking-for-god-in-the-writing-of-denis-johnson/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Eternity, in Johnson’s work, is a thing you can hold in your hands."

[also here:
https://thepointmag.com/criticism/denis-johnsons-god/ ]]]></description>
<dc:subject>denisjohnson aaronthier 2018 eternity spirituality christianity bible god human literature infinity thoreau hermanmelville robertstone waltwhitman prose writing howwewrite addiction life living drugs religion terror absurdity 1960s</dc:subject>
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<item rdf:about="https://thepointmag.com/criticism/denis-johnsons-god/">
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    <dc:date>2026-01-05T19:30:25+00:00</dc:date>
    <link>https://thepointmag.com/criticism/denis-johnsons-god/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[also here:
https://lithub.com/looking-for-god-in-the-writing-of-denis-johnson/ ]]]></description>
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</item>
<item rdf:about="https://www.commonwealmagazine.org/tuned-world">
    <title>Tuned to the World | Commonweal Magazine</title>
    <dc:date>2025-11-18T16:43:39+00:00</dc:date>
    <link>https://www.commonwealmagazine.org/tuned-world</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The eclectic faith of Henry David Thoreau"

[regarding:

Thoreau’s God, by Richard Higgins (2024)
https://press.uchicago.edu/ucp/books/book/chicago/T/bo236936515.html

"Meditative reflections on the great spiritual seeker’s deeply felt experience of the divine.

Henry David Thoreau’s spiritual life is a riddle. Thoreau’s passionate critique of formal religion is matched only by his rapturous descriptions of encounters with the divine in nature. He fled the church only to pursue a deeper communion with a presence he felt at the heart of the universe. He called this illimitable presence many names, but he often called it God.

In Thoreau’s God, Richard Higgins invites seekers—religious or otherwise—to walk with the great Transcendentalist through a series of meditations on his spiritual life. Thoreau offers us no creed, but his writings encourage reflection on how to live, what to notice, and what to love. Though his quest was deeply personal, Thoreau devoted his life to communicating his experience of an infinite, wild, life-giving God. By recovering this vital thread in Thoreau’s life and work, Thoreau’s God opens the door to a new understanding of an original voice in American religion that speaks to spiritual seekers today."]]]></description>
<dc:subject>thoreau religion christianity faith nature 2025 toddshy environment spirituality richardhiggins</dc:subject>
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    <title>The Last Dinosaurs: On Jenny Erpenbeck’s “Things That Disappear&quot; - Cleveland Review of Books</title>
    <dc:date>2025-10-22T02:51:15+00:00</dc:date>
    <link>https://clereviewofbooks.com/jenny-erpenbeck-things-that-disappear-philip-harris/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Jenny Erpenbeck’s latest non-fiction work, Things That Disappear, is organized around the unpleasant antithesis: everything fails us, eventually. Or dies, or goes out of style, or just calcifies and crumbles, whereupon the gentlest winds of history blow it away like funereal ash. A sampler of disappearing things from this book, ranging from the mundane to the abstract: pastries and coffee apparatuses; parents and old friends; palaces and sites of atrocity; social etiquette and historical mores. At the most rarified levels: memory, history, the person one used to be. It’s all contingent, though we spend much of our mortal career convincing ourselves otherwise."

...

"We are only guests on earth, we’ve known that for a long time, but even before we vacate the premises altogether, we are guests time and again, as if for a trial run: in other people’s apartments, summer houses, hotels. Before we vacate the premises altogether and all our baggage inevitably falls away, we have the opportunity to transport our earthly belongings to this place or that, as we please."

...

"​Just as each thing, no matter how simple, contains within it all the knowledge of its time […] whenever a thing disappears from everyday life, much more has disappeared than the thing itself–the way of thinking that goes with it has disappeared, and the way of feeling, the sense of what’s appropriate and what’s not, what you can afford and what’s beyond your means."]]></description>
<dc:subject>jennyerpenbeck philipharris 2025 via:javierarbona objects memory disappearance erasure tylerdurden michaelhoffmann disassembly permanence impermanence history change ephemeral ephemerality walterbenjamin buddha buddhism commodities everyday knowledge belongings possessions thoreau</dc:subject>
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<item rdf:about="https://www.poetryfoundation.org/poetrymagazine/articles/144656/in-search-of-distraction">
    <title>In Search of Distraction | The Poetry Foundation</title>
    <dc:date>2025-09-19T16:53:02+00:00</dc:date>
    <link>https://www.poetryfoundation.org/poetrymagazine/articles/144656/in-search-of-distraction</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The rewards of the tangential, the digressive, and the dreamy."

[See also:
https://www.themarginalian.org/2014/03/04/the-distracted-public-saul-bellow/ 

https://www.poetryfoundation.org/poems/45564/the-world-is-too-much-with-us ]]]></description>
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<dc:identifier>https://pinboard.in/u:robertogreco/b:cd4515224aff/</dc:identifier>
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</item>
<item rdf:about="https://www.theguardian.com/books/2017/apr/25/robert-pirsig-obituary">
    <title>Robert Pirsig obituary | Books | The Guardian</title>
    <dc:date>2025-07-27T04:54:28+00:00</dc:date>
    <link>https://www.theguardian.com/books/2017/apr/25/robert-pirsig-obituary</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Author of the 1970s cult bestseller Zen and the Art of Motorcycle Maintenance']]></description>
<dc:subject>2017 1970s robertpirsig philosophy obituaries georgesteiner hermanmelville thoreau moby-dick mobydick metaphysics richardbrautigan motorcycles phraedrus michaelcarlson buddhism japan allentate writing howwewrite quality zen robertredford jameslandis williammorrow maintenance care caring morals morality 1970 1974 zenbuddhism</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
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</item>
<item rdf:about="https://www.beyondthedial.com/post/podcast-the-final-episode-through-the-looking-glass-on-philosophy-watches/">
    <title>Podcast - The Final Episode - Through the Looking Glass, On Philosophy &amp; Watches</title>
    <dc:date>2025-07-25T08:20:15+00:00</dc:date>
    <link>https://www.beyondthedial.com/post/podcast-the-final-episode-through-the-looking-glass-on-philosophy-watches/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Farewell, and thank you all for listening. The Aesthetic Revolution Will Be Beautiful!"

[Also here:
https://podcasts.apple.com/us/podcast/through-the-looking-glass-on-watches-philosophy-the/id1472733566?i=1000650769924
https://open.spotify.com/episode/5q14vURgxkB0UkRIXGBbxR ]]]></description>
<dc:subject>2024 allenfarmelo watches philosophy perspcetive mechanics culture social history design phenomenology newage wonder reflection time music literature poetry art visualart sculpture principles architecture film photography machines aesthetics beauty logic watchcanon atonishment curiosity admiration bewilderment technology expertise fascination displaycasebacks horology highhorology garyshteyngart mechanical rousseau mindset contemplation bulldozers animation animism soul timekeeping tools autonomy machineage enlightenment ai artificialintelligence thinking howwethink human humans consciousness humanism animals morethanhuman semiconductors computers computing abstraction robots androids innerworks bots life ingenuity creativity living math mathematics physics purpose knowledge morality ethics got religion plato theory astronomy ralphwaldoemerson inquiry empiricalevidence metaphysics being knowing substance cause identity timespace socialstucture senses mind lifeofthemind nature thoreau status hyperconsumerism c</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:ad743ac06680/</dc:identifier>
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<item rdf:about="https://www.beyondthedial.com/post/e63-rolex-vs-gen-x/">
    <title>Podcast Insights E23 - Rolex vs. Gen X - BEYOND THE DIAL</title>
    <dc:date>2025-07-24T23:14:55+00:00</dc:date>
    <link>https://www.beyondthedial.com/post/e63-rolex-vs-gen-x/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Can irony reconcile the cynical Gen X world view with a luxury hobby? Does the Swiss watch industry sell us “Vintage Nationalism” along with our watches? Did Jean-Claude Biver leverage anti-establishment tendencies with his anti-electronic rhetoric of the 1980s and 1990s?  Allen takes a stab at these topics and more in this essay episode."

[Also here:
https://podcasts.apple.com/us/podcast/insights-e23-rolex-vs-gen-x/id1472733566?i=1000518322057
https://open.spotify.com/episode/30aIknfcJE6JPuVshl0jru ]]]></description>
<dc:subject>tolisten 2021 rolex genx generationx 1980s 1990s vintage nationalism luxury economics watches allenfarmelo umbertoeco traditionalism conservatism technology past marinetti futurism italianfuturists modernity futurists antiestablishment fascism progressivism environmentalism directaction greenpeace luddism luddites neoluddites neoluddism waltwhitman thoreau resistance left society analog liberalism liberals corporations corporatism filippotommasomarinetti filippomarinetti counterculture 1960s backtotheland communalism progress stephengreenblatt philosophy future thomasaquinas christianity atheism time democracy ancientgreece epicureanism ethics silentgeneration generations boomers babyboomers paralysisofanalysis thinking howwethink rebellion communes hippies romanticism childhood ingenuity forums flamewars online internet digital digitization change web billclinton neoliberalism globalization plannedobsolescence quality repair maintenance deindustrialization jean-claudebiver switzerland blancpain vintagenation</dc:subject>
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<item rdf:about="https://2ndbreakfast.audreywatters.com/swords-into-plowshares/">
    <title>Swords into Plowshares</title>
    <dc:date>2025-05-13T01:49:01+00:00</dc:date>
    <link>https://2ndbreakfast.audreywatters.com/swords-into-plowshares/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Yesterday marked my fifth Mother's Day without him. Tomorrow is the fifth anniversary of his passing. My beautiful boy, for whom I still grieve and will grieve every day forever; and despite his death, why I still fight.

When I was a sophomore in college (about a year before I got pregnant), I took a class on the history of non-violence, taught by the university's chaplain, Chester Wickwire. We read essays by Henry David Thoreau, Martin Luther King Jr, and Leo Tolstoy. We talked about imperialism and war, about community resistance and civil disobedience – in theory and in practice. We talked about faith and witnessing, about acts of courage, about good words and good deeds and, to borrow from the Serenity Prayer, "the wisdom to know the difference."

To say that this class changed my life feels a bit cliche, but it's true. It moved me in the moment – in that stereotypical way, I suppose, that some people have always wrung their hands at college students' political awakenings; and its influence on my thinking continues. Elements of what I learned there – those things both explicitly laid out on the syllabus and the class's implicit teachings that have taken years to bloom – run throughout all my work; they were there long before I started writing about education technology. My masters thesis and my unfinished dissertation both examined radical street theater and political protest, for example. But there are other traces: a commitment to community literacy; a belief in the transformative power of education, not for personal skill development but for social liberation; a sense of responsibility for creating a better world. I sometimes think of my writing too, I confess, more as sermon than scholarship.

Among the guest speakers in that class was the peace activist Father Phil Berrigan, who I remember as being very tall – that's probably my mind granting appropriate stature to this giant of pacifism. He spoke of his long and fervent opposition to war. He described the actions that he and a handful of others had undertaken to draw attention to the anti-Vietnam and later the anti-nuclear movements. He told us how, at first, they poured a red liquid mixed with their own blood over draft cards to destroy them, how they later bled and hammered on missile-carriers as they prayed.

Berrigan was part of several groups whose names came from their collective criminal trials: the Baltimore Four, the Catonsville Nine, the Harrisburg Seven, The Plowshares Eight. But he is best known for the latter and for the Plowshares Movement more generally, particularly the protest staged in 1980 at a GE plant where Minuteman missiles were manufactured. Berrigan, his brother, and six others were arrested and charged with multiple felonies and misdemeanors. He spent many many years of his life in prison for this and other acts of civil disobedience. He'd been paroled shortly before he came to our class in 1991, only to be sentenced again in 1999 after another protest.

Berrigan's group, the Plowshares, took its name from a passage from the Book of Isaiah: "and they shall beat their swords into plowshares, and their spears into pruning hooks: nation shall not lift up sword against nation, neither shall they learn war any more."

A couple of years later, I named my newborn Isaiah Tolstoy – all my fierce hope for a world transformed, for peace and justice and liberation.

Isaiah is gone – Father Phil and Chet too – and for a time, my hope was as well. (Here's where I turn to Gramsci, I'd say, more than God to remind me of optimism and will...)

Computing is a weapon of war. It is a sword, not a plowshare, despite all the rhetorical twists and turns we might try to make it so -- "a bicycle for the mind" and whatnot.

Computing was born in war, in the code-breaking work at Bletchley Park during World War II (or arguably, even earlier in the imperialist and industrialist expansion that Charles Babbage hoped his calculating machinery would help automate). During the second half of the twentieth century, massive amounts of military funding poured into science and technology research in the name of national security and national defense -- money that, to be clear, poured into universities, whose post-war "golden era" exists thanks to this military-industrial complex, to the influx of dollars and young white men whose college education was subsidized by the GI Bill.

The computer. The Internet. Artificial intelligence. These are military technologies, first and foremost. First and foremost and for a while now. And while certainly we must resist the teleology that positions these technologies always and forever thus, we have accomplished little, I'd argue, in wresting them free from their origins in "command control communication intelligence," from that cybernetic move to reduce everyone and everything to code.

"Feminist cyborg stories have the task of recoding communication and intelligence to subvert command and control," Donna Haraway wrote in her "Cyborg Manifesto" over forty years ago. This is still, without a doubt, the task ahead, not behind us.

In his book The Children's Machine, Seymour Papert observed that "The people who forge new technological ideas do not make them for children. They often make them for war...." He argued that his programming language "Logo was fueled from the beginning by a Robin Hood vision of stealing programming from the technologically privileged (what I would in those early days in the 1960s have called the military-industrial complex) and giving it to the children."

While I appreciate the act of subversion, this theft was a reallocation of technology, not a repudiation of its underlying origins or epistemology.

Indeed, Papert praised the cyberneticians and their military mathematics for developing new objects and a new way of thinking about old ways of defeating enemies. Norbert Werner had imagined a "smart missile" designed "to perform in the end even better than the traditional weapon." Turtle programming, Papert argued, would help children build this same sort of "managed vagueness" in a cognitive and material feedback mechanism.

"It's a metaphor," one might retort. And it is. And it isn't.

Education technology has been part of what historian Douglas Noble called "the classroom arsenal." Even before the advent of computing, much of the development of educational technology was undertaken by military researchers (particularly at the Office of Naval Research and Air Force Office of Scientific Research) – from the Army Alpha and the implementation of standardized IQ testing to early teaching machines, designed to automate the training of recruits. Indeed, B. F. Skinner observed, in an address to the Aerospace Education Foundation of the Air Force in 1968, that "educational technology has developed rapidly in the [Armed] Services and it is moving into the schools."

A decade earlier, Simon Ramo, an instructional technologist as well as "the father of the intercontinental ballistic missile," had penned an essay titled "A New Technique in Education" that imagined a future of a push-button classroom of personalized learning – a future that I argue in Teaching Machines introduced the automation of education to a much broader swath of the American public than did Skinner's academic writing (or the dismal sales of his teaching machines). This is a future that continues to resonate with today's ed-tech evangelists.

And yet, I'm still a bit taken aback when I hear someone like Salman Khan invoke Ender's Game as inspiration for Khan Academy and now for his AI chatbot Khanmigo – even though he's acknowledged the book's influence on his thinking over and over again. Ender's Game is a novel in which children, without their knowledge or consent, are recruited to fight a war to exterminate an alien species. They are taught via military AI; they become weaponized themselves.

“I am making a way in the wilderness. and streams in the wasteland."

We're still eating the leftovers of World War II, environmental activist Vandana Shiva has repeatedly argued, reminding us how munitions plants switched from making explosives to making fertilizer and pesticides, how industrial-scale warfare turned to industrial-scale food production.

Arguably we're still being fed via the information machinery of the war and the Cold War too.

How does this diet of weaponry shape who we have become? What does it mean to base our imagination of some sort of extended cognitive capacity on the machines and systems bound up in national defense, in a Red Scare so fevered that Nazis remained welcome and supported in the scientific community as long as they could help us win the Space Race? If nothing else, it seems, it has helped create a technology industry in which there has been no real reckoning for its role in violence, imperialism, surveillance, eugenics, environmental and genocidal destruction.

Computing remains a weapon, despite the clever stories we tell ourselves that make us feel less complicit in its violence – violence to one another, to the planet, to ourselves, to other ways of knowing.

To turn this sword into a plowshare requires a much greater shift (one I'm not even sure is possible) – not without a much broader shift in power, without a shift in economics, to be sure, without a shift in how we think and care. And AI – this idea bound up in the military intelligence – shifts us in the opposite direction, towards an automated thoughtlessness, algorithmic indignity, into a future run by those with no humility and no remorse.

To turn the sword of computing into a plowshare requires a much greater sacrifice than many seem willing to make, as caught up as so many people are, so many decades later, in the cybernetic fictions and Cold War era fantasies of thinking machines – fantasies of the very men who built the bomb.

To turn the sword into a plowshare must be an endeavor that enables, embraces life – all life.

It does feel hopeless sometimes. This week – Mothers Day and death day – forever more for me, I guess, the darkest. I grieve, I grieve, I grieve.

And then I pick myself up, and I fight."]]></description>
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    <title>James C. Scott’s “In Praise of Floods,” Reviewed | The New Yorker</title>
    <dc:date>2025-04-20T22:00:23+00:00</dc:date>
    <link>https://www.newyorker.com/magazine/2025/04/14/in-praise-of-floods-james-c-scott-book-review</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["James C. Scott and the Art of Resistance
The late political scientist enjoined readers to look for opposition to authoritarian states not in revolutionary vanguards but in acts of quiet disobedience."

...

"“Seeing Like a State” was published in 1998, after the collapse of the Soviet Union and the decline of socialism, and after the United States had lost its taste for New Deal-style economic planning. Perhaps as a result, the book appeared more conservative than Scott meant it to be. The political scientist Francis Fukuyama gave it an approving notice in Foreign Affairs, and, a year after it was published, the head of the libertarian Cato Institute invited Scott to address its annual convention, much to his dismay. Many on the left concurred with their libertarian colleagues that Scott had made, however inadvertently, a pro-market case against state power. In a review, the liberal economist Brad DeLong noted the striking similarities in argument between Scott’s brief against planning and the libertarian Austrian economist Friedrich Hayek’s praise of the “spontaneous order” of market economies. Scott, unlike Hayek, was an avowed skeptic of free markets; in “Seeing Like a State,” he had argued, albeit briefly, that “market-driven standardization” was susceptible to many of the flaws of modern social engineering. But his critics on the left weren’t wrong to compare his arguments to Hayek’s: so intently and thoroughly did Scott make his case against the modern state that, once you’ve read “Seeing Like a State,” it’s difficult to imagine the virtue of any state action, even of the incremental and meliorist variety. After such knowledge, what forgiveness?

Years later, it’s possible to look at Scott’s book less as an isolated broadside against the state and more as a way of seeing, through extreme examples, the extent to which planning ignores local knowledge at its peril. Still, even in those instances, Scott offers equivocal lessons. When it comes to contemporary debates on how best to solve our nationwide housing crisis, for instance, he can be read as an ally to movements attempting to protect neighborhoods against large-scale development. He asks planners to “prefer wherever possible to take a small step, stand back, observe, and then plan the next small move.” He makes special pleas for “context and particularity.” At the same time, he asks to make room for “human inventiveness” and “surprises,” which might suggest removing constraints to development—for example, restrictive zoning—that stifle initiative and drive. If you need room to build, better for the state to get out of the way. Both stances are conceivable within the capacious framework of the book, and that is perhaps why radicals and conservatives alike have found support for their arguments in its pages.

“Seeing Like a State” offers an even more complex (or blurry) lens through which to view the climate crisis. Scott’s study of how states reordered the natural world to generate maximum revenue may help to explain our own landscapes of fracking pads and pipelines. But it’s difficult to extract from the book a coherent strategy to fight climate change. To avoid the worst of the devastation from rising global temperatures will undoubtedly require not just state action but multistate coöperation on an unprecedented scale. Governments may need to override city and country alike to produce solar arrays and wind farms, shut down coal- and gas-fired power plants, unearth minerals for large-scale battery storage, and retrofit millions of houses, offices, and schools with electric cooling and heating systems. With Scott in mind, it’s possible to hope that states engaged in this collective project will overcome the blindness of the past. Still, if they—and we—are to succeed, Scott’s advice that planners pause before making their “next small move” will likely be discarded.

It’s an irony of Scott’s career that, though he pleaded for respecting local knowledge, his own writing began to take on imperial proportions in the later decades of his life. The last major works that he published before his death, “The Art of Not Being Governed” and “Against the Grain,” both cover centuries of history, confidently summing up many shelves’ worth of research and surveying wide tracts of geography. Scott examines how ancient states formed around sedentary agricultural practices—growing rice in medieval Southeast Asia, and wheat in ancient Mesopotamia—not because such farming had any intrinsic or inevitable value but because it was an important step in creating a “legible” and “manageable” state. Outside the rice “padi-state” and “grain states,” in Scott’s view, intrepid rebels engaged in more mobile, nomadic forms of agriculture, trying to escape taxation and forced labor.

Scott saw each step in the civilizing process, from farming cereals to working on an assembly line, as a loss of complexity, a diminishing of the “great diversity of natural rhythms” to which our ancestors were attuned. “It is no exaggeration to say,” he writes, before arguably risking just such an exaggeration, “that hunting and foraging are, in terms of complexity, as different from cereal-grain farming as cereal-grain farming is, in turn, removed from repetitive work on a modern assembly line. Each step represents a substantial narrowing of focus and a simplification of tasks.” From this perspective, a civilization’s collapse, rather than something to be lamented, might be experienced, at least by those at the edge of a state, as “an emancipation.” Scott acknowledged that so-called dark ages offer “fewer important digs for archaeologists, fewer records and texts for historians, and fewer trinkets—large and small—to fill museum exhibits.” But he argued that “such ‘vacant’ periods represented a bolt for freedom by many state subjects and an improvement in human welfare.” Anarchic social orders erect no monuments, and leave no ruins to be bleached over the centuries in the desert sand. Instead they offer alternative visions of how society might have developed had states not formed, concentrating manpower and crops, homogenizing landscapes, and taming rivers.

Some critics have called Scott a romantic, in part for seeming to indulge the lawlessness of non-state peoples. In “Against the Grain” and “The Art of Not Being Governed,” there is an ineluctable charisma to the frontier nomads, with their state-repelling egalitarianism and their sense of freedom. “In Praise of Floods” extends the forms of resistance Scott celebrates to nonhuman subjects. Laboring to evoke the sheer variety of what gets lost when rivers are subjugated by humans, he devotes a questionable chapter to ventriloquizing the voices of riverine animals—mollusks, river dolphins, snow carp, Asian hairy-nosed otters—speaking out against human intervention. But his work, even at its most tendentious, speaks uncannily to our current political mood of gnawing anxiety, fleeting optimism, and partial resignation over the future of the human project. To read Scott is to feel the fatalistic sense that civilization may have been botched from the beginning. But it is also to be hopeful—that what seems to be a runaway ecological crisis and a global drift toward authoritarianism contains within it the potential for political transformation, if you look closely enough.

At Scott’s memorial service, last October, organizers handed out tote bags with the slogan “Become Ungovernable.” Disobedience was, in certain respects, the watchword of all his work. In “Two Cheers for Anarchism,” a short book published in 2012, he testifies, like a latter-day Henry David Thoreau, to insubordination as an animating principle of all social change. He describes the desertion of Confederate soldiers during the Civil War as potentially a key factor in the overthrow of slavery, and even lauds the Vietnam War-era practice of “fragging,” in which infantrymen supposedly used live grenades to eliminate their commanding officers. Authoritarianism, in Scott’s view, dies this way: not through “revolutionary vanguards or rioting mobs” but through “the silent, dogged resistance, withdrawal, and truculence of millions of ordinary people.” Just as “millions of anthozoan polyps create, willy-nilly, a coral reef,” he writes, “so do thousands upon thousands of acts of insubordination and evasion create an economic or political barrier reef of their own.” "]]></description>
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    <title>Grief is a cave in the middle of the sky</title>
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    <title>When the Prince of Heaven Sleeps – Roger Reeves</title>
    <dc:date>2024-12-14T23:12:01+00:00</dc:date>
    <link>https://emergencemagazine.org/essay/when-the-prince-of-heaven-sleeps/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Centering images of Black men resting—Muhammad Ali slumbering, John Coltrane washing dishes, DMX watering orchids, and Mike Tyson caring for his flock of pigeons—poet Roger Reeves reflects on the stillness and silence of their interior worlds as a protest against the control of capitalistic time."

...

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

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

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

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

...

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

...

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


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

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

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

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

Maybe, in that “modest slave cabin,” the sleeping Muhammad Ali dreamt of this: a man on a roof who fought and broke himself and the world and was now surrounded by pigeons. And in being surrounded by the pigeons that man learned something of love. Or maybe Ali watches a man in a bedroom listening to his children, to them teasing each other, to them wailing, the quietness of his house when they go to bed; then, that same man picks up his horn and plays his house, plays the music of silence, of solitude, of being one with others. Maybe, Ali dreams of a Black man lying in a hammock or on a hillock, buried deep in the grass, his finger tracing the edge of a blade of grass. The man in the hammock or on the hill doing nothing else but tracing the afternoon, its heat, its buzzing mind. Maybe, he dreams of orchids. Maybe, he dreams of water and the water speaking to him of the orchids’ needs and his own. Maybe, the Prince of Heaven dreams of a man sitting on the floor of a kitchen, talking to his child while chicken fries in a cast-iron skillet on the stove. Maybe the Prince of Heaven dreams of walking out into a field and watching the sun turn down in the sky until he’s in nothing but blue. Maybe the Prince of Heaven does not dream at all. Maybe, he sleeps."]]></description>
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    <dc:date>2024-11-18T00:13:59+00:00</dc:date>
    <link>https://matthewbattles.substack.com/p/the-seed-in-winter</link>
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    <title>The Whip-Poor-Will Has Been an Omen of Death for Centuries - JSTOR Daily</title>
    <dc:date>2024-11-16T07:04:36+00:00</dc:date>
    <link>https://daily.jstor.org/the-whip-poor-will-has-been-an-omen-of-death-for-centuries/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["What happened to this iconic bird of American horror?"

]]></description>
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    <title>The Walking Rebellion: Restoring the Mind at Three Miles an Hour</title>
    <dc:date>2024-10-24T01:28:26+00:00</dc:date>
    <link>https://schooloftheunconformed.substack.com/p/the-walking-rebellion-restoring-the</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["There might not be any natural remedy in the world as protective as walking against the deadening impact of our sedentary, chair-bound, screen-mesmerized lives. Walking is the original form of scrolling. Yet it doesn’t lead us down online rabbit holes, but past real rabbit holes. It keeps us grounded, literally by keeping our feet on the ground. It keeps us softly fascinated by ever-changing scenery. Walking is calming, head-clearing, and social and even spiritual when we do it together. If walking were a food, it would be a celebrated superfood packed with nutrients that feed our mind, body, relationships, and contact with nature—and it would cost nothing.

The beauty of walking is that it does so many things at once, in a single, simple act. Walking creates a wholeness in us in a way that few other activities can.

And it can’t be monetized.

We all walk a bit differently. Some people walk with canes, some “walk” with wheelchairs or ambulate with prosthetic limbs. Whatever way you walk, we’re going to suggest that walking long distances regularly, preferably in nature, might be one of the easiest yet most powerful antidotes to the Machine.

Do you want to fight the ills of technology and modern life, without fighting at all?

Walk.

Walk alone, walk with friends, walk with your kids, walk with God. “Keep moving”, as the wise old woman said."]]></description>
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    <title>Four (or more) seasons</title>
    <dc:date>2024-09-27T15:58:39+00:00</dc:date>
    <link>https://austinkleon.com/2018/12/22/four-or-more-seasons/</link>
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<item rdf:about="https://currentpub.com/2024/09/19/words-for-conviviality/">
    <title>Words for Conviviality</title>
    <dc:date>2024-09-21T20:18:46+00:00</dc:date>
    <link>https://currentpub.com/2024/09/19/words-for-conviviality/</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>jeffreybilbro 2024 coviviality words media technology ivanillich toolsforconviviality industrialization professionalization waelghonim internet web online misinformation renewal albertborgmann spotify twitter conversation relationships truth hermanmelville margaretfuller thoreau dialog engagement</dc:subject>
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<item rdf:about="https://2ndbreakfast.audreywatters.com/the-world-reveals-itself-to-those-who-walk/">
    <title>&quot;The World Reveals Itself to Those Who Walk&quot;</title>
    <dc:date>2024-04-15T16:28:32+00:00</dc:date>
    <link>https://2ndbreakfast.audreywatters.com/the-world-reveals-itself-to-those-who-walk/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Walking is how I get to know a place, it’s how I know a place. Yes, I could look at a map. Yes, I could ride the bus (take a cab, drive a car, whatever) with a similar purpose in mind. I could look out the vehicle’s window and see where I’m headed — if you are driving, your eyes had better be on the fucking road though. But there's something about the pace with which I move while walking that allows me to see more, to process more. When I run or ride, I’m moving too quickly (even if I’m not moving all that quickly); my surroundings are a blur – not from speed so much as from cognition.

Walking lets you read the world — and much like the slow, contemplative mental processes involved in reading a book, the pace with which one moves through the world while walking allows for a different, deliberative kind of seeing. You notice more. You think more."

...

"Walking is how I get to know a place, it’s how I know a place. Yes, I could look at a map. Yes, I could ride the bus (take a cab, drive a car, whatever) with a similar purpose in mind. I could look out the vehicle’s window and see where I’m headed — if you are driving, your eyes had better be on the fucking road though. But there's something about the pace with which I move while walking that allows me to see more, to process more. When I run or ride, I’m moving too quickly (even if I’m not moving all that quickly); my surroundings are a blur – not from speed so much as from cognition.

Walking lets you read the world — and much like the slow, contemplative mental processes involved in reading a book, the pace with which one moves through the world while walking allows for a different, deliberative kind of seeing. You notice more. You think more."

...

"Blame the geography, blame the weather, blame the culture — walking was just not something I did much of growing up.

...Except when we were in England, visiting my mom's side of family. The British are walkers. There we'd walk to the shops, walk to the post. We’d walk for the sake of walking, ambling through fields and woods and gardens and parks — through other people's property [https://www.gov.uk/right-of-way-open-access-land ], which even without knowing all the legal intricacies, I recognized I could never do back home.

My granny was part of a social walking club, and well into her eighties would partake in lengthy walking tours, bussing up to Scotland or over to Cornwall just to walk for a whole day. This was mind-boggling to teenage me, but sounds quite idyllic to old me now. At the time, I was convinced that the allure of these tours must've been that she and her friends would end up at a pub. Now I recognize that it wasn’t (just) the half pint of cider and Ploughman's lunch; it was the walking itself she loved.

Walking kept her fit, physically and mentally, to be sure — that's the easy and obvious rationale, isn't it. That's what often gets invoked in making the case for walking more: it's good for your health, a corrective to our increasingly sedentary lives.

(Of course, someone's bound to chime in that walking is insufficient exercise — that is, you're likely not walking fast enough for it to be strenuous enough to count towards the 150 minutes of moderate intensity aerobic exercise we're supposed to get each week. Ugh. Whatever.)

The world reveals itself to those who walk. Moving slowly means moving thoughtfully, purposefully. Aware -- aware of the world around you, aware of the thoughts on your head.


***

I first noticed it almost a decade ago, in Australia of all places — perhaps the only industrialized nation whose inhabitants walk less than those in the States: all along the sidewalks of Sydney, folks had their eyes glued to their phones as they walked. Now, I see this everywhere. I’m not talking about that quick glance we all take to check Google maps — am I heading in the right direction? I often can't tell when I emerge from the subway — or to flip to the next song on the playlist, or to see who just texted. I’m talking about a complete commitment to what's on the screen. Transfixed, utterly transfixed. Eyes down, but moving forward.

We used to joke that watching television turned people into zombies – staring, drooling, mindless. But those zombies sat still – eyes on the TV set, stuck to their seats on the sofa. Now, these zombies are up and moving; they’re ambling down the street — across the street even — with their eyes barely leaving their phones to look up, look around.

And it is television they’re watching. Or rather, it’s a string of 10-second videos on TikTok. It’s short snippets on Instagram or longer (“longer” is, like, 4 minutes) videos on YouTube. It's still TV that still has people so enraptured. I know, because each time someone on their phone nearly walks into me, I try to look at their screen to see what’s so captivating. Sure, sometimes it’s a text message – and maybe it’s a super-important one, like, you know, what happened last night on television.

Even if they’re not watching their phones, they’re listening — headphones in, they’re trying desperately, it seems, to wall themselves off, hoping the world will not be revealed as they walk."

...

"I’m a little more forgiving if someone is looking at a map on their phone. I honestly can’t remember how I ever found my way anywhere without my phone. I mean, we had a paper map in the car – a big bound book with highway maps for all fifty states, on the off-chance, I guess, that we needed to navigate our way through Ohio.

But when I was a teenager at school in Oxford and my friend Sara and I would sneak away into London for the weekend, I don't honestly remember: how did we ever find our way anywhere? Did we ask for directions? Did we just roam? Did we wander for hours – this seems pretty likely – and hope that eventually we’d find our way? Did we even have a destination? Did we first go somewhere with someone who knew the way, then having committed the navigation to memory, go back with friends? My cousin Marcus first took me to Kensington Market, I do remember that. And then I guided Sara back there a few weeks later. We got our noses pierced. Would I have really remembered, from just one trip, how to get there? Would I have been able to recall the right route? Or maybe it didn't matter – maybe, just maybe, before we had phones and Google Maps we were much less concerned with getting somewhere efficiently. (Also, we were 16.)

The world reveals itself to those who walk, and as little teenage rockers, adventurous and naive and brave and dumb, we were ready for the revelations.

But I didn’t have a phone or a camera so I have nothing but my memories – uncertainties all around. There's no documentation of what we did – thank god – and what the world revealed.

***

Our attention is always divided. Digital technologies — our phones, specifically — didn’t cause humans to suddenly become distracted. Minds wander by design — an evolutionarily beneficial attribute to keep us safe, no doubt, but also to keep us engaged with one another. Our brains are, as Annie Murphy Paul writes in her book The Extended Mind, "attuned to the presence of novelty, to whatever appears new and different." Novelty, the sound of speech, and social interactions are all powerful stimuli to which we are attracted, she argues — unconsciously, naturally, and often uncontrollably.

And yet, "all this visual monitoring and processing uses up considerable mental resources," she notes, "leaving much less brainpower for our work." This explains, in part, why "multitasking" is considered a myth [https://www.npr.org/2013/05/10/182861382/the-myth-of-multitasking ] — our attention may switch back and forth between things, but it's never smooth or seamless. Actually, it's fucking exhausting. The forces of capitalism — including the ideologies built into our gadgets — try to convince us that we can, that we must juggle multiple activities. After all, to do so enhances our productivity – ideally, at least. Or it numbs us, wears us out.

We can, of course, walk and think. Philosophers have long insisted that these activities are inextricably connected — indeed that their pursuit, simultaneously, is the most generative. "Only thoughts which come from walking have any value," Friedich Nietzsche argued. Jean-Jacques Rousseau agreed, "I am unable to reflect when I am not walking; the moment I stop, I think no more, and as soon as I am again in motion, my head resumes its working." "Methinks that the moment my legs begin to move, my thoughts begin to flow," Henry David Thoreau wrote.

The world reveals itself to those who walk. Or, it probably tries to. You gotta look up from your phone though."]]></description>
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<item rdf:about="https://www.noemamag.com/a-single-small-map-is-enough-for-a-lifetime/">
    <title>Alastair Humphreys: The Joys Of Microadventures</title>
    <dc:date>2024-03-08T19:54:33+00:00</dc:date>
    <link>https://www.noemamag.com/a-single-small-map-is-enough-for-a-lifetime/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["What if this bog-standard corner of England is actually full of adventure, nature, wildness, surprises, silence, perspective — if only I bothered to go out and look?"

[See also (excerpted from):

"Local: A Search for Nearby Nature and Wilderness"
https://alastairhumphreys.com/product/local/

"After travelling the whole world, can exploring a single map ever be enough?

Adventurer Alastair Humphreys spends a year investigating the small map around his own home.

Can this unassuming landscape, marked by the glow of city lights and the hum of busy roads, satisfy his wanderlust? Could a single map provide a lifetime of exploration?

He discovers more about the natural world than in all his years in remote environments. And he wakes up to the terrible state of British nature, land use, and freedom to roam the countryside. This is an ode to slowing down and the meaningful experience of truly getting to know your neighbourhood.

Local is a celebration of curiosity, time spent outdoors, and a rallying cry to protect the wild places on our doorstep. It is a reminder for all of us that nature and wildness are closer than we think.

Explore the world… On your local map.

*(I do feel I should offer a warning to fans of my other books, eg Microadventures, that this book is quite different – it’s more nature-based, and more activist in its messaging. If this sounds like it might make you cross, then it might not be the book for you. Sorry!)*"]

]]></description>
<dc:subject>local small maps mapping walking adventure alastairhumphreys 2024 maryoliver rickeygates intimacy place thoreau bogs robertmcfarlane landmarks attention attentiondeficit language observation naturalhistory multispecies morethanhuman conservation community nature solitiude marshes</dc:subject>
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<item rdf:about="https://press.princeton.edu/books/paperback/9780691088136/the-enchantment-of-modern-life">
    <title>The Enchantment of Modern Life, by Jane Bennett (2001) | Princeton University Press</title>
    <dc:date>2024-02-10T20:42:58+00:00</dc:date>
    <link>https://press.princeton.edu/books/paperback/9780691088136/the-enchantment-of-modern-life</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["It is a commonplace that the modern world cannot be experienced as enchanted—that the very concept of enchantment belongs to past ages of superstition. Jane Bennett challenges that view. She seeks to rehabilitate enchantment, showing not only how it is still possible to experience genuine wonder, but how such experience is crucial to motivating ethical behavior. A creative blend of political theory, philosophy, and literary studies, this book is a powerful and innovative contribution to an emerging interdisciplinary conversation about the deep connections between ethics, aesthetics, and politics.


As Bennett describes it, enchantment is a sense of openness to the unusual, the captivating, and the disturbing in everyday life. She guides us through a wide and often surprising range of sources of enchantment, showing that we can still find enchantment in nature, for example, but also in such unexpected places as modern technology, advertising, and even bureaucracy. She then explains how everyday moments of enchantment can be cultivated to build an ethics of generosity, stimulating the emotional energy and honing the perceptual refinement necessary to follow moral codes. Throughout, Bennett draws on thinkers and writers as diverse as Kant, Schiller, Thoreau, Kafka, Marx, Weber, Adorno, and Deleuze. With its range and daring, The Enchantment of Modern Life is a provocative challenge to the centuries-old ”narrative of disenchantment,” one that presents a new ”alter-tale” that discloses our profound attachment to the human and nonhuman world."

[via:
https://theconvivialsociety.substack.com/p/vision-con 

contents (.PDF):
https://www.are.na/block/26263170 ]]]></description>
<dc:subject>janebennett modernity morethanhuman multispecies enchantment karlmarx maxweber deleuze schiller thoreau kafka theodoradorno morality everyday generosity perception 2001 ethics aesthetics politics supersition interdisciplinary capitivation kant gillesdeleuze friedrichschiller attachments crossings immanuelkant</dc:subject>
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<item rdf:about="https://www.youtube.com/watch?v=zgXgkpu7pkg">
    <title>Birds Do Not Sing in Caves - YouTube</title>
    <dc:date>2024-02-08T18:29:33+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=zgXgkpu7pkg</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["https://kishorebalasubramanian.wordpress.com/thoreaus-view-on-progress/

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

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

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

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

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

Understanding Heidegger on Technology
Author(s): Mark Blitz
Source: The New Atlantis , Winter 2014, No. 41 (Winter 2014), pp. 63-80 Published by: Center for the Study of Technology and Society"]]></description>
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<item rdf:about="https://kishorebalasubramanian.wordpress.com/thoreaus-view-on-progress/">
    <title>Thoreau’s view on Technological Progress | Kishore Balasubramanian English IOP</title>
    <dc:date>2024-02-08T18:25:46+00:00</dc:date>
    <link>https://kishorebalasubramanian.wordpress.com/thoreaus-view-on-progress/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Thoreau was fascinated by technology despite his nature friendly ideals. In the  mid-nineteenth century he lived through the inventions of many life changing inventions, such as power looms, railroads, and the telegraph. But these inventions were products of a larger movement, the industrial revolution, in which Thoreau saw  the destruction of nature for monetary gains. In Thoreau’s view technological progress  was that technological progress was counterproductive because it served as a distraction from the more important questions of life. He was stubbornly skeptical of the idea that any materialistic improvement of life can bring the inner peace and contentment which he deemed were true measures of progress. To him, technology and the exponential rate technological advancement took man in the right direction to the wrong destination.

One clear example of Thoreau’s resistance to technological progress was in his criticism of the train (Sounds from Walden), which throughout Europe and America was a symbol of  technological progress.  Thoreau saw the train  as a false idol of social progress. He feels that it is better for one to stay at home and contemplate thoughtfully on spirituality and personal ideas than to commute from place to place without actually engaging in any productive thinking.  To Thoreau, technological development was a kind of change, but rather for the worse. Thoreau feels that  it prevents  an individual’s personal progress  by creating a mind-numbing amount of labor and by imposing materialistic values.  Thoreau also resented the way the new technological advancements made people feel like they were free when in reality they were being subjected to a new form of slavery. Mechanical slavery.  To Thoreau trains, and all technological “improvements”,  represented an illusion of a control. Although we are free to choose our destination, we are not free to chose our path.  For example in a train station, one must always follow fixed train schedules and routes. In an airport, one must book tickets in advance and mold their plans around the availability of the tickets. Thus, although we say we are free to do what we want, are we really? This was the question put forth my Thoreau.

Because Transcendental philosophy emphasized spirituality and morality and disregarded the materialistic, the Transcendentalists like Thoreau  resented technological progress and its effect on the workforce. They wanted people to question the actual purpose of technological improvements,  Thoreau, for instance, wrote in the chapter of Walden titled “Economy”:

<blockquote>“As with our colleges, so with a hundred “modern improvements”; there is an illusion about them; there is not always a positive advance. . . . Our inventions are wont to be pretty toys, which distract our attention   from serious things. They are but improved means to an unimproved end. . . . We are in great haste to construct a magnetic telegraph from Maine to Texas; but Maine and Texas, it may be, have nothing important to communicate.“</blockquote>

To him, the biggest problem  with technology is that it’s just there. It was also new, affordable, and popular making people think that since earlier generations did without it, must therefore have progressed.  He also felt that people have to spend too much time working to earn money to afford technology and that technology tends to distance us from the natural environment.

Both these points are  illustrated in the following passage in Economy (from Walden):

<blockquote>One says to me, “I wonder that you do not lay up money; you love to travel; you might take the cars and go to Fitchburg today and see the country.” But I am wiser than that. I have learned that the swiftest traveler is he that goes afoot. I say to my friend, Suppose we try to see who will get there first. The distance is thirty miles; the fare ninety cents. That is almost a day’s wages. I remember when wages were sixty cents a day for laborers on this very road. Well, I start now on foot, and get there before night; I have travelled at that rate by the week together. You will in the meanwhile have earned your fare, and arrive there some time tomorrow, or possibly this evening, if you are lucky enough to get a job in season. Instead of going to Fitchburg, you will be working here the greater part of the day.</blockquote>

Travelling by train might seem to be the most ‘efficient’ way to travel, but Thoreau challenges us to rethink how this new technology affects our experience and what are its full costs. And although Thoreau’s example here considers transportation only, the points he makes are generally applicable to all our decisions relating to technology.

The book Walden by Thoreau is, among other things, a book about progress. According to Thoreau technological advances such as the railroad and the telegraph have sped up life at an inhuman rate. Increasing the amount of time we have to spent of technology and decreasing the amount of time we have to think.  Instead of the people running the machines, the machines are running the people. No matter how hard we work, we can never keep pace, let alone pause to think about what we’re doing.  Thoreau wants us all to slow down and reconnect with real time, Nature’s time. By slowing down, we give ourselves some space to think about our values and the direction this fast-paced life is taking us. Live simply.

<blockquote>“Our life is frittered away by detail. Simplify, simplify, simplify! I say, let your affairs be as two or three, and not a hundred or a thousand; instead of a million count half a dozen, and keep your accounts on your thumb-nail”</blockquote>

Thoreau placed the above words in action during his “experiment” at Walden Pond from 1845 to 1847. His 2 year stay with nature was Thoreau’s proof that material progress was not necessary for a rich life."

[via:
https://www.youtube.com/watch?v=zgXgkpu7pkg ]]]></description>
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    <dc:date>2024-01-04T00:26:31+00:00</dc:date>
    <link>https://en.wikipedia.org/wiki/Scott_Nearing</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Nearing received his BS degree from the University of Pennsylvania in 1905 and his PhD in Economics in 1909. From 1905 to 1907, he served as the Secretary of the Pennsylvania Child Labor Committee, a volunteer society working to solve the child labor problem in the state.[11] From 1908 until 1915 while living in Arden, Delaware, Nearing taught economics and sociology at the Wharton School and Swarthmore College, authoring a stream of books on economics and social problems.[12] Nearing was a staunch advocate of a "new economics," which insisted that

<blockquote>... economists part company with the ominous pictures of an overpopulated, starving world, prostrate before the throne of "competition," "individual initiative," "private property," or some other pseudo-god, and tell men in simple, straightforward language how they may combine, re-shape, or overcome the laws and utilize them as a blessing instead of enduring them as a burden and a curse.[13]</blockquote>

Much as Karl Marx drew radical implications from the ideas of the conservative Hegel, Nearing took the economic logic of his department head, Simon Patten, and made radical inferences about wealth and the distribution of income that his mentor had hesitated to draw.[14] He believed that unfettered wealth stifled initiative and impeded economic advancement, and hoped that progressive thinkers among the ownership class would come to realize the negative impact of economic parasitism and accept their civic duty of enlightened leadership.[15] Nearing outlined an economic republicanism based on "four basic democratic concepts—equality of opportunity, civic obligation, popular government, and human rights."[16]

While living in Arden in 1910, Nearing learned about The Landlord's Game, the forerunner of Monopoly, and taught it to his students. This use of the game as an instructional device led to its spread among colleges.[17]

But Nearing's aggressive social activism in the classroom and through the printed word brought him into conflict with his employers at the University of Pennsylvania's Wharton School of Business, resulting in his dismissal and his emergence as a cause célèbre of the American radical movement during the next decade. On the morning of June 16, 1915, Nearing's secretary telephoned him to report that a letter from the provost had arrived, saying that "as the term of your appointment as assistant professor of economics for 1914–1915 is about to expire, I am directed by the trustees of the University of Pennsylvania to inform you that it will not be renewed."[18] Penn's board of trustees was heavily stacked with bankers, corporation lawyers, financiers, and corporation executives, and Nearing's writing had not gone unnoticed.[19] His tenuous situation had been exacerbated by an open letter to The North American in which he challenged the right wing evangelist Billy Sunday to apply the Gospel to the conditions of industrial capitalism, including "the railroad interests ... the traction company ... the manufacturers ... the vested interests."[20] Reaction to Nearing's dismissal from the academy was swift, with department head Patten and others issuing statements condemning the decision. Progressives in the Wharton School quickly compiled a summary of the facts of the case and sent it to 1500 newspapers, journals, and academics around the country.[21] Even conservatives in the faculty were deeply troubled since, as one Wharton professor observed, "the moment Nearing went, any conservative statement became but the spoken word of a 'kept' professor."[21] Conversely, some radicals felt vindicated in their belief in the conservative nature of the American academy. Socialist writer Upton Sinclair told Nearing in an open letter that "You do not belong in a university. You belong with us Socialists and free lances . ... Instead of addressing small numbers of college boys, you will be able to address large audiences of men."[22] Nearing's dismissal was retrospectively called by one historian "the most famous breach of academic freedom" of the era.[23]"]]></description>
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<item rdf:about="https://freedomthistime.wordpress.com/notes-on-anarchism/">
    <title>Notes on Anarchism | freedom this time</title>
    <dc:date>2023-08-15T03:06:59+00:00</dc:date>
    <link>https://freedomthistime.wordpress.com/notes-on-anarchism/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["A friend recently asked me to put together some sort of suggested “reading list” for anarchist political philosophy, which I may as well share here 🙂


Famous symbol denoting order “O” emerging from anarchy “A”. Anarchy is not “chaos” since “Liberty is the mother, not the daughter, of order” — Pierre-Joseph Proudhon

I tried to pick a set of short essays, by various “anarchist” authors, with the idea being to let somebody new to the concept of “anarchism” get rapidly acquainted with some of its core ideas and key thinkers, without having to soldier through any doorstop sized tomes. I didn’t try to be comprehensive, but rather to provide some hyper-links (click the titles) to essays I’ve particularly enjoyed reading. They’re all available for free online. Yay internet! I stuck to one per author. Of course, each of the authors here has a lot more to say for themselves, but I tried to pick something concise and representative for each of them. Here we go then! But first, a couple of “warm-up” contemporary intros before the more heavyweight “historical” material!

_____________________________________________

Are You an Anarchist? The Answer May Surprise You! by David Graeber

A fun little “warm-up” essay to introduce the rough idea of “anarchy” (before you begin with the “proper” essays below), by social anthropologist, Occupy activist and anarchist David Graeber, author of the fascinating book on economic and monetary history “Debt: the First 5000 Years” (free introductory essay here).

Also, this 1976 interview with Noam Chomsky (by Peter Jay) makes for an excellent brief introduction to some anarchist ideas.

_____________________________________________

Now onto the more “heavy-going” (but hopefully not too much! I tried to keep to brief-ish!) material of “anarchy proper”:

What is Property?, by Pierre-Joseph Proudhon

Classic essay arguing that, amongst other things, “property is theft” – if something is collectively produced it should not be individually owned, and to the extent property laws allow this they legalise a form of theft. Proudhon was the first to declare himself an “anarchist”, stating that:

“Whoever lays his hand on me to govern me is a usurper and tyrant, and I declare him my enemy.”

Keywords: Mutualism, Market Anarchism

Revolutionary Catechism, by Mikhail Bakunin:

Bakunin’s 1866 “manifesto” for an anarchist society, outlining anarchism as an alternative means of social organization. Bakunin’s conception of anarchy is as a libertarian socialism, since:

“liberty without socialism is privilege, injustice; socialism without liberty is slavery and brutality”

Libertarian Socialism is an alternative vision of society in which, as Bakunin has it:

“The political and economic organization of social life must not, as at present, be directed from the summit to the base — the center to the circumference — imposing unity through forced centralization. On the contrary, it must be reorganized to issue from the base to the summit — from the circumference to the center — according to the principles of free association and federation.”

Keywords: Libertarian Socialism, Social Anarchism

Discourse on Inequality, by Jean-Jacques Rousseau

Interesting essay arguing that “civilisation” has corrupted man, because:

“the savage lives within himself, whereas the citizen, constantly beside himself, knows only how to live in the opinion of others”

Takes considerable liberties with anthropological fact no doubt (Rousseau’s individualist savage living in an idealized “state of nature” likely never existed – humans are social animals) but has some very quotable passages! For example:

“An unbroken horse erects his mane, paws the ground and starts back impetuously at the sight of the bridle; while one which is properly trained suffers patiently even whip and spur: so savage man will not bend his neck to the yoke to which civilised man submits without a murmur, but prefers the most turbulent state of liberty to the most peaceful slavery. We cannot therefore, from the servility of nations already enslaved, judge of the natural disposition of mankind for or against slavery; we should go by the prodigious efforts of every free people to save itself from oppression.

I know that the former are for ever holding forth in praise of the tranquillity they enjoy in their chains, and that they call a state of wretched servitude a state of peace: miserrimam servitutem pacem appellant. But when I observe the latter sacrificing pleasure, peace, wealth, power and life itself to the preservation of that one treasure, which is so disdained by those who have lost it; when I see free-born animals dash their brains out against the bars of their cage, from an innate impatience of captivity; when I behold numbers of naked savages, that despise European pleasures, braving hunger, fire, the sword and death, to preserve nothing but their independence, I feel that it is not for slaves to argue about liberty.”

Keywords: Anarcho-primitivism, Anarchist Individualism.

Limits of State Action (Chapter III), by Wilhelm Von Humboldt.

The third chapter of this classic of classical liberal thought really sets out Humboldt’s view of human nature – man as an end in himself, not as a tool of the state – and labour as craftsmanship, as a means of self-actualisation, not a means to an end:

“Man never regards what he possesses as so much his own, as what he does; and the labourer who tends a garden is perhaps in a truer sense its owner, than the listless voluptuary who enjoys its fruits…In view of this consideration, it seems as if all peasants and craftsman might be elevated into artists; that is, men who love their labour for its own sake, improve it by their own plastic genius and inventive skill, and thereby cultivate their intellect, ennoble their character, and exalt and refine their pleasures. And so humanity would be ennobled by the very things which now, though beautiful in themselves, so often serve to degrade it.”

Beautiful stuff. Private Property was intended to defend the above conception of man, not destroy it. Shows how anarchist ideas grew out of the pre-capitalist roots of classical liberalism, though adapting these somewhat in response to the political challenges of a capitalist economy.

Keywords: Classical Liberalism.

Civil Disobedience, by Henry David Thoreau.

Thoreau, of Walden fame, opens this classic essay with the argument that:

“I heartily accept the motto,That government is best which governs least; and I should like to see it acted up to more rapidly and systematically. Carried out, it finally amounts to this, which I also believe,That government is best which governs not at all; and when men are prepared for it, that will be the kind of government which they will have.”

The remainder of the essay outlines how men are to be “prepared for it” in Thoreau’s view.

Keywords: Individualist Anarchism, Civil Disobedience

On Anarchism, by Leo Tolstoy

Short but excellent essay arguing for a pacifist form of anarchism and putting Tolstoy’s own Radical Christian spin on matters. Echoes of Latin America’s influential liberation theology movement can be heard in Tolstoy’s work. Gandhi was a big fan too, I hear. Some nice comments on how parliamentary systems co-opt radicals – by turning them into “cultivated microbes” Tolstoy argues.

Keywords: Anarcho-pacifism, Christian Anarchism

Anarchist Morality, by Peter Kropotkin

A kind of potted version of the far longer book Mutual Aid: A Factor in Evolution. Kropotkin sets out to demolish the Social Darwinist ideas that Darwin himself so hated, and sets out his argument that, for a social species such as ourselves, “survival of the fittest” means survival of the most cooperatively sociable (not ruthlessly individualistic) and argues for a morality based upon this. Or as Wendell Berry put it:

“Rats and roaches live by competition under the laws of supply and demand; it is the privilege of human beings to live under the laws of justice and mercy.”

Keywords: Anarchist Communism, Mutual Aid

The Soul Of Man Under Socialism, by Oscar Wilde.

Wilde argues that the abolition of private ownership of productive property (a.k.a. “socialism”) will allow the full development of free, self-perfecting individuals, of the sort Humboldt described a century before. He calls this the new individualism, to contrast it with classical liberalism’s tragically flawed pursuit of individual development through the means of private property. For Wilde (and I agree wholeheartedly):

“The recognition of private property has really harmed Individualism, and obscured it, by confusing a man with what he possesses. It has led Individualism entirely astray. It has made gain not growth its aim. So that man thought that the important thing was to have, and did not know that the important thing is to be. The true perfection of man lies not in what man has, but in what man is.

Private property has crushed true Individualism, and set up an Individualism that is false. It has debarred one part of the community [the poor] from being individual by starving them. It has debarred the other part of the community [the rich] from being individual by putting them on the wrong road [materialism], and encumbering them.”

Keywords: Individualist Anarchism, Libertarian Socialism

Government in the Future, by Noam Chomsky.

Mindblowingly good lecture in which Chomsky weaves together some of the above essays and much more besides to give a sense of the historical currents of anarchist thought and its continuing relevance to the future development of society. Completely changed the way I thought about “politics”. By the way, “notes on anarchism”, the title of this post, is also an essay by Chomsky.

Keywords: Mindblowing Lecture, Classical Liberalism, Libertarian Socialism, State Socialism, State Capitalism

The Dispossed, by Ursula K. Le Guin.

I know, I know, I said no books. But I simply cannot bring myself to leave out this wonderful novel on “an ambiguous utopia” which is replete with quotable passages that bring out the insanity of the present political systems we endure and the beauty and promise of anarchist ideals. Makes an interesting “sci-fi utopia”companion to 1984’s “sci-fi dystopia” – the book has a similar idea to “new-speak” but this time exploring the possibilities for language constructed to express freedom rather than repress it (that’s just one idea in the book – it’s packed full of ideas!). One of my favorite novels.

Keywords: Utopian Fiction, Anarchist Communism.

_____________________________________________

So that’s the end of my “potted anarchist history”. I’ll probably try to write something similar on the contemporary anarchist currents of thought at some point. David Graeber has argued (here, for example) that it offers the best source of hope and inspiration for revolutionary movements of the future and I would tend to agree with that. And if some or most of the above essays appealed to you, here is one “anarchist informed” recently founded contemporary project worth checking out, IMO:

http://www.iopsociety.org/ "]]></description>
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<item rdf:about="https://www.chrbutler.com/personal-machines-and-portable-worlds">
    <title>Personal Machines and Portable Worlds - Christopher Butler</title>
    <dc:date>2023-07-09T19:58:31+00:00</dc:date>
    <link>https://www.chrbutler.com/personal-machines-and-portable-worlds</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["A lifelong fascination with technology begins with a single object.

Think back to when you were a child, to when you first encountered something you could hold in your hand that held you in awe. Perhaps you thought to yourself, “Wow, this does that?!”"

...

"There’s something about the personal device that I have always found fascinating and now find to be almost mysterious. But to be personal it has to be a certain kind of device — the kind that balances access to another world with the kinds of limits and boundaries that make a thing private. That balance is something I’ve always been able to point to in particular objects — this has it, but that does not — but describing it on its own, as a set of rules or characteristics, has always eluded me. But, for me, a personal device is defined by this balance, not by virtue of being the thing in my pocket and not the one in yours.

I think this notion of a personal technology is deeply meaningful. So I’d like to find a way to explain it.

Nearly everyone I asked returned the question — That was the gadget for me… So, what was yours?

I can point to my own origin-objects — gadgets like the Fisher Price Movie Viewer, the Pocket Rocker, the Etch A Sketch Animator, or, from a bit later, the Arion Hot-Watt II — and describe why they had that thing. Besides being quirky, niche products, they all let me enter another world that, at times, seemed both bigger and smaller than this one. It was as if that world was outside of this one, made accessible by the push of a button and, at the same time, that it sprang into existence as a me-sized bubble universe, Population: 1. This is the paradox of the personal device.

The tension between knowing that the world a personal device creates has boundaries defined by its code and materials and not knowing exactly what they are is one that, when kept in balance, activates the imagination. It allows for exploration, both of the object and through the object.

People of a certain age who remember spending hours exploring Hyrule, the world of The Legend of Zelda, will immediately understand this feeling. You could explore the world, and you could play the game. I’m not sure I ever tired of exploring enough to actually play the game.

The most magical of personal devices are those which offer access to the experience of infinitude without measuring it for you. The unknown is the stuff of imagination.

That is the opposite of our most common device-based experiences today. Whether you use a phone, tablet, laptop, or any other computer, the digital “world” today is always defined by an acute awareness of measure. Of more. But more is the easiest way to obstruct the imagination. Persistent input keeps cognition at its lower levels — maintaining attention, storing memory, applying perception, and processing language — without allowing a transition to thought and learning.

The best personal device supports thought — with it, within it, and most importantly, within you. Carl Jung once wrote that “in each of us there is another whom we do not know.” The purpose of introspection, for Jung, was to become acquainted with that person — to deepen our understanding of ourselves so that we may be more fully ourselves.

What if technology had the same purpose?

What if personal technology saw imagination — open, unresolved, interior, and subjective as it is — not just as a byproduct of use but as a purpose for it; as equal to utility, communication, or entertainment?"

...

"Kyle Chayka is working on a book that sounds like it may make a good case for my invisible mechsuit world. In a post titled, “The dream of the personal machine,” [https://kylechayka.substack.com/p/the-dream-of-the-personal-machine ] Chayka writes:

<blockquote>“My book is so much about how technology dictates culture. The devices that we use aren’t just accessories to culture or windows that we consume things through; they are collaborators, gateways, and molds…the idea of a personal computer had to be invented, manufactured, and marketed. We had to imagine computers as personal machines.”</blockquote>

This is an important point. We could live in a world where computing is a public works — where terminals to central processing work like telephones used to. You can pick them up or put them down, but nothing inside of them is yours. But we don’t live in that world. As soon as the first computer booted up in the first home, the computer became a personal object. And when an object becomes personal, it is difficult to leave it behind. We want it with us.

Perhaps that one thing — a simple desire for a personal machine — set us on the course we have followed since. Not Moore’s Law, not Capitalism, but personhood.

Later, in the same post, Chayka writes of the Palm Pilot — an early attempt at portable computing — that, despite it not providing much in the way of “fun” features for a kid, there was still an “ineffable appeal to holding a gateway to a digital world in your hand.”

A world. There’s that word again.

Why a world? There is a sense of dimensional transcendence to computers. As C.S. Lewis wrote of the wardrobe, “It’s inside is bigger than its outside.” In the early days of mobile computing, it was hard to not compare the capaciousness of a computer you could carry with you to something like a book. Of both you could say their insides were bigger than their outsides, but when it came to information, you’d have to settle for figurative capaciousness in a book; their actual contents are literally cover to cover. A digital machine’s contents are an entirely different thing.

In the time of the Palm Pilot, a tiny door to a vast digital world was more powerful as an idea than a tool. The digital world just wasn’t as big back then as it is now. But to Chayka’s first point, we built the digital world using these little devices that didn’t do very much. We made it worth the journey. And meanwhile, the object was our companion, and inside was a tiny, personal digital world — our notes, our messages, our few digital texts. It was not much, but it was ours."

...

"Many of the examples I’ve looked at so far align with my ideas of what makes a machine personal because they were designed with limitations imposed upon them, and many of the examples I’ve discussed that no longer feel personal have been designed to surpass those limitations. If machines were designed to be more personal, we’d have very different machines.

Sometimes it feels like it is simply a matter of whether a machine is connected to the internet or not. But of course it’s more than that. It’s as much about what we do with our machines as it is about what they were designed to do.

I think we can still experience the personal machine by choosing to experience a machine that way.

In a way, the continued popularity of vinyl is a good example of this. For the same price as a single record, you can get several months of access to more music than you could ever hear in that time. Still, some people choose records over digital files. It’s too easy to dismiss this as an affectation. It’s a choice to experience music in a particular way. It’s also a choice of a personal machine — a record player rather than a phone.

One benefit of personal technology reaching the maturity it has is the abundance of choices. It may seem like you must use an iPhone — perhaps everyone you know and care about is group messaging with iMessage — but you can choose something else. Every choice has benefits and costs. Ten years ago, I chose to leave Facebook. The benefits were many; the costs were not having easy access to where people I cared about shared information I wanted to know. A few years ago, I stopped using an e-reader — I had used a Kindle, and then a Kobo, both great machines. The cost was no longer being able to send articles from the web to my machine and reading them, as well as books, in bed. The benefit was not having too many choices in front of me when I just want to read one thing. I went back to the printed book. You could say that’s as much of an affectation in 2023 as playing a vinyl record. Maybe. But it’s a choice.

I haven’t owned a laptop for many years. My primary machine is a Mac Mini set up in my home office. The cost is I can’t work from my couch or the local coffee shop. The benefit is I have some separation in my life between work and not work.

For me, these choices turn using the same machines everyone uses into a more personal experience."

...

"I also notice that when I look at these older machines and the old media they use, I often find myself feeling like I’m looking at a door to a world. I look at a book — there’s a world. Every playable disc in our house — each a world.

Once you become accustomed to worldspotting, you can see them in anything. Every object is a world.

In the World; of the Worlds

Perhaps the days of personal machines are over. Maybe the complexities that Mau and his cohort wrote about are not safely reducible. Maybe we can’t decomplexify the world of things. Maybe. And if we can, I wouldn’t dare imagine it could happen quickly.

But if we can, where do we start? What do we look at? What do we use again, despite there being sleeker, faster, frictionless options available? What limits do we embrace so that we can re-balance the human with the machine?

I have spent the last few years slowly disconnecting in various ways. I’ve chosen to use things that only do a part of what readily available alternatives do and more. I’ve chosen to stop using some things altogether. I have found that these choices have enhanced my experiences because they’ve supported true insight; they’ve helped me be more aware of what I’m doing, why I’m doing it, and who I am becoming. I have found that they change the world because they change my world.

Jung said that in each of us is another. I think that in each of us is another world. A good personal machine reveals that world and helps us shape it."]]></description>
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    <title>How to wander | Psyche Guides</title>
    <dc:date>2023-04-28T16:52:10+00:00</dc:date>
    <link>https://psyche.co/guides/how-to-wander-in-a-world-that-values-purpose</link>
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    <title>Thoreau in Good Faith | Public Books</title>
    <dc:date>2021-07-25T19:24:20+00:00</dc:date>
    <link>https://www.publicbooks.org/thoreau-in-good-faith/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[“Try mentioning Thoreau online, and you are likely to get several comments about his mother doing his laundry while he enjoyed his camping trip. As Laura Dassow Walls shows in her deeply researched biography, Henry David Thoreau: A Life, this accusation probably isn’t true. True or not, though, the story resonates with the way Thoreau (or latter-day Thoreauvianism, at least) makes some people feel, so it seems impervious to fact-checking.

“‘Walden’ is less a cornerstone work of environmental literature than the original cabin porn,” Kathryn Schulz wrote in the New Yorker in 2015. “A fantasy about rustic life divorced from the reality of living in the woods, and, especially, a fantasy about escaping the entanglements and responsibilities of living among other people.”

In casual conversations, Thoreau’s name now stands for a whole bestiary of bad white masculinities. He is both the old-timey moralist and the adolescent whiner. He is the “cornball” prude but also the affected, too-cool hipster (performed to such devastating effect by John Mulaney, with his bespoke neck beard, on AppleTV’s Dickinson). Thoreau is the inconsistent, ineffectual liberal as well as the agro-celibate.

These various characterizations seem almost irreconcilable, except that they are all ridiculous. Kushner’s Alex reads the room and plays it to his own advantage, against the loser Gordon: there is no quick prestige to be gained by casting your lot with the author of Walden.

Elsewhere, Thoreau continues to be quietly taken up by more serious and sympathetic readers. In studies by Sharon Cameron, Jane Bennett, and Branka Arsić, among others, we encounter a Thoreau whose aesthetics and politics flow from his deep sense of connection rather than isolation. Even Rebecca Solnit, the author of “Men Explain Things to Me,” a definitive essay about presumptuous guys, repeatedly returns to Thoreau in just such terms. Solnit finds in Thoreau a writer for whom “nature and culture, landscape and politics, the city and the country are inextricably interfused.” These readers see Thoreau’s embeddedness in local communities—human and nonhuman—as the wellspring of his work’s still-surprising power, not a source of shame.

Thoreau’s Religion takes its place in this good company. With extraordinary patience and clarity, Balthrop-Lewis guides well-meaning readers in appreciating Thoreau’s aesthetics and ethics, his ways of writing and his ways of living, as he himself understood them.

I have spent time with many books and essays about Walden. I cannot think of any other critic who performs this simple-seeming but exacting task as well as Balthrop-Lewis does it here.

Thoreau’s Religion sets aside the image of the walled-in hermit; it emphasizes Thoreau’s intimacies and connections. His idea in going to Walden was not to extricate himself from social ties. It was to reorient his world, so that the woods, rather than the town, centered his spiritual map. Walden made urban life, with its harried business, look provincial and benighted compared with the motley cosmopolitanism of the outskirts. Around the ponds, Thoreau found people excluded and displaced from Concord’s white, middle-class, Protestant mainstream. He also found himself communing with plants and beasts.

Despite the book’s title, Thoreau’s Religion does not concern itself too much with theological details, such as how Thoreau combined the Christian Gospels with Stoicism or the Vedas, all of which informed his transcendental vision. Balthrop-Lewis is most compelling when she treats Thoreau’s religion as a devotional regimen rather than a doctrine—as a self-imposed habit, not a creed. She insists that Thoreau was a Christian believer, but she emphasizes his way of life as a Christian practice.

Thoreau’s path was an ascetic one, designed especially to retrain his attention, opening his sensorium up to objects and others. Even writing was not as lonesome as it might appear. For Thoreau, “writing is a practice that contributes to broader forms of sociality by cultivating habits of attention in the author.”

Modern capitalism manipulated people of Thoreau’s class, he believed, by tricking them into craving things they didn’t need. He shut out the market’s distractions so that he could return to savoring the uncommodified parts of life. He was not seeking mortification for its own sake; he wanted greater intensities of perception and deeper communion with the people he loved.

This doesn’t mean Thoreau exempted himself from the modern economy. He knew that there was no exemption. According to Balthrop-Lewis, he was trying to live simply so that everyone could get their share of the world’s common goods. By placing some limits on what he allowed himself to consume—for instance, no coffee, since it came from slave plantations—he believed that he could access richer kinds of joy and pleasure. Balthrop-Lewis calls this “delight in true goods,” the grateful appreciation of “God’s gifts of life and nature.

The ethos of delight in true goods, Balthrop-Lewis shows, motivates Thoreau’s sensuous asceticism, and it is also the foundation of his ethics and his politics. He wrote hundreds and hundreds of pages, using his journal to train himself in observation and composition. In the same spirit, he risked his life and freedom when his conscience demanded it, for instance, in helping fugitives on the run from slavery.

The point about political activism is crucial to Thoreau’s Religion. Other critics, notably Hannah Arendt in her essay “Civil Disobedience” (1970), have accused Thoreau of a self-absorbed quietism—a preoccupation with keeping his own hands clean—that required no involvement in the compromised, collaborative work of politics. Today, Thoreau is sometimes caricatured as devising the luxury commodity of New Age spirituality, a self-care that consoles its practitioners while the world is burning all around them.

Balthrop-Lewis rejects any oversimple opposition between spirituality and activism. She argues that, paradoxically, “the ascetic practitioner participates in the society from which he withdraws by withdrawing from it.” Her interpretation reconnects Walden to Thoreau’s political writings, with special emphasis on economic problems like exploitation and the unequal distribution of resources.

“Thoreau’s asceticism,” she insists, “was also political, by which I mean it was aimed not only at his individual formation but also at the radical transformation of the world in which he lived, specifically of emerging industrial capitalism.” This is true.”

In responding mainly to accusations that Thoreau was not political, however, Thoreau’s Religion seems to assume that political participation itself—activism, resistance, “the radical transformation of the world”—is sure to be on the side of justice. What guarantees this alignment?

This question brings me back to The Mars Room. Graciously, Kushner treats even the awkward, ill-fated Gordon with sensitivity. In some of the novel’s most beautiful scenes, Gordon walks through the damaged California landscape, a saunterer like Thoreau, doing nothing more or less than paying attention to the world. One day he finds a big paper-wasp’s nest and carries it home, appointing himself the keeper of “this grand and mysterious, half-deflated, torn-open thing.” The phrases could also describe Gordon’s heart—half-deflated, torn open—or Thoreau himself, who went to Walden grieving his dear brother’s death. John Thoreau had passed away in Henry’s arms.

A word for one kind of heightened attention is vigilance. It might find expression in a vigil, a careful tending to the vulnerable or the lost. But vigilance can also devolve into the violence of the vigilante. It happens to Gordon: humiliated and enraged, he turns militant in the lonesome hills, and by the novel’s end he has fulfilled his old friend Alex’s cruel, half-joking prophecy. The student who loved Thoreau becomes an ecoterrorist.

Today in the United States, there is militant activism on the right as well as on the left, and Thoreau has his admirers (and haters) on both sides. You can find references to his work in Kaczynski’s writings; you can hear him reclaimed as a pioneer of the “libertarian tradition” in podcasts. Of course, reactionary appropriations of Thoreau’s work betray its spirit, as Balthrop-Lewis understands it. I agree with her reading, though I am not sure it will persuade Thoreau’s harshest critics on the left.

***

The ethos of delight in true goods made Thoreau a radical. It also made him a scold. “Thoreau does sometimes come off as dour,” Balthrop-Lewis acknowledges. But then she also has eyes for his humor and his weirdness and his beauty, page by page. For readers who can’t stand Thoreau’s style, no moral exoneration, however well argued, is going to redeem him. Thoreau surely believed that his writing and his faith were of a piece, and Thoreau’s Religion shows how deliberately he sought to unify them, but it is as an artist, not a moralist, that he wins and loses readers’ love.

The real political objection to Walden, as I see it, is less Thoreau’s quietism or complacency than his primary commitment to his self-emancipation. Like today’s white reactionaries, he counted himself among the victims of political and social oppression, in spite of his relative social advantages. They take up the ambition of a white man’s liberation without tying it, as he did, to anti-imperialist and antiracist missions. Their selective use of Thoreau’s writing is not his fault, but it is some part of his legacy.

The real ethical objection, meanwhile, is not that Thoreau absolved himself from “sociality” itself, or even that he refused to acknowledge his dependency on others. The more difficult problem is that he was not the kind of person anyone else could depend on, steadily, day by day. For some of us, economic and ethical compromises, not to mention aesthetic ones, feel most unavoidable when we are taking care of people who cannot take care of themselves. I may have misgivings and regrets about my own compromises, but those sentiments make it even harder to stomach the implicit condemnations that I feel, now and then, in reading Walden.

What keeps me attached, in the end, is the way Thoreau thinks and writes, the resonance and interest of his strange, restless, beautiful prose. I don’t want to convert to Thoreau’s religion, but I do want to read his book again and again.”]]></description>
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    <title>Opinion | What I Miss During the Coronavirus Pandemic? Swimming. - The New York Times</title>
    <dc:date>2021-01-17T02:06:10+00:00</dc:date>
    <link>https://www.nytimes.com/2020/04/10/opinion/sunday/swimming-covid.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[“Immersion, even just thinking about it, is the balm we need right now.

It’s on the opening pages of “Moby-Dick.”

“Yes, as everyone knows,” Ishmael declares, “meditation and water are wedded forever.”

He calls our attention to the crowds of dreamy water gazers gathered along the shores of Manhattan on a Sabbath afternoon. They prove him right: The ocean’s liquid fingers have a way of transfixing us in thought. Ishmael points out that the ancient Persians call the sea holy, that the Greeks give it a powerful deity of its very own. A maiden voyage sings with a kind of “mystical vibration.” But what exactly is the magic of water, and what does it do to us? It’s a mystery.

When we peer into a lake, river or ocean, we find that water encourages a particular kind of reverie. Perhaps its depths can enhance our consciousness even more if instead of just looking, we get in and swim.

We jump into that water and find ourselves in a curious liminal space. Here we are, suspended, yet moving; floating, yet ever in danger of sinking. And if we swim with the current, instead of fighting against it, we find a momentary state, one of motion and yet paradoxical stillness that is flow.

There’s a poignancy to being a swimmer now, in that we’re not able to do it just when we need it most. But even though public pools are closed and we are limited in the wild places where we can swim, thinking about immersion in our favorite watering holes is still a balm. As the writer Heather Hansman pointed out to me recently, there is value in those places even (and especially) when we’re not in them — it’s what Wallace Stegner called “the geography of hope.”

The focused immediacy of swimming encourages a mind-set that reminds me of how my young children think: It’s an ever-presentness. Every past moment is immediately replaced by a new one: a constant stream of now, and now and now that doesn’t allow much room to dwell too long on things past or what’s to come. Living in the now is a state of being that my busy brain finds challenging — but I desire it. Swimming is an antidote for the existential anxiety from which I suffer.

In “Waterlog,” his celebrated chronicle of swimming through Britain’s waterways, the naturalist Roger Deakin described swimming as having a transformative, Alice-in-Wonderland quality; it was an activity that had power over his perception of self and of time. “When you enter the water, something like metamorphosis happens,” he wrote. “Leaving behind the land, you go through the looking-glass surface and enter a new world.” You’ve crossed a boundary, and the experience of life while swimming is intensely different from any other. Your sense of the present, he added, “is overwhelming.”

In its power to produce an altered state, the legendary long-distance swimmer Lynne Cox explained to me, swimming is like a drug. Sometimes we zero in on something with unparalleled lucidity, and we gain the ability to tune out the extraneous stuff; other times the focus is fuzzy, and one thought leads to another, without interruption. “Who needs psychedelics,” she said, “when you can just go for a swim in the ocean?”

What is it like inside Ms. Cox’s head when she’s swimming?

“It’s a state between a dream state and an awake state,” she told me. Maybe, she said, we can call it “sea-dreaming.” The rhythm of swimming lulls your body — which, well trained, seems to keep moving on its own — and your brain is allowed to go wherever it wants.

“Maybe you smell the coffee someone is drinking on the pier,” Ms. Cox told me. “There’s this awareness of the ripples of water, the pelicans sliding right by. Maybe your heart stops as you see a wave of silvery anchovies swimming below you.” In the hushed oceanic roar, you can choose to filter some things out and to focus on others.

Cognitive scientists have shown that water sounds — the rhythmic hum of the ocean, the rush of a waterfall — are calming to the human brain. We experience a drop in heart rate and blood pressure and an increase in alpha-wave activity — those brain wavelengths associated with relaxation and boosted serotonin — as well as creative thinking. While tooling around on the Spotify music-streaming service one day, I found that white-noise water sounds are some of the biggest hits there; a track called “Rolling Ocean Waves” has been played nearly 60 million times.

Walks in the woods are all well and good, as Thoreau illustrated in his transcendentalist classic, “Walden.” But during the two years, two months and two days that he spent living in that cabin at Walden Pond, he also got up early every morning to swim; he described it as “a religious exercise, and one of the best things which I did.” Each of his swims stimulated body and mind. Each day’s routine of rousing early to do so was a way to enact his desire to “live deliberately” in the New England forest.

Much has been made of the walk as the instrument for big thinkers: Charles Darwin; Albert Einstein; Amos Tversky and Daniel Kahneman, who famously rambled together and revolutionized our understanding of the psychology of decision-making. Less has been explicitly made of swimming — a similar kind of aid, more medium than tool — for channeling the inner life and improving the flow of thoughts.

The physical action matters just as much as the environment does. “The way we move our bodies further changes the nature of our thoughts, and vice versa,” the science journalist Ferris Jabr notes in an essay titled “Why Walking Helps Us Think.” It follows that the pace of swimming, because of its fluid continuity, encourages a specific kind of thinking. There are the same changes to our body chemistry in swimming as there are in land exercise: faster heartbeat, increased circulation, more blood and oxygen to muscles and brain.

Mr. Jabr invokes the peripatetics of Clarissa Dalloway, Virginia Woolf’s famously musing, ambulatory character, as someone who “does not merely perceive the city around her. Rather, she dips in and out of her past.” Woolf herself, writing in her diary about the stimulating energy of walking through London, used energetic, aquatic language to describe the immersive experience as “being on the highest crest of the biggest wave, right in the centre & swim of things.”

In his detailing of Stanford University research experiments on the relationship between walking and creativity, Mr. Jabr writes that walking set “the mind adrift on a frothing sea of thought.” For Mr. Jabr, Woolf and others, the choice of words betrays them. They talk of “ideas bubbling up,” the tumbling of them, the “wrinkling water” in a current of thought. Walking is conducive to thinking, but swimming is just as true a conduit.

As human swimmers, we can never really be the fish. You and I, we know that. We don’t have to remind ourselves that it’s water around us. But we get glimpses of what it’s like to be the fish. We get flashes of forgetting the water. In the forgetting, we can drift. Daydreaming is critical to problem-solving and creativity. Scientists now know that when our minds are wandering without any particular external focus, the brain’s “default-mode network” is active. It’s what makes fresh, unexpected connections possible. And it’s the reason you get some of your best ideas in the shower.

The marine biologist and author Wallace J. Nichols is an evangelist for achieving what he calls “blue mind,” which emphasizes the importance of drifting to discovery, and water as a way to enable that process. “Being around water provides a sensory-rich environment with enough ‘soft fascination’ to let our focused attention rest and the default-mode network to kick in,” he writes. In these times of stress and social distancing, he emphasizes that water is essential medicine more than ever.

“Use your wild waters if you can safely and legally,” he told me. “Make sure you have a daily ritual involving domesticated waters” — pools, tubs, baths, spas, showers — “and embrace all types of virtual waters.” Even looking at water will take you to a better, calmer place.

To live deliberately as a swimmer means that you are a seeker: a chaser of the ocean’s blue corduroy, a follower of river veins. The science writer Florence Williams notes that “place matters” — something that poets and philosophers from Aristotle to Wordsworth have been telling us for ages. “Our nervous systems are built to resonate with set points in the environment,” Ms. Williams writes in her book “The Nature Fix.” “Science is now bearing out what the Romantics knew to be true.” And because “our brains especially love water,” we seek out blue spaces.

The Romantic poet Lord Byron knew it; he swam after this feeling and wrote about it whenever he could. We want to be near the ocean, the lake, the river. We build houses on the beach despite hurricane warnings and sea-level rise because that view does something to us. In a fast-moving world that encourages hyperconnectivity without meaning, we dare to risk for the reward of regaining moments of self — fading, water-stained postcards from the solitary, slow-paced thinkers we once were and dearly miss. In doing so, we hold on to Stegner’s geography of hope — the idea that we will one day find our way back.”]]></description>
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    <title>Books with unusual but brilliant structures - Austin Kleon</title>
    <dc:date>2020-08-21T16:39:16+00:00</dc:date>
    <link>https://austinkleon.com/2020/08/20/books-with-unusual-but-brilliant-structures/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The other day I was noodling on this notecard, thinking about how I would go about structuring a book based on a kind of non-linear system in which all the pieces needed to work together, and I asked Twitter and Instagram, “What book do you love that has an unusual but brilliant structure?”

I got hundreds of responses, mostly fiction. (Pamela Colloff noticed this right away and asked for non-fiction recommendations, starting another great thread.) Many weren’t really what I was looking for — lots of people recommended the Choose Your Own Adventure books or Mark Danielewski’s House of Leaves or Chris Ware’s Building Stories, which are all brilliant in their own ways, but I was mostly interested in non-fiction that reads like a linear book, but has a structure that is weird but brilliantly maps to the subject matter.


[image: John McPhee’s diagrams]

I was immediately reminded of John McPhee, a master of structure, who shares many of his structure diagrams, or “inscrutable blueprints,” in his book on writing, Draft. No. 4.

A new-to-me book I picked up immediately was Jane Alison’s Meander, Spiral, Explode: Design and Pattern in Narrative.

One of my very favorite writers, Sam Anderson (author of Boom Town), gave his list, which reminded me I still need to read Sei Shonagon’s The Pillow Book (I recently read two other works of Zuihitsu, Essays in Idleness and Hojoki), Anne Carson (Nox and others), and Annie Dillard. (I’m sure my youngest might like The Monster at the End of This Book.

Recent non-fiction mentioned that caught my eye: Isabel Wilkerson’s The Warmth of Other Suns, Lewis Hyde’s A Primer for Forgetting, Sarah M. Broom’s The Yellow House, and Carmen Maria Machado’s In The Dream House.

Fiction mentioned that I’ve been meaning to read for years: Tristram Shandy and The Rings of Saturn.

Old favorites mentioned: Richard McGuire’s Here, Christopher Alexander’s A Pattern Language, Alan Fletcher’s The Art of Looking Sideways, and the fragmented collage-like books of Maggie Nelson (The Argonauts) and Sarah Manguso (Ongoingness.)

One intriguing recommendation: Emerson’s essays, like “Circles,” which the recommender claimed could be read out of order, by paragraphs or sentences. (I’ve been meaning to read more Emerson after my year of Thoreau.)

You can poke through more of the recommendations, here, here, and here.

Happy reading!"]]></description>
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    <title>Building an Inclusive Campus</title>
    <dc:date>2019-05-14T20:15:44+00:00</dc:date>
    <link>https://www.slideshare.net/jessestommel/building-an-inclusive-campus</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[via: https://twitter.com/Jessifer/status/1128104712316825601 

bracketed parts from Twitter thread:
https://twitter.com/Jessifer/status/1128111041177694208 ]

"Scaffolding can create points of entry and access but can also reduce the complexity of learning to its detriment. And too often we build learning environments in advance of students arriving upon the scene. We design syllabi, predetermine outcomes, and craft rubrics before having met the students. We reduce students to data. 

["I'm increasingly disturbed when I see compassion, respect, and equity for students being mislabeled with the derogatory word “coddling."

"We need to design our pedagogical approaches for the students we have, not the students we wish we had." @Jessifer @saragoldrickrab https://www.chronicle.com/article/Teaching-the-Students-We-Have/245290 ]

5 things we can do to create more inclusive spaces in education:  

1) Recognize students are not an undifferentiated mass.  

2) For education to be innovative, at this particular moment, we don’t need to invest in technology. We need to invest in teachers.   

3) Staff, administrators, and faculty need to come together, across institutional hierarchies, for inclusivity efforts to work. At many institutions, a faculty/staff divide is one of the first barriers that needs to be overcome.  

4) The path toward inclusivity starts with small, human acts:  
* Walk campus to assess the accessibility of common spaces and classrooms. For example, an accessible desk in every classroom doesn’t do much good if students can’t get to that desk because the rooms are overcrowded.  
* Invite students to share pronouns, model this behavior, but don’t expect it of every student.  
* Make sure there is an easy and advertised process for students, faculty, and staff to change their names within institutional systems. Make sure chosen names are what appear on course rosters.  
* Regularly invite the campus community into hard conversations about inclusivity. For example, a frank discussion of race and gender bias in grading and course evaluations. 

5) Stop having conversations about the future of education without students in the room."

["“Critical formative cultures are crucial in producing the knowledge, values, social relations and visions that help nurture and sustain the possibility to think critically...” @HenryGiroux

The path toward inclusivity starts with small, human acts.

"You cannot counter inequality with good will. You have to structure equality." @CathyNDavidson

"The saddest and most ironic practice in schools is how hard we try to measure how students are doing and how rarely we ever ask them." @fastcrayon" ]]]></description>
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    <title>What It Takes to Put Your Phone Away | The New Yorker</title>
    <dc:date>2019-04-28T06:07:22+00:00</dc:date>
    <link>https://www.newyorker.com/magazine/2019/04/29/what-it-takes-to-put-your-phone-away</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["During the first few days of my Internet decluttering, I found myself compulsively checking my unchanged in-box and already-read text messages, and scanning the same headlines over and over—attempting, as if bewitched, to see new information there. I took my dog out for longer walks, initially trying to use them for some productive purpose: spying on neighbors, planning my week. Soon I acquiesced to a dull, pleasant blankness. One afternoon, I draped myself on my couch and felt an influx of mental silence that was both disturbing and hallucinatorily pleasurable. I didn’t want to learn how to fix or build anything, or start a book club. I wanted to experience myself as soft and loose and purposeless, three qualities that, in my adulthood, have always seemed economically risky.

“Nothing is harder to do than nothing,” Jenny Odell writes, in her new book, “How to Do Nothing: Resisting the Attention Economy” (Melville House). Odell, a multidisciplinary artist who teaches at Stanford, is perhaps best known for a pamphlet called “There’s No Such Thing as a Free Watch,” which she put together while in residence at the Museum of Capitalism, in Oakland. Odell investigated the origins of a blandly stylish watch that was being offered for free (plus shipping) on Instagram, and found a mirrored fun house of digital storefronts that looked as though they had been generated by algorithm. The retailers advertised themselves as brands that had physical origins in glitzy Miami Beach or hip San Francisco but were, in fact, placeless nodes in a vast web of scammy global wholesalers, behind which a human presence could hardly be discerned.

Like Newport, Odell thinks that we should spend less time on the Internet. Unlike him, she wants readers to question the very idea of productivity. Life is “more than an instrument and therefore something that cannot be optimized,” she writes. To find the physical world sufficiently absorbing, to conceive of the self as something that “exceeds algorithmic description”—these are not only “ends in and of themselves, but inalienable rights belonging to anyone lucky enough to be alive.” Odell details, with earnest wonder, moments in her life when she was reoriented toward these values. After the 2016 election, she began feeding peanuts to two crows on her balcony, and found comfort in the fact that “these essentially wild animals recognized me, that I had some place in their universe.” She also developed a fascination, via Google Maps, with the creek behind her old kindergarten, and she went to see it with a friend. She followed the creek bed, which, she learned, runs beneath Cupertino’s shopping centers and Apple’s headquarters. The creek became a reminder that under the “streamlined world of products, results, experiences, reviews” there is a “giant rock whose other lifeforms operate according to an ancient, oozing, almost chthonic logic.”

Odell elegantly aligns the crisis in our natural world and the crisis in our minds: what has happened to the natural world is happening to us, she contends, and it’s happening on the same soon-to-be-irreparable scale. She sees “little difference between habitat restoration in the traditional sense and restoring habitats for human thought”; both are endangered by “the logic of capitalist productivity.” She believes that, by constantly disclosing our needs and desires to tech companies that sift through our selfhood in search of profit opportunities, we are neglecting, even losing, our mysterious, murky depths—the parts of us that don’t serve an ulterior purpose but exist merely to exist. The “best, most alive parts” of ourselves are being “paved over by a ruthless logic of use.”

“Digital Minimalism” and “How to Do Nothing” could both be categorized as highbrow how-to—an artist and a computer scientist, both of them in their thirties, wrestling with the same timely prompt. (At one point, Odell writes, she thought of her book as activism disguised as self-help.) Rather than a philosophy of technology use, Odell offers a philosophy of modern life, which she calls “manifest dismantling,” and which she intends as the opposite of Manifest Destiny. It involves rejecting the sort of progress that centers on isolated striving, and emphasizing, instead, caregiving, maintenance, and the interdependence of things. Odell grew up in the Bay Area, and her work is full of unabashed hippie moments that might provoke cynicism. But, for me—and, I suspect, for others who have come of age alongside the Internet and have coped with the pace and the precariousness of contemporary living with a mixture of ambient fatalism and flares of impetuous tenderness—she struck a hopeful nerve of possibility that I hadn’t felt in a long time.

Odell writes about the first electronic bulletin-board system, which was set up, in Berkeley, in 1972, as a “communal memory bank.” She contrasts it with Nextdoor, a notoriously paranoid neighborhood-based social platform that was recently valued at $1.5 billion, inferring that the profit motive had perverted what can be a healthy civic impulse. Newport, who does not have any social-media accounts of his own, generally treats social media’s current profit model as an unfortunate inevitability. Odell believes that there is another way. She cites, for example, the indie platform Mastodon, which is crowdfunded and decentralized. (It is made up of independently operated nodes, called “instances,” on which users can post short messages, or “toots.”) To make money from something—a forest, a sense of self—is often to destroy it. Odell brings up a famous redwood in Oakland called Old Survivor, which is estimated to be almost five hundred years old. Unlike all the other trees of its kind in the area, it was never cut down, because it was runty and twisted and situated on a rocky slope; it appeared unprofitable to loggers. The tree, she writes, is an image of “resistance-in-place,” of something that has escaped capitalist appropriation. As Odell sees it, the only way forward is to be like Old Survivor. We have to be able to do nothing—to merely bear witness, to stay in place, to create shelter for one another—to endure."

…

"My Newport-inspired Internet cleanse happened to coincide with a handful of other events that made me feel raw and unmanageable. It was the end of winter, with its sudden thaws and strange fluctuations—the type of weather where a day of sunshine feels like a stranger being kind to you when you cry. I had just finished writing a book that had involved going through a lot of my past. The hours per day that I had spent converting my experience into something of professional and financial value were now empty, and I was cognizant of how little time I had spent caring for the people and things around me. I began thinking about my selfhood as a meadow of wildflowers that had been paved over by the Internet. I started frantically buying houseplants.

I also found myself feeling more grateful for my phone than ever. I had become more conscious of why I use technology, and how it meets my needs, as Newport recommended. It’s not nothing that I can text my friends whenever I think about them, or get on Viber and talk to my grandmother in the Philippines, or sit on the B54 bus and distract myself from the standstill traffic by looking up the Fermi paradox and listening to any A Tribe Called Quest song that I want to hear. All these capacities still feel like the stuff of science fiction, and none of them involve Twitter, Instagram, or Facebook. It occurred to me that two of the most straightforwardly beloved digital technologies—podcasts and group texts—push against the attention economy’s worst characteristics. Podcasts often demand sustained listening, across hours and weeks, to a few human voices. Group texts are effectively the last noncommercialized social spaces on many millennials’ phones.

On the first day of April, I took stock of my digital experiment. I had not become a different, better person. I had not acquired any high-value leisure activities. But I had felt a sort of persistent ache and wonder that pulled me back to a year that I spent in the Peace Corps, wandering in the dust at the foot of sky-high birch trees, terrified and thrilled at the sensation of being unknowable, mysterious to myself, unseen. I watered my plants, and I loosened my StayFocusd settings, back to forty-five daily minutes. I considered my Freedom parameters, which I had already learned to break, and let them be."]]></description>
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<item rdf:about="http://robinderosa.net/uncategorized/the-library-is-open-palakeynote/">
    <title>The Library is Open: Keynote for the 2018 Pennsylvania Library Association Conference – actualham</title>
    <dc:date>2018-10-21T01:04:53+00:00</dc:date>
    <link>http://robinderosa.net/uncategorized/the-library-is-open-palakeynote/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["So I am trying to think about ways in. Ways in to places. Ways in to places that don’t eschew the complexity of their histories and how those histories inflect the different ways the places are experienced. I am thinking that helping learners see how places are made and remade, and helping them see that every interpretation they draw up–of their places and the places that refuse to be theirs– remake those places every hour.

This for me, is at the heart of open education.

Open to the past.

Open to the place.

Open at the seams.

Open to the public.

PUBLIC

So there is our final word, “PUBLIC.” You know, it’s not that easy to find out what a public library is. I googled it in preparation for this talk. It’s like a public museum. It might be open to the public, but does that make it public? But you know, it’s not that easy to find out what what a public university is. For example, mine. Which is in New Hampshire, the state which is proudly 50th in the nation for public funding of higher education. My college is about 9% state funded. Is that a public institution?

I think we may be starting backwards if we try to think of “public” in terms of funding. We need to think of public in terms of a relationship between the institution and the public (and the public good) and the economics of these relationships can be (will be! should be!) reflective of those relationships, rather than generative of them. What is the relationship of a public library or university– or a public university library– to the public? And could that relationship be the same for any college library regardless of whether the college is public or private?

Publics are places, situated in space and time but never pinned or frozen to either. Publics are the connective tissue between people, and as Noble points out, corporate interest in the web has attempted to co-opt that tissue and privatize our publics. A similar interest in education has attempted to do the same with our learning channels. Libraries exist in a critical proximity to the internet and to learning. But because they are places, that proximity flows through the people who make and remake the library by using (or not using) it. This is not a transcendent or romantic view of libraries. Recent work by folks like Sam Popowich and Fobazi Ettarh remind us that vocational awe is misguided, because libraries, like humans and the communities they bounce around in, are not inherently good or sacred. But this is not a critique of libraries. Or in other words, these messy seams where things fall apart, this is the strength of libraries because libraries are not everywhere; they are here.

I know this is an awful lot of abstraction wrapped up in some poetry and some deflection. So let me try to find some concrete practice-oriented ideas to leave you with.

You know textbooks cost way, way too much, and lots of that money goes to commercial publishers.

Textbook costs are not incidental to the real cost of college. We can fix this problem by weaning off commercial textbooks and adopting Open Educational Resources. OER also lets us rethink the relationship between learners and learning materials; the open license lets us understand knowledge as something that is continually reshaped as new perspectives are introduced into the field.

We can engage in open pedagogical practices to highlight students as contributors to the world of knowledge, and to shape a knowledge commons that is a healthier ecosystem for learning than a system that commercializes, paywalls, or gates knowledge. And all of this is related to other wrap-around services that students need in order to be successful (childcare, transportation, food, etc), and all of that is related to labor markets, and all of that is related to whether students should be training for or transforming those markets.

As we focus on broadening access to knowledge and access to knowledge creation, we can think about the broader implications for open learning ecosystems.

What kind of academic publishing channels do we need to assure quality and transparent peer review and open access to research by other researchers and by the public at large? What kinds of tools and platforms and expertise do we need to share course materials and research, and who should pay for them and host them and make them available? What kind of centralized standards do we need for interoperability and search and retrieval, and what kind of decentralization must remain in order to allow communities to expand in organic ways?

I’d like to see academic libraries stand up and be proud to be tied to contexts and particulars. I’d like to see them care about the material conditions that shape the communities that surround and infuse them. I’d like them to own the racism and other oppressive systems and structures that infuse their own histories and practices, and model inclusive priorities that center marginalized voices. I’d like them to insist that human need is paramount. Humans need to know, learn, share, revise. I’d like them to focus on sustainability rather than growth; the first is a community-based term, the second is a market-based term. Libraries work for people, and that should make them a public good. A public resource. This is not about how we are funded; it is about how we are founded and refounded.

Helping your faculty move to OER is not about cost-savings. You all know there are much easier ways to save money. They are just really crappy for learning. Moving to OER is about committing to learning environments that respect the realities of place, that engage with the contexts for learning, that challenge barriers that try to co-opt public channels for private gain, and that see learning as a fundamentally infinite process that benefits from human interaction. Sure, technology helps us do some of that better, and technology is central to OER. But technology also sabotages a lot of our human connections: infiltrates them with impersonating bots; manipulates and monetizes them for corporate gain; subverts them for agendas that undercut the network’s transparency; skews the flow toward the privileged and cuts away the margins inhabited by the nondominant voices– the perspectives that urge change, improvement, growth, paradigm shift. So it’s not the technology, just like it’s not the cost-savings, that matters. It’s not the new furniture or the Starbucks that makes your library the place to be. It’s the public that matters. It is a place for that public to be.

Libraries are places. Libraries, especially academic libraries, are public places. They should be open for the public. Help your faculty understand open in all its complexity. Help them understand the people that make your place. Help your place shape itself around the humans who need it.:]]></description>
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<item rdf:about="https://qz.com/1190957/why-americans-see-buddhism-as-a-philosophy-rather-than-a-religion/">
    <title>Why Americans see Buddhism as a philosophy rather than a religion — Quartz</title>
    <dc:date>2018-08-27T23:56:43+00:00</dc:date>
    <link>https://qz.com/1190957/why-americans-see-buddhism-as-a-philosophy-rather-than-a-religion/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["But American secular Buddhism has also produced some unintended consequences. Suzuki’s writings greatly influenced Jack Kerouac, the popular Beat Generation author of On the Road and The Dharma Bums. But Suzuki regarded Kerouac as a “monstrous imposter” because he sought only the freedom of Buddhist awakening without the discipline of practice.

Other Beat poets, hippies and, later, New Age DIY self-helpers have also paradoxically mistaken Buddhism for a kind of self-indulgent narcissism, despite its teachings of selflessness and compassion. Still others have commercially exploited its exotic appeal to sell everything from “Zen tea” to “Lucky Buddha Beer,” which is particularly ironic given Buddhism’s traditional proscription against alcohol and other intoxicants.

As a result, the popular construction of nonreligious Buddhism has contributed much to the contemporary “spiritual but not religious” phenomenon, as well as to the secularized and commodified mindfulness movement in America.

We may have only transplanted a fraction of the larger bodhi tree of religious Buddhism in America, but our cutting has adapted and taken root in our secular, scientific, and highly commercialized age. For better and for worse, it’s Buddhism, American-style."]]></description>
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<item rdf:about="https://lithub.com/rebecca-solnit-on-a-childhood-of-reading-and-wandering/">
    <title>Rebecca Solnit on a Childhood of Reading and Wandering | Literary Hub</title>
    <dc:date>2018-04-19T01:41:35+00:00</dc:date>
    <link>https://lithub.com/rebecca-solnit-on-a-childhood-of-reading-and-wandering/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["In the most egalitarian of European—and New Mexican—traditions, forests were public commons in which common people could roam, graze flocks, hunt and gather, and this is another way that forests when they are public land and public libraries are alike: as spaces in which everyone is welcome, as places in which we can wander and collect, get lost and find what we’re looking for.

The United States’s public libraries sometimes seem to me the last refuges of a democratic vision of equality, places in which everyone is welcome, which serve the goal of an informed public, offering services far beyond the already heady gift of free books you can take home, everything from voter registration to computer access. I’ve joked for a long time that if you walked up to people in the street and asked them whether we could own our greatest treasures collectively and trust people to walk away with them and bring them back, a lot of people would say that’s impossibly idealistic and some would say it’s socialist, but libraries have been making books free for all for a very long time. They are temples of books, fountains of narrative pleasure, and toolboxes of crucial information. My own writing has depended on public libraries and then university libraries and archives and does to this day. I last used a public library the day before yesterday."

…

"So let’s begin by recognizing that all this was—and in many moral ways still is—Coast Miwok land, before the Spanish came, before Spanish claims became Mexican claims, before this was considered to be part of Mexico, before it was part of the United States."

…

"Browsing, woolgathering, meandering, wandering, drifting, that state when exploring, when looking to find what it might be possible to find rather than seeking one particular goal, is the means of locomotion. I often think that hunter-gatherers must move a lot like this, seeking game or plant foods, flexible about what might show up on any given day. I was lucky that children were weeds, not hothouse flowers, in those days, left to our own devices, and my own devices led in two directions: north to the hills and the horses, south to the library."

…

"These linked paths and roads form a circuit of about six miles that I began hiking ten years ago to walk off my angst during a difficult year. I kept coming back to this route for respite from my work and for my work too, because thinking is generally thought of as doing nothing in a production-oriented culture, and doing nothing is hard to do. It’s best done by disguising it as doing something, and the something closest to doing nothing is walking. Walking itself is the intentional act closest to the unwilled rhythms of the body, to breathing and the beating of the heart. It strikes a delicate balance between working and idling, being and doing. It is a bodily labor that produces nothing but thoughts, experiences, arrivals. After all those years of walking to work out other things, it made sense to come back to work close to home, in Thoreau’s sense, and to think about walking.

Walking, ideally, is a state in which the mind, the body, and the world are aligned, as though they were three characters finally in conversation together, three notes suddenly making a chord. Walking allows us to be in our bodies and in the world without being made busy by them. It leaves us free to think without being wholly lost in our thoughts."

…

"Moving on foot seems to make it easier to move in time; the mind wanders from plans to recollections to observations."

…

"Leave the door open for the unknown, the door into the dark. That’s where the most important things come from, where you yourself came from, and where you will go…"

…

"Like many others who turned into writers, I disappeared into books when I was very young, disappeared into them like someone running into the woods. What surprised and still surprises me is that there was another side to the forest of stories and the solitude, that I came out that other side and met people there. Writers are solitaries by vocation and necessity. I sometimes think the test is not so much talent, which is not as rare as people think, but purpose or vocation, which manifests in part as the ability to endure a lot of solitude and keep working. Before writers are writers they are readers, living in books, through books, in the lives of others that are also the heads of others, in that act that is so intimate and yet so alone."

…

"Libraries are sanctuaries from the world and command centers onto it: here in quiet rooms are the lives of Crazy Horse and Aung San Suu Kyi, the Hundred Years War and the Opium Wars and the Dirty War, the ideas of Simone Weil and Lao Tsu, information on building your sailboat or dissolving your marriage, fictional worlds and books to equip the reader to reenter the real world. They are, ideally, places where nothing happens and where everything that has happened is stored up to be remembered and relived, the place where the world is folded up into boxes of paper. Every book is a door that opens into another world, which might be the magic that all those children’s books were alluding to, and a library is a Milky Way of worlds. All readers are Wu Daozi; all imaginative, engrossing books are landscapes into which readers vanish."]]></description>
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<item rdf:about="http://carolblack.org/on-the-wildness-of-children/">
    <title>On the Wildness of Children — Carol Black</title>
    <dc:date>2016-05-08T03:22:11+00:00</dc:date>
    <link>http://carolblack.org/on-the-wildness-of-children/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["When we first take children from the world and put them in an institution, they cry.  It used to be on the first day of kindergarten, but now it’s at an ever earlier age, sometimes when they are only a few weeks old.  "Don’t worry," the nice teacher says sweetly, "As soon as you’re gone she’ll be fine.  It won’t take more than a few days.  She’ll adjust." And she does.  She adjusts to an indoor world of cinderblock and plastic, of fluorescent light and half-closed blinds (never mind that studies show that children don’t grow as well in fluorescent light as they do in sunlight; did we really need to be told that?)  Some children grieve longer than others, gazing through the slats of the blinds at the bright world outside; some resist longer than others, tuning out the nice teacher, thwarting her when they can, refusing to sit still when she tells them to (this resistance, we are told, is a “disorder.”)  But gradually, over the many years of confinement, they adjust.  The cinderblock world becomes their world.  They don’t know the names of the trees outside the classroom window. They don’t know the names of the birds in the trees.  They don’t know if the moon is waxing or waning, if that berry is edible or poisonous, if that song is for mating or warning.

It is in this context that today’s utopian crusader proposes to teach “eco-literacy.”

A free child outdoors will learn the flat stones the crayfish hide under, the still shady pools where the big trout rest, the rocky slopes where the wild berries grow.  They will learn the patterns in the waves, which tree branches will bear their weight, which twigs will catch fire, which plants have thorns.  A child in school must learn what a “biome” is, and how to use logarithms to calculate biodiversity.   Most of them don’t learn it, of course; most of them have no interest in learning it, and most of those who do forget it the day after the test.  Our “standards” proclaim that children will understand the intricate workings of ecosystems, the principles of evolution and adaptation, but one in four will leave school not knowing the earth revolves around the sun.

A child who knows where to find wild berries will never forget this information.  An “uneducated” person in the highlands of Papua New Guinea can recognize seventy species of birds by their songs.   An “illiterate” shaman in the Amazon can identify hundreds of medicinal plants.  An Aboriginal person from Australia carries in his memory a map of the land encoded in song that extends for a thousand miles.  Our minds are evolved to contain vast amounts of information about the world that gave us birth, and to pass this information on easily from one generation to the next.  

But to know the world, you have to live in the world.

My daughters, who did not go to school, would sometimes watch as groups of schoolchildren received their prescribed dose of “environmental education.”  On a sunny day along a rocky coastline, a mass of fourteen-year-olds carrying clipboards wander aimlessly among the tide pools, trying not to get their shoes wet, looking at their worksheets more than at the life teeming in the clear salty water.  At a trailhead in a coastal mountain range, a busload of nine-year-olds erupts carrying (and dropping) pink slips of paper describing a “treasure hunt” in which they will be asked to distinguish “items found in nature” from “items not found in nature.”  (We discover several plastic objects hidden by their teachers along the trail near the parking lot; they don’t have time, of course, to walk the whole two miles to the waterfall.)  By a willow wetland brimming with life, a middle-school “biodiversity” class is herded outdoors, given ten minutes to watch birds, and then told to come up with a scientific hypothesis and an experimental protocol for testing it.  One of the boys proposes an experiment that involves nailing shut the beaks of wild ducks.

There is some dawning awareness these days of the insanity of raising children almost entirely indoors, but as usual our society’s response to its own insanity is to create artificial programs designed to solve our artificial problems in the most artificial way possible. We charter nonprofit organizations, sponsor conferences, design curricula and after-school programs and graphically appealing interactive websites, all of which create the truly nightmarish impression that to get your kid outside you would first need to file for 501(c)3 status, apply for a federal grant, and hire an executive director and program coordinator.  We try to address what's lacking in our compulsory curriculum by making new lists of compulsions.

But the truth is we don’t know how to teach our children about nature because we ourselves were raised in the cinderblock world.  We are, in the parlance of wildlife rehabilitators, unreleasable. I used to do wildlife rescue and rehabilitation, and the one thing we all knew was that a young animal kept too long in a cage would not be able to survive in the wild.  Often, when you open the door to the cage, it will be afraid to go out; if it does go out, it won’t know what to do.  The world has become unfamiliar, an alien place. This is what we have done to our children.  

This is what was done to us."

…

"If you thwart a child’s will too much when he is young, says Aodla Freeman, he will become uncooperative and rebellious later (sound familiar?)  You find this view all over the world, in many parts of the Americas, in parts of Africa, India, Asia, Papua New Guinea.  It was, of course, a great source of frustration to early missionaries in the Americas, who were stymied in their efforts to educate Indigenous children by parents who would not allow them to be beaten:  “The Savages,” Jesuit missionary Paul le Jeune complained in 1633, “cannot chastise a child, nor see one chastised. How much trouble this will give us in carrying out our plans of teaching the young!”

But as Odawa elder and educator Wilfred Peltier tells us, learning -– like all human relationships –– must be based in the ethical principal of non-interference, in the right of all human beings to make their own choices, as long as they’re not interfering with anybody else.  As Nishnaabeg scholar and author Leanne Betasamosake Simpson tells us, learning –– like all human relationships ––  must be based in the ethical principal of consent, in the right of all human beings to be free of violence and the use of force.  Simpson explains:

<blockquote>If children learn to normalize dominance and non-consent within the context of education, then non-consent becomes a normalized part of the ‘tool kit’ of those who have and wield power… This is unthinkable within Nishnaabeg intelligence.</blockquote>

Interestingly, the most brilliant artists and scientists in Euro-western societies tell us exactly the same thing: that it is precisely this state of open attention, curiosity, freedom, collaboration, consent, that is necessary for all true learning, discovery, creation."

…

"We no longer frame people as either “civilized”or “savage,” but as “educated” or “uneducated,” “developed” or “developing” (our modern terms for the same thing).  But we retain the paternalistic attitudes of our forebears, toward our children and toward the “childlike” adults we find all over the world — a paternalism in which the veneer of benevolence is underpinned by the constant threat of violent force.

Control is always so seductive, at least to the "developed" ("civilized") mind.  It seems so satisfying, so efficient, so effective, so potent.  In the short run, in some ways, it is. But it creates a thousand kinds of blowback, from depressed rebellious children to storms surging over our coastlines to guns and bombs exploding in cities around the world."]]></description>
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    <title>- Wonderful passage on NYC #centralpark designer,...</title>
    <dc:date>2015-12-30T03:08:07+00:00</dc:date>
    <link>http://blog.triciawang.com/post/136185369956/wonderful-passage-on-nyc-centralpark-designer</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Wonderful passage on NYC #centralpark designer, Frederick Law Olmsted’s views on nature in #rebeccasolnit’s book, #savagedreams. Olmsted viewed nature as part of society, whereas #henrydavidthoreau saw nature as a refuge from society. This very split epitomizes how the West conceives of what is “natural.” Solnit argues that people like Thoreau and Muir fetishized a form of nature that was pure and that it was waiting there to be discovered by the white man, which allowed them to believe their own narrative that they were the “first”. Olmsted conceives access to nature as a universal right and that it is not a first come first serve situation. I’ve been thinking about what is considered natural after watching #themartian when Matt Damon proudly says that he is the first to “colonize” Mars. What enabled the writers to use that word without any sense of the historical savagery associated with it? NASA is at once a symbol of scientific advancement and also a symbol of a Thoreau-esque view of nature - apart from us, to be discovered, and conquered. Whereas previous colonizers had to deal with human residents in Africa, North America, South America, Caribbeans, space colonizers don’t have to deal any life, making this the most ideal colonial experience. 

#triciainreading thanks @hautepop for your pic that spurred me to pull out solnit’s book again!"

[on Instagram: https://www.instagram.com/p/_4Q_zQt8OT/ ]]]></description>
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<item rdf:about="http://www.hybridpedagogy.com/journal/a-mooc-is-not-a-thing-emergence-disruption-and-higher-education/">
    <title>A MOOC is not a Thing: Emergence, Disruption, and Higher Education - Hybrid Pedagogy</title>
    <dc:date>2015-03-20T06:03:37+00:00</dc:date>
    <link>http://www.hybridpedagogy.com/journal/a-mooc-is-not-a-thing-emergence-disruption-and-higher-education/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[Note: this is a link-rich post, none of which are noted here.]

"A MOOC is not a thing. A MOOC is a strategy. What we say about MOOCs cannot possibly contain their drama, banality, incessance, and proliferation. The MOOC is a variant beast — placental, emergent, alienating, enveloping, sometimes thriving, sometimes dead, sometimes reborn.

There is nothing about a MOOC that can be contained. Try as they might, MOOC-makers like Coursera, EdX, and Udacity cannot keep their MOOCs to themselves, because when we join a MOOC, it is not to learn new content, new skills, new knowledge, it is to learn new learning. Entering a MOOC is entering Wonderland — where modes of learning are turned sideways and on their heads — and we walk away MOOCified.


“There is a relational aspect to learning.” There’s an invisible network (or potential network) underneath every learning community. The best MOOCs make the networks patent. The worst MOOCs are neutered, lost objects that float unabsolved in the ether as capital “L” Learning, abstract and decontextualized.

MOOCification: to harness (in an instant) the power of a nodal network for learning. Rather than creating a course to structure a network, MOOCification relies on nodes to power a learning activity (or assignment). MOOCification also refers to a pedagogical approach inspired by MOOCs that is unleashed in an otherwise closed or small-format course.

Chris Friend writes, in “Learning as Performance: MOOC Pedagogy and On-ground Classes”, “The promise of MOOCs lies not in what the format lets us do, but in what the format lets us question: Where does learning happen? What are the requirements of effective collaboration? How can assessment become more authentic? How much structure and direction are best in a classroom?” These questions stir and circle back upon themselves in endless repetition as we and everyone grapples with what the MOOC is and what it does. These are important questions, exactly the right ones at exactly the right time; but there’s a deeper one that underlies our conversation. The question that needs tending to now, as the furor around MOOCs builds to a roar.

Are organized attempts to harness learning always and necessarily frustrated? Does learning happen modally at all? Is learning the demesne of any institution, organization, or formal community; or does it happen regardless of these, unmonitored, unfettered, uncontrolled, and does the rise of the MOOC point to this? Have we created MOOCs, or have we just discovered them, emerging from their cave, where they’ve always lived? Is it, as Roger Whitson writes, that “there is nothing outside the MOOC”? Without threatening to spin into intellectual nihilism (or relativism), we need to worry for the entire enterprise of education, to be unnerved in order to uncover what’s going on now. And not now this year. But now exactly this moment. Because just this second something is awry.

<blockquote>True stability results when presumed order and presumed disorder are balanced. A truly stable system expects the unexpected, is prepared to be disrupted, waits to be transformed. ~ Tom Robbins</blockquote>

Pete Rorabaugh writes, “The analysis, remixing, and socially engaged construction of personally relevant knowledge — often happens when the institutional framework is disrupted, diverted, or left in the dust.” Many hackles are rightly raised by the ubiquity of this word “disruption”, and its implications for the business of higher education; but the best MOOCs do not deal in the bourgeois concept of disruption, they deal in a very real rupture that is confusing to us all. Something convulsive. A monstrous birth.

The MOOC is a dialectic. It invites us in with a curled finger, as sinister as it is salient.

Learning isn’t (and has never really been) in the hands of academics, administrators, institutions, corporations, Forbes magazine, the Chronicle of Higher Education. It’s in the hands of Rosemary Sewart, and people like her. The ones who come fully alive to learning without being told when and where it’s going to happen, without being placed obediently on a board like a pawn. The ones who throw wide the classroom doors, who hack schooling, or learn by reflecting on the flurry of input in their everyday lives; as Rosemary says, “learning … where life happens.”

<blockquote>We are all schoolmasters, and our schoolhouse is the universe. To attend chiefly to the desk or schoolhouse while we neglect the scenery in which it is placed is absurd. If we do not look out we shall find our fine schoolhouse standing in a cow-yard at last. ~ Henry David Thoreau</blockquote>

While we’ve all focused our consternation on how MOOCs may take down the walls of the university, or how they may represent the MOOCDonalds of higher ed., we are missing the most important, and most frightening, potential of MOOCs. They force us to reconsider the very fabric of how we think about learning — its occurrence, emergence, habitat, and administration.

From August 12th to August 18th, 2012, Hybrid Pedagogy ran MOOC MOOC, a now infamous mini-MOOC, meta-MOOC, MOOC about MOOCs that garnered not only a good bit of attention for its efforts, but also built a lasting community that remains curious about emerging ideas of MOOCification, the place of mini- and micro-MOOCs, and the implementation of open learning environments in traditional higher ed. classrooms. As well, MOOC MOOC set a precedent for MOOCish conversations about MOOCs, and spurred us to think deeply about where online education is headed.

It would be easy to contend, at this early stage in their evolution, that every MOOC has been a MOOC about MOOCs — that every MOOC is a meta-MOOC, a MOOC MOOC. The early connectivist MOOCs pioneered by folks like George Siemens and Stephen Downes were, whether explicitly or implicitly, exploring the form, the pedagogy, and the process of MOOCs.

At the same time, we were unaware of anyone who had done a MOOC unflinchingly trained on the MOOC phenomenon. A MOOC that explored unhesitatingly — even a bit recklessly — the potential, pitfalls, drawbacks, and advantages of this approach to teaching and learning. MOOC MOOC aimed to expose all of us to the grand experiment of MOOCs by having us participate directly in that grand experiment, albeit in a concentrated, one-week format. (And there was mighty participation. Andrew Staroscik created this interactive graph of tweet volume on the #moocmooc hashtag.) Rather than a knee-jerk critical reaction to the march of the MOOCs, we encouraged participants to inhabit the MOOC, exploring its pedagogical potential as an exercise in discernment but not judgment.

For one week beginning January 6, 2013, MOOC MOOC will return for a continued examination of the MOOC phenomenon, now grown well beyond a rising surge into a more perfect storm. This new iteration, which we’re fondly (and absurdly) calling MOOC MOOC [squared], will inspect not only the broadened landscape of MOOCs (including Coursera’s swelling presence and for-credit bid, Udacity’s flash mob-style on-ground gatherings, and the rise of LMS-based MOOCs like Instructure’s Canvas.net), but also will turn the lens on itself, repurposing and remixing the original course and the conversations and artifacts that arose from within the course. MOOC MOOC will be housed once more within the Canvas LMS, fueled by the ongoing discussions of the MOOC MOOC community.

There is no good or evil inherent in a MOOC, only in what it will or will not unleash. We must stop thinking of education as requiring stringent modes and constructs, and embrace it as invention, metamorphosis, deformation, and reinvention. This is the territory of the inventor always, the territory of the pugnacious and irreverent. Learning in MOOCs should be cohesive, not divided, and it must happen multi-nodally. The parsing of learning that formal education has always relied on will give way to something, if not holistic, then simultaneous, distributed, alive in more than one place at a time. If the best MOOCs show us that learning is networked, and that it has always been, then learning is more rampant than we’ve accounted for."]]></description>
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<item rdf:about="http://elitedaily.com/money/science-simplicity-successful-people-wear-thing-every-day/849141/">
    <title>The Science Of Simplicity: Why Successful People Wear The Same Thing Every Day</title>
    <dc:date>2015-03-16T19:07:40+00:00</dc:date>
    <link>http://elitedaily.com/money/science-simplicity-successful-people-wear-thing-every-day/849141/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Have you ever thought about how much time you likely waste deciding what to wear in the morning? It’s probably made you late to school or work more times than you can count.

We waste so many precious moments concerning ourselves with frivolous details. An outfit will not change the world, it probably won’t even change your day.

This is not to say that fashion isn’t important, as it has an immense impact on culture and, in turn, the direction of society.

Indeed, fashion is where art, culture and history intersect. If we look at the 1960s, for example, the way people dressed was very much a reflection of the counterculture movement and the anti-establishment sentiments of the era.

Simply put, clothes can tell us a lot about sociology.

Yet, at the same time, we’ve arguably become an excessively materialistic and superficial society. Undoubtedly, there are greater things to worry about than clothes.

Similarly, as the great American author Henry David Thoreau once stated:

<blockquote>Our life is frittered away by detail.

…Simply, simplify.</blockquote>

In essence, don’t sweat the small stuff. Make your life easier by concentrating on the big picture.

Correspondingly, a number of very successful people have adopted this philosophy in their daily routines.

Decision Fatigue: Why Many Presidents And CEOs Wear The Same Thing Every Day

Whether you love or hate him, it’s hard to argue against the notion that President Obama has the most difficult job in the world. As the leader of the most powerful country on the planet, the president has a lot on his plate.

Regardless of what he does, he will be criticized. Simply put, he’s got a lot of important things to think about beyond his wardrobe.

This is precisely why President Obama wears the same suit every single day. Well, almost every day, we can’t forget about the time the Internet exploded when he wore a khaki suit. Although, that probably says less about him and more about us.

The majority of the time, however, Obama wears either a blue or gray suit. In an article from Michael Lewis for Vanity Fair, the president explained the logic behind this routine:

<blockquote>‘You’ll see I wear only gray or blue suits’ [Obama] said.

‘I’m trying to pare down decisions. I don’t want to make decisions about what I’m eating or wearing. Because I have too many other decisions to make.’ He mentioned research that shows the simple act of making decisions degrades one’s ability to make further decisions.</blockquote>

As Stuart Heritage puts it for the Guardian, “Barack Obama has pared his wardrobe down to such a degree that he can confidently walk into any situation and make decisions that directly impact on the future of mankind.”

The president is not alone in this practice. The late, great, Steve Jobs wore his signature black turtleneck with jeans and sneakers every single day.

Moreover, Mark Zuckerberg typically wears a gray t-shirt with a black hoody and jeans when seen in public. Similarly, Albert Einstein reportedly bought several variations of the same gray suit so that he wouldn’t have to waste time deciding what to wear each morning.

This is all related to the concept of decision fatigue. This is a real psychological condition in which a person’s productivity suffers as a result of becoming mentally exhausted from making so many irrelevant decisions.

Simply put, by stressing over things like what to eat or wear every day, people become less efficient at work.

This is precisely why individuals like President Obama, Steve Jobs, Mark Zuckerberg and Albert Einstein decided to make life easier by adopting a monotonous wardrobe.

Obviously, as these are some of the most successful and productive individuals in history, they are on to something.

Make Life Simple

Indeed, having a diverse collection of clothing is overrated. We waste so much time worrying about things that have no substantial consequences, and don’t even realize how easily we could change this.

This is exactly why President José Mujica of Uruguay rejects conformity and refuses to wear a tie, stating:

<blockquote>The tie is a useless rag that constrains your neck.

I’m an enemy of consumerism. Because of this hyperconsumerism, we’re forgetting about fundamental things and wasting human strength on frivolities that have little to do with human happiness.</blockquote>

He’s absolutely right. The vast majority of us are guilty of obsessing over material things. When it comes down to it, they bring no real value to our lives. True fulfillment is acquired by going out into the world and fostering palpable and benevolent changes.

Buying a new pair of shoes might make you feel more confident in the short-term, but it will not enrich your life in the long-term.

Undoubtedly, the world would be an extremely boring place if we all wore the same exact thing every day.

Yet, we might all consider simplifying our lives a bit more by reducing the amount of time we spend thinking about pointless aspects of our day. In the process, one might find that they are significantly less stressed, more productive and more fulfilled.

Life is complicated enough, don’t allow the little things to dictate your happiness. Simplify, simplify."]]></description>
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<item rdf:about="http://www.hup.harvard.edu/catalog.php?isbn=9780674072794">
    <title>Gandhi’s Printing Press — Isabel Hofmeyr | Harvard University Press</title>
    <dc:date>2015-02-18T21:22:12+00:00</dc:date>
    <link>http://www.hup.harvard.edu/catalog.php?isbn=9780674072794</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["At the same time that Gandhi, as a young lawyer in South Africa, began fashioning the tenets of his political philosophy, he was absorbed by a seemingly unrelated enterprise: creating a newspaper. Gandhi’s Printing Press is an account of how this project, an apparent footnote to a titanic career, shaped the man who would become the world-changing Mahatma. Pioneering publisher, experimental editor, ethical anthologist—these roles reveal a Gandhi developing the qualities and talents that would later define him.

Isabel Hofmeyr presents a detailed study of Gandhi’s work in South Africa (1893–1914), when he was the some-time proprietor of a printing press and launched the periodical Indian Opinion. The skills Gandhi honed as a newspaperman—distilling stories from numerous sources, circumventing shortages of type—influenced his spare prose style. Operating out of the colonized Indian Ocean world, Gandhi saw firsthand how a global empire depended on the rapid transmission of information over vast distances. He sensed that communication in an industrialized age was becoming calibrated to technological tempos.

But he responded by slowing the pace, experimenting with modes of reading and writing focused on bodily, not mechanical, rhythms. Favoring the use of hand-operated presses, he produced a newspaper to contemplate rather than scan, one more likely to excerpt Thoreau than feature easily glossed headlines. Gandhi’s Printing Press illuminates how the concentration and self-discipline inculcated by slow reading, imbuing the self with knowledge and ethical values, evolved into satyagraha, truth-force, the cornerstone of Gandhi’s revolutionary idea of nonviolent resistance."

[via: https://twitter.com/complexfields/status/568156442240229376 ]]]></description>
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<item rdf:about="http://www.newyorker.com/tech/elements/walking-helps-us-think">
    <title>Why Walking Helps Us Think - The New Yorker</title>
    <dc:date>2014-09-05T19:09:26+00:00</dc:date>
    <link>http://www.newyorker.com/tech/elements/walking-helps-us-think</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["In Vogue’s 1969 Christmas issue, Vladimir Nabokov offered some advice for teaching James Joyce’s “Ulysses”: “Instead of perpetuating the pretentious nonsense of Homeric, chromatic, and visceral chapter headings, instructors should prepare maps of Dublin with Bloom’s and Stephen’s intertwining itineraries clearly traced.” He drew a charming one himself. Several decades later, a Boston College English professor named Joseph Nugent and his colleagues put together an annotated Google map that shadows Stephen Dedalus and Leopold Bloom step by step. The Virginia Woolf Society of Great Britain, as well as students at the Georgia Institute of Technology, have similarly reconstructed the paths of the London amblers in “Mrs. Dalloway.”"

…

"What is it about walking, in particular, that makes it so amenable to thinking and writing? The answer begins with changes to our chemistry. When we go for a walk, the heart pumps faster, circulating more blood and oxygen not just to the muscles but to all the organs—including the brain. Many experiments have shown that after or during exercise, even very mild exertion, people perform better on tests of memory and attention. Walking on a regular basis also promotes new connections between brain cells, staves off the usual withering of brain tissue that comes with age, increases the volume of the hippocampus (a brain region crucial for memory), and elevates levels of molecules that both stimulate the growth of new neurons and transmit messages between them.

The way we move our bodies further changes the nature of our thoughts, and vice versa. Psychologists who specialize in exercise music have quantified what many of us already know: listening to songs with high tempos motivates us to run faster, and the swifter we move, the quicker we prefer our music. Likewise, when drivers hear loud, fast music, they unconsciously step a bit harder on the gas pedal. Walking at our own pace creates an unadulterated feedback loop between the rhythm of our bodies and our mental state that we cannot experience as easily when we’re jogging at the gym, steering a car, biking, or during any other kind of locomotion. When we stroll, the pace of our feet naturally vacillates with our moods and the cadence of our inner speech; at the same time, we can actively change the pace of our thoughts by deliberately walking more briskly or by slowing down.

Because we don’t have to devote much conscious effort to the act of walking, our attention is free to wander—to overlay the world before us with a parade of images from the mind’s theatre. This is precisely the kind of mental state that studies have linked to innovative ideas and strokes of insight. Earlier this year, Marily Oppezzo and Daniel Schwartz of Stanford published what is likely the first set of studies that directly measure the way walking changes creativity in the moment. They got the idea for the studies while on a walk. “My doctoral advisor had the habit of going for walks with his students to brainstorm,” Oppezzo says of Schwartz. “One day we got kind of meta.”"

…

"Perhaps the most profound relationship between walking, thinking, and writing reveals itself at the end of a stroll, back at the desk. There, it becomes apparent that writing and walking are extremely similar feats, equal parts physical and mental. When we choose a path through a city or forest, our brain must survey the surrounding environment, construct a mental map of the world, settle on a way forward, and translate that plan into a series of footsteps. Likewise, writing forces the brain to review its own landscape, plot a course through that mental terrain, and transcribe the resulting trail of thoughts by guiding the hands. Walking organizes the world around us; writing organizes our thoughts. Ultimately, maps like the one that Nabokov drew are recursive: they are maps of maps."]]></description>
<dc:subject>solviturambulando exercise creativity life ulysses jamesjoyce maps mapping vladimirnabokov psychology physiology thinking marilyoppezzo danielschwartz marcberman memory attention urban urbanism stephendedalus leopoldbloom virginiawoolf adamgopnik mrsgalloway thoreau thomasdequincey williamwordsworth walking</dc:subject>
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<item rdf:about="http://www.bbc.com/news/magazine-27186709">
    <title>BBC News - The slow death of purposeless walking</title>
    <dc:date>2014-05-07T23:41:54+00:00</dc:date>
    <link>http://www.bbc.com/news/magazine-27186709</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["A number of recent books have lauded the connection between walking - just for its own sake - and thinking. But are people losing their love of the purposeless walk?"]]></description>
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<item rdf:about="http://gawker.com/something-about-how-steve-roggenbucks-poetry-will-save-1456424675">
    <title>Something About How Steve Roggenbuck's Poetry Will Save the Internet</title>
    <dc:date>2013-11-14T21:12:56+00:00</dc:date>
    <link>http://gawker.com/something-about-how-steve-roggenbucks-poetry-will-save-1456424675</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[See also: http://en.wikipedia.org/wiki/Steve_Roggenbuck ]

"Twenty-six-year-old Roggenbuck, a self-declared “internet poet,” is the antidote. Since 2010 Roggenbuck has been an obsessive user of Twitter, Facebook and multiple Tumblrs, but his best work is his YouTube videos. In these videos, he spews hysterical riffs and one-liners of wildly varying comprehensibility to a camera he points at himself, usually to the backing of an exhilarating electronic soundtrack, usually somewhere beautiful outside.


His most popular video is "make something beautiful before you are dead." I first saw it two years ago on a friend’s Tumblr and I was struck by Roggenbuck's raw vlogger solipsism, which would be grating if it weren’t backed up by equally raw virtuosity. The video starts quietly. Roggenbuck's in a room, affecting a piercing nasal midwestern twang as he muses to the camera about how he's "going to find the best deal."

It's a parody of every boring YouTube video blog you've seen, which Roggenbuck sets up only to explode seconds later in a dizzying epiphany. Suddenly he's outside in the woods, still holding his camera, popping out from bushes, shouting "two words, Jackass: Dog the Bounty Hunter," swinging an enormous tree branch and berating a dead tree stump for not being alive. Roggenbuck appears to have just broken out from a dark basement where he'd been imprisoned from a young age, raised entirely on AOL chatrooms, reality TV and Monster Energy Drinks. He's exhilaratingly callous about his own body, holding his camera inches from face despite a pretty intense outbreak of acne, at times so excited by his own words that the camera jerks crazily up and down with every cheesy self-help exhortation. When Roggenbuck yells "Get me in control of ABC Family and I will fuck this country up" while sprinting through a drizzly field to a dubstep soundtrack you feel like you're watching neurons firing and forging strange connections in real time. It's a selfie of the soul.

As impressive as the video is the outpouring of adoration in comments under "make something beautiful before you are dead." Most YouTube comments are petri dishes of cutting-edge hate speech, but a community of ebullient Roggenbuck worshipers has turned his comments sections into a virtual self-help seminar."

…

"Steve Roggenbuck would horrify the Jonathan Franzens of the world. Poetry is supposed to be serious and introspective—the opposite of the superficial, buzzing, electronic hellscape that critics imagine the internet to be. According Roggenbuck’s own creation myth, he's a product of that polarity: As an MFA student, he began to focus on the internet after one of his instructors commented on his misspelled, dashed-off-seeming poems, "save this for your blog." (He dropped out of the MFA program.)

But "save this for your blog" isn't quite the insult an MFA professor might image. New York Times economics columnist Paul Krugman (!) recently wrote about how poetry was once passed among networks of elites, "allow[ing] people both to discuss sensitive topics elliptically and to demonstrate their cleverness." Elliptical demonstrations of cleverness: Imagine what they would have thought of Tumblr! And the internet is more than just a staging ground—it's a huge source of inspiration and material for young artists, poets, technologists and writers.

…

Anyone who wants to understand the internet generation would do well to pay attention to Roggenbuck's oeuvre. It can be hard to get past Roggenbuck's aggressive naivety and goofy schtick, which can come across like the twee mirror to the strident net freedom diatribes of Wikileaks fanatics and hacktvists. You could say he's way too uncritical about the incentives embedded in the technologies he uses—created by huge corporations whose exact goal is to encourage the sharing he craves—and how that might negatively affect his work. But this is just to point out that are as many flaws in the the structures of the internet as there are in the people embedded in them. The best of Roggenbuck's work shows there's equally as much promise."

[See also: http://htmlgiant.com/author-spotlight/ultimately-beautiful-an-interview-with-steve-roggenbuck/

NC: Why did you drop out of your MFA program?

SR: i think if my life conditions were different, i never would have gone. i never had any illusons that it was going to magicaly transform my writeing, or that teaching was the perfect career fit for me. after undergrad i was in a long-term relationship, and we were planning to have a family in the next ~5 years. i felt like i needed to pursue a “career” that would bring in an income big enough to support a family. but i am also very stubborn about doing what i want with my tiem. i hate having a job, last year i maxed out my credit cards instead of getting a summer job. the mfa was kind of a compromise between what i really wanted (to be an artist all the time) and what was expected of me (standard middle-class career path)

i gained some things from my mfa experience.. i now have an acute awareness of what i don’t like about academic/lit culture, for exampel. i started fully embraceing my identity as an “internet poet” only after my workshop teacher left me a condescending comment on my poem, “save this stuff for your blog.” with my misspellings too, i was fueled by my teacher’s disapproval

i never really liked the progam too much, but when my long-term relationship ended, i felt like i finaly had other options. i could live with my dad for free (or with various friends, as i eventualy decided), or i could at least split rent with more roommates in a cheaper neighborhood, without bothering/disappointing my partner

also my school started grating on me in more fundamental ways this past fall. my core audience is not poets in academia.. so why should i be seeking feedback from (only) poets in academia? i would get comments from my teachers, for example discouraging my misspellings, and i would kind of just dismiss them because i know they arent realy my main audience. but if i they’re not my audience, why am i asking for their feedback in the frist place? the feedback ive gotten from friends online has been much more valuable" ]

[More: http://www.theatlantic.com/technology/archive/2013/11/is-this-loud-youtube-loving-poet-the-bard-of-the-internet/281189/ ]]]></description>
<dc:subject>via:timmaly steveroggenbuck poetry internet twitter socalmedia mfa youtube writing reading spelling teaching learning graduateschool highered highereducation literature jonathanfranzen daveeggers kennethgoldsmith piotrczerki youth life living thoreau waltwhitman yolo commenting video literacy schooliness creativity education mfas</dc:subject>
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<item rdf:about="https://static.pinboard.in/xoxo_talk_thoreau.htm">
    <title>Thoreau 2.0 - XOXO Conference Talk</title>
    <dc:date>2013-09-28T18:58:05+00:00</dc:date>
    <link>https://static.pinboard.in/xoxo_talk_thoreau.htm</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[video now here: http://www.youtube.com/watch?v=eky5uKILXtM ]

"So what I had thought was a convenience [mobile phone and 24hr alerts] had actually been the foundation for a little pyramid of anxieties. It made me wonder what other stuff in my life was behaving that way."

…

"Surveying, at least, let him work outside and in the woods, but he was often working for people who wanted to cut down the forest he spent all his free time in.

There's a pernicious idea that comes out of startup culture called "fail fast". I've always been a big believer in failing slowly. When you're not in for the money, success doesn't come to you pre-labeled. It can look just like failure. Chasing money makes it easier, because then you can quantify success unambiguously. Otherwise, you may have a hard time telling the two apart.

You can work on a lot of projects, but you will only get a couple of opportunities to work on something long-term. So I would say pick those carefully, do things that are intrinsically rewarding, and be very loath to abandon them. And work that day job if you have to!"

…

"The best piece of advice Thoreau ever got was from Emerson, who told him to keep a journal. And Thoreau did, for decades, using it as a personal diary, a record of his botanical and scientific observations, and a kind of staging ground for his serious writing. He would go back and mine it years later for passages to use in his work.

I don't think everyone needs to keep a literary journal, but I think it's vital to keep a work diary, for three reasons:

First, because it's the only honest record of what you're thinking at the time. Your memory will lie to you, almost immediately, about what you thought was going to happen on any given day. The only way you can trust it is to write down your state of mind - what you're worried about, what you expect will happen. And then over time you can go back and look for patterns of thought that you might want to fix. Maybe you're always too optimistic, or maybe you choose to work with toxic people, or chronically underestimate what things will cost. Writing it down will help you understand your mental habits, and correct for them.

Second, a work diary helps you track what you're actually doing. It's easy to get lost in the weeds from day to day, but are you ever spending time working on the things you think are most important? Thoreau was mistrustful of trivia the same way he mistrusted complexity, its capacity to take over our lives and push out what we value. An honest work record will tell you what you actually did, and what you spent your time thinking about.

Finally, and most importantly, writing things down captures the details that you only glean from experience. The one thing separating me from the high-IQ theoreticians on a message board is the fact that I've actually been running a bookmarking site for four years. Experience is priceless, you can't get it except by doing it, so you want to be sure not to fritter any of it away, and document the details as they happen.

They can come in useful later in the most surprising circumstances."

…

"It's not our job, Thoreau argues, to fix the world. We may not have the time for that. But we can't cooperate with injustice. If the law compels us to do something wrong, we have to break that law.

This doctrine of non-cooperation with civil authority would have a powerful effect on Gandhi and Martin Luther King."

…

"I've come to believe that it's time for us to take a stand, and refuse to cooperate with this apparatus of secrecy. We've already seen Lavabit, in an act of great moral courage, throw away ten years of hard work rather than acquiesce to blanket monitoring of its users. But the fact that Lavar wasn't even able to give the reasons for shutting his project down, that we had to infer them from his silence, demonstrates the problem.

If anyone is going to refuse to cooperate, it is going to be small independent projects, not large corporations. "The rich man—not to make any invidious comparison—is always sold to the institution which makes him rich"."

…

"We should commit to giving legal, financial and moral support to anyone who refuses to obey gag order, or publishes a National Security Letter. The secrecy exists because the programs it cloaks can't withstand the light of day. One good, timely push will break them.

Whether or not you agree with me, I would urge you to read Thoreau's essay, and decide for yourself: where do you draw the line? What will it take to make you stop cooperating?"

…

"So Thoreau had all these people, mostly women, who silently enabled the life he thought he was heroically living for himself.

But a gentler, more generous way to look at it is this. If you live a life by your own lights, and follow your principles, maybe once in a while someone will come and bring you a basket of donuts. And it's okay to eat the donuts! They're delicious!

Thoreau said about his two years at Walden:

<blockquote>I learned this, at least, by my experiment; that if one advances confidently in the direction of his dreams, and endeavors to live the life which he has imagined, he will meet with a success unexpected in common hours.</blockquote>

Thoreau wrote this never having tasted any of traditional forms of success. He was thinking of a different, more fundamental kind of success, one that I wish for myself, and earnestly wish for all of you."]]></description>
<dc:subject>maciejceglowski 2013 xoxo pinboard philosophy life resistance failure success money protest nsa prism law legal thoreau ethics maciejcegłowski</dc:subject>
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<item rdf:about="http://walkstudytrainingcourse.wordpress.com/spring2011/">
    <title>Spring 2011 | The Walk Exchange</title>
    <dc:date>2013-06-28T04:08:05+00:00</dc:date>
    <link>http://walkstudytrainingcourse.wordpress.com/spring2011/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Week 1: Intro, Beliefs in Walking
• Henry David Thoreau “Walking”
http://www.gutenberg.org/ebooks/1022
• Francis Alys. The Modern Procession
press release:
http://www.publicartfund.org/pafweb/projects/02/alys_f_release_02.html
video:
http://www.francisalys.com/public/procession.html
Interview with Alys (optional)

Week 2: English Rural Art Walkers
• Rebecca Solnit “The Shape of A Walk” from Wanderlust
• Richard Long essays from Guggenheim exhibition catalog by R.H. Fuchs
• Hamish Fulton
website http://www.hamish-fulton.com
Hamish Fulton radio interview
http://badatsports.com/2011/episode-282-hamish-fulton/

Week 3 : Urban Walking theory
• Michel de Certeau “Walking in the City” from The Practice of Everyday Life
• Guy Debord “Theory of Derive”
http://www.bopsecrets.org/SI/2.derive.htm
Case Studies
Alex Villar “Alternative Access”
http://www.de-tour.org/post/4114141755/alternative-access
Villar interview with Simon Sheikh
• Vito Acconci “Following Piece”
http://hosting.zkm.de/ctrlspace/d/texts/01?print-friendly=true
“Following Piece” log
http://www.designboom.com/eng/interview/acconci_followingtext.html
Homework
Do a short “Following Piece” of your own and document

break : day one of “Lah” feild trip (optional)
http://www.implausibot.com/coyote

Week 4: the Tour
• Lucy Lippard “The Tourist at Home” from On the Beaten Path
• Barnet Schecter from The Battle for New York
online walking tour guide for Schecter
read only “The Battle of Harlem Heights”
http://www.thebattlefornewyork.com/walking_tour.php 
• Natalie talks to us about the Miss Guides http://themissguides.com/

Week 5: Other Lines
• Bruce Chatwin from The Songlines
• Lygia Clark “Caminhando”
http://www.lygiaclark.org.br/arquivo_detING.asp?idarquivo=18
Case Studies
• walk and squawk http://walksquawk.blogs.com/about_the_walking_project/
Guest walker: James Walsh author of Solvitur Ambulando

Week 6: Central Park
• Fredrick Law Olmsted Ch. IX from Walks and Talks of an American in England
http://quod.lib.umich.edu/cgi/t/text/pageviewer-idx?c=moa;cc=moa;rgn=full%20text;idno=AJQ8991.0001.001;didno=AJQ8991.0001.001;view=image;seq=00000084
• Robert Smithson “The Dialectical Landscape of Fredrick Law Olmsted”
Homework
• Janet Cardiff “Her Long Black Hair”"

[See also: http://walkexchange.org/ and
http://walkexchange.org/walks/walk-study/fall-2011/ ]

[Same here: http://walkexchange.org/walks/walk-study/spring-2011/ ]]]></description>
<dc:subject>walking nyc walkexchange 2011 thoreau francisalÿs rebeccasolnit richardlong hamishfulton micheldecertau guydebord alexvillar vitoacconci lucylippard barnetschecter brucechatwin lygiaclark jameswalsh fredricklawolmstead robertsmithson janetcardiff readinglists toread urban urbanism rural theory derive simonsheikh songlines dérive</dc:subject>
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<item rdf:about="http://www.orionmagazine-digital.com/orionmagazine/may_june_2013?pg=20#pg20">
    <title>Orion - May/June 2013 - Page 18-19</title>
    <dc:date>2013-06-27T20:06:23+00:00</dc:date>
    <link>http://www.orionmagazine-digital.com/orionmagazine/may_june_2013?pg=20#pg20</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Mysteries of Thoreau Unsolved: On the dirtiness of laundry and the strength of sisters" by Rebecca Solnit

"None of us is pure, and purity is a dreary pursuit best left to Puritans."]]></description>
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<item rdf:about="http://www.serverunderground.com/archive/bill_watterson.html">
    <title>Bill Watterson's Speech - Kenyon College, 1990</title>
    <dc:date>2013-04-22T22:22:52+00:00</dc:date>
    <link>http://www.serverunderground.com/archive/bill_watterson.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["It's surprising how hard we'll work when the work is done just for ourselves. And with all due respect to John Stuart Mill, maybe utilitarianism is overrated. If I've learned one thing from being a cartoonist, it's how important playing is to creativity and happiness. My job is essentially to come up with 365 ideas a year.

If you ever want to find out just how uninteresting you really are, get a job where the quality and frequency of your thoughts determine your livelihood. I've found that the only way I can keep writing every day, year after year, is to let my mind wander into new territories. To do that, I've had to cultivate a kind of mental playfulness.

We're not really taught how to recreate constructively. We need to do more than find diversions; we need to restore and expand ourselves. Our idea of relaxing is all too often to plop down in front of the television set and let its pandering idiocy liquefy our brains. Shutting off the thought process is not rejuvenating; the mind is like a car battery-it recharges by running.

You may be surprised to find how quickly daily routine and the demands of "just getting by: absorb your waking hours. You may be surprised matters of habit rather than thought and inquiry. You may be surprised to find how quickly you start to see your life in terms of other people's expectations rather than issues. You may be surprised to find out how quickly reading a good book sounds like a luxury.

At school, new ideas are thrust at you every day. Out in the world, you'll have to find the inner motivation to search for new ideas on your own. With any luck at all, you'll never need to take an idea and squeeze a punchline out of it, but as bright, creative people, you'll be called upon to generate ideas and solutions all your lives. Letting your mind play is the best way to solve problems."

…

"Selling out is usually more a matter of buying in. Sell out, and you're really buying into someone else's system of values, rules and rewards."

…

"But having an enviable career is one thing, and being a happy person is another.

Creating a life that reflects your values and satisfies your soul is a rare achievement. In a culture that relentlessly promotes avarice and excess as the good life, a person happy doing his own work is usually considered an eccentric, if not a subversive. Ambition is only understood if it's to rise to the top of some imaginary ladder of success. Someone who takes an undemanding job because it affords him the time to pursue other interests and activities is considered a flake. A person who abandons a career in order to stay home and raise children is considered not to be living up to his potential-as if a job title and salary are the sole measure of human worth.

You'll be told in a hundred ways, some subtle and some not, to keep climbing, and never be satisfied with where you are, who you are, and what you're doing. There are a million ways to sell yourself out, and I guarantee you'll hear about them.

To invent your own life's meaning is not easy, but it's still allowed, and I think you'll be happier for the trouble."

[illustrated: http://www.slate.com/content/dam/slate/blogs/browbeat/2013/08/27/watterson_advice_large.jpg ]]]></description>
<dc:subject>billwatterson art life meaning meaningmaking living 1990 commencemtspeeches thoreau via:tealtan creativity leisurearts playfulness play johnstuartmill cartoons comics comicstrips inquiry thinking thought lifeofthemind problemsolving values sellingout expectations motivation intrinsicmotivation soulownership worth subversion eccentricity success achievement salaries money artleisure sellouts</dc:subject>
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<item rdf:about="http://laphamsquarterly.org/magazine/index.php">
    <title>Lapham’s Quarterly : Animals</title>
    <dc:date>2013-03-24T22:36:04+00:00</dc:date>
    <link>http://laphamsquarterly.org/magazine/index.php</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[From the intro: http://www.laphamsquarterly.org/preamble/man-and-beast.php?page=all ]

]]></description>
<dc:subject>animals lapham'squarterly 2013 audubon species family brids nature behavior lewislapham thoreau camus eowilson hermanmelville albertcamus</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
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</item>
<item rdf:about="http://www.theatlantic.com/magazine/archive/2012/05/the-most-dangerous-gamer/8928/?single_page=true">
    <title>The Most Dangerous Gamer - Magazine - The Atlantic</title>
    <dc:date>2012-04-13T08:53:59+00:00</dc:date>
    <link>http://www.theatlantic.com/magazine/archive/2012/05/the-most-dangerous-gamer/8928/?single_page=true</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Thoreau…“With a little more deliberation in the choice of their pursuits,” he proclaimed, “all men would perhaps become essentially students and observers, for certainly their nature and destiny are interesting to all alike.”

Blow clicked off the stereo and turned to me. “I honestly didn’t plan that,” he said.

In so many words, Loud Thoreau had just described Blow’s central idea for The Witness. Whereas so many contemporary games are built on a foundation of shooting or jumping or, let’s say, the creative use of mining equipment to disembowel space zombies, Blow wants the point of The Witness to be the act of noticing, of paying attention to one’s surroundings. Speaking about it, he begins to sound almost like a Zen master. “Things are pared down to the basic acts of movement and observation until those senses become refined,” he told me. “The further you go into the game, the more it’s not even about the thinking mind anymore—it becomes about the intuitive mind."]]></description>
<dc:subject>literature narrative taylorclark miegakure marctenbosch interactivefiction asceticism storytelling payingattention attention observation noticing intuition myst littlebigplanet money belesshelpful fiction jenovachen flow tombissell gamedev chrishecker einstein'sdreams alanlightman invisiblecities italocalvino jonblow deannavanburen art 2012 thewitness thoreau srg edg videogames gaming games braid jonathanblow if cyoa</dc:subject>
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<item rdf:about="http://www.archive.org/details/walden_librivox">
    <title>Walden : Henry David Thoreau :  Internet Archive</title>
    <dc:date>2012-02-10T15:34:14+00:00</dc:date>
    <link>http://www.archive.org/details/walden_librivox</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Librivox recording of Walden by Henry David Thoreau Read by Gord Mackenzie."]]></description>
<dc:subject>librivox audio audiobooks philosophy classideas 1854 walden thoreau</dc:subject>
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</item>
<item rdf:about="http://www.orionmagazine.org/index.php/articles/article/277/">
    <title>The Thoreau Problem | Rebecca Solnit | Orion Magazine</title>
    <dc:date>2012-02-06T04:06:00+00:00</dc:date>
    <link>http://www.orionmagazine.org/index.php/articles/article/277/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["If he went to jail to demonstrate his commitment to freedom of others, he went to the berries to exercise his own recovered freedom, the liberty to do whatever he wished, & the evidence in all his writing is that he very often wished to pick berries. There’s a widespread belief, among both activists & those who cluck disapprovingly over insufficiently austere activists, that idealists should not enjoy any pleasure denied to others, that beauty, sensuality, delight all ought to be stalled behind some dam that only the imagined revolution will break. This schism creates, as the alternative to a life of selfless devotion, a life of flight from engagement, which seems to be one way those years at Walden Pond are sometimes portrayed. But change is not always by revolution, the deprived don’t generally wish that the rest of us would join them in deprivation, & a passion for justice & pleasure in small things are not incompatible. That’s part of what the short jaunt from jail to hill says."]]></description>
<dc:subject>walden selflessness via:steelemaley justice revolution change 2007 protest imprisonment civildisobedience walking berries deprivation freedom rebeccasolnit thoreau</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:415ba1024072/</dc:identifier>
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<item rdf:about="http://thewirecutter.com/2012/01/happiness-takes-a-little-magic/">
    <title>Happiness Takes (A Little) Magic | The Wirecutter</title>
    <dc:date>2012-02-05T23:08:47+00:00</dc:date>
    <link>http://thewirecutter.com/2012/01/happiness-takes-a-little-magic/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["I fear technology not because I think it's evil, but because it's too easy to start clicking and never stop…

Thoreau had to abandon work and friends to live simply, but he was not against it. He just had no choice at the time, given the technology at hand.  I think we–and information workers like programmers, designers and writers especially–are capable right now of living a fantastic life that marries the wild vitality that Thoreau experienced at Walden with the better parts of civilized living. This is a life that  Ted, if he were still in his cabin, could be envious of–if we could only muster the discipline to get away from the noise.

See, for the first time ever, the trade off between living a powerfully exciting life close to nature and adventure and having the basics of civilized, boring life are largely gone. We don't have to abandon civilization and our friends and our work and technology and run off into the woods to live a simple, powerful life."]]></description>
<dc:subject>2012 unabomber tedkaczynski slow clayjohnson informationdiet infromation xenijardin mattrichtel walden thoreau behavior psychology technology happiness theodorekaczynski</dc:subject>
<dc:identifier>https://pinboard.in/u:robertogreco/b:aae088fb8b0d/</dc:identifier>
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<item rdf:about="https://www.psychologytoday.com/blog/freedom-learn/201107/what-einstein-twain-forty-eight-others-said-about-school">
    <title>What Einstein, Twain, and Forty Eight Other Creative People Had to Say About Schooling | Psychology Today</title>
    <dc:date>2011-07-30T05:04:16+00:00</dc:date>
    <link>https://www.psychologytoday.com/blog/freedom-learn/201107/what-einstein-twain-forty-eight-others-said-about-school</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Throughout history, from Plato on, creative people have spoken out against the stultifying effects of compulsory education. Here are quotations from fifty such people, which I have culled partly from my own reading but mostly from various other websites."]]></description>
<dc:subject>education psychology petergray unschooling deschooling compulsory schooling schooliness quotes alberteinstein plato marktwain oscarwilde chuangtzu winstonchurchill woodyallen dollyparton georgebernardshaw finleypeterdunne thomasedison thoreau bertrandrussell hlmencken georgesaville stalin normandouglas paulkarlfeyerabend teddyroosevelt robertfrost alicejames beatrixpotter margaretmead williamhazlitt laurencepeter annesullivan florenceking emmagoldman edwardforster williamjohnbennett johnupdike robertbuzzell robertmhutchins elberthubbard peterdrucker micheldemontaigne marshallmcluhan ivanillich maxleonforman montaigne josephstalin theodoreroosevelt philipkdick</dc:subject>
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