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    <title>A Prayer for Limits - by Matthew Battles</title>
    <dc:date>2026-07-03T07:04:10+00:00</dc:date>
    <link>https://matthewbattles.substack.com/p/a-prayer-for-limits</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["I’ve found myself stretched and challenged by Pope Leo’s encyclical, Magnifica humanitas [https://www.vatican.va/content/leo-xiv/en/encyclicals/documents/20260515-magnifica-humanitas.html ], which has helped to reset the public conversation about the perils of AI (perils that exist in the present, coarsening and riving us at every touchpoint). And beyond the horse-race punditry of so much of the media response, I’ve been grateful for nourishing commentary both appreciative and critical. Some thoughtful critics have pointed out how the encyclical blunts its effect in taking up some of the more shopworn tropes of tech criticism—in particular, the pale nostrum that tech is somehow “neutral.” For all the idolatrous evangelism of Silicon Valley, millions of users are turning to the bot not as oracle but as assistant—as a “tool,” anodyne and frictionless, with which to offload much of their mundane decision-making. Writing at the Hedgehog Review [https://hedgehogreview.com/web-features/thr/posts/should-the-lion-lie-down-with-the-electric-lamb ], Antón Barba-Kay incisively describes the serpentine infiltration of the technocratic paradigm with its framework of “habitual incentives that, once internalized, become practically imperative.”

In the same spirit, Mike Sacasas describes how the technocratic framework of utility, which poses problems of alignment and impact as mere matters of habit and skill, misses the extent to which technology is not a tool but an environment [https://theconvivialsociety.substack.com/p/your-ai-is-not-a-tool ]. Following Marshall McLuhan’s observation that tech works to “alter sense ratios or patterns of perception steadily and without any resistance,” Sacasas suggests that we might best understand AI as “a denial of service attack on the human psyche.” I find this framing resonant—and to be sure, there’s much in the encyclical that unpicks this pattern as well.

I want to say that Magnifica Humanitas does its most important work not where it seeks to apprehend technology, but where it reminds us of all that we bring to our encounter with it—and all that we risk losing to it. Again and again the encyclical steps back from a speculative and theoretical encounter with technology and its perils to express, enumerate, and celebrate the richness of being human. This homiletic thread struck me especially while listening to Matthew Sitman and Sam Adler-Bell’s recent, glorious conversation with Jack Hanson on their podcast, Know Your Enemy [https://dissentmagazine.org/online_articles/know-your-enemy-pope-leo-xiv-magnifica-humanitas/ ]. I was moved by their recital of paragraphs 119 and 120 of the encyclical, where Leo voices the beauty and grace of our limits—the very limits of knowledge and the body which technocracy seeks to abolish. I will quote from them here:

<blockquote>Our relationship with life seems to be in crisis today. Everything that appears as a “limit” — incapacity, illness, old age, suffering, vulnerability — tends to be seen primarily as a defect to be corrected, rather than as a reality through which our humanity matures and opens itself to relationship. And yet we must remember that humanity flourishes not despite limitations, but often through them….

    It is precisely within our limitations that the following find a place: compassion, as well as a sincere concern for the needs of others; a generosity that can emerge even in the midst of darkness and failure; spiritual experience and the worship of God…. Mysteriously, it is precisely in such moments that we can discover a new wisdom, tangibly experience the closeness of others and encounter the presence of the Lord.</blockquote>

I found myself wanting not merely to assent to these words, but to pray with them. It was a curious and inexorable feeling. I have not made a practice of composing and sharing prayers; but a spiritual confidante whose fellowship I trust has encouraged me to share this one. And so here is a prayer for our limits, offered not for intercession or supplication but in adoration:

It is through your love, O Lord, that we learn to love our limits, 
which give force to our compassion
and shape to the fear we feel for others in their need; 
which nurture our generosity even as we fall and fail; 
which frame and enfold our measures of adoration. 
Confronted as we shall be by rejection, 
grieving as we must at the loss of all we hold dear, 
quaking as we do in the face of our failures, 
may we gather our wits, sense your nearness, 
and come to rest in the embrace of our entanglement.

We suffer from these limits and we learn from them. 
Without them, we would cease yearning even for love. 
To love, to learn, and to desire is to wound and be wounded. 
What a gift it is to be drawn into your woundedness, 
into this adventure of failure and freedom, disappointment and dream. 
In you, we affirm the tragedy and splendor and glorious mystery 
of being your body together; with you, we choose the human."]]></description>
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    <title>Your AI Is Not a Tool - by L. M. Sacasas</title>
    <dc:date>2026-06-23T10:09:03+00:00</dc:date>
    <link>https://theconvivialsociety.substack.com/p/your-ai-is-not-a-tool</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["I’ll draw things to a close by posing the following thesis for your consideration: the best response to emerging technologies, perhaps especially AI, is not media literacy in a cognitivist mode. Rather, what is required is the training of our perception in an ascetical mode.

In the latter part of his intellectual pilgrimage, Ivan Illich, whose work has deeply shaped my own thinking, concluded that his earlier work was inadequate because he had not yet grasped that somewhere in the mid-20th century we had passed from the age of tools to the age of systems.6 While to my knowledge Illich never worked out this distinction at length, the difference seems to lie in the fact that we can stand over a tool, as it were, but we cannot stand outside of a system. The system is an environment rather than a singular artifact. And what is at issue is not simply what we are able to do or not to do, nor even what can be done to us. What is most urgently at issue is our perception.

Although still using the language of tools, in 1988 Illich explained, “I would like to get together a certain number of people to think about what tools do to our perception rather than what we can do with them, to look at how tools shape our mind, how their use shapes our perception of reality, rather than how we shape reality by applying or using them.”

Near the end of his life, in the mid-1990s, Illich argued that “existence in a society that has become a system finds the senses useless precisely because of the very instruments designed for their extension. One is prevented from touching and embracing reality.” It was this “radical subversion of sensation,” Illich added, “that humiliates and then replaces perception.”7

Illich went so far as to claim that “we submit ourselves to fantastic degradations of image and sound consumption in order to anesthetize the pain resulting from having lost reality.”

You may not be inclined to take as dire a view of our situation as Illich did nearly thirty years ago, but I believe that his prescription is the right one. Just as McLuhan believed that his role as teacher in response to our technological environment was to train new perception, so Illich believed that what was called for was a new asceticism, although, as he put it in a proposal for a research project exploring the history of perception, “The asceticism which can be practiced at the end of the 20th century is something profoundly different from any previously known.”

“It appears to me that we cannot neglect the disciplined recovery, an asceticism, of a sensual praxis in a society of technogenic mirages,” Illich argued. “This reclaiming of the senses,” Illich went on to elaborate, “this promptitude to obey experience […] seems to me to be the fundamental condition for renouncing that technique which sets up a definitive obstacle to friendship.”

I have always been particularly struck by the line Illich draws from the disciplined training of our perception to friendship. This link is born out by how our digital media environments have constituted not only an epistemic threat but also a threat to our social fabric.

It appears to me, then, that we would do well to take up Illich’s unfinished project. At the very least we should dispense with the idea that AI is just a tool we need to learn to use wisely."]]></description>
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<item rdf:about="https://www.theatlantic.com/magazine/archive/2023/07/generative-ai-human-culture-philosophy/674165/">
    <title>A Defense of Humanity in the Age of AI - The Atlantic</title>
    <dc:date>2026-06-06T10:57:50+00:00</dc:date>
    <link>https://www.theatlantic.com/magazine/archive/2023/07/generative-ai-human-culture-philosophy/674165/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The Coming Humanist Renaissance

We need a cultural and philosophical movement to meet the rise of artificial superintelligence."

[archived:
https://archive.is/Ql35H ]

"Writers of fiction—Fyodor Dostoyevsky, Rod Serling, José Saramago—have for generations warned of doppelgängers that might sap our humanity by stealing a person’s likeness. Our new world is a wormhole to that uncanny valley.

Whereas the first algorithmic revolution involved using people’s personal data to reorder the world for them, the next will involve our personal data being used not just to splinter our shared sense of reality, but to invent synthetic replicas. The profit-minded music-studio exec will thrill to the notion of an AI-generated voice with AI-generated songs, not attached to a human with intellectual-property rights. Artists, writers, and musicians should anticipate widespread impostor efforts and fight against them. So should all of us. One computer scientist recently told me she’s planning to create a secret code word that only she and her elderly parents know, so that if they ever hear her voice on the other end of the phone pleading for help or money, they’ll know whether it’s been generated by an AI trained on her publicly available lectures to sound exactly like her and scam them.

Today’s elementary-school children are already learning not to trust that anything they see or hear through a screen is real. But they deserve a modern technological and informational environment built on Enlightenment values: reason, human autonomy, and the respectful exchange of ideas. Not everything should be recorded or shared; there is individual freedom in embracing ephemerality. More human interactions should take place only between the people involved; privacy is key to preserving our humanity.

Finally, a more existential consideration requires our attention, and that is the degree to which the pursuit of knowledge orients us inward or outward. The artificial intelligence of the near future will supercharge our empirical abilities, but it may also dampen our curiosity. We are at risk of becoming so enamored of the synthetic worlds that we create—all data sets, duplicates, and feedback loops—that we cease to peer into the unknown with any degree of true wonder or originality.

We should trust human ingenuity and creative intuition, and resist overreliance on tools that dull the wisdom of our own aesthetics and intellect. Emerson once wrote that Isaac Newton “used the same wit to weigh the moon that he used to buckle his shoes.” Newton, I’ll point out, also used that wit to invent a reflecting telescope, the beginnings of a powerful technology that has allowed humankind to squint at the origins of the universe. But the spirit of Emerson’s idea remains crucial: Observing the world, taking it in using our senses, is an essential exercise on the path to knowledge. We can and should layer on technological tools that will aid us in this endeavor, but never at the expense of seeing, feeling, and ultimately knowing for ourselves.

A future in which overconfident machines seem to hold the answers to all of life’s cosmic questions is not only dangerously misguided, but takes away that which makes us human. In an age of anger, and snap reactions, and seemingly all-knowing AI, we should put more emphasis on contemplation as a way of being. We should embrace an unfinished state of thinking, the constant work of challenging our preconceived notions, seeking out those with whom we disagree, and sometimes still not knowing. We are mortal beings, driven to know more than we ever will or ever can.

The passage of time has the capacity to erase human knowledge: Whole languages disappear; explorers lose their feel for crossing the oceans by gazing at the stars. Technology continually reshapes our intellectual capacities. What remains is the fact that we are on this planet to seek knowledge, truth, and beauty—and that we only get so much time to do it.

As a small child in Concord, Massachusetts, I could see Emerson’s home from my bedroom window. Recently, I went back for a visit. Emerson’s house has always captured my imagination. He lived there for 47 years until his death, in 1882. Today, it is maintained by his descendants and a small staff dedicated to his legacy. The house is some 200 years old, and shows its age in creaks and stains. But it also possesses a quality that is extraordinarily rare for a structure of such historic importance: 141 years after his death, Emerson’s house still feels like his. His books are on the shelves. One of his hats hangs on a hook by the door. The original William Morris wallpaper is bright green in the carriage entryway. A rendering of Francesco Salviati’s The Three Fates, holding the thread of destiny, stands watch over the mantel in his study. This is the room in which Emerson wrote Nature. The table where he sat to write it is still there, next to the fireplace.

Standing in Emerson’s study, I thought about how no technology is as good as going to the place, whatever the destination. No book, no photograph, no television broadcast, no tweet, no meme, no augmented reality, no hologram, no AI-generated blueprint or fever dream can replace what we as humans experience. This is why you make the trip, you cross the ocean, you watch the sunset, you hear the crickets, you notice the phase of the moon. It is why you touch the arm of the person beside you as you laugh. And it is why you stand in awe at the Jardin des Plantes, floored by the universe as it reveals its hidden code to you."]]></description>
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<item rdf:about="https://buttondown.com/monteiro/archive/how-to-use-no-as-a-complete-sentence/">
    <title>How to use NO as a complete sentence • Buttondown</title>
    <dc:date>2026-06-06T05:08:46+00:00</dc:date>
    <link>https://buttondown.com/monteiro/archive/how-to-use-no-as-a-complete-sentence/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["This week’s question comes to us anonymously:

I did my job fine before AI came along. Now my workplace ‘suggests’ we use it. How do I say no?

Sigh. Fuck. Fine. OK. Buckle up.

Let’s talk about the 1990 Texas governor’s race.

In 1989, I moved from Philadelphia to Austin for graduate school. Having grown up in the middle of an East Coast city and suddenly finding myself in what was still, at the time, either a small city or a big town—depending on your world view—was… jarring. It was neither better, nor worse. It was just… different. So mostly I watched. I watched how other people behaved. I watched how other people interacted with one another. And I looked for cues on how to behave in this new place. (First parenthetical aside: In Philadelphia, when two people cross on the sidewalk you nod. The nod is an acknowledgement of safe passage. Much like clinking glasses during a toast started as proof that I had not poisoned your drink, nodding was reassurance that I was not going to turn around and stab you after we’d crossed. I was raised to nod. My first morning in Texas, I went for a walk to explore my new neighborhood and someone came walking in my direction. Just as I was preparing to nod, he bolted out “Good morning!” in a loud reassuring way not unlike Foghorn Leghorn, had Foghorn been raised a little further west. So that was new. In San Francisco, where I live now, people neither nod nor say “Good morning!” They purse their lips, as if they’re disappointed that they aren’t crossing paths with someone of a higher net worth.)

Shortly after I moved to Austin, Texas decided to elect a new governor. Mainly because the current governor, who is not important to this story, got caught with his hand in the wrong cookie jar. The Democrats decided to run Ann Richards, who I knew nothing about at the time, but certainly grew to admire. The Republicans, for their part, decided on a good-ole-boy cattle rancher from Midland named Clayton Williams. (Second parenthetical aside: At this point in history, this point being 1990, Texas had elected exactly one (not a typo) Republican governor since Reconstruction. One. So when they tell you that Texas has historically been a deep red state that is bullshit. It has recently elected a slew of Republicans, which is as much about gerrymandering as it is about any change in voter sentiment. Much like when California is described as a solid blue state and I remind people that we gave the world both Richard Nixon and Ronald Reagan, which my neighbors love being reminded of, even as they vote for Daniel Lurie and vote down propositions to tax billionaires fairly.) (Wait, open the parenthetical back up. As long as we’re here—I should make note that Ann Richards, Molly Ivins, and Barbara Jordan were, at one point, the strongest political trinity in the state of Texas, and I have no particular reason to name all three of them today, but I enjoy doing it, and you should read up on all three of them.)

Anyhoo… Clayton Williams was very much a Texas “good ole boy” who made lots of money on oil, cattle, telecom, and other Texas-like businesses. He liked smiling, shaking people’s hands, being on television, and telling jokes. For her part, Ann Richards also enjoyed those things, and as an added bonus enjoyed—and excelled at—civil service. The media, both state and national, had a great time with the campaign, dubbing it “Claytie vs The Lady” (cringe). This all came to a grinding halt when Clayton Williams decided to kick the ball into his own goal and pronounced—unprovoked, mind you—that rape was like the weather and that "if it’s inevitable, just relax and enjoy it.” In 1990, even in Texas, this was enough to kill a campaign. Which it did. Ann Richards went on to be a fine governor. (Fun fact: her daughter Cecile Richards went on to be the president of Planned Parenthood from 2006–2018. Sadly, we’ve lost them both.)

Now why the fuck did I just write three long paragraphs about the Texas gubernatorial campaign when I’m supposed to be writing about AI? Because the language we are using about AI adoption is very similar to how Clayton Williams described rape.

“It’s happening whether you want it or not.”

“Better get on board if you know what’s good for you.”

“If you want to keep working here, this is what it takes.”

“It’s inevitable, just relax and enjoy it.”

Am I comparing AI to rape? I am not. I am, however, comparing the language we use when discussing AI adoption to the language of rape culture. It’s the language of coercion. Language that implies a lack of choice and reminds you of the power those who are using it have over you. A lack of agency. It’s language that does not rely on consent, but instead the idea that we are bereft of choices, so we might as well get with the program. A program which is being foisted on us by—if you take a look at the group photo—men. And not just men, but men who like to cozy up to—and hand awards to—a convicted rapist. (Third parenthetical aside: in 2002, when the AI bubble was still a misfiring synapse in Marc Andreesen’s very large head (probably a result of eating a twin in utero) an AI Summit was held in the Virgin Islands. Specifically in the Virgin Island that was home to Jeffrey Epstein, which was convenient because the summit happened at his retreat. And yes, he footed the bill. The fact that Jeffrey Epstein was curious about a technology that eliminated consent should surprise no one.) These are not men with a lot of introspection. In fact, they proudly tout their lack of introspection. Which is a mark of a sociopath.

We’ve talked a lot about whether AI is “good” or “bad” and we should continue to do so. But it’s also worth having a conversation, or two, or a thousand, about how—and why— it’s being rolled out, at this particular moment in time, by this particular set of people, for whom the language of coercion appears to come naturally. And why people are fighting back against it.

Designers are notoriously disloyal, which I mean as a positive. Let me explain. When I was coming up as a designer, we used Photoshop to do all of our comps, a tool famously not made for doing comps. But it worked, if not perfectly. Every few years another tool would come around to knock Photoshop off its perch, we would try it for a few days, and inevitably sigh and go back to Photoshop. Not out of loyalty, mind you. But because whatever the other tools offered weren’t enough to offset the learning curve. Until the day Figma showed up. We tried it, and the majority of designers never looked back. Entire companies switched to Figma seemingly overnight. And here’s the important part: this didn’t happen because of some top-down mandate, but because the workers found a tool that made their job easier. It was, for the most part, a worker-driven shift. Like I said, we’re disloyal. We’re happy to adopt tools that make our lives easier.

And while there are certainly workers who’ve embraced AI tools—I’ll let them provide their own reasoning elsewhere—what I’m seeing is the opposite of a worker-driven shift. Management is driving the shift to AI. And it’s going as well as you’d expect. Let me give an example, in addition to this week’s question.

A few weeks ago I was talking to a friend who works at a fairly well-regarded company in San Francisco. They’re an engineer. They’ve been working as an engineer at this company for a few years. They enjoy what they do, they enjoy working with their team, and from what they’ve told me, they do their job well. I believe them. A few months ago they received a mandate from management to start using Claude, and everyone got their allotment of tokens. Sure, they were open to it. So they asked management for guidance.

“How do you want us using it?”

“What can it help us to do better?”

“Where are you seeing room for improvement, and how do you see Claude helping us improve in those areas?”

These are good questions. They’re not the questions of haters or boosters. They’re questions of workers open to doing their jobs better. The answers they got back from management only qualified as answers because they immediately followed a question. They were told that from now on their jobs would be measured by how much they used Claude. I’m sure lots of readers are nodding along right now because they’re either in that situation, or sitting at home in the aftermath of that situation. For reasons that had nothing to do with the workers’ efficiency, or client satisfaction, or anything that even vaguely resembled the ghost of a metric, the entire team had to change how they worked, and the tools they used, for secret reasons. Naturally, morale took a nosedive.

“It’s happening whether you want it or not.”

Earlier this week I did a Q&A with the graduating class at Glasgow School of Art. I love talking to students. But more importantly, I like listening to students. I want to know what they care about. I want to hear their concerns. I’ve been doing an annual Q&A with this particular school for a few years now. Usually their questions come in a range of topics. This year there was one topic. They were concerned about AI. And again, it wasn’t whether AI was good or whether AI was bad, but how AI was being used to decimate a workforce they were about to enter. Most of them feel like they’re graduating into a field where they’re no longer welcome. We have a new generation of people who want to do the work, they’re excited to do the work, they want to prove they can do the work.

We’re going to lose these kids.

One of the things the students mentioned is they go out into social media and see “design leaders”—people they look up to—talking about how this shit is inevitable, and how it’s coming whether you want it or not, how we’re going to get left behind if we don’t comply, etc., etc., etc. And it makes them feel hopeless. Of course it does. This field (or fields, whatever) is now describing the future in the language of coercion. Because this appears to be something that the leaders in this field are very comfortable with. Force. They look out over a decimated workforce, struggling to pay their rent and they call it abundance. (For who?!)

These fucks have decided that the future is already written, and that it is written in their favor. These sad sociopathic fucks are attempting to write a future where everything and everyone behaves in a way that benefits them. Where no one gives them lip. Where no one tells them no. Where no one defies them. Where consent has been taken off the table. Where they can get what they want, from who they want, when they want it.

And that you should just “relax and enjoy it” when they thrust their vision of a future upon you. For which I would like to remind you that very few of you had any idea who Clayton Williams was before you read this essay. Because he was a loser. And because the future remains unwritten.

TL;DR: “No” is—and has always been—a complete sentence."]]></description>
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<item rdf:about="https://walledgardenedu.substack.com/p/the-right-tool-for-the-right-hands">
    <title>The Right Tool for the Right Hands - by Andrew Cantarutti</title>
    <dc:date>2026-06-05T09:33:09+00:00</dc:date>
    <link>https://walledgardenedu.substack.com/p/the-right-tool-for-the-right-hands</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Why the Same Tool Can Help a Teacher and Harm a Student"

[via:
https://2ndbreakfast.audreywatters.com/at-what-cost/ ]]]></description>
<dc:subject>andrewcantarutti education learning howwlearn teaching howweteach tools 20206 google clasroom edtech lms efficiency productivity administration gradebooks software communication lessonplanning ai artificialintelligence assessment grammarly quillbot writing howwewreite research audiobooks attention coding design production</dc:subject>
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<item rdf:about="https://delphi.tools/">
    <title>delphitools</title>
    <dc:date>2026-05-17T21:41:40+00:00</dc:date>
    <link>https://delphi.tools/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["A collection of small, low stakes and low effort tools.

No logins, no registration, no data collection. I can't believe I have to say that. Long live the handmade web.

If you find these tools useful, I'm glad. You don't owe me anything. But if you're an artist, feel free to email me your work. I'd love to see it.

If you would like to donate to delphitools, I ask that you don't. Make a donation to Wikipedia (opens in new tab) or the EFF (opens in new tab) instead. Email me your proof of donation and I'll put you in the credits."]]></description>
<dc:subject>onlinetoolkit tools webdesign webdev</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
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<item rdf:about="https://www.youtube.com/watch?v=fcCRmf_tHW8">
    <title>Being in the World (full, award winning, Heidegger/Hubert Dreyfus documentary) - YouTube</title>
    <dc:date>2026-03-26T03:11:45+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=fcCRmf_tHW8</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["A celebration of human beings and our ability, through the mastery of physical, intellectual and creative skills, to find meaning in the world around us.

a film by Tao Ruspoli

Inspired by the work of Hubert Dreyfus & his reading of Martin Heidegger.
With Hubert Dreyfus, Ryan Cross, Sean D Kelly, Austin Peralta, Mark Wrathall, Iain Thomson, Leah Chase, Manuel Molina,Tony Austin, John Haugeland, Taylor Carman, HIroshi Sakaguchi, Jumane Smith.

""Being in the World" is a film that educates one through both the senses and the intellect and, by its end, it provides a powerful but gentle reminder that we, the individuals, must take back our rightful place at the center of philosophy and we do so everyday simply by being in the world. Instead of a narrative or a series of long lectures, we are taken on a ride to visit various practitioners of the arts— primarily musicians—who simply "do" their art. These vignettes are juxtaposed with a series of philosophers, most of whom seem connected in terms of their ideas and interpretations of the German philosopher Martin Heidegger, who talk about the idea of "being in the world." I found this back-and-forth composition created a certain fluidity thanks to the way the information delivered both tickled my senses and intellect in equal measure. By the end, the aforementioned message slowly sank in and that is what created what is now a genuine appreciation for having viewed the film because I look at my life experience differently.

First of all, this work does not require any special education or training to be understood and enjoyed, although I don't think many would argue that the subject matter alone would unfortunately dissuade many simply because that is the nature of society but the fact that the average citizen is not interested in philosophy, or course, is no fault of the film. Ironically, the very message that one doesn't need to be steeped in philosophy to undertake and enjoy a life rife with meaning is one of the primary themes of the film. This theme might be summed up by stating that by simply "being in the world," we surpass all of the formalized activities associated with what engaging in "philosophy" has come to mean in the modern western world.

Although we're never hit over the head with it, it is the German philosopher Martin Heidegger who stands firmly at the center of the film as it is his iconoclastic work which inspires the ideas that undergird the messages of the various speakers. The fact that Heidegger's work is infamous for being difficult to approach even for the initiated student of philosophy is what makes this film such a gem; the more I think about the film the wider I grin because I can see more clearly how what I initially mistook for an aesthetically pleasing ride with a dose of didacticism ended up being a "reeducation" regarding how important simply "being in the world" and performing our "art" (which I take to mean profession, hobbies, etc.) is in terms of understanding where philosophy has taken us collectively.

"Being in the World" is a small film. Although the film is beautifully composed and we move around the globe, it is obvious that this was accomplished with a comparatively small budget and for me this only adds to the sense of intimacy and trust the work exudes; this is a labor of love, an authentic work of art, and it was created in order to share a message far removed from the commercial world.

It was the feeling with which I was left, however, that sets this movie apart from other, similar films. Walking away from this I felt encouraged and valued by the filmmaker and the "players." Rather than some stale exposition or preachy sermon about why I should change my mind about my life based on some epistemological tendency, I was reminded that my being in the world is what constitutes my life's meaning.""

[Three excerpts on Aeon:

First excerpt is here:

"I am, therefore I think – how Heidegger radically reframed being"
https://aeon.co/videos/i-am-therefore-i-think-how-heidegger-radically-reframed-being
https://www.youtube.com/watch?v=v727rFg9aKk

Second excerpt is here:

"True mastery demands going beyond the rules to learn for yourself"
"Embrace risk - Heidegger’s philosophy of everyday life | Being in the World"
https://aeon.co/videos/true-mastery-demands-going-beyond-the-rules-to-learn-for-yourself
https://www.youtube.com/watch?v=82_JqODbSjo

Third excerpt is here:

"As technologies mine our attention, we must look to artists"
"Technology flattens our humanity. Artists deepen it. | Being in the World"
https://aeon.co/videos/as-technologies-mine-our-attention-we-must-look-to-artists
https://www.youtube.com/watch?v=Js0URaCKvvE ]]]></description>
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<item rdf:about="https://samhenri.gold/blog/20260312-this-is-not-the-computer-for-you/">
    <title>“This Is Not The Computer For You” · Sam Henri Gold</title>
    <dc:date>2026-03-25T18:48:59+00:00</dc:date>
    <link>https://samhenri.gold/blog/20260312-this-is-not-the-computer-for-you/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["There is a certain kind of computer review that is really a permission slip. It tells you what you’re allowed to want. It locates you in a taxonomy — student, creative, professional, power user — and assigns you a product. It is helpful. It is responsible. It has very little interest in what you might become.

The MacBook Neo has attracted a lot of these reviews.

The consensus is reasonable: $599, A18 Pro, 8GB RAM, stripped-down I/O. A Chromebook killer, a first laptop, a sensible machine for sensible tasks. “If you are thinking about Xcode or Final Cut, this is not the computer for you.” The people saying this are not wrong. It is also not the point.

Nobody starts in the right place. You don’t begin with the correct tool and work sensibly within its constraints until you organically graduate to a more capable one. That is not how obsession works. Obsession works by taking whatever is available and pressing on it until it either breaks or reveals something. The machine’s limits become a map of the territory. You learn what computing actually costs by paying too much of it on hardware that can barely afford it.

I know this because I was running Final Cut Pro X on a 2006 Core 2 Duo iMac with 3GB RAM and 120GB of spinning rust. I was nine. I had no business doing this. I did it every day after school until my parents made me go to bed.

The machine came as a hand-me-down from my nana. She’d wiped it, set it up in her kitchen in Massachusetts. It was one software update away from getting the axe from Apple. I torrented Adobe CS5 the same week. Downloaded Xcode and dragged buttons and controls around in Interface Builder with no understanding of what I was looking at. I edited SystemVersion.plist to make the “About this Mac” window say it was running Mac OS 69, which is the s*x number, which is very funny. I faked being sick to watch WWDC 2011 — Steve Jobs’ last keynote — and clapped alone in my room when the audience clapped, and rebuilt his slides in Keynote afterward because I wanted to understand how he’d made them feel that way.

I knew the machine was wrong for what I wanted to do with it. I didn’t care. Every limitation was just the edge of something I hadn’t figured out yet. It was green fields and blue skies.

I thought about all of this when I opened the Neo for the first time.

What Apple put inside the Neo is the complete behavioral contract of the Mac. Not a Mac Lite. Not a browser in a laptop costume. The same macOS, the same APIs, the same Neural Engine, the same weird byzantine AppKit controls that haven’t meaningfully changed since the NeXT era. The ability to disable SIP and install some fuck-ass system modification you saw in a YouTube tutorial. All of it, at $599.

They cut the things that are, apparently, not the Mac. MagSafe. ProMotion. M-series silicon. Port bandwidth. Configurable memory. What remains is the Retina display, the aluminum, the keyboard, and the full software platform. I held it and thought, “yep, still a Mac.”

Yes, you will hit the limits of this machine. 8GB of RAM and a phone chip will see to that. But the limits you hit on the Neo are resource limits — memory is finite, silicon has a clock speed, processes cost something. You are learning physics. A Chromebook doesn’t teach you that. A Chromebook’s ceiling is made of web browser, and the things you run into are not the edges of computing but the edges of a product category designed to save you from yourself. The kid who tries to run Blender on a Chromebook doesn’t learn that his machine can’t handle it. He learns that Google decided he’s not allowed to. Those are completely different lessons.

Somewhere a kid is saving up for this. He has read every review. Watched the introduction video four or five times. Looked up every spec, every benchmark, every footnote. He has probably walked into an Apple Store and interrogated an employee about it ad nauseam. He knows the consensus. He knows it’s probably not the right tool for everything he wants to do.

He has decided he’ll be fine.

This computer is not for the people writing those reviews — people who already have the MacBook Pro, who have the professional context, who are optimizing at the margin. This computer is for the kid who doesn’t have a margin to optimize. Who can’t wait for the right tool to materialize. Who is going to take what’s available and push it until it breaks and learn something permanent from the breaking.

He is going to go through System Settings, panel by panel, and adjust everything he can adjust just to see how he likes it. He is going to make a folder called “Projects” with nothing in it. He is going to download Blender because someone on Reddit said it was free, and then stare at the interface for forty-five minutes. He is going to open GarageBand and make something that is not a song. He is going to take screenshots of fonts he likes and put them in a folder called “cool fonts” and not know why. Then he is going to have Blender and GarageBand and Safari and Xcode all open at once, not because he’s working in all of them but because he doesn’t know you’re not supposed to do that, and the machine is going to get hot and slow and he is going to learn what the spinning beachball cursor means. None of this will look, from the outside, like the beginning of anything. But one of those things is going to stick longer than the others. He won’t know which one until later. He’ll just know he keeps opening it.

That is not a bug in how he’s using the computer. That is the entire mechanism by which a kid becomes a developer. Or a designer. Or a filmmaker. Or whatever it is that comes after spending thousands of hours alone in a room with a machine that was never quite right for what you were asking of it.

I was that kid.

He knows it’s probably not the right tool. It doesn’t matter. It never did.

The reviews can tell you what a computer is for. They have very little interest in what you might become because of one."


[Feels like that fourth paragraph is a metaphor for a lot of things, like cities, like how children grow, like governments and civilizations, how change comes over time. We learn what is by bumping up against its edges and then we can be part of the conversation about what can or should come next and the process of making it. The Child Is the City × The City Is the Child]]]></description>
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</item>
<item rdf:about="https://www.youtube.com/watch?v=c9mlNt_8ocA">
    <title>Quest #20: Illuminating Ivan Illich, with Dougald Hine and Sajay Samuel - YouTube</title>
    <dc:date>2026-03-15T03:22:21+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=c9mlNt_8ocA</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Welcome to 3 Brothers Quest #20!

QUEST GUESTS 

Meet Sajay Samuel and Dougald Hine, who have spent their professional lives (among many other projects) illuminating the work of Ivan Illich. Austrian Catholic priest, author, philosopher, teacher, and social critic, Illich described himself as an “errant pilgrim,” and advocated for a radical reconceptualization of civilization in an age of dehumanization brought on by modern systems, suggesting a return to small scale values – tools, friendship, family, community, and the uniqueness of each human as an embodied being. Our three-way conversation explores Illich’s legacy, and considers Illich’s approach as a teacher, his emphasis on tools over systems, his critique of Christianity as a devout Christian, and his call for genuine friendship in an impersonal age dominated by Rules and Systems. Afterwards, join the Baldwin brothers – Ian, Michael, and Philip – for their fraternal reflections on this 3 Brothers Quest episode.

QUEST MAP

Widely considered one of the 20th century's most vital yet underappreciated philosophers, Ivan Illich’s legacy can be found in his wide-ranging critiques of modern institutions, including institutionalized “health care,” “public schools,” and organized religion. Illich called for dismantling pervasive and impersonal institutional bureaucracies in favor of a more decentralized, small scale, human-centered existence, and promoted what he called “conviviality” – tools for self-reliance, community, and friendship – as well as playfully advocating for “sober drunkenness” and a radical reorientation towards living as unique and sovereign embodied beings, rather than rule-bound subjects of impersonal systems. 

QUEST COMMUNITY 
Join 3 Brothers Quest on all major podcast platforms, follow 3BQ on our Facebook and Instagram channels, visit our www.3brothersquest.net web site, and subscribe to our 3BQ Substack to support our work: @3BrothersQuest."]]></description>
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<item rdf:about="https://connectivetissue.substack.com/p/achieving-independence-for-the-sake">
    <title>Achieving independence for the sake of mutual interdependence</title>
    <dc:date>2026-02-16T01:37:22+00:00</dc:date>
    <link>https://connectivetissue.substack.com/p/achieving-independence-for-the-sake</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["A Q&A with L.M. Sacasas, author of "The Convivial Society" newsletter"]]></description>
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<item rdf:about="https://sarahendren.com/2026/01/25/ambivalence-and-authority/">
    <title>ambivalence and authority | sara hendren</title>
    <dc:date>2026-01-25T21:55:58+00:00</dc:date>
    <link>https://sarahendren.com/2026/01/25/ambivalence-and-authority/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["I have plenty of disagreement with George Scialabba’s new book — especially on MacIntyre and Taylor so far, which I hope to write more about — but he is so brilliant on Christopher Lasch that I have to just capture this passage (originally from Only A Voice):

<blockquote>Lasch’s work is an extended quarrel with modernity, defined as the advance of an overlapping, mutually reinforcing phalanx of political centralization, mass production, expanded consumption, automation, geographic mobility, the bureaucratization of education, medicine, and family life, moral cosmopolitanism, and legal universalism. Against this barrage of abstractions, Lasch insisted on the fact of human scale.

    The human creature has a specific evolutionary endowment and gestational history. As a result, the human infant has a powerful and threatening fantasy life, which it can only outgrow gradually, through a range of close-up interactions, involving both authority and love, with the same caregivers over many years. The bureaucratic rationalization of work and intimate life plays havoc with this scheme of development, producing a weak self, stripped of traditional skills, tools, and autonomy, entirely dependent on large forces beyond its comprehension, much less control, and crippled by ambivalence toward remote, impersonal authority. What sustained the strong pre-modern self was the virtue of hope; what sustains the weak modern self is the ideology of progress."</blockquote>]]></description>
<dc:subject>sarahendren christopherlasch georgescialabba modernity humanism scale humanscale ideology progress hope ambivalence authority love bureaucracy work life living skills autonomy tools comprehension abstraction universalism cosmopolitanism education medicing familylife morality centralization politics massproduction production productivity consumerism consumption charlestaylor alasdairmacintyre</dc:subject>
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<item rdf:about="https://arstechnica.com/science/2026/01/meet-veronika-the-tool-using-cow/">
    <title>Meet Veronika, the tool-using cow - Ars Technica</title>
    <dc:date>2026-01-19T21:43:04+00:00</dc:date>
    <link>https://arstechnica.com/science/2026/01/meet-veronika-the-tool-using-cow/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Veronika uses sticks to scratch herself, suggesting scientists have underestimated cow cognition"

[See also:

"Back-scratching bovine leads scientists to reassess intelligence of cows
Brown Swiss in Austria has been discovered using tools in different ways – something only ever seen in humans and chimpanzees"
https://www.theguardian.com/science/2026/jan/19/back-scratching-cow-veronika-bovine-intelligence ]]]></description>
<dc:subject>cows animals 2026 jenniferouellette morethanhuman multispecies tools intelligence</dc:subject>
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<item rdf:about="https://exo.org.uk/blah/on-bicycles-and-ai">
    <title>exo : on bicycles and ai</title>
    <dc:date>2026-01-17T04:41:03+00:00</dc:date>
    <link>https://exo.org.uk/blah/on-bicycles-and-ai</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Yes, I know, it is 2026 and no one needs another AI take but this all popped into my head on a bike ride and I must expel it.

In short, generative AI is not for me. This is not based on extensive, or really any, use, it is more about how I want to do things.

I know you can do good things with it, I have seen good things done with it, things that otherwise would likely not have happened.

I just don’t want to.

For the most part I enjoy my job. It is interesting and challenging in the right ways. Yes, there can sometimes be tedious bits to it but even those are enjoyable in a meditative way and I don’t think ridding myself of them would make me a better developer. I expect for some measures AI might make me more productive but it’s hard to say without putting in the effort to get good with the tools. What I am fairly sure of is it would not make me a happier developer. In the past I’ve managed people and it did not agree with me. I do not think that managing a machine is likely to be an improvement. On top of all this I am very much a figure things out by writing code so having a machine do this for me seems more likely to result in oversight and error.

The same goes for any other aspect that I might employ generative AI for. For me the act of making a thing is partly about noticing. If you are taking a photo it is because something has caught your attention, and in order for that to happen you have to be paying attention. Writing is the same. You have to interrogate your thoughts and in the process understand the reasoning or feelings behind them. To do this requires, for me at least, spending time with things and that is one of the things generative AI is designed to reduce.

There’s some reference to the bicycle for the mind metaphor with regard to these tools and, to me, it fundamentally misunderstands the what a bike is. Yes, it is an efficient means of getting from a to b but it is under your own power; let us ignore e-bikes here. More than that though, it is a machine for moving through the world. You cannot ride a bike without being aware of and understanding your surroundings. There is no setting a direction of travel and leaving the rest to the machine, it is a stream of decisions, some of which may become unconscious with time, but no part of the ride can happen without input. For me it’s this that makes bicycles great. You see so much from a bicycle but at a pace you can appreciate it.

I learn so much about my area from riding. I see the shops that close, or open, when the fields are dry, where the flooding happens, which towns are busy, where the paths go and when they are good to ride. I don’t want to skim over all that to get to my destination because it’s in those details that the joy is found.

I want the journey and generative AI does not."]]></description>
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    <title>Ancient Everyday Weirdness (2026) | by Bruce Sterling | Jan, 2026 | Medium</title>
    <dc:date>2026-01-12T03:12:52+00:00</dc:date>
    <link>https://bruces.medium.com/ancient-everyday-weirdness-591955f40a2d</link>
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</item>
<item rdf:about="https://www.hablemosderelojes.com/t/subcomandante-marcos-dos-relojes-para-dos-tiempos/82681">
    <title>Subcomandante Marcos - Dos relojes para dos tiempos - Relojería HdR / Hablemos de Relojes - HdR</title>
    <dc:date>2026-01-04T20:25:02+00:00</dc:date>
    <link>https://www.hablemosderelojes.com/t/subcomandante-marcos-dos-relojes-para-dos-tiempos/82681</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["http://k39.kn3.net/taringa/7/8/4/2/0/1/8/totemicos/DBC.jpg?1587 [try this instead: https://enlacezapatista.ezln.org.mx/2006/06/16/entrevista-al-delegado-zero-en-la-television-espanola/ ]

<blockquote>El Loco de la Colina.- A propósito de la hora, usted lleva dos relojes y una linterna.

Subcomandante Marcos.- Si, nosotros tenemos este reloj, el reloj de la derecha es el reloj de la sociedad civil, el de los ciudadanos, decimos nosotros, y el reloj izquierdo es el reloj de la guerra, el reloj del Ejército Zapatista de Liberación Nacional; cuando nosotros usamos dos relojes queremos decir que estamos en esta dicotomía, en esta dualidad de que somos un movimiento armado, clandestino, pero al mismo tiempo estamos tratando de construir una relación con los ciudadanos, con la sociedad civil, decimos nosotros, con el resto del país, en este caso de México, y la disparidad de las horas es que nuestra apuesta es que sea posible construir una sola hora, que no sea necesario dos relojes que nos estén marcando esta dicotomía, sino que se pueda hacer una sola; nosotros decimos que cuando se unan las dos horas, entonces será la hora de la paz para nosotros y para los pueblos indios.</blockquote>

https://www.youtube.com/watch?v=1VO3pRRQmDc
https://www.youtube.com/watch?v=pE0s9PbQ7O0

El reloj es usado como herramienta y como símbolo desde siempre. Puede ser usado como símbolo de prestigio, de riqueza, o hasta se lo puede cargar con cierta simbología política.

<blockquote>PREGUNTA.- ¿Por qué usas dos relojes?

SUBCOMANDANTE MARCOS.- Éste --señalando el de la muñeca derecha-- es el tiempo del país y éste --el de la izquierda-- es el tiempo de la revolución; nosotros vamos una hora adelante con respecto del resto del país, aunque a veces siento que éste se adelanta cada vez más.</blockquote>

[broken link]

El Subcomandante Marcos es todo un personaje del siglo XX y de la lucha de las minorías indígenas en México y el mundo. Se lo suele comparar con el Che Guevara, y como al Che le pasará igual. Pasará a la historia como un símbolo de la cultura pop o post-moderna y su mensaje político se irá haciendo cada vez más difuso y solo quedará la cáscara.

<blockquote>Su indumentaria es extraña: un pañuelo raído amarrado al cuello y una gorra deshecha. Pero a la vez lleva una linterna que aquí no necesita, un aparato de comunicaciones que se ve muy sofisticado y tiene un reloj en cada muñeca. ¿Son símbolos? ¿Qué significa todo eso?

La linterna es porque nos tienen metidos en un hueco donde no hay luz y el radio es para que mis asesores de imagen me dicten las respuestas a las preguntas de los periodistas. No. En serio. Este es un walkie talkie comunicado con seguridad y con nuestra gente en la selva para que nos comuniquen si hay algún problema. Hemos recibido varias amenazas de muerte. El paliacate (pañuelo) era rojo y nuevo cuando tomamos San Cristóbal de las Casas hace siete años. Y la gorra es con la que llegué a la selva lacandona hace 18 años. Con un reloj llegué a esa selva, y el otro es de cuando empezó el alto el fuego. Cuando las dos horas coincidan significa que se acabó el zapatismo como ejército y que siguen otra etapa, otro reloj y otro tiempo.</blockquote>

http://www.eltiempo.com/mundo/latinoamerica/entrevista-de-gabo-y-roberto-pombo-al-subcomandante-marcos/14064740

[image]
http://img18.imageshack.us/img18/7318/1pym28.jpg [broken link]
*Timex Ironman Shock

El Subcomandante Marcos y el Ejército Zapatista de Liberación Nacional se dedicaron a construir un personaje y a usarlo en su favor en la prensa y la opinión pública. Más allá de la comparación con el Che, hay una diferencia fundamental entre los dos. El Subcomandante Insurgente Marcos sabía de la importancia de los símbolos y que él mismo no era una persona, sino un personaje, como él mismo dijo en su despedida:

<blockquote>Les decía que empezó entonces la construcción del personaje.

Marcos un día tenía los ojos azules, otro día los tenía verdes, o cafés, o miel, o negros, todo dependiendo de quién hiciera la entrevista y tomara la foto. Así fue reserva en equipos de futbol profesional, empleado en tiendas departamentales, chofer, filósofo, cineasta, y los etcéteras que pueden encontrar en los medios de paga de esos calendarios y en diversas geografías. Había un Marcos para cada ocasión, es decir, para cada entrevista. Y no fue fácil, créanme, no había entonces wikipedia y si venían del Estado Español tenía que investigar si el corte inglés, por ejemplo, era un corte de traje típico de Inglaterra, una tienda de abarrotes, o una tienda departamental.</blockquote>

[two images]

Aquí vemos al Subcomandante Marcos el día de su despedida en todo su esplendor. Montando a caballo, con su pasamontañas, su pipa, con el ojo derecho tapado, sus dos relojes…

PD: No soy muy bueno identificando los relojes. Eso se lo dejo a los expertos."]]></description>
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<item rdf:about="https://sixcolors.com/link/2025/12/apple-designs-luxury-bubble/">
    <title>Apple design’s luxury bubble – Six Colors</title>
    <dc:date>2025-12-30T20:30:20+00:00</dc:date>
    <link>https://sixcolors.com/link/2025/12/apple-designs-luxury-bubble/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["I enjoyed this thoughtful post [https://karbonbased.io/posts/2025/12/and-stay-out ] from Garrett Murray, itself a link to a post by Louie Mantia [https://lmnt.me/blog/and-stay-out.html ] about the departure of Alan Dye from Apple:

<blockquote>I sometimes think about what we lost along the way as Apple chased ultra-simplicity and luxury. Jony Ive spent a decade slowly removing any trace of personality from every product Apple released. Apple went from the original translucent-colored plastic aesthetic of the “Bondi blue” iMac G3 and the Power Mac G3 “Blue & White” to the more refined and unique design of the iMac G4 to… a bunch of aluminum rounded rectangles for decades. Chasing thinness, removing ports, simplifying everything down to metal and glass with no differentiation.</blockquote>

As Mantia wrote:

<blockquote>[Ive] and his team designed great products during the first half of his tenure at Apple. But as he became wealthier, he started to conflate good taste with luxury. Jony often described Apple products with words about craft, material, and precision, all things that appeal to a luxury market. Apple shifted away from making products “for the rest of us” and started making products that appealed specifically to rich people.

Not to put too fine a point on it, but they started making products that appealed to themselves. Because since Steve Jobs died, Apple, its executives, and its corporate employees got significantly wealthier. It wasn’t just Jony who took an interest in luxury. The whole company did. Anyone with even a little bit of power in the company started to dress more expensively. They all look like they could walk right out of a fashion advertisement.</blockquote>

Part of Apple’s appeal is “affordable luxury”. There’s no super-luxe iPhone for the billionaire class. But there is something about what Murray and Mantia write that strikes me as being absolutely right.

In the wake of Steve Jobs’s death, Apple elevated Jony Ive to a position of total design authority as a way of signaling to the wider world that the company was going to be okay after losing its co-founder and leader. In that era, there was a genuine fear that a company led by an operations guy was not going to be able to keep the magic going. (Certainly, that’s a narrative that current and former Apple designers have been happy to push ever since.)

The more I think about it, the more this (perfectly reasonable!) tactical decision has come to feel like the original sin of the Tim Cook era. An unchained and elevated Ive sent the right message to the world, and Ive really is a talented designer who built beautiful things. But without Steve Jobs to rein things in, Apple’s design sense got more insular, more obscure, more minimal.

It’s one reason I’m so critical about Ive, his overlong tenure at Apple when he was obviously burned out, and the fatal mistake of placing software design in the clutches of him and his lieutenants: I just get the sense that those designers became untethered from the rest of us, chasing idealized product dreams based on the expensive luxury brands they wore, drove, and otherwise used every day. Not that Apple designs ugly stuff, but there is undoubtedly an antiseptic sameness to a lot of it that smacks of a design team that has disappeared up its own white void."]]></description>
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<item rdf:about="https://www.frontporchrepublic.com/2025/12/still-asking-berrys-question/">
    <title>Still Asking Berry’s Question - Front Porch Republic</title>
    <dc:date>2025-12-30T20:14:19+00:00</dc:date>
    <link>https://www.frontporchrepublic.com/2025/12/still-asking-berrys-question/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The promise of liberation from drudgery quickly becomes liberation from purpose."

...

"Wendell Berry asked a question that modernity hates because it cannot be monetized: What are people for? The industrial age answered without blushing: people are for the economy. They are for the factory, for the spreadsheet, for the gross domestic product, for the “growth curve.” And because modernity is very sure of itself, it named this clear and quantifiable purpose “progress.” Berry, being a sane man, said no. People are not raw material. The farm is not a mine. The town is not a labor pool. The land is not “natural resources.” The creature is not a “human resource.” People are for love, for neighborliness, for covenant, for the stewardship of place, for the worship of God. The economy is for people, not the other way around.

Now we have entered a new chapter in the same old story. The factory was thick steel and soot; the algorithm is clean glass and the promise of frictionless living. But the question has not changed. What are people for? If you listen to the evangelists of ubiquitous AI, you can hear the old answer updated for a sleeker age: people are for optimizing the system. People are for feeding the model. People are for “upskilling” to stay relevant. People are for consumption while machines produce. We are for being managed, curated, nudged, entertained, medicated, subsidized, and finally rendered unnecessary…except perhaps as data points.

We should not pretend this is a neutral development. A tool is never just a tool. Every tool is a moral proposal. The plow proposes a certain kind of farming. The automobile proposes a certain kind of city. The smartphone proposes a certain kind of attention span. And AI proposes a certain kind of humanity. Powerful tools do not merely serve us; they slowly train us to serve them. And if the only virtues we value are efficiency and expediency, we will bow to any machine that offers more of both.

The ideologues of automation speak with a kind of missionary zeal. AI will free us from drudgery. AI will remove human error. AI will multiply economic output. AI will personalize education, healthcare, entertainment, companionship. AI will be the “next electricity,” they say, and so it must be everywhere, in everything, all at once. And then the pious conclusion: anyone raising a hand in caution is anti-progress, anti-science, afraid of the future.

But there is another word for the future they are selling: displacement. The question is not whether AI can do certain tasks as well as humans. Of course it can, and increasingly it will. The question is whether a society that systematically replaces human labor with machine labor is still a society ordered to human good. The promise of liberation from drudgery quickly becomes liberation from purpose. And purpose is not an optional accessory. It is a necessity of being human. A man without meaningful work is not a man who has been freed; he is a man who has been cut loose.

“Work” here does not mean mere wage-earning. It means the human vocation to make and keep, to cultivate and guard, to build what is worth inheriting. Work is the way love takes shape in the world. A father works to provide. A mother works to nurture. A neighbor works to repair what is broken. A farmer works to husband the soil. A teacher works to pass on wisdom. A carpenter works to make shelter. A church member works to bear burdens. These are not interchangeable economic units. They are acts of embodied responsibility. Berry’s complaint against abstraction is precisely this: once people become “labor” in the system, their particular loves and particular places no longer matter.

Ubiquitous AI accelerates abstraction like gasoline on a brushfire. The more that work is done by disembodied systems, the less work is tied to place. And the less work is tied to place, the weaker the ties of membership become. The logic is brutal and simple: if a machine can do it cheaper, humans shouldn’t. If a town is inefficient, the market will bypass it. If a craft is slow, an algorithm will swallow it. If a family is fragile, a platform will replace it with services. We are invited to live in a world of permanent outsourcing, where the friction of being human is treated as a bug to be fixed.

And the social consequences are not hard to predict because many of them are already here. First comes automation. Then comes permanent unemployability for a wide class of people; not because they’re lazy, but because the ladder has been kicked away. “Learn to code” was the pep talk of the last decade; now AI codes. “Go into design” was the assurance of the creative economy; now AI designs. “Do knowledge work” was the shelter from industrial replacement; now AI writes, summarizes, drafts, advises. The goalposts will keep moving because the goal is not human flourishing. The goal is maximal efficiency.

What happens to a people whose sense of worth is tethered to usefulness, when usefulness is mechanized away? We should be honest enough to answer: despair. Aimlessness. Addiction. Political hysteria. A general lowering of the national mood. In some cases, yes, rebellion. In other cases, a dull flotation in entertainment and substances. You cannot turn the human being into a dependent and expect him to remain a citizen. You cannot treat him as superfluous and expect him to remain sane.

“Universal basic income will solve that,” we are told. Money for nothing; a subsidy to float those who have been made redundant. But here again is Berry’s question in another costume. What are people for? If the answer is “for consuming products and staying quiet while machines do the meaningful stuff,” then yes, UBI is a tidy solution. It is also a polite form of social euthanasia. Bread without work is not dignity; it is sedation. The Christian tradition does not say, “If a man does not work, let him receive a check so he can endlessly scroll.” It says, “If a man does not work, neither shall he eat”—not to be cruel, but because work is woven into the fabric of a meaningful life. We were made to bear responsibility. We were made to put our love to work in the service of God and neighbor. A society that tries to offload that need is not merciful; it is vandalizing the soul.

The defenders of ubiquitous AI assume that meaning is something you can invent once the machines handle the necessities. “People will be free to pursue art, leisure, relationships, play.” But leisure is only leisure after labor. Play only means something because there is something serious to play from. Art is not a default state produced by free time; it is the fruit of disciplined attention, usually learned under the patient hand of a community. Relationships fray when no one is needed. If we take away the ordinary callings that knit people to one another, we don’t create a paradise of creativity. We create a petri dish for narcissism.

The deeper issue is theological before it is economic. God made man in His image. That image includes the charge to rule, name, cultivate, and create. We are not gods, but we are makers under God. We were not fashioned to be ornamental. When the machine becomes the primary actor in the world and the human becomes a passive recipient, the image is insulted. The cult of AI is not just a business strategy. It is an anthropology: a doctrine about what humans are. And its doctrine is that humans are error-prone meat devices. The system is wise. Trust the system. Give over agency. Let the optimization proceed.

Berry’s resistance to industrialism was never about nostalgia for hard labor. It was about fidelity to creaturely limits and local loves. The point is not that we should forbid every use of machine intelligence. The point is that we must never enthrone it. Tools are gifts when they remain tools. They are curses when they become masters.

So what does it mean to refuse subservience to the tool?

It means we stop speaking as though inevitability were the same as righteousness. “AI is coming, so we must adapt,” is not an argument. Plagues come too. Pornography comes too. Tyrants come too. The question is not what is coming, but what is good. And goodness is measured by whether human beings become more fully human in their homes, churches, and towns.

It means we choose…deliberately, even stubbornly…to preserve human-centered work where it matters. A community that keeps teachers teaching, craftsmen crafting, nurses nursing, pastors pastoring, and parents parenting is not inefficient; it is sane. It is recognizing that the speed of a machine is not the same thing as the health of a people.

It means we re-localize what AI tries to de-localize. The more our economy is mediated by distant, opaque systems, the less accountable it becomes. AI concentrates power because it concentrates knowledge and production into the hands of those who own the models and compute. If Berry taught us anything, it is that concentrated power is always a threat to the land and the people. The antidote is smallness, transparency, and face-to-face responsibility.

It means we insist that education is for forming persons not “training users.” If AI shortcuts every hard mental hill, it does not make students free; it makes them dependent. Wisdom grows through struggle, through memory, through attention, through the risk of being wrong. A classroom ruled by AI tutoring as the default is a classroom that has quietly replaced the teacher’s moral authority with the machine’s efficiency. That is a bad bargain.

It means we regard the family and church as the primary economies of meaning. A man who is needed at home and in his congregation is not easily replaced by an algorithm. A village that sees its young people as future members rather than future data labor is harder to colonize by tech inevitability. You can’t build that kind of belonging with a push notification.

Some will call this reactionary. Fine. The Hebrews have been “reactionary” against idolatry since Pharaoh, and the Christians followed their example in Rome. We are not against tools. We are against false gods. We give thanks for whatever genuinely helps a mother care for her kids, a doctor diagnose disease, a farmer steward soil, a teacher teach clearly. But we refuse to live in a world where the human is downstream from the machine. We refuse to trade our birthright for convenience.

Berry’s question presses us toward a final clarity. People are not for AI. People are not for the market. People are not for the state. People are not for the machine. People are for God, and therefore for one another, and for the care of the earth that God has placed beneath our feet. Everything else is a tool. And if the tool demands that we become smaller, thinner, more passive, less responsible, and less bound to place and neighbor, then the tool is not helping. It is devouring.

So in this new industrial moment, the old counsel holds: put the living at the center. Keep the machines in the shed. Let them serve actual communities, actual households, actual farms, actual schools, actual churches. And when efficiency asks to be worshiped, laugh at it like Elijah laughed at the prophets of Baal. We were not made to be optimized. We were made to be faithful."]]></description>
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<item rdf:about="https://www.theverge.com/report/829265/hoto-fanttik-profile-origins-xiaomi-aukey-tiktok">
    <title>How Hoto and Fanttik became popular tool companies in the US | The Verge</title>
    <dc:date>2025-11-27T06:20:52+00:00</dc:date>
    <link>https://www.theverge.com/report/829265/hoto-fanttik-profile-origins-xiaomi-aukey-tiktok</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["How two Chinese tool brands are becoming household names."

[archived:
https://archive.ph/36hKF ]]]></description>
<dc:subject>tools us china brands seanhollister 2025</dc:subject>
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    <title>Reading Ivan Illich’s Deschooling Society in the Neoliberal University, by Justin Podur (2021) — Liberated Texts</title>
    <dc:date>2025-11-14T04:06:03+00:00</dc:date>
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<item rdf:about="https://www.youtube.com/watch?v=vBWdYrO6y_E">
    <title>Artist Jon Rafman sees AI as both tool and terror - YouTube</title>
    <dc:date>2025-11-04T18:45:02+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=vBWdYrO6y_E</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["“This messy keyboard is a metaphor for our existence.”

We interviewed Jon Rafman about his groundbreaking work, which takes a critical look at the internet and how it has evolved from a free space to one dominated by surveillance.

”I've always been in search of ways to communicate with as many people as possible using a language that feels fresh. And when the internet emerged, it came up with new languages, new ways of communicating. There was a sense of excitement, as well as a certain idealism. It felt like I was part of an active community that was in dialogue with each other.”
 
”You think you know the world, and then you find a world inside the world, and then a world within that, and it just goes on and is literally impossible to conceive. This was the sort of excitement – the possibility of these new worlds to explore, be it in Google Street View, but also in Second Life.”

Over the years, however, the internet has undergone a significant transformation, shifting from a multitude of niches to being dominated by a few large companies. It became more ”Kafkaesque than even Kafka”, says Rafman, especially with the recent developments in AI:

”AI is just as a tool, like the photograph and the film camera and the printing press, I think it's a really incredible tool for artists. I'm not praising it, I think there's a sense in which it's terrifying. The people constructing these algorithms don't know the long-term effects they will have on society and our children. And just like Google Streetview, it's owned by this one corporation, but like the internet as a whole, we all can surveil each other and police each other also.”

Jon Rafman (b. 1981 in Montreal) is a Canadian artist and filmmaker recognised for his innovative use of digital media to explore themes of memory, identity, and the complexities of contemporary culture in the age of technology. Rafman gained prominence through his work that frequently combines photography, video, and virtual reality, creating immersive experiences that challenge perceptions of reality and digital interaction. His artistic practice often explores the intersection between the virtual and the physical, examining how digital environments influence human experience.

Through his explorations of virtual worlds, Rafman raises critical questions about nostalgia, surveillance, and the impact of technology on society. His work often blends humour with melancholy, providing a nuanced perspective on the human condition in an increasingly digital landscape.

Rafman has exhibited internationally in prestigious institutions, including the Museum of Modern Art (MoMA) in New York, the Palais de Tokyo in Paris, the Barbican Centre in London, and the Louisiana Museum of Modern Art in Denmark. His contributions to contemporary art have solidified his position as a leading voice in the discourse surrounding digital media and its implications for modern society. By continuously pushing the boundaries of artistic expression through technology, Jon Rafman invites viewers to reconsider their relationship with the digital world.

Jon Rafman was interviewed by Marc-Christoph Wagner in October 2025. The conversation took place at the Louisiana Museum of Modern Art in Humlebæk, Denmark, on the occasion of Rafman’s exhibition, “Report a Concern.”"]]></description>
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<item rdf:about="https://blog.ayjay.org/towards-old-man-willow/">
    <title>towards Old Man Willow – The Homebound Symphony</title>
    <dc:date>2025-11-01T03:43:20+00:00</dc:date>
    <link>https://blog.ayjay.org/towards-old-man-willow/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Brian Eno, interviewed by Ezra Klein, recalled a moment some years ago when he was talking with the engineers at Yamaha about one of their synthesizers. Like most synthesizers, this one came with a series of preset tones but was also programmable, and Eno told the engineers that they should make the synthesizer easier to program. They replied that nobody ever programs the synthesizer, they just use the presets. There would be no value for Yamaha in investing the thought and effort into making programming easier, given the vanishingly small number of people who would benefit from the change.

In a sense, these people are not not using the synthesizer; the synthesizer is using them. You know the old line that a chicken is an egg’s way of making another egg? Well, a human being’s fingers are a synthesizer’s way of getting its preset sounds played. A human thumb is the TikTok interface’s way of getting itself scrolled. The human being is a means to the device’s end. And that’s ultimately what the device paradigm, as Albert Borgmann called it, leads to. When Eno told that story about his encounters with Yamaha Ezra Klein rightly commented that people who think they are using social media end up conforming themselves more and more closely to the affordances of whatever social-media platform they’re on.

I’m reminded of that passage in The Fellowship of the Ring where the hobbits are trying to get through the Old Forest, and the one way that they don’t want to go is down into the valley of the Withywindle. But they keep being forced down there. The lay of the land, the affordances of the land push them towards the place they’re trying to avoid. And eventually they discover that resisting those affordances is just too exhausting. And that’s what it’s like when we use social media, and when we use chatbots: it’s characteristic of all of our currently dominant technologies to force us to become devices. The entire system is oriented towards the transformation of what had formerly been human beings into devices. Jaron Lanier says You Are Not a Gadget but, increasingly, you really are. Eventually you’re drawn head-first into the roots of Old Man Willow and in danger of being crushed to death.

This explains why, in the face of varied but always vociferous complaints, the big tech companies keep shoving their AI programs in our faces, keep building out data centers in the face of protests, keep stealing people’s electricity and water, etc. etc. People say, You can’t force this on us against our will, and the techlords reply, Of course we can, we always have. Eventually down into the valley of the Withywindle we’ll go — unless we don’t enter the Old Forest in the first place.

And for now, anyway, we have that choice. The other day I happened to read this piece by Charlie Warzel on the deluge of AI slop that he encounters every day. “This Is Just the Internet Now,” the title says. But it isn’t. I’m on the internet every day, and I haven’t seen any of the crap he describes. Almost all of it comes from the major social-media platforms and I’m not on any of them — and you don’t have to be either. The hobbits had good reason to take the great risk of entering the Old Forest; I don’t."]]></description>
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    <title>This Glorious Machine</title>
    <dc:date>2025-08-15T04:26:01+00:00</dc:date>
    <link>https://robinrendle.com/stories/this-glorious-machine/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["THIS GLORIOUS MACHINE

Riding an e-bike is like discovering a long forgotten secret of the universe or, perhaps, inventing something worthy of a heartfelt “eureka.” Look: zipping through traffic on my first e-bike, blitzing past the stuffy tin cans all around me, I’ve become master of the four winds. Now first place in a triathlon, now a mythical creature that can move at the speed of thought. Upon my trusty electric 6-gear steed I am Hermes, lord of heavenly motion.

And the sound! An e-bike makes every thunk, whip, and whirl that you might find in a comic book: gears rattling, spokes spinning. Just listen to this thing go! I’m dashing between cars and blurry, bipedal pedestrians, and right now, on my first ride to work, I can’t stop smiling.

I’m smiling because, unlike so many promises that tech has failed to deliver, e-bikes are genuinely worthy of an hour-long presentation delivered in a turtleneck. If a computer is a bicycle for the mind, then an e-bike is a bicycle for our bicycles, a wonder of micro-mobility as they reimagine our relationship with our bodies and our cities and even with the future of technology itself.

Simply put...

E-BIKE AREN'T A DUMB GRIFT.

As I weave through double parked cars and brave pedestrians, I see that this bicycle with an electric motor has returned the hope I’d lost over the years. Here, listen, it whispers: tech doesn’t have to be a con or make us the worst versions of ourselves. Look: technology has kept its promise and genuinely made the world better!

My e-bike is pulling me into an alternate dimension where tech isn’t designed to be a grift from the start, as these two-wheeled bad boys aren’t only here to generate shareholder value; they’re designed to help.

I’m halfway through my ride now and it’s dawning on me that this little e-bike of mine offers a critique against tech culture as a mere profit-generating tool, sure. But this machine comes with a vision, too. A vision of what a city should be and how we ought to navigate it.

It’s clear from this ride that our cities have been built all wrong as for more than a century we’ve incentivized cars to segment and separate our country into human-free zones and endless freeways with generic, Lego-like blocks copy and pasted in between. Although, my e-bike, as brilliant as it may be, is a well-designed hack on top of all that. It’s a patch on top of poor city planning and underfunded public infrastructure.

Our cities don’t have to work like this and e-bikes show us a clear way out: every e-bike is a manifesto for lost common spaces, huge sidewalks with giant trees above and local shops within walking distance. Parks! Places you can sit down! Shade! Shelter! Not just an in-between place or a hurdle to circumnavigate between your job and your home, e-bikes argue for a city to be proud of instead. And isn’t that what tech was supposed to do, show us a way out?

Wasn’t tech supposed to show us the future?

E-BIKES ARE MORE PUNK THAN PUNK ROCK.

For a decade my primary method of transportation was a motorcycle. Back in my early 20s I believed there was nothing more punk than an exploding hunk of metal beneath me. Roaring, screaming through dinky villages in Devon or across the sparse and shining cities of southern California.

Bicycles were the opposite of all that freedom. For decades I associated them with my childhood and being trapped in my tiny hometown without access to the wider world. Bicycles weren’t objects of desire or of longing because they simply weren’t fast or loud. And to be cool there always has to be volume and speed. Drums? Fast. Loud. Cool. Hip hop? Same. Motorcycles? What did you say? I can’t hear you because my eardrums have shattered and all that remains is a wonderful, heart-stompingly loud vibration in my chest; loudness personified and loudness eternal.

But now, as I’m slipping between cars on my first e-bike after two decades of being a total jerk and looking down on cyclists, I’m embarrassed to say I’ve thoroughly learned my lesson. Bicycles, and e-bikes specifically, are genuine wonders. Somehow strapping an electric motor onto a bicycle changes everything for me.

Here’s the kicker though. E-bikes aren’t cool because of the way they look or how loud they are and they’re certainly not cool because they turn heads or make strangers jealous. Instead, e-bikes don’t care about cool. They argue for a new kind of world where technology is genuinely helpful, where technology doesn’t have to be cool at all.

Technology can just do the job it’s meant to.

E-BIKES ARE THE FUTURE WE DESERVE.

Almost home now, stopping for a kid to cross the street. She’s smiling and dancing, oblivious to the world around her, but now she’s caught sight of me, looking me up and down. Slowly, she raises her hand up to her head in the shape of an L.

Who knew that a simple gesture could undo years of therapy in a flash? And sure, I might very well be a nerd, a loser, perhaps even a dreaded cyclist now but no matter how much I love this machine it will never be truly cool. But isn’t that...fine?

Cool tech is overrated anyway. We tend to think of cool in all the wrong ways because we only see cool as loudness and speed and aluminum, presented on stage to glorious fanfare. We see minimalism and a hefty price tag or the unrealistic, bewildering promise that can’t possibly be kept and we think that’s cool. Yet we tend not to think about hearing aids or MRI machines or clean drinking water or contact lenses. We don’t think of small, meaningful progress as cool and this limits our understanding of what technology is capable of and what role we should play in it.

As someone who’s worked in tech for more than a decade (sorry) I’ve seen how a lot of folks in the industry are terrified of making something merely useful. It must be important! It must scale! It must have a million eyes on it! And I’ve sat through meetings where progress isn’t measured by real progress, but rather a bunch of abstract numbers in an ugly spreadsheet. So—ranting aside—I reckon technology can only truly help us if we ignore what’s cool. Imagine no more handsome, turtlenecked speeches or rapturous applause. Imagine no more dumb catchphrases or logo redesigns or promises that can’t possibly be kept.

Rather, e-bikes ask us a new and exciting question:

WHAT IF WE MADE SOMETHING USEFUL INSTEAD?"]]></description>
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<item rdf:about="https://robbreport.com/style/watch-collector/watches-fashion-gender-1235569136/">
    <title>Why It's Time to Break Out of Our Gendered Views on Watches</title>
    <dc:date>2025-07-26T23:00:52+00:00</dc:date>
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    <dc:creator>robertogreco</dc:creator><description><![CDATA["Can we bend our ideas about the purpose of watches?"

...

"[image: Andy Warhol]

There is a known tension between those who believe watches are fashion items and those who uphold that watches are more than, better than, and beyond fashion. I find this tension fascinating, and I think it has much to do with the complex ways that gender influences our varied perspectives on the long-standing battle between fashion and function.

The Dynamics of Watches, Fashion, Gender & Sexism

My former colleague at Hodinkee, Malaika Crawford, has been using her tenure as a watch journalist to show us the connection between watches and fashion. Malaika has been met with the heated, polarized, and often straight-up sexist responses that too often characterize the “conversation” in Hodinkee’s notoriously combative comments sections. Malaika’s is one of just a few voices connecting fashion and watches among us watch journalists, and her persistence has brought the topic to the forefront of the conversation. For this alone Malaika deserves our applause.

Foregrounding fashion and watches has brought obvious discomfort to many people, and from what I can tell those experiencing discomfort are men. This doesn’t surprise me for many reasons, including but not limited to the following: Some men eschew the notion that they participate in fashion; some like to mansplain and troll; and some men are (however unknowingly) uncomfortable with women possessing authority in the watch space.  

[image: "In 1983, Swatch blurred the barrier between men’s and women’s watches with a playful spirit that captured the androgyny of the era."]

To put it more pointedly: The watch enthusiast scene has long been a rather nerdy good old boys club mostly unconcerned with fashion, and today’s neophyte-heavy watch scene has fostered what I think of as “a new bros club” that is also purportedly largely unconcerned with fashion. In my estimation, many watch collectors and enthusiasts were always going to ignore—even avoid—the proximity of fashion and watches, and they predictably resist having that proximity pointed out to them.

I detect currents of both sexism and hetero-normalism in this resistance to considering watches and fashion together. I want to be clear that I do not see these –isms as the whole story, and below I will make a case for not considering watches as fashion items. But before I do that, we must consider the important role that gender plays in this cultural conundrum.

[image: "Italian entrepreneur Gianni Agnelli (left) famously wore his watch over his shirt cuff. Fashion or function?"]

I’ve long detected and disliked the currents of sexism and hetero-normalism in the watch collecting scene, just as I’ve found them in guitar culture, hi-fi, jazz, motorcycles and all sorts of male-dominated enthusiast scenes I happen to participate in. (I’ve even noted similarities between these enthusiast scenes and the gun enthusiast scene in which absurd machismo often goes unchecked.) Almost without fail, every male-dominated enthusiast scene has a posse of outspoken men who obnoxiously defend the hegemony of their traditionally gendered point of view. I’m convinced men don’t carve out and defend these positions knowingly. There’s the occasional overtly sexist troll who knows what he’s doing, but mostly these defenses appear to spring up from largely unconscious gender norms.

I’m making a rather touchy assertion—some would even call it an accusation. I understand why one wouldn’t want to think about –isms when indulging their hobby, but I also think enthusiast spaces are particularly rife with unchecked behavior that we know better than to indulge in professional spaces and even among family. Sometimes it is exactly our leisure time that finds us bickering from unexamined positions. I think we can learn from looking at those tendencies.

[image: "Julia Roberts wearing a larger Chopard Alpine Eagle over her cuff in the manner of Italian auto tycoon Gianni Agnelli."]

Gendering Our Perspectives on Watches

It’s been my impression that men who indulge fashion often play with, indulge and express gender more fluidly than men who eschew fashion. (I fit this description of a somewhat fluidly gendered guy who dabbles in fashion.) I’d also suggest that those who are into both fashion and watches don’t tend to sequester themselves in watch-centric scenes. This isn’t to suggest that fashion-oriented men lack horological knowledge or interest; to the contrary, those who know fashion often bring compelling insight to bear on how culture and watches interact.

Think of Andy Warhol who owned over 300 watches and knew Rolex and Patek reference numbers as well as anyone, but for whom watches were just one small piece of his broad fascinations with art, fashion, publishing, pop culture and so much else. The perspective that considers watches as part of fashion and expressive culture more generally is neither better nor worse than a nerdy watch-centric perspective, but these perspectives usually focus on rather different aspects of watches.

[image: "Christie’s auctioned one of Andy Warhol’s Patek Philippe Calatravas in 2021."]

I’ll use myself as an example of how gendered perspectives operate to form our views on watches.

I’m half Warhol and half good old watch nerd. I adore Gucci (the cuts and fabrics) Ferragamo (the shoes) and Cucinelli (the knits), and I know just enough about my tastes and my body to mostly avoid British and American fashion designers. Sometimes I spend real money on clothes. But I’m not obsessed with fashion; I don’t read fashion magazines or follow the seasonal collection drops, or remember the name of the man who just took over at Gucci, for example. But I indulge fashion in my own way and am super comfortable with it. As such, I neither struggle to accept the proximity of watches and fashion, nor do I relegate watches solely to the world of fashion. We might say that I’m “on the continuum” between the hypebeast and watch nerd.

I can’t help but notice that my somewhat complex gender identity aligns with my interests in fashion and watches. The more fluid and feminine-leaning side of me tends to consider a watch as an accent to an outfit (as an item of fashion), while the more standard-issue American-dude side of me tends to geek out over specs, performance, condition and price (as a functional item or a collectible). For me, watches are simultaneously fashion accessories and geeky mechanical objects. It is my unique gender mash-up that seems to let me experience both without a hint of cognitive dissonance. 

[image: "Storied fashion houses like Gucci are entering the realm of high horology and often winning over die-hard fans of traditional horology."]

Clearly I find it impossible to avoid talking about gender when discussing fashion and watches, and I acknowledge that my bringing gender to bear on this topic is itself potentially troubled. Perhaps my need to bring up gender here is just me echoing that male discomfort with thinking of watches as fashion items. I hope not, but I refuse to dismiss the possibility that I’m unknowingly exhibiting an –ism or two here.

Why Does Fashion Anger Some Watch Aficionados?

I think this boils down to the fact that fashion operates largely on seasonal trends whereas watches—traditionally—have followed a far longer cycle of aesthetic transformation. For hardcore watch enthusiasts who buy watches to own and wear for decades and then hand down to the next generation, associating watches with the transient nature of fashion is offensive.

[image: "Patek Philippe’s long-running ad campaign pushes the notion that watches are timeless family heirlooms. “You never actually own a Patek Philippe. You merely look after it for the next generation.”"]

Nothing spells out the watch aficionado’s disdain for transient fashion trends better than the derogatory phrase “fashion watch.” Fashion watches tend to be cheap and disposable items that follow seasonal trends. For many people, the value of a quality watch is that it is the very opposite of fashion: It will last indefinitely; it will not go out of style; it will go up in value; it will accrue personal meaning across decades and perhaps multiple lifetimes; it will remain emblematic of its owner, no matter what that person wears on any given day in some soon-forgotten fashion cycle.

If one were to fully buy into this position, one would likely more readily equate watches with jewelry than with fashion. Diamonds are forever, of course, and jewelry is handed down through the generations just as watches are. I’ve often heard people refer to watches as “jewelry for men.” 

[image: "Even the larger Audemars Piguet Royal Oaks are now difficult to call men’s watches. The brand has purposefully blurred binary gendering, well ahead of its counterparts Patek Philippe and Vacheron Constantin."]

There’s another reason that considering watches as fashion items offends some watch enthusiasts. This is a little harder to decode, and it more complexly involves gender. 

There is an idea among some traditionally oriented men that a wardrobe should be built of classic staples that can last decades and never go out of style. We would tend to call this “tailoring” for those who wear suits, but the idea of long-lasting classic pieces now extends across much more casual styles. We can spend hundreds on high-end denim that we break in and wear for decades. A fine cashmere sweater costing four figures should be conservatively styled so as to endure across trends. Shoes—and now expensive work boots—that can be resoled again and again are considered a good investment. Practicality, function, and durability are central concerns for many men, and the latest fashions are decidedly not of interest in this regard.

[image: "Kenneth Goh, Harper’s Bazaar Singapore editor-in-chief, wears a scarf, a red double-breasted coat and a black Chanel bag during Paris Fashion Week in March 2024."]

In my opinion, a focus on enduring style and quality aligns quite naturally with a watch purchase. I tend to buy rather classic watches that I believe will not go out of style, and when I spend good money on, say, a Gucci sweater, I buy rather placid pieces that I imagine I will wear into old age. Despite my being very open to fashion, I don’t consider buying a watch a fashion decision. Style, sure, but fashion no.

As practical and straightforward as all that sounds, there is a slightly troubling component of gender at play here. Let’s consider some stereotypes to tease out what that gendered component might be.

Consider the stereotypical woman who refuses to be seen in the same dress twice, and consider the stereotypical man who wears the same three to five suits with either a blue or white shirt to work for years on end. Consider the stereotypical woman loaded up with shopping bags, and consider the stereotypical man rolling his eyes at the credit-card bill. Consider the stereotypical woman paging through Vogue, and consider the stereotypical man reading Popular Mechanics. These stereotypes are familiar to us because they play out in the media again and again, but also in our lived culture.

These stereotypes hinge on normalized binary gender roles, and those gendered perspectives inflect how some people think about watches and fashion.

[image: "Ernest Hemingway, 1959, an icon of American masculinity in traditional garb and small watch. A recent biographer suggests that Papa bent his gender liberally in his romantic relationships."]

Emphasizing Function Is a Gendered Position

Many men will speak of clothing—and of course watches—in the same terms that they speak of tools, cars, lawn-mowers and other functional items. Clothing can be praised as durable, functional, well-crafted, and perhaps as a needed missing piece in a carefully curated wardrobe, just as a quality hammer or drill-bit set might help round out one’s tool chest. That we speak of “tool watches” as opposed to “dress watches” affirms the fascination with functionality, and that tool watches have come to dominate men’s watch styles strikes me as predictable (despite whatever low-grade trend toward dress watches may be currently emerging).

Being fascinated with the mechanics of watches—or anything mechanical—is a stereotypically male fascination. Talking about the specs and mechanical prowess of cars and motorcycles and guns and knives and watches all sounds the same to me. I get a bit tired of it, if I’m honest. I’m actually more interested in the emotional and aesthetic connections we form with mechanical objects, especially watches. To be frank, I relate to my watches more as companions than as tools.

[image: "The Patek Philippe 6400/403G Grand Complication with Emeralds and Diamonds measures 49.4 mm across. This pairing of jewels and an enormous case perhaps blurs gender categories."]

We hetero-normal dudes may feel special and fancy wearing our two-tone Submariner, but we’re more likely to point out that the bracelet is still pretty tight, that it runs within two seconds per day, that it has a silicon hairspring, that the ceramic bezel is scratch proof, and that we got a good deal on it. I suggest that this tendency to default to functional concerns is linked to—and I’d argue a direct expression of—gendered norms. And so, I conclude, dismissing the connection between watches and fashion appears linked to gender in rather obvious ways.

It’s All Good, Bro

Just because these fascinations with durability and mechanical prowess are highly gendered doesn’t mean that these fascinations are somehow devoid of legitimacy or without merit. It’s not, in my estimation, far-fetched to equate fashion with inevitable—sometimes almost immediate—obsolescence. The first definition of “fashion” is “a popular trend,” which doesn’t exactly suggest long-lasting goods. Fast fashion has only made these impressions much darker in terms of the environmental impact of hyper-capitalism.

I find it reasonable to consider a purchase of a watch that will last indefinitely and cost thousands as being well outside the realm of fashion. This doesn’t mean that the watch won’t end up playing a role in your outfits—of course it will, by definition, become an integral part of your wardrobe. We wear watches just as we wear clothes. But a watch is also much more than a fashion accessory.

In the end, I don’t think we get much from sustaining the tension between these varied gendered perspectives on watches, and I’m pretty sure we lose out when we force a binary decision between these perspectives."]]></description>
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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>
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</item>
<item rdf:about="https://www.beyondthedial.com/post/e65-divine-dials-horological-hedonism-the-aesthetic-revolution/">
    <title>Podcast Insights E25 - Horological Hedonism &amp; The Aesthetic Revolution - BEYOND THE DIAL</title>
    <dc:date>2025-07-25T00:22:15+00:00</dc:date>
    <link>https://www.beyondthedial.com/post/e65-divine-dials-horological-hedonism-the-aesthetic-revolution/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Horology Inc. provides us with a vast array of dial colors able to splash dopamine onto our opiate receptors. We often dismiss new colors as a superficial trend lacking horological innovation, but Allen argues that – because splashy dials spontaneously inspire joy, beauty, and emotions that, science has shown, replicate our experience of Love – great dials may be closer to the center of The Aesthetic Revolution than we ever imagined."

[Also here:
https://podcasts.apple.com/us/podcast/insights-e25-horological-hedonism-the-aesthetic/id1472733566?i=1000521469976
https://open.spotify.com/episode/23elM3og53AMfwa65bDLyW ]]]></description>
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<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:88b050220c31/</dc:identifier>
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<item rdf:about="https://www.beyondthedial.com/post/e31-spiritual-materialism-how-watches-take-on-significance-and-meaning/">
    <title>Podcast Insights E16 - Spiritual Materialism: How Watches Take On Significance and Meaning - BEYOND THE DIAL</title>
    <dc:date>2025-07-24T23:12:10+00:00</dc:date>
    <link>https://www.beyondthedial.com/post/e31-spiritual-materialism-how-watches-take-on-significance-and-meaning/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["On the surface, owning a watch isn’t a complex thing. Dig a little deeper into our motives for owning any given watch, and things get complicated fast. Allen explores the mental gymnastics involved in picking out your next watch, and he explores everything from the study of human motives, to why so many watch nerds hate on Invictas, and more."

[Also here:
https://podcasts.apple.com/us/podcast/insights-e16-spiritual-materialism-how-watches-take/id1472733566?i=1000472834936
https://open.spotify.com/episode/3ZyTLTvJ8JfY9J4LJc3Dwu ]]]></description>
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</item>
<item rdf:about="https://www.beyondthedial.com/post/e1-perspectives-on-watches/">
    <title>Podcast Insights E1 - Academic Perspectives on Watches - BEYOND THE DIAL</title>
    <dc:date>2025-07-24T23:08:57+00:00</dc:date>
    <link>https://www.beyondthedial.com/post/e1-perspectives-on-watches/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["This introductory episode is a discussion about the various conceptual frameworks that we can use when thinking, writing, and talking about watches. These include mechanical, cultural, social, historical, design, phenomenological perspectives. This overview provides a set of possible frameworks that the ensuing episodes will use interchangeably. Think of this as a Metasode.

SHOW NOTES

The Mechanical Perspective
Jens Koch's Article in Watch Time about the Rolex DEEPSEA
https://www.watchtime.com/featured/rolex-deepsea-d-blue-hands-on-review/

The Social & Cultural Perspectives
Allen's Article at Worn & Wound about the Bell & Ross Areonavale 41mm
https://wornandwound.com/review/review-bell-ross-br-v2-92-aeronavale/

The Historical Perspective
Jack Forster's Article on the Omega Moon Watch 50th Anniversary Edition at Hodinkee
https://www.hodinkee.com/articles/omega-speedmaster-apollo-11-50th-anniversary-limited-edition-in-depth

The Design Perspective
Zach Weiss Video Essay on the Christopher Ward C-60 Trident Pro V3 at Worn & Wound
https://www.youtube.com/watch?v=ADJMKnLzYD8 "

[Also here:
https://podcasts.apple.com/us/podcast/insights-e1-academic-perspectives-on-watches/id1472733566?i=1000444295274
https://open.spotify.com/episode/5MOjNrPhCN1ZjPHrKvoNc5 ]

]]></description>
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<item rdf:about="https://pontus.granstrom.me/scrappy/">
    <title>Scrappy: make little apps for you and your friends</title>
    <dc:date>2025-07-12T00:21:44+00:00</dc:date>
    <link>https://pontus.granstrom.me/scrappy/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Software is important to people. Most of us spend our workdays in front of computers. We use the computer in our pocket tens if not hundreds of times every day. The apps we use are almost exclusively mass-market, sold on an app-store, made for thousands if not millions of users. Or they are enterprise apps that are custom-built for hundreds of thousands of dollars.

But there isn’t really any equivalent of home-made software — apps made lovingly by you for your friends and family. Apps that aren’t polished or flashy, but are made to your preference and help you with your particular needs.

We’re John and Pontus, and we’ve been exploring the potential of home-made software together.

We ended up creating a research prototype that we call Scrappy — a tool for making scrappy apps for just you and your friends. First and foremost, we aim to contribute a vision of what home-made software could be like. We want to make this vision as concrete as we can, by sharing a working tool and examples of apps made in it. Scrappy, in its current state, is a prototype, not a robust tool, but we hope it paints the picture we carry in our heads — of software as something that can be creative, personal, expressive. Made by anyone, for themselves and their loved ones."]]></description>
<dc:subject>tools onlinetoolkit application coding hypercard apps indieweb programming diy productivity software scrappy</dc:subject>
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<item rdf:about="https://www.joanwestenberg.com/p/i-deleted-my-second-brain">
    <title>I Deleted My Second Brain</title>
    <dc:date>2025-07-09T04:07:55+00:00</dc:date>
    <link>https://www.joanwestenberg.com/p/i-deleted-my-second-brain</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Why I Erased 10,000 Notes, 7 Years of Ideas, and Every Thought I Tried to Save"

[See also:
https://www.youtube.com/watch?v=CjSWwmg-JRM 

"Two nights ago, I erased everything from my digital second brain, including years of notes, quotes, and to-do lists. 

This drastic action brought relief and mental clarity. Building a second brain promised enhanced memory and productivity, but it turned into a mausoleum of old thoughts that stifled creativity. 

Reflecting on my sobriety and past mental frameworks, I realized that outsourcing my memory to digital tools made me dependent on structures rather than genuine thought. 

00:00 Deleting Everything: A Fresh Start
00:26 The Second Brain: Promise and Pitfalls
01:03 Sobriety and Reflection
01:54 The Evolution of Personal Knowledge Management
03:58 The Illusion of Mastery
04:59 Embracing Deletion and Simplicity
06:12 A New Approach to Knowledge and Memory"]

"Two nights ago, I deleted everything.

Every note in Obsidian. Every half-baked atomic thought, every Zettelkasten slip, every carefully linked concept map. I deleted every Apple Note I’d synced since 2015. Every quote I’d ever highlighted. Every to-do list from every productivity system I’d ever borrowed, broken, or bastardized. Gone. Erased in seconds.

What followed: Relief. 

And a comforting silence where the noise used to be.

For years, I had been building what technologists and lifehackers call a “second brain.” The premise: capture everything, forget nothing. Store your thinking in a networked archive so vast and recursive it can answer questions before you know to ask them. It promises clarity. Control. Mental leverage.

But over time, my second brain became a mausoleum. A dusty collection of old selves, old interests, old compulsions, piled on top of each other like geological strata. Instead of accelerating my thinking, it began to replace it. Instead of aiding memory, it froze my curiosity into static categories.

And so…

Well, I killed the whole thing.

I’ve been sober for six years now; and that kind of milestone does something to your perception of time. It creates a before and an after, and it invites you - gently at first, then insistently - to take stock. A few weeks ago, looking back on my sobriety journey, I was digging through my archives, scrolling through old notes, old goals, old mental frameworks I had once treated like gospel. Systems layered on systems. Promises I had made to my future self, as if that self were an operating system waiting for updates.

Reading through these remnants, I felt a tightening in my chest. Not sadness, not nostalgia - a kind of existential lag. I could see how each iteration of my self was trying so earnestly to build a roadmap to something better. But what got me sober, what got me through the first one, two, three hard years - none of it was in those notes. 

It hit me: what got me here won’t get me where I need to be next.
The Promise of Total Capture

The modern PKM (Personal Knowledge Management) movement traces its roots through para-academic obsessions with systems theory, Luhmann’s Zettelkasten, and the Silicon Valley mythology of productivity as life. Roam Research turned bidirectional links into a cult. Obsidian let the cult go off-grid. The lore deepened. You weren’t taking notes. You were building a lattice of meaning. A library Borges might envy.

But Borges understood the cost of total systems. In “The Library of Babel,” he imagines an infinite library containing every possible book. Among its volumes are both perfect truth and perfect gibberish. The inhabitants of the library, cursed to wander it forever, descend into despair, madness, and nihilism. The map swallows the territory.

PKM systems promise coherence, but they often deliver a kind of abstracted confusion. The more I wrote into my vault, the less I felt. A quote would spark an insight, I’d clip it, tag it, link it - and move on. But the insight was never lived. It was stored. Like food vacuum-sealed and never eaten, while any nutritional value slips away. 

Worse, the architecture began to shape my attention. I started reading to extract. Listening to summarize. Thinking in formats I could file. Every experience became fodder. I stopped wondering and started processing.
The Mistaken Metaphor of the Brain

The “second brain” metaphor is both ambitious and (to a degree) biologically absurd. Human memory is not an archive. It is associative, embodied, contextual, emotional. We do not think in folders. We do not retrieve meaning through backlinks. Our minds are improvisational. They forget on purpose.

Merlin Donald, in his theory of cognitive evolution, argues that human intelligence emerged not from static memory storage but from external symbolic representation: tools like language, gesture, and writing that allowed us to rehearse, share, and restructure thought. Culture became a collective memory system - not to archive knowledge, but to keep it alive, replayed, and reworked.

In trying to remember everything, I outsourced the act of reflection. I didn’t revisit ideas. I didn’t interrogate them. I filed them away and trusted the structure. But a structure is not thinking. A tag is not an insight. And an idea not re-encountered might as well have never been had.
The Tyranny of Tools

Every tool changes the shape of the hand that uses it.

Obsidian is a brilliant piece of software. I love it, dearly. But like anything, without restraint, it can also be a trap. Markdown files in nested folders. Plugins that track your productivity. Graph views that suggest omniscience. There’s an illusion of mastery in watching your notes web into constellations. But constellations are projections. They tell stories. They do not guarantee understanding.

When I first started using PKM tools, I believed I was solving a problem of forgetting. Later, I believed I was solving a problem of integration. Eventually, I realized I had created a new problem: deferral. The more my system grew, the more I deferred the work of thought to some future self who would sort, tag, distill, and extract the gold.

That self never arrived.
The Anxiety of the Unread

There is a guilt that accompanies unread books, articles and blog posts. But there is a special anxiety reserved for unread lists of unread things. My reading list had become a totem of imagined wisdom. A shrine to the person I would be, if only I read everything on it.

When I deleted that list, I lost nothing real. I know what I want to read. I know the shape of my attention. I do not need a 7,000-item database to prove that I have taste or ambition.

This mirrors a deeper psychological error. The belief that by naming a goal, you are closer to achieving it. That by storing a thought, you have understood it. That by filing a fact, you have earned the right to deploy it.

This is productivity as performance. It is a symptom of modern intellectual insecurity: the fear of losing track, of forgetting, of not being caught up. But caught up to what? The feed? The discourse? The meme cycle?

There is no finish line in the pursuit of knowing. Only presence.
Destruction as Design

Nietzsche burned early drafts. Michelangelo destroyed sketches. Leonardo left thousands of pages unfinished. The act of deletion is not a failure of recordkeeping. It is a reassertion of agency.

In design, we speak of subtraction as refinement. A sculptor chips away everything that is not the figure. A musician cuts a line that clutters the melody. But in knowledge work, we hoard. We treat accumulation as a virtue.

But what if deletion is the truer discipline?

I don’t think I want a map of everything I’ve ever read. I want a mind free to read what it needs. I want memory that forgets gracefully. I want ideas that resurface not because I indexed them, but because they mattered.

What does it feel like to start again?

Like swimming without clothes. Light. Naked. A little vulnerable. But cleaner than I’ve felt in years.

I write knowing it may disappear. I highlight books knowing the highlights will fade. I trust that what matters will return, will find its way to the surface. I no longer worship the permanence of text.

There is a Hebrew word: “zakhor.” It means both memory and action. To remember, in this tradition, is not to recall a fact. It is to fulfill an ethical obligation. To make the past present through attention.

My new system is, simply, no system at all. I write what I think. I delete what I don’t need. I don’t capture everything. I don’t try to. I read what I feel like. I think in conversation, in movement, in context. I don’t build a second brain. I inhabit the first. Drawing on something DHH (37Signals) told me a couple of years ago, I’ve started keeping a single note called WHAT where I write down a handful of things I have to remember. The important bits will find their way back.

I don’t want to manage knowledge. I want to live it.

I still love Obsidian. And I’m planning on using it again. From scratch. And with a deeper level of curation and care - not as a second brain, but as a workspace for the one I already have.

And for the first time in years, I’m actually excited by that."]]></description>
<dc:subject>joanwestenberg 2025 memory thinking. howwethink brain knowledge cognition notes hoarding evernote information writing howwewrite pkm personalknowledgemanagement totalcapture destruction tools psychology self identity merlindonald borges productivity obsessions systemstheory libraryofbabel coherence omniscience deferral knowing knowelege learning howwelearn deletion simplicity masterty delusion sobriety reflection attention presence</dc:subject>
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<item rdf:about="https://makingandbreaking.org/article/psychogeographies-of-the-present/">
    <title>Psychogeographies of the Present | By: Jess Henderson, Sebastian Olma | Making &amp; Breaking</title>
    <dc:date>2025-07-05T02:24:29+00:00</dc:date>
    <link>https://makingandbreaking.org/article/psychogeographies-of-the-present/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[via:
https://2ndbreakfast.audreywatters.com/the-raw-and-the-cooked/ ]

"PSYCHOGEOGRAPHIES OF THE PRESENT —Jess Henderson & Sebastian Olma [below]

PSYCHO-DIGITAL GEOGRAPHY —Letizia Chiappini

IT’S ALL A GAME, AND THE GAME IS DEADLY REAL —Max Haiven

SPECULATIVE ARCHITECTURE AGAINST THE CRISIS OF THE IMAGINATION  —Liam Young

NEGATIVITY IS THE MASSAGE —!Mediengruppe Bitnik Selena Savić Gordan Savičić

A PSYCHOGEOGRAPHY OF AI —Dan McQuillan

CAN SUBLETHAL WEAPONS TAKE PICTURES? —Image Acts Duo: Aylin Kuryel & Fırat Yücel

THE DRIFTING LIBRARY —Experimental Jetset

NO FUTURE LIKE THE PAST —Total Refusal

FEELS FUNNY —Tristam Adams"

...

"This issue of Making and Breaking seeks to map out some of the dominant psychogeographies of the present. The Situationist Guy Debord defined psychogeography in 1955 as “the study of the precise laws and specific effects of the geographical environment, consciously organised or not, on the emotions and behaviour of individuals.”1 Another way of putting this is to say that psychogeography was conceived as that which happens when psychology and geography creatively collide.

To stage such creative collisions, the Letterist International (the precursory group to the Situationist International) developed what they called dérive, a method of drifting aimlessly through the urban landscape, registering the “patterns of emotive force-fields” that suffuse a city. Dérive is the artistic procedure that initially produces psychogeography; perhaps aimless in walking route, yet not without a certain methodological rigour. The Letterists and Situationists were fond of wandering the city as artistic strategy, a practice they inherited from a long line of predecessors reaching from the Surrealists back to Daniel Defoe.2 What the Situationists added to this was a revolutionary ambition that was political as much as it was aesthetic. As early as the 1950s, they recognised capital’s tendency to absorb the collective lifeworld into its quantitative homogeneity and understood the destructive potential this entails for a humane society. For them, psychogeography was an attempt to develop subversive forms of knowledge and experience that could contest the reductionism of capital, expressed in the formulations of post-war urban planning. It tried to delineate an experimental space-time where the rules of the game were undercut by radical play, where new ways of being could emerge, outside of the space-time of commodified banality.

Such a level of analytical clairvoyance and political ambition coming out of an artist movement is enormously inspiring in 2025, as we witness how Creative and Smart City policies have turned so much of today’s artistic and cultural production into decorative services that flank the progressive sell-out of our urban infrastructures to financial investors and digital corporations. What do the sheer number of retrospectives, revivals, and publications on the Situationist International and its potential legacy that have been released over the past few decades attest to if not an incredible longing for contemporary manifestations of such aesthetic resilience in and for our own time? Part of this might be melancholia but there is also a strong element in there of what the late Mark Fisher identified in his writing on “hauntology:” the refusal to give up on the desire for the future.3 At a time when it has become intellectually fashionable to celebrate the looming apocalypse as post- or transhuman payback, we urgently need to reinvigorate our desire for the future. In her brilliant The Beach Beneath the Street, McKenzie Wark talks about the Situationist’s attempt at “an exit from the 20th century.”4 It is obvious that we’ve not only missed the exit from the 20th century that the Situationists tried to open but we’ve also taken the wrong entrance into the 21st century. The rabbit-hole we’re tumbling down right now does give us Alice’s terrors and desperation, though without the imagination and wonderland at the end of the tunnel. This is why we agree with Wark when she writes that one could do worse than looking back at those who last tried to dig themselves out of that doomed trajectory of capital’s debilitating an-aesthesia.

Psychogeography and Psychopolitics

It is in this vein that the contributions of this issue of Making and Breaking take up the question of psychogeography once again. Many of the approaches presented within it extend beyond the city and the physical environment, going into the virtual dimensions of digital socialities, social media infrastructures and their affects, exploring shifting sociopolitical grounds and socio-economic factors, identifying new forces of power and potential sources of emancipation. They often include and map out the psychosomatic effects of such expanded understandings of the environment, paying attention to dominant or well-worn feelings, emotions, and behavioural effects, as well as those emergent that might yet to be named.

Digital media plays a crucial role in all of this. While we’re aware of the disastrous effects of social media on the psyche, particularly of the young,5 our online world tends to be pretty good at generating aesthetic means of communication that can be incredibly effective in expressing discomforts, disquiets, joys, or phenomena felt tacitly across the commons. The obvious example here being the meme. Sometimes a meme appears to perfectly illustrate an unnameable tingle of emotion or sociopolitical moment and is taken up en-masse speedily, with a sense of humour and urgency, or better: immediacy, than more elaborate and analytical (let alone academic) explanations seem to have the capacity to do.

Approaching digital phenomena such as memes psychogeographically necessarily involves the question of how to effectively politicise the psychological today. Explicitly politicising the political means engaging in a psychopolitics, which we intend here as the practice of placing ostensibly psychological phenomena and concerns within the register of the political and denoting the extent to which the human psyche is intimately linked to a host of structural forces, be they technological, political, economic, or simply historical. A psychogeography of our times must acknowledge the structural and environmental forces at play in producing these “specific effects… consciously organised or not, on emotions and behaviour.”

Identity, Collectivity, Aesthetics

In letting our psychogeographical gaze intuitively roam across our present social landscape, we witness the rise of a culture fixated with self-diagnosis, self-care, self-development and optimisation, and the admiration of self-experience, as a strange iteration of hyper-individualism inherited from neoliberalism. While the individual psyche remains a crucial reference for any contemporary psychogeography, our understanding of it needs to heed the “therapeutic” groundwork laid out by the inventors of the dérive. To quote McKenzie Wark again:

“Psychogeography made the city subjective and at the same time drew subjectivity out of its individualistic shell. It is a therapy aimed not at the self but at the city itself.”6

What we need to understand is that today’s identitarian movements on the left and right resonate rather harmoniously with the extremist version of the self, produced by decades of neoliberalism. Deconstructing identitarian extremism in all its contemporary forms and conversions is the precondition for an emancipatory psychogeography; otherwise, its political impetus runs the risk of being reduced to notions of individual pathology.

The upside is that there is growing interest in the politics and (new) practices of community and collectivity. Artists increasingly engage with questions of care and interspecies relations, there is a desire for experiences of interconnectedness (via psychedelics, or otherwise), and a new generation is exploring forms of living and working that are less self-centred and more communal (luxury). What they share is a willingness to reach outwards in search of resonance with the greater world and breaking away from the heaviness that comes with dissecting, monitoring, and keeping constant awareness and analysis of one’s own (self-centring) identity.

It seems to us that the challenge for cultural production in our time lies in embracing a sense and practice of exciting, democratic togetherness against the revenge of undead iterations of neoliberal subjectivity. The fields of art and culture have been invaded by pop-psychology speech, disqualifying practices that are vital for its evolution – provocation, passionate debate, and indeed, judgement – as forms of violence. Yet, as Sarah Shulman reminds us, conflict is not abuse.7

The world of cultural production needs conflict, doesn’t it? Hence, if this issue of Making and Breaking engages with psychogeography, it is to raise some rather fundamental questions: Shouldn’t art and culture provide room for unbridled curiosity and possibilities? Isn’t this the space where play, fun, for ills (or silliness) happened, expressed through genres of conviviality, collective joy, absurdity, and humour? The place for speaking truths, fictitious or otherwise, in ways vivacious and carnivalesque, for taking a break, albeit how brief, from “the horror of existence” rather than being stuck in a constant mirror-state of seeing your Self, reflected back at… yourself? Our inkling is that approaching cultural production in psychogeographic terms might help identify what blockages are at play in constraining it to addressing what feels like only a handful of topics, in a handful of ways.

The Contributions

Our stroll through these Psychogeographies of the Present begins with Letizia Chiappini’s proposition of the notion of psycho-digital geography, examining how emerging virtual spaces—from TikTok to Uber Eats, and beyond—are transforming our understanding and experiences of physical urban spaces, social relations, and embodied experiences. From there, Max Haiven takes us into the heart of contemporary capitalism’s unwinnable game, laying out how financialised neoliberalism has gamified itself and, in effect, our lives, and how it incubates fascism. Next Dan McQuillan leads a tour through a psychogeography of AI, which will suck you into a visceral and fantastical—yet oh so real—storytelling walkthrough of the less-visible and less-voiced aspects of what this moment of artificial intelligence’s rapid development really entails, through its current darknesses with insight into where it’s heading.

In our interview with Liam Young, recorded whilst his locale of Los Angeles was ablaze, the speculative architect talks about his exhilarating attempts to stimulate our collective imagination in a way that does justice to the planetary nature and scale of our contemporary challenges. Another type of psychogeographic strategy is presented by !Mediengruppe Bitnik. In collaboration with Selena Savić and Gordan Savičić, they let us into their work on how the prevalence of rating functions amongst digital systems and platforms has led to online ratings, reviews, and comments shaping our perceptions and experiences of offline spaces and services, as accentuated in their exhibition 1 ⭐ Review Tour. We stay with artists and their new psychogeographical practices in the Image Acts duo’s reportage of how Steven Monteau and friends began building new psychographical tools by making cameras out of residual police ammunition they collected, left behind on the streets during the Gilets Jaunes (Yellow Vests) protests in France. The collective Experimental Jetset follows up with their The Drifting Library: Towards a New Biblio-Psychogeography, which meanders the streets of Amsterdam using its DIY outdoor little book exchanges as their guide through a ‘semiotic cityscape’, contemplating the possibility of a dialectical experience within the urban environment, and perhaps even a countering encounter of the notion that “print is dead.”

Our journey starts its exiting descent with a psychogeography of apocalyptic games by the collective Total Refusal, finishing with Tristam Adams’ drawing of a line between the importance of jokes and humour in and for cultural production, what the empathetic aspects of the joke might offer as opportunities for ethical and political practices, and where celebrations of plurality could go in enhancing class consciousness.

We thank you for joining us on this jaunt through Psychogeographies of the Present and continuing to support what Making and Breaking sets out to do. And thank you again to all our contributors for their valuable additions in the expansion of what a contemporary psychogeography could and can do – in all its possible practices, takes, developments, mappings, and applications."]]></description>
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<item rdf:about="https://christianstudycenter.substack.com/p/the-virtues-of-dependence-design">
    <title>The Virtues of Dependence: Design and Disability</title>
    <dc:date>2025-05-22T18:19:59+00:00</dc:date>
    <link>https://christianstudycenter.substack.com/p/the-virtues-of-dependence-design</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["On March 6-7, 2025, the Christian Study Center welcomed guest scholar Sara Hendren to give the first two lectures in a two-year series titled Virtue Ethics for the 21st Century. This series of lectures is made possible through our participation in a project led by Upper House, a Christian study center at the University of Wisconsin, and funded by the John Templeton Foundation.

Virtue Ethics for the 21st Century

The philosopher Bernard Williams once observed that we suffer from a “poverty of concepts.” This is true of modern conceptions of ethics and the good life, with consequences for both how we live our lives now, and what we are able to imagine for our future.

Without a better way of thinking about ethics and the good life, we remain trapped within the horizon of possibilities drawn by our reigning set of concepts. With regard to ethics and the good life, our imagination is ensnared by the language of utilitarianism, efficiency, and the cost-benefit analysis.

In order to confront the challenges we face in the 21st century, we need a better way of imagining the moral life. We also need a way to think not just about what is right, but also about how we become the sort of people do what is right. Is there a better way of thinking about ethics and the good life that might sharpen our thinking and equip us to face the challenges of this century?

This series of lectures proposes that the answer to this question lies, at least in part, in the recovery of the virtue ethic tradition.

Sara Hendren

Sara Hendren is an artist, design researcher, writer, and professor at Northeastern University. Her book What Can A Body Do? How We Meet the Built World explores the places where disability shows up in design at all scales: assistive technology, furniture, architecture, urban planning, and more. It was named one of the Best Books of 2020 by NPR and won the 2021 Science in Society Journalism book prize. Her art and design works have been exhibited on the White House lawn under the Obama presidency, at the Victoria & Albert Museum, the Seoul Museum of Art, the Vitra Museum, and many others, and her work is held in the permanent collections at MoMA and the Cooper Hewitt. She has been an NEH Public Scholar and a fellow at New America, and her commentary and criticism have been published in Harper’s, Art in America, the New York Times, the Washington Post, and elsewhere.

The Virtues of Dependence: Design and Disability

Prosthetics, assistive technologies, and accessible architecture all bridge the gaps between our many bodies and the built world, forming a creative legacy of flexible, generative design. But the paradox of disability under technocratic modernity presents a mixed picture of both the body and personhood. In this talk using stories and examples from all scales of design, Sara Hendren helps us to ask: What is the nature of the dependent body, assisted by its many tools and extensions? How does disability shape all our lives, and the meaning we make in both giving and receiving help?"

[also here:
https://podcasts.apple.com/ke/podcast/the-virtues-of-dependence-design-and-disability/id1520424807?i=1000708757790 ]]]></description>
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<item rdf:about="https://www.watchesofespionage.com/blogs/woe-dispatch/what-it-means-to-use-your-tools-watches">
    <title>Use Your Tools - It's Never Just A Watch – Watches of Espionage</title>
    <dc:date>2025-05-16T00:11:58+00:00</dc:date>
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    <dc:creator>robertogreco</dc:creator><description><![CDATA["When a timepiece comes off the production line in Switzerland, Japan, or even China, its inherent value is the sum of its parts combined with the intangibles of brand equity. At that point, it is “just a watch.” It’s no different from any other Seamaster, GMT-Master, Alpinist, or Duro. When the timepiece finally makes it onto the wrist of an end user, the real story begins.

“Use Your Tools” is our ethos, but I want to take a step back and explain what this really means to us. Yes, it’s about using your watches as tools: tools of intelligence, operations, and to keep time. But more importantly, it’s our core belief that a relationship can be developed with seemingly inanimate objects through shared experience, a phenomenon that particularly applies to watches. In our community, watches are valued for their mechanical and aesthetic properties, but their real value is derived from the experiences they embody. They are, or can be, talismans of a life well lived.

It's Never Just A Watch

The reality is, many of the stories we tell aren't about watches; they are about people. Whether the watch is an “expensive” Rolex or a “cheap” Seiko is insignificant. We often tell stories of “great men,” like Special Forces legend Billy Waugh and his Rolex GMT or the British Special Boat Service wearing a custom Omega Seamaster; however, the watches themselves are just the vector to the human element. And you don’t have to be an Army Special-Forces-Navy-SEAL-TK-supercommando to embrace our ethos. When a watch is gifted from a father to a son and worn for decades for graduations, weddings, and the birth of children, it is no longer just a watch; it is a part of his identity. That is “Use Your Tools.”

Leaving A Pregnant Wife To Grab A Rolex GMT? Chirpers Gon Chirp

In October 2022, friend of W.O.E. Tony Traina wrote an article about a collector who left his pregnant wife in the car to run back into the house to grab his Rolex GMT-Master II while she was in labor. The ruthless internet mob of watch dorks was quick to chirp and attack the subject of the article, Tony, and Hodinkee from the comfort of their moms’ basements. Hodinkee even went as far as to remove the social media post and lock down comments on the article.

And I get it, if you don’t subscribe to our belief that watches are about personal relationships and shared experiences, the whole scene does sound ridiculous (Mrs. W.O.E. would agree). That said, I identify with this mindset. I remember the watch I was wearing for the birth of my children just as clearly as the one I was wearing on a helicopter in Afghanistan. The weathered timepieces are physical representations of those emotions, moments, and milestones. Besides, the average labor lasts 12 to 24 hours. Was he really in all that much of a rush? (I’m kidding… kind of.)

Watches As Male Expression - You Don’t Have To Be A Secret Squirrel

I would go as far as to say that the mindset of the soon to be father was not that far off from the Navy SEAL who decided to wear his prized Rolex Submariner on the raid that killed Osama bin Laden or the former Canadian JTF2 operator who wears his Tudor Pelagos “Unit Watch” while performing on stage as a musician in his next chapter of life. For these men, and for us, it is never “just a watch.” Watches are a reminder of our journey, our accomplishments, and our community.

While “Use Your Tools” applies to men and women, our audience is overwhelmingly male. The marketing departments of Swiss brands are desperate to acquire female customers but face stiff competition from the range of jewelry that many women appreciate, typically including earrings, necklaces, and bracelets. Despite my best efforts to recruit Mrs. W.O.E. to our ranks, she remains lukewarm on watches.

In stark contrast, men have traditionally had more limited forms of self-expression through physical goods worn on their bodies. We don’t judge men who opt for belly button piercings or gold chain necklaces, but for many, a watch is the only “expensive” item they will purchase and wear for decades. There are some parallels with cars, firearms, and other collectables, but a watch is attached to your body, serving as a passive observer for good times and bad.

Overcoming Grief

I recently found myself in a crowded church, mourning the loss of a dear friend, taken from us way too early in life. As I glanced around the nave, I observed grieving parents, a strong but devastated husband, and children too young to fully realize their mother was gone. To distract myself from the searing pain and tears welling up in my eyes, I stared at my watch, the second hand slowly sweeping across the dial. The name on the dial doesn’t matter. At that point, the watch became a vessel for memory, pain, and presence. That experience will forever bind me to that watch.

Watch Collecting CIA Officer

When I was at CIA, I did not consider myself a watch collector. I had a handful of watches I had accumulated over the years, and I appreciated them for their physical and mechanical attributes, but I did not collect them. I did not take wrist shots to send to my internet friends or spend hours poring over obscure watch forums. I enjoyed the watches, but my interest was surface-level. The kids would have called me a “casual”.

Since starting W.O.E., my passion for watches has evolved into more of a collector mindset, seeking out specific historical references and spending my free time researching stories of watches in the intelligence and SpecOps communities. While the joy I derive from timepieces is great, in many ways I envy my past self. I was a purist with the mindset of a “one watch” collector.

Comparison Is The Thief Of Joy

The happiest watch collector in the world is the man with one watch. He wakes up in the morning, dutifully straps on his Seiko Turtle, Rolex Submariner, Omega Seamaster, or whatever else. He does not stop to admire his watch throughout the day, he only looks at it to check the time. He doesn’t have social media and has never heard of Watches of Espionage. The watch is a tool and an extension of his persona. He doesn’t know it, but his watch is also a family heirloom, bearing the scars of decades of constant wear. It’s his companion through the journey of life, resolutely positioned on his wrist for the peaks and valleys.

In the era of social media, we have an insatiable appetite for more, always looking for that next purchase to satisfy a perceived material need. It is tempting to feel inadequate when you see glimpses of other people’s watch collections. I have passed through this valley of envy and still feel it when I see some collections, but what I am jealous of is the one watch man, the man I used to be.

The Man Makes The Watch

To the uninitiated, this whole premise of W.O.E. may seem materialistic, but it's not. A watch’s monetary value is the least interesting aspect. If your takeaway is that you need a Rolex to be a cool guy, you’re missing the point. We believe the man makes the watch, not the other way around.  

A badass wearing a Hublot is still a badass, just as a dweeb wearing a Rolex MilSub is still just a dweeb. It’s about who you are and what you do, not the watch you’re wearing on your wrist."]]></description>
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<item rdf:about="https://theweek.com/articles/552421/matthew-crawfords-6-favorite-books">
    <title>Matthew Crawford's 6 favorite books | The Week</title>
    <dc:date>2025-05-12T04:39:05+00:00</dc:date>
    <link>https://theweek.com/articles/552421/matthew-crawfords-6-favorite-books</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The Sovereignty of Good by Iris Murdoch (Routledge, $20). In this trio of lectures, Murdoch says that to see the world clearly is a rare moral accomplishment, because it requires us to break free of our self-absorbed fantasies. This is what good art does: It shows us the world as seen by someone with unclouded vision.

The Present Age by Søren Kierkegaard (Harper Perennial, $11). This is Kierkegaard's essay about mass media, written a century and a half ago. He says we have come to view ourselves as representatives of a generic category, "the public," which makes us become third parties to ourselves. The result is a "colorless cohesion" of autonomous, interchangeable individuals.

The Tacit Dimension by Michael Polanyi (Univ. of Chicago, $16). Polanyi, a Hungarian philosopher, analyzed the experience of a blind man using a cane to consider how our tools shape our attention once they've become unobtrusive extensions of the human body. This has far-reaching consequences for how we understand the role of the body in cognition, and for design.

The Early Stories: 1953–1975 by John Updike (Random House, $20). These stories gloriously confirm Murdoch's point about good art. The small moments in a life unfold, and we see more clearly what it is like to be a human being.

The Weariness of the Self by Alain Ehrenberg (McGill-Queens, $30). Ehrenberg offers a cultural history of depression, saying it has replaced guilt as our defining psychic affliction. The question that hovers over your character in our "culture of performance" is not how virtuous you are but how capable. Depression is the weary sense of inadequacy that comes with the vague and unending mandate to become one's fullest self.

Addiction by Design by Natasha Dow Schüll (Princeton, $25). Why do people park themselves at slot machines for eight-hour stretches? Not to win money, but to get "in the zone," a state of repetitive absorption where the frustrations of life beyond the screen fall away. Vegas has long been honing the dark arts of screen-based behaviorist conditioning, but the business model has wider appeal."]]></description>
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<item rdf:about="https://www.pourunatlasdesfigures.net/element/a-propos-dun-geste-notre-la-camera-dans-la-tentative-de-fernand-deligny">
    <title>Pour un atlas des Figures: À propos d’un « geste nôtre ». La caméra dans la tentative de Fernand Deligny</title>
    <dc:date>2025-04-30T06:48:04+00:00</dc:date>
    <link>https://www.pourunatlasdesfigures.net/element/a-propos-dun-geste-notre-la-camera-dans-la-tentative-de-fernand-deligny</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[machine translation of one section]

"The camera as a clinical tool

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

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

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

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

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

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

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

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

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

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

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

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

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

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

From this event, this Gamin, there, testifies through the recurrent image of a gesture that makes a sign and does not make a sign, a double gesture emanating from a corporeal corporeality, and testifying to the emergence of an unprecedented body, or rather unnoticed, a “common” body."]]></description>
<dc:subject>catherineperet fernanddeligny pedagogy cameras film filmmaking gestures tools education childhood consciousness marcelmauss intervention confrontation gaze social language research space time children psychiatry psychoanalyis psychology phenomenology</dc:subject>
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<item rdf:about="https://www.honest-broker.com/p/9-rules-for-new-technology">
    <title>9 Rules for New Technology - by Ted Gioia</title>
    <dc:date>2025-04-18T21:15:46+00:00</dc:date>
    <link>https://www.honest-broker.com/p/9-rules-for-new-technology</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Wendell Berry's list from 1987 is more relevant than ever before

What do you want from new technology?

A flying car? An AI girlfriend (or boyfriend)? A bottomless cup of coffee?

You need to think bigger.

Forget about that AI lover and cup of joe—instead ask youself what a healthy society should expect from new tech. Or a healthy family. Or just a small town girl living in a lonely world….

Wendell Berry provided a list of nine reasonable requirements for new tech back in 1987, and they’re still appropriate today.

Berry’s list is actually more relevant than ever before. And the failure of tech companies to meet his modest demands is now painfully evident to everybody.

It wasn’t always this bad.

A few years ago, most new technology lived up to many of Berry’s requirements. But not anymore. And the pace of decline gives us a useful way of measuring how poorly we are served by the current generation of technocrats.

Let’s go back to 1987.

Wendell Berry was living on a farm in Kentucky, and did his writing with pen and paper. His wife Tanya would create typewritten drafts of his manuscripts on a Royal standard typewriter purchased in 1956—which was, he insisted, “as good now as it was then.”

But friends told him he needed a computer. It would make it easier to write, they insisted.

In response, Berry came up with his list of nine reasons to embrace new technology. Let’s revisit them, one by one.

**************

Nine Standards for Technological Innovation

**************

(1) The new tool should be cheaper than the one it replaces.

This is a very persuasive selling point for new technology. And for most of my life, tech companies worked hard to lower prices.

I still recall my parents scrimping and saving in order to buy a color television when I was seven years old. It cost almost $500—a huge amount in those days.

They probably should have waited. A few months later, RCA dropped prices to $399.

Prices continued to drop in later years. You can buy a high tech TV today at Best Buy for less than what my parents paid in the 1960s.

Computers also got more affordable—at least until recently.

I got my first computer (an Apple IIE) when I was in graduate school—it was an expensive gift from the Boston Consulting Group in exchange for accepting their job offer.

The list price back then was $1,400. I could never have afforded to buy it on my tight student budget.

But, over a period of many years, each subsequent computer I acquired was better and cheaper than my previous model. Alas, that happy trend has now ended.

When I buy a new computer now, I pay more. And the performance is not always better. I recently had to scrap a new desktop after only a few months, and go back to my previous model.

The new computer didn’t work as well as my five-year-old one.

When did new tech stop getting cheaper?

It happened the day Steve Jobs died. Maybe not exactly on that date—but shortly afterwards.

Look at this chart of iPhone prices, adjusted for inflation, and you can see what I mean.

[image: chart]

Now let’s go to the second reason to adopt new tech from Wendell Berry’s list.

**************

(2) It should be at least as small in scale as the one it replaces.

This is another good reason to upgrade your setup. And tech did get smaller for many decades.

Guess who played a key role in that? Yes, Steve Jobs again. Because of his obsession with product design, we now carry a huge amount of advanced tech in our pocket.

Just consider this remarkable fact: Every device featured in this Radio Shack advertisement from 1991 has been replaced by your tiny phone.

[image: "Your smartphone has replaced every one of these devices."]

But this, too, changed soon after Jobs died. (Are you noticing a pattern here?)

The thinnest iPhone ever was the iPhone 6 (2014)—at a slim 6.9mm. The company continued to launch ‘mini’ models for a few years, but stopped after iPhone 13.

Tech is now bulking up. It’s not just the devices—wait until you see those AI data centers. A single facility can spread over two kilometers.

[image: screenshot of title and subtitle " AI data centers are becoming 'mind-blowingly large': Clusters of GPU chips in coming years will have to connect over distances longer than a mile, says the CEO of this fiber-optics firm." from https://www.zdnet.com/article/ai-data-centers-are-becoming-mind-blowingly-large/ ]

**************

(3) It should do work that is clearly and demonstrably better than the one it replaces.

This is the most obvious requirement for new tech. It needs to work better than old tech.

But Silicon Valley has totally abandoned this ideal. Every web interface I use has gotten worse over time—from search engines to social media to software to shopping apps.

Google is worse than ever. Twitter is worse than ever. Amazon is worse than ever. Facebook is worse than ever. Everything I get from Microsoft is worse than ever.

So here, too, we see that new tech previously fulfilled Berry’s requirement—but stopped doing so around the time Steve Jobs died.

**************

(4) It should use less energy than the one it replaces.

Here, again, we see an ominous reversal. With the rise of AI, tech companies now use up more energy than ever before. They are sucking the power grid dry in many places.

And it’s going to get worse—much worse.

[image: chart "Summary of GenAI demand forecast"]

What makes this especially revealing is the fact the public intensely dislikes AI—surveys make this absolutely clear. So tech companies are destroying the environment solely to increase their dominance and control—not to please you and me.

**************

(5) If possible, it should use some form of solar energy, such as that of the body.

Now Berry is asking for something our technocracy has never delivered.

And here we encounter the exact opposite of the AI situation described above.

We saw that AI depends on huge investment from corporations, while consumers are mostly indifferent. Solar energy is the opposite: It’s supported by investment from consumers—who use it to heat their homes, water, etc.—while corporations are mostly indifferent.

What a sad state of affairs. Private citizens have more prudent approaches to tech than the tech companies themselves (or their billionaire owners).

**************

(6) It should be repairable by a person of ordinary intelligence, provided that he or she has the necessary tools.

This, too, has changed during my lifetime. I once saw my father unscrew the back of our home TV set, and fix a malfunctioning part. Nowadays you can’t even open up those bad boys.

Tech providers create all sorts of obstacles to prevent repairs—unusual screws, arcane software, special tools, etc.

Consider the case of John Deere tractors, which wouldn’t start until a company-trained technician cleared out the error code. The company also refused to sell spare parts. Their practices got so abusive that politicians passed right-to-repair bills to protect farmers.

But the worst example happened during the COVID pandemic, when companies tried to prevent hospitals from fixing their malfunctioning ventilators. Manufacturers put software locks on this life-saving equipment to prevent repairs.

This represents a total failure on the part of the technocracy—and actual malfeasance by the executives who run these companies.

**************

(7) It should be purchasable and repairable as near to home as possible.

Finally I can give some tiny credit to our tech titans. They do offer home delivery—even if the product is made in a sweatshop far, far away.

**************

(8) It should come from a small, privately owned shop or store that will take it back for maintenance and repair.

This is a pipe dream. The tech product lifecycle is built on planned obsolescence, not simple repairs.

When your device or software stops working, you replace or upgrade—whether you want to or not.

In some instances, you aren’t even allowed to own, let alone fix, your tech—you just license or lease or subscribe. It’s like communism. You own nothing, and will love it.

**************

(9) It should not replace or disrupt anything good that already exists, and this includes family and community relationships.

This may be the biggest tech failure of them all.

The leading tech companies have deliberately promoted dysfunctional apps that destroy lives. And they know it.

- Leaked internal documents from TikTok show that they were aware that teens get addicted to their app in just 35 minutes. They built it that way. https://www.npr.org/2024/10/11/g-s1-27676/tiktok-redacted-documents-in-teen-safety-lawsuit-revealed

- Facebook knew that Instagram use leads to depression, anxiety, eating disorders, and other problems. https://www.cbsnews.com/news/facebook-instagram-dangerous-content-60-minutes-2022-12-11/

- Spotify insiders have confirmed the company’s systematic plan to reduce royalties to musicians by manipulating passive listeners. https://www.honest-broker.com/p/the-ugly-truth-about-spotify-is-finally

- For more examples, see my list of 52 indicators that technological progress is reversing. https://www.honest-broker.com/p/52-reasons-to-fear-that-technological

This is the new normal for tech: It deliberately makes things worse, not better.

Here’s the entire list of Wendell Berry’s criteria. If this were a report card, your tech leaders would all get failing grades.
Wendell Berry's list of criteria for new tech.

The curious fact is that the most up-to-date and forward-looking thing is this whole article is Berry’s list from 1987. Nothing on it is obsolescent or inappropriate or dysfunctional or harmful.

I wish our tech companies could say the same for their work."

[via:
https://2ndbreakfast.audreywatters.com/ai-is-carceral-ed-tech/ ]]]></description>
<dc:subject>tedgioia wendellberry technology innovation progress tools 2025 1987 spotify facebook meta apple iphone ai artificialintelligence gerativeai instagrm tiktok maintenance repair plannedobsolescence repairability local small slow covid-19 coronavirus pandemic ventilators capitalism consumerism growth solar energy climate climatechange globalwarming waste disposability energyuse consumption siliconvalley stevejobs microsoft amazon google enshittification scale scaling decentralization computers computing society civilization canon cv soicopathy bigtech righttorepait care relationships electricity families community anxiety pathology depression</dc:subject>
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<item rdf:about="https://kayserifserif.place/">
    <title>Katherine Yang</title>
    <dc:date>2025-03-30T23:17:52+00:00</dc:date>
    <link>https://kayserifserif.place/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Hello, visitor! I’m Katherine. I’m
interested in making poetic tools —
tools for poetry and text directly,
but also tools that are small
                         and intentional
        and interesting,
like a poem."

[https://kayserifserif.place/about/ ]

"Some information about me.

Hi, I’m Katherine! I make things in the pursuit of poetic tech. I use she/her pronouns. I grew up in Hong Kong and was raised in a Shanghainese family. I attended the University of Southern California, where I studied media arts, computer programming, and linguistics. I currently work as a front-end developer and designer at Fathom Information Design, where I help figure out interesting ways to explore ideas and answer questions through data.

My research interests include critical code studies, internet culture and language, interface aesthetics, electronic literature, accessibility, and poetic tech. My works have included codeworks, handmade websites, electronic literature, and information visualisations.

In particular, I like to explore ways in and around text and building blocks or raw materials.

Thanks for visiting — if anything here is interesting to you, I’d love to talk! You can reach me on the socials or by email at whykatherine at gmail dot com. :)"

[via:
https://usesthis.com/interviews/katherine.yang/

"I'm an artist, programmer, and crafter. I make projects exploring language and poetry through code and websites. I'm originally from Hong Kong and currently live in Boston."

...

"What would be your dream setup?

I'm working on the look and feel of my room and my home, which is what I think of when I read this question. It gets better and warmer with every passing month of little tweaks here and there.

I have my bookshelf, which always feels like it's running out of space.

I also have a newly organised craft shelf. It holds textiles and paper on one shelf, painting and drawing supplies on another, and fiber arts on the last.

I'd like to make more room for art in this space, and to be more intentional and caring for it. I currently have my zines and little artist's books, which I've accumulated from art book fairs and gifts and swaps, shelved alongside massive tomes. I want to make dedicated space for those delicate and delightful objects. I also have these gorgeous posters and prints and fabrics taped, fairly dorm-room-style, to the walls, and some of them are horribly bruised in the corners from the consequences of badly adhered tape or putty. Like my iframe gallery of my friends' websites on my website, I want to have more prominent physical reminders of my friends, loved ones, and communities in my space.

A more nebulous dream is to have more physical manifestations of my digital work and interests, too. This space is close to feeling like my version of an artist's room, but doesn't quite yet feel like my personal brand of curious, romantic, intricate, and poetically-bent programmer. Moveable poetry, or magnet poetry, or letterpress code, maybe, an e-ink screen or two? I think these experiments should have a kind of life outside my monitor, too.

My dream setup is a working and resting place that is beautiful and comfortable and makes me want to dive in. I'm getting there, I hope."]]]></description>
<dc:subject>poetry writing coding computing poeticcomputing language howwewrite tools katherineyang poetictech text html web online internet computers technology slow small accessibility codeworks webdev webdesign literature infoviz usesthis thesetup</dc:subject>
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<item rdf:about="https://helenbeetham.substack.com/p/the-dan-macquillan-episode">
    <title>The Dan MacQuillan episode - by Helen Beetham</title>
    <dc:date>2025-01-17T18:23:55+00:00</dc:date>
    <link>https://helenbeetham.substack.com/p/the-dan-macquillan-episode</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["In this episode I talk to Dan MacQuillan, Lecturer in Creative Computing at Goldsmiths, and author of Resisting AI: an Anti-fascist Approach to Artificial Intelligence. I read this in 2022, as soon as it was published, and it remains for me one of the most vivid, provocative and relevant critiques of ‘artificial intelligence’ as a project. Here, Dan speaks about the continuities between today’s machine learning models and earlier projects of categorising and disciplining people. We discuss how education is implicated in these architectures and how educators might resist. Dan has been a star of podcasts with tens of thousands of listeners, so I am deeply grateful that he made time to talk to me on this first episode of Imperfect Offerings in sound.

Links

Dan’s home page: https://www.gold.ac.uk/computing/people/d-mcquillan/

Resisting AI: and Anti-Fascist Approach to Artificial Intelligence from Bristol University Press: https://bristoluniversitypress.co.uk/resisting-ai

Dan’s ‘other’ podcasts on Resisting AI: https://www.transformingsociety.co.uk/2023/07/17/the-extensive-and-unconventional-reach-of-dan-mcquillans-resisting-ai/

On Arendt’s diagnosis of ‘thoughtlessness’ as a feature and an enabler of fascism: https://danmcquillan.org/arendtandalgorithms.html

On AI colonialism and the likely impacts on the Global South: https://foreignpolicy.com/2024/12/17/ai-global-south-inequality/ or https://www.technologyreview.com/supertopic/ai-colonialism-supertopic/

On algorithmic states of exception: https://research.gold.ac.uk/id/eprint/11079/

Wikipedia article on the Situationists: https://en.wikipedia.org/wiki/Situationist_International

And on Guy Debord’s Society of the Spectacle: https://en.wikipedia.org/wiki/The_Society_of_the_Spectacle

“All that was once directly lived has become mere representation”"]]></description>
<dc:subject>danmacquillan 2025 helenbeetham ai artificialintelligence computing education howweteach teaching highered highereducation resistance situationists colonialism aicolonialism colonization guydebord societyofthespectacle algorithms globalsouth hannaharendt generativeai fascism technology antifascism donaldtrump jdvance transparency opacity marginalization border borders productivity learning howeelearn criticalthinking summarization distraction bubbles aibubble computers generativity noise tools michelfoucault foucault power literacy medialiteracy continuity reductiveness labor work austerity neoliberalism economics politics policy thoughtlessness thinking howwethink decisionmaking decisions process reading howweread business outsourcing luddism luddites neouddites situationist kenknapp buereauofpublicsecrets polycrisis climatecrisis climatechange legitimacy globalwarming climate diversion crises artificialgeneralintelligence surrealists datacenters environment capitalism jeffbezos geoengineering amazon tesla t</dc:subject>
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<item rdf:about="https://www.codingfont.com/">
    <title>codingfont.com</title>
    <dc:date>2024-12-27T23:49:40+00:00</dc:date>
    <link>https://www.codingfont.com/</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>fonts terminal coding tools onlinetoolkit typography monospace</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:cc533a8af1ac/</dc:identifier>
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</item>
<item rdf:about="https://medium.com/@shannonmattern/intellectual-furnishings-e2076cf5f2de">
    <title>Intellectual Furnishings. The Aesthetics and Epistemology of our… | by Shannon Mattern | Medium</title>
    <dc:date>2024-12-15T07:00:38+00:00</dc:date>
    <link>https://medium.com/@shannonmattern/intellectual-furnishings-e2076cf5f2de</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["In this working paper I’ll outline a new research project that I plan to begin next year, as part of a fellowship at the Internationale Kolleg für Kulturtechnikforschung und Medienphilosophie at the Bauhaus-Universität Weimar. This work is quite rough, but I’m certain that the GIDEST forum will help me shape the project at its foundational level; it’ll help me build the frame before I upholster it. Heh heh.

Most of my research up to this point has focused on “mediated spaces” at the urban and architectural scales – e.g., urban communications infrastructures, cities as communicative spaces, libraries, archives, etc. And while some of that work – including my book on library design (where I addressed the approaches to labor embodied in service-desk and bookshelf design); my article on the Philips Exeter Library (where I focused on the pedagogical values embedded in library furniture and the “Harkness Table”); an article on the collection of, and interior design for, Alvar Aalto’s Woodberry Poetry Room; and an essay on the history of filing apparatae – has examined interior and furniture design within their architectural contexts, this is the first project that maintains its focus at the “furnishing scale.” I’d be remiss if I didn’t acknowledge my intellectual debts to Lynn Spigel and Beatriz Colomina, whose work proved epiphanous for me in grad school, and who have informed my work to this day."

[via:
https://blog.ayjay.org/intellectual-furnishings/ ]]]></description>
<dc:subject>shannonmattern furniture furnishing libraries highered highereducation philipsexeter harknesstable interiors interiordesign design alvaraalto bookshelves tables beatrizcolomina lynnspigel ethnography academia desks shelves shelving chairs reading howweread writing howwewrite offices colleges universities tools media computers computing datacenters servers amiesiegel lecorbusier pierrejeanneret chandigarh rizzoli harryabrams sherryturkle lorrainedaston brunolatour rolandbarthes melvilledewey gidest archives librarystacks books cloud ikea history ezra marclecouer abigailvanslyck johncottondana melvildewey librarians librarianship progressivism storage epistemology mrvdv taxarquitectura seattlepubliclobrary brunorainnaldi ux ui siegfriedgiedion mechanization automation albrechtdürer jonathanedwards wilsonkimnach kennethminkema jacobschuebler vannevarbush memex paulotlet clivewilkinson markuskrajewski konradgessner georgenelson henrywright stotragewall 2014</dc:subject>
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<item rdf:about="https://thereader.mitpress.mit.edu/how-typing-transformed-nietzsches-consciousness/">
    <title>How Typing Transformed Nietzsche’s Consciousness | The MIT Press Reader</title>
    <dc:date>2024-11-26T19:42:02+00:00</dc:date>
    <link>https://thereader.mitpress.mit.edu/how-typing-transformed-nietzsches-consciousness/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The Malling-Hansen writing ball, with its potential and limitations, redefined Nietzsche’s philosophical and creative expression."

...

"Nietzsche may not have appreciated this evaluation, but he did seem to realize in his now-sightless world that something important had occurred in his thinking processes. As Kittler again tells us, in one of the few letters Nietzsche wrote on a typewriter, and anticipating Marshall McLuhan, Nietzsche stated, “Our writing tools are also working on our thoughts.” He undoubtedly was aware of his increased productivity, but as to the quality and substance of the content, as its creator, he perhaps was not best placed to judge. Kittler, for his part, was clear on what was happening with this technology at the general level of philosophic thought.

Philosophy, or the thinkable and expressible elements of it via mediation, changed fundamentally with the gradually more widespread adoption of “automatic writing” and with it the culture it would produce for most of the 20th century. Kittler noted a turning point for Nietzsche in his “Genealogy of Morals” from 1887. This book, an immensely influential volume on moral concepts, Kittler reads as symptomatic of an evolutionary change in human thought not only in Nietzsche but in Western philosophy itself. Genealogy, in other words, prefaced the technological evolution of machine memory in computing, which was being played out in nascent form in the action of Nietzsche tapping out his philosophy through a fixed array of letter keys. Kittler writes: “In the second essay of ‘Genealogy of Morals,’ knowledge, speech, and virtuous action are no longer inborn attributes of Man. Like the animal that will soon go by a different name, Man derived from forgetfulness and random noise, the background of all media. Which suggests that … during the founding age of mechanized storage technologies, human evolution, too, aims toward the creation of a machine memory.”

The typewriter that changed Nietzsche had a long time yet to cast its spell on humanity. From that time until more recently, what Maryanne Wolf called the “writing brain,” the “mechanical” brain that had been formed out of the effects of the Gutenberg press, would serve to “industrialize” not only the mind but the economies, cultures, and societies that humans would erect. And this mechanical cast of mind would be the basis for the modern analog world in all its forms, especially its 20th-century articulations with its successes and failures."]]></description>
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<item rdf:about="https://www.youtube.com/watch?v=R-5mecyWUgI">
    <title>Entre partículas y palabras. Física y literatura en la construcción de la realidad - Javier Argüello - YouTube</title>
    <dc:date>2024-11-23T20:01:14+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=R-5mecyWUgI</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["A partir de sus visitas al acelerador de partículas del CERN, el centro de investigación de física de partículas más grande del mundo, y de las conversaciones mantenidas con los renombrados físicos que allí trabajan, el escritor Javier Argüello abordó el fascinante momento que está viviendo la física y los límites con los que se está encontrando. También revisó qué tienen que decir al respecto las estructuras literarias como fórmulas capaces de incluir el papel de la conciencia en la construcción de la realidad.

Presenta Colbún y Coopeuch. Proyecto financiado por PAOCC"]]></description>
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<item rdf:about="https://www.lostprophets.org/p/4-ivan-illich-ft-david-cayley">
    <title>#4. Ivan Illich (ft. David Cayley)</title>
    <dc:date>2024-11-20T21:42:41+00:00</dc:date>
    <link>https://www.lostprophets.org/p/4-ivan-illich-ft-david-cayley</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["A lost prophet who struck at the roots of our modern institutions"

...

"The wonderful essayist George Scialabba once entitled an otherwise generally sympathetic piece on Ivan Illich “Against Everything.” That was surely because Ivan Illich’s critique of modernity runs deeper than that of almost any other thinker of his time. His books attacked the unquestioned sacred cows of the age, including schooling, institutional medicine, cars, and economic development, charging them with “terminal counter-productivity”.

And yet Illich was neither a reactionary nor a Luddite. In the 1960s, his countercultural open seminar in Cuernavaca, Mexico—CIDOC—was partly a seedbed for what became liberation theology (although Illich later found the movement too ideological). His writings about “the war on subsistence,” as he called it, laid the groundwork for today’s global movements around the commons, decentralization, and degrowth.

After his remarkable but controversial Gender appeared in 1982, causing a firestorm around what Illich felt was a misreading of the book by its feminist critics, he pulled back from public speaking and concentrated on less volatile subjects.

In a series of interviews with his friend and biographer David Cayley—who is our guest for this episode—Illich gradually sketched out his somewhat startling theory of modernity as an extension of Church history. The “corruption of Christianity” was the theme he first shared in conversation with Cayley, who went on to transcribe and publish Illich’s account of how so many modern institutions arose out of misplaced ambitions to make Christian charity into permanent institutions of society.

Our conversation in this episode is grounded in Cayley’s Ivan Illich: An Intellectual Journey, a work which not only presents its subject’s ideas but wonderfully extends them, an achievement we surely owe to Cayley’s personal friendship with Illich, especially in his last years.

Some takeaways from our conversation:

The key modern assumption in Illich’s view: that human beings are made up of needs and society is organized to fulfill them. Moreover, modern institutions, as they grow ever larger, tend to defeat their own purposes: they weaken communal self-reliance by creating needs to be serviced by technical professionals; they threaten our ability to enjoy and bear the human condition; and they undermine the arts of suffering and our ability to die our own deaths.

Illich’s idea of subsistence (which is not poverty but simply sustainable living) as the way the global South might continue to avoid the tragedies of industrialization and modernity.

In the mid-1980s, a kind of catastrophic breakdown in the old (tool-based) way of seeing things, replaced by a new dimensionless cybernetic space, discontinuous with the past and the certainties with which people once lived.

“Risk awareness”: to Illich, this was the most important religiously celebrated ideology today.

The vocation of the friend: to Illich, our only hope for a new society, through “little acts of foolish renunciation”.

Timestamps

Introduction to Ivan Illich [00:00:00]

Illich's background and early life [02:08]

Illich's time in New York and Puerto Rico [05:00]

Founding of CIDOC in Cuernavaca, Mexico [10:00]

Illich's critique of modern notions of “development” [15:00]

Illich's "Deschooling Society" and radical monopolies [21:30]

"Tools for Conviviality" and the critique of tools [35:00]

"Medical Nemesis" and its attack on the medical establishment [43:52]

"Gender" and its controversial reception [49:56]

Illich's later works on language and literacy [54:30]

Illich’s theory of “the corruption of Christianity” in the institutions of modernity [1:00:00]

Interview with David Cayley begins, his first encounter with Illich [1:15:08]

Illich's ideas on the incarnation and institutions [1:26:02]

Illich's influence on social movements including the one for the commons [1:41:48]

Cayley's reflections on Illich as a teacher and friend [1:57:30]

The hosts offer final thoughts on Illich's legacy [2:11:15]

Recommended:

Deschooling Society (1971), Ivan Illich

Tools for Conviviality (1973), Ivan Illich

Medical Nemesis (1975), Ivan Illich

Shadow Work (1981), Ivan Illich

Gender, (1983), Ivan Illich

In the Vineyard of the Text (1993), Ivan Illich

ABC: Alphabetization of the Popular Mind (1989), Ivan Illich and Barry Sanders

Ivan Illich in Conversation (1992), David Cayley

Rivers North of the Future: The Testament of Ivan Illich (2005), David Cayley

Ivan Illich: An Intellectual Journey (2023), David Cayley"]]></description>
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<item rdf:about="https://nautil.us/crows-are-even-smarter-than-we-thought-820066/">
    <title>Crows May Be Smarter Than We Thought</title>
    <dc:date>2024-08-30T17:23:14+00:00</dc:date>
    <link>https://nautil.us/crows-are-even-smarter-than-we-thought-820066/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["New evidence suggests the corvid family has surprising mental abilities."

]]></description>
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<item rdf:about="https://usesthis.com/interviews/james.turk/">
    <title>Uses This / James Turk</title>
    <dc:date>2024-08-15T20:39:12+00:00</dc:date>
    <link>https://usesthis.com/interviews/james.turk/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Who are you, and what do you do?

James Turk. I am an Assistant Clinical Professor at the University of Chicago. I teach in the Masters of Science in Computer Science & Masters of Science in Computational Analysis & Public Policy programs.

Teaching is new to me. I spent the prior 15 years as as software developer and manager in civic tech. For over a decade I was the lead of the Open States project, an open source effort to make all state legislative information available via a common interface. It is used by major media organizations, advocacy groups, and researchers across the country. I also helped found the Open Civic Data project, which is a standard used by election officials, as well as tech companies like Google and Microsoft to enable interoperability between election data systems.

Now my focus is on teaching and helping train more civic technologists. I am also very interested in various ways that we can push back against the corporate internet and all the negatives that come with it.

I like making things, which usually means I am working on something artistic and a technical side project for fun. Lately I've been spending more time hiking and camping, weather permitting.

What hardware do you use?

I used to be a pretty puritanical Linux/Android user, but after a series of bad hardware issues with both I switched to Apple gear.

These days, I mostly use a 14" M1 Macbook Pro. I use that for daily work, development, presentations, etc. Despite my reluctance, this is the happiest I've been with a laptop since my ThinkPad T420 ten years ago.

I have a pair of USB-C monitors at home, and usually use a Keychron V1.

I mostly think of phones as a necessary evil, and replace my phone with the phone that has the most reliable hardware, best battery life, and least spyware every 3-4 years. That's currently an iPhone.

After using a pretty cheap pair of Bluetooth headphones until they broke, I decided to upgrade to a pair of Sony WH-1000XM5 and I'm incredibly impressed with them.

I also wear a modded Casio F-91W watch with a Sensor Watch board. It was a fun project and I have a watch with a thermometer, moon phase calculation, and a few other fun features with a battery that lasts a year.

I also use a dotted A5 notebook for meeting notes and TODO lists.

Finally, my house is held together by a handful of Raspberry Pis: Home Assistant, a home audio server, and an e-ink picture frame that mostly shows me the latest absurd Heathcliff.

And what software?
I try to avoid OS-specific software, spending most of my time in the browser and terminal. Wherever possible I use an open source & cross platform app. avoiding lock-in is important to me.

I use fish as my shell, always running inside a tmux session so I can split windows/restore layouts, and neovim as my editor for quick scripts, config files, and notes if I'm already in the terminal.

When I started teaching, I decided to start using VSCode for my main development environment, since 90% of my students will be and it feels right to be familiar with the same tools they are using. I'm pretty comfortable in it, and find it nice for larger projects with a passable vim-mode.

I still write a lot of Python: I'm partial to using pyenv, poetry, and pipx to manage my Python environment and packages. ruff has become an incredibly useful tool as well.

I also use ag and chezmoi for searching code/notes and managing my dotfiles, respectively.

I use Firefox as my browser, in equal parts to support an open web, and because it allows a level of customization that works well for my idiosyncratic browsing needs.

One thing I really miss on macOS is the ability to use a true tiling window manager. I get by with Magnet for now, but this is likely what will push me off macOS for my next machine.

I take a lot of notes and have probably tried twenty note-taking apps over the last ten years. I've mostly settled on Obsidian for now, largely for its high-quality sync which allows me to edit a note in neovim, VSCode, or Obsidian, and reference it from my phone, or take a quick note from my phone and expand upon it later when I have a full keyboard. Programs that use real files will always win for me, since they afford this kind of flexibility.

...


What would be your dream setup?

I wish I could plug my phone into a keyboard, mouse, and monitor and have a full desktop environment with me everywhere I go. I would prefer this to the everything-in-the-cloud model, since I could use this in the woods, and my data would be local to me by default. (Of course, if that were the case, I'd need a real OS on my phone too.)

This has been my dream since I got my first ADP1 and since then I have backed more than one unsuccessful attempt at this.

Setting the bar a bit lower, a Framework laptop with the component quality of a 2024 MBP. I'm really impressed with what they're doing already, and imagine my next machine could be one of theirs in a couple of years.

My office would be a small room with a window overlooking some nature, with a few plants and a comfortable chair. I'm actually not that far off on that last part, which is pretty lucky."]]></description>
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    <title>Karma as ancient progress studies (Interconnected)</title>
    <dc:date>2024-07-01T01:02:31+00:00</dc:date>
    <link>https://interconnected.org/home/2024/06/27/karma</link>
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<item rdf:about="https://www.sense-of-rebellion.com/">
    <title>A Sense of Rebellion</title>
    <dc:date>2024-06-17T18:23:36+00:00</dc:date>
    <link>https://www.sense-of-rebellion.com/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["These mavericks crave responsive tech. And a more humane AI. But are they humane & responsive enough to deliver?

A Podcast Series by Evgeny Morozov. Original music by Brian Eno.

Forget the military or Silicon Valley: we owe our smart technologies - from toothbrushes to beds - to a band of eccentric 1960s hippies. Hidden away in a secretive, privately funded lab on Boston’s waterfront, these visionaries developed intimate, personal technologies a decade before Steve Jobs.

But their rebellion was fraught with obstacles: the military-industrial complex, corporate resistance, and the founders’ larger-than-life personalities. As Silicon Valley adopted their ideas, the lab's vision for more humane and diverse technologies was twisted into something entirely different.

A decade in the making, this podcast unravels their captivating and often tragic tale. It's all here: Cold War psychiatry, Maoism, LSD, the Rockefellers, Scientology, CIA’s forays into extrasensory perception, and even the advent of tech libertarianism."

...

"HIGHLIGHTS

A Sense of Rebellion is written, presented, and produced by Evgeny Morozov, one of Big Tech’s first and fiercest critics. He is the author of THE NET DELUSION (2011) and TO SAVE EVERYTHING, CLICK HERE (2013), both listed among 100 notable books of the year by The New York Times. In 2018, Politico named him one of Europe’s 28 most influential people.

This is the second installment in Morozov’s podcast trilogy on the “tech rebels who failed” (The Santiago Boys, on Chile’s short-lived experiment in cybernetic socialism, was the first).

Part Cold War thriller, part psychological drama, part history of AI that may have been, A Sense of Rebellion offers a whirlwind tour through the pre-history of the digital revolution.

The podcast’s soundtrack features a dozen original tracks by Brian Eno.

WHY IT MATTERS

Drawing on a decade of archival research – including during Morozov’s doctoral studies at Harvard - the podcast sheds light on the paths not taken in the development of digital technologies. All of them (including AI) could have been more radical, subversive, and humane.

Today’s interactive technologies prize efficiency and predictability but only at the cost of making us less aware of their often detrimental effects (see mounting concerns about disinformation, filter bubbles, surveillance, etc).

But what if interactive technologies were not just about getting things done but also about broadening our horizons? What if their effects were not hidden but rather immediately made visible? And what if AI was not about cutting humans out of the loop, but, rather, about allowing us to develop new talents and sensibilities?

THE STORY

Forget the military or Silicon Valley: we owe our smart toothbrushes and smart beds to a wild bunch of eccentric hippies from the 1960s. Toiling in a privately funded, secretive lab on Boston’s waterfront, they sought more intimate and personal technologies a whole decade before Steve Jobs!

Yet, the military industrial complex, the resistance from corporate America, and the lab founders’ larger-than-life personalities get in the way of their ambitions.

The podcast ventures into the most unexpected territory: from the fortunes of the Cold War psychiatry to the rise and fall of far-left Maoist groups in Europe, from CIA’s adventures in extra-sensory perception to the emergence of tech libertarianism in the counterculture of the 1960.

THE PEOPLE

The lab at the center of the podcast foreshadows tech startups of the 2000s, with all their excesses, flaws, and utopian ambitions.

The characters behind that secretive lab are truly fascinating. Among them:

Warren Brodey (1924- ): a 100-year-old founder of family therapy turned tech guru turned radical leftist political activist.

Peter Oser (1926-1970): a great grandson of John D. Rockefeller who’s dabbled in Scientology, black magic, and early artificial intelligence.

Avery Johnson (1932-1988): a nerdy heir to the Palmolive fortune who turned an ex-quarry of his into a cybernetic playground.

PRAISE FOR THE SANTIAGO BOYS

“Dramatic and illuminating...Surprisingly riveting.”
Los Angeles Times

“You can hear the care that has gone into the research...The writing is smart, stylish and contains some terrific blink-and-you’ll-miss-them details...Doesn’t shrink from complex ideas and credits its audience with intelligence, curiosity, and, above all, staying power. Like the best podcasts, it leaves you feeling a little bit cleverer for having heard it.”
Financial Times

“As gripping as a Netflix thriller... Perhaps the most important political thriller of the last years...from one of the most important and critical theorists of digitalization...”
Frankfurter Allgemeine Zeitung (Germany)

“Particularly attentive to the hidden, secret, and violent uses of technology... - the so-called Dark Tech.”
Corriere della Sera (Italy)

“A rich podcast... a beautiful and important production that first and foremost shows how thoroughly political technology is...”
De Correspondent (Netherlands)"]]></description>
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    <dc:creator>robertogreco</dc:creator><description><![CDATA["For Bernard Stiegler, a visionary philosopher of our digital age, technics is the defining feature of human experience"
]]></description>
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Hope you enjoy! 

Best, Boone Testerman"]]></description>
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Coming to auction is a clattering collection of machines once owned by the likes of Ernest Hemingway, Shirley Temple, Andy Rooney and … the Unabomber."]]></description>
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<item rdf:about="https://www.youtube.com/watch?v=WgZhCkZID8Y">
    <title>CW&amp;T: House of Make - YouTube</title>
    <dc:date>2024-04-12T20:13:36+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=WgZhCkZID8Y</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["CW&T is the recipient of the 2022 National Design Award for Product Design from Cooper Hewitt, Smithsonian Design Museum. CW&T started as and remains the two-person design practice of Che-Wei Wang and Taylor Levy. With backgrounds in Architecture, Film and Computer Science, the duo met at NYU ITP where they began their scale- and medium-agnostic approach to design.

Since 2009, CW&T’s work has spanned from interactive software to human-scaled tools that enhance their relationships to work, life, and time. Their practice centers around an iterative process of sketching, prototyping, testing, writing code, machining parts, and building each edition themselves to assess their intuitions around improving their everyday experiences. Their projects have included devices that alter our perception of time, an electronics curriculum for artists, an astrological compass for space travelers, and objects engineered to last multiple generations. 

Sharing their process with their community is essential to their practice. CW&T cultivates an ethos of openness through teaching and open source software and hardware. Their pedagogy extends into the home/​studio where they host office hours to lend a hand, or offer insight to anyone interested in figuring out how to make something themselves. 

Wang and Levy speak extensively on design and technology as a creative medium. They have taught courses on time, electronics, hardware, programming, inflatables, and morphology at Pratt Institute, New York University, and the School for Poetic Computation. CW&T live and work in their Brooklyn-based studio and prototyping shop.

Presented in partnership with Design Core Detroit."

[See also:
https://stamps.umich.edu/events/cw-t ]]]></description>
<dc:subject>cw&amp;t 2024 design making taylorlevy makers che-weiwang values protoyping renderings howwework partnerships small time clocks watches inspiration hardware curiosity durability longevity tools toolmaking engineering everyday overengineering transparency customerservice sharing openness art studios howwelearn learning notknowing craft crafting craftspeople</dc:subject>
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<item rdf:about="https://hedgehogreview.com/web-features/thr/posts/handmind-in-covidtide">
    <title>Handmind in Covidtide | THR Web Features | Web Features | The Hedgehog Review</title>
    <dc:date>2024-04-02T07:49:11+00:00</dc:date>
    <link>https://hedgehogreview.com/web-features/thr/posts/handmind-in-covidtide</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["By forcibly breaking some of our technological habits, Covidtide creatively destabilizes others."]]></description>
<dc:subject>alanjacobs 2020 covid-19 coronavirus pandemic slow small habits disruption destabilization technology tools quiet slowsmall weird matthewcrawford bodies covidtide cardinalnewman resourcefulness gregorybateson ursulaleguin ursulakleguin</dc:subject>
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<item rdf:about="https://www.youtube.com/watch?v=9qNxyzr6kbo">
    <title>Two Frenchmen visit the shop - YouTube</title>
    <dc:date>2024-03-25T21:24:50+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=9qNxyzr6kbo</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["This is taken from a short film made by Benjamin Carle and Felix Seger, in which we talk about the skilled trades, alienated labor and building a car. It aired on the French network Canal+. Thanks to Benjamin for permission to use it here."]]></description>
<dc:subject>matthewcrawford cars mechanics garages 2020 repair maintenance restoration vw volkswagen vwbeetles work knowledgework capitalism assemblylines dissatisfaction satisfaction making tools globalization trades skills thinking doing makerculture construction knitting scale control ownership diy agency</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
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<item rdf:about="https://www.newyorker.com/magazine/2018/04/02/the-mind-expanding-ideas-of-andy-clark">
    <title>The Mind-Expanding Ideas of Andy Clark | The New Yorker</title>
    <dc:date>2024-03-24T21:28:45+00:00</dc:date>
    <link>https://www.newyorker.com/magazine/2018/04/02/the-mind-expanding-ideas-of-andy-clark</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The tools we use to help us think—from language to smartphones—may be part of thought itself."

...

"Andy Clark, a philosopher and cognitive scientist at the University of Edinburgh, believes that there is no important difference between Inga and Otto, memory and notebook. He believes that the mind extends into the world and is regularly entangled with a whole range of devices. But this isn’t really a factual claim; clearly, you can make a case either way. No, it’s more a way of thinking about what sort of creature a human is. Clark rejects the idea that a person is complete in himself, shut in against the outside, in no need of help.

How is it that human thought is so deeply different from that of other animals, even though our brains can be quite similar? The difference is due, he believes, to our heightened ability to incorporate props and tools into our thinking, to use them to think thoughts we could never have otherwise. If we do not see this, he writes, it is only because we are in the grip of a prejudice—“that whatever matters about my mind must depend solely on what goes on inside my own biological skin-bag, inside the ancient fortress of skin and skull.”"

...

"Perhaps because Clark has been working so closely with a neuroscientist, he has moved quite far from where he started in cognitive science in the early nineteen-eighties, taking an interest in A.I. “I was very much on the machine-functionalism side back in those days,” he says. “I thought that mind and intelligence were quite high-level abstract achievements where having the right low-level structures in place didn’t really matter.” Each step he took, from symbolic A.I. to connectionism, from connectionism to embodied cognition, and now to predictive processing, took him farther away from the idea of cognition as a disembodied language and toward thinking of it as fundamentally shaped by the particular structure of its animal body, with its arms and its legs and its neuronal brain. He had come far enough that he had now to confront a question: If cognition was a deeply animal business, then how far could artificial intelligence go?

He knew that the roboticist Rodney Brooks had recently begun to question a core assumption of the whole A.I. project: that minds could be built of machines. Brooks speculated that one of the reasons A.I. systems and robots appeared to hit a ceiling at a certain level of complexity was that they were built of the wrong stuff—that maybe the fact that robots were not flesh made more of a difference than he’d realized. Clark couldn’t decide what he thought about this. On the one hand, he was no longer a machine functionalist, exactly: he no longer believed that the mind was just a kind of software that could run on hardware of various sorts. On the other hand, he didn’t believe, and didn’t want to believe, that a mind could be constructed only out of soft biological tissue. He was too committed to the idea of the extended mind—to the prospect of brain-machine combinations, to the glorious cyborg future—to give it up.

In a way, though, the structure of the brain itself had some of the qualities that attracted him to the extended-mind view in the first place: it was not one indivisible thing but millions of quasi-independent things, which worked seamlessly together while each had a kind of existence of its own. “There’s something very interesting about life,” Clark says, “which is that we do seem to be built of system upon system upon system. The smallest systems are the individual cells, which have an awful lot of their own little intelligence, if you like—they take care of themselves, they have their own things to do. Maybe there’s a great flexibility in being built out of all these little bits of stuff that have their own capacities to protect and organize themselves. I’ve become more and more open to the idea that some of the fundamental features of life really are important to understanding how our mind is possible. I didn’t use to think that. I used to think that you could start about halfway up and get everything you needed.”"]]></description>
<dc:subject>larissmacfarquhar cognition mind philosophy psychology 2018 tools cyborgs howwethink thinking language smartphones andyclark neuroscience cognitive artificialintelligence ai connectionism rodneybrooks</dc:subject>
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<item rdf:about="https://www.youtube.com/watch?v=E7oEq6CE78g">
    <title>Egyptologist Answers Ancient Egypt Questions From Twitter | Tech Support | WIRED - YouTube</title>
    <dc:date>2024-03-12T18:48:28+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=E7oEq6CE78g</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Professor of Egyptology and Archaeology Laurel Bestock answers your questions about ancient Egypt from Twitter. What did ancient Egyptians sound like? Why is King Tut so enduringly popular? What ancient Egyptian medicine and tools do we still use in modern times? Why did they practice mummification? Answers to these questions and many more await—it's Egyptology Support."]]></description>
<dc:subject>laurelbestock ancientegypt language timelines history egypt medicine mummification tools 2024</dc:subject>
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<item rdf:about="https://pilgrimsinthemachine.substack.com/p/build-a-songbird-compass-agency-communion">
    <title>Build a Songbird Compass: Agency, Communion, and Tech</title>
    <dc:date>2024-03-04T08:12:53+00:00</dc:date>
    <link>https://pilgrimsinthemachine.substack.com/p/build-a-songbird-compass-agency-communion</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["How not to be a ghost in the machine"]]></description>
<dc:subject>via:daniellucas 2024 communion agency individualism community collectivism spirituality pecogaskovski ruthgaskovski convivialtools bodies machines humans humanism life living socialmedia tools technology personhood consciousness algorithms manipulation addiction attention bigtech power davidbakan belonging love affiliation union status mastery competence jonathanhaidt cognition anxiety wholeness wellbeing reality jamescamperon visionpro apple ar augmentedreality virtualreality vr christianity judaism markweiser 1991 jackleahy society compass body mind morality relationships language reason emotions nature well-being compasses</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:97638c6c2872/</dc:identifier>
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    <title>Why field watches are the only real tool watches left - YouTube</title>
    <dc:date>2024-03-02T22:09:33+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=9i25D1ZiPM0</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Every manufacturer wants to sell you the luxury version of their tool watch. Gold submariner. Canopus gold Speedy. Pave Royal Oak. But there is one watch the resists the pressure to become fully luxury. It's the humble field watch. Here's why."]]></description>
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<item rdf:about="https://www.eamesinstitute.org/kazam-magazine/crafting-community/">
    <title>Crafting Community</title>
    <dc:date>2024-03-02T00:30:42+00:00</dc:date>
    <link>https://www.eamesinstitute.org/kazam-magazine/crafting-community/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Ishinomaki Lab helped rebuild a city in Japan after the 2011 tsunami. Now, a partnership with a Michigan makerspace again demonstrates the power of design."]]></description>
<dc:subject>eamesinstitute 2023 ishinomakilab makerspaces making furniture 2011 tsunami rebuilding japan michigan dianabudds design construction tools lcproject openstudioproject</dc:subject>
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<item rdf:about="http://www.naimark.net/writing/firstword.html">
    <title>First Word Art / Last Word Art, by Michael Naimark (May 2001)</title>
    <dc:date>2024-01-21T01:16:40+00:00</dc:date>
    <link>http://www.naimark.net/writing/firstword.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["FineArtForum vol.15, issue 8, August 2001

Art means many things to many people, but I know of one cut that neatly divides the art world in two, and ultimately relates to other worlds such as business. One might call this "first word art" and "last word art." At least that’s how I first heard it. As a grad student long ago, I discovered a resourceful and eccentric engineer named Brad squirreled away in MIT’s famous Building 20, a funky wood-frame structure left over from World War Two. Building 20 housed the Radiation Lab, the Research Lab for Electronics, Noam Chompsky’s first Linguistics Lab, and the MIT Council for the Arts. Brad was the optics and electronics engineer for RLE’s Jerry Lettvin, and occupied a space filled to the ceiling with gear in various stages of assembly, and with gerbils. He looked like he was somewhere between 35 and 65 years old, and once told me he never got out of bed before noon. He seemed to enjoy helping over-stimulated wildcard types like me.

One day, in an effort to calm me down, he asked what I thought of the composers Haydn and Beethoven. He said their art was not only different but opposite. Franz Joseph Haydn, he continued, invented the classical symphonic form. People heard it and found it new and novel. Critics had little basis for comparison, or for rating its quality. "First word art," declared Brad. Years later, after the symphony became an accepted format, one of Haydn’s students, Ludwig van Beethoven, composed his Ninth Symphony. "A hard act to follow," said Brad. "Last word art."

And there you have it: First word art is groundbreaking and exploratory. It’s playing outside any rule structures. It side-steps competition. People often don’t know how to react to it. Last word art is virtuosity after the rules have been fixed. It accepts the established form, and is judged by comparison.

Some folks consider first word art as the only true art and believe last word art isn’t art at all. Why bother if it’s already been done? Doing something better or more beautiful is merely entertainment, not art. SF MOMA Director David Ross likes to say that "artists always need to ask themselves ‘what’s my job now?’"

Other folks consider last word art as the only true art and believe that first word art isn’t art at all. How can anyone do anything well if the medium is still evolving? Don’t confuse exploration with expression. Rudolph Arnheim wrote in his 1932 "Film as Art" that when cinema went from silent to sound, the level of art went down since everyone was interested in the novelty more than anything else.

A filmmaker friend once told me that he works in 16mm film for all the opposite reasons that I work in new media. He said he likes his medium because "all that experimentation stuff has already been done and now I can simply use it." It’s noteworthy that 16mm film once occupied the niche of the experimentalist until video came along, and video held the niche until the Web.

First word art and last word art may ideologically divide the world in two, but they are not necessarily mutually exclusive. For several years I asked my students to bring in examples of art in any medium that they believed were both first word and last word art. Though such lists are often all over the map, some examples recurred:

The Wizard of Oz. Tommy (the rock opera). Stravinsky’s Rites of Spring. The Beatle’s Sergeant Pepper. The Pantheon in Rome. Cubism. Pointillism. Anything by John Cage. Frank Lloyd Wright buildings. Kubrick’s 2001. Early Martha Graham. Early Disney. Brecht. The geodesic dome. M C.Esher. Hunter S. Thompson. Abel Gance’s 3-screen Napoleon. Debussy’s symbolist opera Pelléas et Mélisande. Melville and Hawthorne. The Frisbee.

Then, one of my students asked "doesn’t last word art require surviving the test of time?" Everyone was astonished that something so obvious had been overlooked, and no one disagreed.

So perhaps the distinction between first word and last word art is in the priority of the timeframe. An electronic arts festival needs to show what’s hot now. A museum collection curator needs to select what’s worth saving for future generations to experience.

This distinction may be a healthy one to look at today in the world of high-tech business. We’ve just come out of a viciously first-word moment, where people cut down the trees for the apples. Now everyone wonders what’s next, with a general acknowledgement that seeds need to be planted and nurtured as well as short-term opportunities need to be seized. If life follows art, it may be possible to do both. Then art can move ahead meaning many things to many people."]]></description>
<dc:subject>michaelnaimark 2001 art medium film filmmaking tools form davidross creativity invention</dc:subject>
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    <title>Petermann Freres &amp; Co Escapement Meter - YouTube</title>
    <dc:date>2024-01-05T05:10:13+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=Gd3eBgoAY9w</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["This video is a detailed examination of the Petermann Freres & Co Echapp'metre (Petermann Brothers & Company Escapement Meter).

Here's the link to Bob Inchak's website as mentioned in the video: 

http://www.bobinchak.com "]]></description>
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    <title>Ave Maria/Sophia/Gaia: Katherine Bubel and Michelle Berry Lane on Illich and the Sacred Feminine (Conversation #4) - YouTube</title>
    <dc:date>2023-11-29T07:11:40+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=19q4pWKPlj0</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["For our fourth and final conversation, around and beyond the legacy of Ivan Illich, we hear reflections and discussion from Katherine Bubel and Michelle Berry Lane before moving into an extended open discussion.

Katherine discusses Illich's mythopoetics of Prometheus, Epimetheus, and Pandora, the latter a patriarchally diminished version of the Earth Goddess Gaia, who Katherine connects to the biblical divine wisdom figure of Sophia, and Mary, Mother of God. Where Prometheus pursues mastery and technology, "Epimethean man stays and listens to the dream of Gaia/the Earth."

Michelle talks about about the conviviality with and of bees, and connects Illich with Suzanne Simard’s work on tree talk, and Lynn Margulis' work on symbiogenesis. She makes the case that the lost sense of contingency--life hanging moment by moment on God's grace--can be recaptured in the modern awareness of the complete contingence of our life on the health of our relationships.

Katharine Bubel is assistant professor of English at Trinity Western University

Michelle Berry Lane is a poet, a teacher of environmental science and a student of theopoetics, and part of Rochester Pollinators, a pollinator advocacy organization in southeast Michigan. 

Here is the video, "Un Certain Regard," in which gives his take on the myth of Pandora, Prometheus & Epimetheus: https://www.youtube.com/watch?v=L_ByKXCr9TA "

[Conversation #1
https://www.youtube.com/watch?v=nvbzuQdO19M

Conversation #2
https://www.youtube.com/watch?v=IJOwHQXpMbQ

Conversation #3
https://www.youtube.com/watch?v=1Avh1AJ9sls

Conversation #4 (this bookmark)
https://www.youtube.com/watch?v=19q4pWKPlj0

See also:

Ivan Illich/David Cayley Book Club #3 of 6
https://www.youtube.com/watch?v=QhCYH95t768 ]]]></description>
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<item rdf:about="https://www.youtube.com/watch?v=QhCYH95t768">
    <title>Ivan Illich/David Cayley Book Club #3 of 6 - YouTube</title>
    <dc:date>2023-10-25T17:04:17+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=QhCYH95t768</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[See also:

"Four Illich Conversations, Part 1: Cayley/Hine"
https://www.youtube.com/watch?v=nvbzuQdO19M

"Walking the Razor's Edge: Illich Conversation #2 with David Cayley and Sam Ewell"
https://www.youtube.com/watch?v=IJOwHQXpMbQ

“One No, Many Yeses” – Sam Ewell & Dougald Hine in Illich Conversation #3"
https://www.youtube.com/watch?v=1Avh1AJ9sls

"Ave Maria/Sophia/Gaia: Katherine Bubel and Michelle Berry Lane on Illich and the Sacred Feminine" (Conversation #4)
https://www.youtube.com/watch?v=19q4pWKPlj0 ]]]></description>
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<item rdf:about="https://www.youtube.com/watch?v=kOohA9Gp6jw">
    <title>The First 7 Tools Needed to Start Watch Repair. - YouTube</title>
    <dc:date>2023-10-24T20:34:22+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=kOohA9Gp6jw</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["In this episode, we start with the basics’ of watch repair. The 7 tools needed to start watch repair. 

When you are starting out learning watch repair, you can get overwhelmed by all the tools and options available. What do you buy, what do you need right now. You definitely don’t need to spend a lot of money on an interest or hobby right off the bat and you don’t need to buy everything at once. By concentrating on just the basic watch repair tools needed to start learning watch repair with, you can see what works for you without breaking the budget."

[via a comment here:
https://www.watchcrunch.com/ThirdWatch/posts/aspiring-watch-smiths-235068 ]]]></description>
<dc:subject>watches watchmaking tools howto tutorials 2022</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:1529a90cd37f/</dc:identifier>
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</item>
<item rdf:about="https://usurpatormag.com/A-Website-Can-Be-A-Poem-w-Chia">
    <title>A Website Can Be A Poem w/ Chia - USURPATOR</title>
    <dc:date>2023-08-22T22:31:52+00:00</dc:date>
    <link>https://usurpatormag.com/A-Website-Can-Be-A-Poem-w-Chia</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["USURPATOR is joined by Chia Amisola, an ambient artist, designer,  organizer, and founder from the Philippines. During our conversation, we talk about the form of a website, the art of digital preservation, and how we can break down the common structures of the internet to create better spaces for ourselves and our communities."

[some of the audio doesn't seem to be in the transcript, at least at the very beginning:
https://podcasts.apple.com/us/podcast/a-website-can-be-a-poem-w-chia/id1694186040?i=1000621318566 ]]]></description>
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<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:f3b9ce37b7ab/</dc:identifier>
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<item rdf:about="https://rotatewatches.com/product/mega-movement-kit/">
    <title>Mega Movement Kit Bundle - Rotate Watch Kits</title>
    <dc:date>2023-08-10T23:42:26+00:00</dc:date>
    <link>https://rotatewatches.com/product/mega-movement-kit/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["This MEGA kit includes all 3 of our movements and access to all of our guides! A complete set of tools, organizing cases, and a leather case are included. Learn to build mechanical movements from over 150+ combined parts!

This MEGA kit includes all 3 of our movements and access to all of our guides! A complete set of tools, organizing cases, and a leather case are included. Learn to build mechanical movements from over 150+ combined parts! 

Movements come assembled to ensure safe transit and proper lubrication. The first half of each guide explains the disassembly, and the second half explains the assembly. Disassembly and assembly are completely different processes and both are important to learn on your watchmaking journey.

Specifications
- 1 fully mechanical, automatic Seiko NH36 movement
- 1 fully mechanical, automatic Miyota 8215 movement
- 1 fully mechanical, hand-wound Seagull ST3600 movement
- Movement holder
- Screwdriver
- Tweezers
- Magnetizer tool
- Finger cots
- Leather case
- Pliers
- Guide Access to ALL movement kits
- 24/7 access to our support team 

For a limited time, THREE organizing cases and labels will be included as an early bird special! 

Our guide includes full instructions for disassembly and reassembly. We also break down the purpose of every piece, tips/tricks, and troubleshooting.

Add on a warranty for $20 in case you lose or damage parts of your movement."

[via:
https://www.watchcrunch.com/petrifish/posts/rotate-watches-great-experience-137676

other kits:
https://rotatewatches.com/product-category/movement-kit/

full site:
https://rotatewatches.com/ ]]]></description>
<dc:subject>watches watchmaking tools rotate rotatewatches nh35 seagull miyota nh36 seiko citizen watchmovements sea-gull</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:9f6bf35aa9dc/</dc:identifier>
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